Monthly archives: December, 2017

Happy New Year: to new beginnings, fresh starts, rewrites and resurrections


Mariyo Yagi’s works, including A Cycle, Infinity, resonate with her nawa principle: spiral energy of movement and human beings together creating a metaphorical rope, all pulling together. What better sentiment for the New Year? We at browngrotta arts wish you all an awesome and abundant year. https://www.youtube.com/watch?v=cDSqnF_Wjac

For Yagi, nawa unites two principles: na (you) and wa(I). When combined, nawa means “you and I,” representing a single word that signifies human empathy and endurance. In nawa, you and I, face each other beyond difference, thus signifies our creative interaction, to achieve interconnectedness, unity and peace.
Yagi worked for Isamu Noguchi in Japan in 1973-1976. In order to  fully realize her own projects, which are large in scale, Yagi became a licensed  civil engineer and contractor, the first Japanese sculptor to do so. Yagi has found her own global vocabulary, an infinite array of spiraling forms. From 1980 through the present, she has created artscapes in plazas, gardens, fountains, earthworks and other community art works, including a glass spiral at a Venice Biennial collateral event two years ago and a tall spiral. Axis for Peace and two other works at LongHouse Reserve in East Hampton. She has the ability to transform communities and build environments through her unconventional interactive art practice, which often involves untrained community volunteers. More about Yagi’s work can be found at www.browngrotta.com/Pages/yagi.php and at: http://www.mariyoyagi.net/English/cn53/ProfileE.html.

 


Anniversary Alert: Jack Larsen at 90

We’ve been celebrating our 30th Anniversary by posting blogs commemorating other milestones in the art world (Frank Lloyd Wright after 150 years; 30 Years of Contemporary Japanese Basketmaking; 10 Years of Feminist Art in Brooklyn), next up we have Jack Larsen at 90. An international textile designer, author and collector, Larsen has long played an influential role in textile arts and has been an important mentor and supporter of browngrotta arts.

Jack Lenor Larsen by Shonna Valeska

Born and raised in Seattle, Larsen spent much of his childhood surrounded by nature of the Pacific North-West. In 1945, Larsen began studying at the School of Architecture at the  University of Washington, where he developed an interest in weaving. Larsen then focused his full attention on weaving, enveloping himself in the Los Angeles art and design scene. Larsen’s desire to work in textiles grew and he enrolled himself in the Cranbrook Academy of Art in Bloomfield Hills, Michigan. In order to break into the design scene, Larsen and fellow Cranbrook students traveled to New York hoping to make some connections. “It was sort of a game—how many people would interview me,” he has written about this trip,”—but the only job I would have taken at the time, happily, was with Knoll. But “Shu” [Florence] Knoll said I was too much of an individual to fit into their mold, which was partly true. My colors were very different; my colors were earthy.” Instead of working for another company, Larsen started his own in 1951. “By the late 1950s, architects were buying my fabric for Knoll furniture in order to get something that wasn’t red, yellow, or electric blue.”

Jack Lenor Larsen at 90: Transformations by a Textile Innovator at The Goldstein Museum of Design. Photo: Taylor Barker

Jack Lenor Larsen at 90: Transformations by a Textile Innovator at The Goldstein Museum of Design. Photo: Taylor Barker

For over 60 years Larsen and his company Jack Lenor Larsen Inc. have designed fabrics for public buildings, corporate offices, Pan American and Braniff Airlines, the Phoenix Performing Arts Center, and Air Force One and collaborate with Frank Lloyd Wright, just to name a few. The “Larsen Look” characterized by Larsen’s award-winning hand-woven fabrics of natural yarn is synonymous with 20th-century design at its pinnacle. Larsen has spent much of his life traveling the world to unearth new patterns and techniques. His travels and passion for global design made him familiar with ikat and batik, two techniques which he introduced them to the American public. Larsen has won many awards, including the Lifetime Achievement Award from the American Crafts Museum in 200and the Smithsonian’s Archives of American Art Medal in 2009. Furthermore, Larsen is one of only four Americans to ever be honored with an exhibition in the Palais du Louvre in Paris.

You can see highlights of his remarkable career in Minneapolis through January 7th. The Goldstein Museum of Design opened Jack Lenor Larsen at 90: Transformations by a Textile Innovator,  an exhibition celebrating Larsen’s 90th Birthday through his many innovations. The 70 textiles in the exhibition exemplify Larsen’s mastery of craft techniques, technological innovation and inspiration drawn from global design. The exhibition also includes correspondence, drawing and production samples to give viewers a better understanding of Larsen’s creative processes. Jack Lenor Larsen at 90 can be viewed in Gallery 241 at The Goldstein Museum of Design for free. For more information about the exhibition click HERE.

Damask Waterfall, Ed Rossbach, cotton welting cord, commercial fabric, plastic, satin damask, wrapped, 36" x 36", 1977

Play It By Trust, Yoko Ono, 1999

In 1992, Larsen completed his East Hampton, NY estate “Longhouse Reserve.” Spanning 16 acres, the estate boasts an expansive sculpture garden with work by Yoko Ono, William de Kooning and Sol LeWitt, among others. While Larsen’s home on Longhouse Reserve remains private, his sculpture garden is open to the public throughout the summer months. “I built the LongHouse gardens to share. I think seeing in three dimensions is so contagious,” explains Larsen. This past summer, Larsen used his 90th birthday to acquire works for the Longhouse collection. The benefit attracted artists, architects, designers and politicians. Guests were treated to performances by multi-instrumentalist Gian Carlo Feleppa on sitar, Mohsen Namjoo, an Iranian singer and sitar player and the synchronized swimmers The Brooklyn Peaches.  

Damask Waterfall, Ed Rossbach, cotton welting cord, commercial fabric, plastic, satin damask, wrapped, 36" x 36", 1977

Damask Waterfall, Ed Rossbach, cotton welting cord, commercial fabric, plastic, satin damask, wrapped, 36″ x 36″, 1977

In addition to his design success, Larsen has authored an array of landmark publications including Elements of Weaving (1967), The Dyer’s Art: Ikat, Batik, Plangi (1971), Beyond Craft: The Art Fabric (1972), Fabric for Interiors (1975), The Art Fabric: Mainstream (1981), Interlacing: The Elemental Fabric (1986), Material Wealth: Living with Luxurious Fabrics (1989), The Tactile Vessel: New Basket Forms (1989), A Weaver’s Memoir (1998), Jack Lenor Larsen: Creator & Collector (2004) exhibition catalog and Learning from Longhouse (2010). 

Larsen has been a generous friend to browngrotta arts, selecting browngrotta as the Best Booth at SOFA, NY one year and Sue Lawty as Best Artist. Browngrotta arts also worked with Longhouse Reserve in collaboration with an Ed Rossbach Special Exhibition at SOFA Chicago years ago.Larsen wrote the introduction to our monograph: Ethel Stein: Weaver and contributed to 25 for the 25th.

 


Books Make Great Gifts: 2017, Part 1

Book: What Happened Hillary Rodham Clinton

Book: Vitamin-Clay-Ceramic-Contemporary-Art/dp/0714874604/ref=sr_1_1?ie=UTF8&qid=1513259535&sr=8-1&keywords=Vitamin+C%3A+Clay+%2B+Ceramic+in+Contemporary+Art+%28Phaidon%29

Another wide-ranging selection of books selected by browngrotta arts’ artist this year. Mary Merkel Hess: recommends What Happened by Hillary Clinton (Simon and Schuster). “Have you ever wondered what Hillary Clinton’s favorite snack is?,” Mary asks. “Me neither, but now I know. I listened to the audio version of this book read by Hillary herself. Hearing the book in her own voice made it ‘up close and personal.’ Her detailed description of life on the campaign trail, from a feminine perspective in an unusual political year, is fascinating.” Mary also has an art book on her list: Vitamin C: Clay + Ceramic in Contemporary Art (Phaidon). “For those of you who enjoy a book of luscious photography in coffee table size,” says Mary, “this is for you. Vitamin C is a medium-specific survey of more than 100 ceramic artists nominated by international art world professionals. A disclaimer: My son, Matthias Merkel-Hess, is included in this book but I am enjoying the photos and short essays enough that I am reading the other entries too. Some larger lights in the ceramic world like Ai Wei Wei and Betty Woodman are included as well as younger artists.”

Book: Chance-and-Change-by-Mel-Gooding,Chance and Change by Mel Gooding, about the nature artist Herman de Vries (Thames & Hudson) “is a wonderful book,” says Lizzie Farey. “It appraises De Vries’s work with beautiful images and argues that a proper contemplation and experience of nature is essential to living in any meaningful sense.”

Book: Oryx and Crake“Today’s world is so utterly filled with alternative facts and a reality of denial that for reasons unexplainable,” Wendy Wahl writes, “I decided to immerse myself in Margaret Atwood’s dystopian trilogy. While not new on the literary scene, I recently finished the first book, Oryx and Crake (Anchor), and am absorbed in The Year of the Flood (Anchor) which will be followed by Book: MaddAddam (The Maddaddam Trilogy)MaddAddam (Anchor) to close 2017. Atwood brilliantly takes us on an idiosyncratic journey with her keen wit and dark humor combining adventure and romance while forecasting a future that is at once all too recognizable and beyond envisioning. I highly recommend this environmental, philosophical and spiritual work of science fiction as a parallel view of the current global crossroads.”

Scott Rothstein recently receivedBook: Jangarh-Singh-Shyam-Enchanted-Collection Jangarh Singh Shyam: The Enchanted Forest Paintings and Drawings from the Crites Collection, by Aurogeeta Das (ROLI), a “truly remarkable” book from the collector of this work, who Scott knows from Delhi. You can read more about the show here: http://artfoundout.blogspot.com/2017/10/jangarh-singh-shyam-enchanted-forest.html, and read a great interview with the collector here: https://www.youtube.com/watch?v=yh1JhXAebGc.

Ambarvalia アムパルワリア 旅人かえらず, by Nishiwaki Junzaburo 西脇順三郎“I’m reading a poem book by Japanese poet in Japanese….it is wonderful and strong,” says Tamiko Kawata. Sorry, not in English!!! “ It’s title is Ambarvalia アムパルワリア 旅人かえらず, by Nishiwaki Junzaburo 西脇順三郎 (Kodansha Bungei Bunko). “I hope someone will enjoy.”

Book: The Sculpture of Ruth Asawa: Contours in the AirNancy Moore Bess’s contribution is The Sculpture of Ruth Asawa: Contours in the Air, Elisa Urbanelli (University of California Press). It is the 2007 catalogue from the traveling exhibition of the same name. “Perhaps you saw it when it was at Japan Society,” she writes. “I missed it at the deYoung, but I was lucky to catch it shortly thereafter at the Japanese American National Museum in Los Angeles. The book is an inspiring documentation of her life, work, values and sense of community. There are drawings, which I had never seen before, photos of her with her early work and with friends. And then the stunning photographs of her later work. When the deYoung opened its new (and very controversial) building in 2005, over a dozen of her pieces were installed at the base of the tower. They are lit in such a way as to reveal how important shadows are to complete each piece. The photographs in the book really capture the installation. Buy the book and then come see the work in person! Prepare to stay a while and take it all in. Recently friends visited – Leon Russell from Seattle and Nancy Koenigsberg from New York. Both are now living with the book! Ruth died in 2013, but she is still revered in San Francisco – both for her artwork and for her commitment to children and the community. So wish I had met her! My great loss.”

Book: Hillbilly Elegy: A Memoir of a Family and Culture in Crisis“The book that moved me and opened my eyes to a world that I knew superficially was Hillbilly Elegy by J.D. Vance,”writes Kyomi Iwata. “This book explained in a way why people chose the current political leader. I had a casual conversation with a Southern lady during our visit to the William and Mary College Art Museum in Williamsburg, Va this spring. She was a stranger who was holding the book and saying she did not like the book. It was the reading recommendation from her book club. At the end of our brief encounter though, we both agreed that knowing something which is not familiar is a worthwhile read. This book emphasized the importance of education and getting out from a familiar situation even though it is scary sometimes. The author felt this way and eventually went to Yale Law School. Afterwards he came back to the community to help others. Oh yes, he is a white man.”

Book: Mark Rothko: From the Inside Out, by his son, Christopher RothkoRachel Max has been reading Mark Rothko: From the Inside Out, by his son, Christopher Rothko. “Rothko’s meditative sensitivity and use of colour inspires me and this is a personal and engaging analysis of his father’s work. I was particularly interested in the chapter on Rothko and Music and of the emotional power of Rothko’s paintings and its parallels to music. Music was hugely important to Rothko and his son draws similarities between Mozart’s melodies and his father’s transparent textures, clarity, and purity of from in order to give what he calls greater expression – for both artist and composer alike nothing was added unnecessarily. Rothko’s application of paint and varnish allows us to see layers which would otherwise be concealed. He also draws comparisons between their artistic power to convey complex feelings and to what he describes as the coexistence between ecstasy and doom. He also describes how they both had the paradoxical ability to create an intimate and yet grand space. Christopher Rothko doesn’t draw the line at Mozart, he makes comparisons to Schubert’s shifts in tone and of the interplay between Rothko’s pigments, and to the relationship between Rothko’s sense of space with Morton Feldman’s use of silence. Rothko wanted his paintings to affect us in the same way he felt that music and poetry does – an absolute means of expressing what perhaps cannot be explained in words, “ she writes. “I grew up surrounded with music. The relationship between music and weaving is something I have been exploring and this particular essay resonated with me, but the others are equally personal and thought provoking.” Rachel has also been given copies of
From Tapestry to Fiber Art (Skira) and Books Make Great Gifts: Rooted Revived Reinvented: Basketry in America by Kristin Schwain and Josephine StealeyRooted Revived Reinvented: Basketry in America by Kristin Schwain and Josephine Stealey (Schiffer) and she can’t wait to read them!

At browngrotta arts we are awaiting our on-order copy of Books men great gifts: From Tapestry to Fiber Art (Skira)From Tapestry to Fiber Art: The Lausanne Biennals 1962-1995 with text by Giselle Eberhard Cotton, Magali Junet, Odile Contamin, Janis Jefferies, Keiko Kawashima, Marta Kowalewska, Jenelle Porter (Skira). We have on good authority that it is a beautiful book. We are also looking forwarded to wandering through the re-issue of Book Make Great Gifts: Anni Albers On WeavingAnni Albers’ On Weaving (Princeton University Press) (shhhhh, it’s still under the tree!). Enjoy!


Art Assembled: New this Week November

 

 Lead Relief Mary Giles lead, iron, wood 23.75” x 56 .75”” x 2”, 2011

Lead Relief
Mary Giles
lead, iron, wood
23.75” x 56 .75”” x 2”, 2011. Photo: Tom Grotta

We kicked off November’s New This Week with Mary Giles’ Lead Relief. “In Giles’ work, one will find the traditional basketry technique coiling alongside contemporary materials of waxed linen, copper, and iron,” notes the Textile Center. Giles’ uses both her basketry and sculpture as a means to express her concerns about the environment and human condition. Giles’ concern about the growing population is visible in works such as Lead Relief. In 2013, she was named Master of the Medium by the James Renwick Alliance of the Smithsonian Institution.

 

Sinuous, Randy Walker, found steel, cotton cord, nylon thread, 28” X 30" x 20”, 2003

Sinuous Horse, Randy Walker, found steel, cotton cord, nylon thread, 28” X 30″ x 20”, 2003. Photo: Tom Grotta

Sinuous Horse, is an example of how Walker, uses fiber as his medium to endlessly explore the possibilities of a single strand of thread. In Sinuous Horse, Walker used pieces of salvaged steel to create the bone-like structure of a horse. Walker then used nylon thread and cotton cord to form the curves of a horses body. “My work straddles precariously on several boundaries: solidity and transparency; structural stability and collapse; visibility and invisibility,” notes Walker “I strive to create work that primarily engages our sense of sight by contemplating how light can define structure, surface, and color.”

Kundalini Rising II, Pat Campbell,
rice paper, reed and wood, 24” x 14” x 6.5”, 2009. Photo: Tom Grotta

Delicately crafted of rice paper, reed and wood Pat Campbell’s Kundalini Rising II also made an appearance in November. The technique Campbell uses to create her rice paper sculptures is derived from those used to created Japanese shoji screens. Rice paper provides Campbell with the transparency she desires in creating a simple but spectacular piece of work. The thin nature of rice paper also allows Campbell to easily shape reed, wood, and paper cord necessary for her sculptures.

Fog Break, Mary Giles, waxed linen, iron, brass, 11” x 26” x 9”, 2011

Fog Break, Mary Giles, waxed linen, iron, brass, 11” x 26” x 9”, 2011. Photo: Tom Grotta

We concluded November with Fog Break, another impeccable piece by Mary Giles. When working with coiled forms such as Fog Break Giles uses waxed-linen, iron and brass. Giles individually cuts and hammers each piece of iron and brass and then torches the metal to alter the color. “By torching the metals I am able to alter the colors in varying degrees enabling me to blend them from darks to brights,” explains Giles. “I use this blending to interpret the colors, textures and light that I see in the natural settings.”