Artist Nancy Moore sent us a Holiday Greeting she drafted that we wanted to share
(with her permission):

May we have the courage 
to stand up 
for what is good and true
and the fortitude 
to create our own happiness.
Dare greatly,
and often!

Wishing you a bold, bright, better-than-expected 2025!

Tom, Rhonda and Roberta

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browngrotta arts is devasted by the loss of Sandra Grotta, our extraordinary collector and patron and mother and grandmother. Sandy and her husband Lou have been pivotal in the growth of browngrotta arts through their advice and unerring support. Sandy graduated from the University of Michigan and the New York School of Interior Design. For four decades, she provided interior design assistance to dozens of clients — many through more than one home and office. She encouraged them to live with craft art, as she and Lou had done, placing works by Toshiko Takezu, Mariette Rousseau-Vermette, Helena Hernmarck, Gyöngy Laky, Markku Kosonen, Mary Merkel-Hess and many other artists in her clients’ homes. Among her greatest design talents was persuading people to de-accession pieces they had inherited, but never loved, to make way for art and furnishings that provided them joy. Sandy was a uniquely confident collector and she shared that conviction with her clients.  

Her own collecting journey began in the late 1950s, when she and Lou first stepped into the Museum of Contemporary Crafts in New York City after a visit to the Museum of Modern Art. “The Museum’s exhibitions, many of whose objects were for sale in its store, caused a case of love at first sight. It quickly became a founding source of many craft purchases to follow,” Sandy told Patricia Malarcher in 1982 (“Crafts,” The New York Times, Patricia Malarcher, October 24, 1982). It was a walnut table ”with heart” on view at MoCC that would irrevocably alter the collectors’ approach. The table was by Joyce and Edgar Anderson, also from New Jersey. The Grottas sought the artists out and commissioned the first of many works commissioned and acquired throughout the artists’ lifetimes, including a roll-top desk, maple server and a sofa-and-table unit that now live in browngrotta arts’ gallery space. She followed the advice she would give to others:  “When we saw the Andersons’ woodwork,” Sandy remembered, “we knew everything else had to go,” Sandy told Glenn Adamson. From the success of that first commission, the Grottas’ art exploration path was set. The Andersons introduced the Grottas to their friends, ceramists Toshiko Takaezu and William Wyman. “The Andersons were our bridge to other major makers in what we believe to have been the golden age of contemporary craft,” Sandy said, “and the impetus to my becoming our decorator.”  

When Objects USA: the Johnson Wax Collection, opened in New York in 1972 at MoCC, by then renamed the American Craft Museum, the Grottas began discovering work further afield. ”Objects USA was my Bible,” Sandy told Malarcher describing how she would search out artists, ceramists, woodworkers and jewelers. A trip to Ariel, Washington, led the Grottas to commission an eight-foot-tall Kwakiutl totem pole for the front hall by Chief Don Lelooska. Sandy ordered a bracelet by Charles Loloma from a picture in a magazine. ”I always got a little nervous when the packages came, but I’ve never been disappointed,” Sandy told Malarcher. ”Craftsmen are a special breed.” Toshiko Takaezu, as an example, would require interested collectors like the Grottas to come by her studio in Princeton, NJ, a few times first to “interview” before she’d permit them to acquire special works. It took 15 years and several studio visits each year for the Grottas to convince the artist to part with the “moon pot” that anchors their formidable Takaezu collection. Jewelers Wendy Ramshaw and David Watkins in the UK also became dear friends as Sandy developed a world-class jewelry collection. At one point, in a relationship that included weekly transatlantic calls, Sandy told Wendy she needed “everyday earrings.” Wendy responded with earrings for every day – seven pairs in fact. “For me, the surprise was that they found me,” says John McQueen. “I lived in Western New York state far from the hubbub of the art world.” McQueen says that he discovered they the Grotta’s were completely open to any new aesthetic experience. “from that moment, we established a strong connection, that has led to a rapport that has continued through the years – a close personal and professional relationship.”

Their accumulation of objects has grown to include more that 300 works of art and pieces of jewelry by dozens of artists, and with their Richard Meier home, has been the subject of two books. The most recent, The Grotta Home by Richard Meier: A Marriage of Architecture and Craft, was photographed and designed by Tom Grotta of bga. They don’t consider themselves collectors in the traditional sense, content to exhibit art on just walls and surfaces. Sandy and Lou’s efforts were aimed at creating a home. They filled every aspect of their lives with handcrafted objects from silver- and tableware to teapots to clothing to studio jewelry and commissioned pillows, throws and canes, a direction she also recommended for her interior design clients. The result, writes Glenn Adamson in The Grotta Home,”is a home that is at once totally livable and deeply aesthetic.” Among the additional artists whose work the Grottas acquired for their home were wood worker Thomas Hucker, textile and fiber artists Sheila Hicks, Lenore Tawney and Norma Minkowitz, ceramists Peter Voulkos, Ken Ferguson and William Wyman and jewelers Gijs Bakker, Giampaolo Babetto, Axel Russmeyer and Eva Eisler. They have traveled to Japan, the UK, Czechoslovakia, Germany and across the US to view art and architecture and meet with artists.

Perhaps their most ambitious commission was the Grotta House, by Richard Meier. Designed to house and highlight craft and completed in 1989, it is a source of constant delight for the couple, with its shifting light, showcased views of woodlands and wildlife and engaging spaces for object installation. The Grottas were far more collaborative clients than is typical for Meier. “From our very first discussions,” Meier has written,”it was clear that their vast collection of craft objects and Sandy’s extensive experience as an interior designer would be an important in the design of the house.“ The sensitivity with which the collection was integrated into Meier’s design produced “an enduring harmony between an ever-changing set of objects and they space they occupy.” The unique synergy between objects and architecture is evident decades later, even as the collection has evolved.  Despite his “distinct — and ornament-free — visual language, Meier created a building that lets decorative objects take a leading role on the architectural stage,” notes Osman Can Yerebakan in Introspective magazine (“Tour a Richard Meier–Designed House That Celebrates American Craft,” Osman Can Yerebakan, Introspective, February 23, 2020). The house project had an unexpected benefit — a professional partnership between Sandy and Grotta House project manager, David Ling, that would result in memorable art exhibition and living spaces designed for the homes and offices of many of Sandy’s design clients.

Sandy and Lou became patrons of the American Craft Museum in 1970s. As a member of the Associates committee she organized several annual fundraisers for the Museum, including Art for the Table, E.A.T. at McDonald’s and Art to Wear, sometimes with her close friend, Jack Lenor Larsen, another assured acquirer, as co-chair. At the openings, she would sport an artist-made piece of jewelry or clothing, sometimes both, and often it was an item that arrived or was finished literally hours before the event. “I wear all my jewelry,” she told Metalsmith Magazine in 1991 (Donald Freundlich and Judith Miller, “The State of Metalsmithing and Jewelry,” Metalsmith Magazine, Fall 1991) “I love to go to a party where everyone is wearing pearls and show up in a wild necklace …. I have a house brooch by Künzli – a big red house that you wear on your shoulder. I can go to a party in a wild paper necklace and feel as good about it as someone else does in diamonds.” Sandy served on the Board of the by-then-renamed Museum of Arts and Design, stepping down in 2019. 

From its inception, Sandy served as a trusted advisor, cheerleader and cherished client to browngrotta arts. She introduced us to artists, to her design clients and Museum colleagues. Questions of aesthetic judgment — are there too many works in this display? too much color? does this work feel unfinished? imitative? decorative? — were presented to her for review. (She was unerring on etiquette disputes, too.) The debt we owe her is enormous; the void she leaves is large indeed. We can only say thank you, we love you and your gifts will live on.

You can learn more about Sandy’s life and legacy on The Grotta House website: https://grottahouse.com and in the book, The Grotta Home by Richard Meier: A Marriage of Architecture and Craft available from browngrotta at: https://store.browngrotta.com/the-grotta-home-by-richard-meier-a-marriage-of-architecture-and-craft/.

The family appreciates memorial contributions to the Sandra and Louis Grotta Foundation, Inc., online at https://joingenerous.com/louis-and-sandra-grotta-foundation-inc-r5yelcd or by mail to The Louis and Sandra Grotta Foundation, Inc., P.O. Box 766, New Vernon, NJ 07976-0000.

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In December, the illustrious New York Times, profiled Sandy and Lou Grotta, their 300+ collection of Modern Craft  which are beautifully featured/illustrated in The Grotta House book. https://www.nytimes.com/2019/12/31/arts/design/show-us-your-wall-grotta.html So did Art in America online.

https://www.artguide.pro/event/ book-release-the-grotta-home-by-richard-meier-a-marriage-of-architecture-and-craft/ Tom got a shoutout as the photographer in both articles as well. Next up was TLmag, True Living of Art and Design, a Brussels-based, international biannual print and online magazine dedicated to curating and capturing the collectible culture. 

Also in February, the Grotta house and browngrotta arts were covered by Introspective, the online magazine produced by 1st Dibs, In the piece titled, “Tour a Richard Meier-Designed House that Celebrates American Craft,” author Osman Can Yerebakan, observes that the Grottas, are “[l]ed by intuition, they simply let an affinity for objects, and for the people who make them, guide their unerring eye.”https://www.1stdibs.com /introspective-magazine/richard-meier-grotta-house/?utm_term=feature2&utm_source=nl-introspective&utm_content=reengagement&utm_medium=email&utm_campaign=2020_02_23&emailToken=2277332_1a3d078b2c480b774c0897f7484ece12b4545b9bb006358a40eba4b7215550ce

On March 1st, Artfix Daily covered our online exhibition in “browngrotta arts presents Transforming Tradition: Japanese and Korean Contemporary Craft.” http://www.artfixdaily.com /artwire/release/7876-browngrotta-arts-presents-transforming-tradition-japanese-and-kor. An article by Rhonda, “Active Collecting: Acquiring Experiences as Well as Art,” appeared in the Spring issue of Surface Design Journal,

describing the interactions between Sandy and Lou Grotta and the artists they collect. The couple have met many of those whose work they have collected or commissioned and have developed deep friendships with others, including furniture makers Joyce and Edgar Anderson and Thomas Hucker, jewelers Wendy Ramshaw and David Watkins, ceramist Toshiko Takaezu and weaver Mariette Rousseau-Vermette.

The Spring also saw a light-hearted story in the March/April issue of Wilton Magazine, on Rhonda and Tom, “Art of Love, Love of Art,” by Karen Sackowitz, noting that our creative synergy– for better or worse — has spanned decades (3 decades and 7 years to be precise). Other local publications have championed us as well — The Ridgefield Press, Wilton Bulletin and Connecticut Magazine have talked up our taking art online, nothing that, “Social distancing doesn’t mean people have to distance themselves from the arts” as area arts institutions like bga have taken to providing people with digital experiences on their websites and social media platforms to ensure people are still able to engage with art.

Artsy, covered the Grottas and their home in April, in “This Collecting Couple Lives with a Rotating Cast of Craft Masterpieces,” by Casey Lesser https://www.artsy.net /article/artsy-editorial-collecting-couple-lives-rotating-cast-craft-masterpieces. Tom got a shout out, too. The author shared Lou’s collecting advice to “do your homework” as he recalled being told that “you have to see 50 works by an artist before you can start to understand what’s good.” Thanks to the internet, that’s much easier today than it was when he and Sandy started out. “Don’t fall in love with the latest stuff,” the author quotes Grotta. “Decide who you like and what you like.”

April also saw the Grotta house and book featured in Dwell online https://www.dwell.com /home/the-grotta-house-0257ab73 and in Archello https://archello.com/project/the-grotta-house. In progress (fingers crossed), a piece on The Grotta House by Richard Meier, a Marriage of Architecture and Craft in INTERIOR+DESIGN, a Russian publication.

We hope to get press coverage for our upcoming events:

Online in June: Cross Currents – Arts Influenced by Rivers and the Sea, Vols. 38, 35

Online in July: Fan Favorites — Sekimachi, Sekijima, Laky and Merkel-Hess, Vols. 24, 19, 2, 3, 8, 5, 15, 16, 19

Online in August: Cataloging the Canon – Tawney, Stein, Cook, Hicks and So, Vols. 13, 28, Monographs: 1-3; Focus: 1

Live in September: Volume 50: Chronicling Fiber for Three Decades. Now rescheduled for September 12 -22. Details on how we will mix art viewing and safe practice to come.

Hope you’ll join us for all or some of these.

Stay Safe, Stay Distanced, Stay Inspired!!

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We were saddened to learn of the loss of talented artist and educator Glen Kaufman last month. Born in Fort Atkinson, Wisconsin in 1932, Kaufman attended the University of Wisconsin-Madison on an Air Force ROTC scholarship, where he met his wife and earned a Bachelor’s Degree in 1954. Following his Air Force service, he enrolled at Cranbrook Academy of Art, earning an MFA degree in Weaving & Textiles in 1959. In 1960, he received a Fulbright Scholarship and attended the State School of Arts & Crafts in Copenhagen. Upon returning to the US, he worked as a designer for Dorothy Liebes in New York City. He returned to Cranbrook Academy as educator, heading the Fibers Department until 1967. In 1967, he was hired by Lamar Dodd as associate professor of Art at the University of Georgia, where taught for over 40 years. He was an honorary member of the Surface Design Association for life and elected into the American Craft Council College of Fellows in 1988. His papers, dated from 1957-2011, were donated to the Archives of American Art at the Smithsonian in 2015. The papers primarily document his travels and student work through biographical material, journals, printed materials, and artwork. Included are 15 travel journals, two sketchbooks, biographical material, professional correspondence, teaching files, photographs of Kaufman and works of art, works of art including sketches and weaving samples, two handwoven knotted pile rug samples and printed material. An oral biography of Kaufman with curator Josephine Shea is found on the Smithsonian situate: https://www.aaa.si.edu/download_pdf_transcript/ajax?record_id=edanmdm-AAADCD_oh_366203.

From 1983 on, Kaufman divided his time between homes in Athens, Georgia and Kyoto, Japan.. “I have set about creating my work in a foreign place – Kyoto – for half of each year since 1983,” he wrote. “The images in my work can be seen as shadows cast on shoji screens or glimpses of a world seen through a personal window.

In these ‘window views’ I have struggled to achieve a synthesis of my two worlds – tile roofs in Asia; skylines of cities and towns in America. Images of architecture in gold or silver leaf float behind grids on silk panels both large and small,” Kaufman wrote. His work in the US and Japan involved photographs and gold leaf, which he used to capture the architecture of each locale and to reveal aspects of these differing worlds. A grid motif, present in most of these pieces, reflects the prevalence of the grid in Japanese architecture.”The grid fragments the image and at the same time provides a familiar framework, allowing the viewer to perceive the entire image, yet concentrate on the small square.

“The work evolves from my photographs, photographs that are transformed into strong black-and-white images that express the reality of the subject. These strongly contrasting images are printed onto a silk fabric by screening a special paste over a grid. Subsequently, gold or silver leaf is impressed into the cloth. When the excess leaf is removed, the grid is revealed and the image floats on a surface behind the window grid.The metal leaf I use has inherent reflective qualities that vary depending on the type, color, thickness, and weave of the ground cloth. The reflection of light on the leaf and silk – which changes depending on the light source and the time of day – give an inner life and dynamic visual energy to these works.”

Kaufman’s work appeared in more than 60 solo exhibitions in New York, Boston, Kyoto, Berkeley, Tokyo, Sapporo, Honolulu, San Francisco, Osaka, Nagoya, Seattle, Seoul, Busan, Atlanta and more than 130 group exhibitions in North America, Europe and Asia. His works are in the permanent collections of more than 20 museums, including the Museum of Art and Design, NY; The Art Institute of Chicago; Ba Tang Gol Art Center, Seoul; The Cleveland Museum of Art; Juraku Museum, Kyoto, Japan; Long House Foundation, San Francisco; H.M. de Young Museum, San Francisco; and the Smithsonian Institution, Renwick Gallery, Washington, DC.

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Next month, we will showcase 40 artists whose works part of the remarkable collection of Sandy and Lou Grotta, acquired during their nearly 70-year relationship. “In quality and depth, the Grotta collection of contemporary craft outshines all others, including what is in museums,” writes designer and curator Jack Lenor Larsen. In Artists from the Grotta Collection we will feature important works of fiber, ceramic and wood – just as the Grotta Collection does.

The Grottas’ acquisitions are housed in an architecturally significant home designed intentionally to showcase their art. The collection and their home are featured in a new book, The Grotta Home by Richard Meier: a Marriage of Architecture and Craft, which was photographed and designed by Tom Grotta.

A well-regarded interior designer, Sandy Grotta (then Sandy Brown) met her husband, Lou Grotta, at the University of Michigan in 1953. After enrolling in multiple art history courses together, the couple quickly developed a mutual admiration for contemporary architecture which would grow to encompass the work of dozens of renowned craft artists. “In the early 1960s, walking out of the Museum of Modern Art, we stumbled upon the Museum of Contemporary Craft next door, ” she says. “The Museum’s exhibitions, many of whose objects were for sale in its store, caused a case of love at first sight. It quickly became a founding source of many craft purchases to follow. It was the site of our initial sighting of the wonderful walnut wood work of Edgar and Joyce Anderson.” Soon after, the Grotta commissioned the first work of what evolved into their becoming the most important collectors of Joyce and Shorty’s limited output over the next 30 years. The Andersons introduced them to their friends, ceramists Toshiko Takaezu and William Wyman. “[T]he Andersons were our bridge to other major makers in what we believe to have been the golden age of contemporary craft,” says Sandy, “and the impetus to my becoming our decorator going to interior design school and entering the field.” Lou’s interest in modern architecture and Scandinavian art also stems back to his early years as a student at the University of Michigan. In the early 80s Lou reunited with his New Jersey friend from summer camp, Richard Meier, and, despite differing opinions about craft and differences in opinion concerning craft materials, they decided to collaborate on the creation of The Grotta House. Over a span of five years, the three worked together to design and build a house that combined the Grottas’ unique appreciation for contemporary art and Meier’s formal elements of design.

Sandy and Lou continue their curation, still seeking dimensional textile art, sculpture and fine craft that enhances their collection. When it comes to aesthetic decisions, Lou says, the two early disagree. “Since day one, we’ve always been blessed with an amazing like/dislike simpatico. On rare occasions when we disagree, we honor the other’s veto power.” The results of that unique creative collaboration are documented in the more-than 300 photographs that make up The Grotta Home, which will be celebrated in Artists from the Grotta Collection: exhibition and book launch runs from November 2nd to the 10th at browngrotta arts, 276 Ridgefield Road, Wilton, CT.

The Artists Reception and Opening is November 2nd, 1 pm to 6 pm; the hours for November 3rd – 10th are 10 am to 5 pm. TheGrotta Home by Richard Meier: a Marriage of Architecture and Craft will be available throughout the exhibition and Tom will be available to sign it. For more info: http://www.browngrotta.com/Pages/calendar.php.

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Falling Water, Left to Right: Sandy Grotta, Lou Grotta, Tracy Grotta, Rhonda Brown

There are any number of ways to pay homage to Wright in his birthday year. Here are six ways you can Do the Wright Thing:

1) Cover a wall or upholster a chair with a Wright Design. The home design company Schumacher, in collaboration with the Wright Foundation, has revived a collection of geometric-print textiles that the world-famous architect designed in 1955.

Frank Lloyd Wright Design, Schumacher DESIGN 103, BLUE & RED, 176880

2) Visit one of his creations in person — Fodors has compiled 10 suggestions: “10 of the best places to see his spectacular creations.” 

3) Better yet, if you can swing it, take a vacation in a Frank Lloyd Wright home. The architect designed more than 1,000 innovative offices, churches, schools, skyscrapers and museums and hundreds of houses, Afar has compiled seven houses in seven states that can be rented for a week at a time, “Where to vacation in a Frank Lloyd Wright home.” 

4) Can’t leave home? Use your down time to build your own Frank Lloyd Wright building as a Kirigami model with paper. 

Frank Lloyd Wright Paper Models: 14 Kirigami Buildings to Cut and Fold: Available for purchase HERE

5) Another in place activity, examine the plans and an image of Falling Water — once you’ve completed the two-sided puzzle available from the Frank Lloyd Wright Organization shop. 

Frank Lloyd Wright Fallingwater 2-sided 500 Piece Puzzle: Available for purchase HERE

6) And online, immerse yourself in all things Wright –the general in Curbed’s comprehensive review, “Frank Lloyd Wright at 150:  The Curbed guide to the most famous architect in U.S. history,“ and then highly specific, in Artsy’s “7 Things You Didn’t Know About Frank Lloyd Wright.” Semi spoiler: like us, he was a Japanese art fan!  

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