Inspiration: Mary Giles

arttextstyle — Sat, 18 May 2013 10:00:00 +0000

In April, Mary Giles received the Master of the Medium Award for Fiber from the James Renwick Alliance. In receiving the award, Giles spoke of her process and her sources of inspiration:

Mary Giles amongst the California Redwoods, © Jim Harris

“Copper Haze”, 2003, © John Koch

Sunrise, St. Croix River, Minnesota, © Mary GIles

“I have always been influenced by place and especially the natural world in those places. In the early 80’s, having taken up scuba diving, I did a series based on sea life called “walking tentacles.” Later, during many trips to New Mexico, I discovered mesa forms as well as Native American kivas and petroglyphs. Those sources dominated my work for over 10 years. Most recently the changing light, colors, and patterns seen from our retirement home on the banks of the St. Croix River in Minnesota have informed by work. My ideas are an accumulation, my sources most often from nature and my pallet is drawn from the colors of earth, water, wood and stone.

I’ve been drawn to the woods most of my life, from childhood summers at a log cabin in northern Minnesota, to the redwoods of northern California, to the tropical jungles of Costa Rica, and now at our current home on the banks of the St. Croix River. From the St. Croix shore I have photographed many sunrises, reflections, shadows and moonlit nights. These scenes continually change throughout the day, from day to day, and season to season.

Detail, “Long Divide”, 2013, © Don Caspar

The materials I use on the surface of the coiled forms are often individually hammered pieces of twelve- to eighteen-gauge wire made of copper, tinned copper, iron, lead or brass. In addition I use waxed-linen thread and fine wire. By torching the metals I am able to alter the colors in varying degrees enabling me to blend them from darks to brights. I use this blending to interpret the colors, textures and light that I see in the natural settings.

Stone Boulders, © Mary Giles

Detail, “Long Divide”, 2013, © Don Caspar

I became particularly excited about rocks ten years ago when my husband and I decided to build an addition to what was to become our retirement home. Because this home is on a river in an old glacial landscape, the dozer unearthed a mountain of boulders. Philip Johnson, the architect, said, “I never met anyone who can talk about a pile of rocks.” Well, I never met Philip Johnson. I have photographed rocks in many parts of the world. I’m interested in all sorts of rocks: broken rocks, large rocks, pebbles and boulders. I love their surfaces aged by wear or accumulations. I find many forms in their crevices and shadows.

Costa Rica © Mary Giles

In the winter we often go to a relatively remote Pacific location in Costa Rica. I spend hours walking the beach photographing yet more rocks, driftwood, and wave and animal patterns in the sand. On the walks I always carry two bags, one for trash and one for treasure.

In my studio I begin a new idea with a sketch. Most recently I have been building clay models. The models have helped me work through details and attempt more complex forms. I’m often asked how long it takes to complete a vessel. I don’t usually keep track but I do remember my first basket from the late 1970’s, three inches high, took twelve hours. My most recent piece, which is fifty inches long, took five months.

Grey Break by Mary Giles, © Tom Grotta

Six years ago I started doing wall panels that dealt with my concerns about population. They are not baskets but the men they incorporate have been on my vessels for nearly thirty years. The first expression of this theme was directly on a 10 X 30-foot gallery wall. It was composed of hundreds of torched copper wire men arranged outwardly from dense to sparse. I am still working with these ideas of overpopulation, density and boundaries.

The architect Le Corbusier said “creation is a patient search.” I so enjoy this peaceful experience. I feel fortunate to have found this work for myself. I am very grateful for your generous support. Thank you. “

Mary Giles – April 2013

Book Notes: Not Quite Beach Reads, but Recommended

arttextstyle — Thu, 02 May 2013 10:00:00 +0000

A series of attractive books have wound up in our mailbox this spring. None are quite right for the beach, but each immerses a reader in another culture, locale or artist’s viewpoint — a bit of an adventure without leaving home. Even for fans of indigo, like me, Indigo: The Color that Changed the WorldIndigo: The Color that Changed the WorldIndigo: The Color that Changed the World by Catherine Legrand (Thames & Hudson 2012) is a revelation. The book covers geographical regions (Japan, China, India, Laos and Cambodia, Africa, Central America and Europe — who knew?) where the ancient art is still practiced and indigo forms a part of the fabric of everyday life. The differences and similarities in the uses of indigo in these varied locales is fascinating. There are 500 glorious photographs, many of them a full page each. It’s not a reference in the typical sense as others have covered this material more comprehensively, but a visual one. I have found myself repeatedly returning to the book and leafing through the images again just to immerse myself in the patterns and hues.

A Handbook of California Design, 1930-1965: Craftspeople, Designers, ManufacturersA Handbook of California Design, 1930-1965: Craftspeople, Designers, ManufacturersA Handbook of California Design, 1930-1965, Craftspeople, Designers, Manufacturers, edited by Bobbye Tigerman (Los Angeles County Museum of Art and MIT Press 2013) offers more of a trip through time. Designed by acclaimed book designer Irma Boom, the pages look like newsprint and are handcut and edged in day-glo orange, the same color used for the cover. The photos and illustrations are nearly all in black and white and convey the design sensibility of the period, which was a halcyon period for design — California was “a breeding ground for new ideas to flourish without constraints,” and design benefited from its many institutions of higher learning and the technical and material innovations that WWII brought to the aerospace and defense industries. The connections and collaborations of the book’s subjects — from Harry Bertoia to Mary Ann DeWeese (Catalina Swimwear) to Charles and Ray Eames to Trude Guermonprez to Gertrud and Otto Natzler to browgrotta arts’ artists Ed Rossbach and Katherine Westpahl (featuring photos by Tom Grotta) and Kay Sekimachi — are mapped on a helpful chart. In each biography, the names of other subjects in the book appear in day-glo orange so that the reader can look for cross references. The biographies are brief and insightful.

Textiles: The Art of Mankind Textiles: The Art of MankindIn Textiles: The Art of MankindTextiles: The Art of Mankind (Thames & Hudson 2012) Mary Schlosser sets out to explore the “continuum of creativity” that links ancient textiles to those created in the 21st century. Her chapter on structure, in which she argues that all textiles, even lengths of yardage, are three-dimensional objects takes an interesting look at non-tensional techniques, primarily basketmaking. The book contains a wealth of resources, including website addresses for artists and designers, and a staggering 1,058 illustrations. We were puzzled, though, by the author’s failure to mention browngrotta arts‘ website which has more than 1,000 images of textile art among the resources or list any of the 40+ catalogs on art textiles that we have published. Most disappointing — though she includes more than two dozen illustrations of work by Ed Rossbach, Katherine Westphal, Sara Brennan, Kay Sekimachi and Karyl Sisson, she fails to provide a website reference for any of them, even though there are images and information on each at http://browngrotta.com. Despite that omission — it’s a remarkable book, and well worth seeking out.

Magdalena Abakanowicz Survey: Marlborough Gallery, New York through this Saturday, April 27th

arttextstyle — Wed, 24 Apr 2013 10:00:00 +0000

Just a few days remain to see the impressive survey of works by Magadalena Abakanowicz at Marlborough Gallery in New York. Marlborough’s exhibition includes 55 works created over a 21-year period from 1987 to 2009. Pieces from several of the artist’s various “cycles,” including War Games, Hoofed Mammal Heads, Coexistence and the Anatomy Cycle as well as three of the artist’s “crowd” figures, including Bambini, a group of 10 children, from 1998-99.

MONTANA DEL FUEGO, Magdalena Abakanowicz, 1983, photo by Tom Grotta

Abakanowicz who is recognized as among the most original and powerful sculptors working today, initially gained international recognition for her remarkable, over-sized dimensional works of fiber. In Warsaw, in the late 50s and early 60s, Abakanowicz worked with what was available. “I could not pick up stone or marble and go to a foundry because there was no stone, no marble and no foundry to cast it,” she told Rita Reif of The New York Times in 2001, The Jackboot Has Lifted. Now the Crowds Crush. “This absence brought me to what they call the ‘world of fiber.’ It would never have happened if everyday life had been different. I needed to build something around me like a fence, to shut out the unpleasantness.” She called her early works, made of sisal ropes salvaged from the docks on the Vistula River in Warsaw “constructions” Abakanowicz has said that she had no desire to learn weave. Nonetheless, one of her first woven works, Composition of white forms, created a sensation at the first international Biennial of Tapestry in Lausanne, Switzerland in 1962, not only because of the monumental scale — large enough to walk into, but because the work was such a departure from pictorial tapestry conventions. Though now far better known as a sculptor, Abakanowicz continued to create tapestry forms, albeit unconventional ones, through at least the mid-80s.

LUNE DE MIEL 1, Magdalena Abakanowicz, 1986, photo by Tom Grotta

Magdalena Abakanowicz: A Survey 1987-2009, Marlborough Gallery, 40 West 57th Street, New York, NY, 10019, 212-541-4900. To see a sampling of the exhibition, visit: http://marlboroughgallery.com/exhibitions/magdalena-abakanowicz-a-survey-1987-2009.

Eco-Art Update: Images for Earth Day

arttextstyle — Mon, 22 Apr 2013 08:00:00 +0000

Many of the artists promoted by browngrotta arts address nature and environmental concerns in their work. In honor of Earth Day, we present a series of images of works from Europe, Asia, the US and the UK. These include outdoor sculptures by Chris Drury and Ceca Georgieva, ethereal sculptures of jute by Naoko Serino and a complex new basket, A Panic of Leaves by John McQueen, made of sticks and strings.

Green Leaves by Ceca Georgieva, photos by Ceca Georgieva

These are images of some of Ceca Georgieva’s “park art experiments.” Georgieva is a textile artist working in the field of nature art. “Working with natural materials not only brings me joy,” she says, “but also much wisdom. In even the smallest piece of grass there is incorporated history, meaning and purpose. I admire and learn from her genius “installation” of design, color, smell and light … It is a great challenge to enter her laboratory and to be able to add my own thing.”

Window on Blood and Water by Chris Drury, photos by Chris Drury

Window on Blood and Water is a temporary installation at Abbaye Jumieges, near Rouen in France created by Chris Drury for the region’s festival of Water. The work takes the shape and dimensions of the arch of the ruined church and fills it with a flow pattern of water and blood from the heart, drawing a link to the nearby river Seine and the Abbey’s violent history over the centuries. The work is 78.75 feet x 26.25 feet and is made from split logs and stones from the ruin. The exhibition of six works opens on May 14, 2013 and runs through the Summer/Autumn season.

Naoko Serino Detail, photo by Naoko Serino

Works made entirely of jute are created by Naoko Serino of Japan. Moon Lee says that in Serino’s work,”the golden sheen and sinuous strands of jute yield a most spectacular softness and luminosity. The natural fibers are spun densely or pulled thin, making for infinite gradations of densities. Irregular shapes in varying degrees of transparency provoke an effect that is strongly biological. Spheres, tubes, tubes contained within spheres, spheres contained within cubes, and rows of coiled strands evoke thoughts of phospholipid bilayers of cell membranes, veins, sea sponges, and so forth.” http://thecreatorsproject.vice.com/blog/naoko-serino-spins-vegetable-fiber-into-golden-sculptures.

A Panic of Leaves by John McQueen, photo by Tom Grotta

John McQueen’s vessel form celebrates leaves — their diversity of shape and color. McQueen often “draws” with sticks, in ways that make a viewer consider his or her relationship to the world. ”Steel is natural,” he says, “because it comes from an iron ore in the ground. But when you look at steel, you don’t connect it with the ground because it’s been processed so many times, whereas there’s a direct visual connection between looking at my work and seeing the world.”

Congratulations! Mary Giles is a Renwick Gallery Master of the Medium

arttextstyle — Sun, 07 Apr 2013 10:00:00 +0000

Mary Giles details by Tom Grotta and Don Casper

Today, Mary Giles will receive the 2013 Master of the Medium award for fiber from the James Renwick Alliance and the Smithsonian Museum of American Art in Washington, D.C. The Masters of the Medium award recognizes artists of consummate craftsmanship who have contributed to and influenced their chosen fields. The Masters of the Medium awards were initiated in 1997 on the occasion of the fifteenth anniversary of the James Renwick Alliance and the twenty-fifth anniversary of the Renwick Gallery. The Masters of the Medium Awards are given biennially in odd numbered years.

Mary Giles resides in St. Croix, Minnesota. She creates mixed-media coiled baskets that are sculptural in nature, totems and three-dimensional wall works. Giles’ recently created a 53-inch “boulder,” The Long Divide, of hammered waxed linen, torched tin-coated copper and brass.

The Long Divide by Mary Giles, photo by Don Casper

Her 2012 work,Twist, has been added to the American Decorative Arts collection of the Yale University Art Gallery, New Haven, Connecticut.

Sentry Field by Mary giles, photo by Tom Grotta

The sculptural piece was made of waxed linen, iron twists, hammered tin and coated copper wire. Giles’ work is in several other museum collections, including that of the Minneapolis Institute of the Arts, Minnesota, Racine Art Museum, Wisconsin, Contemporary Art Museum, Honolulu, Hawaii, Detroit Institute of Arts, Michigan, Museum of Arts and Design, New York, New York. She has said of her work, “Today, I am very concerned about the environment and try to capture the forms, textures and light found in nature” and that she is influenced by the views out of her studio windows, “the light on the river, shadows in the woods, and the textures of the water, rocks and trees.”

In Honor of Asia Week: Eight More Japanese Artists

arttextstyle — Sat, 23 Mar 2013 10:00:00 +0000

Among the museum offerings in Asia Week New York 2013 is the Guggenheim’s No Country: Contemporary Art for South and Southeast Asia, through May 22nd.The first exhibition in the Guggenheim UBS MAP Global Art Initiative features work by 22 artists and collectives representing some of the most compelling and innovative voices in South and Southeast Asia today. No Country: Contemporary Art for South and Southeast Asia revokes national borders as limits to understanding, revealing in their place networks of influence and resistance. It will be followed by art from Latin America and the Middle East. At the Solomon R. Guggenheim Museum, 1071 5th Avenue (at 89th Street), New York, New York. And, as our last tribute to Asia Week, the work of eight more artists from Japan — basketmakers, weavers and a ceramist.

Revolving Gaps Between 03 by Noriko Takamiya, photo by Tom Grotta

Norkiko Takamiya (Japan)

Four Squares by Chiyoko Tanaka, photo by Tom grotta

Chiyoko Tanaka (Japan)

Vanishing: Emerging 1, 3 & 4 by Hideho Tanaka, photo by Tom Grotta

Hideho Tanaka (Japan)

A Harden Nest by Takaaki Tanaka, photo by Tom Grotta

Takaaki Tanaka (Japan)

Imyo by Tsuruko Tanikawa, photo by Tom Grotta

Tsuruko Tanikawa (Japan)

Kasuri Panels by Jun Tomita, photo by Tom Grotta

Jun Tomita (Japan)

Untitled by Jiro Yonezawa, photo by Tom Grotta

Jiro Yonezawa (Japan)

Kuu 410 and 441 by Masako Yoshida, photo by Tom Grotta

Masako Yoshida (Japan)

In Honor of Asia Week: Seven More Japanese Artists

arttextstyle — Wed, 20 Mar 2013 10:00:00 +0000

Traditionally, art of Asia Week New York has been Asian Contemporary Art Week. This spring, Asian Contemporary Art Week extends beyond its usual week-long format to last an entire season, capturing the best of contemporary art from Asia in New York. A complete list of contemporary offerings, which includes Bomb Ponds, Vandy Rattana’s installation of photographs and video that explores the U.S. bombing of Cambodia during the Vietnam War, is found on the ACAW webiste at http://www.acaw.info/?page_id=2062. Here is a selection of wall and three-dimensional work by seven more contemporary Japanese artists.

Large Silk Akiha Devider by Chiaki Maki, photo by Tom Grotta

Chiaki Maki (Japan)

Large Tassar Spun Silk and Wool by Kaori Maki, photo by Tom Grotta

Kaori Maki (Japan)

Large Interlacing-R by Keiji Nio, photo by Tom grotta

Keiji Nio (Japan)

Shadow Alphabet by Toshio Sekiji, photo by Tom Grotta

Toshio Sekiji (Japan)

A Hole to See II by Hisako Sekijima, photo by Tom Grotta

Hisako Sekijima (Japan)

Generating 12 by Naoko Serino, photo by Tom grotta

Naoko Serino (Japan)

Shindigo Square Series by Hiroyuki Shindo, photo by Tom Grotta

Hiroyuki Shindo (Japan)

In Honor of Asia Week: Three Artists from Korea

arttextstyle — Mon, 18 Mar 2013 10:00:00 +0000

If you are planning to tour Asia Week New York 2013, there are a wide range of exhibitions, workshops and lectures to choose from. A complete list can be accessed here: http://www.asiaweekny.com/sites/asiaweekny/files/AWNY2013-Guide.pdf. Among the activities that interest us are Chunghie Lee’s exhibition and workshop, Bojagi: Cloth, Color & Beyond by Chunghie Lee, through May 31st, and Wedding Bojagi Workshop, Friday the15th and Saturday the 16th, both at the Korea Society, 950 Third Ave., 8th Floor, New York, New York, 10022; and Seven Sages of Ceramics: Modern Japanese Masters at Joan B. Mirviss Ltd. through April 26th, 39 East 78th Street, New York, NY 10075;. For those touring chairside, enjoy these works by three accomplished artists from Korea.

One Evening by Young-Ok Shin, photo by Tom Grotta

Young-ok Shin (Korea)

Steel Mesh Untitled by Jin Sook So, photo by Tom Grotta

Jin-Sook So (Korea/Sweden)

Matrix II-201011 by Chang Yeonsoon, photo by Tom Grotta

Chang Yeonsoon (Korea)

In Honor of Asia Week: Nine Japanese Artists

arttextstyle — Fri, 15 Mar 2013 10:00:00 +0000

Asia Week New York 2013, March 15th to March 23rd is a nine-day celebration of Asian art throughout metropolitan New York, with exhibitions, auctions and special events presented by 43 leading international Asian art specialists, five major auction houses, and 17 museums and cultural institutions; http://www.asiaweekny.com. Not going to be in New York this month? Not to worry, over the next few days, we’ll bring some striking examples of Asian art, more than two dozen works, in fact, to a desktop, laptop, tablet or phone near you. Here’s the first of four installments, featuring nine artists from Japan.

3D INTERSECTION II by Norie Hatekayama, photo by Tom Grotta

Norie Hatekayama (Japan)

Figure-Odd by Kazue Honma, photo by Tom Grotta

Kazue Honma (Japan)

Groundwater by Mutsumi Iwasaki, photo by Tom Grotta

Mutsumi Iwasaki (Japan)

Aric Grid Hanging with Tank Twelve by Kiyomi Iwata, photo by Tom Grotta

Kiyomi Iwata (Japan.United States)

Grove by Tamiko Kawata, photo by Tom Grotta

Tamiko Kawata (Japan/United States)

Space Ship 2000 by Masakazu Kbayashi, photo by Tom Grotta

Masakazu Kobayashi (Japan)

Untitled by Naomi Kobayashi, photo by Tom Grotta

Naomi Kobayashi (Japan)

SAI by Yasuhisa Kohyama, photo by Tom Grotta

Yasuhisa Kohyama (Japan)

A Begining by Kyoko Kumai, photo by Tom Grotta

Kyoko Kumai (Japan)

Against the Grain: Randy Walker’s Dream Elevator and Other News

arttextstyle — Tue, 22 Jan 2013 03:34:41 +0000

photo by Randy Walker

December 2012 saw completion of Dream Elevator by Randy Walker for the City of St. Louis Park, Minnesota. The structure is a 45-foot tall stainless-steel-and-concrete tower woven with custom-braided polyester rope. The sculpture is inspired by the nearby Peavey-Haglin Grain Elevator of 1899, the first cylindrical concrete grain elevator in the world.

photo by Randy Walker

The dedication date of Dream Elevator is as yet undetermined. This year and next, Walker will be at work on at least four public commissions. First, a permanent outdoor work, Sky Portal, for the Anderson Abruzzo International Balloon Museum in Albuquerque, New Mexico, which will be visible from the sky as well as the ground. Second, Entanglement, in Scottsdale, Arizona, where Walker will use an existing bell tower as a framework for a fibrous wrapping.

photo by Randy Walker

Third, a temporary, site-specific installation will be built at the two main cargo shipping terminals in San Diego, California that will be part of WRAP: an artistic investigation of the San Diego Tidelands. Finally, Walker will work with his South Minneapolis community to create a large-scale, collaborative installation for which Walker received a Minnesota State Arts Board Artist Initiative Grant.