Tag: Gyöngy Laky

Artists from the Grotta Collection: Exhibition and Book Launch Opens Saturday

We’re getting ready to welcome six artists and lots of art fans to our fall event: Artists from the Grotta Collection: an exhibition and book launch, which opens on Saturday (Artist Reception and Opening: 1 pm to 6 pm). Featured in the exhibition is the work of more than 44 artists, who are among the artists collected by Sandy and Lou Grotta over nearly 70 years. Here are some behind the scenes views of our preparations.

2 Sara Brennan Tapestries
Installation of Dark Blue Line I and Linen Tapestry with Broken Grey Line by Sara Brennan above the New Kitchen Server

Here’s a shot of Tom installing a pair of Sara Brennan’s elegant tapestries.

Installation of Gyongy Laky's True North
Gyöngy Laky’s True North partially installed showing the exposed nails that get covered by the wood pieces

Over two-hundred nails are needed to install Gyøngy Laky’s True North.

The work that required the most ingenuity and effort to install was Helena Hernmarck’s substantial tapestry, 1884 New York Bay. This is just a glimpse of the varied work that will be included in the exhibitions, which includes ceramics, furniture, fiber sculpture and mixed media. Hope we’ll see you there.

The results of that unique creative collaboration are documented in the more-than 300 photographs that make up The Grotta Home, which will be celebrated in Artists from the Grotta Collection: exhibition and book launch runs from November 2nd to the 10th at browngrotta arts, 276 Ridgefield Road, Wilton, CT.

The Artists Reception and Opening is November 2nd, 1 pm to 6 pm, browngrotta arts, 276 Ridgefield Road, Wilton, CT 06897. The exhibition hours for November 3rd – 10th are 10 am to 5 pm. A book about the collection, The Grotta Home by Richard Meier: a Marriage of Architecture and Craft, will be available throughout the exhibition and Tom will be available to sign it. For more info: http://www.browngrotta.com/Pages/calendar.php.


Dispatches: San Francisco

Carter Grotta, of our browngrotta arts team, traveled to San Francisco last month. We asked him to snapshots of interesting art. Here are some of the highlights!

First the de Young. There, Carter visited the Saxe Collection at the de Young Museum, where he saw an Untitled work of bark and stone by Dorothy Gill Barnes and ceramics by Toshiko Takaezu and Paul Soldner.

Ruth Asawa installation at the deYoung Museum

A great collection of works by Ruth Asawa, San Francisco’s most well-known fiber artist, is also on display at the de Young Museum along with a unique abstract quilt, A Bend in the River, by Joe Cunningham.

A Bend in the River by Joe Cunningham
A Bend in the River by Joe Cunningham
SFMOCA digital installation

Next SFMOCA. Carter was quite taken by this remarkable digital installation, part of snap+share: transmitting photographs from mail art to social networks, a unique take on transmitting photographs from mail art to social networks. This work illustrates what it means to engage with the technological advancements of the 21st century to create digital conversations in photographs.

Magdalena Abakanowicz Four on a Bench
Magdalena Abakanowicz Four on a Bench

Also housed at the SFMOMA, the sculptures of Magdalena Abankanowicz, like Four on a Bench, are representative of the oppressive historic conditions of her native country, Poland.

Jannis Kounellis Untitled piece of steel
Jannis Kounellis, Untitled

Also at SFMOMA, was this interesting Untitled piece of steel, crucible, tar and rope, by Italian-born artist, Jannis Kounellis, in The Doris and Donald Fisher Collection.

Tanabe Chikuunsai IV bamboo sculpture
Tanabe Chikuunsai IV

Also worth a trip, the Asian Art Museum which features an exciting installation by Tanabe Chikuunsai IV — a 4th generation bamboo artist, that seems to have grown organically within the gallery space.

Federal Court House building in San Francisco
Federal Court House Building

What Carter couldn’t see — or photograph at least — was That Word, a larger-than-life sculpture of twigs by Gyöngy Laky which is on loan to the federal courts where photography is strictly prohibited.
You can see That Word, though, even if you can’t take a photograph. Just one of a series of interesting stops in a city that is great for art tourism!


Acquisition News

Diagonal, Kyoko Kumai, stainless steel, 2016.

We have learned about a host of acquisitions for artists who work with browngrotta arts’ since our acquisition reports last July and August 2018.  A large number of our artists’ work are now included in the collection of The George Washington University Museum and The Textile Museum thanks to the remarkable gift of the late Lloyd Cotsen, former chief executive officer and chairman of the board of Neutrogena Corporation, which included 4,000 textiles, an endowment and equipment to support the textile collections he assembled.

Attitude, Lia Cook, Handwoven cotton and rayon, 1999.Photo by: Bruce M. White@ Lloyd E. Cotsen, 2016.

The gift includes the Cotsen Textile Traces Study Collection, one of the world’s most significant textile study collections ever assembled by an individual and The Box Project: Uncommon Threads, organized by Cotsen Foundation for Academic Research, which includes work by John Garrett, Helena Hernmarck, Agneta Hobin, Kiyomi Iwata, Lewis Knauss, Naomi Kobayashi, Nancy Koenigsberg, Gyöngy Laky, Heidrun Schimmel and Hisako Sekijima. Cotsen’s gift also included Lia Cook’s 1999 work, Attitude.

Other acquisitions of note:

Ed Rossbach: Bobbin Lace, 1970, was acquired by the Minneapolis Institute of Art, through browngrotta arts.

Eduardo Portillo and Mariá Eugenia DávilaNew Nebula, 2017, was acquired by the Toledo Art Museum in Ohio, through browngrotta arts.

Norma Minkowitz: The Minneapolis Institute of Art purchased a crocheted and stitched wall hanging called Journeys End, 2017, and a stitched drawing with collage and crochet, Lunar Landing, 2017.

Shin Young-ok: Rhymes from 2000 was acquired by the National Museum of Modern and Contemporary Art, Seoul, Korea

Moot, Helena Hernmarck, wool, linen, cotton, 1971. Photo by Helena Hernmarck.

Chang Yeonsoon:  In addition to being a finalist for the Loewe Craft Prize in 2018, the Loewe Foundation in London collected three works of Chang Yeonsoon’s works in August, 2018.

Polly Barton: Fertile Ground, was chosen by the Art in Embassies program to be in the US Embassy in Bishkek, Kyrgyzstan.

Nancy Koenigsberg: Teal Concentric Boxes was a gift from Camille and Alex Cook to the Racine Art Museum, Wisconsin.

Ampersand by Gyöngy Laky

Ethel Stein: Butah, 2011, went to the Art Institute of Chicago in Illinois through browngrotta arts.

Kyoko Kumai: Kumai’s tapestry, Diagonal, which was acquired by teh Victoria & Albert Museum in London in 2016, is on display at the Museum until the end of July 2020. The National  Museum of Art in Riga, Latvia collected Kumai’s work in 2018.

Åse Ljones: Three pieces from Ljones’ series, It is Still Quiet, were acquired by KODE Museum, Bergen, Norway in 2017.

Adela Akers: In 2018 Akers’ work, Traced Memories, was acquired by The Fine Arts Museums of San Francisco/De Young Museum.

Gyöngy Laky: In addition to This Way and That, which is part of The Box Collection, which went to the The George Washington University Museum and The Textile Museum, Seek, from 2016, was acquired by the United States State Department for the new Kosovo Embassy in Pristina. 

Helen Hernmarck: Moot, 1971 was acquired by the Minneapolis Institute of Art. 


Art Out and About: US

The opportunities to see great art are endless this summer! Heading to the West Coast for work? Take a detour and visit  the newly opened Nordic Museum to check out Northern Exposure: Contemporary Nordic Arts Revealed in Seattle, WashingtonVisiting friends or family in the Northeast? Make plans to spend the day in New Haven and see Text and Textile at The Beinecke Rare Book & Manuscript Library on Yale’s campus. Whether you are in the North, South, East or West there are a wide variety of strong exhibitions on display across the US this summer, here are a few of our favorites:

Grethe Wittrock's Nordic Birds at the Nordic Museum

Grethe Wittrock’s Nordic Birds at the Nordic Museum in Seattle, Washington. Photo by Grethe Wittrock

Northern Exposure: Contemporary Nordic Arts Revealed at the Nordic Museum, Seattle, Washington

The newly opened Nordic Museum hopes to share and inspire people of all ages and backgrounds through Nordic art. The museum is the largest in the US to honor the legacy of immigrants from the five Nordic countries: Denmark, Finland, Iceland, Norway and Sweden. Northern Exposure studies “how the Nordic character continues to redefine itself within an evolving global context” by challenging “perceptions of form, gender, identity, nature, technology and the body,” explains the Museum. The exhibition features work by internationally acclaimed artists, including Grethe Wittrock, Olafur Eliasson, Bjarne Melgaard, Jesper Just, Kim Simonsson and Cajsa Von Zeipel. Made of Danish sailcloth, Wittrock’s Nordic Birds immediately attracts the eye upon entering the exhibition. Northern Exposure: Contemporary Nordic Arts Revealed will be on display through September 16, 2018. For more information click HERE.

Traces: Wonder by Lia Cook at the Racine Art Museum, Gift of Karen Johnson Boyd. Photo by Jon Bolton

Traces: Wonder by Lia Cook at the Racine Art Museum, Gift of Karen Johnson Boyd. Photo by Jon Bolton

Honoring Karen Johnson Boyd: Collecting In-Depth at Home and at RAM, Racine Art Museum, Wisconsin

The Racine Art Museum’s new exhibit Honoring Karen Johnson Boyd: Collecting In-Depth at Home and at RAM showcases art advocate and collector Karen Johnson Boyd’s collection of ceramic, clay and fiber art. The exhibition, which is broken up into a series of four individually titled exhibitions, with varying opening and closing dates, highlight Boyd’s interests, accomplishments and lifelong commitment to art. Throughout her life, Boyd was drawn to a diverse array of artistic styles and subjects. Boyd, who collected fiber in an encyclopedic fashion, supported artists of varying ages with varying regional, national and international reputations. Boyd’s Frank Lloyd Wright-designed home provided her with many display options for her fiber collection. Though baskets encompassed the majority of Boyd’s fiber collection, she regularly altered her environment, adding and subtracting works as she added to her collection. The exhibitions feature work from Dorothy Gill Barnes, Lia Cook, Kiyomi Iwata, Ferne Jacobs, John McQueen, Ed Rossbach, Hideho Tanaka, Mary Merkel-Hess, Norma Minkowitz, Lenore Tawney and Katherine Westphal. Honoring Karen Johnson Boyd: Collecting In-Depth at Home and at RAM will be on display at the Racine Art Museum through December 30th, with exhibited pieces changing over in mid-September. For more information on Honoring Karen Johnson Boyd: Collecting In-Depth at Home and at RAM visit the Racine Art Museum’s website HERE.

Text and Textile at The Beinecke Rare Book & Manuscript Library

Text and Textile at The Beinecke Rare Book & Manuscript Library, New Haven, Connecticut

In New Haven, Connecticut, The Beinecke Rare Book & Manuscript Library recently opened Text and Textile. The exhibition, which will be on display through August 12th, explores the relationship and intersection between text and textile in literature and politics.Text and Textile draws on Yale University’s phenomenal collection of literature tied to textiles, from Renaissance embroidered bindings to text from Anni Albers’ On Weaving. Additionally, the exhibition features: Gertrude Stein’s waistcoat; manuscript patterns and loom cards from French Jacquard mills; the first folio edition of William Shakespeare’s plays; the “Souper” paper dress by Andy Warhol; American samplers; Christa Wolf’s “Quilt Memories”; Zelda Fitzgerald’s paper dolls for her daughter; Edith Wharton’s manuscript drafts of “The House of Mirth”; an Incan quipu; poetry by Langston Hughes, Emily Dickinson, Susan Howe and Walt Whitman; and “The Kelmscott Chaucer” by William Morris. For more information on Text and Textile click HERE.

Kaki Shibu by Nancy Moore Bess. Lent by Browngrotta Arts

Kaki Shibu by Nancy Moore Bess. Lent by Browngrotta Arts

Rooted, Revived, Reinvented: Basketry In America at the Houston Center for Contemporary Craft. Houston, Texas

The traveling exhibition Rooted, Revived, Reinvented: Basketry In America is now on display at the Houston Center for Contemporary Craft in Houston, Texas. The exhibition, which is set to travel around the United States through the end of 2019, chronicles the history of American basketry from its origins in Native American, immigrant and slave communities to its presence within the contemporary fine art world. Curated by Josephine Stealy and Kristin Schwain, the exhibition is divided into five sections: Cultural Origins, New Basketry, Living Traditions, Basket as Vessel and Beyond the Basket which aim to show you the evolution of basketry in America. Today, some contemporary artists seek to maintain and revive traditions practiced for centuries. However, other work to combine age-old techniques with nontraditional materials to generate cultural commentary. Rooted, Revived, Reinvented: Basketry In America features work by browngrotta arts’ artists Polly Adams Sutton, Mary Giles, Nancy Moore Bess, Christine Joy, Nancy Koenigsberg, Dorothy Gill Barnes, Ferne Jacobs, Gyöngy Laky, Kari Lønning, John McQueen, Norma Minkowitz, Leon Niehues, Ed Rossbach, Karyl Sisson and Kay Sekimachi.

Kay Sekimachi in Handheld at the Aldrich Museum

Kay Sekimachi in Handheld at the Aldrich Museum. Photo by Tom Grotta

Handheld at the Aldrich Museum, Ridgefield, Connecticut

The Aldrich Museum’s new exhibition Handheld explores how contemporary artists’ and designers’ perceive the meaning of touch. Touch is one of the most intimate and sometimes unappreciated senses. Today, the feeling our hands are most familiar with are our that of our handheld devices and electronics. Touch is no longer solely used to hold objects such as pencils and tools, in fact, touch is increasingly taking the form of a swipe, where the sensation is ignored in favor to the flat visual landscapes of our own selection. “Handheld takes a multifarious approach—the hand as means of creation, a formal frame of reference” explains the Aldrich Museum. It serves the viewer as “a source of both delight and tension as they experience sensual objects in familiar domestic forms, scaled for touch, that can be looked upon but not felt.” The group exhibition, which features work by Kay Sekimachi will be on display until January 13, 2019. For more information on Handheld click HERE.


Art Assembled: New This Week February

 

Inspired by her lifelong love of human condition, Dawn MacNutt’s work remains centered on the “beauty of human frailty. Witnessing small, yet meaningful human interactions, such as seeing people experience pain, love and joy, has had a lasting impact on MacNutt’s work. To obtain material for her work, MacNutt utilizes the nature around her, using willow harvested from the ditches and lanes around her home in Nova Scotia. 

Praise, Dawn MacNutt, inflorescens and reed, 19”x 4”x 5”, 2007. Photo by Tom Grotta

Praise, Dawn MacNutt, inflorescens and reed, 19”x 4”x 5”, 2007. Photo by Tom Grotta

Made solely from paper, Cube Connection 09 showcase Noriko Takamiya’s non-traditional basketry techniques. Despite choosing differing methods, Takamiya still feels connected to ancient basketmakers. “I find myself in the same situation,” explains Takamiya. “Even if the resulting objects are different, the ancient basketmakers and I do the same thing, which is to seek the techniques and materials to develop into one’s own work.”

Cube Connection 09, Noriko Takamiya paper, 4” x 13” x 7”, 2016. Photo by Tom Grotta

Cube Connection 09, Noriko Takamiya
paper, 4” x 13” x 7”, 2016. Photo by Tom Grotta

In 1975, Kyoko Kumai began using metallic materials such as stainless steel filaments in her sculptures. The malleable nature of the stainless steel allows it to be woven, twisted or bundled to create sensuous forms in order to express aspects of wind, air and light. “Thin pieces of stainless steel wire create a richly expressive fabric that does not stand solidly, cleaving the air,” explains Kumai. “It has its own language fluttering above the floor; breathing and melting into the air.” 

Kyoko Kumai, 32kk Memory stainless steel filaments 41” x 19” x 19”, 2017. Photo by Tom Grotta

Memory, Kyoko Kumai,
stainless steel filaments
41” x 19” x 19”, 2017. Photo by Tom Grotta

Ex Claim! by Gyöngy Laky is sure to grab your attention. Made using G.I. Joes and bullets, the piece serves as Laky’s personal examination of our complex relationships with the world around us. Laky’s works often have underlying themes of opposition to war and militarism. Born in Hungary in 1944, the physical and emotional effects of war impacted Laky from a very young age. In her opinion, “We are smart enough to have moved beyond war as a means of dealing with problems by now.”

Ex Claim! commercial wood"; 2014; G.I. Joes; acrylic paint; "bullets for building (trim screws), 64” x 21” x 7”". Photo by Tom Grotta.

Ex Claim!, Gyöngy Laky,
commercial wood”; 2014; G.I. Joes; acrylic paint; “bullets for building (trim screws),
64” x 21” x 7”. Photo by Tom Grotta.

 

 

 


Text/iles: On Art that Includes Words and Text.

January 21 – May 6, 2018
Written languages are just one of the many ways human beings attempt to communicate with one another. In Text Message: Words and Letters in Contemporary Art, currently on exhibit at the Racine Art Museum in Wisconsin, contemporary artists, recognizing the power and complexity of the written word, utilize text—individual letters or words—to explore theoretical, social, symbolic, and aesthetic concerns.

Sampler (Jacket)

2 Laws, Barbara Brandel, Sampler (Jacket), 1995, dyed cotton, silk, and wool
Photo by Jon Bolton, Racine Art Musuem.

Bird Brain

Bird Brain, John McQueen, woven willow twigs, waxed string, 2002, photo by Tom Grotta. On close inspection, the names of various birds are legible.

OLL KORRECT

OLL KORRECT, Gyöngy Laky, apricot, finished pine, vinyl-caoted steel nails, 1998

The Congressional Record

The Congressional Record, Kate Hunt, nails, twine, encaustic and Congressional Record pages.

paper collage

Torso, Miriam Londoño, paper collage, 2011

The exhibition includes works that use words, letters, and script to convey meaning. Tangible three-dimensional objects made of fiber, clay, polymer, paper, and metal along with two-dimensional works on paper underscore how contemporary artists recognize the power and complexity of the written word. John McQueen and Gyöngy Laky are among the 77 artists whose work is included. The exhibition ends on May 6, 2018. For more information, visit: https://www.ramart.org/content/text-message-words-and-letters-contemporary-craft. To pique your interest, here are some images of art by various artists who incorporate or reference text in their work.

Heidrun Schimmel

was du weiß auf schwarz besitzt (text/textile), Heidrun Schimmel, cotton and silk, 2009, photo by Tom Grotta. Not literally text, but stitching that feels like a message to be deciphered.

Toshio Sekiji

Shadow Alphabet, Toshio Sekiji, Korean, Japanese, Chinese, Indian newspapers; postcards; thin, Thai paper (backing); brown and black lacquer; acrylic varnish,  2002, photo by Tom Grotta


Artsy’s Take on Textile Pioneers and Ours

Bobbin Lace with Openings, Ed Rossbach, plastic tubing, bobbin lace 20.5" x 44.5", 1970

Bobbin Lace with Openings, Ed Rossbach, plastic tubing, bobbin lace 20.5″ x 44.5″, 1970

Last fall, Artsy compiled information and slide shows on 10 artists the author, Sarah Gottesman, viewed as pioneers. Click HERE to read Artsy’s article. We have our own nominees for such a list, including Ed Rossbach who experimented with materials and techniques in the 60s, creating bobbin lace from plastic tubing and vessels of cereal boxes and tubing, and Lia Cook, who has combined weaving, painting, photography and digital technology, focusing on the history and meaning of textiles, shattering restrictive theories about craft, art, science and technology in the process. Gyöngy Laky has experimented in sculpture of twigs and wood, hardware and wire — creating vessels, forms, wall work and typography. Kay Sekimachi created ethereal monofilament weavings in the 70s and 80s, bowls and towers of paper after that, and continues, at age 90, to create elegant weavings of lines and grid that are reminiscent of the paintings of Agnes Martin.

Intensity Tera Data woven cotton and rayon 50.5” x 332”, 2014 23lc Neural Networks woven cotton and rayon 81” x 51”, 2011 27lc Intensity Su Data Encore woven cotton and rayon 52” x 40”, 2014

Intensity Tera Data, woven cotton and rayon, 50.5” x 332”, 2014
Neural Networks, woven cotton and rayon, 81” x 51”, 2011
 Intensity Su Data Encore, woven cotton and rayon, 52” x 40”, 2014

You can learn more about these and other artists through our catalog, Influence and Evolution: Fiber Sculpture…then and now , which profiles 15 pioneering fiber artists who took textiles off the wall in the 60s and 70s to create three-dimensional fiber sculpture and 15 artists born in 1960 or after, who have continued that innovative approach.

Gyöngy Laky Currency Art

Gyöngy Laky Currency Art

Homage to Paul Klee, Kay Sekimachi, linen, painted warp & weft with dye, permament marker, modified plain weave, 13.25” x 12”, 2013

Homage to Paul Klee, Kay Sekimachi, linen, painted warp & weft with dye, permament marker, modified plain weave, 13.25” x 12”, 2013


Books Make Great Gifts, Part 2

From Tapestry To Fiber Art The Laussane Biennials 1962-1995 Bokk Spread

From Tapestry To Fiber Art The Laussane Biennials 1962-1995. Pictured works by Mariette-Rousseau Vermette, Cynthia Schira and Lenore Tawney

Two January arrivals to review and one fav from last year to highlight: We were delighted to receive our copy of From Tapestry to Fiber Art: The Lausanne Biennals 1962-1995 by Giselle Eberhard Cotton and you can order it now from browngrotta arts. The book contains many never-before-published images from the Biennials and insightful essays, as well.

At the end of World War II, the art of tapestry experienced a renewal. By organizing the International Tapestry Biennials in 1962, the city of Lausanne, Switzerland became the international showcase of contemporary textile creation. The Lausanne Biennials gradually became more than just an exhibition. but a not-to-be-missed event that bore witness to the extraordinary evolution of an artistic expression that had graduated from a decorative art to that of a truly independent art form. In the 30 years that the exhibitions were held, 600 artists participated, 911 works were exhibited. The book contains many never-before-published images from the Biennials and insightful essays, as well.

Artisans of Israel Book Cover

Aleksandra Stoyanov spread

Artisans of Israel Transcending Tradition. Aleksandra Stoyanov pictured

Another newly published title we’ve enjoyed is Artisans of Israel: Transcending Tradition by Lynn Holstein (Arnoldsche Art Publishers). Intriguing portraits of dozens of artists are featured, from a Bedouin ceramist, Zenab Garbia, who use cross-stitch patterns in her works, to Russian emigre, Aleksandra Stoyanov who creates evocative tapestries, to Gali Cnaani, whose grandparents emigrated to Israel from Romania and Slovakia and who creates hybrid textiles from meticulously modified items of used clothing. The book features studio photos and portraits of workshops and design brands.

This Way In and Out by Gyöngy Laky from the Box Project Exhibition

Both Heidrun Schimmel and Gyøngy Laky had high praise for The Box Project: Works from the Lloyd Cotsen Collectionedited by Lyssa Stapleton (Cotsen Occasional Press, Los Angeles, 2016). “This catalog itself is an art object! The essays answer very important fundamental questions in textile art and the photographs are in high quality,” writes Heidrun Schimmel. “At the risk of being shamelessly self-promoting,” Gyöngy Laky also recommended the catalog/book that accompanied the unusual, traveling exhibition, which includes Laky’s and Schimmel’s work among that of many other artists.

“The five-pound book, “ Laky writes, “is not only a work of art itself with its indigo cloth cover, exquisite binding, gorgeous photography and elegant design, but, also, presents informative, important and engaging scholarly research. In addition to the background on the formation of this unique collection, the essays eloquently discuss the provenance and role of this field and its current manifestations, as well as describe the medium’s place in the contemporary art world context.”
Laky continues, “My participation was one of the most fascinating engagements with a collector commissioning a work that I have ever experienced. Lloyd Cotsen (of Neutrogena) was assembling a collection of works by contemporary artists in an extremely strange way.  He sent a small archival box to each of the 36 internationally acclaimed artists he selected, asking each to create a one-of-a-kind, three-dimensional, work that fit within the confines of the box. The 36 ideas resulted in remarkably diverse works – some residing within the boxes and some emerging from them to be large-scale works of all kinds when installed in a gallery. The Box Project showcases the dynamic, and often surprising, results.
My work for the box, This Way and That, is composed of eight separate small sculptures – four rectangles and four triangles – that can be arranged in a myriad of ways and has been installed in each venue in a different arrangement.
This inventive way of collecting resulted in an in-depth, thoughtful and provocative scholarly treatise associated with an equally intriguing and extraordinary exhibition.  The artworks are compelling demonstrations of the inventiveness and richness of this realm of the visual arts today.”

Crowds lining up for the opening reception of The Box Project at the Fowler Museum. Photo by Tom Grotta

The exhibition opened at The Fowler Museum, UCLA, in September, 2016, traveled to the Racine Museum of Art and is now on view through the end of January  2018, at George Washington University (https://museum.gwu.edu/boxproject).  Additional works by each artist are included in the exhibition.  The Box Project was organized by the Cotsen Foundation for Academic Research with the Racine Art Museum and curated by Lyssa C. Stapleton and Bruce W. Pepich.

Still Crazy…30 Years: The Catalog

Still Crazy...30 Years: The Catalog Cover Naoko Serino and Mary Yagi

Still Crazy…30 Years: The Catalog

It’s big! It’s beautiful (if we do say so ourselves –and we do)! The catalog for our 30th anniversary is now available on our new shopping cart. The catalog — our 46th volume — contains 196 pages (plus the cover), 186 color photographs of work by 83 artists, artist statements, biographies, details and installation shots.

Still Crazy...30 Years: The Catalog

Naoko Serino Spread

Still Crazy...30 Years: The Catalog

Michael Radyk Spread

Still Crazy...30 Years: The Catalog

Lilla Kulka Spread

Still Crazy...30 Years: The Catalog

Jo Barker Spread

The essay, is by Janet Koplos, a longtime editor at Art in America magazine, a contributing editor to Fiberarts, and a guest editor of American Craft. She is the author of Contemporary Japanese Sculpture (Abbeville, 1990) and co-author of Makers: A History of American Studio Craft (University of North Carolina Press, 2010). We have included a few sample spreads here. Each includes a full-page image of a work, a detail shot and an artist’s statement. There is additional artists’ biographical information in the back of the book. Still Crazy After All These Years…30 years in art can be purchased at www.browngrotta.com http://store.browngrotta.
com/still-crazy-after-all-these-years-30-years-in-art/.
Our shopping cart is mobile-device friendly and we now take PayPal.


Books Make Great Gifts 2016

Another year of widely divergent books. Art, biology, history and biography are all represented in the answers we received to the questions we asked of artists that work with browngrotta arts: What books cheered you? Inspired you? Provided an escape?

Dona Anderson, wrote that she is reading Herbert Hoover: A Life by Glen Jeansonne (NAL, New York, 2016) who calls Hoover the most resourceful American since Benjamin Franklin. “I recently had a birthday and remember that my mother went to vote on the day I was born, November 6th, and she voted for Herbert Hoover. Consequently, I started to think about what the political atmosphere was like then — as ours was so crazy and even more so now. When I went to the library in October, the Hoover book was brand new and it appealed to me.” Rachel Max is reading Materiality, edited by Petra Lange-Berndt (MIT Press, Cambridge, 2015), one of the latest additons to the Whitechapel Documents of Contemporary Art series. It’s a fantastic series. Each volume in the series focuses on a specific theme and contains many thought-provoking essays from theorists and artists. Materiality not only addresses key geographical, social and philosophical issues, but it also examines how artists process and use materials in order to expand notions of time, space and participation. As the publisher notes, “this anthology focuses on the moments when materials become willful actors and agents within artistic processes.” Max has also been dipping into the diaries of Eva Hesse. “They are extremely private and were never meant for publication. But, as a huge fan of her work it is interesting to read her thoughts,” Max writes.

Gyöngy Laky recommended, highly, Daughters of the Samurai, A Journey From East to West and Back by Janice P. Nimura (W.W. Norton, New York, 2016). “This book is a fascinating biographical history chronicling the lives of three young Japanese girls sent to America in 1871 by the just barely 22-year-old Empress, Haruko. Their mission was to become educated and to bring back to Japan western ideas to advance the role of women and to help Japan adopt western knowledge and technology. Haruko […”something of a prodigy: reading at the age of three, composing poetry at five, studying calligraphy at seven and plucking the koto (a stringed instrument) at 12] had earlier married the 16-year-old Emperor who ascended the throne in 1868. He had adopted the name, Meiji, or Enlightened Rule—to usher in the beginning of a new era. The new era was a plunge into modernization. Sending three young girls to the West turned out to be more enlightened than expected. Sutematsu Yamakawa, 11; Shige Nagai, 10 and Ume Tsuda, the youngest, a tender, 6, remained in the U.S. for 10 formative years and then changed the future and subsequent history of Japanese women forever.

Nimura’s skillful crafting of a can’t-put-it-down narrative of their experiences on two sides of the Pacific is a vividly rich visual, as well as historical, account. She produced for the reader, through captivating descriptions illuminating the startling differences between these two very different cultures, the contrasting worlds we could easily visualize.

Stacy Shiff, Pulitzer Prise-winning author of Cleopatra wrote: “Nimura reconstructs their Alice-in-Wonderland adventure: the girls are so exotic as to qualify as ‘princesses’ on their American arrival. One feels “enormous” on her return to Japan.” It is just this Alice-in-Wonderland aspect of their story that caught my imagination. As in Louis Carroll’s Alice’s Adventures in Wonderland, it is the environment and the material culture that sets the stage for remarkable events. The tangible aspects of two vastly contrasting cultures – intellectually, technically, behaviorally and in terms of the accoutrements of every day life, express well the often conflicting, peculiar and unexpected events in the girls’ lives. The girls move from Japanese clothing, furniture and customs to western style and then back again feeling more comfortable in western settings than in their birth homes kneeling on the floor and lavishly swathed in yards and yards of embroidered silks.

In the late 19th century the US was bursting with inventions and change. Planning begun in the 1850s for the Chicago World’s Fair was well under way, ushering in the Gilded Age of rapid industrial growth, design innovation and expansion of popular culture. A startlingly appropriate time for the girls’ cultural experiment to take place. Nimura, who moved to Japan for three years with her Japanese/American nesei husband, was adept at utilizing her keen sense of design and broad knowledge of the two disparate material cultures. She skillfully brought to life the vast differences between the two civilizations through masterful and insightful descriptions of clothing, hairstyles, furniture, interiors, architecture as well as the cities in which they existed. This, combined with her extensive research, presents the reader with many insights into the relations between the two countries and their intertwined histories through the lives of these exceptional girls and their extraordinary adventures.

As Miriam Kingsberg of the Los Angeles Review of Books wrote, “Daughters… is, perhaps, less a story of Japanese out of place in their country, than of women ahead of their time.” Laky adds that while she was a professor of art and design at the University of California, Davis, she encouraged her students to study abroad. “This book illustrates how education and experience in a foreign country enhances understanding of other cultures and peoples – perhaps more important today than in the 1870s and 80s. I believe travel also greatly inspires creativity.”

The Box Project, edited by Lyssa C.Stapleton (Cotsen Occasional Press, Los Angeles, 2016), “is one of the very best catalogs I have ever seen and not only the precious book binding!,” wrote Heidrun Schimmel. “I´m still reading the important essays again and again…and I´m learning again and again…” The Box Project is a limited edition book. It will be available at browngrotta.com next week. John McQueen wrote that The Hidden Life of Trees by Peter Wohlleben (Greystone Books, Vancouver, 2016), will change your next walk in the woods. “Trees will never seem the same again. This is a scientific study on how trees communicate with each other among many other things that I, for one, never thought about.”

Currently, Jane Balsgaard is reading The Wind is my Mother: The Life and Teachings of a Native American Shaman by Marcellus “Bear Heart” Williams and Molly Larkin (revised edition, Berkeley Publishing Group, New York 2012) and Diary of an Stupid Man, by Uschi Tech, published in Denmark by Forlaget Helle.
It is a sad and exciting story about a typical lonely man in today’s Denmark, she wrote. “Written in a wonderful language – so one can just imagine him, by reading it and it is just as sad as StonerMary Merkel-Hess has three recommedations. “I heard Cornelia Mutel read from her book, A Sugar Creek Chronicle: Observing Climate Change from a Midwestern Woodland (University Of Iowa Press, Iowa City, 2016), last March just after it was published” she writes. “I bought it immediately. Connie Mutel is a trained scientist but in this book she has written a very personal account of climate change occurring in her own small woodland here in Johnson County, Iowa. She has woven stories of her own life into observations of the possibly irreversible changes that are happening around us. It is a beautifully written and thoughtful book, but not a hopeless one. She ends with a discussion of things that we can do and strategies for our policymakers.”
Her second recommendation is Food Power: the Rise and Fall of the American Postwar Food System by Bryan L. McDonald. Bryan is Merkel-Hess’s son-in-law, a history professor at Penn State and long-time student of security issues. This book details how the unprecedented abundance of food mid-century was used to advance U.S. goals and values around the world. That food can influence global policy is an issue that Merkel-Hess never considered until now, but one she found fascinating.
The third book, is one for the Sinophiles and academically inclined among us, is The Rural Modern: Constructing the Self and State in Republican China by Kate Merkel-Hess. Merkel-Hess has another academic connection: Kate is her daughter and also a history professor at Penn State. This book about rural reform in China before the Communist revolution documents a desire for modernity rooted in Chinese rural traditions and institutions. Merkel-Hess found it interesting that American foundation money and the YMCA were involved in these early modernizing efforts.
We also have two limited-edition, artist-designed books to highlight: Judy Mulford: 80 Chairs by Judy Mulford and Marian Bijlenga: Miniatures, An autobiographical archive reflecting 30 years of work by Marian Bijlenga. In each case, the artist has created a reflective work — celebrating a full and accomplished career. The books are available at http://www.browngrotta.com/Pages/books.php.

As always, enjoy!