Contemporary textile works are often installed effectively right on the wall. Dimensional textiles in particular rarely need an edge. Yet, there are some works that can manage the counterpoint of an artful frame. There are works given more emhasis by the addition of a shadow box or an edge. A frame can also protect a textile from touching and from dust and, with UV glass, even from sunlight to some degree. In our current Viewing Room, Art With an Edge: the case for framing, we are sharing a number of works that feature frames.

Many artists are content to let galleries or museums or collectors handle frames. Other artists are intentional about frames, often going so far as making frames themselves. Members of the Ashcan School (late 19th-early 20th century) wanted frames that reflected “the raw, unsentimental spirit of their work, not that of an Old-World cathedral,” notes Eleanor Cummins. (Is It Time to Recognize Frames as an Independent Art Form?, Smithsonian Magazine, June 29, 2020). Georgia O’Keeffe wanted viewers to consider the way the shapes, colors, line and composition worked, without distractions, explains Dale Kronkright, head of conservation at the Georgia O’Keeffe Museum in Santa Fe. To ensure her vision was realized, O’Keeffe worked with Of, the New York City frame maker, to develop eight distinct frames that precisely suited her paintings. Scott Rothstein, whose works are available at browngrotta arts, says he thinks of the frame as a part of the work itself. “The black matte and the frame tightly control how the work is seen,” he says, “which is something I have done with intent. My work can’t be seen any other way.”

An unabashed fan of frames, Matthew Jones, managing director of the framers and conservationists firm, John Jones London argues that, it’s really about harmony. “A good frame can completely change a work. I very much want the outcome of the project to offer what I call ‘the three wows’. When you first see a work that’s been framed, you should be drawn immediately to the image itself. We then like the eye to cast out to the frame, and — finally — to make a connection with the object in its entirety. If you’ve got a slight imperfection on the frame, or a slight imbalance in colour, it’s going to distract you from your enjoyment of the image.” (“How to choose the right frame for your picture,” Christie’s online, https://www.christies.com/features/How-to-choose-the-right-frame-for-your-picture-10005-1.aspx).

At browngrotta arts, we rely on the expertise of Mary Luke https://www.maryluke.com, our Gallery Associate. Luke is a painter, stylist and designer — but also an experienced framer. “Artwork that would otherwise be lost on a wall can be given a strong, powerful voice with a simple mat and frame.” Material and color offer options, Luke says. “Material and color can be used to contrast or blend with the artwork — either way, though, the artwork should always remain the focal point.”

Check out more of Mary Luke’s Framing Q&A in the Art With an Edge Viewing Room. You’ll find 50+ works of art with various frames — shadow boxes, natural edges, perspex, plexiboxes, frames with mats — illustrating their possibility and potential.

“Art is limitation; the essence of every picture is the frame.” G.K. Chesterton

arttextstyle

For browngrotta arts, documentation of the field of contemporary art textiles is critically important. Like a tree falling in the forest, if we don’t document an exhibition we’ve curated it’s a bit like if it didn’t happen. Generally, our exhibitions include catalogs that feature individual images of each artwork included, and often, an artist’s statement for each work. In addition, we typically feature essays by curators and scholars who take a broader look at the work or the exhibition theme.

For our latest catalog, Japandí: shared aesthetics and influences https://store.browngrotta.com/catalogs/ (our 52nd), however, we took a slightly different approach. Japandi is a term that refers to the aesthetic kinship one sees between art and design of Japan and the Scandinavian countries. To illustrate affinities, we created spreads — room- or wall-sized groupings of works from each region, rather than highlighting individual artworks. We included the artists’ recollections about how they discovered another culture or how other cultures have influenced their work. We added statements from designers, architects and authors about the similarities they have observed. 

Instead of commissioning an essay, we shared with you what we discovered about Japandi as we researched this exhibition. The introductory text, Mapping Affinities, explains that the roots of Japanese/Nordic synergy extend to the 19th century. It also explains that the trendy term, Japandi, refers to four elements, which the introduction describes: appreciation for exquisite craftsmanship and natural and sustainable materials, minimalism and respect for the imperfect (wabi-sabi) and the comfortable (hygge). The introduction also describes how the artists included experience the Japandi elements differently — some through study, some through travel. Still others describe recognizing these parallels in ways as something they were always aware of and acted upon.

Not all the work that is in the catalog appeared in the exhibition — we included these works to further illustrate our sense of the regions’ common approaches.

We hope you’ll get a copy of Japandí: shared aesthetics and influences https://store.browngrotta.com/catalogs/ and see for yourself. 

arttextstyle

“My current interest in use of golf tees in my sculptures arose during the Trump presidency.  He had criticized President Obama for spending time playing golf. Trump, however, spent much more time on the golf course than Obama had – another of Trump’s hypocrisies. Golf tees became emblematic representation of Trump for me, as were his ubiquitous red neckties.  I searched for red golf tees to suggest a connection to Trump in some of my artwork.  

Having been glued to the news during all of 2020, by the beginning of 2021, I was convinced that the pandemic in the U.S. could have been far less damaging and deadly had Trump not dismantled the government’s infectious disease unit, undermined the CDC, pulled out of the WHO.  If early in 2020 Americans had been urged to wear masks numerous deaths and illnesses could have been avoided.  A number of experts believe that 80-85% mask wearing during the first few weeks/months of the appearance of the virus would have avoided the pandemic levels in the U.S. and saved many lives. The virus would not have had a field day to grow and spread in millions of noses.  I felt a strong urge to create an artwork that addressed the virus and its association with Trump’s trivializing of the danger of Covid-19.  

The golf tees heads looked like the graphic representations of the virus in the daily news. I had used golf tees in my art work, but I had never used them as a structuring element.  As I handled the golf tees I realized that they were much like pins or nails or toothpicks (another small wooden wonder) or could even provide the kind of joining that the screws I use to structure sculptures did. The ones I found are 3 1/4″ HUGE Ripstixx Mustang Red extra long. 

Had it not been for the virus I would not have discovered how effective and beautiful golf tee connectors could be.  Not only do the tees hint to Trump, using twigs connects to nature and the climate crisis’s role in the pandemic as well.  Painting the branches white suggests bones – a nod to the avoidable deaths of so many.”

arttextstyle

At browngrotta arts, many of the artists we represent work with natural materials and express care and concern for the environment in their work. A few years ago, we worked worked with Jane Milosch, now Visiting Professorial Fellow, Provenance & Curatorial Studies, School of Culture & Creative Arts, University of Glasgow, to curate an exhibition of basketmakers working in natural materials. The exhibition, Green from the Get Go: International Contemporary Basketmakers, began at the Wayne Art Center in Pennsylvania then traveled to the Edsel & Eleanor Ford House in Michigan and the Morris Museum in New Jersey and was the subject of our 40th catalog http://store.browngrotta.com/green-from-the-get-go-international-contemporary-basketmakers/.

The exhibition featured 75 works by 33 artists from Canada, Europe, Scandinavia, Japan, UK and the US, all of whom took inspiration from Nature and the history of basketry. Some were early innovators of 20th-century art basketry, and others emerging talents. Below are some works by artists that were part of Green from the Get Go.

As Milosch wrote in her essay for the catalog, The Entanglement of Nature and Man, “The artists in this exhibition have a strong connection to the land, whether cultivated fields or wild prairies, marshes or forests. Several cultivate, harvest, and prepare the materials from which they construct their work. They have a respectful awareness of the origin of things, and of the interconnected aspects of nature and ecosystems, which are both fragile and resilient.” 

Chris Drury’s work has taken him to seven continents, where he makes site-specific sculptures with indigenous flora and fauna he collects and employs in both a hunter-gatherer and scientist-like fashion, often with the help of regional communities. His Basket for Crows, 1986, a basket-like vessel made from crow feathers, accompanies a ladder or totem-like form. The shamanistic qualities of this particular combination recall universal symbols and myths about the here-and-now and the afterlife.

The late Ohio basketmaker and wood sculptor Dorothy Gill Barnes explained her use of materials as “respectfully harvested from nature” and that “the unique properties I find in bark, branches, roots, seaweed and stone suggest a work process to me. I want this problem solving to be evident in the finished piece.” Her Dendroglyph series began as experimental drawings on trees soon to be logged. While the sap is flowing up the trees, she carves into the bark, so that the drawings change organically. When she was satisfied with these “drawings,” she carefully removed the bark. Her White Pine Dendroglyph, 1995-99, combined these raw drawings with traditional woven basketry techniques, and the result is a kind of sculpted drawing, created in concert with a living tree.

John McQueen’s Same Difference, 2013 draws attention to the cosmos and the relationship between the divine, man and Nature. He connects three seemingly disparate objects through something that is not visible but present in all: water, a necessary, life-nurturing resource for animals, plants and humans. These objects are displayed side-by-side, atop see-through basket-like pedestals, suggesting a kind of tenuous underpinning in their relationship to each other. All three draw water, but have their own history and function: the first is a hybrid human/elephant, which draws water through its trunk and recalls the Hindu god Ganesh, known as the patron of arts and sciences and the diva of intellect and wisdom; the second is a dead, but intact, bonsai tree with its stunted root structure that once drew water; and, the third is a manmade tool, a sump pump, engineered by humans to aid them in drawing water. McQueen comments, “Each piece is on its own stand, and they’re arranged in a line, like words. I’m trying to tell a story using what seem to be unrelated objects. I hope the viewer will say, ‘Why are these next to each other?’ and try to figure out a relationship.” 

The works in Green from the Get Go, compel the viewer to think of Nature in new ways,” wrote Milosch, —”sustaining us, providing mediums for art, acted on by man, and influencing us in return. It’s a sensual and spiritual journey that takes time and reason.” A journey with Nature that’s worth taking often. Happy Earth Day!

arttextstyle

Her large-scale works have been created in landscape, interior and gallery settings including Saatchi Gallery, Chatsworth, New Art Centre, Somerset House, Sudeley Castle (for Sotheby’s) and Blackwell – The Arts and Crafts House in Cumbria. Bacon describes her organic, site-specific woven sculptures for buildings as “muscular forms” that “nuzzle up to the glass and their gripping weave locks onto the strength of the walls.” “In a truly baroque manner, her monumental installations include curvaceous forms and woven willow forms that resemble a kind of sculpted fabric, which springs from garden walls, hangs on the façade of a building, or billows out from a window ledge,” wrote Jane Milosch, Office of the Under Secretary for History, Art and Culture, Smithsonian, in the exhibition catalog of Green From the Get Go: International Contemporary Basketmakers. Yet, when browngrotta arts visited her studio in the UK we were taken aback by how small it was in contrast to largeness of her works. You can see her here, barely able to fit one of her smaller works through her studio door. 

Her goal in creating her evocative work is to bring intrigue into both natural and built environments, creating work that might serve to remind  viewers that nature can still surprise. “The ambition in my work is to generate a kind of intrigue and an appeal that touches a powerful nerve (perhaps ancient in its origin) that we cannot precisely locate,” Bacon says. Her work has been driven by a personal and solitary desire to build and shape form with her hands. “The thrill of making an internal space by turning and tying the material into position provokes a strong desire in me to make. My work responds primarily to the structural features of a particular site, in much same way as the questing foot of a Weaver bird might regard the flex of a bough or a colony of wasps might collaborate within the rafters,” she says. “I also respond to the feeling of the site and the opportunity to give the work (and in some way, the host structure) a sense of movement, of slow growth, as if the work will continue to grow when the viewer’s back is turned.”

Poise, 2016, for example, is an enormous basket form that Milosch observes “seems incapable of sitting still. Instead, it is an energetic, woven structure that twists and turns with such energy that is recalls a robust, fleshy Rubenesque female torso.” Surface Form,  which was featured in browngrotta arts last exhibition, Volume 50: Chronicling Fiber Art for Three Decades, was originally created for Jerwood Contemporary Makers, a prestigious award, of which she was one of winners who shared the prize. The brief, to all the exhibitors, was to create a work that had to be no more than a meter, and sat upon, or involved itself with, a specific square plinth. In response, Surface Form seems to swallow the edge of the surface.

Bacon’s work has been exhibited or collected by the Holburn Museum, Bath, UK; Ruthin Craft Centre, Wales, UK; The Gallery, Winchester Discovery Center, UK; Blackwell, The Arts and Crafts House, Cumbria;; Derby Museum and Art Gallery; FUMI Gallery, Sardinia, Greece; Sainsbury Centre, Norwich, UK; Solomon Gallery, Dublin, Ireland; Hall Place, Kent, UK; Crafts Council, London, UK; Chatsworth Garden, Derbyshire, UK; Victoria & Albert Museum, London, UK; and the Morris Museum, Morristown, New Jersey.

arttextstyle

Kristina Ratliff and Ryan Urcia

While many artists work conceptually to inspire awareness and address issues of climate change, artists of Fiber Art and Modern Craft have a unique and inherently harmonious relationship with the environment, from their intimate use of natural materials to the fundamentally “slow art” process of hand craftsmanship. 

In terms of the materials they use, they most often come from the earth, from private garden cultivation and harvesting to regional sourcing of plant life – such as bamboo, willow and cedar, and their earthy “scraps” such as branches, grasses, bark and twigs – impress an intrinsic awareness of the origin of things. This, coupled with the preservation of age-old techniques such as weaving, knotting, tying and bundling, earn these creatives rightful acclaim as stewards at the interconnection of art and nature. 

San Francisco-based artist Gyöngy Laky (most people call her Ginge, with a soft “g”) is known for her sculptural vessels, typographical wall sculptures, and site-specific outdoor works composed of materials harvested from nature — such as wood gleaned from orchard pruning, park and garden trimmings, street trees and forests of California — and discarded objects she considers “industrial harvest” such as recycled materials and post-consumer bits from surplus such as screws, nails, telephone wire.

“These annually renewable linear elements are regarded as discards,” Laky notes. “In my studio practice, however, they are employed as excellent and hardy materials.”

Born in Hungary in 1944, the physical and emotional effects of war impacted Laky from a very young age and her works often have underlying themes of opposition to war and militarism as well as climate change and the environment, gender equality. Her family emigrated to the US in 1949, resettling in Ohio, Oklahoma and eventually, California.

“After escaping the ravages of war as refugees,” she remembers, Nature’s embrace slowly healed my family,” 

As a professor at the University of California, Davis for 28 years, Laky was instrumental in developing Environmental Design as an independent department (now the Department of Design). Here, she became fascinated by grids, latticework, tensile structures, strut-and-cable construction and other architectural and engineering linear assemblages. Coupled with her extensive background in textiles, she uses hand-construction techniques based in textile work to build sculptures invigorated by her attraction to the human cleverness of building things. She calls this discipline “Textile Architecture”.  

“The vertical and horizontal elements of textile technology – ubiquitous in textile constructions of all sorts – underpins so much of human ingenuity about making things and led us, eventually, to the age of computers.  In the context of a personal examination of our complex relationship with the world around us, my work often combines materials sourced from nature with screws, nails or ‘bullets for building’ (as the drywall screws I like are, ironically, called). The incongruity of hardware protruding from branches hints at edgy relationships as well as the flux of human interaction with nature,”  says Laky.

Laky is also known for her outdoor and temporary site-specific installations,  including land art works in Italy, which have all addressed nature and environmental sustainability issues.  In 2008, she was commissioned by The New York Times to create sculptures for their “green” issue dedicated to Earth Day. This cover work, titled Alterations, contrasts natural apple wood and grapevine with rough industrial materials, tenuously joined by metal screws, nails, bullets and wire which figuratively, literally and symbolically represent  direct and subtle messages about the interdependence of man and nature.

Laky’s works are in the permanent collections of museums including MoMA in New York, Philadelphia Museum of Art, and Smithsonian.  She has had solo exhibitions at Officinet Gallery, Danish Arts and Crafts Association in Copenhagen and Royal Institute of British Architects Gallery, Manchester, and has shown at San Francisco Museum of Art, Renwick Gallery, De Young Museum, and International Biennial of Tapestry in Lausanne, to name a few. She is the recipient of the National Endowment for the Arts Grant and a fellow of American Craft Council. For a full list visit browngrotta.com.

For the upcoming exhibition Volume 50: Chronicling Fiber Art for Three Decades at browngrotta arts in Wilton, CT (September 12-20),  Laky continues her personal examination of the complex relationships we have with the world around us and will be presenting three works – Deviation, We Turn and Traverser. 

Laky’s typographical wall sculpture, Deviation, is made of apple trimmings, acrylic paint and screws. It portrays many meanings, from functioning like diacritical marks representing “Oh, Why?” to the myriad implications and emotions of the word “Oy” –  the Yiddish word meaning woe, dismay or annoyance – or, if flipped, “Yo” – a slang salutation for “hello” or representing “good luck” rolling an 11 in the game of craps, the only number that always wins.

See more in our exhibition, Volume 50: Chronicling Fiber Art for Three Decades at browngrotta arts in Wilton, CT (September 12-20), http://www.browngrotta.com/Pages/calendar.php

arttextstyle

Masakazu and Naomi Kobayashi installing Cosmos 98 at browngrotta arts for the opening of Tradition Transformed: Contemporary Japanese textile art & fiber sculpture

Ed Rossbach and Katherine Westphal in their apartment in Berkley California

Marriage in Form Set
Bob Stocksdale/Kay Sekimachi, Pistashio wood and Japanese paper with fibers, 1999

Claude Vermette and Mariette Rousseau-Vermette, painting and tapestry

Debra Sach’s/Marilyn Keating’s joint exhibition, Going Solo & Tandem at the Stockton College Art Gallery, NJ 2014

arttextstyle

Architecture in motion by Gudrun Pagter

February was a short month, but we still featured a full complement of art in New This Week on our homepage, including two tapestries, a series of small sculptures on the wall and a feathery fabric and wood mixed media work. Gudrun Pagter’s abstract tapestry, Architecture in Motion, is made of flax and sisal. “Through simple graphic effects—continuous white contour lines on a black background,” the artist says, “I try to unfold disciplined geometrical forms with strong references to architectonic space.”

Mille Fleur by Ane Henriksen

Mille Fleur by Ane Henriksen was influenced by the millefleurs tradition and embroidery samplers. Millefleurs is a category of French and Flemish tapestries created at the edge of the Northern Renaissance. In the late 15th and 16th centuries large workshops were weaving tapestries with a limited number of figures or animals against a background of thousands of flowers. Samplers, were used to each embroidery to young girls from high society, later as part of school handicraft classes. The motifs, often with various kinds of borders, are letters and alphabets, often dated and bearing a girl’s name or initials and those of her ancestors, as well as embroidered patterns and religious and secular symbols copied from printed pattern books. In making Mille Fleur, the artist says, “it was almost as if I was a young girl,.. I used symbols and good omens in hope of a bright future, underlined as a naïve dream by using tints of pastel pink. A large part of the sensibility lies in the material used, a thick weft made of worn out bed linen from which small buttons, ribbons and other reminiscences peep out and are revealed.” There are also numerous elements in

Night Storm by Debra Sachs

Debra Sachs’ sculpture, Night Storm, which is made of laminated and carved poplar. A few years ago, like Humpty Dumpty, the artist had a serious accident. Slowly, she regained stamina and ability. “I began working in fits and starts,” she said, “flailing to and fro. Finally, there was a breakthrough moment. I had stockpiled fragments from larger works made five years prior. These were small chunks of laminated wood too interesting to toss. They were always there but now were staring at me in my basement shop. I started playing with them like a kid with a box of blocks. I carved and painted them and put them on shelves.”

Creel iv by Gizelle Warburton

There are two elements in Gizella Warburton’s Creel IV, a basket of fiber and mixed media accompanied by a piece of stitched wood. ” The materiality of cloth, paper, thread, wood and paint connects me to an innate human urge to make marks,” says Warburton.

arttextstyle

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:

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 ($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

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

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.

arttextstyle

From The Ground Up Banner Bendheim Gallery . Photo by Tom Grotta

We are pleased to have partnered with the Greenwich Arts Council for From the Ground Up: ART Inspired by Nature, at the Bendheim Gallery in Greenwich through October 29th. The exhibition is beautifully installed by Gallery Director and the gallery space is quiet and contemplative. There are three small galleries and a dramatic entry space, where works by Jane Balsgaard, Gyöngy Laky and Stéphanie Jacques join Dawn Mac Nutt’s willow figures, companions to the bronze MacNutt figure that stands in front of the Arts Council Building.

From the Ground Up: ART inspired by Nature installation, Stéphanie Jacques, Gyöngy Laky, Jane Balsgaard, Dawn MacNutt. Photo by Tom Grotta

Paintings are interspersed with photographs and sculptures of natural materials, providing viewers a varied view of nature as envisioned by artists. There are 12 in this exhibition, from the US and abroad: Jane Balsgaard, Laura Cunningham, Stéphanie Jacques, Donald Landsman, Gyöngy Laky, Dawn MacNutt, John McQueen, Kyle Norton, Ángel Mieres, Lizzy Rockwell, Hisako Sekijima and Masako Yoshida.

From the Ground Up: ART inspired by Nature installation, Hisako Sekimachi, Gyöngy Laky, Jane Balsgaard, Photo by tom Grotta

The exhibition includes paintings by Ángel Mieres, born in Caracas, Venezuela, whose vibrant, bright works are an abstract exploration of fragile, natural motifs, such as butterflies or flowers.

From the Ground Up: ART inspired by Nature installation, John McQueen, Kyle Norton, Photo by tom Grotta

Kyle Norton, who studied photography at Rochester Institute of Photography, takes lush photographs of fruits and vegetables, magnifies their size from a few inches to a dramatic three feet or so — offering nature up close and personal, as it were.

John McQueen‘s three-dimensional works are made of natural materials — twigs, bark, cardboard — he prides himself on not needing to go the arts supply store. In Same Difference, for example, the juxtaposition of detailed sculptures of the Hindu god, Ganesh, a bonsai and a sump pump is visually engaging. When McQueen explains the simple and smart connection amongst the three —all soak up water, through a trunk, root system or a pump — the work can be appreciated on additional level.

From the Ground Up; Greenwich Art Council, John McQueen, Jane Balsgaard, Photo by Tom Grotta

In front of the building that houses the Bendheim Gallery stands Dawn MacNutt’s Timeless Form and viewers have an opportunity to hear her speak about it’s creation through a mobile device link. You can hear her here:

From the Ground Up: ART inspired by Nature, will be at the Bendheim Gallery, Greenwich Arts Council, 299 Greenwich Avenue, Greenwich, CT, 06830 . P 203.862.6750 F 203.862.6753 . info@greenwicharts.org through October 29th. The Arts Council’s Gala, Arts Alive will be on October 17th at the Art Center. To buy a ticket, go to: http://www.greenwichartscouncil.org/Arts-Alive.html.

arttextstyle