Category: Museums

Acquisition News – Part I, US

We last reported on museum acquisitions of works by artists from browngrotta arts in 2019. There has been continued interest in acquiring work by these artists in the two years since by museums and art programs in the US and abroad. browngrotta arts has placed several works and acquisitions have occurred through the efforts of other galleries, artists and donors. As a result, we have a long list of aquisitions to report. In this, Part I, acquisitions in the Untied States:

Polly Adams Sutton
Polly Adams Sutton, Facing the Unexpected, 2013. Photo by Tom Grotta

Polly Adams Sutton

Polly Adams Sutton’s work Facing the Unexpected has been acquired by the Smithsonian American Art Musuem. It’s going to be part of the Renwick’s 50th anniversary exhibition in 2022.

Norma Minkowitz
Norma Minkowitz’s, Goodbye My Friend, 2017. Photo by Tom Grotta

Norma Minkowitz

Goodbye My Friend by Norma Minkowitz was gifted to the Renwick, Smithsonian American Art Museum, in memory of noted fiber art collector, Camille Cook.

Kiyomi Iwata
Kiyomi Iwata’s Red Aperture, 2009 and Fungus Three, 2018. Photos By Tom Grotta

Kiyomi Iwata 

Two works, Red Aperture and Fungus Three by Kiyomi Iwata were acquired by The Warehouse, MKE in Milwaukee, Wisconsin. Two works by Iwata, Grey Orchid Fold V made in 1988, and Auric Grid Fold made in 1995 were donated to the Philadelphia Art Museum.

Adela Akers
Adela Akers, Traced Memories, 2007. Photo by Tom Grotta

Adela Akers

Adela Akers‘ work, Traced Memories from 2007 was acquired by the DeYoung Museum in San Francisco, California in 2020.

Dawn MacNutt
Dawn MacNutt’s, Larger Than Life, 2021.

Dawn MacNutt  

Dawn MacNutt’s 9 foot-high willow sculpture, Larger Than Life, was acquired by Longhouse Reserve in East Hampton, New York in 2021.

Naoko Serino
Naoko Serino’s Existing-2-D, 2017 and Generating Mutsuki, 2021. Photos by Tom Grotta

Naoko Serino

Two works by Naoko SerinoGenerating Mutsuki and Existing 2-D, were acquired by The Warehouse, MKE in Milwaukee, Wisconsin.

Ferne Jacobs

A work by Ferne JacobsSlipper, made in 1994, was donated to the Philadelphia Art Museum. Another, Centric Spaces, from 2000, was donated to Houston Museum of Fine Art.

Presence Absence Tunnel Four, 1990, by Lia Cook

Lia Cook

The Los Angeles County Museum of Art (LACMA) purchased Presence Absence Tunnel Four, 1990, by Lia Cook, in 2019.

Gyöngy Laky
Gyöngy Laky’s, Noise at Noon, 1996. Photo by Gyöngy Laky

Gyöngy Laky   

The Oakland Museum of California in California acquired Noise at Noon by Gyöngy Laky this year. In 2019, the U.S. District Court for the Northern District of California Historical Society, added That Word to its collection and the Crocker Art Museum in Sacramento, California, added Ex Claim!  The Art in Embassies program of the US Department of State, acquired Seek, for the US embassy in Pristina, Kosovo.

Congratulations to the artists and acquiring organizations!


On Your Way to browngrotta arts in May— Make a Day of It

Coming to Connecticut next week to see Adaptation: Artists Respond to Change at browngrotta arts in Wilton? Take in some of our other local sites on your way:

Frank Stella’s Stars, A Survey
The Aldrich Contemporary Art Museum
258 Main Street
Ridgefield, CT 06877
Tel 203.438.4519

Frank Stella
Frank Stella’s Stars, A Survey, The Aldrich Contemporary Art Museum, September 21, 2020 to May 9, 2021, left to right: Fat 12 Point Carbon Fiber Star, 2016; Flat Pack Star, 2016 (installation view), Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen © 2020 Frank Stella / Artists Rights Society (ARS), New York. Photo: Jason Mandella

Just up the street from browngrotta arts, at the Aldrich Museum is the highly acclaimed exhibition, Frank Stella’s Stars, A Survey. https://thealdrich.org/exhibitions/frank-stellas-stars-a-survey#frank-stellas-stars-a-survey-0 Much of the exhibition is outdoors — where you can go mask free if you are vaccinated!

They are open from 12-5 all days but Sunday. From 10 am on Saturday. You’ll need an appointment: https://thealdrich.org/visit
258 Main Street, Ridgefield, CT 06877

The Glass House
New Canaan, CT

LongHouse
Glass House. Photo by Tom Grotta

Philip Johnson’s glorious Glass House and grounds in New Canaan are open.You’ll need to book a tour. For information on visiting go to the website: https://theglasshouse.org.

Remembering Dave Brubeck
Wilton Historical Society & Museum
224 Danbury Road (Route 7)
Wilton, CT 06897
203-762-7257

Dave Brubeck

Our Wilton Historical Society & Museum, of which we are great admirers, is open to the public. The premier exhibition explores the life of longtime resident Dave Brubeck and his family. The Society also features several permanent galleries that feature tools and toys and furniture – all worth a look. More information on scheduling a visit here: http://wiltonhistorical.org/visit/

Let in, Let go
Bruce Museum
1 Museum Drive
Greenwich, CT 06830-7157
Phone: 203.869.0376

Holly Danger
Holly Danger video projection installation at the Bruce Museum

The Bruce Museum in Greenwich hosts, Let in, Let go,  a multi-sensory video projection installation created by Holly Danger, a video artist based in Stamford, CT, who has brought experiential events and immersive installations to audiences around the world. Danger mixes analog and digital layers to create vibrant audiovisual collages, and projection maps the work into site-specific installations. Schedule your visit, here: https://brucemuseum.org/site/exhibitions_detail/let-in-let-go

Marilyn Minter: Smash
Westport Museum of Contemporary Art
19 Newtown Turnpike
Westport, CT 06880

MoCA’s current exhibition, Smash, is devoted exclusively to the videos of contemporary artist Marilyn Minter. Seeped in lush imagery oscillating between figuration and abstraction, Minter’s works encapsulate feminism, pleasure, voyeurism and notions of beauty, desire and chance. Minter is a contemporary American painter, photographer and video artist recognized for examining the relationships between the body and cultural beliefs about sexuality, desire, and pleasure. More information here:  https://mocawestport.org/exhibition/smash/

Adaptation: Artists Respond to Change
browngrotta arts
276 Ridgefield Road Wilton, CT 06897
203.834.0623
Make an appointment here:

Adaptation: Artists Respond to Change installation
Adaptation: Artists Respond to Change installation. Pictured works by Mary Merkel-Hess, John Garrett, Norma Minkowitz, Neha Puri Dhir, Paul Furneaux, Eduardo Portillo & Mariá Eugenia Dávila , Photo by Tom Grotta

Looking forward to seeing you next month!


Art Out and About: Exhibitions Around the US

Adaptation: Artists Respond to Change

Happily, vaccines are on the rise and art openings are, too.

We are excited about our own opening, Adaptation: Artists Respond to Change, May 8 – 16. You can join us by making an appointment through Eventbrite:  https://www.eventbrite.com/e/adaptation-artists-respond-to-change-tickets-148974728423  Elsewhere, exhibitions are ongoing live coast to coast this Spring. Check some or all of these events in person, or online. Art makes a comeback!

Uncommon Threads: The Works of Ruth E. Carter
New Bedford Art Museum/ArtWorks! (NBAM)
Massachusetts

May 1 – November 14, 2021

Uncommon Threads NBAM

A solo exhibition celebrating Massachusetts-born Ruth E. Carter’s 30-year career as an Academy Award-winning (Black Panther, 2018) costume designer rn Ruth E. Carter’s 30-year career as an Academy Award-winning (Black Panther, 2018) costume designer. 

For more info: https://newbedfordart.org/ruth/

Sonya Clark: Tatter, Bristle, and Mend
National Museum of Women in the Arts
Washington, DC 
Through June 27, 2021

Sonya Clark: Tatter, Bristle and Mend

This first survey of Clark’s 25-year career includes 100 sculptures made from black pocket combs, human hair and thread as well as works created from flags, currency, beads, cotton plants, pencils, books, a typewriter and a hair salon chair. The artist transmutes each of these everyday objects through her application of a vast range of fiber-art techniques: Clark weaves, stitches, folds, braids, dyes, pulls, twists, presses, snips or ties within each object. 

View in-person or online https://nmwa.org/exhibitions/sonya-clark-tatter-bristle-and-mend/

Craft Front and Center
The Museum of Arts and Design 
New York, NY

May 22, 2021–Feb 13, 2022

Craft Front and Center
Photo courtesy of the Museum of Arts and Design

MAD’s collection comprises over 3,000 artworks in clay, fiber, glass, metal, and wood, dating from the post-war studio craft movement through to contemporary art and design. Craft Front & Center is organized into eight themes exploring craft’s impact. Each section is punctuated with pivotal and rarely seen works from iconic makers, such as Betty Woodman, Marvin Lipofsky, Lia Cook and Magdalena Abakanowicz. The exhibition also casts a fresh eye on craft’s pioneers; celebrating Olga de Amaral, Charles Loloma, Ed Rossbach, Kay Sekimachi, Katherine Westphal and others who pushed the boundaries of materials and sought more inclusive sources of inspiration. The exhibition affirms craft as one of the most exciting spaces for experimentation and wonder in art today.

Building Bridges: Breaking Barriers

Ruth’s Table
San Francisco, CA
Virtual Exhibition through May 13, 2021

Artist Talk April 15 at 4:30 pm (PST)

Building Bridges, Breaking Barriers

See the Exhibit 

RSVP for the Artist Talk on April 15th

If you are not near an exhibition with in-person viewing, you can visit this two-part exhibition series online. Building Bridges: Breaking Barriers aims to help break barriers in perception by recognizing the unique agility and skill possessed by professional older artists at the pinnacle of their careers, their continued value and contribution to the arts and society, leading us to building bridges of an intergenerational nature. The exhibition, which includes work by Lia Cook, highlights artists who are particularly notable for their ability to transform their oeuvre in the thick of their careers. Each artist displays a selection of works that represent evolution and, sometimes, rupture from earlier works, demonstrating a compelling ability to take risks, break new ground and shape attitudes through their artistic practice.


Make a Day of It: Visiting browngrotta arts and other venues in early September

If you are coming to Volume 50: Chronicling Fiber Art for Three Decades at browngrotta arts in Wilton, Connecticut this weekend, we suggest you take advantage of a few of the area’s other treasures and cultural offerings. We’re taking you through three venues you should make a trip to see in addition to ours:

Philip Johnson Glass House, New Cannan CT
Philip Johnson Glass House, New Cannan CT

First up on our list is the Glass House in New Canaan, CT. The Glass House is currently open as an outdoor experience on their 49-acres across the property – offering a vast amount of beauty and respite.

Currently, they are exhibiting shows like Pliable Plan, a series that highlights artists and designers to refashion the house’s interiors with site-responsive textiles. In this exhibition you’ll find works from renowned artists like Anni Albers, where you’ll be taken on a journey that showcases her personal journey and relationship between working with textiles and architecture.

New Britain Museum of Art

However, Pliable Plan doesn’t stop there. Pliable Plan is also being presented at New Britain Museum of American Art (NBMAA), in partnership with Glass House to celebrate women’s initiatives in art.

Located in the heart of New Britain, CT, NBMAA welcomes all people to explore its 8,400+ paintings, works on paper, sculptures, videos, and photographs that highlight American Art.

Katonah Museum of Art, Katonah New York

Last, but not least on the list –  Katonah Museum of Art in Katonah, NY. Katonah Museum of Art is dedicated to understanding and tailoring a visual art experience that is suited for diverse audiences.

Exhibitions on the property explore ideas about art, culture, and society – past and present – through innovative exhibition and education programs.

Currently, there are many exhibitions to view at Katonah Museum of Art, including Bisa Butler: Portraits, which chronicles African American history through the illustration of the profound, unheard stories of those who lived through this time.

browngrotta arts, Wilton CT

We hope to see you within the 10 days our Volume 50: Chronicling Fiber Art for Three Decades exhibition is live.

You can view our Volume 50 collection at browngrotta arts, 276 Ridgefield Road, Wilton, Connecticut at the time of your choosing all weekend. To schedule a reservation, visit: https://www.eventbrite.com/e/volume-50-chronicling-fiber-art-for-three-decades-tickets-118242792375.




Material Matters: Hot Mesh

Untitled Mesh A-Z by Eva LeWitt
Untitled Mesh A-Z by Eva LeWitt Aldrich Museum of Art in Ridgefield, Connecticut

What’s with Mesh? It’s been popular with our artists for sometime. But now we are seeing it in other contexts, too. At the Aldrich Museum of Art in Ridgefield, Connecticut, Eva LeWitt introduced a new material for her exhibition — coated mesh, most commonly used for filters, window screens, and even protective clothing, LeWitt investigates its lightweight and light responsive crosshatched woven surface (through April 5th). Spanning three of the four walls, LeWitt has suspended from the ceiling nine cumulative layers, color fields of tensile mesh, forming interlacing moiré effects that swell and pulsate. 


LeWitt favors materials that she can handle and maneuver alone in the studio: plastics, latex, fabrics, and vinyl—substances offered in an array of readymade colors and a variability of light absorbencies– to generate sculptures and installations that harmonize color, matter, and space, Employing strategies of accretion and repetition, she customizes her work to comply and adjust to the surroundings of a particular setting.


Then there is Katsuhiro Yamaguchi, in the collection at Tate modern, who work in a variety of materials. https://www.tate.org.uk/art/artworks/yamaguchi-mesh-sculpture-t14164  In the 1960s Yamaguchi, incorporated various materials such as acrylic resin, light, wire-mesh, upholstery and wax, expanding his means of expression to include the environment of the ceiling and the walls.

Ruth Asawa's sculptures
Ruth Asawa’s sculptures displayed at the David Zwirner gallery in NYC

Ruth Asawa’s work in mesh is the subject of new-found appreciation https://www.latimes.com/home/la-lh-los-angeles-modern-auctions-realizes-record-auction-20140225-story.html. “Asawa began to crochet wire-mesh structures in 1948. The symmetrical structures themselves were intellectually rigorous, requiring discipline and technical precision. The resulting constructs were ethereal, fanciful, and vital.” The essence of Asawa’s art in wire has to do with transparency and interpenetration, with overlapping, shadow, and darkening” something looping wire mesh can evidence effectively.

Untitled I 2018, Jin Sook-So
59jss Untitled I, Jin Sook-So
steel mesh, folded, burnt and painted with gold, silver and acrylic
15.75″ x 15.75″ x 5.5″, 2018

Among our artists for Jin-Sook So, mesh is a like a zelig — an ordinary person who can change themselves to imitate anyone they are near. It can replicate the look of silk organza but when painted it looks like canvas. When electroplated and sculpted into forms it emits a burnished glow.

Detail of En Face, Agneta Hobin
9ah En Face, Agneta Hobin, mica and steel, 70” x 48”, 2007

Agneta Hobin is best known forr impressive works in which yellow mica has been woven into metal warp; the technique and materials are the artist’s unique choises which she has been developing for over ten years.

Untitled monofilament by Kay Sekimachi

Untitled
Kay Sekimachi
monofilament
57” x 14” x 14”, circa mid-70’s
Matrix II by Chang Yeonsoon
13cy Matrix II-201022
Chang Yeonsoon
indigo dyed abaca fiber
51.75” x 10 x 12.75”, 2010

In the 70s, Kay Sekimachi used a 21-harness loom, to create sheets of mesh-like nylon monofilament. She combined these to create ethereal, hanging quadruple tubular woven forms that explore ideas of space, transparency, and movement. Only 22 of these remarkable sculptures were made.

Chang Yeonsoon uses polyester mesh as a “frame” for layers of natural abaca fiber with striking results.. Yeon soon who is a leading contemporary textile artist in Korea was selected as finalists of the LOEWE Craft Prize 2018.

And, on a large scale, check out this building of mesh filled with cork https://www.dezeen.com/2020/

01/10/gharfa-pavilion-edoardo-tresoldi-studio-studio-studio-saudi-arabia/. It’s the product of Edoardo Tresoldi who has combined sound, projections, landscaping and fabric with his signature wire-mesh sculptures for Gharfa, a large site-specific pavilion in Riyadh.

Embrace the mesh!


Art Out and About: US

by Ryan Urcia and Kristina Ratliffe 

Our 2020 “Art in the Barn” exhibition series is not until next Spring but there are plenty of exciting exhibitions featuring some of our favorite browngrotta arts’ artists to check out this Winter season. Below is a round up of 10 must-see shows in the US:

John McQueen, Untitled #192, 1989, burdock burrs and applewood
Ed Rossbach, Croissants, ca. 1987, cartons, block print, and staples
CREDIT
The Henry Luce Foundation and the Windgate Charitable Foundation generously support the reinstallation of the Renwick’s permanent collection.
John McQueen, Untitled #192, 1989, burdock burrs and applewood
Ed Rossbach, Croissants, ca. 1987, cartons, block print, and staples
CREDIT
The Henry Luce Foundation and the Windgate Charitable Foundation generously support the reinstallation of the Renwick’s permanent collection.

Washington, D.C.
Connections: Contemporary Craft
at the Renwick Gallery
On view – indefinitely
Connections is the Renwick Gallery’s dynamic ongoing permanent collection presentation, featuring more than 80 objects celebrating craft as a discipline and an approach to living differently in the modern world. The exhibition explores the underlying current of craft as a balancing, humanistic force in the face of an evermore efficiency-driven, virtual world. The installation highlights the evolution of the craft field as it transitions into a new phase at the hands of contemporary artists, showcasing the activist values, optimism, and uninhibited approach of today’s young artists, which in some way echoes the communal spirit and ideology of the pioneers of the American Studio Craft Movement in their heyday. Includes artist Lia Cook, Toshiko Takaezu, Ed Rossbach, John McQueen, Peter Voulkos.
Renwick Gallery of the Smithsonian American Art Museum 

Pennsylvania Avenue at 17th Street NW, Washington, DC. (212)(202) 633-7970 https://americanart.si.edu

Bamian by Sheila Hicks
Bamian Sheila Hicks (American (lives and works in Paris), born in 1934) 1968 Wool and acrylic yarns, wrapped * Charles Potter Kling Fund and partial gift of Sheila Hicks © Sheila Hicks * Photograph © Museum of Fine Arts, Boston

Boston, Massachusetts
Women Take the Floor 
On view through May 3, 2020
An exhibition of more than 200 works that challenge the dominant history of 20th-century American art by focusing on the overlooked and underrepresented work and stories of women artists – advocating for diversity, inclusion, and gender equity in museums, the art world, and beyond. Includes Lenore Tawney, Sheila Hicks, Olga Amaral, Kay Sekimachi, Toshiko Takaezu
Museum of Fine Arts, Boston
Avenue of the Arts
465 Huntington Avenue, Boston, Massachusetts 02115
Phone: (617) 267-9300 mfa.org

Katherine Westphal A Fantasy Meeting of Santa Claus with Big Julie and Tyrone at McDonalds
From Off the Wall: Katherine Westphal A Fantasy Meeting of Santa Claus with Big Julie and Tyrone at McDonalds, 1978. Resist-dyed cotton. San Jose Museum of Quilts & Textiles, San Jose, CA.


Philadelphia, Pennsylvania
Off the Wall: American Art to Wear
On view through May 17, 2020  Delight in the astonishing inventiveness and techniques of a generation of mixed-media artists who pioneered a new art form designed around the body. Coming of age during the dramatic cultural shifts of the 1960s and 70s, the artists in this distinctively American movement explored non-traditional materials and methods to create adventurous, deeply imaginative works. Includes Norma Minkowitz and Katherine Westphal 
Philadelphia Museum of Art 
2600 Benjamin Franklin Parkway, Philadelphia, PA 19130
Phone: (215) 763-8100
https://philamuseum.org

White Pinwheel by Ethel Stein
Ethel Stein,White Pinwheel, 1990 cotton, satin damask weave; woven on a loom with a drawloom attachment fabricated by the artist 87.6 x 83.8 x 2.2 cm (34 1/2 x 33 x 7/8 in.)

Chicago, Illinois
Weaving beyond the Bauhaus
On view through Feb 17, 2020
Presented on the centenary of this foundational organization, Weaving beyond the Bauhaus traces the diffusion of Bauhaus artists, or Bauhäusler, such as Anni Albers and Marli Ehrman, and their reciprocal relationships with fellow artists and students across America. Through their ties to arts education institutions, including Black Mountain College, the Institute of Design, the Illinois Institute of Technology, and Yale University, these artists shared their knowledge and experiences with contemporary and successive generations of artists, including Sheila Hicks, Else Regensteiner, Ethel Stein, Lenore Tawney, and Claire Zeisler, shaping the landscape of American art in the process.
Art Institute Chicago
111 South Michigan Avenue
Chicago, Illinois 60603-6404
(312) 443-3600
https://www.artic.edu

In Poetry and Silence Lenore Tawney installation
In Poetry and Silence: The Work and Studio of Lenore Tawney Installation view at the John Michael Kohler Arts Center, 2019
Courtesy of John Michael Kohler Arts Center


Sheboygan, Wisconsin
Lenore Tawney: Mirror of the Universe
On view through March 7, 2020
This series of four exhibitions explores Lenore Tawney’s (1907–2007) life and impact, offering a personal and historical view into her entire body of work. Read more about the Tawney exhibits in our earlier blog here: http://arttextstyle.com/2019/12/18/lenore-tawney-gets-her-due/  
John Michael Kohler Arts Center (JMKAC)
608 New York Avenue, Sheboygan, WI 53081
Phone: 920.458.6144
jmkac.org

Toshiko Takaezu portrait, 1998 by Tom Grotta
Toshiko Takaezu portrait, 1998 by Tom Grotta, courtesy of browngrotta arts

Racine, Wisconsin
It’s Like Poetry: Building a Toshiko Takaezu Archive at RAM 
On view through July 26, 2020
RAM’s archive now numbers over 30 works, including Toshiko Takaezu’s (1922-2011) most expansive grouping, the installation comprised of 14 “human-sized” forms, the Star Series. Significantly, the museum’s holdings span the range of Takaezu’s working career—with a double-spouted pot from the 1950s being the earliest and the Star Series (1999-2000) being the latest. 
Open Storage: RAM Showcases Ceramic, Fiber, and Regional Archives 
On view through August 30, 2020
Arranged as a series of artist solo showcases, Open Storage also highlights the earliest kinds of work given to RAM—textiles and works on paper. While ceramic works and art jewelry currently number as the two largest types of contemporary craft represented, examples of textiles, prints, drawings, and works on paper were among the very first gifts of artwork to the museum in the 1940s. This exhibition features the work of 12 artists—Sandra Byers, Gibson Byrd, John N. Colt, Theodore Czebotar, Lillian Elliott, Joseph Friebert, Ed Rossbach, Kay Sekimachi, Jean Stamsta, Merle Temkin, Murray Weiss, and Beatrice Wood—through multiple examples of their work. 
Racine Art Museum
441 Main Street, Racine, WI 53403
Phone: (262) 638-8300
https://www.ramart.org

Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). Alan Shields, J + K, 1972. Photograph by Ryan Urcia


New York, New York
Making Knowing: Craft in Art, 1950–2019
On view through January 2021
The exhibition foregrounds how visual artists have explored the materials, methods, and strategies of craft over the past seven decades. This exhibition provides new perspectives on subjects that have been central to artists, including abstraction, popular culture, feminist and queer aesthetics, and recent explorations of identity and relationships to place. Together, the works demonstrate that craft-informed techniques of making carry their own kind of knowledge, one that is crucial to a more complete understanding of the history and potential of art. Drawn primarily from the Whitney’s collection, the exhibition will include over eighty works by more than sixty artists, including Ruth Asawa, Eva Hesse, Mike Kelley, Liza Lou, Ree Morton, Howardena Pindell, Robert Rauschenberg, Elaine Reichek, and Lenore Tawney, as well as featuring new acquisitions by Shan Goshorn, Kahlil Robert Irving, Simone Leigh, Jordan Nassar, and Erin Jane Nelson. More on this exhibition in our previous post: http://arttextstyle.com/dispatches-making-knowing-craft-in-art-1950-2019-at-the-whitney/
Whitney Museum of American Art
99 Gansevoort Street New York, NY 10014
Phone: (212) 570-3600
https://whitney.org

Installation view of Taking a Thread for a Walk, The Museum of Modern Art, New York 
2019 The Museum of Modern Art. Photo: Denis Doorly

New York, New York
Taking a Thread for a Walk
On view through April 19, 2020
True to its title, this exhibition takes a thread for a walk among ancient textile traditions, early-20th-century design reform movements, and industrial materials and production methods. Featuring adventurous combinations of natural and synthetic fibers and spatially dynamic pieces that mark the emergence of more a sculptural approach to textile art beginning in the 1960s, this show highlights the fluid expressivity of the medium. More about this exhibition in our earlier blog: Dispatches: Textiles Take Center Stage at the New MoMA, New York, NY
Museum of Modern Art, New York 
11 West 53 Street, New York, NY 10019
Phone: (212) 708-9400
https://www.moma.org

Lia Cook in front of Through the Curtain and Up from the Sea (1985) at MOCA in LA
Through the Curtain and Up from the Sea (1985) at MOCA in LA

Los Angeles, California
With Pleasure: Pattern and Decoration in American Art 1972–1985
On view through May 3, 2020 Featuring approximately fifty artists from across the United States, the exhibition examines the Pattern and Decoration movement’s defiant embrace of forms traditionally coded as feminine, domestic, ornamental, or craft-based and thought to be categorically inferior to fine art. This is the first full-scale scholarly survey of this groundbreaking American art movement, encompassing works in painting, sculpture, collage, ceramics, installation art, and performance documentation. Includes artist Lia Cook
Museum of Contemporary Art
Grand Avenue
250 South Grand Avenue, Los Angeles, CA 90012
Phone: (213) 626-6222
https://www.moca.org 

Please check with each art institution for directions and hours.          


Most Influential Art Movements of the Decade

Last month, Artsy identified the most seven most influential art movements of the decade in The Art Movements of the 2010s (Dec 18, 2019) by Charlotte Jansen https://www.artsy.net/series/decade-art/artsy-editorial-art-movements-2010s. Two of those identified by Jansen — the reconsideration of women artists, which the Artsy called “an art history overhaul” and the art world’s embrace of craft — are two we at browngrotta arts have also watched with more than passing interest for the past 10 years.

Ethel Stein Master Weaver at the Chicago Art Institute 2015. Photo by Tom Grotta
Ethel Stein Master Weaver at the Chicago Art Institute 2015. Photo by Tom Grotta

The article points to the Guerrilla Girls survey in 2016, which found an unsurprising, yet overwhelming, bias towards Western male artists, which curators and galleries have since been working to address in exhibitions such as Women of Abstract Expressionism. We would add several exhibitions to that list, including Woman Take the Floor, currently at the Boston Museum of Fine Arts; Pathmakers: Women in Art, Craft and Design, Midcentury and Today at the Museum of Arts in Design in 2015, Ethel Stein’s one-person exhibition at the Art Institute of Chicago in 2015 and Lenore Tawney’s current four-part retrospective at the John Michael Kohler Art Center in Wisconsin. The article also mentions overlooked women artists already in their 70s, 80s and 90s who have gained representation with blue-chip galleries, specifically, Rose Wylie joined David Zwirner 2017; Luchita Hurtado joined Hauser & Wirth in 2018;  Howardena Pindell joined Victoria Miro in 2019. Carmen Herrera, now 104, started working with Lisson in 2009 and opened a retrospective at the Whitney in 2016. We would add Françoise Grossen who joined Blum & Poe in 2015.

The “return of craft” has brought greater attention to women artists, too. Jansen notes it has placed greater focus on forgotten legends such as Anni Albers, and living talents like Sheila Hicks. In November, Jansen points out, the Whitney mounted Making Knowing: Craft in Art, 1950–2019, on view through next January. Enthusiasm for ceramics has grown, too, she writes, as audiences continue to gravitate towards works by California Clay.

Even Thread Has a Speech by Lenore Tawney
Even Thread Has a Speech by Lenore Tawney is in the Whitney Exhibition Making Knowing: Craft in Art, 1950–2019. Photo by Tom Grotta

Movement artists Ken Price, Peter Voulkos and Ron Nagle as well as the late Betty Woodman. We’d also point to interest in ceramist Toshiko Takaezu, whose work was included in both Pathmakers: Women in Art, Craft and Design, Midcentury and Today and Women Take the Floor.

Installation View of Toshiko Takaezu; Pathmakers: Women in Art, Craft and Design, Midcentury and Today and Women Take the Floor at the MFA Boston
Installation View of Toshiko Takaezu; Pathmakers: Women in Art, Craft and Design, Midcentury and Today and Women Take the Floor at the MFA Boston. Photo by Peter Russo

“Craft techniques are some of the oldest media in human history,” Jansen concludes, “but this decade has proved there is still boundless inspiration to be found in them.”


Dispatches: Textiles Take Center Stage at the New MoMA, New York, NY

by Ryan Urcia and Kristina Ratliff

To much fanfare, New York City’s beloved Museum of Modern Art reopened on Oct 21, 2019 after undergoing major renovations over the summer to expand to more than 40,000 square feet of gallery spaces. 

Magdalena Abakanowicz Installation view of Taking a Thread for a Walk, The Museum of Modern Art, New York
Magdalena Abakanowicz Installation view of Taking a Thread for a Walk, The Museum of Modern Art, New York
2019 The Museum of Modern Art. Photo: Denis Doorly

The museum’s Department of Architecture and Design organized the inaugural exhibitions reexamining the role of both disciplines as “integral to the interdisciplinary conversation with the visual arts” — an approach we have ascribed to at browngrotta arts for over 30 years.

Of particular interest to arttexstyle is the textile exhibition titled Taking a Thread for a Walk, which is a whimsical play on Paul Klee’s pedagogical lesson that “a drawing is simply a line going for a walk.” This exhibition is on view at The Philip Johnson Galleries on the museum’s third floor through April 19, 2020.   

Taking a Thread for a Walk, according to MoMA’s official press release, “looks at how successive generations developed new material and constructive languages from the 1890s through the 1970s, highlighting the flexibility of textiles, a medium that continues to defy easy categorization. The installation ‘takes a thread for a walk’ among ancient textile traditions, early 20th-century design reform movements, adventurous combinations of natural and new synthetic fibers in industrial production, through to the emergence of a more sculptural approach to textile art in the 1960s and 70s. Textiles and the adjacent practices of architecture, painting, drawing and sculpture have long had a close affinity, especially in the 20th century, when there was a concerted move to emphasize the underlying unity of all art forms and to connect modern art with industry and daily life. Woven artifacts appeared at the forefront of ongoing debates around abstraction, the total work of art, and the fusion of art with technology, challenging the widespread marginalization of textiles as ‘women’s work.'” Many of the pioneers in this narrative have been women, chief among them Anni Albers, Gunta Stölzl, Florence Knoll and Sheila Hicks. Also featured are  recent acquisitions by Monika Correa (India), Aurèlia Muñoz (Catalonia), and the French-Swiss architect Le Corbusier, making clear the medium’s global relevance.

Upon entering the exhibition, we were greeted by a large scale sisal sculpture Yellow Abakan 1967–1968 by Magdalena Abakanowicz whose monumental works were often misperceived as a “feminine’ craft.” For more than half a century, Magdalena Abakanowicz produced critically acclaimed, poetic sculptures about the fraught and fragile condition of being human, shaped by her experiences growing up during WWII and living through the Soviet domination of Poland. According to MoMA, “Abakanowicz and many artists of the Eastern Bloc were drawn to craft and textile traditions as expressive mediums less regulated by Soviet censorship. Yellow Abakan‘s form is determined by the drape of the textile, which is coarsely woven from sisal, an industrial plant fiber used to make rope. The scarred seams and anatomical appendages lend the work a figural quality, something Abakanowicz continues to explore in large-scale sculptures cast in hardened fiber. Yellow Abakan was among works by several Polish weavers included in

Wall Hangings, a 1969 MoMA exhibition showcasing the work of international contemporary fiber artists. Abakanowicz’ work was first exhibited in the US by gallerists Anne and Jacques Baruch of Chicago. The Baruch’s work with fiber artists from Eastern Europe is the subject of browngrotta arts’ catalog, Advocates for Art: Polish and Czech Fiber Artists from the Anne and Jacques Baruch Collection.

Directly across and in stark contrast in size is a beautiful raffia basket by Ed Rossbach Raffia Lace Basket, 1973. Rossbach was a relentless experimenter and according to MoMA “his career began in with ceramics and weaving in the 1940s, but evolved over the next decade into basket making. He is best known for his innovative and playful baskets made from nontraditional materials such as plastic and newspaper.” Rossbach was also featured in our recent exhibition Artists from The Grotta Collection which is now extended online on Artsy. 

linen sculpture by Sheila Hicks titled Cartridges and Zapata 1962–1965
Installation view of Taking a Thread for a Walk, The Museum of Modern Art, New York
2019 The Museum of Modern Art. Photo: Denis Doorly

Another highlight of the exhibition is a linen sculpture by Sheila Hicks titled Cartridges and Zapata 1962–1965. Hicks is one of the several modern craft and dimensional art artists who are part of The Grotta Collection. Hicks’ work is featured in browngrotta arts’ catalog, Sheila Hicks: Joined by seven artists from Japan, which documents an exhibition Hicks curated at bga in the 90s, one of several bga exhibitions in which Hicks’ work has been included.

Installation view of “Taking a Thread for a Walk”, The Museum of Modern Art, New York 
2019
Installation view of “Taking a Thread for a Walk”, The Museum of Modern Art, New York
2019 The Museum of Modern Art. Photo: Denis Doorly

Also of interest is a curious framed coptic rounded tapestry from the 6th-8th century titled Christ enthroned by an unknown designer. There is a loom on the left by Anni Albers labeled Structo ArtCraft 750 loom c. 1952 and to the right is a sculpture by Aurèlia Muñoz and Antoni Gaudi’s Study of a catenary arch for the Gaudí crypt at Colonia Güell, 1996. And directly above is a 3-panel digital video projection titled Warping Threading Weaving Drawing, 2014 by Simon Barker and Ismni Samanidou.

Installation view of “Taking a Thread for a Walk”, The Museum of Modern Art, New York 
2019
Installation view of “Taking a Thread for a Walk”, The Museum of Modern Art, New York
2019 The Museum of Modern Art. Photo: Denis Poorly

Another section of the exhibition featured a collection of woven textiles and in the foreground we were delighted to see a mesmerizing wall hanging by Jack Lenor Larsen, Interplay Casement Fabric, 1960, made of rovanna saran microfilamant. An international textile designer, author and collector, Larsen has long played an influential role in textile arts and has been an important mentor and supporter of browngrotta arts. “I think of interior fabrics as something to be in, not just to sit on or look at. Objects are out: the surround is in, and how we feel and relate to space is everything,” Larsen is quoted from 1978 on the MoMA art label. Behind these collections of soft fabrics is Halyard armchair, 1950 by Danish furniture designer Hans Wegner who was commissioned by Lou and Sandy Grotta to design several pieces for their home, The Grotta House. Anni Albers’ popularity is well represented in the exhibition, too, with 18 works ranging from 1926 to 1983 including screenprints, design drawings and tapestry. 

Sheila Hicks Pillar of Inquiry/Supple Column
Installation view of Taking a Thread for a Walk, The Museum of Modern Art, New York
2019 The Museum of Modern Art. Photo: Denis Doorly

Wait, there’s more! On the sixth floor of the museum is another exhibition Surrounds: 11 Installations, showcasing for the first time 11 watershed installations by living artists from the past two decades, all drawn from the Museum’s permanent collection. The exhibition includes Hicks’ monumental Pillar of Inquiry/Supple Column (2013–14) that “playfully and subversively challenges notions of architecture as permanent, solid, and tectonic.”

Be sure to go and see this abundance for yourself. Taking a Thread for a Walk is on view through April 19, 2020. The MoMA is located at 11 West 53 Street, New York. Open daily from 10am to 5:30pm. For more information, visit MoMA.org


Dispatches: Italy

Carter looks at the reverse sides of Raphael’s portraits of Agnolo Doni and his wife, Maddalena Strozzi, at Room 41 Uffizi Galery in Florence

We visited Italy earlier this month. It was an orgy of art and wine and fine food. Much of what we saw was traditional and magical — Fra Angelico, DaVinci, Bernini, Michelangelo.

Reviewing work for the 1980s in Milan, Triennale di Milano Design Museum, Carter, Carol and Rhonda
Reviewing work for the 1980s in Milan, Triennale di Milano Design Museum

We made time for the contemporary, too — in Milan, the Triennale di Milano Design Museum was a highlight (https://www.triennale.org/en/). We walked down memory lane — cutting edge lighting, furniture and objects from the 60s, 70s, 80s and later.

Wendy Wahl, Period Dress

Venice, of course, meant the Venice Biennale and its satellite exhibitions. First Stop, PersonalStructures at the Palazzo Bembo, and exhibition “in the context of the Venice Biennale,” mounted by the European Culture Center (https://ecc-italy.eu/exhibitions/2019art). Peering into a warren of small rooms, we found Wendy Wahl’s Period Dress.

American Pavilion, Martin Puryear
Martin Puryear’s Swallowed Sun (Monstrance and Volute) 

Then Tom and Carter visited the Biennale central site; admirably illustrating this year’s theme – May You Live in Interesting Times (https://www.labiennale.org/en/art/2019). Tom and Carter headed straight to the American Pavilion, featuring Martin Puryear. We are big fans – loved his solo show at MoMA in 2008. He’s a maker of big baskets in a some ways. Works of fiber were on display in several pavilions.

Work from Finland’s Pavilion
Carter in the Venezuelan Pavilion Venice Biennale

Carter and Tom liked what they saw at the Venezuelan and Finnish pavilions in particular.

Alexandra Bircken, Angie, Venice Biennale
Alexandra Bircken, Angie

They were taken by German artist Alexandra Bircken’s work in the Arsenale and Korean artist Suki Seokyeong Kang’s experiments with space.

Work by Suki Seokyeong Kang
Work by Suki Seokyeong Kang

Our only disappointment — Federica Luzzi was not in Italy when we visited, but in Japan where she is participating in a solo show at the LADS Gallery, as part of a an international exchange through the City of Osaka.


Dispatches: Philadelphia

Philadelphia skyline from the steps of the Philadelphia Art Museum

There are no end to art and historical treasures in Philadelphia and Rhonda had a chance to meet up with some good friends and take in a few last week. The Philadelphia Art Museum is a wonder and its annex, the Perelman Building, houses two intriguing exhibits: Souls Grown Deep: Artists of the African American South and The Art of Collage and Assemblage through September 2nd. Souls Grown Deep combines and extraordinary collection of textile art, sculpture, and painting acquired from the Souls Grown Deep Foundation.

Roman Stripes Variation Quilt, 1970, Loretta Pettway(born 1942)

With remarkable inventiveness, generations of quilters from Gee’s Bend, Alabama have created arresting compositions of color and form from worn-out clothes and other repurposed fabrics. Provocative mixed-media paintings and found-object sculptures by Thornton Dial, Lonnie Holley and others are displayed amongst the quilts, whose subjects and materials echo with the painful history of the American South and the conditions of life for many who live there. The collage exhibition includes works by Joseph Cornell, a personal favorite, and other less-expected names including Romare Bearden, Bettye Saar and Pablo Picasso.

Protecting Myself the Best I can (Weapons by the Door), 1994, by Lonnie Holley (American, born 1950), 2017-229-24.
Lonnie Holley/ Artists Rights Society (ARS), New York.
Photo: Stephen Pitkin/Pitkin Studio/Art Resource (AR), New York

We found artfulness of another kind at the National Constitution Center’s new permanent exhibition, Civil War and Reconstruction: The Battle for Freedom and Equality. Some interesting textiles are on display, including a fragment of the flag that Abraham Lincoln raised at Independence Hall, 1861 (From the Collection of the Civil War Museum of Philadelphia on loan from Gettysburg Foundation) and an embroidered potholder that reads, “Any Holder but a Slaveholder.” We also appreciated the Anti-Slavery Alphabet from 1847.

Cardbird II, 1971, Robert Rauschenberg

The exhibition has an ambitious premise, to illustrate how the nation transformed the Constitution after the war to more fully embrace the Declaration of Independence’s promise of liberty and equality. The 3,000- square-foot exhibit brings to life the stories of Frederick Douglass, Abraham Lincoln, Harriet Tubman and other figures central to the conflict over slavery. It features the stories of lesser-known individuals, too, in order to shed light on the American experience under slavery, the battle for freedom during the Civil War and the fight for equality during Reconstruction, which many call the nation’s “Second Founding.” Highlighted are the three constitutional amendments added between 1865 and 1870, which ended slavery, required states to respect individual rights, promised equal protection to all people, and expanded the right to vote to African-American men. The exhibition covers, as the Wall Street Journal terms it: “the racially egalitarian society that was briefly wrestled into being after the abolition of slavery, before the ravages of Jim Crow and the hard-fought triumphs of the civil-rights movement.”

Potholder, National Constitution Center, Philadelphia

The artfulness is evident in the matter-of-fact way the signage and artifacts give equal time to the efforts made to reach equality and those determined to subvert each of those amendments — including displays about Ku Klux Klan, complete with original robes, which were not white but maroon and heavily ornamented. Also edifying and persuasive is the neutrally presented, but inescapable, evidence that the goals of these amendments are yet to be achieved. An example, noted by one reviewer, is the 13th Amendment. “The interactive displays…show the debates, the drafts, and the redrafting of those amendments and help to explain how the final draft [of the 13th] actually allowed forced labor ‘as a punishment for crime’ … It does not take long to make the connection between the 13th Amendment and the shockingly profitable system of prison labor and prison farms which still exists today.” (Margaret Darby, Exhibit Review: Civil War and Reconstruction Phillylifeandculture.com, May 9, 2019).

Anti-Slavery Alphabet, National Constitution Center, Philadelphia