Tag: Naomi Kobayashi

The Grotta Collection Opens at bga November 2nd: Who’s New

Our Fall exhibition, Artists from the Grotta Collection: exhibition and book launch opens at browngrotta arts in Wilton, CT on November 2nd. The exhibition highlights significant works of fiber and dimensional art by more than 40 artists collected by Sandy and Louis Grotta.

Thomas Hucker,  Ledge Table
Thomas Hucker, Ledge Table, black palm wood with Holly inlay (gloss laquer finish), split oak, stained black (oil finih), egg shell lacquer, 201517″ x 42″ x 42″

The Grotta Collection represents nearly 70 years of arts patronage and a unique kinship fostered by the Grottas among pioneering contemporary craft makers in the fields of textile art, sculpture, furniture and jewelry. The Grottas are long-time patrons of Museum of Arts and Design and the American Craft Museum in New York. The private collection is housed in an architecturally significant home designed by Richard Meier in the 1980s known as The Grotta House. Among the 40 artists whose work is included in the exhibition, browngrotta will showcase five artists, new to browngrotta arts — Thomas Hucker, Dominic DiMare, William Wyman, Bill Accorsi and Toshiko Takeazu. These artists work in various craft media and their work is showcased in the Grotta collection. Here’s a preview:

Thomas Hucker is a studio furniture maker in Jersey City, NJ. He trained with fifth-generation German cabinetmaker Leonard Hilgner and also Jere Osgood at Boston University’s Program in Artisanry. In 1990, he studied product design at the Domus Academy in Milan, Italy. Hucker’s work is in the permanent collections of the Los Angeles County Museum, the Museum of Arts and Design in New York, the Renwick Gallery of the Smithsonian Institution and the Boston Museum of Fine Arts. In 2016, he received the Furniture Society’s Award of Distinction. In 2018, he became a Fellow of the American Craft Council.

Fetish Box , Dominic Di Mare
Fetish Box , Dominic Di Mare , (a memorial to his father, the wand symbolizes an oar) paper, paint, Hawthrone wood, Golden Pheasant feathers, silk, bird bone, bone ring and fish, gold and gold leaf, quote by Robert Merrick, 13″ x 3.5″ x 2″, 2003

Dominic Di Mare received acclaim for pioneering dimensional weaving in the 1960s, cast paper in the 1970s, and mixed-media sculpture from the 1970s through the 1990s. “Among his most alluring sculptures are carved hawthorn branches with delicate feathers, beads, paper, and horsehair,” wrote the San Francisco’s Museum of Craft and Design in his 2018 retrospective. These are simple materials, but in Di Mare’s hands they were transformed into intensely poetic works.” The son of a Sicilian-American fisherman who grew up on the water in Monterey, California, Di Mare’s work features related symbols, fish and hooks and lines and water. He is an American Craft Council Gold Medal recipient. His work is represented in numerous museum collections, ranging from the Fine Arts Museums of San Francisco to the Metropolitan Museum of Art in New York.

Plate with daughter Lisa,  William Wyman
1ww Plate with daughter Lisa, William Wyman, ceramic, 8” diamter, 1961,

William Wyman began his career as a professional potter in 1953. He established Herring Run Pottery in 1962, with fellow potter, Michael Cohen. Wyman is known for a series of stoneware slab built vessels. In the 1960s Wyman dipped his smaller slab vessels in multiple glazes creating patterns of flowing colors. In 1965, after time spent in Honduras, he began to create undecorated, unglazed geometric-driven structures inspired by Mayan ruins which he called “Temples.” His work is in a number of museum collections, including the Addison Gallery of American Art, Andover, Massachusetts, Brooklyn Museum of Art, Brooklyn, New York, Everson Museum of Art, Syracuse, New Hampshire, Metropolitan Museum of Art, New York, New York, Museum of Arts and Design, New York, New York, Museum of Fine Arts, Boston, Massachusetts, Philadelphia Museum of Art, PennsylvaniaSmithsonian American Art Museum, Renwick Gallery, Washington, D.C. and the Victoria and Albert Museum, London, England.

Bill Accorsi was a college athlete, planning to become a football coach, when on a class trip he saw a Matisse exhibit. He says that was his first exposure to art, and it started him on a different journey, as he eventually became an largely self-taught artist himself. Now, at age 88, he can look back on a lifetime of creating outsider art and folk art. His sculptures—some in metal using wire, buttons and beads, others in wood—show people and animals in poses that are whimsical and fun. Often his figures merge into each other as jigsaw puzzles. Bright and pastel colors are an important feature of his work. He is an award-winning author/illustrator of 10 books, including Apple, Apple, Alligator; 10 Button Book; 10 Color Book; Friendship’s First Thanksgiving and a book on Rachel Carson.

Undulating Moon Pot, Toshiko Takeazu
1tt Undulating Moon Pot, Toshiko Takeazu, ceramic vase with blue and black highlights, signed with double T mark on bottom (partially covered by glaze), 15” x 5” x 5” , c. 1960

Toshiko Takaezu was born to Japanese immigrant parents in Pepeekeo, Hawaii, on 17 June 1922. She moved to Honolulu in 1940, where she worked at the Hawaii Potter’s Guild creating identical pieces and practicing glazing. She attended Saturday classes at the Honolulu Museum of Art School (1947–1949)[5] and attended the University of Hawaii. From 1951 to 1954, she continued her studies at Cranbrook Academy of Art in Bloomfield Hills, Michigan (1951), where she befriended Finnish ceramist Maija Grotell, who became her mentor. Takaezu earned an award after her first year of study, acknowledging her as an outstanding student in the clay department. In 1955, Takaezu traveled to Japan, where she studied Zen Buddhism, tea ceremony and the techniques of traditional Japanese pottery, which influenced her work. While studying in Japan, she visited Shoji Hamada, an influential Japanese potters. She taught at Cranbrook Academy of Art, Bloomfield Hills, Michigan; University of Wisconsin, Madison, Wisconsin; Cleveland Institute of Art, Cleveland, Ohio; Honolulu Academy of Art, Honolulu, Hawaii; and Princeton University, Princeton, New Jersey for 25 years. Her work is part of the permanent collections at the Museum of Fine Arts, Boston; the Smithsonian American Art Museum, Washington, D.C.; and The Metropolitan Museum of Art, New York, among many others. She is a recipient of the Gold Metal of the American Craft Council and a Louis Comfort Tiffany Foundation grant. 


Additional artists included in Artists from the Grotta Collection: exhibition and book launch are Naomi Kobayashi, Norma Minkowitz, Sara Brennan, Stéphanie Jacques, Axel Russmeyer and Mariette Rousseau-Vermette. See the full artist list here: http://www.browngrotta.com/Pages/calendar.php. The exhibition at browngrotta arts runs from November 2nd through November 10th, 276 Ridgefield Road, Wilton, CT. The Artists Reception and Opening is November 2nd from 1 pm to 6 pm. The hours November 3rd – 10th are 10 am to 5 pm.


Art & Text Opens — Reception at the Wilton Library on October 11th

On Art and On Life Dana Romeis
8dr/r On Art 9dr/r On Life Dana Romeis, silk and cotton, 24″ X 24″, 1991

Through November 7th, browngrotta arts is participating in Art & Text, an inaugural collaboration of 13 libraries in Fairfield County, Connecticut. Each library within the consortium will highlight one or more artists, whose work reflects their unique perspectives on the exhibition’s theme.  Throughout the County, Art & Text runs from September 1 through December 31, 2019, with shows running from one week to 3 months, depending on a library’s individual calendar. Through mixed media, ranging from sculpture and painting to graphics, each library’s exhibition aims to promote awareness of visual arts in the libraries of Fairfield County, as well as foster a connection between the community it serves and the arts.
browngrotta arts provided works by nine artists who use text in their art in a a number of different ways, including embroidered words, collaged newspapers and sculptured works made of the Congressional Record.

The Sun-Shine on the Water, Naomi Kobayashi
50nk The Sun-Shine on the Water, Naomi Kobayashi, washi paper, koyori thread, india ink, cotton, 20″ x 12.5″ x 2″, 2009

One of the works included is by Naomi Kobayashi who incorporates strips of calligraphy into her weavings. In a an ideal Art & Text plot twist, author William Bayer was inspired by Kobayashi’s work. In his book Hiding in the Weave, the protagonists have to deconstruct a weaving to find a clue to solve a mysterious death. Other artists presented through browngrotta arts include Dana Romeis, who is an artist and interior designer from St. Louis, Missouri. She has a background in art and textiles. From an early age, Dana has been drawn to the intricacy of design. She is particularly fond of the quote, “God is in the details” by Mies van der Rohe. In On Life and On Art,  she has incorporated text into her weavings.

The Congressional Record, Kate Hunt
The Congressional Record, Kate Hunt, nails, twime, encaustic, 12″ x 9″ x 4″

Kate Hunt is from Montana and has recently relocated to Mexico. She says of newsprint, her chosen material: “Newspaper as a construction material is cheap and easy to obtain. It forgives easily. I love the color and feel and its changes in color over time. The size range is equal to that of wood. Texture and density are adjustable. The audience has a history and experience with newspaper that they bring to each of my pieces resulting in a dialog that transcends anything that I thought of as an artist.”

35ts Pasodoble, Toshio Sekiji, Japanese newspapers; urushi lacquer, red ochre (bengara), 28" x 25" x 4", 2009
35ts Pasodoble, Toshio Sekiji, Japanese newspapers; urushi lacquer, red ochre (bengara), 28″ x 25″ x 4″, 2009

Japanese artist Toshio Sekiji intertwines strips of paper from various cultures, rewriting messages and imaging a harmonius confluence of disparate cultures, languages and nationalities – different than the facts on the ground. California artist, Ed Rossbach, was a relentless experimenter. He learned all manner of textile techniques from double weave to bobbin lace making and then applied them to unusual materials with striking results. It the work in Art & Text, Rossbach has used throwaway materials – annual report pages – to create a vessel that looks like a colorful vase. Judy Mulford is also from California. Her work, which often includes gourds, celebrates women and the family. In this case, words about family life and celebration are spelled out in thread using a button-hole technique.

17da Undulating Surface #7, Dona Anderson
wire armature, pattern paper and polymer, 16″ x 17.5″ x 15″
2010

An unusual sculpture by Washington state artist Dona Anderson is included. Anderson uses everyday materials in her works. Her vessel in Art andText is made from dressmaker patterns and the instructions can still be read on its sides. Like Ed Rossbach, Sylvia Seventy was part of California’s fiber movement of the 60s and 70s. She began making vessels of handmade paper then, a process she continues. Her vessels are whimsical incorporating everything from feathers and pins to beads and googly eyes. In this work she has included text telling the viewer to consider the back – where may artist secrets can be found.

Looking at the Back Sylvia Seventy
21ss Looking at the Back Sylvia Seventy molded recycled paper, vintage cotton embroidered fabric, wax, wire, beads, waxed carpet thread 3.5” x 8.5” x 8.5”, 2016

The opening of Art & Text at the Wilton Library takes place on Friday, October 11th from 6 pm to 7:30 pm. The Library is at: 137 Old Ridgefield Rd, Wilton, CT 06897. A majority of the works are available for purchase with a portion of the proceeds benefiting the Library.  Media Sponsor: The Wilton Bulletin.


HeArt-ists: Creative Couples

Power couples in the art world abound: Pablo Picasso and François Gilot, Jackson Pollock and Lee Krasner, Georgia O’Keefe and Alfred Steiglitz. Frida Kahlo and Diego Rivera, Joseph and Anni Albers among them (see the In Good Taste, blog post, “12 Prolific Artist Couples,” for more: https://www.invaluable.com/blog/12-prolific-creative-couples/?utm_source=brand&utm_medium=email&utm_campaign=weeklyblog&utm_content=blog020818). At browngrotta arts we’ve worked with several such couples or with one of such a pair. In honor of Valentine’s Day, a toast to them:

Power Couple Kobayashi's at browngrotta arts

Masakazu and Naomi Kobayashi installing Cosmos 98 at browngrotta arts for the opening of Tradition Transformed: Contemporary Japanese textile art & fiber sculpture

Masakazu/Naomi Kobayashi:
Masakazu and Naomi often collaborated on projects in the years before his death. In their collaborations, in the US, Israel, Singapore, France and JapanMasa and Naomi, generally created individual works that were installed together. Masa once explained the impetus behind their cooperative works: “These works express a shared vision and such common themes as the tranquility of nature, the infinity of the universe and the Japanese spirit. Naomi and I work in fiber because natural materials have integrity, are gentle and flexible. In my own work, I search for an equilibrium between my capacity as a creator and the energy of the world around me.”

Power Couple Rossbach/Westphal

Ed Rossbach and Katherine Westphal in their apartment in Berkley California

Ed Rossbach/Katherine Westphal: Ed Rossbach and Katherine Westphal were both innovators — he a maker of nonfunctional art baskets; she in her work with xerography and art quilts. The pair loved to travel and images and influences from those visits appear in their work in various ways. Images from the American West, including bison and feathers, appear in both Rossbach’s baskets and drawings and in Westphal’s wall hangings of tapas bark. Westphal made color photocopies of photos she took on their travels through Europe, Asia and the Middle East, and with a heat transfer process, inserted these images into her quilts and wearable art. Rossbach took photo images and reconstructed them with stitching and pins.

Power Couple Marriage in Form

Marriage in Form Set
Bob Stocksdale/Kay Sekimachi, Pistashio wood and Japanese paper with fibers, 1999

Kay Sekimachi/Bob Stocksdale: Kay Sekimachi and her late husband, woodturner Bob Stocksdale, collaborated to create an entire series of work, exhibited across the US as Marriage in Form. Sekimachi used his turned wood vessels as a form to shape her own ber vessels from hornet’s nest paper. Sekimachi applies a base layer of Kozo paper to a wood form, then laminates the hornet’s nest paper. The resulting objects appears delicate and ethereal but is actually stiff and stable.

Power Couple Claude Vermette and Mariette Rousseau-Vermette

Claude Vermette and Mariette Rousseau-Vermette, painting and tapestry

Claude Vermette/Mariette Rousseau-Vermette: For several decades, this couple worked in separate studios, in different media, in different ways. Yet, as the Museum of Contemporary Art in Baie St. Paul, Quebec noted when mounting a posthumous retrospective of Vermette’s paintings, ceramics and sculpture and Rousseau-Vermette’s tapestries, they shared “a common spirit, strong affinities and correspondences, links of course emotional and intellectual, the same historical and sociological context and the crossing of an important period of time.”

Debra Sachs_ Marilyn Keating

Debra Sach’s/Marilyn Keating’s joint exhibition, Going Solo & Tandem at the Stockton College Art Gallery, NJ 2014

Debra Sachs/Marilyn Keating: Sachs and Keatings met in the early 1970s when they were students at the Moore College of Art in Philadelphia. They were married in 2014. Their works — made spearately and together are showcased at The South Jersey Museum of Curiosities — not a physical location but a website they share (http://www.sjmoc.com/index.htm). Their individual works take different directions. Keating’s is more narrative, including depistions of fish, birds, bugs and dogs. Sachs describes herself as more design oriented. When they collaborate as they have in public commissions like Waders and Flockers 2011 at Stockton College, they divide the work — Keating builds the structure; Sachs completes the designs and paints the surface.
John McQueen/Margo Mensing: This couple, he a sculpture and basketmaker, she a poet and artist whose multimedia installations incorporate sculpture, ceramic and textiles, have exhibited together in New York, Massachusetts and New Zealand. In New Zealand, Mensing carved words into tree trunks.  “Marks made here,” she carved, “are no more than scars on these upstart upstanding trees – as brief as grass.”
Leon/Sharon Niehues: Leon and Sharon Niehues have created baskets together, including a basket-in-a-basket woven for the White House Collection of Contemporary Crafts created during the Clinton Administration. The couple moved from Kansas to the Ozarks in the 70s and learned basketmaking from by a book by the Arkansas Extension Service that explained how to make a white-oak basket from a tree. In his individual work over the last several years, Leon has focused on reinterpretingclassical and traditional forms.
To Love…

Dispatches: Los Angeles for The Box Project Exhibition at the Fowler Museum

In the 2000s, collector Lloyd Cotsen and his then-curator the late Mary Kahelberg began what would become The Box Project: Uncommon Threads, commissioning 36 international, contemporary artists to work within a given set of parameters. They were challenged to work within the confines of an archival box—to create one-of-a-kind works of art. What followed were years of fascinating correspondence with the artists who would participate in the project. As expected, each interpreted the challenge in his or her own way, resulting in an exceedingly diverse collection of works that reflects the artists’ skill and creativity. Most of the pieces in the show are presented in their accompanying 23″ by 14″ by 3” or 14” by 14″ by 3″ boxes.

The Box Project Exhibition at the Fowler Museum Opening

The Box Project Exhibition at the Fowler Museum Opening

 

The exhibition showcases these skilled artists’ ingenious use—and often-expansive definitions—of fiber, while exploring the collector/artist relationship. The exhibition couples the box commissions with other examples of the participating artists’ larger works. Also included are some of the letters and drawings and maquettes for the exhibition — a fascinating glimpse of the creative process.

Helena Hernmarck installation, The Box Project Exhibition at the Fowler Museum. Photo by tom Grotta

Helena Hernmarck’s “box” installation and one of her larger tapestries. Photo by Tom Grotta

The 36 artists whose work appears in this exhibition are Masae Bamba, James Bassler, Mary Bero, Zane Berzina, N. Dash, Virginia Davis, Carson Fox, Shigeki Fukumoto, John Garrett, Ana Lisa Hedstrom, Helena Hernmarck,  Pat Hodson, Kiyomi Iwata, Gere Kavanaugh, Ai Kijima, Hideaki Kizaki, Lewis Knauss, Nancy Koenigsberg, Gerhardt Knodel, Naomi Kobayashi, Gyöngy Laky, Paola Moreno, Jun Mitsuhashi, Kyoko Nitta, Hisako Sekijima, Barbara Murak, Cynthia Schira, Heidrun Schimmel, Carol Shinn, Sherri Smith, Hadi Tabatabai, Koji Takaki, Aune Taamal, Richard Tuttle, and Peter Weber. Work by 10 of those included is available through browngrotta arts.

Artist Talk. Photo by Tom Grotta

Artists’ panel. Photo by Tom Grotta

On September 10th, three of the artists involved, Gere Kavanaugh, Gyöngy Laky, and Hisako Sekijima joined the curator of the Cotsen Collection, Lyssa C. Stapleton, in a conversation about their respective processes and resulting “boxes.” We were fortunate to attend their talk and to catch up with a number of artist, collector and curator friends.

Hisako Sekijima in front of her works at The Box Project Exhibition at the Fowler Museum. Photo by Tom Grotta

Hisako Sekijima in front of her box project. Photo by Tom Grotta

“The box is a technical tool and also a spatial construct,” Sekijima told the audience, “which gave me freedom.” The artist used the box, she explained, as a mold in which multiple baskets were integrated whole.” Kavanaugh spoke at length of her work as a designer for Lloyd Cotsen, including her design of the brightly colored Neutrogena headquarters.

Laky talked about her work and the influence of the environment and feminism on her work — including her free-standing word sculpture, Slowly, composed of letters that can be read as LAG or GAL, and which was motivated by Laky’s efforts in improve gender equity in hiring in the University of California system.

Gyongy Laky. Photo by Tom Grotta

Gyongy Laky with her box project to the right and a larger work above. Photo by Tom Grotta

On October 14th, in Culture Fix, Lacy Simkowitz, curatorial assistant at the Cotsen Collection, who worked closely with artists featured in The Box Project, will discuss how the exhibition developed. From mining the archives to decisions about the exhibition checklist, Simkowitz played a key role in the development of the traveling exhibition. In this gallery talk, she will discuss case studies by James Bassler, Ai Kijima and Cynthia Schira and she share behind-the-scenes stories about the exhibition planning process.

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

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

The Box Project: Uncommon Threads is at the Fowler through January 15, 2017. The Fowler is located on the UCLA campus, 308 Charles E. Young Drive, North, Los Angeles, California 90024; 310.825.4361.


Contemporary Art Influenced by Korea and Japan: An Unexpected Approach

Opens September 16th in Greenwich, Connecticut

Mary Yagi Outdoor Sculptor Art from Japan

Mariyo Yagi preparing her outdoor sculpture “A cycle- Infinity” for the upcoming exhibit in the US. Photo by Yuna Yagi

From September 16th to November 4, 2016, the Bendheim Gallery of the Greenwich Arts Council in Greenwich, Connecticut will present Contemporary Art Influenced by Korea and Japan: An Unexpected Approach, curated by browngrotta arts. The exhibition includes select works of ceramics, textiles, baskets and sculptures by artists from Japan, Korea and the United States that each reflect an Asian sensibility.

Textiles and Ceramic Art from Korea and Japan

Weaving by Chiyoko Tanaka, Ceramic by Yasuhisa Kohyama. Photo by Tom Grotta

Varied materials and techniques

The 23 artists in this exhibit have a close relationship to a traditional craft aesthetic, manifested in a contemporary manner. They have chosen conventionally Asian materials and/or techniques (dyes, papers, gold leaf, persimmon tannin, kategami) used in both time-honored and unconventional ways. Examples include studies by Hiroyuki Shindo of the vanishing art of natural indigo dyeing and by Jun Tomita on ikat dyeing.  Jennifer Linssen’s innovative sculptures of katagami and Keiji Nio’s Interlacing-R, which references complex Japanese sumihimo braiding reimagine conventional techniques. Masakazu and Naomi Kobayashi, Naoko Serino and Kyoko Kumai also create new relationships among disparate material and techniques.

Kiyomi Iwata Gold Mesh Sculpture

Auric Grid Fold, Kiyomi Iwata, aluminum mesh, french embroidery knots, gold leaf, silk organza, 19″ x 18″ x 10″, 2013. Photo by Tom Grotta

In other works, like Kiyomi Iwata’s Auric Gold Fold, Glen Kaufman’s Shimogamo Scrolls: Studio View II and Jin-Sook So, Pojagi Constructions I and II, gold and silver leaf play a role, their luster and longevity suggesting immortality, power, divinity. The artists share a concern for surface and material interaction, evident in Chiyoko Tanaka’s Grinded Fabric-Three Squares Blue Threads and Blue #689, of linen distressed with earth and stones, Hideho Tanaka’s Vanishing and Emerging series of stainless steel and singed paper and Mariyo Yagi’s twisted rope sculpture, A cycle-Infinity. The artists in Contemporary Art Influenced by Korea and Japan: An Unexpected Approach create work that is formal and contained while visibly involving the hand of the artist. This exhibition is a collaboration between the Greenwich Arts Council and browngrotta Arts.

The complete list of artists participating in this exhibition is:

Nancy Moore Bess (United States); Pat Campbell (United States); Kiyomi Iwata (Japan); Glen Kaufman (United States); Masakazu Kobayashi (Japan); Naomi Kobayashi (Japan); Yasuhisa Kohyama (Japan); Kyoko Kumai (Japan); Jennifer Falck Linssen (United States); Keiji Nio (Japan); Toshio Sekiji (Japan); Hisako Sekijima (Japan); Naoko Serino (Japan); Hiroyuki Shindo (Japan); Jin-Sook So (Korea/Sweden); Norkiko Takamiya (Japan); Chiyoko Tanaka (Japan); Hideho Tanaka (Japan); Takaaki Tanaka (Japan); Jun Tomita (Japan); Mariyo Yagi (Japan); Chang Yeonsoon (Korea); Jiro Yonezawa (Japan); Shin Young-ok (Korea).

The Bendheim Gallery is located at 299 Greenwich Avenue, Greenwich, Connecticut; 203.862.6750; info@greenwicharts.org.


Art Update: April Openings and Closings Here and Abroad

Beyond the Trees: Dona Look and Dorothy Gill Barnes. Photo courtesy of the Wood Turning Center

Beyond the Trees: Dona Look and Dorothy Gill Barnes. Photo courtesy of the Wood Turning Center

It’s a Spring chock full of interesting exhibitions in the US and abroad. You’ve have just a few days remaining to see Beyond the Trees: Dona Look and Dorothy Gill Barnes http://centerfor
artinwood.org/
exhibition/dorothy-
gill-barnes-dona-
look-beyond-the-
trees/ at the Center for Wood Art in Philadelphia, Pennsylvania. Two browngrotta artist are featured in this exhibition, which closes April 23rd.

photo by Tom Grotta, Green From the Get Go, Morris Museum

Photo by Tom Grotta, Green From the Get Go, Morris Museum

Their work can also be seen through June 26th at the Morris Museum in Morristown, New Jersey in Green From the Get Go: Contemporary International Basketmakers, curated by browngrotta arts. In New York, New York, the Experiments in Art & Digital Technologies includes innovative bga artist Lia Cook, http://www.liacook.com/wp-content/uploads/2016/04/EADT-Press.pdf who will lecture in New York on May 5th https://creativetechweek2016.sched.org/event/6DN5/weaving-and-digital-innovation.

12 of 32 Lia Cook Su Series Tapestries

12 of 32 Lia Cook Su Series Tapestries

Work by Lia Cook is also front and center in a San Francisco, California exhibition, Lines that Tie: Carol Beadle and Lia Cook http://sfmcd.org/press-release-lines-that-tie/ the exhibition is curated by bga artist, Deborah Valoma. Cook will lecture there tomorrow, April 21st. Identify Yourself, in Honolulu, Hawaii http://honolulumuseum
.org/art/exhibitions/
15320-identify_yourself/
, which closes this week, on April 24th, also features work by Lia Cook. Two events in Wilton, Connecticut to attend. Hickory, Ash and Reed: Traditional Baskets, Contemporary Makersat the Wilton Historical Society, http://www.wiltonhistorical.
org/exhibitions.html
, Includes several baskets by the late Marian Hildebrandt, whose work is represented by browngrotta arts and whose work is also currently on exhibit in Green from the Get: International Contemporary Basketmakers at the Morris Museum.

Detail of Nordic Gold by Birgit Birkkjaer. Photo by Tom Grotta

Detail of Nordic Gold by Birgit Birkkjaer. Photo by Tom Grotta

Artboom: Celebrating Artists Mide-Century, Mid-Career is open at browngrotta arts for just 10 days, from April 30th-May 8th http://arttextstyle.com/
2016/04/19/art-barn-
2016-artboom-
celebrating-artists-
mid-century-mid-
career-wilton-ct-
april-30th-may-8th/
.

MER LUMINEUSE and J'AI MA LA MER S'ILLUMINER by Mariette Rousseau-Vermette. Photo by Tom Grotta

Mer Lumineuse and J’ai Ma La Mer S’illuminer
by Mariette Rousseau-Vermette. Photo by Tom Grotta

In the halls of the Musée cantonal des Beaux-Arts in Lausanne, Switzerland, Nomadic tapestries, an exhibition of some of the extensive contemporary collection of the Toms Pauli Foundation, traces in the evolution of textile art from the 1960s to 2000s,
http://www.musees.vd.ch/en/museem-beaux-arts/exhibition/past-exhibitions/tapisseries-nomades-fondation-toms-pauli-collection-xxe-siecle/. browngrotta arts has work available by twelve of the artists included in this very significant international survey of art textiles — Magadalena Abakanowicz, Lia Cook, Sheila Hicks, Jan HladikRitzi Jacobi, Naomi Kobayashi, Maria Laszkiewicz, Jolanta Owidzka, Mariette Rousseau-Vermette, Wojciech Sadley, Sherri Smith and Hideho Tanaka. The exhibition will be on view through May 29th. In Tilburg, the Netherlands the Textile Museum is hosting a major retrospective of American artist and textile pioneer Sheila Hicks, born 1934 http://www.textielmuseum.nl. Internationally renowned, thanks to her participation in numerous large solo and group exhibitions, this is her first appearance in the Netherlands for many years. The exhibition extends through June 5, 2016.


browngrotta arts Returns to SOFA Chicago, November 5-8th

627mr PapelionIidae, Mariette Rousseau-Vermette wool, steel, 54” x 54” x 16”, 2000

627mr PapelionIidae, Mariette Rousseau-Vermette
wool, steel, 54” x 54” x 16”, 2000

After a few-year hiatus, browngrotta arts will return to the Sculpture, Objects, and Functional Art Exposition at the Navy Pier in Chicago next month. We’ll be reprising our most recent exhibition, Influence and Evolution: Fiber Sculpture…then and now, with different works for a number of artists, including Naoko Serino, Kay Sekimachi, Anda Klancic, Ritzi Jacobi, Randy Walker, Mariette Rousseau-Vermette, Carolina Yrarrázaval and Lenore Tawney. Other artists whose work will be featured in browngrotta arts’ exhibit are Magdalena Abakanowicz, Adela Akers, Lia Cook, Sheila Hicks, Masakazu Kobayashi, Naomi Kobayashi, Luba Krejci, Jolanta Owidzka, Ed Rossbach, Sherri Smith, Carole Fréve, Susie Gillespie, Stéphanie Jacques, Tim Johnson, Marianne Kemp, Federica Luzzi, Rachel Max, Eduardo Portillo & Mariá Eugenia Dávila, Michael Radyk and Gizella K Warburton. SOFA will publish a related essay, Fiber Art Pioneers: Pushing the Pliable Plane by Jo Ann C. Stabb,
on the origins of the contemporary fiber movement.

1cy AZUL Y NEGR Carolina Yrarrázaval rayon, cotton 116" x 40.5”, 2003

1cy AZUL Y NEGR
Carolina Yrarrázaval
rayon, cotton
116″ x 40.5”, 2003

Now in its 22nd year, SOFA CHICAGO is a must-attend art fair, attracting more than 36,000 collectors, museum groups, curators and art patrons to view museum-quality works of art from 70+ international galleries. After a nationwide competition, SOFA CHICAGO recently placed #7 in the USA Today Reader’s Choice 10 Best Art Events.New this year, SOFA CHICAGO will unveil a revamped floorplan created by Chicago architects Cheryl Noel and Ravi Ricker of Wrap Architecture. The re-envisioned design will create a more open and cohesive show layout, allowing visitors to explore the fair in a more engaging way. Changes include a new, centrally located main entrance where browngrotta arts’ booth, 921, will be located. Cheryl Noel of Wrap Architecture adds, “The most effective urban contexts contain distinct places within the larger space, corridors with visual interest and clear paths with fluid circulation. We believe this new floorplan will capture the spirit of the art and be an expression of the work itself, exploring form and materiality, with the same level of design rigor applied.”

1rw SAW PIECE NO.4 (AUTUMN) Randy Walker, salvaged bucksaw, steel rod, nylon thread 42" x 96" x 26", 2006, Photo by Tom Grotta

1rw SAW PIECE NO.4 (AUTUMN)
Randy Walker, salvaged bucksaw, steel rod, nylon thread
42″ x 96″ x 26″, 2006, Photo by Tom Grotta

On Friday, November 6th, from 12:30 to 2:30, Michael Radyk will be at browngrotta arts’ booth to discuss his Swan Point series, Jacquard textiles created to be cut and manipulated after being taken off the loom, in which Radyk was trying “to bring the artist’s hand back into the industrial Jacquard weaving process.” SOFA opens with a VIP preview on Thursday, November 5th, from 5 pm to 9 pm. The hours for Friday and Saturday are 11 am – 7 pm; and 12 to 6 pm on Sunday the 8th. SOFA is in the Festival Hall, Navy Pier, 600 East Grand Avenue Chicago, IL 60611. Hope to see you there!


Last Minute Art Gift Ideas from browngrotta arts

We’ve got lots of art-y gift ideas for all the Basket Cases, Paper Chasers, Metal Heads, Log Lovers and Soft Touches on your list.
Select something for more than $50 before January 15th and we’ll pay to upgrade your shipping and send a donation to the International Child Art Foundation!!

b53 Fiber Sculpture  1960 - Present 

Fiber Sculpture 1960 – Present By Jenelle Porter

119L Notes to Self

Notes to Self, Gyöngy Laky, wood and paint, 29.5” x 21.5”, 2012

Stephanie Jacques

Sauvages Dyptch, Stephanie Jacques willow, 51″ x 18″ x 12″, 2014

Eye

Eye, Jiro Yonezawa, bamboo, steel, urushi lacquer, 20” x 20” x 20”, 2014

Large Shallow Bowl

Large Shallow Bowl, Karyl Sisson, wood clothspins and wire, 5” x 21” x 21”, 1987

58mg Gathering

Gathering, Mary Giles, galvanized steel wire, paint, wood, 30” x 30″, 2012

60nk Cube Red

Cube Red, Naomi Kobayashi, Japanese paper, paper thread, mirror, 2.5” x 10.5” x 10.5”, 2014

In the Realm of Nature

In the Realm of Nature: Bob Stocksdale & Kay Sekimachi By Signe Mayfield

 


At Long Last Love: Fiber: Sculpture 1960–present Opens at ICA, Boston

fiber, sculpture, opening, ICA

Fiber: Sculpture 1960 — present opening, photo by Tom Grotta

It looks as if 2014 will be the year that contemporary fiber art finally gets the recognition and respect it deserves. For us, it kicked off at the Whitney Biennial in May which gave pride of place to Sheila Hicks’ massive cascade, Pillar of Inquiry/Supple Column. Last month saw the opening of the influential Thread Lines, at The Drawing Center in New York featuring work by 16 artists who sew, stitch and weave. Now at the Institute of Contemporary Art in Boston, the development of abstraction and dimensionality in fiber art from the mid-twentieth century through to the present is examined in Fiber: Sculpture 1960–present from October 1st through January 4, 2015. The exhibition features 50 works by 34 artists, who crisscross generations, nationalities, processes and aesthetics. It is accompanied by an attractive companion volume, Fiber: Sculpture 1960-present available at browngrotta.com.

Fiber, Sculpture, book, ICA

There are some standout works in the exhibition — we were thrilled to see Naomi Kobayashi’s Ito wa Ito (1980) and Elsi Giauque’s Spatial Element (1989), on loan from European museums, in person after admiring them in photographs. Anne Wilson’s Blonde is exceptional and Ritzi Jacobi and Françoise Grossen are represented by strong works, too, White Exotica (1978, created with Peter Jacobi) and Inchworm, respectively.

Françoise Grossen and Kathleen Mangan in front of Grossen’s Inchworm sculpture at the opeing of Fiber: Sculpture 1960–present opening at the ICEA

Françoise Grossen and Kathleen Mangan in front of Grossen’s Inchworm sculpture at the opeing of Fiber: Sculpture 1960–present opening at the ICEA

Fiber: Sculpture 1960–present will tour nationally to the Wexner Center for the Arts, Columbus, Ohio (January 30 – April 5, 2015), the Des Moines Art Center, Iowa (May 8, 2015 – August 2, 2015) and the Contemporary Arts Museum, Houston (August 22, 2015 — November 29, 2015). You can also see Innovators and Legends, which has traveled across the country in the last two years, at 108 Contemporary, Tulsa Oklahoma in January 2015. And not to be outdone, browngrotta arts will open Influence and Evolution next April 24, 2015 in Wilton, Connecticut. Influence and Evolution will also celebrate experimenters in fiber while exploring how the use of textile materials and techniques has evolved, showing early works — from the 60s, 70s and 80s — by Sheila Hicks, Ed Rossbach, Magdalena Abakanowicz and Françoise Grossen, alongside work created after 2000 by both influencers like Ritzi Jacobi, Naomi Kobayashi and Ferne Jacobs and by a later generation of artists, including Stéphanie Jacques, Gizella Warburton and Naoko SerinoInfluence and Evolution, will run through May 3, 2015 and will be accompanied by a full-color catalog.

 

 Jenelle Porter, Glenn Adamson, Musuem of Arts and Design, photo by Tom Grotta

ICA Mannion Family Senior Curator Jenelle Porter explained in the conversation with Glenn Adamson, Director, Musuem of Arts and Design, photo by Tom Grotta

Fiber: Sculpture 1960–present aims to create a sculptural dialogue, an art dialogue — not one about craft, ICA Mannion Family Senior Curator Jenelle Porter explained in an opening-night conversation with Glenn Adamson, Director, Museum of Arts and Design. On that score, we think it succeeds — go and see for yourself. Let us know what you think.

And watch this space for more about Influence and Evolution.

Jenelle Porter, Ed Rossbach, fiber

ICA Mannion Family Senior Curator Jenelle Porter in front of Ed Rossbach weaving photo by Tom Grotta


Art Out and About: Exhibitions Across the US

Coast-to-coast cultural opportunities to enjoy in August and through to November.

Traced Memories by Adela Akers, photo by Tom Grotta

Traced Memories by Adela Akers, photo by Tom Grotta

San Francisco, California
Adela Akers: Traced Memories, Artist-in-Residence
Through August 31st
Wednesdays–Sundays, 1–5 pm, plus Friday nights until 8:45 pm
Artist Reception: Friday, August 29, 6–8:30 p.m.
Fine Arts Museum of San Francisco de Young/Legion of Honor
Golden Gate Park
50 Hagiwara Tea Garden Drive
San Francisco, California
https://deyoung.famsf.org/programs/artist-studio/august-artist-residence-adela-akers-traced-memories
Textile artist Adela Akers has moved her studio to the de Young for a month. Visitors to the new studio will learn how each choice in her art-making process contributes to the unique character and quality of her work. Throughout her residency, Akers will invite visitors to engage in hands-on activities that explore her creative process—from inspiration and research to preparation of the materials she has selected to convey her concept to creation and final presentation of the finished artworks. Akers’s work has been influenced and informed by pre-Columbian textiles and, most recently, paintings by women of the Mbuti people of the Ituri Forest in the Democratic Republic of the Congo. Journeying from one point to another has been a physical and transformative reality in her life, increasing her self-confidence and expanding her vision of the world. Akers feels fortunate to have made these geographical voyages and to have experienced country living’s broad horizons and quiet strength, the power of nature and the palpitating rhythm of cities.

Athena by Nancy Koenigsberg, photo by Tom Grotta

Athena by Nancy Koenigsberg, photo by Tom Grotta

Brockton, Massachusetts
Game Changers: Fiber Art Masters and Innovators
Through November 23rd
Fuller Craft Museum
455 Oak Street
Brockton, MA
http://fullercraft.org/press/game-changers-fiber-art-masters-and-innovators/
“Game changers” are artists, past and present, who continuously revisit traditional techniques and materials while developing revolutionary approaches in the realm of fiber art. Every work in the exhibition was chosen to showcase the individual practice of each invited artist. These creators epitomize the dynamism and fluidity of work in fiber. Artists featured in the exhibition include: Olga de Amaral, Dorothy Gill Barnes, Mary Bero, Nancy Moore Bess, Archie Brennan, John Cardin, Lia Cook, John Garrett, Jan Hopkins, Mary Lee Hu, Lissa Hunter, Diane Itter, Michael James, Naomi Kobayashi, Nancy Koenigsberg, Gyongy Laky, Chunghie Lee, Kari Lonning, Susan Martin Maffei, John McQueen, Norma Minkowitz, Michael F. Rohde, Ed Rossbach and Kay Sekimachi.

Midland Museum Forming: The Synergy Between Basketry and Sculpture, photo by Jennifer Falck Linssen

Midland Museum Forming: The Synergy Between Basketry and Sculpture, photo by Jennifer Falck Linssen

Midland, Michigan
Forming: The Synergy Between Basketry and Sculpture
Through September 7th
Alden B. Dow Museum
Midland Center for the Arts
1801 West Saint Andrews Road
Midland, Michigan
http://www.mcfta.org/ab-dow-museum-announces-summer-exhibitions-press-release/
The works by eight artists featured in Forming: The Synergy Between Basketry and Sculpture, including Jennifer Falck Linssen, were designed and executed as alternative approaches to sculptural form, in which the line dissolves between traditional basketry and contemporary sculpture. A selection of artists from across America inquisitively open our eyes to new alternatives in basketry and fiber-based sculptural form. The craftsmanship is superb, the creative and technical finesse is complex while the vision is beyond today yet with inspiration from long-revered fiber traditions.

Midland, Michigan
Modern Twist: Contemporary Japanese Bamboo Art

Cocoon by Jiro Yonezawa, photo by Tom Grotta

Cocoon by Jiro Yonezawa, photo by Tom Grotta

Through September 7th
Alden B. Dow Museum
Midlands Center for the Arts
1801 West Saint Andrews Road
Midland, Michigan
http://www.mcfta.org/ab-dow-museum-announces-summer-exhibitions-press-release/

Bamboo is a quintessential part of Japanese culture, shaping the country’s social, artistic, and spiritual landscape. Although bamboo is a prolific natural resource, it is a challenging artistic medium. There are fewer than 100 professional bamboo artists in Japan today. Mastering the art form requires decades of meticulous practice while learning how to harvest, split, and plait the bamboo. Modern Twist brings 38 exceptional works by 17 artists, including Jiro Yonezawa, to U.S. audiences, celebrating the artists who have helped to redefine a traditional craft as a modern genre, inventing unexpected new forms and pushing the medium to groundbreaking levels of conceptual, technical, and artistic ingenuity.

29ww EB mixed editions #12, Wendy Wahl, Encylodpedia Britanica pages, poplar frame, 24" x 32" x 1.5",  2011 photo by Tom Grotta

29ww EB mixed editions #12, Wendy Wahl, Encylodpedia Britanica pages, poplar frame, 24″ x 32″ x 1.5″, 2011
photo by Tom Grotta

Jamestown, Rhode Island
PAPER-MADE
Through August 30th
Wed. – Sat. 10am – 2pm
Jamestown Arts Center
18 Valley Street
Jamestown, Rhode Island
http://www.jamestownartcenter.org/exhibitions
Paper art is emerging as a global phenomenon. PAPER-MADE explores paper’s transformation from an everyday object into an exquisite three dimensional sculptural artwork. The exhibit’s title PAPER-MADE is a reference to Marcel Duchamp’s concept of the “ready-made,” since paper is an everyday object. The alchemic transformation from simple paper to art highlights the artist’s creativity and demonstrates the limitless potential of the art form. Eighteen showcased artists, including Wendy Wahl, explore this material’s ephemeral nature and beauty. Each artist explores different qualities of paper, from hand-made paper and paper string, to site-specific installation made of book pages, from Korean joomchi paper to found lottery tickets and archival photographs.