Objects of Desire Gift Guide: Part Four — The Concierge Collection

Posted in Art, Art Textiles, Basketry, Books, Fiber Sculpture, Gifts, Sculpture, Tapestry on December 15th, 2013 by arttextstyle

Are you looking for an overlooked, understated, exceptional gift? We’ve culled just such a selection for The Concierge Collection. Priced from $55 to $5000, in this grouping you’ll find good reads and items from our back room that we are surprised have not yet been acquired.

Conceirge Gifts
1) LITTLE RED, Grethe Wittrock
paper, aluminum, 69″ x 14″ x 9″, 2009

2) BALANCING II, Irina Kolesnikova
flax, silk, paper, hand woven, 21″ x 16″, 2009

3) TRACES 3 RELIEF, Mia Olsson
sisal and coconut fibers on blastered acrylic glass, 
14″ x 11.875″ x 1.25″, 2006

4)TRACES 4 RELIEF, Mia Olsson
sisal and coconut fibers on blastered acrylic glass, 
14″ x 11.875″ x 1.25″, 2006

5) TOURBILLIONSimone Pheulpincotton, slate, 7.75″ x 7.75 x 2.25″ , 2009

6) TOURBILLION, Simone Pheulpin, cotton, slate, 7.75″ x 7.75 x 2.25″ , 2009

7) TOURBILLION, Simone Pheulpin, cotton, slate, 7.75″ x 7.75 x 2.25″ , 2009

8) TERRA ALTERIUS I, Caroline Bartlett
dyed, discharged, foiled, stitched linen, 
37″ x 32″, 2005

9) SUSPENDED RED, Nancy Koenigsberg
polynylon coated copper wire, 16″ x 16″ x 16″, 1998

10) WALTZ, Jennifer Falck Linssen
archival cotton paper, waxed linen, coated copper wire, aluminum, stainless steel, seagrass, paint, and varnish
 

(katagami-style handcarved paper.), 16” x 14” x 4”, 2008

11) PAGODA P, Naomi Kobayashi
cotton and aluminum cast, 2.75” x 11.5” x 11.5”, each

12) PAGODA B, Naomi Kobayashi
cotton and aluminum cast, 2.75” x 11.5” x 11.5”, each

13) TINY BOAT, Jane Balsgaard
homegrown willow and plant paper, 11″ x 24″ x 9.5”, 2010

14) RETRO/PROSPECTIVE: 25+ Years of Art Textiles and Sculpture Catalog, 184  pages; 248 photos

15) KAMOSU, Naoko Serino
jute, 6.75″ x 6.75″ x 6.75″, 2009

16) LOOP AND RETURN, Laura Thomas
cotton encapsulated in acrylic, 
6.375″ x 6.375″ x 3.25″, 2009

17) YOUNG WIRE POD, Debra Sachs
wood, paper twine, copper wire, copper tacks, mixed polymers, 
36″ x 7.5 x 7.5″

Conceirge Gifts

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This Month’s Don’t Miss Exhibitions

Posted in Art, Art Textiles, Basketry, Eco-Art, Exhibitions, Fiber Sculpture, Installations, Sculpture on January 13th, 2013 by arttextstyle

through January 20, 2013
High Fiber: Recent Large Scale Acquisitions in Fiber
Racine Art Museum
Racine, Wisconsin

Ahnen Galerie by Françoise Grossen

Ahnen Galerie by Françoise Grossen

High Fiber transforms RAM’s largest gallery space with larger-than-life size sculpture by significant contemporary artists who have established reputations working with fibers such as fabric, metal wire, and cedar. Created with techniques like weaving and knotting––and touching on a variety of subjects including metaphysics, the human condition, and the natural world––the works featured in this exhibition delight the eye and engage the mind. The artists whose work is included are: Nancy Hemenway Barton, Carol Eckert, Françoise Grossen, Jan Hopkins, Michael James, Ruth Lee Kao, Nancy Koenigsberg, Gyöngy Laky, Rebecca Medel, Linda Kelly Osborne, Barbara Lee Smith, Jean Stamsta, Merle Temkin, Dawn Walden and Claire Zeisler. For more information, call: 262.638.8300 or visit: http://www.ramart.org/sites/default/files/userfiles/exhibitions/2012/HighFiber/High Fiber Notes.pdf.

opened January 12th

Green from the Get Go: International Contemporary Basketmakers
Edsel & Eleanor Ford House, Visitor Center GalleryGrosse Pointe, Michigan

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Green from the Get Go: Contemporary International Basketmakers installation at the Edsel & Eleanor Ford House, photo by tom grotta

Green from the Get Go: International Contemporary Basketmakers, curated by browngrotta arts and Jane Milosch, former curator of the Renwick Gallery, Smithsonian American Art Museum, opens at the Visitor Center Gallery of the Edsel & Eleanor Ford House in Grosse Pointe, Michigan and runs through March 9th. The Edsel & Eleanor Ford House is at 110 Lake Shore Road, Grosse Pointe, Michigan, 48236. Hours are 11 a.m to 5 p.m. Tuesday through Sunday. For more information call: 313.884.4222 or visit: http://www.fordhouse.org/calendar.html?month=&year=&cat=&cid=8691.

opened January 12th
Aleksandra (Sasha) Stoyanov: Warp and Weft Painting
Tefen Open Museum
P.O.B. 1
Migdal Tefen, Israel 24959
Art Gallery: 04-9109613; Visitors Department: 04-9872022; 04-9109609

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Aleksandra Stoyanov Tefen Open Museum Installation, photo courtesy of the Tefen Open Museum

 

The Tefen Open Museum exhibition features a large grouping of Stoyanov’s painterly weavings, whose subjects feel like dream fragments or half-forgotten memories. There is a catalog for the exhibition, which is open through August 2013, http://www.omuseums.org.il/museum/sitePage.aspx?pageID=1044&Place=1. It features an essay by Davira Taragin and will be available through browngrotta arts. Stoyanov’s work, From the First Person – Number II, has recently been added to the permanent collection of the Metropolitan Museum in New York.

opening January 17th
Lenore Tawney: Wholly Unlooked For
University of the Arts
Rosenwald-Wolf Gallery
Philadelphia, Pennsylvania

Book of Foot by Lenore Tawney, photo by Tom Grotta

Book of Foot by Lenore Tawney, photo by Tom Grotta

The University of the Arts presents an exhibition by late artist Lenore Tawney (1907–2007), a leading figure in the contemporary fiber arts movement. Presented in conjunction with the Lenore G. Tawney Foundation, the exhibition, which runs through March 2nd, will feature her paper-focused pieces. For more information, visit: http://www.uarts.edu/events/alumni/2013/01/lenore-tawney-wholly-unlooked.The Maryland Institute College of Art, Tawney’s alma mater, is hosting a complementary exhibition, http://www.mica.edu/News/Multi-Venue_Exhibition_Honors_Legendary_Fiber_Artist_Lenore_Tawney_H92_(1907–2007)_This_Winter_.html under the same, title featuring her line-based objects.

Opening Reception: January 24, 5 – 7:30 p.m.
University of the Arts
Rosenwald-Wolf Gallery
Philadelphia, Pennsylvania

Panel Discussion: January 24, 2 – 4 p.m.
The Legacy of Lenore Tawney
University of the Arts
CBS Auditorium, Hamilton Hall
Panelists: Jack Lenor Larsen: dean of Modern Textile Design, founder of LongHouse, Honory Doctorate, University of the Arts; Kathleen Nugent Mangan: director of the Lenore G. Tawney Foundation; Dr. Suzanne Hudson: assistant professor, University of Southern California; Warren Seelig: artist, distinguished visiting professor, University of the Arts; Moderator: Sid Sachs: director of exhibitions, University of the Arts.

opening January 22nd
MFA Book Arts and Crafts/Fibers Exhibition
Gallery 224 & President’s Office
University of the Arts
Philadelphia, Pennsylvania
This exhibit features work by University of the Arts students in the MFA in Book Arts/Printmaking and Crafts/Fibers programs, who have each created a piece in response to Lenore Tawney’s work. The students researched an extraordinary collection of objects from the Lenore Tawney Foundation, including old books and parts of old books, wood containers, small bottles and thread, which they incorporated and used as inspiration for their exhibition pieces. The exhibition runs through February 8th. For more information, visit: http://www.uarts.edu/events/alumni/2013/01/mfa-book-arts-and-craftsfibers-exhibition.

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

Posted in Art, Art Textiles, Basketry, Exhibitions, Fiber Sculpture, Installations, Paper, Sculpture, Tapestry on November 26th, 2012 by arttextstyle

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.

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Dispatches: All Things Considered IV and More at the Fuller Craft Museum

Posted in Art, Art Textiles, Basketry, Exhibitions, Installations, Museums on August 4th, 2011 by arttextstyle

We traveled to Brockton, Massachusetts this weekend to see juried works by members of the National Basketry Organization at the Fuller Craft Museum http://www.fullercraft.org/exhibitions.html#Basketry.

Sunrise Artifact by Mary Giles

Woven Vessel by Jonathan Kline

Marked by a Sapsucker by Dorothy Gill Barnes

 

 

 

 

 

 

 

Among the highlights in our view: Sunrise Artifact by Mary Giles;  Woven Vessel by Jonathan Kline; Marked by a Sapsucker by Dorothy Gill BarnesTipped by Nancy Koenigsberg a Basket Book #5 by Arlene McGonagle (of course, we’re suckers for anything related to books). Most impressive, however, were works that appeared to be diptychs.  First, was a pair of  large works, Cave and Snag by Linda Bills, made a year apart, but seamlessly echoing each other in shape and offering an intriguing contrast in volume.

Tipped by Nancy Koenigsberg

Basket Book #5 by Arlene McGonagle

Cave and Snag by Linda Bills

 

 

 

 

 

 

Second was a single piece, Wait, Weight by Jo Stealey, that seems to be two, interlocking basket/bowls of letters (yes, she had us at “A”). The show, which runs through December 11th, is worth seeing — with 85 pieces there is considerable variety in materials, technique and aesthetic. The exhibition would have benefited from more white space, however. The works are placed so close to one another it requires a second walkthrough to really focus on individual pieces.

Union by Christine Joy

Memories by Judy Mulford

Sidestep by Dona Anderson

Untitled 1985 by Kay Sekimachi

Kibiso III by Kiyomi Iwata

Wait Weight by Jo Sealey

CHAT by Jiro Yonezawa

Cradle to Cradle by Gyongy Laky

Calycanthus by Marion Hildebrandt

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

If you can get there before Loom and Lathe: The Art of Kay Sekimachi and Bob Stocksdale closes on September 11, 2011, do. There are interesting works by Kay Sekimachi in this show that did not appear in previous exhibitions of these artists’ work. Although this exhibition also features a large number of pieces in a limited space, as a result of Stocksdale’s and Sekimachi’s minimalist aesthetic and muted color palette, the installation is more successful.

 

We missed Fold It: Deena Schnitman, an installation of cookbooks which is on view in the café because we didn’t know it was there.  We didn’t miss the Flint Farm Stand, though, just down the road in Mansfield.  Great fresh corn and ice cream that has people standing in line.

Dusk by Norma Minkowitz

All Things Considered IV includes 12 artists whose work is represented by browngrotta arts.  Click any image to see more examples of these artists’ work.

Fuller Craft Museum
455 Oak Street
Brockton, MA 02301
508-588-6000
http://www.fullercraft.org/home.html.

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Dispatches: The 13th International Triennial of Tapestry in Lodz

Posted in Exhibitions on May 17th, 2010 by arttextstyle
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Identification by Aleksandra Stoyanov, sisal and cotton, 250x80, 230x180cm

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Morning Night by Nancy Koenigsberg, Size: 78" x 88" 15", coated copper wire and glass beads

The 13th International Triennial of Tapestry opened this week at the Central Museum of Textiles in Lodz, Poland.  The exhibition includes work by 130 artists from 51 countries.  Among the participants are Nancy Koenigsberg of the United States, Aleksandra Stoyanov of Israel and Anda Klancic of Slovenia.  The international jury, which includes Kyoko Kumai, Professor of the Nagaoka Institute of Art Design, Japan, has “highly commended” seven of the works in the exhibition.  One of the works commended by the jury was Footpaths, by Anda Klancic. During the Triennial, cities throughout Poland will present shows of fiberworks by local and international artists. The exhibition ends on October 31, 2010. Central Museum of Textiles. ul. Piotrkowska 282, 93 – 034 Łódź, Poland; (0 42) 683 26 84.

FOOTPATHS II whole piece Anda Klancic photo Francesco Montenero 10nov09 005.jpg

FOOTPATHS II by Anda Klancic photo Francesco Montenero

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Books Make Great Gifts, Part I Artist Recommendations

Posted in Books on December 19th, 2009 by arttextstyle

My day job is in publishing, and thanks to browngrotta arts’ catalog publishing program, my night job is too. We’ve got books and papers everywhere. My rules for 2010: No pile of papers, books or magazines may grow taller than two feet and there may not be more than six piles (that are mine) in the house at one time. That’s 12 feet of reading for next year. You’d think that would be enough, but maybe not. So, I asked artists whose work browngrotta arts represents for book recommendations. Specifically: “Is there a book that has had a particular influence on your work or decision to pursue art as a career?” Here’s the first installment of their thoughtful replies: Gyöngy Laky: It is difficult for me to think of a particular book that launched me into what I am doing today…there have been many and it was long ago that I set out on this path in art! But, there is one general art history book that I bought as a young person when I spent a year studying art and French in Paris in 1963-64! And, funny enough… it was titled The Loom of Art by Germain Bazin, curator of the Louvre (Simon Schuster, NY, 1962) probably way out of print! The book is beautiful and I have it and love it still. More recently my friend, who is a builder, designer, wood collector extraordinaire, Paul Discoe, put out a book on his work, Zen Architecture: The Building Process as Practice (with Alexandra Quinn, Gibbs Smith, 2008). It is a wonderful book. He collects street trees and mills them and uses them in his work so he is dear to my heart. Another book, for children, but adults love it too is If… (Getty Trust Publications : J. Paul Getty Museum) IF (Getty Publications; J. Paul Getty Museum; First Edition edition 1995) by another artist friend of mine, Sarah Perry. And, of course, I love and am inspired by Martin Puryear (The Museum of Modern Art, New York 2007) by John Elderfield, Elizabeth Reede, Richard Powell, Michael Auping, Martin Puryear. Scott Rothstein: Here is one I love: Lucie Rie by Tony Birks (Marston House 1994). I feel this book documents her work very well. I am always amazed at the “drawing” she could do with glaze. Kay Sekimachi: Yes, there is a book. Anni Albers: On Designing (Wesleyan 1971). It was my weaving “Bible”. In fact everything she wrote makes so much sense to me. Nancy Koenigsberg: I have worked as an artist – painter, rug designer, knitter – for many years, but when I read Beyond Craft: The Art Fabric: Mainstream by Mildred Constantine/Jack Larsen (Van Nostrand Reinhold 1972) it just turned my ideas and work upside down. I saw what was possible with the materials I was using and what else was out there. That book opened up a whole new world to me. Mary Merkel-Hess: Your question has set me thinking about exactly why I did choose art as a career. I think, actually, the desire originated in the ethnographic collection of the Milwaukee Public Museum where I whiled away hours between classes looking at objects from South America, Africa and Europe. But, back to your question. A book that is much on my mind just recently is The Unknown Craftsman: A Japanese Insight into Beauty by Soetsu Yanagi (Kodansha International, Revised edition, 1990). One of my first trips after arriving in Tokyo three weeks ago was to the Mingeikan, Yanagi’s museum and home. It was a delight, after so many years, to see some of the work pictured in the book. Yanagi’s theory that hard, repetitive practice resulted eventually in the disengagement of self and led to work of merit produced with ease was an inspiration to me. I was a young grad student when I first read the book and at the time every day was a struggle. Kate Hunt: The Savage Mind (Nature of Human Society) by Claude Levi-Strauss (University Of Chicago Press, 1968). The introduction made me think about the role of an artist and about materials.

 

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