Tag: Sheila Hicks

Anniversary Alert: 10 Years of Feminist Art…

Anniversary Alert: 10 Years of Feminist Art in Brooklyn;
More Chances to Celebrate at MOMA, LongHouse Reserve and elsewhere

Faith Ringgold, Early Works #25: Self-Portrait, Oil on canvas, 50 x 40 in. (127 x 101.6 cm), 1965. Brooklyn Museum, Gift of Elizabeth A. Sackler, 2013.96. © artist or artist’s estate.
Photo: Jim Frank

Lots of opportunities to see work by women artists and consider their role in the canon. The centerpiece are the exhibitions and events that make up A Year of Yes: Reimagining Feminism at the Brooklyn Museum which celebrates the10th anniversary of the Elizabeth A. Sackler Center for Feminist Art. A Year of Yes recognizes feminism as a force for progressive change and takes the contributions of feminist art as its starting point. It reimagines next steps, expanding feminism from the struggle for gender parity to embrace broader social-justice issues of tolerance, inclusion, and diversity. Among the exhibitions on view is We Wanted a Revolution: Black Radical Women, 1965–85, through September 17th, which presents a large and diverse group of artists and activists who lived and worked at the intersections of avant-garde art worlds, radical political movements, and profound social change, the exhibition features a wide array of work, including conceptual, performance, film, and video art, as well as photography, painting, sculpture, and printmaking. Faith Ringgold, known for her quilts among other works, protested in the early 70s the Whitney Biennial’s prepondence of male artists. Ringgold also visited incarcerated women at Riker’s Island, and created a large painting there using their narratives, which is part of We Wanted a Revolution. Others artist included Alva Rogers, Alison Saar, Betye Saar, Coreen Simpson, Lorna Simpson, Ming Smith, and Carrie Mae Weems. Know before you go, with this primer from Artspace, 6 Black Radical Female Artists to Know Before You See We Wanted a Revolution: Black Radical Women, 1965–85.” If you are tied up for the next month, you have a second chance to see the exhibition at the ICA in Boston when it opens there next June 26th.
Also upcoming at the Brooklyn Museum is Roots of “The Dinner Party”: History in the Making which opens October 20, 2017 and runs through March 2018. Since the 1970s, Judy Chicago has been a pioneer in the development of feminism as an artistic movement and an educational project that endeavors to restore women’s place in history. Her most influential and widely known work is the sweeping installation The Dinner Party (1974–79), on which Judy Mulford worked, celebrating women’s achievements in Western culture in the form of a meticulously executed banquet table set for 39 mythical and historical women and honoring 999 others.Roots of “The Dinner Party”: History in the Making is the first exhibition to examine Chicago’s evolving plans for The Dinner Party in depth, detailing its development as a multilayered artwork, a triumph of community art-making, and a testament to the power of historical revisionism. Chicago’s ambitious research project combatted the absence of women from mainstream historical narratives and blazed the trail for feminist art historical methodologies in an era of social change. It also validated mediums traditionally considered the domain of women and domestic labor, as the artist studied and experimented with China painting, porcelain and needlework.

Sheila Hicks, Prayer Rug, Hand-spun wool, 87 × 43″ (221
× 109.2 cm), 1965, The Museum of Modern Art, New York. Gift of Dr. Mittelsten Schied, 1966

But that’s not all. You still have  four days to see the acclaimed MOMA exhibition, Making Space: Women Artists and Postwar Abstraction which includes 100 works that “range from the boldly gestural canvases of Lee Krasner, Helen Frankenthaler, and Joan Mitchell; the radical geometries by Lygia Clark, Lygia Pape, and Gego; and the reductive abstractions of Agnes Martin, Anne Truitt, and Jo Baer; to the fiber weavings of Magdalena Abakanowicz, Sheila Hicks, and Lenore Tawney; and the process-oriented sculptures of Lee Bontecou, Louise Bourgeois, and Eva Hesse. The exhibition will also feature many little-known treasures such as collages by Anne Ryan, photographs by Gertrudes Altschul, and recent acquisitions on view for the first time at MoMA by Ruth Asawa, Carol Rama, and Alma Woodsey Thomas.” Again, you can become well-informed before your visit (or visit online in lieu of inperson) with online resources, YouTube presentations, one when the exhibition opened and another, a tour of the exhibition with a MOMA curator.

Beginning on September 13th, the ICA, University of Pennsylvania in Philadelphia, will present Nathalie Du Pasquier: BIG OBJECTS NOT ALWAYS SILENT, a retrospective exploring the prolific creative practice of artist and designer Nathalie Du Pasquier on view from September 13 through December 23, 2017. A founding member of the Italian design collective Memphis, Du Pasquier’s work across painting, sculpture, drawing, installation and design demonstrates a unique and considered interpretation of space and objects. A catalog will accompany the exhibition. A collection of graphic and whimsical textile designs by Nathalie Du Pasquier and George Sowden has been released by 4 Spaces and Zigzag Zurich.

Nathalie Du Pasquier, Still life on my bicycle, oil on canvas, 39 x 59 inches, 2005. Courtesy of Kunsthalle Wien and the Institute of Contemporary Art at the University of Pennsylvania

Must these artists be categorized as “women artists”? That’s just one of the questions that Hampton’s artist, Toni Ross hopes to explore ina  series of conversations at LongHouse Reserve in East Hampton, New York. “In my mind this is a complex issue,” she writes. “I do believe that there are forces that confront all non-white male artists and that that conversation is evolving and changing rapidly. The Hamptons, with its rich history of artists includes many important women who broke ground for us, many whom may have been overshadowed by their more recognized partners. I look forward to the conversations in all of their complexities.” The conversations, in WOMEN ARTISTS: Reshaping the Conversation, A series of panel discussions in the LongHouse Garden will unfold in three events, beginning this Saturday:

Saturday, August 12, 11:00 am
CHRISTOPHE DE MENIL
MICHELE OKE DONER
APRIL GORNIK
UZOAMAKA MADUKA
NEDA YOUNG

Saturday, August 26, 11:00 am
JOAN JULIET BUCK
ANDREA GROVER
BARBARA ROSE
MICHELLE STUART
TERRIE SULTAN

Saturday, September 23, 11:00 am
ALICE AYCOCK
PERNILLA HOLMES
BASTIENNE SCHMIDT
ALMOND ZIGMUND
additional panelists to be announced

Reservations to these events are required. RSVP to Mr. Jack Meyer at jack.meyer@gsmltd.net, 212.271.4283.


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/nl/tentoonstelling/sheila-hicks. 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.


Influence and Evolution Update: More Influencers, North America

Details of works by Lenore Tawney, Sheila Hicks, Françoise Grossen and Mariette-Rousseau-Vermette

Details of works by Lenore Tawney, Sheila Hicks, Françoise Grossen and Mariette-Rousseau-Vermette, Photos by tom grotta

Fiber art experimentation by artist in North America including Lenore Tawney, Sheila Hicks, Françoise Grossen (a Swiss living in the US) and Mariette Rousseau-Vermette in Canada was a feature of the 1960s. The Museum of Modern Art recognized this directional shift in the seminal 1969 Wall Hangings exhibition, curated by Jack Lenor Larsen and then-MOMA curator, Mildred Constantine. The last 10 years “have caused us to revise our concepts of this craft and view the work within the context of 20th century art,” the curators explained. The exhibition featured 13

Details of works by Ed Rossbach, Sherri Smithand Kay Sekimachi

Details of works by Ed Rossbach, Sherri Smithand Kay Sekimachi, Photos by Tom Grotta

artists from North American including Tawney, Hicks, Grossen, Rousseau-Vermette, Ed Rossbach, Sherri Smith and Kay Sekimachi. “The American works tend to be more exploratory and less monumental,” the curators noted, “as illustrated by the ‘sketchy’ and transparent quality of the free-hanging, gossamer piece of nylon monofilament by Kay Sekimachi.” Sherri Smith used gradated color to reinforce the three-dimensional effect of the expanded waffle weave that forms Volcano No. 10. Several of these American artists were featured in the 4th International Tapestry Biennial in Lausanne that the same year, across the Atlantic. “What an event!” writes Erika Billeter in her historical essay, “The Lausanne Tapestry Biennials,” (16th Lausanne International Biennial: Criss-Crossings, 1995, pp. 36-53). Sheila Hicks shows a free-hanging work inspired by ancient Peruvian techniques and Françoise Grossen approaches macrame, thought to be “old hat”, says Billeter, “with such freedom, she transforms it into a hitherto unexplored contribution to this avant-garde textile art.” By 1969, Mariette Rousseau-Vermette was already a “favorite” of the Biennials, getting noticed for her “abstract and highly pictorial pieces with their highly worked surfaces.” Lenore Tawney did not have work in the 4th Biennial, but she had an influence nonetheless, through Susan

Detail of Lia Cooks TRANSLUCENCE rayon, 56" x 40", 1978, photo by Tom Grotta

Detail of Lia Cooks TRANSLUCENCE rayon, 56″ x 40″, 1978, photo by Tom Grotta

Weitzman’s Homage to Lenore Tawney, a transparent mural leaf, made solely of warp yarn. Lia Cook would join this influential group a few years later, finishing her masters degree and gaining international recognition at the 6th Biennial in 1973, with a 10-foot by 12-foot black-and-white optic weaving entitled, Space Continuum. Also gaining recognition in the

Summer and Winter Detail by Adela Akers, Photo by Tom Grotta

Summer and Winter Detail by Adela Akers, Photo by Tom Grotta

1970s, was Adela Akers whose work was included in the Inaugural Exhibition of the American Craft Museum in New York. Her work illustrates how timeless these artists’ explorations have been. “Contextualizing Adela Akers,” writes Ezra Shales, in the catalog for Influence and and Evolution, “one could say that she was born in Spain and trained in Cuba as a pharmacist before she went to Cranbrook, or that she taught at Tyler for decades, but one could not, relying on eye and hand alone, place [her] works as a fixed chronology with any absolute surety.” Works by Tawney, Hicks, Grossen, Rousseau-Vermette, Rossbach, Smith, Cook, Sekimachi and Akers from the 1960s through the 2000s will be among those featured in Influence and Evolution: Fiber Sculpture…then and now at browngrotta arts, Wilton, Connecticut from April 24th through May 3rd. The Artists Reception and Opening is on Saturday April 25th, 1pm to 6pm. The hours for Sunday April 26th through May 3rd are 10am to 5pm. To make an appointment earlier than 10am or later than 5pm, call: 203-834-0623.


The Resurgence of Interest in Fiber Sculpture and Art Textiles Will Continue in 2015

Last year was an extraordinary one for those of us who appreciate contemporary art fiber and art textiles. More than 10 exhibitions opened in the US and abroad. In October, the art newspaper reported that “textiles are gaining international stature in art museums” and further that “[c]ommercial interest is on the rise,” quoting art advisor Emily Tsingou: “Textile [art] has entered the mainstream.” Soft Fabrics-Have Solid Appeal. Below is a roundup of exhibitions and reviews from last year and a guide to what to expect in 2015.

Mainstream attention began with the coverage of Sheila Hicks‘ inclusion

Sheila Hicks, Pillar of Inquiry/Supple Column, 2013-14 (installation view, Whitney Museum of American Art, New York). Photograph by Bill Orcutt

in the Whitney Biennial in March and was followed by coverage of the restoration of her remarkable 1960s tapestries at the Ford Foundation in New York Sheila Hicks Tapestries to Again Hang at Ford Foundation. In June, the Art Institute of Chicago’s textile galleries reopened, featuring 96-year-old Ethel Stein’s work, in Ethel Stein, Master Weaver.art institute of Chicago logo

September saw three fiber-related exhibitions; the Museum of Arts and Design opened What Would Mrs. Webb Do? A Founder’s Vision (closes

Kay Sekimachi, Ed Rossbach, Françoise Grossen, Katherine Westphal and others Museum of Art Design installation of What Would Mrs Webb Do?, Photo by Tom grotta


February 8, 2015),Kay Sekimachi, Ed Rossbach, Françoise Grossen, Katherine Westphal and others Museum of Art Design installation of What Would Mrs Webb Do?, Photo by Tom grotta

February 8, 2015), which featured significant textiles from the permanent collection by Anni Albers, Kay Sekimachi, Katherine Westphal, Ed Rossbach, Françoise Grossen and Trude Guermonprez, while The Drawing Center’s: Thread-Lines offered Anne Wilson creating fiber art in situ

Ann Wilson’s In Situ Performance at the Drawing Center, photo by tom Grotta

Ann Wilson’s In Situ Performance at the Drawing Center, photo by Tom Grotta

together with a collection of works by Lenore Tawney, Louise Bourgeois and others. Contemporary 108 in Tulsa, Oklahoma, featured a series of large photographic weavings by Aleksandra Stoyanov of the Ukraine

Aleksandra Stoyanov Tefen Open Museum exhibition traveled to Contemporary 108 in Tulsa, Oklahoma, photo copyright Tefen Open Museum

Contemporary 108 in Tulsa, Oklahoma, curated from the 2013 “Aleksandra Stoyanov” Tefen Open Museum, Israel exhibition. photo copyright Tefen Open Museum

and now Israel, described as “warp and weft paintings.”

In October, Fiber: Sculpture 1960 – present, opened at the Institute of Contemporary Art in Boston with works by 34 artists including

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

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

Magdalena Abakanowicz, Ritzi Jacobi and Naomi Kobayashi. The Boston Globe called the exhibition “[s]plendid, viscerally engaging…groundbreaking;” the exhibition catalog (available at browngrotta.com) was pronounced by Blouin art info, “an amazing resource for anyone interested in learning more about the medium.” Art Info – Art in the Air Fiber Sculpture 1960 Present October also saw a survey of the work of sculptor and poet, Richard Tuttle, at the Tate in London, Richard Tuttle: tuttle.tate.modern
I Don’t Know, Or The Weave of Textile Language in which Tuttle investigated the importance of textiles throughout history, across his remarkable body of work and into the latest developments in his practice. Tate Modern – Richard Tuttle I Don’t Know or Weave Textile Language

Throughout the year, Innovators and Legends, with work by 50 fiber
Innovators.Legends
artists, including Adela Akers, Nick Cave, Katherine Westphal and Sherri Smith toured the US, exhibiting at museums in Colorado, Iowa and Kentucky. The fiber fanfest culminated at Art Basel in Miami Beach in December, where Blouin’s Art Info identified a full complement of fiber works and textiles in its listing, “Definitive Top 11 Booths, “ including Alexandra da Cunha’s compositions of mass-produced beach towels and various colored fabrics at Thomas Dane Gallery, a Rosemarie Trockel embroidered work at Galerie 1900-2000, marble and dyed-fabric pieces by Sam Moyer at Galerie Rodolphe Janssen and woven paintings by Brent Wadden at Mitchell-Innes & Nash Blouin Art info – The Definitive Top-11 Booths at Art Basel Miami Beach.

And what’s ahead in 2015?

More auctions and exhibitions that include fiber sculpture and art textiles are scheduled for 2015. Fiber: Sculpture 1960 – present will

wexner.center.logo
open at the Wexner Center for the Arts, Columbus, Ohio on February 7th and travel to the Des Moines Art Center, Iowa in May. BCA_color_studyInnovators and Legends will open at contemporary 108 in Tulsa, Oklahoma in February, as well. In April, the Tate in London will open The EY Exhibition: Sonia Delaunay, which will show how the artist

Sonia Delaunay Tate Modern

Sonia Delaunay Prismes electriques 1914 Centre Pompidou Collection, Mnam / Cci, Paris © Pracusa 2013057

dedicated her life to experimenting with color and abstraction, bringing her ideas off the canvas and into the world through tapestry, textiles, mosaic and fashion.

Also in April, the Museum of Arts and Design will host Pathmakers:

Lenore Tawney in her Coenties Slip studio, New York, 1958. Courtesy of Lenore G. Tawney Foundation; Photo by David Attie

Lenore Tawney in her Coenties Slip studio, New York, 1958.
Courtesy of Lenore G. Tawney Foundation; Photo by David Attie

Women in Art, Craft and Design, Midcentury and Today, featuring work by Sheila Hicks,  Lenore Tawney and Dorothy Liebes http://madmuseum.org/exhibition/pathmakers.

In June, the Toms Pauli Foundation in Lausanne, Switzerland will celebrate the International Tapestry Biennials held there from 1962 to toms.pauli.logo1995 and display work by the Polish textile artist and sculptor Magdalena Abakanowicz, in an exhibition entitled, Objective Station.

Also this summer, the Musée d’Art Contemporain de Baie St Paul in Musée.d'Art.ContemporaindeBaie.StPaul

Mariette Rousseau Vermette Portrait by Tom Grotta

Mariette Rousseau Vermette Portrait by Tom Grotta

Quebec, Canada will examine the work of Mariette Rousseau-Vermette, who participated in five of the Lausanne Biennials.

From April 24 – May 3, 2015, browngrotta arts will host Influence and Evolution, Fiber Sculpture then and now at our barn/home/gallery space in Wilton, Connecticut. In its 27-year history, browngrotta arts

InfluenceandEvolutionAdhas highlighted a group of artists – Sheila Hicks, Ritzi Jacobi, Lenore Tawney, Ed Rossbach and others – who took textiles off the wall in the 60s and 70s to create three-dimensional fiber sculpture. The influence of their experiments has been felt for decades. Influence and Evolution, Fiber Sculpture then and now, will explore that impact and examine how artists have used textile materials and techniques in the decades since, by juxtaposing works by artists who rebelled against tapestry tradition in the 60s, 70s and 80s,

Françoise Grossen, From the Mermaid Series IV, 1983, photo by Tom Grotta

Françoise Grossen, From the Mermaid Series IV, 1983, photo by Tom Grotta

including Magdalena Abakanowicz, Lia Cook, Kay Sekimachi and Françoise Grossen, with works from a later generation of artists, all born after 1960, through whom fiber sculpture continues to evolve. These artists, including María Eugenia Dávila and Eduardo Portillo of Venezuela, Stéphanie Jacques of Belgium and Naoko Serino of Japan, work in a time when classification of medium and material presents less of a constraint and fiber and fiber techniques can be more readily explored for their expressive potential alone.

“It is rare to find so many inventive, compelling works in one show, and it astounds that many are so little known,” wrote Kirsten Swenson in Art in America, about Fiber: Sculpture 1960 – present, in October 2014. Art in America Magazine – reviews: Fiber Sculpture 1960-present. This spring, in Influence and Evolutionbrowngrotta arts will offer dozens more significant works of fiber art for collectors to appreciate and new audiences to discover — more than two dozen works by fiber pioneers and another 30 more recent fiber explorations. We hope you will visit the exhibition, order the catalog or both. Please contact us for more information about what’s in store. art@browngrotta.com


Don’t Miss: Anne Wilson’s Performances and Thread Lines at The Drawing Center in New York

Anne Wilson’s In Situ Performance at the Drawing Center, photo by tom Grotta

Anne Wilson’s In Situ Performance at the Drawing Center, photo by Tom Grotta

We watched one of the Anne Wilson’s mesmerizing weaving in situ performances at The Drawing Center on Thursday. Titled To Cross (Walking New York), the performance was conceived when Ms. Wilson discovered that The Drawing Center’s SoHo building was originally built in 1866 for the Positive Motion Loom Company. In it, the artist uses the main gallery’s four central columns as a weaving loom. Four participants walk around the 12-foot columns, carrying a spool of thread to form a standard weaving cross (a method used to keep warp threads in order). The effect is meditative as the walker/weavers slowly move in a deliberate pattern and ethereal as shadowy figures are viewed through the threads of the work in progress. When concluded, the result will be a 5- x 34-foot foot sculpture: a colorful cross composed of innumerable strands of thread. There are three performances remaining: Sunday, October 26th, 12:30-5:30 p.m.; Saturday, November 1st, 12:30-5:30 p.m. and Sunday, November 2nd, 12:30-5:30 p.m. Find more information on those at: http://www.drawingcenter.org/en/drawingcenter/20/events/21/public-programs/879/Anne_Wilson_Performance/. If you can’t get to The Drawing Center for one of the performances, there’s a vimeo, http://thebottomline.drawingcenter.org/2014/09/30/anne-wilson-to-cross-walking-new-york-2014/, but by all means, go and see the exhibition, Thread Lines, as it is well worth a trip.

Lenore Tawney Drawing Center installation, UNION OF WATER AND FIRE linen weaving and pen and ink drawing. Photo by Tom Grotta

Lenore Tawney Drawing Center installation, UNION OF WATER AND FIRE linen weaving and pen and ink drawing. Photo by Tom Grotta

On display through December 14, 2014, the exhibition contains a thoughtful combination of works by 16 artists who engage in sewing, knitting and weaving to create works that “activate the expressive and conceptual potential of line and illuminate affinities between the mediums of textile and drawing.” As the catalog essay by curator, Jessica Kleinberg Romanow, explains, the exhibition joins the pioneers, including Lenore Tawney, Sheila Hicks and Louis Bourgeois, “who first unraveled the distinction between textile and art” and “a ‘new wave’ of younger practitioners who have inherited and have expanded upon their groundbreaking gestures.”

Sheila Hicks Drawing Center installation of her miniatures. Photo by Tom Grotta

Sheila Hicks Drawing Center installation of her miniatures. Photo by Tom Grotta

The combination, wrote Karen Rosenberg in The New York Times, http://www.nytimes.com/2014/10/17/arts/design/thread-lines.html?ref=design&_r=0, “sets up some smart intergenerational conversations.” The Drawing Center is in Soho at 35 Wooster, New York, New York; 212.219.2166; info@drawingcenter.org; http://www.drawingcenter.org.

Anne Wilson’s In Situ Performance at the Drawing Center. Photo by Tom Grotta

Anne Wilson’s In Situ Performance at the Drawing Center. Photo by Tom Grotta


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 Events: Must-See NYC Exhibition Opens at the Drawing Center This Month

Sheila Hicks, COMPRESSE II, linen, 14" x 26", 1967, photo © Tom Grotta

Sheila Hicks, COMPRESSE II, linen, 14″ x 26″, 1967, photo © Tom Grotta

Thread Lines opens at New York’s Drawing Center next week on September 19th and runs through December 14th. Blouin ArtInfo declares it one of Fall’s NYC’s “Must-See Shows,” noting, “There’s been a lot of buzz around textile-based artworks lately, with some exemplary pieces making their way into major museum surveys — a great example being Sheila Hicks’s cascading fiber column piece in the last Whitney Biennial.” (Editor’s Note: Not a moment too soon!!) Hicks is one of 16 artists in the exhibition,

UNION OF WATER AND FIRE, Lenore Tawney, linen, 38" x 36", 1974, photo ©Tom Grotta

UNION OF WATER AND FIRE, Lenore Tawney, linen, 38″ x 36″, 1974, photo ©Tom Grotta

which also includes work by Lenore Tawney and Robert Otto Epstein. Including work from the mid-1960s to the present, Thread Lines will feature 16 artists who sew, stitch and weave to create works “that activate the expressive and conceptual potential of line and illuminate affinities between the mediums of textile and drawing.” The exhibition also includes a site-specific performance work by Anne Wilson, conceived when she discovered that The Drawing Center’s SoHo building was originally built in 1866 for the Positive Motion Loom Company. The performance, which takes place over the course of two months, will use the main gallery’s four central columns as a weaving loom and will result in the fabrication of a five by thirty-four foot sculpture: a colorful cross composed of innumerable strands of thread. Performance times can be found here: . The Drawing Center
is at 35 Wooster Street, New York, NY, 10013; for more information: telephone: 212.219.2166; fax: 888.380.3362; email: info@drawingcenter.org.


The Year in Books: Art, Life and Learning — Part 2

RichardDiebenkornAs always, art books are well represented among this year’s recommendations from browngrotta arts-affiliated artists, and at least one of the volumes offers life lessons, too.  Adela Akers writes that “the best books so far this year are the Diebenkorn catalogs for the exhibition at the de Young Museum,” which includes, Richard Diebenkorn, The Berkeley Years, 1953- 1966. Adela also recommends The Intimate Diebenkorn: Works on Paper 1949-1992, both as “good reads that include wonderful reproductions.” 39b.SHEILA.HICKSThe comprehensive volume,  Kyoko_Kumai_bookWorks of Kyoko Kumai Metallic Textile Art, published earlier this year tops Kyoko Kumai’s list. The book’s text appears in English and Japanese and it includes a digital version of the book on cd. Naomi Kobayashi recommends  Sheila Hicks for its content and beautiful binding.  The.Hare.with.Amber.EyesKay Sekimachi listed The Hare with Amber Eyes. In it, Edmund de Waal,  a potter and curator of ceramics at the Victoria & Albert Museum, describes the experiences of his family, the Ephrussis, and explores the family’s large collection of Japanese netsuke, tiny hand-carved figures including a hare with amber eyes. La_Biennale_di_VeneziaIn Heidrun Schimmel’s view, the 55. Esposizione Internazionale d´Arte  was one of the best Biennials in Venice ever, and she enthused about the accompanying catalog, The Encyclopedic Palace, 55th International Art Exhibition: La Biennale di Venezia. Its title was chosen by the director for the 55th Biennale as a reference to the 1955 design registered with the US Patent office by the self-taught artist Marino Auriti, depicting an imaginary museum that was meant to house all worldly knowledge and human discoveries, from the wheel to the satellite.  On the opposite side of Canale Grande writes Heidrun, “there is an important exhibition, Prima Materia, Punta della Dogana, Venezia, Dorsoduro, Pinault Collection, especially for artists who are working with material as matter. This exhibition continues through 2014, and is accompanied by a very good catalog, Caroline Bourgeois and Michael GovanPrima Materia,  edited by curators Caroline Bourgeois and Michael Govan.”  Visual Complexity: Mapping Patterns of Information by Manuel LimRandy Walker  read Visual Complexity: Mapping Patterns of Information by Manuel Lima this year.  “To me, network diagrams and their many variations are highly suggestive of fibrous connections. I am experimenting with the idea of my lines as connectors of different types of information.  The information can generate the connections. The book played an inspirational role in a new public art project I working on with Roosevelt High School here in Minneapolis to explore the network diagram in three dimensions. Here’s a link to the Kickstarter campaign to raise money for the project: Connections Gallery.”

Scrape_Willow_Until_It_Sings_Words_Work_Julia_ParkerAnd From Gyöngy Laky, a recommendation for a book and a for approaching life.  “Two artists I admire enormously, Julia Parker and Deborah Valoma, created, Scrape the Willow Until It Sings, The Words and Work of Julia Parker, one of the best books on basketry, life and art I have ever read. It was published this year by an exceptional book publisher, Heyday, Berkeley, California. Native American basketry, especially the work of indigenous people in California, has been, and continues to be, a major inspiration to me and my creative life. Julia Parker and the author Deborah ValomaValoma writes in the introduction, Julia Parker and other traditional practitioners have much to teach those of us in the academy. I would add, and to those not in the academy, as well. The vast personal experiences, broad and deep scope of historical evidence and creative wisdom that these two thoughtful women have brought together in this book is a gift to us all. Near the end I found a something that Parker said that feels like a guide: In our story – in our Indian way – we stop, look, and listen.  Stop. Think about yourself.  Rest yourself.  Rest your eyes, your hands.  Rest your body.  Look.  Look about you. Look at the smallest insect.  Look at the tallest trees, which have given us shelter and food.  And we listen.  Listen to the sound of the water flowing.  Listen to your elders, your teachers.  Listen to your grandmother, your grandfather, your parents.  And above all, listen to yourself.


Exhibit News: FiberPhiladelphia 2012

This weekend marks the opening of FiberPhiladelphia is an international biennial and regional festival for innovative fiber/textile art.Pick up a copy of the FiberPhiladelphia directory, with all the venues listed (there’s even an app to help you get directions). You’ll see our 25th Anniversary ad in the Directory, featuring work by Ritzi Jacobi and Mary Merkel-Hess, and an ad for SOFA NY featuring a concrete basket by Klaus Titze and a much-appreciated congratulations to us. Among the Philadelphia exhibitions we hope to visit later this month: Distinguished Educators, at the Crane Arts Building: Grey Area, 1440 North American Street through April 12th which includes celebrates significant artist/mentors who have shaped the field:

WINTER GOLD, Adelea Akers, Linen, horsehair, paint & metal 30" x 72", 2011

Adela Akers, Lewis Knauss, Gerhardt Knodel, Gyongy Laky, Joan Livingstone, Rebecca Medel, Jason Pollen, Cynthia Schira, Warren Seelig, Deborah C. Warner, Carol Westfall, Pat Hickman, solo and in collaboration with the late Lillian Elliott; Andrea Donnelly: Binary, Sondra Sherman: Found Subjects at the Philadelphia Art Alliance, 251 South 18th Street, through April 21st; and Secret Garden, which includes work by Lenore Tawney, Mary Merkel-Hess, Ted Hallman, Sheila Hicks,
and Jim Hodges at the Philadelphia Museum of Art, Perelman Building, Fairmount and Pennsylvania Avenues, through July.
Visit the FiberPhiladelphia website for complete details. http://www.fiberphiladelphia.org/fiberphiladelphia_exhibitions_2012

 


Spinning Straw Into Gold: ACC Gold Medalists and Fellows at SOFA Chicago and Online

5R CEDAR EXPORT BUNDLE. Ed Rossbach, plaited cedar bark from Washington state with heat transfer drawing, waxed linen, rayon and rags, 5.5" x 11" x 9", 1993, ©Tom Grotta, 2011

This year at SOFA Chicago (November 4-6) the American Craft Council (ACC) will recognize 28 artists who have been awarded an ACC Gold Medal between 1994 and 2010 in a display at the Navy Pier, curated by Michael Monroe. The ACC awards recognize those who have demonstrated outstanding artistic achievement and leadership in the field for 25 years or more.  Since 1981, the ACC has selected just under four dozen artists working in Fiber to receive a Gold Medal for consummate craftsmanship and/or join its College of Fellows.  We’ve mounted an online exhibition of 21 these artists on our website, browngrotta.com, under Awards. Many of these artists are featured in the catalogs published by browngrotta arts and in the videos and other publications we offer. http://www.browngrotta.com/Pages/catalogs.php Works by Fellows and Medalists  Adela Akers, Dorothy Gill Barnes , Lia Cook, Helena Hernmarck, Gyöngy Laky, John McQueen and Norma Minkowitz are featured in our current exhibition,  Stimulus: art and its inceptionEnjoy the show.