Tag: Chris Drury

Collaborations: Creativity x 2

Artist collaborations account for some of the greatest pieces ever made. For example, the 1874 collaborative exhibition between Monet, Renoir, Morisot, Cézanne in which the called themselves the “Société Anonyme des Artes” helped establish the artists in the art world. In fact, it was a snide remark by art critic Louise Leroy of the show, which he called ‘The Exhibition of Impressionists” that established the impressionist style and movement (Financial Times).

Dail Behennah’s Studio Work-board. Photo: Dail Behennah via In.Dialogue

“History has proved time and again that two creative minds can sometimes be better than one,” explains Nadja Bozovic of Agora Gallery. “Even today, artists are increasing collaborating with each other and with creative professions from other fields.” Laura Ellen Bacon and Chris Drury have both collaborated with or inspired creators in different fields, Bacon with composer Helen Grime and Drury with poet Kay Syrad. Historically, many renowned artists have collaborated with their significant others. Artists and couple Debra Sachs and Marilyn Keating were the focus of a collaborative exhibition at the Stockton University Art Gallery in 2016. Collaborations between couples, which require much trust and respect, fuse the differing talents, ideas and creative energies of the individuals. In the end, artists don’t see collaborations as a way to create masterpieces, instead, artists see it as a way to force themselves into uncomfortable territory and break old habits while also breaking new ground. Several of browngrotta arts’artists have been part of these fruitful arrangements, including:

 

Dail Behennah and Jessica Turrell

Dail Behennah and Jessica Turrell started a joint adventure with their collaborative blog, In.dialogue. Through the years Behennah and Turrell have had numerous conversations about their work. They originally thought that they would create a body of work on a common them, but the more they explored the idea the more they realized it was the conversation around their work they valued the most. “Trust is an important aspect of a project,” Turrell explains “we need to be able to challenge and support each other in the sometimes difficult  process of thinking and talking about our work, and of pushing ourselves to do something new.”

Laura Ellen Bacon's Woven Space at the Chatsworth House. Photo: The Chatsworth House Trust

Laura Ellen Bacon’s Woven Space at the Chatsworth House. Photo: The Chatsworth House Trust

Laura Ellen Bacon & Helen Grime

Composer Helen Grime’s piece Woven Space was inspired by the work of Laura Ellen Bacon. Grime was inspired by the way in which Bacon’s sculptures embrace, surround and engulf architecture and natural landscape. Grime’s Woven Space comes from Bacon’s 2009 willow sculpture in the Chatsworth House gardens. Grime did not set out to create a literal musical representation of Bacon’s work sculptural work, instead, she worked to parallel the intertwining limbs of Bacon’s sculptural work with her score.

Debra Sachs and Marilyn Keating:

Debra Sachs and her partner Marilyn Keating held a collaborative exhibition at the Stockton University Art Gallery in 2016. The exhibition, titled Going Solo and Tandem, featured individual and joint work the couple produced over the course of 30 years. Sachs and Keating, who met in the early 1970s during their time as students at the Moore College of Art in Philadelphia, are both influenced by their surroundings. Keating, who primarily works with wood, creates depictions of kites, birds, bugs and dogs. Sachs, who mainly works in the form of abstract paintings and three-dimensional pieces, takes a more design-oriented approach to her work. “It’s more about colors and shapes of landscapes,” explains Sachs. “For Marilyn, it’s more about fish and whatever kinds of things you can find. More Narrative stuff. She can make a bird on a band saw. Those are skills I don’t even have.” Though their influences and methods are quite different, the two are able to meld their style when working together. Typically, Keating builds the structures and Sachs designs and paints the structures’ surface.

Sounding, Donald Fortesque and Lawrence LaBianca, 2008. Photo by Lawrence LaBianca

Sounding, Donald Fortesque and Lawrence LaBianca, 2008. Photo by Lawrence LaBianca.

Chris Drury & Kay Syrad

In May, Chris Drury collaborated with Kay Syrad to host a five-day art.earth intensive. Throughout the intensive, titled “Context and Form: Art and Writing,” Drury shared how he works with form, including whirlpool, vortex, fractal and wave patterns.  In order to work with such patterns, Drury explores and investigates how the earth unfolds these specific aesthetic forms. Syrad, a novelist and poet, had collaborated with Drury on a number of art-text projects. Participants immersed themselves in the landscape by walking, collecting and working on pieces during short lectures, shared conversation and studio time.

Lawrence LaBianca and Donald Fortescue

In 2011, Lawrence LaBianca collaborated with Donald Fortescue to create Sounding for the Milwaukee Art Museum’s exhibition The New Materiality: Digital Dialogues at the Boundaries of Contemporary Craft. The artists selected for the exhibition were established American crafts artists who blended traditional craft materials (i.e. fabric, glass, wood, metal and clay) with digital technologies, therefore, blurring the boundaries between the traditionally established categories of craft, art and design. Sounding, which happened to be one of the largest pieces in the exhibition, explored the relationship between technology and nature. In making Sounding, Fortescue and LaBiance were inspired by Herman Melville’s Moby Dick. The artists’ fascination with Moby Dick came in part from “its detailed evocation of the bygone crafts of sailing and whaling and the struggles of men at sea.” The two lowered a cabriole-legged table into the ocean near Pillar Point in Half Moon Bay with a hydrophone and left in in the ocean for two months to record the ambient sound. “Sounding provides a direct link to the living oceans surrounding the Bay Area through sight, sound, smell, and touch. In both form and concept it also links to the historical, literary, and metaphorical oceans of Moby-Dick,” explains LaBianca


Plunge: explorations above and below Opening Tonight, New Bedford Art Museum, Massachusetts

Annette Bellamy Long Lines

Annette Bellamy Long Lines

Rippling, roiling, teeming with life… Deep, dark, waiting to be explored…
Water has long been a potent influence for artists wishing to explore its majesty and mystery.

For the last several months, browngrotta arts has worked with Jamie Uretsky, Curator and Noelle Foye, Executive Director of the New Bedford Museum of Art/ArtWorks! in Massachusetts. Plunge: explorations from above and below, which examines the influence of water in the work of 16 artists from around the world, is the result.

New Bedford Plunge installation

Plunge explorations from above and below installation

The multifaceted exhibition combines sculptures, tapestries, installation works, paintings and photography. Each work resides at the intersection of the maker’s fascination with a variety of nautical and natural themes and the artmaking process. Plunge pairs Helena Hernmarck’s monumental woven depiction of tall ships in New York Bay 1884 and Chris Drury’s Double Echo, a print that superimposes a fragment of an echogram from Flight W34 over East Antarctica and an echocardiogram of the pilot’s heartbeat. In other galleries, Heather Hobler’s meditative photographs of seascapes join Karyl Sisson’s “sea creatures” made of domestic objects like zippers and clothespins; Christopher Volpe’s evocative paintings join Grethe Wittrock’s Arctica, a sculpture made from a repurposed sail from the Danish Navy. Unlike most musuem exhibtions, the works in Plunge are all available for sale.

Thirteen of the artists in Plunge, representing five countries, are represented by browngrotta arts: Dona AndersonJane BalsgaardAnnette BellamyMarian BijlengaBirgit BirkjaaerChris DruryHelena HernmarckLawrence LaBiancaSue LawtyJudy MulfordKaryl SissonUlla-Maija VikmanGrethe Wittrock. Their work, and that of the three other artists in the exhibition, Heather Hobler, Anne Leone and Christopher Volpe, will be included in the catalog for the exhibition, designed and photographed by Tom Grotta. It will be available beginning June 5th at www.browngrotta.com.

Plunge’s opening is tonight Friday, June 2nd at the New Bedford Museum of Art from 6 p.m. to 8 p.m. Jane Balsgaard, one of the artists in Plunge, will attend from Denmark.

The New Bedford Art Museum is great cultural destination for those on the way to the Vineyard, Nantucket or the Cape. You have plenty of time to see it, as the exhibition continues through October 7, 2017. The New Bedford Art Museum/ArtWorks! is located at: 608 Pleasant Street/ New Bedford, MA/02740/508.961.3072/info@newbedfordart.org.


Blog: Artists Recommend Books – January Edition

Here are a few recommended books that missed the posting deadline for our previous Blog, Books Make Great Gifts. From Chris Drury in the UK, a title he considers a must in light of the Dakota Pipeline, An Indigenous Peoples’ History of the United States by Roxanne Dunbar-Ortiz (Beacon Press), which won an American Book Award in 2015. As an antidote, he recommends A River Runs Through It by Norman Maclean (University of Chicago Press). Drury recommends two books from Korea, too, The Vegetarian by Hang Kang (Hogarth) and Please Look After Mother by Kyung-Sook Shin (Vintage).

Wendy Wahl looked at the past year in providing her recommendations. “if the world has felt as wobbly to you as it has to me during 2016 then were on the same path,” she writes. “This isn’t to say that everything that transpired has been negative though there have been several traumatic events. The positive experiences have been just as surprising and memorable,” according to Wahl. She recommends a text on classic Indian spirituality, “that provides inspiration for healing and reframing perspectives, The Upanishads, introduced and translated by Eknath Easwaran (Nigiri Press). This collection of teachings is as timely now as it was 2000 years ago. Understanding the following words from the Brihadaranyaka Upanishad (iv.4.5) could be useful,” she says. You are what your deep, driving desire is. As your desire is, so is your will. As your will is, so is your deed. As your deed is, so is your destiny. The Mundaka Upanishad furnished the motto of the modern Indian nation, she notes, satyam eva jayate, nanritam, Truth alone prevails, not unreality” (iii.1.6).”Perhaps the global collective consciousness will awaken to this concept. I’m trying to remain hopeful.” Wahl adds that for readers interested in one of her favorite materials, Paper: Paging Through History by Mark Kurlansky (W.W. Norton) is “a worthy read for a perspective on world history and a material that has had such an important role in its direction and documentation. I appreciated the author opening chapter fourteen with a quote from Denis Diderot, Encyclopedie,1 755: Indeed, the purpose of an encyclopedia is to collect knowledge disseminated around the globe; to set forth it’s general system to the men with whom we live, transmit it to those who will come after us, so that the work of preceding centuries will not become useless to the centuries to come; and so that our offspring, becoming better instructed, will at the same time become more virtuous and happy, and that we should not die with out having rendered a service to the human race. Perhaps Diderot should have included – to the women with whom we live,” she concludes.


Art Al Fresco: Gyöngy Laky and Chris Drury Create Environmental Art

Chris Drury, The Wandering, Environmental art installation drawing

Chris Drury, The Wandering

In May, Chris Drury began work on The Wandering, an environmental work of art commissioned by the State of Western Australia for the site of the new Perth Stadium, sited on the south bank of the Swan River, overlooking the city to the west. “The work is a meandering dry-stone wall which emerges from a stone whirlpool on the isthmus of the lake to the south, winds its way north in a series of loops, and descends again into the earth on the higher ground, “ says Drury. It appears to have no beginning or end, arising from the high ground in the north and plunging into the stone whirlpool to the south (or vice versa). The wall is 190 meters long and covers a distance of 90 meters as the crow flies.

Chris Drurys The Wandering being built

Chris Drury The Wandering under construction, photo by Chris Drury

This structure, however, is no ordinary wall, for it will be built as a Cornish dry-stone hedge, which is a growing, living thing: a miniature ecosystem and biodiverse habitat. In the UK some of these walls have stood for a thousand years because they are constructed with an earth infill, allowing plants to grow and give rise to habitat for insects etc, eventually binding the structure together. Here in Perth, I adapted the work to the Western Australian climate by planting the wall with indigenous drought-resistant plants, which will be irrigated.” You can see more images on Drury’s website: http://chrisdrury.co.uk/the-wandering/.

Gyöngy Laky Rope-Polcenigo-Caneva Italy

Gyöngy Laky Rope-Polcenigo-Caneva. photo by: Francesca Giannelli (6/12/16)

In May, Gyöngy Laky was a Special Guest at Humus Park, International Biennale V of Land Art, with a collaborating artist, Paul Discoe, northeast of Venice, Italy. Humus Park is Italy’s most important Land Art event. The Land Art is an artistic form using natural materials. Some of its numbers: 13 days, 3 locations, more than 80 artists from 13 countries all over the world, 8 art schools and academies involved. Laky was there for two weeks working onsite. “ Arriving in magical Polcenigo I heard its water symphony… beautiful, clean blue/green water flowing everywhere,” Laky says. “The sound was intoxicating and it explained the verdant green foliage all around. The sun was warm and bright. It was an awe-inspiring place. And, later when it rained and rained, it was still beautiful and I understood even more about the invigorating water gushing from the mountains.” Laky and Paul Discoe, who she invited to be her art partner, very quickly agreed on a project. “We both have worked extensively with trees and materials from trees,” explains Laky, “and we also both share a deep interest in shimenawa – rice straw ropes used in the Shinto religion to adorn sacred places. We found a magnificent tree overlooking the water and reflecting in it. We wanted to honor it. We decided to make rope from the hay provided to adorn the tree. It occurred to us that we were engaged in making something that was, probably, similar to what the ancient inhabitants of that lake dwelling site most likely made also. Rope making with plant fiber dates back to prehistoric times. We were connecting with the land and its history in, yet, another aspect.” See the artists at work at Humus Park on video: https://www.youtube.com/watch?v=5vwJg1ZYATw&feature=youtu.be&app=desktop. You can also see — and own — smaller scale works by Gyöngy Laky and Chris Drury in Green for the Get Go: International Basketmakers, at the Morris Museum, Morristown, New Jersey through June 26, 2016. All the works are for sale and we have additional works on our website. For more information: http://www.morrismuseum.org/current-exhibitions/.

Gyongy Laky Pordenone-wheelbarrow Italy

Gyongy Laky Pordenone, photo by Pat van Boeckel, Rerun Produkties, Holland


art on paper preview: Chris Drury’s Double Echo

Double Echo Chris Drury Inkjet print with UV coating 54.25" x 46.25" x 2.75", 2007 Edition 2/4 Echogram/ Echocardioagram (edition of 4)

Double Echo, Chris Drury, Inkjet print with UV coating, 54.25″ x 46.25″ x 2.75″, 2007, Echogram, Echocardiogram, (edition of 4). Photo by Tom Grotta

We are heading to New York City tomorrow to set up for art on paper at Pier 36. Among the works we’ll be exhibiting is Chris Drury’s Double Echo, an inkjet print that merges a human echocardiogram and and echogram of Antartica, accompanied by the actual echocardiogram and the echogram on wooden spools. In 2006 and 2007, Drury spent more than two months with the British Antarctic Survey in Antarctica as artist-in-residence. The scientists there were looking at what they stood upon but could not see – the structure of the ice and underlying land formation. In parts of Antarctica the ice is four kilometers deep 900,000 years old – as old as our earliest ancestors. One of the scientists, Hugh Corr, described the remarkable images that result as like a “heartbeat of the Earth.” The fragment of an echogram in Double Echo is from Flight W34 over East Antarctica – a long cross-section of the ice beneath the flight, made by radar pulses sent down though the ice and back up into a computer in the aircraft. The echocardiogram is of the pilot’s heartbeat, superimposed over the top. An echocardiogram is very similar in technology to an echogram although it uses ultrasound rather than radar.

DSC_6185

Double Echo, Chris Drury, Detail, Photo by Tom Grotta

For some time, Drury has been looking at systems in the body and on the planet, particularly systems of blood flow in the heart. He was invited by the heart surgeon, Mark Dancy, to make a blood flow courtyard (Echoes of the Heart) at Central Middlesex Hospital, adjoining the Cardiac ward. It was Dancy’s department that agreed to do an echocardiogram on the pilot who flew those echogram flights in Antarctica and so enabled Drury to make the work Double Echo. A print from that series hangs on the walls of that particular ward. The hours of the exhibition are Friday, March 4th and Saturday, March 5th, 11 – 7 p.m.; Sunday, March 6th, 12 – 6 p.m. There is a Preview, benefiting the Brooklyn Museum, Thursday, March 3rd, from 6 – 10 p.m. For ticket and other information visit: http://thepaperfair.com/ny/for-visitors/fair-dates-hours-location/.


Art Event: browngrotta arts at art on paper in New York City, March 5 – 8, 2015

Karyl Sisson, Straw Skyline vintage paper drinking straws and polymer, 14.375” x 32.5” x 3”; 2013, Tom Grotta

Karyl Sisson, Straw Skyline
vintage paper drinking straws and polymer,
14.375” x 32.5” x 3”; 2013, Tom Grotta

For three days this March, browngrotta arts will present inventive works made of handmade, recycled and commercial paper by artists from North America, Europe and Asia at art on paper, Pier 36, 299 South Street, in New York City. Many artists cut, fold or print on paper. The international contemporary artists whose work browngrotta arts will exhibit at art on paper take a more immersive approach to the medium, treating it as material – stacking, molding, carving and weaving it, as others would wood, linen, clay or marble.

Mary Merkel-Hess Basket

Llano (Deep orange )
23″H x 25 x 15
Reed and paper, 2012, photo by Tom Grotta

Toshio Seikiji of Japan and Chris Drury of the UK, for example, use paper like fabric — weaving, stitching and etching on newspapers, maps and other paper to create arresting assemblages. Others of the artists featured by browngrotta arts recycle to create their works, including Kazue Honma who creates object of Japanese telephone books, Dona Anderson who creates vessels of dress pattern paper and Korean artist, Jin-Sook So who creates collages using old Korean texts. Karyl Sisson’s striking New York skyline is composed of re-purposed paper straws. Hisako Sekijima of Japan and Sylvia Seventy from the US, mold paper pulp – in Seventy’s case, to create paper bowls populated with found and other objects. Scandinavians, Jane Balsgaard of Denmark and Merja Winquist of Finland, create three-dimensional sculptures. In Balsgaard’s case, she makes the paper she uses from materials gathered near her summer home in Sweden. American Mary Merkel-Hess uses gampi paper, papier-maiche and reed to create sculptural baskets forms and bas relief wall works.

Old Paperwork Untitled, Jin-Sook So Korean schoolbook pages burnt, handmade wooden platter, gold leaf, silver leaf, painted acrylic color, 35.5” x 43.25” x .75”, 2014, Photo by tom grotta

Old Paperwork Untitled, Jin-Sook So
Korean schoolbook pages burnt, handmade wooden platter, gold leaf, silver leaf, painted acrylic color, 35.5” x 43.25” x .75”, 2014, Photo by tom grotta

Working alongside its Beneficiary Partner, The Brooklyn Museum, and its Presenting Partner, The Wall Street Journal, art on paper will focus on “the notion of what a work on paper can be”, says its director, Max Fishko. The fair, art on paper, is at Pier 36, 299 South Street, New York, New York. There is a preview on Thursday, March 5th from 5:30 p.m. to 8 p.m. and a VIP party that night from 8 to 10:30 p.m. Friday, Saturday and Sunday the Fair opens at 11; Friday and Saturday it closes at 7 p.m.; Sunday at 6 p.m. For more information and to purchase tickets to the preview and party, visit: http://thepaperfair.com/about/art-on-paper/. For more information on browngrotta arts’ exhibition, call Tom Grotta at browngrotta arts: 203-834-0623 or visit browngrotta.com: http://browngrotta.com/Pages/calendar.php.

Sylvia Seventy Basket

18ss PUZZLES, Syllvia Seventy
molded recycled paper, wax, jigsaw puzzle pieces, waxed shaped paper pieces, wire, beads, thread, 3.25″ x 11″ x 9.75″, 2011, photo by tom grotta


Eco-Art Update: Images for Earth Day

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

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 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

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

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.”

 

 


November 26th: Our Online Exhibition Opens With an Offer for CyberMonday

On Monday, November 26th, browngrotta arts will present an online version of our 25th anniversary exhibition,Retro/Prospective: 25+ Years of Art Textiles and Sculpture at browngrotta.com. The comprehensive exhibition highlights browngrotta arts’ 25 years promoting international contemporary art. Viewers can click on any image in the online exhibition to reach a page with more information about the artists and their work.

“Some works in Retro/Prospective: 25+ Years of Art Textiles and Sculpture reflect the early days of contemporary textile art and sculpture movement,” says Tom Grotta, founder and co-curator at browngrotta arts. “There are also current works by both established and emerging artists, which provide an indication of where the movement is now and where it may be headed.”

Since Monday the 26th is CyberMonday this year, sales of art, books, catalogs, videos or dvds placed online or by telephone that day will be discounted 10% (excluding tax and shipping). In addition, bga will make a donation to the International Child Art Foundation for each sale made from November 24th through December 31, 2012. Visit browngrotta.com. For more information call Tom at 203.834.0623 or email us at art@browngrotta.com.


The Next Big Thing: Green from the Get Go: International Contemporary Basketmakers

Jiro Yonezawa bamboo Bridge and Kay Sekimachi Leaf bowl. photo by Tom Grotta

We’ve had a busy fall season at browngrotta arts. First was Stimulus: art and its inception, which you can still see in the catalog http://www.
browngrotta.com/Pages/c36.php
 and online through the end of the month http://www.browngrotta.com/Pages/StimulusOnlineExhibit.php. Next up, is Green from the Get Go: International Contemporary Basketmakers at the Wayne Art Center, Pennsylvania http://www.
wayneart.org/exhibition/green-from-the-get-go-international-contemporary-basketmakers
 which runs from December 2, 2011 to January 21, 2012.  Green from the Get Go is curated by Jane Milosch, former curator of the Renwick Gallery, Smithsonian American Art Museum in collaboration with browngrotta arts. The exhibition features an exciting compilation of more than 40 works by artists who take inspiration from nature and the history of basketry. Since prehistoric times artists and craftspeople have been highly attuned to the beauty and resources of the natural world, whether depicting a pristine landscape, untouched by man, or harvesting plants and minerals for pigments and brushes. Sustainability is part of the design and craft process, which requires a heightened sensitivity to materials, one that honors the caring for, replenishing and repurposing of materials. Artist Dorothy Gill Barnes captures this eco-friendly position well when she explains, “my intent is to construct a vessel or related object using materials respectfully harvested from nature.”

CROSSING OVER Dona Anderson bamboo kendo (martial art sticks), patterned paper, thread 15″ x 94″ x 30″ 2008. photo by Richard Nicol

 

Some of the sculptural baskets in Green from the Get Go are made from both flora and fauna, from bamboo, pine, sea grass, and willow to emu feathers and bayberry thorns. The tactile nature of these fiberous works stimulates all of the senses—sight, smell, touch and even sound. Each maker brings his or her own conceptual approach and expression to the design and fabrication process. Some works are small enough to nestle in the hand or rest table-top, while others are monumental or hang on the wall. Green from the Get Go stretches our imagination in terms of what materials and forms constitute a basket and how art bespeaks the interconnected relationship of man and nature.

The exhibition includes artists from Australia, Canada, Japan, the UK, Scandinavia and the US, featuring innovators in the genre of 20th-century art basketry as well as emerging talent: Dona AndersonJane Balsgaard, Dorothy Gill Barnes,Dail Behennah. Nancy Moore Bess, Birgit Birkkjaer, Jan Buckman, Chris Drury, Lizzie Farey, Ceca Georgieva, Marion Hildebrandt, Kiyomi Iwata, Christine JoyVirginia Kaiser, Markku Kosonen, Gyöngy Laky, Dawn MacNutt,  John McQueenMary Merkel-Hess, Norma Minkowitz, Valerie Pragnell, Ed Rossbach, Hisako Sekijima, Kay Sekimachi, Naoko SerinoKlaus Titze, Jiro Yonezawa and Masako Yoshido.

PILLOW, Norma Minkowitz, fiber, wood, paint, 2011

 

The preview party for Green from the Get Go: International Contemporary Basketmakers and Craftforms 2011, juried by Elisabeth Agros of the Philadelphia Art Museum, takes place on the evening of December 2nd and we’ll be there. For more in formation, contact the Wayne Art Center: http://www.wayneart.org/events/?id=48.


Summer Stock: Artist Lectures, Classes, Workshops and Walkthroughs

Here’s a list of opportunities to connect this summer with the artists that browngrotta arts promotes and information on an interesting Archaeological Textile Course at Bryn Mawr:

 

Reflective Haze by Lewis Knauss, photo by Tom and Carter Grotta

Lewis Knauss
August 22nd to August 26th

Anderson Ranch Arts Center, Snowmass Village, CO
http://www.AndersonRanch.org
“Advanced Fiber Workshop”

Waltzing Matilda, Waltzing Matilda by Sheila Hicks, photo by Tom Grotta

Sheila Hicks
May 5th, 10:30 a.m.
Institute of Contemporary Art, Philadelphia
http://www.icaphila.orgWalkthrough: Sheila Hicks: 50 Years

Glacial Planes by Nancy Moore Bess, photo by Tom and Carter Grotta

Nancy Moore Bess
April 29th to May 10th
Snow Farm, Williamsburg MA
http://www.snowfarm.org
Japanese Inspired Baskets

June 5th to 11th
Snow Farm, Williamsburg MA
http://www.snowfarm.org
Japanese Inspired Baskets

June 24th to 28th
Peters Valley Craft Center, Layton NJ
http://www.petersvalley.org
Japanese Packaging: Paper, Baskets & More

July 9th and 10th
Garage Annex School (GAS), Easthampton MA
http://www.garageannexschool.com
Japanese Packaging: Seeking a Narrative

July 17th, 12 to 3 pm
Museum of Fine Arts, Boston MA
http://www.mfa.org/programs
Artist Demonstration, “Bamboo and Tea
Exhibition: “An Unspoken Dialogue with Japanese Tea

August 12th
Berkshire Botanical Garden, Stockbridge MA
http://www.berkshirebotanical.org
Wrapping Your Garden: Herbs, Flowers & Veggies

Mandella by Pat Campbell, photo by Tom grotta

Pat Campbell
July 25th to July 29th
Waynflete School, Portland, ME
http://www.waynflete.org/podium/default.aspx?t=124856Weaving Works” for Grades 3-8

Kayak by Chris Drury, photo by Chris Drury

Chris Drury
May 3rd
Tagore Festival, Dartington, Devon, UK
http://www.tagorefestival.com
Artist’s Talk

Big Question, By Gyöngy Laky, photo by Tom Grotta

Gyöngy Laky
May 26th, 6 p.m.

The Textile Museum. Washington D.C.
http://www.textilemuseum.org/green
Lecture: “Geometric Disturbances

July 17th to July 29th
Haystack Mountain School of Crafts, Deer Isle, Maine
http://www.haystack-mtn.org/workshops.php
Visiting Artist

Tall blue tapestry

AZUL Y NEGR by Carolina Yrarrázaval Photo by Tom Grotta

Carolina Yrarrázaval
August 15th to August 21st
Santiago/Valparaiso/Ilsa Negra, Chile
http://www.yrarrazaval.com
Pre-Columbian Textile Techniques Workshop
click for details

 

For extra credit, at Bryn Mawr
June 5th to June 11th
Bryn Mawr College, Bryn Mawr, PA
cipstextiles@gmail.com
Textile Archea: CIPS Archaeological Textile Course
(Centers on the tools and techniques employed in the analysis of
archaeological textile materials of ancient Peru and introduces students to the archaeology of the Andes.)