Category: Art Textiles

Artboom Artists Introduction: Gudrun Pagter and Włodzimierz Cygan

Włodzimierz Cygan and Gudrun Pagter tapestry details. Photos by Tom Grotta

Włodzimierz Cygan and Gudrun Pagter tapestry details. Photos by Tom Grotta

Among the 33 accomplished artists featured in Artboom: Celebrating Artists Mid-Century, Mid-Career, are two artists from Europe, Gudrun Pagter and Włodzimierz Cygan who have not shown with browngrotta arts before. She creates strong graphic imagery in her tapestries, which reference architecture, with narrow lines and changes in color fields. ” In my works” she explains, “I consistently probe and explore concrete artistic idioms. I am engaged in a constant process of exploring the picture plane through a highly disciplined structuring of geometrical form elements and lines and through a restricted color spectrum.” Pagter’s work has been exhibited worldwide, including at the Danish Museum of Decorative Arts, Copenhagen, the Central Museum in Lodz, Poland, at the 14th International Tapestry Triennial and in China, at the 5th and 6th Internaitonal Fiber Art Biennials, From Lausanne to Beijing, where she received a Silver Medal and an Excellence Award. Włodzimierz Cygan’s

Gudrun Pagter catalog spread from artboom Artboom: Celebrating Artists Mid-Century, Mid-Career

Gudrun Pagter catalog spread from artboom Artboom: Celebrating Artists Mid-Century, Mid-Career

work has also been exhibited in Europe and abroad, including the Jean Lurcat Museum in France, the Kyoto Art Center in Japan and the National Gallery in San Jose, Costa Rica. He was awarded a Bronze Medal at the 6th International Fiber Art Biennial, From Lausanne to Beijing and the Grand Prix,12th International Triennial of Tapestry. Cygan is reknown for his textile innovations. “When trying to determine why the means of artistic expression in tapestry was becoming archaic,” he has written, “I realised that one of the reasons might have to do with the custom of treating the threads of the weft as the chief medium of the visual message. . . . These observations led me to wonder how the artistic language of textiles might benefit from a warp whose strands would not be parallel and flat but convergent, curved or three dimensional. . . .” The result, in some of Cygan’s works, the warp changes direction, the strands enable the weaving of circles or arcs. For more than 10 years, Cygan has been teaching at Gdańsk Academy and Architecture of Textiles’ Institute at Łódź Technical University. Miracle, the work that the artist selected for Artboom, Miracle, which won the Bronze medal at the 6th From Lausanne to Beijing, features a hypnotic curve, that draws the viewer into the heart of the work. Artboom is open at browngrotta arts, 276 Ridgefield Road, Wilton, Connecticut, for 10 days only. April 30th from 12-6 p.m.; May 1st to May 8th from 10 a.m. to 5 p.m.. For more information, call: 203-834-0623. The 88-page, full color catalog, can be ordered at: http://www.browngrotta.com/Pages/c41.php.

Artboom: Celebrating Artists Mid-Century, Mid-Career Catalog cover

Artboom: Celebrating Artists Mid-Century, Mid-Career Catalog cover


Make a Day of It: Artboom and Events Nearby

pictured works by: Christine Joy, Debra Sachs and Lilla Kulka; Photo by Tom Grotta; browngrotta arts

pictured works by: Christine Joy, Debra Sachs and Lilla Kulka; Photo by Tom Grotta; browngrotta arts

Artboom: Celebrating Artists, Mid-Century, Mid-Career opens at browngrotta arts in Wilton, Connecticut next Saturday April 30th, 12 -6 p.m. The exhibition is open through May 8th; hours from May 1st to May 8th are 10 a.m. to 5 p.m., earlier or later by appointment. When you are in our neighborhood, there are other art events that are well worth visiting:

Wilton Historical Society Basket Exhibition

Wilton Historical Society Basket Exhibition

The Wilton Historical Society, just down the road from bga in Wilton at 224 Danbury Road/Rt. 7, has
Hickory, Ash and Reed: Traditional Baskets, Contemporary Makers, http://www.wiltonhistorical.org/exhibitions.html on exhibit, which showcases several baskets by the late Marian Hildebrandt, whose work is represented by browngrotta arts, along with work by Jonathan Kline, Stephen Zeh, Lois Russell and Kari Lonning. Curated by Shawna Barrett, the works by contemporary basketmakers who use natural materials like brown ash, black ash, hickory, willow and reed are thoughtfully displayed aside unique historic baskets from the Society’s permanent collection. The Historical Society is closed Mondays.

Davis Brooks: Continuous Service Altered Daily, exhibit at the Aldrich Museum, Ridgefield, Connecticut. Photo by Tom Grotta

Davis Brooks: Continuous Service Altered Daily, exhibit at the Aldrich Museum, Ridgefield, Connecticut. Photo by Tom Grotta

From May 1st, Davis Brooks: Continuous Service Altered Daily, will be on exhibit at the Aldrich Museum, Ridgefield, Connecticut: http://aldrichart.org/article/continuous-service-altered-daily just north of us at 258 Main Street/Ridgefield Road, Ridgefield, Connecticut. “The stunning array of dismantled John Deere combine parts, exhibited in a diverse system of presentation, are designated according to the ecosystem service they represent, making it impossible to conceive of the combine in its entirety or to determine the machine’s complete functionality; similarly, an ecosystem integrates innumerable processes, many of them intangible or undetectable, into one whole, making it impossible for us to conceive of a life unfolding within it.” The Aldrich is closed on Tuesdays.

Paul Villinski, Self-Portrait (Detail), 2014, Steel, birds nest, 68 x 20 x 8 inches Courtesy of the artist and Morgan Lehman Gallery, New York

Paul Villinski, Self-Portrait (Detail), 2014, Steel, birds nest, 68 x 20 x 8 inches
Courtesy of the artist and Morgan Lehman Gallery, New York

The Nest, an exhibition of art in nature, at the Katonah Museum of Art, 134 Jay Street/Route 22, Katonah, New York, provides an unexpected lens through which to observe the fascinating parallels between human and animal behavior, raising timely questions about the survival of the birds and their habitats in our increasingly fragile ecological world http://www.katonahmuseum.org/exhibitions/TheNest/ The Katonah Museum is closed on Mondays.


Art Update: April Openings and Closings Here and Abroad

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

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

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

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

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

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

12 of 32 Lia Cook Su Series Tapestries

12 of 32 Lia Cook Su Series Tapestries

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

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

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

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

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

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

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


Art in the Barn 2016: Artboom: Celebrating Artists Mid-Century, Mid-Career, Wilton, CT, April 30th – May 8th

photo includes work by Merja Winqvist, Jiro Yonezawa and Włodzimierz Cygan

photo includes work by Merja Winqvist, Jiro Yonezawa and Włodzimierz Cygan

In less than two weeks, browngrotta will open its 2016 Art in the Barn exhibition, Artboom: Celebrating Artists Mid-Century, Mid Career. This year’s exhibition brings together “baby boomers,” 33 artists born between 1946 and 1964, who are mid-way into their lives of making art. We’ve asked them to provide us work that is reflective; work that tells us where they’ve come from or where they hope to go; work that illustrates influences, roads not taken, and the like. Or, work that reflects on being a boomer, perhaps— part of the wealthiest, most active, and most physically fit generation up to that time and the first to grow up genuinely expecting the world to improve. It was a generation that created music and literature in the 60s and art — including fiber art — to describe the change this generation was determined to bring about.

14cg The Iron Curtain, Ceca Georgieva, Burrdoch burrs,19" x 16" x 5", 2016

14cg The Iron Curtain, Ceca Georgieva, Burrdoch burrs,19″ x 16″ x 5″, 2016

The results are contemplative and thought provoking. Ceca Georgieva’s sculpture, The Iron Curtain, reflects her life in a Communist and post-Communist state. Karyl Sisson’s In Stitches, harkens back to her family’s past in New York’s Fashion industry — her grandmother made hats and beaded bags in New York’s lower East side; her mother spent 25 years as a buyer for the specialty store Bonwit Teller. For Lewis Knauss, this stage of his career means seeing unrealized ideas (sketches, notes, photos) and failed work in a new light. “I am happier with chaos,” he says, “the way I need to give up a bit more control of the outcome, flaws and in nature, the beauty of disaster. I guess it is acknowledging the approaching wall. I enjoy working at my pace rather than a deadline enforced one, allowing things to just happen, evaluating the outcomes as I finish each work. Keeping and discarding.” The Artist’s Opening for Artboom: Celebrating Artists Mid-Century, Mid-Career is Saturday, April 30th from 1 p.m. to 6 p.m. The hours of the exhibition from May 1st through May 8th are 10 a.m. to 5 p.m. — just call if you’d like to come by earlier or later: 203.834.0623. browngrotta arts’ contemporized 1895 barn is at 276 Ridgefield Road, Wilton, CT 06897. For more information and a complete list of artists visit browngrotta.com: http://www.browngrotta.com/Pages/calendar.php. A catalog, Artboom: Celebrating Artists Mid-Century, Mid-Career will be available from browngrotta.com after May 1st.

pictured works by: Birgit Birkkjaer; Grethe Sorensen; Grethe Wittrock; Gudrun Pagter; Mary Merkel-Hess; Tom grotta; browngrotta arts

pictured works by: Birgit Birkkjaer; Grethe Sorensen; Grethe Wittrock; Gudrun Pagter; Mary Merkel-Hess; Tom grotta; browngrotta arts


art on paper preview: Norma Minkowitz

60,61nm Patterns of Flight I, Norma Minkowitz, stitched, drawn, collage, pen and ink on paper, 20 x 14.75", each, 2015. Photo by Tom Grotta

60,61nm Patterns of Flight I, Norma Minkowitz, stitched, drawn, collage, pen and ink on paper, 20 x 14.75″, each, 2015. Photo by Tom Grotta

For the second year in a row, browngrotta arts will participate in the art on paper art fair at Pier 36 in New York City http://thepaperfair.com/ny will run from March 2nd through the 6th. Among the works we will have in our booth are Norma Minkowitz’s detailed, stitched drawings on paper,

Patterns of Flight 3, Norma Minkowitz, stich drawing, collage, 17”x 47”, 2016. Photo by Tom Grotta

Patterns of Flight 3, Norma Minkowitz, stitch drawing, collage, 17”x 47”, 2016. Photo by Tom Grotta

Patterns of Flight 1 and 2. Minkowitz was inspired by images of the velocimetry of bird flight from the University of Montana’s Flight Laboratory http://www.nytimes.com/2011/01/04/science/04birds.html — an area of scientific and artistic study since at least Leonardo DaVinci. Minkowitz has re-envisioned the air velocity marks a flurry of stitches, with striking results.

Patterns of Flight 1, Norma Minkowitz, stitch drawing, collage, 25” x 30”, 2016. Photo by Tom Grotta

Patterns of Flight 1, Norma Minkowitz, stitch drawing, collage, 25” x 30”, 2016. Photo by Tom Grotta


It’s Never Too Early: How to Buy Art in Your 20s

Lizzie Farey, Deborah Valoma and Stéphanie Jacques

Lizzie Farey($1,800), Deborah Valoma($1,700) and Stéphanie Jacques($1,200). Photo by Tom Grotta

Thanks to the DIY movement and a mass of online and cable design and decor resources, we’ve never had more encouragement to create environments that inspire and invigorate. Art can be an essential element of such an environment and investing in art need not be a bank breaker. Domino, a curated site that encourages readers to “bring your style home,” offers several tips for buying art in your 20s, including not buying too big and not being afraid to invest http://domino.com/how-to-buy-art-in-your-twenties/story-image/all. We at browngrotta arts have a few additional thoughts:

6tt INYO (95-2), Tsuruko Tanikawa, brass and iron wire, coiled and burned, 7.5" x 6.5" x 14", 1995

INYO (95-2), Tsuruko Tanikawa, brass and iron wire, coiled and burned, 7.5″ x 6.5″ x 14″, 1995 ($1,200)

1) Think objects: If you are in your first apartment or are fairly certain that a move is in your future, Ceramics, Art Baskets, Glass sculptures can be easier to place in your next home than a large wall piece may be.

Naomi Kobayashi Red & White Cubes

Naomi Kobayashi Red & White Cubes ($1,000 each)

2) Invest for impact: Prints are generally less expensive than originals, editions less expensive than a one off. And you will find that some mediums are, in general, priced more accessibly than others. Art textiles and fiber sculpture are an example. Work by the best-known artists in the field go for under a million dollars, compared to tens of million dollars for paintings by well-recognized artists.  You can start small with works in fiber, ceramics and wood, and create a small, but well-curated, collection. Consider Naomi Kobayashi, a Japanese textile artist whose work is in the permanent collection of many museums, including the Metropolitan Museum of Art and whose work can be acquired for $1000.  Or an up-and-coming artist like Stéphanie Jacques from Belgium, whose masterful multi-media works address issues of gender and identity, and begin at prices below $1500.

GRAY WITH BLACK, Sara Brenan, wool & silks linen, 12.5” x 19”, $1,900 photo by Tom Grotta

GRAY WITH BLACK, Sara Brenan, wool & silks linen, 12.5” x 19”, $1,900 photo by Tom Grotta

3) Take advantage of digital placement: Reviewing art online is a great way to expose yourself to a wide variety of work, and develop your personal aesthetic. Once you’ve found a work that appeals, digital placement can give you a greater level of confidence before you press “Buy.” At browngrotta arts, we ask clients to send us a photo of the space the propose to install the work. We can digitally install the piece, to scale and with shadow, so you have a sense of how will work there.

32pc CONSTRUCTION III, Pat Campbell, rice paper, reed, 8" x 7.5" x 5.5", 2002

32pc CONSTRUCTION III, Pat Campbell, rice paper, reed, 8″ x 7.5″ x 5.5″, 2002

4) Document: If the work you purchase has appeared in a book or a catalog, make sure you get a copy. Ask the seller for any information he/she has on the artist for your files. On each artist’s page on browngrotta.com, you can find a list of publications in which the artist’s work appears. The documentation is good to have for insurance and appraisal purposes and you can watch as the artist’s cv —hopefully — expands in the next several years.

5) Buy for love: It’s great to learn 10 years down the road that a work of art you purchased has appreciated and is worth more than you paid for it. We’d argue, though, that if you’ve enjoyed owning it for 10 years, and thought each time you looked at it, “I really love that piece,” you’ll have gotten your money’s worth, and enriched your life in the process.


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

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

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

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

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

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

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

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

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

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


Last Chance: TWO WAYS-STUDIOS

Mariette Rousseau-Vermette
and Claude Vermette:
Creators of Modern Québec
through October 12th
Contemporary Museum of Art,
Baie-Saint-Paul, Québec, Canada

Mariette Rousseau-Vermette & Claude Vermette. Portraits by Tom grotta

Mariette Rousseau-Vermette & Claude Vermette. Portraits by Tom Grotta

Two-Way Studios – Mariette Rousseau-Vermette and Claude Vermette: Creators of Modern Québec, at the Contemporary Museum of Art at Baie-Saint-Paul, Quebec, invites visitors to wander through more than five decades of artistic creation The art of Mariette Rousseau-Vermette (1926-2006) and Claude Vermette (1930-2006) offers a view of a way of life that emerged in Québec in the late 1950s. Their works were sometimes monumental and could readily be integrated in the architectural context. They express, according to the Museum, a basic tenet of the “Quiet revolution” that aligns cultural production with social progress. Throughout the 60s, these couple merged modernist values and traditional craft, aiming to express a cultural identity that could be both ultra-contemporary and remain respectful of the past. The exhibition displays the production of these two artists in a series of “chapters” themes. Through a chronological approach, viewers are able to make comparisons. The exhibition reveals a common spirit, strong affinities, correspondences, and, of course, emotional and intellectual ties, set within a single historical and sociological context, crossing an important period of recent history.

Virtual Exhibition: You can take a video walkthrough of the exhibition and the artists’ separate, but adjacent studios, in Ste. Adele, Canada at: http://www.hdmedia360.ca/english/visite-virtuelle/hd/cbphgpWJl-mac-baie-saint-paul-rousseau-vermette.html. More images: See a review in Vie des Arts Magazine: http://www.viedesarts.com/article790-Precurseurs.

Vermette spent 30 years creating ceramics for architecture — bringing warmth and color to stark, cold constructions. He created new forms of clay composition, modules for tiles and bricks and new patented enamels. These innovations improved the sustainability of ceramics for the Canadian climate and its gruelling winters. His bricks and tiles earned him a First Prize in 1962 for industrial design. His large-scale ceramic compositions grace more than 100 public buildings, including pavilions and buildings connected to the Montreal World’s Fair in 1967, at Osaka in 1970, at the 1976 Summer Olympics held in Montreal. as well as in many schools, churches, courthouses, universities, more than a dozen Montreal subway stations and other buildings, including General Motors in New York City, MacMillan Bloedel in Vancouver and Bell Canada in Toronto. The last 30 years of his career, Vermette devoted to painting. His paintings have been collected and exhibited in Canada and abroad including a 910-foot wall of paintings at Bell Canada’s Trinity Square office in Toronto.

Born in 1926, in Trois-Pistoles, Québec, Mariette Rousseau married Claude Vermette in 1952. She received her training at both the École des beaux-arts du Québec (1944-1948) and at the Oakland College of Arts and Crafts, in California (1948-1949). She and Vermette travelled extensively to Europe and Asia, allowing Rousseau-Vermette to broaden and deepen her understanding of different tapestry techniques. She was honored several times in Québec and abroad, winning numerous awards throughout her career. She has exhibited in Canada, the United States, in several European countries — including at several Lausanne Biennials of International Tapestry — and in Japan. Her tapestries are held in many major public and private collections, including the Metropolitan Museum of Art, in New York, the Chicago Art Institute, the Museum of Modern Art, in Kyoto, the National Gallery of Canada, the Musée national des beaux-arts du Québec and the Contemporary Art Museum of Montréal. She was a member of the Royal Canadian Academy of Arts and an Officer of the Order of Canada. Her storied career was the subject of an article by Anne Newlands, in the Journal of Canadian Art History,“Mariette Rousseau-Vermette: Journey of a Painter-Weaver from the 1940s through the 1960s” (2011). You can watch a video (in French) about a careful restoration and installation of a large Rousseau-Vermette tapestry at Simon’s department store in Montreal at: SIMONS: Des
The Contemporary Museum of Art at Baie-Saint-Paul, Quebec is at 3, rue Ambroise-Fafard, Baie-Saint-Paul, G3Z 2J2. Telephone: (418)435-3681. Fax: (418)435-6269. For more information, visit: http://www.macbsp.com/exhib_tocome.aspx.


Out and About: Grethe Wittrock’s Reception and Lecture at Fuller Craft Museum

We were pleased to catch up with Grethe Wittrock and fans of her work at the Fuller Craft Museum yesterday, to hear her speak and to celebrate the opening of her first solo exhibition the US.

Grethe Wittrock at her Fuller Craft Museum Exhibition Opening. photo by Tom Grotta

Grethe Wittrock at her Fuller Craft Museum Exhibition Opening. photo by Tom Grotta

The installation, of sails that Wittrock has re-purposed and re-envisioned, dyed and cut, is dramatic, its shifting shadows giving visitors a sense of being near the sea.

Titilayo Ngwenya, Director of Communication filming Grethe Wittrrock, European Magpie. Photo by Tom Grotta

Titilayo Ngwenya, Director of Communication filming Grethe Wittrrock, European Magpie. Photo by Tom Grotta

In her lecture, Wittrock spoke about this work and about her initial SAIL project at the Danish Arts Workshops using sails from the training vessel Georg Stage, which is moored at Holmen in Copenhagen in between cruises. Wittrock began by punching holes and tying knots through the sails to create designs and then transitioned to painting and dying them an finally to cutting sails and sailcloth to resemble bird wings.

Grethe Wittrock Fuller Exhibition Lecture. Photo by Tom Grotta

Grethe Wittrock Fuller Exhibition Lecture. Photo by Tom Grotta

The maritime signal colors of neon orange and yellow are the dominating colors in the project, and patterns representing rope bindings, nautical maps and underwater seascapes are transferred by means of printing and perforation. Wittrock’s dual goal is to shape the material in accordance with her idea while also incorporating the potential and expression of the material itself. The SAIL project is based on a piece of age-old utilitarian textile that has served in all sorts of wind and weather conditions, and which is a carrier of stories from voyages to destinations near and far.

Wittrock explained that she grew up near a stony shore and sea and sky, stones and birds are consistent influences in her work.The exhibition, Grethe Wittrock: Nordic Currents, is at the Fuller through January 31, 2015, 455 Oak Street, Brockton, MA. http://fullercraft.org/event/nordic-currents-grethe-wittrock/


We Told You So: Fiber Art Continues to Trend

22sh/r Color Alphabet Tapestry by Sheila Hicks, wool, silk, 6’ x 6’, 1982. Photo by Tom Grotta

22sh/r Color Alphabet Tapestry by Sheila Hicks, wool, silk, 6’ x 6’, 1982. Photo by Tom Grotta

Last year we predicted that fiber art’s new-found popularity would continue into 2015. You need not take just our word for that — take the Wall Street Journal’s. Earlier this month, the paper identified fiber as the “Art World’ New Material Obsession,” http://www.wsj.com/articles/the-art-worlds-new-material-obsession-fiber-1439565675 and dubbed Sheila Hicks and Françoise Grossen “overlooked masters.” The short piece quotes Sheila Hicks, “I always joke that fiber is my alphabet. I can say an unlimited range of things.” (The Hicks’ work featured here, Color Alphabet Tapestry (1982), is an ideal example.) The New York Time’s review of Françoise Grossen’s long-awaited US survey exhibition, “Françoise Grossen, a Fabric Artist Inspired by Other Fields,”

FROM THE MERMAID SERIES IV, Francoise Grossen, poly, metal, paper, braided, 16" x 72" x 72"

FROM THE MERMAID SERIES IV, Francoise Grossen, poly, metal, paper, braided, 16″ x 72″ x 72″

http://www.nytimes.com/
2015/08/07/arts/design/
review-francoise-grossen-a-fabric-artist-inspired-by-other-fields.html, adds additional context. The author, Martha Schwendener, quotes Grossen describing the approach of pathmaking fabric artists of the 60s, “First we broke with the rectangle, then we broke with the wall.” Interested in learning more? The contemporary art fabric movement is discussed (and illustrated) in our recent catalogs, Retro/Prospective: 25+ Years of Art Textiles and Sculpture, with essays by Jo Ann C. Stabb and Lesley Milar, MBE and Influence and Evolution: Fiber Sculpture…then and now with an Essay by Ezra Shales, PhD

Influence and Evolution: Fiber Sculpture...then and now catalog cover artwork by Federica Luzzi

Influence and Evolution: Fiber Sculpture…then and now
catalog cover artwork by Federica Luzzi

http://www.browngrotta.com/Pages/catalogs.php.