Category: Art Textiles

Don’t Miss – 10 Days Only: Of Two Minds: Artists Who Do More Than One of a Kind, browngrotta arts, Wilton, CT

This Saturday, April 26th, marks the opening of Of Two Minds: Artists Who Do More Than One of a Kind at browngrotta arts, 276 Ridgefield Road, Wilton, CT. Open for just 10 days, Of Two Minds features 25 international artists working in a a variety of media, including, glass, wood, watercolor, metal and fiber. The artists in the exhibition show remarkable range, working in different mediums, mastering different techniques and materials and creating complementary or contrasting works along the way. “Painters paint, sculptors sculpt, but the textile and mixed media artists in Of Two Minds are less restricted by material or technique,” explains browngrotta arts’ co-curator, Tom Grotta. “Represented in major museums, these artists weave, plait, knit, crochet, stitch and felt and also carve, construct, draw, dye, weld and paint.” Each artist in Of Two Minds has provided at least two contrasting works — several will exhibit more than two.

Detail of MarianBijlenga installation of glass and fiber, photo by Tom Grotta

Detail of MarianBijlenga installation of glass and fiber, photo by Tom Grotta

Marian Bijlenga, of the Netherlands, has sent a stitched work of horsehair, one of fish scales, a wall assemblage of glass “doodles” resulting from her glass experiments and also two glass sculptures.

Tissus d’ombres, detail, Stéphanie Jacques’,photo by Tom Grotta

Tissus d’ombres, detail, Stéphanie Jacques’,photo by Tom Grotta

Stéphanie Jacques of Belgium exhibits clay-coated and textile-edged woven baskets, with wood-worked bases along with a stitched photographic print.

Vanishing and Emerging installation detail by Hideho Tanaka, photo by Tom Grotta

Vanishing and Emerging installation detail by Hideho Tanaka, photo by Tom Grotta

Hideho Tanaka of Japan combines a large patched linen weaving with sculptures of torched paper and steel.

detail of Lawrence LaBianca installation from Of Two Minds, photo by Tom Grotta

detail of Lawrence LaBianca installation from Of Two Minds, photo by Tom Grotta

Lawrence LaBianca of California exhibits works combining glassblowing, prints, wood and metal work. LaBianca’s Skiff is interactive, when a viewer picks up the phone, he or she can hear the rushing river that inspired the work. The full list of participating artists is:
Dona Anderson (US),  Dorothy Gill Barnes ( US),  Dail Behennah (UK),  Nancy Moore Bess (US),  Marian Bijlenga (NL),  Birgit Birkkjaer (DK),  Gali Cnaani (IL),  Agneta Hobin (FI),  Stéphanie Jacques (BE),  Tamiko Kawata (JP),  Naomi Kobayashi (JP),  Kyoko Kumai (JP),  Lawrence LaBianca(US),  Gyöngy Laky(US),  Sue Lawty (UK),  John McQueen (US),  Norma Minkowitz (US),  Scott Rothstein (US),  Axel Russmeyer (DE),  Hisako Sekijima (JP),  Karyl Sisson (US),  Jin-Sook So (JP),  Hideho Tanaka (JP),  Deborah Valoma (US) and Grethe Wittrock (DK).

Wave Hill Bread

Wave Hill Breads

The Artists Reception and Opening begins at 12 p.m. on Saturday. Several of the artists will be in attendance including, Tamiko Kawata (US),  Norma Minkowitz (US) , Sue Lawty (UK) and John McQueen (US). We’ll also be tasting artisan breads from Wave Hill Breads. From Sunday the 27th through Sunday, May 4th, our hours will be 10 a.m. to 5 p.m. or by appointment. Call us at 203-834-0623 if you wish to come earlier or later. We are at work on a catalog for the exhibition which you can purchase at bga or online after May 1st. For more information visit: http://browngrotta.com/Pages/newthisweek.php.


Make A Day of It: Of Two Minds and Other Art Activities in Our Area

Glow & Glitter, Agneta Hobin, mica, steel mesh, 8” x 8” each, 2014; Alchemia, Agneta Hobin, gilded gold-leaf wooden reliefs, 8” x 8” each, 2014, photo by Tom Grotta

Glow & Glitter, Agneta Hobin, mica, steel mesh, 8” x 8” each, 2014; Alchemia, Agneta Hobin, gilded gold-leaf wooden reliefs, 8” x 8” each, 2014, photo by Tom Grotta

There are cultural opportunities aplenty in our area in late April and early May. In addition to Of Two Minds: Artists That Do More Than One of a Kind at browngrotta arts (bga), 276 Ridgefield Road, Wilton, Connecticut from April 26th (12pm – 6pm) through May 4th (10 am – 5 pm, April 27th – May 4th), there are exhibitions of interest in nearby Ridgefield, Westport and at the Wilton Historical Society:

Standing in the Shadows of Love: The Aldrich Collection 1964–1974 Part 1 Robert Rauschenberg, (1925–2008)  Robert Rauschenberg, Umpire, 1965; Private collection

Standing in the Shadows of Love: The Aldrich Collection 1964–1974 Part 1
Robert Rauschenberg, (1925–2008)
Robert Rauschenberg, Umpire, 1965; Private collection

Celebrating 50 Years:
Standing in the Shadows of Love: The Aldrich Collection 1964–1974
Robert Indiana, Robert Morris, Ree Morton, Robert Rauschenberg, Robert Smithson

Aldrich Museum of Art (6.13 miles from bga)
258 Main Street
Ridgefield, CT 06877
http://www.aldrichart.org

Hours
Tuesday – Sunday, 12 to 5 p.m.

The Aldrich will celebrate its 50th Anniversary with three overlapping series of exhibitions that highlight not only the Museum’s legacy, but also the relationship between the era in which it was founded and our current cultural landscape. The first, Standing in the Shadows of Love: The Aldrich Collection 1964–1974 — features iconic, historical works by Robert Indiana, Robert Morris, Ree Morton, Robert Rauschenberg, and Robert Smithson that represent the Museum’s early collection acquired by founder Larry Aldrich.

SOLOS 2014

WAC.logoWestport Arts Center (7.01 miles from bga)
51 Riverside Avenue
Westport, CT. 06880
www.westportartscenter.org

Hours:
Monday – Saturday 10am – 5pm
Sunday 12pm – 4pm

Of 150 applicants, Patricia Hickson, the Emily Hall Tremaine Curator of Contemporary Art at the Wadsworth Atheneum in Hartford, Connecticut has selected 12 artists, including browngrotta arts’ friend, Ken Resen, to exhibit in Westport Arts Center’s SOLOS 2014.

wiltonhistoricalsocieylogoChanging Times — Hand Tools Before the Industrial Revolution: Connecticut Tools of the Trades from the Walter R.T. Smith Collection 
and
Tavern Signs & Paintings: Heidi Howard, Maker & Painter

In its Burt Barn Gallery, the Society has mounted a series of eccentrically shaped, unusual tools. In the Sloan House Gallery, the Society presents an exhibition of contemporary interpretations of 18th and 19th century trade and tavern signs crafted from hand-planed 100- to 200-year old boards, painted by Heidi Howard.

Wilton Historical Society (1.98 miles from bga)

224 Danbury Road
Wilton, CT 06897
www.wiltonhistorical.org
Hours:
Tuesday – Saturday 10am – 4pm

Process Notes: Marian Bijlenga, Musings on 30 Years of Work To Date; 30 More to Go

photo by Marian Bijlenga

Marian Bijlenga PortraitDutch artist, Marian Bijlenga, recently compiled this group of miniatures reflecting 30 years of her artistic career, which she reckons is just a halfway point. Below she talks about her process, adapted from an interview by Manufactured Design By Architects (MDBA). The Spanish firm creates spaces that stir emotions and locates decorative elements and furniture to suit. It sources artists, like Marian Bijlenga, who inspire its work and interviews them at MDBY. MDB Architects.

1994-2012.B

Blue Holes, DetailI studied at the textile design department of Rietveld Art Acdaemy in Amsterdam (1977-1982), but I developed the techniques I use myself. When I studied textiles, I began by learning to weave, but for me, weaving was too slow. It took a lot of time before you could start, and I did not like the technique. I was looking for a more direct way of working. I took the threads held by the loom and began instead to make drawings, stiffening the fiber by dipping it in glue. 1986-1994.AMeander DetailIt was a much freer technique. But glue and thread are not very durable, so I was looking for a material that was stiff on its own, and discovered the horsehair. The fiber provides the necessary strength and flexibility to construct embroidered compositions of lines and dots.
1986-1994.B
JAPAN 3 DetailMy work is less preplanned and more of a natural process: it grows. The production may seem as painstaking as weaving, but it is the immediacy of the process that is important to me. I make one element and give it a place on my wall, and then I make another element, so the work grows until I like it. The work itself is meticulous, but I see the construction of each individual element as just the beginning. After I have the pattern pinned on my wall, then the real work starts. In the beginning, it is like playing. Then, finally, I use water-soluble fabric and make a drawing on it, so I know how to attach the pieces. Then I use monofilament to attach the small pieces to each other, and finally it all becomes one big piece. You only need some pins at the top of the piece to hang it on the wall. When seen with the right amount of natural light, the work seems to float just in front of the wall, defying gravity.

1982-1986.A
Palimpsest 1, DetailMuch of my early work was inspired by calligraphy, but I explored the positive and negative, abstracted shapes created by calligraphic forms, instead of its narrative possibilities, It is very interesting when I cannot read the words — the rhythm of the writing, the space between the letters and the connections between the lines. It is still a source of inspiration, but my work has grown more abstract. Nature is more important than writing. Small circles, ovals and streaks grow into compositions that map positive and negative space.
 I am fascinated by dots, lines and contours, by their rhythmical movements and the empty spaces they confine. The shadow on a white wall is an essential part of my work. By leaving some space between my structure and the wall, the object is freed from its background and interacts with the white wall. I need the silence of a white wall.
 1982-1986.B
COLOR DOTS SPRING ZEELAND DetailAdvice I’d give to others: Be guided by what happens around you. Don’t try too hard to direct, plan, master everything. For me, it is more important to be led by what crosses your path, the accidental encounter, things that happen outside yourself.

Guest Blog: Wendy Wahl on Newspapers Then and Now

The following story describes an obsession with a newspaper that some people may take for granted.  Perhaps at one point this desire was heightened because I had been included in the paper’s folds.

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photo by Wendy Wahl

As I took the 106 steps from an east door of my home I focused on the sensation of my feet walking across the recently laid pavers, onto the gravel drive and through a break in the stonewall to the street to see if it had really arrived. I had waited over 20 years for this moment and I savored each stride with anticipation that was punctuated with my own sounds of excitement. Patient hopefulness described my wait to unfold the neatly layered sections to discover what was inside. Though I feared it wouldn’t be there like so many times before and all my expectations would be shattered, I still felt somehow today was different.

For several years I would get in my car and travel the approximate 10 miles roundtrip to Taylor’s Country Store where I had reserved my copy of the paper.  Back then Taylor’s could be described as a charming, dusty, ramshackle, screen-door-hits-you-on-the-way-in-and-out kind of place. The entrance was so close to the two-lane main road that when you pulled up to park in the allotted space you’d be lucky not to hit anything or anyone. Inside the store was something you had to physically experience. There was nothing there I would eat; many of the product expiration dates had been reached and much of the packaged food was unrecognizable. It was one of the few destinations between my house and pretty much anything else heading east towards the University of Rhode Island just beyond the Kingston train station.  The store marked the north end of the Great Swamp. Mom and Pop Taylor were the quintessential shopkeepers who were humorously kind. I would usually run into someone I knew there. Around the same time the Department of Transportation took out the rotaries aka suicide circles on Route 138, Taylor’s closed.  The Alternative Food Co-op moved in which I welcomed having nearby because you could purchase fresh, local fruits and vegetables, eggs and dry foods in bulk.  An Asian Market followed this that brought lemongrass, tamarind and an array of new flavors to my neighborhood; a delicious culinary addition to rural South County but neither carried the newspaper I wanted to wrap up in at least on the weekend.

In 1990 I contacted The New York Times to see if I could get the paper delivered.  I was instructed to fax my order in.  If you remember this was a time when answering machines were being challenged by the immediacy of the fax machine.  I saw it as the thin edge of the personal communications wedge. After getting no results from my requests via this technology I picked up the telephone, not a smart phone or a cordless, but a copper connected landline and made the call to the subscription office to create an account to get the paper delivered to my doorstep. The person on the other end of the phone seemed genuinely helpful to include me in the community of those who wake up to find “all the news that fit to print” within arms length.  The representative took my name, address and credit card information and told me that I should expect to wait 4-6 weeks for my first delivery.  I immediately put the expected date into my day-at-a-glance book and waited with great expectation.  I probably don’t have to tell you that it didn’t arrive and oddly enough they started to send subscriptions advertisements. When I called to find out what happened the explanation was that “currently there isn’t delivery of the Sunday Times in your area.” I was told it could be mailed and I may receive it on Wednesday or Thursday. Seriously?

Geographically Rhode Island isn’t that far away from New York and the whole state is the size of the county of Los Angeles.  Myself a native Angelino, I often think of the avocado and loquat trees that dotted the landscape and how the Santa Monica Mountains terminate at the sea.  My thoughts drift to a time where the scent of citrus from the fruit groves lingered in the air after passing through the San Gabriel valley on a two-hour drive to the snow-covered San Bernardino range.  I still remember the importance of our first RCA color console.  The latest in home technology that aired Walter Cronkite every evening, the Jetsons on Saturday mornings and the Ed Sullivan show on Sunday night but this didn’t change home delivery of several newspapers that were available at the time.  Looking back, it was an era of door-to-door sales of print subscriptions that included magazines, books and in our case the newspaper from the Big Apple.  I mistakenly assumed I could receive The New York Times delivered in New England.  Now I understand that even by Rhode Island driving standards I’m off the beaten track.  In order to get to where I live you have to travel off the main east west artery of the state passing through turf fields, an Audubon preserve bordered by a white pine forest, cross over a one lane bridge, go past a pottery up a winding hill and at the time down an unpaved road to arrive at the last house whose postal address was a rural route and where three town lines intersect in the road in front of the house.  I explained to the representative whom I hoped had a sympathetic ear that it was only two-and-a-half miles off the main road.  The representative told me there just weren’t enough people who wanted delivery in my neck of the woods.  I asked if they would just leave it at the end of the road so I could pick it up there. They stopped sending notices.

A new rhythm developed where I would call the toll-free subscription number every few months to go through the motions of creating an account only to be met with the same results.  After the millennium my efforts dwindled to every six months and then perhaps once a year.  Then suddenly sometime in 2007 they began to send offers again letting me know that delivery was available in my area.  I took the bait each time over and over again.  I was delighted to see my invitation to get home delivery and at an introductory price of 50% off in my mailbox.  I would dutifully fill out the form, repost it and back it up with a call where I would be informed that in fact it would be on its way.  Yes, it’s finally happening – I’d dance about and sing hallelujah!  My husband would look at me with a raised eyebrow “are you going to fall for it again?”  Always hopeful, my response was “indeed.” But as you can guess, it didn’t happen.  To my family I must have seemed so pathetic to continue on this ridiculous ride for years.  Eventually I stopped responding to the solicitations giving up on the prospects of it ever happening.  However, in early April last year I received a notice in the mail from the subscription office that delivery was available.  I thought, what have I got to lose?  I called.

ww-image-#2

photo by Webdy Wahl

Admittedly I’d become relatively skeptical but perhaps this was the moment – the time had arrived when I would actually be able to get it delivered.  If this sounds like a promotional ad for The New York Times, perhaps it is.  Drum roll please…last year on a Sunday morning in May I went to my Providence Journal box where I had requested the Times be placed, a logical idea since both papers are now printed and delivered from the same location, to see if it was there and it was!  It would have been enough that it arrived at all but it was Mother’s Day and it had the Travel of the Times magazine – armchair candy.  So pleased to have the newspaper in my hands I began separating the paper by quickly scanning and then for the moment setting aside the front page because it’s too grim to take in the global inequities so early in the day.  The striking contrast of headlines and stories to the needed advertisements to keep it printed is unsettling.  I move on to the SundayReview, my favorite section, where I’m confident I will discover something that will inform my work.  That week I was introduced to Alice E. Kober, the instrumental backstage player in deciphering Linear B, “an unknown language in an unknown script” as described by linguist Margalit Fox author of recently released The Riddle of the Labyrinth: The Quest to Crack an Ancient Code.  It made me think about lost civilizations.  In that same section was a news analysis titled The Hidden World Under Our Feet.  As a mycophile and tree hugger it caught my eye.  Jim Robbins articulates the idea that “the world’s ocean of soil is one of our largest reservoirs of biodiversity” and that “the complex soil ecosystem is highly evolved and sophisticated”. His new release The Man Who Planted Trees  (different from the book with the same title by Jean Giono, published in 1953 and I suspect inspired by) documents one nurseryman’s quest to clone the biggest trees on the planet in order to save our forests and ecosystem.  I’m feeling gratified for all my efforts.  Then it’s on to each section: Arts and Leisure, Travel, BookReview, SundayBusiness, SundayStyles, SportsSunday, and the Magazine where I’m puzzled, challenged and humbled by Will Shortz.  Unfortunately the New England edition doesn’t have a classified section. Nostalgia wafts in on a zephyr and I can see my father in his plaid wool robe sitting at the kitchen table, the overhead fixture illuminating the plate of peanut butter filled celery troughs and his reflection in the sliding glass door, reading the want ads out of curiosity.  For me some weeks the paper is devoured the day it arrives and is then left lying about the house and studio to be reread and reused.  There is something so comforting about curling up on the sofa or sitting at the round table with a really good newspaper.  I enjoy the feel of it between my fingers, the smell of the ink and that familiar font that I now need magnifiers to read.

ww-image-#3

photo by Wendy Wahl

Newspapers have many uses beyond their primary function to communicate information and ideas.  Among these the most intriguing is as a medium for making art.  Picasso immediately comes to mind as appropriator of the material.  In 1909, Fillippo Marinetti coerced Le Figaro to print his controversial manifesto promoting the Futurist movement.  In the 21st century Jim Hodges covered a newspaper from Amman, Jordan in 24k gold.  An exhibition celebrating the relationship between newspapers and the arts titled Shock of the News at the National Gallery of Art in Washington, DC documents these and many other 20th century artists using newspaper as a medium for the message. Print-Inspired Art: All The News That’s Fit To Paint : NPR .

I embrace the reality of digital access to information at my fingertips like a library on the desktop – when the technology is working.  Recently while scrolling through the TED Talks I came across a presentation by Jacek Utko, a Polish newspaper designer and former architect who is questioning the notion that newspapers can be saved by reconnecting readers through good design and content choices.  Something along the lines of form follows function.  www.ted.com/…/jacek_utko_asks_can_design
Now as I walk back to my house carrying the newspapers each week I feel a sense of relief in finally having The New York Times delivered directly on Sunday.  Unfortunately sometimes this feeling is too quickly followed by the fear that now that I can have it delivered it might go out of print altogether and soon not be physically delivered anywhere.

 Wendy Wahl

February 12, 2014


Upcoming: Guest Posts on arttextstyle

Art, architecture and the environment are upcoming topics for guest bloggers on arttextstyle.com over the next few months.

David Ling, Wend Wahl & Gyöngy Laky, photos by Tom Grotta

David Ling, Wend Wahl & Gyöngy Laky, photos by Tom Grotta

In February, architect  David Ling will write about studying glass at Haystack Mountain School of Craft in Maine a follow up to Hisako Sekijima’s 2013 blog about teaching basketry in the same session. Ling founded David Ling Architects in 1992 after training with Richard Meier, I.M. Pei and Emilio Ambasz. Ling has held teaching positions at Parsons School of Design and University of Nuremburg and has served on design juries at Interiors Magazine, Harvard Graduate School of Design and Columbia University. The essence of Ling’s architecture is the artistic integration of space, form, light and function enriched by materiality. Among his design projects is the home/office of browngrotta arts.

Artist Wendy Wahl will write three posts about art, environment and ideas — the first to appear in mid-February. Wahl‘s work has been exhibited internationally and is in a number of private and public collections including the Cooper-Hewitt Museum, New York and the Museum of Art, Rhode Island School of Design. Her work has been the subject of exhibitions at the Grand Rapids Art Museum, Michigan, the Newport Art Museum, Rhode Island and the Fuller Craft Museum in Massachusetts.

In March, artist Gyöngy Laky’s Process Notes; Red in Art and Life will also appear on arttextstyle. Laky’s sculptural forms have been exhibited in museums and galleries throughout the United States. Internationally, her work has been exhibited in France, Sweden, Italy, Holland, Switzerland, Hungary, Lithuania, Colombia, the Philippines, China, with one-person exhibitions in Spain, Denmark and England. Her outdoor site-specific installations have been exhibited in the US, Canada, England, France, Austria and Bulgaria. From April 26th to May 5, 2014 Laky’s baskets and wall sculpture will be included in Of Two Minds; Artists Who Do More Than One of a Kind.
OF TWO MINDS: Artists who Create More Than One of a Kind
In March, readers will learn about the creative journey Dutch artist, Marian Bijlenga has taken, as she muses on 30 years of work. Bijlenga’s “spatial drawings “of horsehair, paper, thread and fish scales have been exhibited worldwide. Her work is represented in major museum collections including LongHouse Reserve; The Museum of Art & Design; The Craftmuseum, Finland; Musée des Beaux-Arts et de la Dentelle, Calais, France; and the Stedelijk Museum, Amsterdam. Bijlenga’s wall works and glass sculpture will be featured this April in Of Two Minds; Artists Who Do More Than One of a Kind at browngrotta arts.


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

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

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


Objects of Desire Gift Guide: Part Four — The Concierge Collection

Are you looking for an overlooked, understated, exceptional gift? We’ve culled just such a selection for The Concierge Collection. Priced from $55 to $5000, in this grouping you’ll find good reads and items from our back room that we are surprised have not yet been acquired.

Conceirge Gifts
1) LITTLE RED, Grethe Wittrock
paper, aluminum, 69″ x 14″ x 9″, 2009

2) BALANCING II, Irina Kolesnikova
flax, silk, paper, hand woven, 21″ x 16″, 2009

3) TRACES 3 RELIEF, Mia Olsson
sisal and coconut fibers on blastered acrylic glass, 
14″ x 11.875″ x 1.25″, 2006

4)TRACES 4 RELIEF, Mia Olsson
sisal and coconut fibers on blastered acrylic glass, 
14″ x 11.875″ x 1.25″, 2006

5) TOURBILLIONSimone Pheulpincotton, slate, 7.75″ x 7.75 x 2.25″ , 2009

6) TOURBILLION, Simone Pheulpin, cotton, slate, 7.75″ x 7.75 x 2.25″ , 2009

7) TOURBILLION, Simone Pheulpin, cotton, slate, 7.75″ x 7.75 x 2.25″ , 2009

8) TERRA ALTERIUS I, Caroline Bartlett
dyed, discharged, foiled, stitched linen, 
37″ x 32″, 2005

9) SUSPENDED RED, Nancy Koenigsberg
polynylon coated copper wire, 16″ x 16″ x 16″, 1998

10) WALTZ, Jennifer Falck Linssen
archival cotton paper, waxed linen, coated copper wire, aluminum, stainless steel, seagrass, paint, and varnish
 

(katagami-style handcarved paper.), 16” x 14” x 4”, 2008

11) PAGODA P, Naomi Kobayashi
cotton and aluminum cast, 2.75” x 11.5” x 11.5”, each

12) PAGODA B, Naomi Kobayashi
cotton and aluminum cast, 2.75” x 11.5” x 11.5”, each

13) TINY BOAT, Jane Balsgaard
homegrown willow and plant paper, 11″ x 24″ x 9.5”, 2010

14) RETRO/PROSPECTIVE: 25+ Years of Art Textiles and Sculpture Catalog, 184  pages; 248 photos

15) KAMOSU, Naoko Serino
jute, 6.75″ x 6.75″ x 6.75″, 2009

16) LOOP AND RETURN, Laura Thomas
cotton encapsulated in acrylic, 
6.375″ x 6.375″ x 3.25″, 2009

17) YOUNG WIRE POD, Debra Sachs
wood, paper twine, copper wire, copper tacks, mixed polymers, 
36″ x 7.5 x 7.5″

Conceirge Gifts


Objects of Desire Gift Guide: Part Two — Spheres of Influence

A selection of rounds, orbs, spheres and circles in different sizes made from a myriad of materials, including paper, safety pins and silk.

Sheres of Influence
1) OVER EASY, Dona Anderson
paper armature covered with pattern paper as surface design. Frame (cover) is rounds reeds strengthened with pattern paper, polymer and black paint, 10″ x 14″ x 14″ , 2011

2) SMALL WILLOW BOWL, Dail Behennah
white willow, silver-plated pins, 9″ x 9″ x 9″, 2007

3) A BEGINNING, Kyoko Kumai
stainless steel filaments, 7” x 7” x 7”, 2007

4) AIR, Christine Joy
Rocky Mountain Maple with encaustic finish, 9.84″ x 9.84″ x 9.84″, 2012

5) REVOLVING SIX ELEMENTS KYOUGI, Noriko Takamiya,
hinoki inner thin splint, 6″ x 6.75″ x 6″, 2012

6) BLUE SPOOLS SCULPTURE, Axel Russmeyer
bobbins, wood, copper wire
,, 4″ x 10″ x 10″, 2008

7) GOLDEN CRATER, Norma Minkowitz
mixed media, 18″ x 18″ x 18″, 2009

8) EUCALYPTUS BARK POD IN WOOD FRAME I Valerie Pragnell, 
eucalyptus bark, clay and bees  wax in wood frame, 
19″ x 15.5″ x 16″, 2001

9)  SILVER SPHERE,Tamiko Kawata
saftey pins,14″ x 14″ x 14″, 2004

SPHERES OF INFLUENCE

10) WARP IKAT SPIRAL, Ed Rossbach
3’ X 9’, 1962

11) HOMMAGE Á ROTHKOMariette Rousseau-Vermette
wool87″ x 84.5″, 1979

12) PODROZ (Journey) from the Kolodia seriesAgnieszka  Ruszczynska-Szafranska
linen, sisal, wool60″ x 56″, 1986


Objects of Desire Gift Guide: First Up, Gilt-y Pleasures

Watch the eyes of those on your gift list sparkle, when you choose one of these glimmering sculptures or wall works by artists from the US and abroad.

Kiyomi Iwata, Glen Kaufman,  Jin Sook So, Jan Buckman, MaryGiles

1 Auric Grid Fold, Kiyomi Iwata, aluminum mesh, french embroidery knots, gold leaf, silk organza, 19″x 18″ x 10″, 2013

2 Yoshikawa, Noto
Glen Kaufman
silk damask, silver leaf; screenprint, impressed 
metal leaf, 48” x 24” x 1” 1990

Pulguk-Sa, 
Kyong-Ju
Glen Kaufman
silk damask, silver leaf; screenprint, impressed metal leaf, 
48” x 24” x 1” 1990

Gold Bowl, Jin-Sook So, steel mesh, painted, and electroplated gold, silver leaf
2.75″ x 6″ x 6.25″, 2005

Untitled #8-5Jan Buckman, waxed linen and gold leaf, 8″ x 3.375″ x 2″, 1995

5 Center Fracture, Mary Giles
waxed linen, fine iron wire, hammered brass wire
, 13.5″ x 17″ x 17″ 2011

The Golden Child, Norma Minkowitz, fiber, mixed media 12″ x 11″ x 8″, 2009

Bling Art 2

Reflected Haze
Lewis Knauss
woven, knotted hemp, linen, acrylic paint, 20.5″ x 20.5″ x 2.5″, 2010

En Face
Agneta Hobin
mica and steel

70” x 48”, 2007

9 Copper, Tin Sculpture
Axel Russmeyer
copper, tin, stainless steel, hemp
17″ x 17″ x 17″

2007


Exhibition News: Cloth & Memory(2), Yorkshire, UK

Cloth & Memory

Installation shot Cloth & Memory {2} (Yoriko Murayama, Katusura Takasuka, Kari Steihaug)

You have several weeks yet to visit Cloth & Memory(2), dramatic, site-specific exhibition located in the UNESCO World Heritage Site, Salts Mill, Saltaire Yorkshire UK. Cloth & Memory(2) takes place in the original Spinning Room (known as The Lobby), which when first built was thought to be the largest industrial room in the world. The extraordinary internal architecture, with its peeling walls and floors still retain the marks and smells of its original use. All the works engage with the palpable history of place that is evident at Salts Mill and The Lobby in particular, and range from large scale interventions in space to highly intimate placings within the fabric of the building.

Cloth & Memory

Koji Takaki. ‘Ma’. Cottpn & Polypropylene. Cloth & Memory {2}

The exhibition’s curator is bga contributor Professor Lesley Millar of the University of Creative Arts. Informed by the knowledge that “cloth holds the memory of our time and connects us with the memories of other times and other places…,” the exhibition features 23 artists drawn from Europe, Japan and the UK.

Caroline Bartlett. 'Stilled'

Caroline Bartlett. ‘Stilled’ Installation Cloth & Memory {2}

Among the participants is Caroline Bartlett (UK), whose work involves a number of large embroidery hoops within one of the wall bays. Each stretched, stitched, woolen cloth piece will be inset with a small porcelain round, imprinted with an impression taken from a fragment of textiles. Bartlett has long been interested in the indications of other histories being formed through textiles and the journey that they take.

Listening In, Caroline Bartlett, mixed media; wooden rings stretched with archival crepeline, wool, linen tape, perspex, 2.75” x 17” x 17”; 5” x 17” x 17”; 6” x 17” x 17”, 2011, photo by tom Grotta

Listening In, Caroline Bartlett, mixed media; wooden rings stretched with archival crepeline, wool, linen tape, perspex, 2.75” x 17” x 17”; 5” x 17” x 17”; 6” x 17” x 17”, 2011, photo by tom Grotta

Bartlett’s Listening In, for example, builds on a previous work of hers entitled Conversation pieces, commissioned by the Whitworth Art Gallery in Manchester, UK. These works evolved from observation and dialogue with the archivist and conservators who work with the Whitworth textile collection and generously shared with the artist some of the procedures and practices with which they are involved. “While an interest in the museological processes of collecting, archiving, storing and conserving guided my explorations,” Bartlett explains, “it was a random search through the accession cards[at the Whitworth] that provided the stimulus and gave focus to the work. It was these that bore witness to the health and state of each item, to the work undertaken to preserve and stabilize each artifact, to endeavors to fill in gaps in the history and making of the object across time and space.” Stilled, Bartlett’s work in Cloth & Memory(2), continues these explorations: “I think of skin, bone, membrane; a layered dermis, and of networks of social, industrial, public and private relations, processes and materiality connecting the building itself with the idea of cloth as silent witness to the intimacies and routines of daily lives.”

Caroline Bartlett. 'Stilled'

Caroline Bartlett. ‘Stilled’. Installation close up Cloth & Memory {2}

Cloth and Memory(2) runs through November 3, 2013. There are curator, coordinator and artist tours each Saturday through the exhibition’s closing. If you can’t visit Yorkshire in time, be sure to visit to exhibition’s website at: http://www.clothandmemory.com. There are images, a video tour, narrated by Lesley Millar and an order form for the comprehensive catalog.

Caroline-Bartlett.-Stilled

Caroline Bartlett. “Stilled” detail. Cloth-Memory