And the Winner Is … Loewe Celebrates Art and Artisans

Polly Adams Sutton Loewe
Ebb Tide in Loewe exhibition in Paris, France. Photo by Polly Adams Sutton. 

Too often we hear about corporations that are using creators’ works — art and music — without permission (https://www.artsy.net/article/artsy-editorial-graffiti-artists-fighting-brands-steal-work). Many raise concerns about AI borrowing and boosting artwork without attribution or compensation (https://www.newyorker.com/culture/infinite-scroll/is-ai-art-stealing-from-artists). So it’s gratifying to learn about the efforts of Loewe, a corporation that celebrates and collaborates with artists rather than cannibalizing their work. 

Loewe is a luxury fashion house founded in 1846 by a group of Spanish leather craftsmen. Loewe’s efforts to support the arts are severalfold — it organizes exhibitions, promotes a prestigious international art competition, and creates artist-inspired capsule collections. It created a foundation in 1988, which supports international prizes for craft and poetry, collaborates with major arts festivals, and also supports other art, photography, and dance. The Foundation sponsors the Loewe Foundation Craft Prize, an international award celebrating exceptional craftsmanship. Through the Prize, the Foundation aims to discover uniquely talented artisans with the vision and innovative drive to set new standards for the future of craft. The Prize ecognizes those who combine tradition, modernity, and a unique artistic concept. Like browngrotta arts aims to do, the Loewe Prize elevates artists who contribute continuously to contemporary culture through a contemporary reinterpretation of tradition. 

Jiro Yonezawa, leather basket
Jiro Yonezawa crafting LOEWE leather into unique pieces at milan design week 2019. Photo courtesy of Loewe.

In 2019, for example, as part of Milan Design Week, Loewe installed an exhibition that placed a spotlight on basketmaking, divided into two installments — inspiration and collection. As part of that project, Loewe’s creative director, Jonathan Anderson, invited Japanese artist Jiro Yonezawa to creaft one off pieces in which he swapped the strips of bamboo, with which he usually works, for naturally dyed Loewe leather.

Mercedes Vicente, Yeonsoon Chang, Gerne Jacobs, Simone Pheulpin, Jiro Yonezawa, Kay Sekimachi
clockwise details of works by: Mercedes Vicente, Yeonsoon Chang, Ferne Jacobs, Simone Pheulpin, Jiro Yonezawa, Kay Sekimachi. Photos by Tom Grotta

Several of the artists that work with browngrotta arts have made the Loewe Foundation Craft Prize short list, including Mercedes VicenteYeonsoon Chang, Ferne Jacobs, and Simone Pheulpin, who was awarded the Honor Prize in 2018. Finalists are brought to Europe for the award presentation. For Polly Adams Sutton, who made the short list in 2024, that meant a trip to Paris to see her work installed. “What an amazing privilege it was!” she says of the competition. “By providing a means for craft artists of all mediums to be recognized as Art, Loewe elevates the crafts as legitimate forms of art. Loewe creations may use craft as inspiration for their work but the craft prize has been created solely for the artists to be honored and to give craft its place in the art world.”

Kay Sekimachi Loewe bags
Loewe bags inspired by Kay Sekimachi’s work. Photo by Tom Grotta

Loewe also works with artists to create specially curated collections, inspired by the artists’ work. This year, Loewe partnered with Kay Sekimachi to create a limited-edition collection of handbags that showcase her pioneering work in loom weaving and draw upon Sekimachi’s 1999 “Takarabako” series. The Puzzle Fold Tote and Bucket Bag are crafted in cotton jacquard with a calfskin base and details, and feature a gold embossed motif with Sekimachi’s name. The project was licensed by Artists Rights Society.

Kudos to the artists honored and to Loewe and its commitment to craft.


Art Assembled – New This Week in October

As October comes to a close, we’re filled with excitement as we prepare for our upcoming exhibition, Japandi Revisited: shared aesthetics and influences, opening December 7, 2024, and running through January 25, 2025 at the Wayne Art Center in Wayne, Pennsylvania Three years ago, we curated a fascinating exhibition at browngrotta arts that delved into the inspirations shared by artists in Japan and Scandinavian countries—Sweden, Finland, Norway, and Denmark. The stories and artistic references we uncovered were so compelling that we decided to revisit this rich dialogue this winter at the Wayne Art Center. We can’t wait to share these insights with you!

Throughout October, our New This Week series introduced an array of talented artists, including Ed Rossbach, Norma Minkowitz, Laura Thomas, and Noriko Takamiya. We’re thrilled to showcase their remarkable contributions and invite you to explore their extraordinary work.

Ed Rossbach
220r Chief, Ed Rossbach, ash splints, found objects, 11.75″ x 10.5″ x 11″, 1990. Photo by Tom Grotta.

Ed Rossbach kicked off the month with his iconic sculptures that meld traditional techniques with innovative materials. Renowned as an imaginative and adept weaver, Rossbach is celebrated for his pioneering role in transforming basketry into a sculptural art form.

Rossbach expertly combines ancient weaving techniques with unorthodox materials, such as plastics and newspaper, challenging the boundaries of traditional craft. Additionally, his work often incorporates unconventional imagery and pop culture references, reflecting his innovative spirit and cultural commentary. With an eye for detail and a commitment to experimentation, Rossbach’s pieces are not only visually striking but also carry notable cultural significance.

Norma Minkowitz
Norma Minkowitz, 114nm The Seeker
pen and ink drawing, 20.25” x 16.25” x 1.5”, 2014. Photo by Tom Grotta.

Next, we featured the talented artist Norma Minkowitz, known for her innovative approach to crocheted, interlaced sculptures that are stiffened into hard mesh-like structures. For many years, Minkowitz has been exploring these techniques, achieving both structure and surface simultaneously. Minkowitz has studied drawing. In addition to “sketching” in crochet, she creates highly detailed collages with intricate drawing combined with pop and other images, like Picasso’s eyes in The Seekers.

A Fellow of the American Craft Council, Minkowitz’s work is held in numerous prestigious collections, including the Metropolitan Museum of Art and the Smithsonian American Art Museum. We hope you enjoyed her work as much as we do!

Laura Thomas
12lt Cross, Laura Thomas, handwoven silk, cotton, resist indigo dye, 11″ x 11″ x 1.75″, 2023

Following Minkowitz, we turned our spotlight to artist Laura Thomas, known for her innovative approach to contemporary textiles. Since her first experience of weaving in 1996, Thomas has been thoroughly absorbed by its infinite scope for exploration and experimentation. She established her studio practice in South Wales in 2004 and has worked on a diverse range of projects, spanning public art, commercial textile design, curation, artist residencies, and creating work for exhibitions.

Thomas’s multi-faceted approach sets her apart in the woven textiles sphere, making her a distinctive voice in contemporary textile art.

Noriko Takamiya
34nt Revolving Cross, Noriko Takamiya, paper, 5.5″ x 7.75″ x 4.5″, 2024. Photo by Tom Grotta.

Lastly, we showcased Noriko Takamiya, celebrated for her contemporary take on traditional Japanese basketmaking techniques. Takamiya’s practice is a captivating blend of experimentation and refinement, as she explores various weaving methods using materials such as wood splint, ramie, rice straw, and paper.

Her work often features non-vessel forms that highlight the unique interplay between structure and material. Takamiya is a member of a distinguished group of innovative basketmakers, inspired by Hisako Sekijima’s pioneering basket technology, which has evolved into a new method of three-dimensional modeling. This influential group has held an annual basketry exhibition since 1986, continually pushing the boundaries of basketry and significantly contributing to the field.

As we wrap up October, we’re grateful for your continued support and interest in our artists. Stay tuned for more exciting updates as we approach the opening of Japandi Revisited and keep exploring the incredible world of textile art!

Thank you for following along with our latest features and updates. Don’t forget to reserve your spot for the upcoming exhibition, and we look forward to sharing more details soon!


Save the Date: Japandí Revisited in Wayne, PA, December 7, 2024 to January 25, 2025

Willow basket by Mark Kosonen, Indigo banner by Hiroyuki Shindo
54mk Willow Cat Basket, Markku Kosonen sibirica, satix phylicifalia, 7″ x 11.5″ x 11″, 1990
4hsh.1 Wall Hanging, Hiroyuki Shindo, linen, handspun and handwoven, indigo dye, 69″ x 17″ , 1995. Photo by Tom Grotta

It turned out so nice, we decided to do it twice. Three years ago we curated an exhibition at browngrotta arts exploring the inspirations shared by artists in Japan and the Scandinavian countries, Sweden, Finland, Norway, and Denmark. We uncovered so many interesting stories and artistic references among the artists we work with we’ve decided to revisit this topic again this winter at the Wayne Art Center in Wayne, Pennsylvania. Japandí Revisited: shared aesthetics and influences will open on December 7, 2024 and run through January 25, 2025. 

Basket Strings by Birgit Birkkjaer
102bb Woven Art Basket Strings, Birgit Birkkjaer, linen, paper, horsehair, hemp yarn, silk-steel, yarn, glue, 61″ x 35″ x 4″, 2024. Photo by Tom Grotta

The Ethel Sergeant Clark Smith Gallery at the Wayne Art Center is spacious and bright and an inviting space. Vistors to Wayne will see some familiar works alongside new ones, from Birgit Birkkjaer, Hiroyuki Shindo, and Naoko SerinoJapandí Revisited will also feature artists new to our Japandí assemblage, including Shoko FukudaToshiko TakaezuAya KajiwaraKogetsu Kosuge, and Hiroko Sato-Pijanowski.

Åse Ljones and Naoko Serino
Åse Ljones, 16al Dobbel Domino, hand embroidery on linen, stretched on frame, 56.675″ x 57″ x 2.5″, 2015
Naoko Serino, Generating 9, jute, 30″ x 30″ x 7″, 2014. Photos by Tom Grotta

Japandí in design is a fusion style that references shared aspects of Scandinavian and Japanese aesthetics.  “It is the East-meets-West design movement. It blends Japanese artistic elements and wabi-sabi philosophy with Scandinavian comfort and warmth or hygge,” Shanty Wijaya, an interior designer and owner of AllPrace told Architectural Digest in 2023“Both Japanese and Scandinavian design aesthetics are focused on simplicity, natural elements, comfort, and sustainability. It teaches us to find beauty in imperfection, form deep connections to the earth and nature, and enjoy the simple pleasures of life.”   

paper boat sculpture by Jane Balsgaard
38jb Relief, Jane Balsgaard, iron, bamboo, willow, fishing line and handmade plantpaper, 74″ x 18″ x 12″, 2014. Photo by Tom Grotta

There are four elements highlighted in Japandí Revisted — natural materials and sustainability, minimalism, exquisite craftsmanship and, as Wijaya notes, similarities between the Japanese concept of wabi-sabi and the Scandinavian concept of hygge. A respect for materials is found in both cultures. Danish artist Jane Balsgaard spent time in Japan in 1993 and 1998, preparing for exhibits there. Works of paper and twigs were the result. In her work, white paper often contrasts the dark color of the willow twigs.  “Another element in [Balsgaard’s] works that has connection to Japan,” writes Mirjam Golfer-Jørgensen, “is the skeleton, that partly frames the paper, partly combines with the hollows in the constuction, and gives another character to the paper that with a lightness that creates a contrast towards to the hollows.” (Influences from Japan in Danish Art and Design 1870 – 2010, Mirjam Golfer-Jørgensen, Danish Architectural Press, 2013.)

Gudren Pagter and Keiji Nio
5gp Framed, Gudrun Pagter, linen, sisal and flax, 65” x 60”, 2018
14kn Large Interlacing – R, Keiji Nio, nylon fiber, 54″ x 54″ x 15.5″, 2004. Photo by Tom Grotta

These cultures share is an affinity for purity, minimalism, and simplicity. Danish artist Grethe Wittrock’s work includes expanses of twisted paper strands in single colors — minimal and simple yet powerful expressions of what Finnish Designer Alvar Aalto called “the language of materials.” Wittrock observed the similar appreciation for minimalism firsthand when she traveled to Japan and studied with Japanese paper makers and renowned indigo dyer, Shihoko Fukomoto. “I started to uncover what Nordic sensibilities are by living abroad,” Wittrock says. “I lived in Kyoto, and saw an aesthetic in Japanese design similar to the Nordic tradition. You could say that there is an agreement that less is more. As they say in the Nordic countries ‘even less is even more.’” Gudrun Pagter is another Danish artist whose abstract works in primary colors reflect the modernism for which Scandinavia is known. “From the exotic and foreign land we find an aesthetically common understanding of a minimalist idiom,” Pagter says, “an understanding of the core of a composition — that is, cutting off everything ‘unnecessary.’”

Grethe Wittrock and Jiro Yonezawa
Grethe Wittrock , 2gr The Second Cousin, white paperyarn knotted on steelplate, 67” x 78.75”, 2006
Jiro Yonezawa, 100jy Red Fossil 20−4, bamboo, urushi laquer, 22.5” x 21.25” x 21”, 2020. Photo by Tom Grotta

Meticulous craftsmanship is another element heralded in Japandí. Stainless steel fibers are masterfully incorporated into the work of three of the artists in this exhibition. Agneta Hobin of Finland weaves the fine threads into mesh, incorporating mica and folding the material into shapes — fans, strips, and bridges. Jin-Sook So’s work is informed by time spent in Korea, Sweden, and Japan. She uses transparent stainless steel mesh cloth, folded, stitched, painted and electroplated to create shimmering objects for the wall or tabletop. The past and present are referenced in So’s work in ways that are strikingly modern and original.  She has used steel mesh to create contemporary Korean pojagi and to re-envision common objects — chairs, boxes and bowls. Kyoko Kumai of Japan spins the fibers into ethereal, silver landscapes.

Toshio Sekiji and Eva Vargö
Toshio Sekiji, 34ts Counterpoint 8, Korean newspapers; black urushi lacquer, 28″ x 25″ x 4″, 2009
Eva Vargö, 6ev No. 55 (Book of Changes), linen, thread, paper strings, gold leaves, 31.75” x 29.375” x 1.5,” 2019. Photo by Tom Grotta

Several artists in the Japandí exhibition evidence an appreciation for repurposing materials as wabi-sabi envisions. Toshio Sekiji’s works are made of newspapers from Japan, India and the US and even maps from Jerusalem. Paper is a material that creates an atmosphere as well as art. Eva Vargö, a Swedish artist who has spent many years in Japan, describes how washi paper, when produced in the traditional way, has a special quality — light filters through paper from lamps and shoji screen doors creates a warm and special feeling, in keeping with the appreciation of the imperfect embodied in wabi-sabi and wellness and contentment in hygge.

A sneak peek — here’s the Wayne exhibition in 2-D. Photo by Tom Grotta.

We hope you can make it to Pennsylvania this winter!


Art Out and About: Fall 2024

It’s Fall, which means a new crop of exhibitions in the US and abroad. We took a day off after Ways of Seeing, our recent exhibition, closed, and visited two exhibitions in our neighborhood, but there are others to see — from Washington, DC to Greencastle, Indiana to Dussedorf, Germany.

Tara Donovan
Aggregations by Tara Donovan at The Bruce Museum. Photo by Tom Grotta

Tara Donovan: Aggregations
Through March 9, 2025
The Bruce Museum
1 Museum Drive
Greenwich, CT 06830

“Known for her experimentation with materials and her rigorous, labor-intensive process, Tara Donovan is something of an alchemist. She transforms the mundane and familiar into the strange and otherworldly, even as her works approximate things found in the natural world. At the the Bruce, the artist explores the additive effects of “accumulating identical objects,” or aggregations, in which she layers and combines materials together to complicate visual distinctions between part and whole. The final monumental work inhabits the gallery with an almost animate presence, calling to mind a mineral or petrified plant.

Kumi Yamashita
Portraits by Kumi Yamashita at The Flinn Gallery. Photo by Tom Grotta

The Elusive Art of Kumi Yamashita
Through November 6, 2024
Flinn Gallery
Greenwich Library
101 West Putnam Avenue, Second Floor
Greenwich, CT 06830

Kumi Yamashita uses a series of techniques and simple materials to creating intriguing works of art. Discussing her shadow art series, Yamashita explains, “I sculpt using both light and shadow. I construct single or multiple objects and place them in relation to a single light source. The complete artwork is therefore comprised of both the material (the solid objects) and the immaterial (the light or shadow).” The exhibition also features provocative portraits crafted by meticulously winding a single, unbroken sewing thread around thousands of small galvanized nails and portraits on sheets created by stamping with vibram shoe soles.

Sheila Hicks
Sheila Hicks, Labyrinthe du paradis, 2024, Photo: Claire Dorn, © VG Bild-Kunst, Bonn 2024

Sheila Hicks
Through February 23, 2025
Kunsthalle Düsseldorf  (Opening Friday, October 11 at 6pm)
Josef Albers Museum Quadrat Bottrop (Opening Saturday, October 12 at 2pm)
Dusseldorf and Bottrop, Germany

Opening this Fall, the Josef Albers Museum Quadrat Bottrop and the  Kunsthalle Düsseldorf will present the first major solo exhibition of Sheila Hicks (b. 1934) across two cities. Comprising a total of 140 works from all creative periods, the collaborative presentation provides a comprehensive overview of the the artist’s multifaceted oeuvre for the first time in Germany.Sheila Hicks’ unique practice unfolds in the interplay between material, color, and space: in large and small-format wall works, tapestries, reliefs, sculptures, and installations, the seemingly infinite possibilities of these three dimensions unfurl. “What can you do with thread?” is the question that the artist has tirelessly explored since studying with Josef Albers at the Yale School of Art in the 1950s. 

DY Begay
DY Begay and her work. Photos by Helena Hernmarck

Sublime Light: Tapestry Art of DY Begay
Through July 13, 2025 
National Museum of the American Indian
National Mall
Fourth Street & Independence Avenue
Washington, DC 20560

Sublime Light: Tapestry Art of DY Begay celebrates more than three decades of innovation by fiber artist DY Begay (Diné [Navajo], b. 1953). As the materials from National Museum of the American Indian explain, “Begay’s tapestry art is at once fundamentally modern and essentially Diné, each work an exploration of the artist’s passion for experiencing and interpreting her world. The primary world that Begay explores is Tsélaní, her birthplace and homeland on the Navajo Nation reservation. From this firm foundation, her innate and lifelong curiosity has motivated her to investigate the expressive power of color and design in developing her distinctive aesthetic. Begay creates unique artworks that bridge her traditional Diné upbringing and experimental fiber art practice. Through her embrace of color, passion for design, and innovative handling of fiber, Begay creates art that expresses a non-Western way of being to a contemporary audience.” Sublime Light is the first retrospective of Begay’s career, showcasing 48 of her most remarkable tapestries.

Gudrun Pagter
Two vertical and two horizontal greens tapestry. Photo by Gudrun Pagter

ACROSS
Through November 10, 2025
Kalundborg Art Association
BispegaardenKalundborg, Denmark

Anne Bjørn, Gudrun Pagter, Gurli Elbaegaard and Lisbeth Voight Durand are featured in a group exhibition at the Kalundborg Art Association, entitled ACROSS.

Jiro Yonezawa
Spiraling, Twisting, Unraveling installation. Photo courtesy of ASU

Spiraling, Twisting, Unraveling: Explorations in Pattern and Form
Through June 29, 2025
ASU Art Museum
51 East 10th Street
Tempe, AZ  85281

Culled entirely from the Arizona State University’s Art Museum’s collection, Spiraling, Twisting, Unraveling: Explorations in Pattern and Form explores the dynamic landscape and languages found through contemporary craft today. The exhibition features twenty-five artists, including Christine Joy, Kay Sekimachi, Mary Giles, John Garrett, Polly Adams Sutton, and Jiro Yonezawa who examine dimensions of decoration, pattern and form through their varied practices to engage with some of the most pressing issues of our time.

Patterns of Abstraction
Installation: Patterns in Abstraction. Photo by by Mike Jensen

Patterns in Abstraction: Black Quilts from the High’s Collection
Through January 5, 2025
High Museum of Art
1280 Peachtree St, NE
Atlanta, GA 30309

According to the High Musuem, for more than a century, the potential kinship between quilts and abstract painting has sparked lively debate. “Although the color-rich geometric patchwork of quilts is visually resonant with examples of abstract painting often credited as pinnacles of artistic innovation, many have argued that such comparisons fail to honor the integrity of quilts within their distinct conditions of production. Quilts made by Black women have too often been left out of the conversation altogether.” The High has collected Black quilts since the 1980s and recently has quintupled its holdings to ensure that Black quilts have a continually rotating presence in the museum’s collection galleries. Patterns in Abstraction: Black Quilts from the High’s Collection aims to answer a larger question: “How can quilts made by Black women change the way we tell the history of abstract art?”

Lia Cook
Installation: Beyond: Tapestry Expanded. Photo by Stuart Snoddy

Beyond: Tapestry Expanded
Through Dec 8, 2024
American Tapestry Alliance
Richard E. Peeler Art Center
DePauw University 
10 West Hanna Street
Greencastle, IN 46135

Beyond: Tapestry Expanded is a curated and juried exhibition that features work from artists, including Lia Cook, exploring the expansive properties of tapestry. Using the definition of tapestry as a nonfunctional, handwoven pictorial structure, artists combine both hand and digital processes, using non-traditional materials, creating three-dimensional forms, or incorporating multi-media components, including sound and video. 

Enjoy!


Art Assembled – New This Week in September

September has been a remarkable month at browngrotta arts, highlighted by the success of our exhibition, Ways of Seeing. We are immensely grateful to everyone who came out to join us for our Fall Art in the Barn exhibition. Your support means the world to us, and we are grateful for every opportunity we get to connect with each of you.

As we reflect on this past month, we’re excited to recap the talented artists featured in our New This Week series throughout September. Read on to see what talented artists we’ve put a spotlight on!

Mary Merkel-Hess
212mm Another Autumn, Mary Merkel Hess, paper cord, paper, 28″ x 18″ x 12″, 2023.

Kicking off the month, we had the pleasure of highlighting the work of Mary Merkel-Hess. Known for her intricate sculptures that evoke the natural world, Merkel-Hess draws inspiration from the beauty found in her surroundings. Using reed, paper, and paper cord, she creates what she refers to as “landscape reports,” sculptural forms that reflect her deep connection to nature.

Merkel-Hess’s work often incorporates broken borders and insets, allowing the viewer to engage with the layers and textures she so thoughtfully constructs.

Merkel-Hess was also one of the 20 women artists who were featured in, Impact: 20 Women Artists to Collect, in September. It’s no wonder to us why her work comes so acclaimed!

John McQueen
81jm The Weight of Empty, John McQueen, willow, 50″ x 26″ x 26″, 2020

We then turned our spotlight to the remarkable John McQueen and his intricate work. A sculptor, McQueen arranges natural materials to create vessels, sculptural figures, and representational images that challenge our perception of the natural order.

His bark-covered sculptures and drawings made from sticks lead viewers to reconsider their relationship to nature. McQueen’s work has been acquired by numerous prestigious museums, including the Museum of Arts and Design and the Philadelphia Museum of Art, and he is recognized with several accolades, such as the Gold Medal of the American Craft Council for his impactful contributions to the field of sculpture.

Nancy Koenigsberg
58nak Pocket Scroll, Nancy Koenigsberg, twisted copper, 73.5″ x 17.5″ x 6″, 2007

Following McQueen, we featured the captivating work of Nancy Koenigsberg. As a celebrated artist and educator, Koenigsberg’s pieces are a testament to her exploration of materiality and technique. Utilizing her expertise in weaving and embroidery, she creates intricate textile artworks that often reflect personal narratives.

Koenigsberg’s practice challenges the boundaries of traditional textile art, as she incorporates various techniques and materials to create layered, textural compositions that resonate with emotion and meaning.

She is one of our favorite artists to date, and we hope you all enjoy her work as much as we do!

Anneke Klein
7akl Black Monologue, Anneke Klein, hemp, cotton, linen, acrylic paint, 28.5″ x 28.5″ x .5″, 2020.

We then turned our attention to Anneke Klein, a talented artist from the Netherlands originally educated as a goldsmith. Her passion for weaving emerged from a desire to move away from hard, cold materials toward the warmth and softness of textiles. After designing and manufacturing clothing, she created commissioned works for renowned artists such as Richard Tuttle and Alexis Gautier, showcasing her ability to blend her goldsmithing precision with textile art.

Klein has developed her own style for wall objects, often employing the rhythmic and repetitive expressions learned during her time as a goldsmith. Her work reflects a unique exploration of materials, inviting viewers to engage with both tactile and visual elements.

Jin-Sook So
71jss Soul of Bowl II, Jin-Sook So, steel mesh, electroplated silver, pure gold leaf, acrylic, steel thread
6” x 12.75” x 9.75”, 2023.

Finally, we highlighted the work of Jin-Sook So, an artist renowned for her innovative approach to fiber art. So’s creations are characterized by their intricate layering and attention to detail, reflecting her deep understanding of traditional techniques while embracing contemporary aesthetics. Her work often incorporates elements of nature and cultural heritage, inviting viewers to consider the connections between art and identity. Jin-Sook So’s dedication to her craft and her ability to weave together diverse influences make her work truly exceptional.

As we step into October, we extend our heartfelt thanks to all who engaged with our September New This Week features and our Ways of Seeing exhibition. Your support means the world to us! Stay tuned for more artistic explorations and updates as we continue this creative journey together.


Ways of Seeing: On Assembling

Ways of Seeing, our Fall art event, is mid-exhibition today. It’s a celebration of collecting and the myriad ways that people acquire and arrange art. We’ve put together some groupings within the show and thought of others. We’ll share some of them below for those of you who can’t attend in person. For example, collecting by material, even one as ubiquitous as paper, can result in a varied collection. We put together a wall of works on paper: a print using xerography by Katherine Westphal, a painting on paper by Claude Vermette, collages by Norma Minkowitz and Hideho Tanaka, an intricately folded paper work by Dail Behennah, a composition of twisted commercial paper by Wendy Wahl, and an assemblage of colored sandpaper by Marian Bijlenga.

Gallery Wall of paper works
left to right, top to bottom:
Katherine Westphal, 10w Amphora and Fern, 1993; Wendy Wahl, 2ww 7 by 7 and 22, 1999; Marian Bijlenga, 37mb Luitzen, 2019; Hideho Tanaka, 31ht Emerging 008, 2016; Norma Minkowitz, 114nm The Seeker, 2014; Claude Vermette, 126c Untitled, 1980; Dail Behennah, 56db Two Golds, 2019; Toshio Sekiji, 26ts Lacquered and Torn, 1998. Photo by Tom Grotta

A more unusual material choice — assembling items made of materials from the sea, will also result in a wildly diverse group of works. We’re showing baskets of seaweed, wall work of fish skin and fish scales, and works that incorporate sea sand and sea stones. 

Artwork with sea materials
12jle Bivalve, Jeannet Leendertse, 2023; 5ab Threading Fish, Annette Bellamy, 2023; 40mb Scale Flowers, Marian Bijlenga, 2019; 32kn Sazanami(Ripples), Keiji Nio , 2022; 35sl Coast, East Riding of Yorkshire 1-3, Sue Lawty, 2024. Photos by Tom Grotta

Collecting by artist can yield a broad mix of results. Choosing a category, like Polish, LQBTQ+ or self-taught artists, can result in considerable variation. Even a single artist, if it is one who experiments relentlessly like Jiro Yonezawa, can ground a surprising collection.

Bamboo works by Jiro Yonezawa
Jiro Yonezawa 109jy Yellow Lady Bug, 2021; 95jy Ecdysis , 2019; 64jy Ascension, 2006 92jy Orbit, 2019. Phots by Tom Grotta

There are four very different works by this artist in Ways of Seeing, and they don’t even include the wide bamboo spheres which he has created more recently. 

Works by Hisako Sekijima
Hisako Sekijima
650hs Suspended Decision, 2021; 620hs From 2 to 3 Dimensions V; 643-655hs A Line of Willow, 2020; 639-651hs Bound to Continue VII; 625hs Structural Discussion VI, 2016

Basketmaker Hisako Sekijima, who has worked in everything from cherry bark to kudzu is another example of someone who can be collected in multiples. Lia Cook is another — her practice has moved in several different and exciting ways through out her career.

Works by Lia Cook
Lia Cook 55lc Between Clouds , 1978; 4lc Crazy Quilt: Royal Remnants, 1988; 16lc Presence/Absence: Gather, 1998; 28lc Su Brain Tracts Renew, 2014. Photos by Tom Grotta

Then there are them groupings — we are showing art related to water, but even a color, like Picasso’s blue period, can be an energizing organizing principle. We’ve gathered weavings and objects that meet that criteria: 

Blue Textiles
12lt Cross, Laura Thomas, 2023; 25gs Blue Color Gradation, Grethe Sørensen, 2005; 14jle Blue Levels, Jeannet Leenderste, 2019. Photos by Tom Grotta

There are a few days to see our compilations in person. Or you can order the catalog: https://store.browngrotta.com/c-54-ways-of-seeing/

Happy Hunting!

Ways of Seeing: how individuals envision and curate their art collections

Through September 29, 2024
browngrotta arts
276 Ridgefield Road
Wilton, CT 06897
https://browngrotta.com/exhibitions

Gallery Dates/Hours:
Monday, September 23rd through Saturday, September 28th: 10am to 5pm (40 visitors/ hour) Sunday, September 29th: 11am to 6pm [Final Day] (40 visitors/ hour)

Safety protocols: 
Reservations strongly encouraged; No narrow heels please (barn floors)


Ways of Seeing: Make a Day of it

If you are heading to Wilton to join us at Ways of Seeing sometime between September 21st and the 29th, there are some other art stops you might make on the way. 

Year of the Dragon
through November 10, 2024
Yale University Art Gallery
1111 Chapel Street (at York Street)
New Haven, CT
https://artgallery.yale.edu/exhibitions/exhibition/year-dragon

Kohyama Yasuhisa, Kaihō Yūshō screens
Attributed to Kaihō Yūshō, One of a Pair of Screens with Dragons and Waves, Japan, Momoyama period (1573–1615). Superimposed Ceramic: Kaze (Wind), Yasuhisa Kohyama. Photos by Janet Sullivan, courtesy of the Yale Art Gallery.

This exhibition celebrates the Year of the Dragon, with a presentation of nearly 30 artworks spanning from the 17th century to the present day. In the West, the dragon has historically been characterized as an evil creature, flying through the air while breathing fire from its mouth, but in the East, the dragon is believed to possess power in the celestial realm and to pour out blessings in the form of rainwater over swirling wind. The dragon also has a place in the Eastern zodiac calendar—alongside 11 other animals. The objects on view, feature dragons on folding screens, other paintings, textiles, ivory, woodblock prints and a ceramic by Yasuhisa Kohyama. Taking inspiration from East Asian history, folklore, and myth, these works demonstrate a long, complex, and continuing artistic tradition around this fantastical creature. 

Jonathan Becker: Lost Time
through January 26, 2025
Katonah Museum of Art
134 Jay Street
Katonah, NY 10536
https://www.katonahmuseum.org/exhibitions/exhibition/jonathan-becker-lost-time

Patricia Herrera at home, New York, 18 July 2001. Photo by Jonathan Becker, courtesy of The Katonah Museum of Art

Jonathan Becker: Lost Time features more than fifty of the artist’s photographs of influential figures from the worlds of politics, fashion, arts, and culture. Captured through the lens of his Rolleiflex camera, the striking, square-format images reveal intimate, closely observed scenes that serve as both timely and timeless portraits. Becker’s mastery of light, shadow, and saturation is evident across his work in both black and white and color mediums, evinced by the lush, velvety charcoal tones and dazzling chromatic range of his prints.

Tara Donovan: Aggregations
through March 9, 2025
Bruce Museum of Art
1 Museum Drive
Greenwich, CT 06830
https://brucemuseum.org/whats-on/tara-donovan-aggregations

Tara Donovan (American, b. 1969), Untitled, 2014 , acrylic and adhesive , Courtesy of the Artist and Pace Gallery , Photo: Kerry Ryan McFate, courtesy Pace Gallery

Brooklyn-based artist Tara Donovan reimagines and elevates everyday, mass-manufactured materials into the realm of fine art. In her sculptures and large-scale installations, she employs a range of objects—disposable Styrofoam cups, index cards, paper plates, pencils, pins, rubber bands, straws, tar paper, and even toothpicks—transforming their physical properties and functions. While some of her works are inspired by abstraction and the pure geometry of the grid, others conjure up the sublime, evoking geological phenomena, biomorphic shapes, and organic, cellular forms.

Ways of Seeing
September 21 – 29, 2024
browngrotta arts
276 Ridgefield Road
Wilton, CT 06897
https://browngrotta.com/exhibitions

Ways of Seeing installation
pictured works by Lia Cook, Carolina Yrarrázaval, Lilla Kulka, Lawrence LaBianca, Mariette Rousseau-Vermette. Photo by Tom Grotta

Ways of Seeing explores how individuals envision and curate their art collections. 

Gallery Dates/Hours:
Saturday, September 21st: 11am to 6pm [Opening & Artist Reception]
Sunday, September 22nd: 11am to 6pm (40 visitors/ hour)
Monday, September 23rd through Saturday,September 28th: 10am to 5pm (40 visitors/ hour)
Sunday, September 29th: 11am to 6pm [Final Day] (40 visitors/ hour)
Schedule your visit at POSH. 

Safety protocols: Reservations strongly encouraged; No narrow heels please (barn floors)

See you soon!


Ways of Seeing, Part Three: Right-Sized

Ways of Seeing Right Sized installation
Gali Cnaani, 8gs Red Dress, 2006; Jennifer Falck Linssen, 14jl Insight, 2016; Mia Olsson, 4mo Traces 4 Relief, 2006; Lewis Knauss, 38lk Spiked Horizon 2018; Paul Furneaux, 8pf Soft Sea Lewis II, 2024; Mary Merkel-Hess, 61mm Sun Series Orange, 2013; Sue Lawty, 35sl Coast East Riding of Yorkshire 1-3, 2024. Photo by Tom Grotta

“Right-sized” refers to adjusting something to an appropriate or optimal size. In Right-Sized, the third exhibition within Ways of Seeing, we explore collections through this lens. We’ve drawn inspiration from collectors who focus on intention and specificity—such as historic textiles, woven portraits, and Japanese baskets.

Laura Thomas
9lt Focus, Blue IV, Laura Thomas, glass, cotton, linen, silk, 16.75″ x 16.75″ x 1″, 2023. Photo by Tom Grotta

Herb and Dorothy Vogel, for example, a postal worker and a librarian, built a world-class collection of Minimalist and Conceptual art in their New York apartment, mindful of both affordability and space constraints. One artist noted that they would only purchase works they could transport home via subway or taxi. Similarly, Lloyd Cotsen, known for his diverse collections, including Chinese bronze mirrors, children’s books, and Noah’s arks, considered size in his creation of The Box Project, now housed at The Textile Museum at The George Washington University Museum For this project, Cotsen requested 36 artists to create three-dimensional works that fit within boxes measuring either 14 x 14 x 2 .5 inches or 23 x 14 x 2.5 inches. The goal was to observe how contemporary fiber artists navigated challenges related to physical restrictions and dimensions. In Right-Sized, we have selected works that adhere to specific parameters of small size, much like Cotsen’s project, while also considering affordability, akin to the Vogels’ approach.

noriko takamiya
34nt Revolving Cross, Noriko Takamiya, paper, 5.5″ x 7.75″ x 4.5″, 2024. Photo by Tom Grotta

Right-Sized is characterized by its diversity in materials, techniques, and approaches. The exhibition includes a variety of framed paper works—pleated, painted, printed, and collaged—alongside a salon wall of eclectic pieces, including sculptural works made from sisal, paper, linen, and hemp, a “weaving” of copper, “drawings” in stone, and a Japanese watercolor woodblock print (mokuhanga). We have assembled a grouping of cubes and spheres of everything from bark to jute to stainless steel and another of baskets of natural materials, each at least 12 inches high. Elsewhere In Right-Sized, viewers will find exquisite embroidery by Diane Itter, wood vessels by Markku Kosonen, willow sculpture by Lizzie Farey, and threads embedded in perspex by Laura Thomas.

Diane Itter
Detail: 1di Ribbon Rain, Diane Itter, knotted thread on linen, 23.25″ x 14.75″, 1984. Photo by Tom Grotta

With its eclectic assortment of more than 70 works, Right-Sized seeks to engage viewers’ impulses to classify, organize, and collect.

See what we have assembled, in person, or in the Ways of Seeing catalog: 

Exhibition Details:
Ways of Seeing
exploring ways individuals envision and curate art collections
browngrotta arts
276 Ridgefield Road
Wilton, CT 06897

Gallery Dates/Hours:
Saturday, September 21st: 11am to 6pm [Opening & Artist Reception]
Sunday, September 22nd: 11am to 6pm (40 visitors/ hour)
Monday, September 23rd through Saturday,September 28th: 10am to 5pm (40 visitors/ hour)
Sunday, September 29th: 11am to 6pm [Final Day] (40 visitors/ hour)

browngrotta.com

Schedule your visit at POSH. 
Safety protocols: Reservations strongly encouraged; No narrow heels please (barn floors)

Our Sponsor

Ways of Seeing Part II: Impact: 20 Women Artists to Collect

62hh Tabula Rasa 2, Helena Hernmarck, wool, 53″ x 44″, 2010
1cy Azul Y Negr, Carolina Yrarrázaval, rayon, cotton, 116″ x 40.5″, 2003 Photo by Tom Grotta

Twenty international women artists of substance and significance are heralded in Impact: 20 Women Artists to Collect one of the groupings in Ways of Seeing at browngrotta arts this Fall. Ways of Seeing explores the varied ways in which people curate their art collections. Collecting by artist, including by race, sexual identity, country of origin, or as in Impact, by gender, is one of the ways in which collections are assembled.

Kay Sekimachi early works
Kay Sekimachi 113k Pale Moon, linen, cotton, rayon, plain weave, inlay, 14” x 18” x 1.25”, 1959
131k Monofilament, nylon monofilament, 4-layered weave, tubular weave, 32” x 7” x 6”. Photo by Tom Grotta

In 2019, Artsy, an online platform we collaborate with, hosted 3,999 galleries. Only 8% of these galleries represented more women artists than men. browngrotta arts is among that 8%, promoting a diverse array of exceptional women artists beyond the group featured in Impact: 20 Women Artists to Collect. The selection in Impact, though a small sample of the women artists we work with, is a group, both intriguing and influential. The artists span various nationalities—including North America, Europe, Asia, and South America—and generations, with birth years ranging from 1917 to 1960. Each artist has mastered both traditional and experimental techniques, while expanding the boundaries of textiles as fine art. 

Caroline Bartlett
Caroline Bartlett
24cb Curve, painted linen, cotton thread, perspex, 85” x 17.25”, 2021
25cb Fatehpur Sikri, painted linen, cotton thread, perspex, 66” x 8.25” (each), 1990. Photo by Tom Grotta

Impact will feature a multifaceted group of sculptures and weavings made from 1976 to 2024. The artists in Impact have demonstrated a knowledge of traditional and experimental techniques, while redefining the perception of textiles as fine art. “Each of these artists have enlarged the expectations and possibilities of fiber art through their singular, iconic practices,” says browngrotta arts co-curator, Tom Grotta. 

Katherine Westphal quilt, Grethe Sørensen weavings
Katherine Westphal, 47w The-puzzle-of-Floating-World-#2, transfer print and quilting on cotton, 85” x 68”, 1976
Grethe Sørensen, 24gs Interferens; 25gs Blue Color Gradation, linen, 57” x 55” each, 2005. Photo by Tom Grotta

Ethel Stein (1917), for example, who would be 107 if she were still alive, studied under Josef Albers. Intensive study of historical textiles led her to reinterpret historical textile structures using contemporary looms, blending modernist Bauhaus ideals of simplicity, order, functionality, and modesty. In contrast, Katherine Westphal (1919), an eclectic artist from the same era, worked across ceramics, quilting, basketmaking, and wearable art. 

Jin-Sook  Red and Blue
Jin-Sook so, 64jss Red Untitled 2021, 65jss Blue/Gold Untitled 2021
steel mesh, painted, electroplated silver and gold leaf, 31.5” x 31.5” x 4.5” (each), 2021. Photo by Tom Grotta

Born 30 years later in Korea, Jin-Sook So (1950) and Yeonsoon Chang (1950), began as traditional textile makers, then moved to exploring sculptural forms. So creates light-reflecting, three-dimensional works using electroplated and painted stainless steel mesh that evoke silk organza. Chang molds abaca fibers and Teflon mesh into structures that investigate the universe, coated with an eco-friendly resin she developed. 

Detail: 42sp Carter-Eclipse series, Simone Pheulpin, cotton, 13.75″ x 12.25″ x 3.5″ , 2024. Photo by tom Grotta

In between those decades, textile sculptors are Simone Pheulpin and Hisako Sekijima, born 1940 and 1944, respectively, renowned innovators. Pheulpin transforms unbleached cotton strips into organic forms reminiscent of bark, ceramics, fossilized rock, coral, or shell, using stainless steel pins instead of stitching or glue — a technique entirely of her own design. For decades, Sekijima has been on what the Victoria & Albert Museum has described as “a journey of radical experimentation,” expanding upon traditional Japanese basketmaking techniques to create inventive non-utilitarian objects, noted for their exploration of volume, mass, and space.

Ways of Seeing Catalog

Discover more about these 20 exceptional artists in person at Ways of Seeing or in our catalog. https://store.browngrotta.com/c-54-ways-of-seeing/

Exhibition Details:
Ways of Seeing
exploring ways individuals envision and curate art collections
browngrotta arts
276 Ridgefield Road
Wilton, CT 06897

Gallery Dates/Hours:
Saturday, September 21st: 11am to 6pm [Opening & Artist Reception]
Sunday, September 22nd: 11am to 6pm (40 visitors/ hour)
Monday, September 23rd through Saturday,September 28th: 10am to 5pm (40 visitors/ hour)
Sunday, September 29th: 11am to 6pm [Final Day] (40 visitors/ hour)

browngrotta.com

Schedule your visit at POSH. 
Safety protocols: Reservations strongly encouraged; No narrow heels please (barn floors)


Art Assembled – New This Week in August

August has been an exciting month at browngrotta arts as we edge closer to the launch of our highly anticipated Fall 2024 Art in the Barn exhibition, Ways of Seeing – exploring ways individuals envision and curate art collections. Our upcoming showcase, delves into the diverse ways individuals curate and experience art collections. Within this exhibition, we’ll present unique groupings, including The Art Aquatic, featuring works inspired by water; Impact: 20 Women Artists to Collect, spotlighting influential artists from both the US and abroad; and Right-Sized, which focuses on art created with specific constraints in mind. Mark your calendars for September 21-29 to join us for this compelling event!

Over the past month, our New This Week series has introduced an array of talented artists, including Gudrun Pagter, James Bassler, Noriko Takamiya, and Zofia Butrymowicz. We’re thrilled to showcase their remarkable contributions and offer you a glimpse into their extraordinary work.

Catch up on all our recent features and stay tuned for more exciting updates as we count down to our big exhibition!

Gudrun Pagter
18gp Red, Gudrun Pagter, sisal and flax , 67” x 94.5”, 2015. Photo by Tom Grotta

Kicking off the month, we had the pleasure of featuring the work of Gudrun Pagter. A distinguished Danish artist, Pagter is celebrated for her bold and graphic tapestries that engage deeply with themes of architecture and geometry.

Pagter’s artwork is characterized by narrow lines and shifts in color fields, demonstrating her commitment to exploring and refining artistic idioms. She describes her approach as a rigorous investigation into the picture plane, employing a disciplined structuring of geometric forms and a restricted color palette. Her work not only captures the essence of architectural forms but also invites viewers into a meticulously crafted world of design.

We’re thrilled to showcase Pagter’s captivating pieces and hope you found her feature as inspiring as we did!

James Bassler
19bas Tracking Nasca Patterns, James Bassler, indigo dyed ikat tapestry, 63″ x 32″, 2006; linen, both the warp and parts of the weft, natural dark brown cotton from Guatemala, lighter brown cotton from Oaxaca, Coyuchi, a white handspun silk from Oaxaca , the silk worms feed off of native oak trees, and perhaps the most special of the yarns is the purple-dyed, handspun cotton, Caracol. The Caracol dye comes from a sea snail that lives off the Pacific coast, on rocks, in Oaxaca. Photo by Tom Grotta

Next, we turned our spotlight to the remarkable James Bassler and his tapestry Tracking Nasca Patterns. Since 1980, Bassler has delved into various weaving traditions, including the wedge-weave structure of the Navajo, Japanese shibori, and pre-Columbian scaffold weave techniques. His work is a testament to his dedication to exploring and preserving these ancient textile practices.

This specific piece was crafted with linen for both the warp and parts of the weft, this tapestry incorporates natural dark brown cotton from Guatemala, lighter brown cotton from Oaxaca, and Coyuchi, a handspun silk from Oaxaca. The unique silk used in this work is produced by worms that feed on native oak trees, adding a special touch of nature’s elegance. The highlight of the tapestry is the striking purple-dyed handspun cotton called Caracol, derived from a traditional dyeing process involving sea snails found along the Pacific coast of Oaxaca. Local artisans collect the snails to extract the dye before returning them to their habitat, demonstrating a sustainable practice deeply rooted in tradition.

We’re honored to showcase Bassler’s intricate and culturally rich tapestry, and we hope you enjoy exploring the craftsmanship and historical significance embedded in this piece.

Noriko Takamiya
33nt Vision and Perception, Noriko Takamiya, bamboo stalks
5.5” x 7” x 7”, 2023. Photo by Tom Grotta

We then turned our spotlight to the innovative Noriko Takamiya, celebrated for her contemporary take on traditional Japanese basketmaking techniques. Takamiya’s practice is a captivating blend of experimentation and refinement, as she explores various weaving methods using an array of materials such as wood splint, ramie, rice straw, and paper.

Her work often features non-vessel forms that highlight the unique interplay between structure and material. Takamiya’s approach involves wrapping, tying, and plaiting techniques, resulting in intricate, sculptural pieces that showcase her mastery over both form and texture.

Takamiya is part of a distinguished group of basketmakers, inspired by Hisako Sekijima’s pioneering basket technology, which has evolved into a new method of three-dimensional modeling. Since 1986, this influential group has continued to push the boundaries of basketry, contributing significantly to the field.

Zofia Butrymowicz
8zb Słońce Szafirowe, (Sapphire Sun), Zofia Butrymowicz, linen, wool, 84″ x 78″, 1.5″, 1968. Photo by Tom Grotta

Last, but certainly not least, we honored the late artist Zofia Butrymowicz, a pioneering figure in East European textile art. Butrymowicz is remembered for her innovative approach to weaving, which she referred to as “loom thinking.” This technique involved working directly on the loom without a prepared cartoon, allowing for spontaneous and dynamic creations.

Butrymowicz excelled in the wool gobelin technique, utilizing handspun wools that were often rough and irregular to create striking and textured pieces. Her work frequently emphasized color, reflecting her deep interest in experimentation and new artistic expressions. Throughout her career, Butrymowicz’s contributions to the art world were celebrated globally, and her legacy continues to inspire.

Her unique approach and dedication to pushing the boundaries of textile art have left an indelible mark. We’re privileged to feature her remarkable work, celebrating her innovative spirit and enduring influence.

Thank you for following along with our latest features and updates. We’re excited to share more as we approach the launch of Ways of Seeing. Don’t forget to reserve your spot for the exhibition and stay tuned for further details!