Art Out and About: Fall 2024

October 16, 2024 0 Comment

It’s Fall, which means a new crop of exhibitions in the US and abroad. We took a day off after Ways of Seeing, our recent exhibition, closed, and visited two exhibitions in our neighborhood, but there are others to see — from Washington, DC to Greencastle, Indiana to Dussedorf, Germany.

Tara Donovan
Aggregations by Tara Donovan at The Bruce Museum. Photo by Tom Grotta

Tara Donovan: Aggregations
Through March 9, 2025
The Bruce Museum
1 Museum Drive
Greenwich, CT 06830

“Known for her experimentation with materials and her rigorous, labor-intensive process, Tara Donovan is something of an alchemist. She transforms the mundane and familiar into the strange and otherworldly, even as her works approximate things found in the natural world. At the the Bruce, the artist explores the additive effects of “accumulating identical objects,” or aggregations, in which she layers and combines materials together to complicate visual distinctions between part and whole. The final monumental work inhabits the gallery with an almost animate presence, calling to mind a mineral or petrified plant.

Kumi Yamashita
Portraits by Kumi Yamashita at The Flinn Gallery. Photo by Tom Grotta

The Elusive Art of Kumi Yamashita
Through November 6, 2024
Flinn Gallery
Greenwich Library
101 West Putnam Avenue, Second Floor
Greenwich, CT 06830

Kumi Yamashita uses a series of techniques and simple materials to creating intriguing works of art. Discussing her shadow art series, Yamashita explains, “I sculpt using both light and shadow. I construct single or multiple objects and place them in relation to a single light source. The complete artwork is therefore comprised of both the material (the solid objects) and the immaterial (the light or shadow).” The exhibition also features provocative portraits crafted by meticulously winding a single, unbroken sewing thread around thousands of small galvanized nails and portraits on sheets created by stamping with vibram shoe soles.

Sheila Hicks
Sheila Hicks, Labyrinthe du paradis, 2024, Photo: Claire Dorn, © VG Bild-Kunst, Bonn 2024

Sheila Hicks
Through February 23, 2025
Kunsthalle Düsseldorf  (Opening Friday, October 11 at 6pm)
Josef Albers Museum Quadrat Bottrop (Opening Saturday, October 12 at 2pm)
Dusseldorf and Bottrop, Germany

Opening this Fall, the Josef Albers Museum Quadrat Bottrop and the  Kunsthalle Düsseldorf will present the first major solo exhibition of Sheila Hicks (b. 1934) across two cities. Comprising a total of 140 works from all creative periods, the collaborative presentation provides a comprehensive overview of the the artist’s multifaceted oeuvre for the first time in Germany.Sheila Hicks’ unique practice unfolds in the interplay between material, color, and space: in large and small-format wall works, tapestries, reliefs, sculptures, and installations, the seemingly infinite possibilities of these three dimensions unfurl. “What can you do with thread?” is the question that the artist has tirelessly explored since studying with Josef Albers at the Yale School of Art in the 1950s. 

DY Begay
DY Begay and her work. Photos by Helena Hernmarck

Sublime Light: Tapestry Art of DY Begay
Through July 13, 2025 
National Museum of the American Indian
National Mall
Fourth Street & Independence Avenue
Washington, DC 20560

Sublime Light: Tapestry Art of DY Begay celebrates more than three decades of innovation by fiber artist DY Begay (Diné [Navajo], b. 1953). As the materials from National Museum of the American Indian explain, “Begay’s tapestry art is at once fundamentally modern and essentially Diné, each work an exploration of the artist’s passion for experiencing and interpreting her world. The primary world that Begay explores is Tsélaní, her birthplace and homeland on the Navajo Nation reservation. From this firm foundation, her innate and lifelong curiosity has motivated her to investigate the expressive power of color and design in developing her distinctive aesthetic. Begay creates unique artworks that bridge her traditional Diné upbringing and experimental fiber art practice. Through her embrace of color, passion for design, and innovative handling of fiber, Begay creates art that expresses a non-Western way of being to a contemporary audience.” Sublime Light is the first retrospective of Begay’s career, showcasing 48 of her most remarkable tapestries.

Gudrun Pagter
Two vertical and two horizontal greens tapestry. Photo by Gudrun Pagter

ACROSS
Through November 10, 2025
Kalundborg Art Association
BispegaardenKalundborg, Denmark

Anne Bjørn, Gudrun Pagter, Gurli Elbaegaard and Lisbeth Voight Durand are featured in a group exhibition at the Kalundborg Art Association, entitled ACROSS.

Jiro Yonezawa
Spiraling, Twisting, Unraveling installation. Photo courtesy of ASU

Spiraling, Twisting, Unraveling: Explorations in Pattern and Form
Through June 29, 2025
ASU Art Museum
51 East 10th Street
Tempe, AZ  85281

Culled entirely from the Arizona State University’s Art Museum’s collection, Spiraling, Twisting, Unraveling: Explorations in Pattern and Form explores the dynamic landscape and languages found through contemporary craft today. The exhibition features twenty-five artists, including Christine Joy, Kay Sekimachi, Mary Giles, John Garrett, Polly Adams Sutton, and Jiro Yonezawa who examine dimensions of decoration, pattern and form through their varied practices to engage with some of the most pressing issues of our time.

Patterns of Abstraction
Installation: Patterns in Abstraction. Photo by by Mike Jensen

Patterns in Abstraction: Black Quilts from the High’s Collection
Through January 5, 2025
High Museum of Art
1280 Peachtree St, NE
Atlanta, GA 30309

According to the High Musuem, for more than a century, the potential kinship between quilts and abstract painting has sparked lively debate. “Although the color-rich geometric patchwork of quilts is visually resonant with examples of abstract painting often credited as pinnacles of artistic innovation, many have argued that such comparisons fail to honor the integrity of quilts within their distinct conditions of production. Quilts made by Black women have too often been left out of the conversation altogether.” The High has collected Black quilts since the 1980s and recently has quintupled its holdings to ensure that Black quilts have a continually rotating presence in the museum’s collection galleries. Patterns in Abstraction: Black Quilts from the High’s Collection aims to answer a larger question: “How can quilts made by Black women change the way we tell the history of abstract art?”

Lia Cook
Installation: Beyond: Tapestry Expanded. Photo by Stuart Snoddy

Beyond: Tapestry Expanded
Through Dec 8, 2024
American Tapestry Alliance
Richard E. Peeler Art Center
DePauw University 
10 West Hanna Street
Greencastle, IN 46135

Beyond: Tapestry Expanded is a curated and juried exhibition that features work from artists, including Lia Cook, exploring the expansive properties of tapestry. Using the definition of tapestry as a nonfunctional, handwoven pictorial structure, artists combine both hand and digital processes, using non-traditional materials, creating three-dimensional forms, or incorporating multi-media components, including sound and video. 

Enjoy!

Art Assembled – New This Week in September

October 3, 2024 0 Comment

September has been a remarkable month at browngrotta arts, highlighted by the success of our exhibition, Ways of Seeing. We are immensely grateful to everyone who came out to join us for our Fall Art in the Barn exhibition. Your support means the world to us, and we are grateful for every opportunity we get to connect with each of you.

As we reflect on this past month, we’re excited to recap the talented artists featured in our New This Week series throughout September. Read on to see what talented artists we’ve put a spotlight on!

Mary Merkel-Hess
212mm Another Autumn, Mary Merkel Hess, paper cord, paper, 28″ x 18″ x 12″, 2023.

Kicking off the month, we had the pleasure of highlighting the work of Mary Merkel-Hess. Known for her intricate sculptures that evoke the natural world, Merkel-Hess draws inspiration from the beauty found in her surroundings. Using reed, paper, and paper cord, she creates what she refers to as “landscape reports,” sculptural forms that reflect her deep connection to nature.

Merkel-Hess’s work often incorporates broken borders and insets, allowing the viewer to engage with the layers and textures she so thoughtfully constructs.

Merkel-Hess was also one of the 20 women artists who were featured in, Impact: 20 Women Artists to Collect, in September. It’s no wonder to us why her work comes so acclaimed!

John McQueen
81jm The Weight of Empty, John McQueen, willow, 50″ x 26″ x 26″, 2020

We then turned our spotlight to the remarkable John McQueen and his intricate work. A sculptor, McQueen arranges natural materials to create vessels, sculptural figures, and representational images that challenge our perception of the natural order.

His bark-covered sculptures and drawings made from sticks lead viewers to reconsider their relationship to nature. McQueen’s work has been acquired by numerous prestigious museums, including the Museum of Arts and Design and the Philadelphia Museum of Art, and he is recognized with several accolades, such as the Gold Medal of the American Craft Council for his impactful contributions to the field of sculpture.

Nancy Koenigsberg
58nak Pocket Scroll, Nancy Koenigsberg, twisted copper, 73.5″ x 17.5″ x 6″, 2007

Following McQueen, we featured the captivating work of Nancy Koenigsberg. As a celebrated artist and educator, Koenigsberg’s pieces are a testament to her exploration of materiality and technique. Utilizing her expertise in weaving and embroidery, she creates intricate textile artworks that often reflect personal narratives.

Koenigsberg’s practice challenges the boundaries of traditional textile art, as she incorporates various techniques and materials to create layered, textural compositions that resonate with emotion and meaning.

She is one of our favorite artists to date, and we hope you all enjoy her work as much as we do!

Anneke Klein
7akl Black Monologue, Anneke Klein, hemp, cotton, linen, acrylic paint, 28.5″ x 28.5″ x .5″, 2020.

We then turned our attention to Anneke Klein, a talented artist from the Netherlands originally educated as a goldsmith. Her passion for weaving emerged from a desire to move away from hard, cold materials toward the warmth and softness of textiles. After designing and manufacturing clothing, she created commissioned works for renowned artists such as Richard Tuttle and Alexis Gautier, showcasing her ability to blend her goldsmithing precision with textile art.

Klein has developed her own style for wall objects, often employing the rhythmic and repetitive expressions learned during her time as a goldsmith. Her work reflects a unique exploration of materials, inviting viewers to engage with both tactile and visual elements.

Jin-Sook So
71jss Soul of Bowl II, Jin-Sook So, steel mesh, electroplated silver, pure gold leaf, acrylic, steel thread
6” x 12.75” x 9.75”, 2023.

Finally, we highlighted the work of Jin-Sook So, an artist renowned for her innovative approach to fiber art. So’s creations are characterized by their intricate layering and attention to detail, reflecting her deep understanding of traditional techniques while embracing contemporary aesthetics. Her work often incorporates elements of nature and cultural heritage, inviting viewers to consider the connections between art and identity. Jin-Sook So’s dedication to her craft and her ability to weave together diverse influences make her work truly exceptional.

As we step into October, we extend our heartfelt thanks to all who engaged with our September New This Week features and our Ways of Seeing exhibition. Your support means the world to us! Stay tuned for more artistic explorations and updates as we continue this creative journey together.

Ways of Seeing: On Assembling

September 25, 2024 0 Comment

Ways of Seeing, our Fall art event, is mid-exhibition today. It’s a celebration of collecting and the myriad ways that people acquire and arrange art. We’ve put together some groupings within the show and thought of others. We’ll share some of them below for those of you who can’t attend in person. For example, collecting by material, even one as ubiquitous as paper, can result in a varied collection. We put together a wall of works on paper: a print using xerography by Katherine Westphal, a painting on paper by Claude Vermette, collages by Norma Minkowitz and Hideho Tanaka, an intricately folded paper work by Dail Behennah, a composition of twisted commercial paper by Wendy Wahl, and an assemblage of colored sandpaper by Marian Bijlenga.

Gallery Wall of paper works
left to right, top to bottom:
Katherine Westphal, 10w Amphora and Fern, 1993; Wendy Wahl, 2ww 7 by 7 and 22, 1999; Marian Bijlenga, 37mb Luitzen, 2019; Hideho Tanaka, 31ht Emerging 008, 2016; Norma Minkowitz, 114nm The Seeker, 2014; Claude Vermette, 126c Untitled, 1980; Dail Behennah, 56db Two Golds, 2019; Toshio Sekiji, 26ts Lacquered and Torn, 1998. Photo by Tom Grotta

A more unusual material choice — assembling items made of materials from the sea, will also result in a wildly diverse group of works. We’re showing baskets of seaweed, wall work of fish skin and fish scales, and works that incorporate sea sand and sea stones. 

Artwork with sea materials
12jle Bivalve, Jeannet Leendertse, 2023; 5ab Threading Fish, Annette Bellamy, 2023; 40mb Scale Flowers, Marian Bijlenga, 2019; 32kn Sazanami(Ripples), Keiji Nio , 2022; 35sl Coast, East Riding of Yorkshire 1-3, Sue Lawty, 2024. Photos by Tom Grotta

Collecting by artist can yield a broad mix of results. Choosing a category, like Polish, LQBTQ+ or self-taught artists, can result in considerable variation. Even a single artist, if it is one who experiments relentlessly like Jiro Yonezawa, can ground a surprising collection.

Bamboo works by Jiro Yonezawa
Jiro Yonezawa 109jy Yellow Lady Bug, 2021; 95jy Ecdysis , 2019; 64jy Ascension, 2006 92jy Orbit, 2019. Phots by Tom Grotta

There are four very different works by this artist in Ways of Seeing, and they don’t even include the wide bamboo spheres which he has created more recently. 

Works by Hisako Sekijima
Hisako Sekijima
650hs Suspended Decision, 2021; 620hs From 2 to 3 Dimensions V; 643-655hs A Line of Willow, 2020; 639-651hs Bound to Continue VII; 625hs Structural Discussion VI, 2016

Basketmaker Hisako Sekijima, who has worked in everything from cherry bark to kudzu is another example of someone who can be collected in multiples. Lia Cook is another — her practice has moved in several different and exciting ways through out her career.

Works by Lia Cook
Lia Cook 55lc Between Clouds , 1978; 4lc Crazy Quilt: Royal Remnants, 1988; 16lc Presence/Absence: Gather, 1998; 28lc Su Brain Tracts Renew, 2014. Photos by Tom Grotta

Then there are them groupings — we are showing art related to water, but even a color, like Picasso’s blue period, can be an energizing organizing principle. We’ve gathered weavings and objects that meet that criteria: 

Blue Textiles
12lt Cross, Laura Thomas, 2023; 25gs Blue Color Gradation, Grethe Sørensen, 2005; 14jle Blue Levels, Jeannet Leenderste, 2019. Photos by Tom Grotta

There are a few days to see our compilations in person. Or you can order the catalog: https://store.browngrotta.com/c-54-ways-of-seeing/

Happy Hunting!

Ways of Seeing: how individuals envision and curate their art collections

Through September 29, 2024
browngrotta arts
276 Ridgefield Road
Wilton, CT 06897
https://browngrotta.com/exhibitions

Gallery Dates/Hours:
Monday, September 23rd through Saturday, September 28th: 10am to 5pm (40 visitors/ hour) Sunday, September 29th: 11am to 6pm [Final Day] (40 visitors/ hour)

Safety protocols: 
Reservations strongly encouraged; No narrow heels please (barn floors)

Ways of Seeing: Make a Day of it

September 18, 2024 0 Comment

If you are heading to Wilton to join us at Ways of Seeing sometime between September 21st and the 29th, there are some other art stops you might make on the way. 

Year of the Dragon
through November 10, 2024
Yale University Art Gallery
1111 Chapel Street (at York Street)
New Haven, CT
https://artgallery.yale.edu/exhibitions/exhibition/year-dragon

Kohyama Yasuhisa, Kaihō Yūshō screens
Attributed to Kaihō Yūshō, One of a Pair of Screens with Dragons and Waves, Japan, Momoyama period (1573–1615). Superimposed Ceramic: Kaze (Wind), Yasuhisa Kohyama. Photos by Janet Sullivan, courtesy of the Yale Art Gallery.

This exhibition celebrates the Year of the Dragon, with a presentation of nearly 30 artworks spanning from the 17th century to the present day. In the West, the dragon has historically been characterized as an evil creature, flying through the air while breathing fire from its mouth, but in the East, the dragon is believed to possess power in the celestial realm and to pour out blessings in the form of rainwater over swirling wind. The dragon also has a place in the Eastern zodiac calendar—alongside 11 other animals. The objects on view, feature dragons on folding screens, other paintings, textiles, ivory, woodblock prints and a ceramic by Yasuhisa Kohyama. Taking inspiration from East Asian history, folklore, and myth, these works demonstrate a long, complex, and continuing artistic tradition around this fantastical creature. 

Jonathan Becker: Lost Time
through January 26, 2025
Katonah Museum of Art
134 Jay Street
Katonah, NY 10536
https://www.katonahmuseum.org/exhibitions/exhibition/jonathan-becker-lost-time

Patricia Herrera at home, New York, 18 July 2001. Photo by Jonathan Becker, courtesy of The Katonah Museum of Art

Jonathan Becker: Lost Time features more than fifty of the artist’s photographs of influential figures from the worlds of politics, fashion, arts, and culture. Captured through the lens of his Rolleiflex camera, the striking, square-format images reveal intimate, closely observed scenes that serve as both timely and timeless portraits. Becker’s mastery of light, shadow, and saturation is evident across his work in both black and white and color mediums, evinced by the lush, velvety charcoal tones and dazzling chromatic range of his prints.

Tara Donovan: Aggregations
through March 9, 2025
Bruce Museum of Art
1 Museum Drive
Greenwich, CT 06830
https://brucemuseum.org/whats-on/tara-donovan-aggregations

Tara Donovan (American, b. 1969), Untitled, 2014 , acrylic and adhesive , Courtesy of the Artist and Pace Gallery , Photo: Kerry Ryan McFate, courtesy Pace Gallery

Brooklyn-based artist Tara Donovan reimagines and elevates everyday, mass-manufactured materials into the realm of fine art. In her sculptures and large-scale installations, she employs a range of objects—disposable Styrofoam cups, index cards, paper plates, pencils, pins, rubber bands, straws, tar paper, and even toothpicks—transforming their physical properties and functions. While some of her works are inspired by abstraction and the pure geometry of the grid, others conjure up the sublime, evoking geological phenomena, biomorphic shapes, and organic, cellular forms.

Ways of Seeing
September 21 – 29, 2024
browngrotta arts
276 Ridgefield Road
Wilton, CT 06897
https://browngrotta.com/exhibitions

Ways of Seeing installation
pictured works by Lia Cook, Carolina Yrarrázaval, Lilla Kulka, Lawrence LaBianca, Mariette Rousseau-Vermette. Photo by Tom Grotta

Ways of Seeing explores how individuals envision and curate their art collections. 

Gallery Dates/Hours:
Saturday, September 21st: 11am to 6pm [Opening & Artist Reception]
Sunday, September 22nd: 11am to 6pm (40 visitors/ hour)
Monday, September 23rd through Saturday,September 28th: 10am to 5pm (40 visitors/ hour)
Sunday, September 29th: 11am to 6pm [Final Day] (40 visitors/ hour)
Schedule your visit at POSH. 

Safety protocols: Reservations strongly encouraged; No narrow heels please (barn floors)

See you soon!

Ways of Seeing, Part Three: Right-Sized

September 11, 2024 0 Comment
Ways of Seeing Right Sized installation
Gali Cnaani, 8gs Red Dress, 2006; Jennifer Falck Linssen, 14jl Insight, 2016; Mia Olsson, 4mo Traces 4 Relief, 2006; Lewis Knauss, 38lk Spiked Horizon 2018; Paul Furneaux, 8pf Soft Sea Lewis II, 2024; Mary Merkel-Hess, 61mm Sun Series Orange, 2013; Sue Lawty, 35sl Coast East Riding of Yorkshire 1-3, 2024. Photo by Tom Grotta

“Right-sized” refers to adjusting something to an appropriate or optimal size. In Right-Sized, the third exhibition within Ways of Seeing, we explore collections through this lens. We’ve drawn inspiration from collectors who focus on intention and specificity—such as historic textiles, woven portraits, and Japanese baskets.

Laura Thomas
9lt Focus, Blue IV, Laura Thomas, glass, cotton, linen, silk, 16.75″ x 16.75″ x 1″, 2023. Photo by Tom Grotta

Herb and Dorothy Vogel, for example, a postal worker and a librarian, built a world-class collection of Minimalist and Conceptual art in their New York apartment, mindful of both affordability and space constraints. One artist noted that they would only purchase works they could transport home via subway or taxi. Similarly, Lloyd Cotsen, known for his diverse collections, including Chinese bronze mirrors, children’s books, and Noah’s arks, considered size in his creation of The Box Project, now housed at The Textile Museum at The George Washington University Museum For this project, Cotsen requested 36 artists to create three-dimensional works that fit within boxes measuring either 14 x 14 x 2 .5 inches or 23 x 14 x 2.5 inches. The goal was to observe how contemporary fiber artists navigated challenges related to physical restrictions and dimensions. In Right-Sized, we have selected works that adhere to specific parameters of small size, much like Cotsen’s project, while also considering affordability, akin to the Vogels’ approach.

noriko takamiya
34nt Revolving Cross, Noriko Takamiya, paper, 5.5″ x 7.75″ x 4.5″, 2024. Photo by Tom Grotta

Right-Sized is characterized by its diversity in materials, techniques, and approaches. The exhibition includes a variety of framed paper works—pleated, painted, printed, and collaged—alongside a salon wall of eclectic pieces, including sculptural works made from sisal, paper, linen, and hemp, a “weaving” of copper, “drawings” in stone, and a Japanese watercolor woodblock print (mokuhanga). We have assembled a grouping of cubes and spheres of everything from bark to jute to stainless steel and another of baskets of natural materials, each at least 12 inches high. Elsewhere In Right-Sized, viewers will find exquisite embroidery by Diane Itter, wood vessels by Markku Kosonen, willow sculpture by Lizzie Farey, and threads embedded in perspex by Laura Thomas.

Diane Itter
Detail: 1di Ribbon Rain, Diane Itter, knotted thread on linen, 23.25″ x 14.75″, 1984. Photo by Tom Grotta

With its eclectic assortment of more than 70 works, Right-Sized seeks to engage viewers’ impulses to classify, organize, and collect.

See what we have assembled, in person, or in the Ways of Seeing catalog: 

Exhibition Details:
Ways of Seeing
exploring ways individuals envision and curate art collections
browngrotta arts
276 Ridgefield Road
Wilton, CT 06897

Gallery Dates/Hours:
Saturday, September 21st: 11am to 6pm [Opening & Artist Reception]
Sunday, September 22nd: 11am to 6pm (40 visitors/ hour)
Monday, September 23rd through Saturday,September 28th: 10am to 5pm (40 visitors/ hour)
Sunday, September 29th: 11am to 6pm [Final Day] (40 visitors/ hour)

browngrotta.com

Schedule your visit at POSH. 
Safety protocols: Reservations strongly encouraged; No narrow heels please (barn floors)

Our Sponsor

Ways of Seeing Part II: Impact: 20 Women Artists to Collect

September 4, 2024 0 Comment
62hh Tabula Rasa 2, Helena Hernmarck, wool, 53″ x 44″, 2010
1cy Azul Y Negr, Carolina Yrarrázaval, rayon, cotton, 116″ x 40.5″, 2003 Photo by Tom Grotta

Twenty international women artists of substance and significance are heralded in Impact: 20 Women Artists to Collect one of the groupings in Ways of Seeing at browngrotta arts this Fall. Ways of Seeing explores the varied ways in which people curate their art collections. Collecting by artist, including by race, sexual identity, country of origin, or as in Impact, by gender, is one of the ways in which collections are assembled.

Kay Sekimachi early works
Kay Sekimachi 113k Pale Moon, linen, cotton, rayon, plain weave, inlay, 14” x 18” x 1.25”, 1959
131k Monofilament, nylon monofilament, 4-layered weave, tubular weave, 32” x 7” x 6”. Photo by Tom Grotta

In 2019, Artsy, an online platform we collaborate with, hosted 3,999 galleries. Only 8% of these galleries represented more women artists than men. browngrotta arts is among that 8%, promoting a diverse array of exceptional women artists beyond the group featured in Impact: 20 Women Artists to Collect. The selection in Impact, though a small sample of the women artists we work with, is a group, both intriguing and influential. The artists span various nationalities—including North America, Europe, Asia, and South America—and generations, with birth years ranging from 1917 to 1960. Each artist has mastered both traditional and experimental techniques, while expanding the boundaries of textiles as fine art. 

Caroline Bartlett
Caroline Bartlett
24cb Curve, painted linen, cotton thread, perspex, 85” x 17.25”, 2021
25cb Fatehpur Sikri, painted linen, cotton thread, perspex, 66” x 8.25” (each), 1990. Photo by Tom Grotta

Impact will feature a multifaceted group of sculptures and weavings made from 1976 to 2024. The artists in Impact have demonstrated a knowledge of traditional and experimental techniques, while redefining the perception of textiles as fine art. “Each of these artists have enlarged the expectations and possibilities of fiber art through their singular, iconic practices,” says browngrotta arts co-curator, Tom Grotta. 

Katherine Westphal quilt, Grethe Sørensen weavings
Katherine Westphal, 47w The-puzzle-of-Floating-World-#2, transfer print and quilting on cotton, 85” x 68”, 1976
Grethe Sørensen, 24gs Interferens; 25gs Blue Color Gradation, linen, 57” x 55” each, 2005. Photo by Tom Grotta

Ethel Stein (1917), for example, who would be 107 if she were still alive, studied under Josef Albers. Intensive study of historical textiles led her to reinterpret historical textile structures using contemporary looms, blending modernist Bauhaus ideals of simplicity, order, functionality, and modesty. In contrast, Katherine Westphal (1919), an eclectic artist from the same era, worked across ceramics, quilting, basketmaking, and wearable art. 

Jin-Sook Red and Blue
Jin-Sook so, 64jss Red Untitled 2021, 65jss Blue/Gold Untitled 2021
steel mesh, painted, electroplated silver and gold leaf, 31.5” x 31.5” x 4.5” (each), 2021. Photo by Tom Grotta

Born 30 years later in Korea, Jin-Sook So (1950) and Yeonsoon Chang (1950), began as traditional textile makers, then moved to exploring sculptural forms. So creates light-reflecting, three-dimensional works using electroplated and painted stainless steel mesh that evoke silk organza. Chang molds abaca fibers and Teflon mesh into structures that investigate the universe, coated with an eco-friendly resin she developed. 

Detail: 42sp Carter-Eclipse series, Simone Pheulpin, cotton, 13.75″ x 12.25″ x 3.5″ , 2024. Photo by tom Grotta

In between those decades, textile sculptors are Simone Pheulpin and Hisako Sekijima, born 1940 and 1944, respectively, renowned innovators. Pheulpin transforms unbleached cotton strips into organic forms reminiscent of bark, ceramics, fossilized rock, coral, or shell, using stainless steel pins instead of stitching or glue — a technique entirely of her own design. For decades, Sekijima has been on what the Victoria & Albert Museum has described as “a journey of radical experimentation,” expanding upon traditional Japanese basketmaking techniques to create inventive non-utilitarian objects, noted for their exploration of volume, mass, and space.

Ways of Seeing Catalog

Discover more about these 20 exceptional artists in person at Ways of Seeing or in our catalog. https://store.browngrotta.com/c-54-ways-of-seeing/

Exhibition Details:
Ways of Seeing
exploring ways individuals envision and curate art collections
browngrotta arts
276 Ridgefield Road
Wilton, CT 06897

Gallery Dates/Hours:
Saturday, September 21st: 11am to 6pm [Opening & Artist Reception]
Sunday, September 22nd: 11am to 6pm (40 visitors/ hour)
Monday, September 23rd through Saturday,September 28th: 10am to 5pm (40 visitors/ hour)
Sunday, September 29th: 11am to 6pm [Final Day] (40 visitors/ hour)

browngrotta.com

Schedule your visit at POSH. 
Safety protocols: Reservations strongly encouraged; No narrow heels please (barn floors)

Art Assembled – New This Week in August

August 28, 2024 0 Comment

August has been an exciting month at browngrotta arts as we edge closer to the launch of our highly anticipated Fall 2024 Art in the Barn exhibition, Ways of Seeing – exploring ways individuals envision and curate art collections. Our upcoming showcase, delves into the diverse ways individuals curate and experience art collections. Within this exhibition, we’ll present unique groupings, including The Art Aquatic, featuring works inspired by water; Impact: 20 Women Artists to Collect, spotlighting influential artists from both the US and abroad; and Right-Sized, which focuses on art created with specific constraints in mind. Mark your calendars for September 21-29 to join us for this compelling event!

Over the past month, our New This Week series has introduced an array of talented artists, including Gudrun Pagter, James Bassler, Noriko Takamiya, and Zofia Butrymowicz. We’re thrilled to showcase their remarkable contributions and offer you a glimpse into their extraordinary work.

Catch up on all our recent features and stay tuned for more exciting updates as we count down to our big exhibition!

Gudrun Pagter
18gp Red, Gudrun Pagter, sisal and flax , 67” x 94.5”, 2015. Photo by Tom Grotta

Kicking off the month, we had the pleasure of featuring the work of Gudrun Pagter. A distinguished Danish artist, Pagter is celebrated for her bold and graphic tapestries that engage deeply with themes of architecture and geometry.

Pagter’s artwork is characterized by narrow lines and shifts in color fields, demonstrating her commitment to exploring and refining artistic idioms. She describes her approach as a rigorous investigation into the picture plane, employing a disciplined structuring of geometric forms and a restricted color palette. Her work not only captures the essence of architectural forms but also invites viewers into a meticulously crafted world of design.

We’re thrilled to showcase Pagter’s captivating pieces and hope you found her feature as inspiring as we did!

James Bassler
19bas Tracking Nasca Patterns, James Bassler, indigo dyed ikat tapestry, 63″ x 32″, 2006; linen, both the warp and parts of the weft, natural dark brown cotton from Guatemala, lighter brown cotton from Oaxaca, Coyuchi, a white handspun silk from Oaxaca , the silk worms feed off of native oak trees, and perhaps the most special of the yarns is the purple-dyed, handspun cotton, Caracol. The Caracol dye comes from a sea snail that lives off the Pacific coast, on rocks, in Oaxaca. Photo by Tom Grotta

Next, we turned our spotlight to the remarkable James Bassler and his tapestry Tracking Nasca Patterns. Since 1980, Bassler has delved into various weaving traditions, including the wedge-weave structure of the Navajo, Japanese shibori, and pre-Columbian scaffold weave techniques. His work is a testament to his dedication to exploring and preserving these ancient textile practices.

This specific piece was crafted with linen for both the warp and parts of the weft, this tapestry incorporates natural dark brown cotton from Guatemala, lighter brown cotton from Oaxaca, and Coyuchi, a handspun silk from Oaxaca. The unique silk used in this work is produced by worms that feed on native oak trees, adding a special touch of nature’s elegance. The highlight of the tapestry is the striking purple-dyed handspun cotton called Caracol, derived from a traditional dyeing process involving sea snails found along the Pacific coast of Oaxaca. Local artisans collect the snails to extract the dye before returning them to their habitat, demonstrating a sustainable practice deeply rooted in tradition.

We’re honored to showcase Bassler’s intricate and culturally rich tapestry, and we hope you enjoy exploring the craftsmanship and historical significance embedded in this piece.

Noriko Takamiya
33nt Vision and Perception, Noriko Takamiya, bamboo stalks
5.5” x 7” x 7”, 2023. Photo by Tom Grotta

We then turned our spotlight to the innovative Noriko Takamiya, celebrated for her contemporary take on traditional Japanese basketmaking techniques. Takamiya’s practice is a captivating blend of experimentation and refinement, as she explores various weaving methods using an array of materials such as wood splint, ramie, rice straw, and paper.

Her work often features non-vessel forms that highlight the unique interplay between structure and material. Takamiya’s approach involves wrapping, tying, and plaiting techniques, resulting in intricate, sculptural pieces that showcase her mastery over both form and texture.

Takamiya is part of a distinguished group of basketmakers, inspired by Hisako Sekijima’s pioneering basket technology, which has evolved into a new method of three-dimensional modeling. Since 1986, this influential group has continued to push the boundaries of basketry, contributing significantly to the field.

Zofia Butrymowicz
8zb Słońce Szafirowe, (Sapphire Sun), Zofia Butrymowicz, linen, wool, 84″ x 78″, 1.5″, 1968. Photo by Tom Grotta

Last, but certainly not least, we honored the late artist Zofia Butrymowicz, a pioneering figure in East European textile art. Butrymowicz is remembered for her innovative approach to weaving, which she referred to as “loom thinking.” This technique involved working directly on the loom without a prepared cartoon, allowing for spontaneous and dynamic creations.

Butrymowicz excelled in the wool gobelin technique, utilizing handspun wools that were often rough and irregular to create striking and textured pieces. Her work frequently emphasized color, reflecting her deep interest in experimentation and new artistic expressions. Throughout her career, Butrymowicz’s contributions to the art world were celebrated globally, and her legacy continues to inspire.

Her unique approach and dedication to pushing the boundaries of textile art have left an indelible mark. We’re privileged to feature her remarkable work, celebrating her innovative spirit and enduring influence.

Thank you for following along with our latest features and updates. We’re excited to share more as we approach the launch of Ways of Seeing. Don’t forget to reserve your spot for the exhibition and stay tuned for further details!

Ways of Seeing Part One: The Art Aquatic

August 21, 2024 0 Comment

Ways of Seeing, browngrotta arts’ Fall 2024 exhibition (September 20 – 29) explores various ways that individuals envision and organize art collections. One of the three types of collections we will exhibit in Ways of Seeing is an arrangement based on a specific theme. Having a fondness for water and a location between the Norwalk River and Long Island Sound, we chose water-related art, specifically, The Art Aquatic, as our sample organizing principle.

Karyl Sisson Octopus
Flight III, Karyl Sisson, deconstructed vintage zippers, thread, 5″ x 32″ x 22″, 2013. Photo by Tom Grotta

The changeable, fluid nature of water has often been an inspiration for artists. Artists use water to convey a variety of meanings. Some are moved by water as a natural force, for others there is a more spiritual connection, and still others are interested in how humans are impacting our oceans and rivers — in each case the results are thought provoking and intriguing. 

Marian Bijlenga Fish Scales
40mb Scale Flowers, Marian Bijlenga, dyed Nile Perch fish scales, 22.375″ x 18.875″ x 2.5″, 2019

Artists in The Art Aquatic exhibition reflect that diversity of approaches. Some have made imaginative uses of water-related materials. There are patchworks of fish skins by Annette Bellamy, who spends part of each year fishing commercially and compositions of fish scales by Marian Bijlenga. Keiji Nio photographs sea scenes, uses the images in ribbons that he plaits and edges with beach sand. Jeannet Leenderste creates baskets of seaweed she forages in Maine and works with the Rockweed Coalition. “Seaweed not only creates a habitat for countless species, it sequesters carbon,” she says, “and protects our shoreline as our sea levels are rising.”

Ulla-Maija Vikman painted threads
Ulla-Maija Vikman, Biagga (Sea Wind), painted viscose and linen, 67 x 71 in, 2010. Photo by Tom Grotta

Other works in The Art Aquatic offer more abstract references to life in the deep, including Ulla-Maija Vikman’s “painting,” Biagga (Sea Wind), made of viscose threads in marine colors.  Mariette Rousseau-Vermette’s Blue Water II, made of woven tubes of beachy blue, grey, white, and yellow, evokes a sunny day at the water’s edge. Masakazu Kobayashi’s assemblage of silk-wrapped bows reflects an ocean horizon.

Ed Rossbach Fish basket
Fish Trap, Ed Rossbach, 14″ x 11″ x 11″, 1988. Photo by Tom Grotta

A third series of works offer watery imagery, like Judy Mulford’s Aging by the Sea which incorporates a conch shell and a tiny boat covered in knotless netting, Ed Rossbach’s Fish Trap Basket, with a whimsical fish motif, the mermaid in Norma Minkowitz’s sculpture, My Cup Runneth Over, and Karyl Sisson’s Flight III, a sea-creature-like sculpture of vintage zippers.

Floating paper boats by Jane Balsgaard and Merja Winqvist. Tubular textile by Mariette-Rousseau-Vermette
Paper boats by Jane Balsgaard and Merja Winqvist, Tubular textile by Mariette-Rousseau-Vermette. Photo by Tom Grotta

More literal still, there are the nautical object interpretations included in the exhibition, like Mercedes Vicente‘s shell of cotton canvas. Jane Balsgaard’s Relief floats alongside Merja Winqvist’s gridded boat – both are made of paper. Text from Moby Dick is etched on Call Me Ishmael, Lawrence LaBianca’s ivory-colored boat sculpture. La Bianca has created a body of work that engages aquatic environments. “The tools we apply to nature—to contain it, shape it, understand it and categorize it also have a profound impact upon it,” he says. LaBianca references the impetus to measure, understand, contain, and manipulate nature that animates his art – that impetus is one that can animate collectors of art as well.

Wax linen cover shell by Judy Mulford
Judy Mulford, Aging-By the Sea , shell, waxed linen, waxed linen, silver, beads, pearls, silver spoon, sand, plexiglas, 11″ x 11″ x 10″, 2004. Photo by Tom Grotta

Join us at Ways of Seeing and learn more.

Exhibition Details:
Ways of Seeing
exploring ways individuals envision and curate art collections
browngrotta arts
276 Ridgefield Road
Wilton, CT 06897

Gallery Dates/Hours:
Saturday, September 21st: 11am to 6pm [Opening & Artist Reception]
Sunday, September 22nd: 11am to 6pm (40 visitors/ hour)
Monday, September 23rd through Saturday,September 28th: 10am to 5pm (40 visitors/ hour)
Sunday, September 29th: 11am to 6pm [Final Day] (40 visitors/ hour)
browngrotta.com

Schedule your visit at POSH. 
Safety protocols: Reservations strongly encouraged; No narrow heels please (barn floors)

Lives Well Lived: Maggie Henton

August 16, 2024 0 Comment
Portrait Maggie Henton
Maggie Henton, August 2024. Portrait by Tom Grotta

We were so sorry to learn about the death of artist Maggie Henton in August 2024. We have been exhibiting Henton’s work since our exhibition, The British Invasion: Maggie Henton and Dail Behennah in 1994. That event featured Henton’s meticulously constructed baskets of wire and colorful cane. Their weave patterns  were developed from the study of Southeast Asian weaving techniques, and reflected her interest in rhythm, form, and the interaction between layers of pattern. Henton attended the opening of The British Invasion in Wilton, Connecticut meeting many collectors who were excited by her work.

Two Sides of Double Sided Folding Screen, interlaced birch plywood and wire, 59” x 80”, 1996. Photos by Tom Grotta

Born in 1953, Henton studied basketmaking at the London College of Furniture. Henton’s work involved more than creating baskets and objects of wood, however, it also included drawing, stitch, printmaking, photography, video, and installation. Much of Henton’s practice is developed in response to specific sites. She was interested in quality of place, and in how places are constructed and inhabited. These interests led her to complete an MA in Architecture and Spatial Culture.

Triangular Box with Lid, dyed cane wire and metal, 7” x 14” x 14”, 1995. Photo by Tom Grotta

“Work is usually made in response to a specific location,” she said. “The forms the work take reflect the particularities of the site. Pieces included installations, photography, print, stitched and drawing series. Working in this way provided the stimulus for the development of new ideas, whilst the apparent restrictions (of working on site (and often out of a suitcase) are a creative challenge and a prompt to think beyond my comfort zone. I have worked at sites in various locations in Europe and extensively in Australia.” 

Rain at Dawn, birch plywood, acrylic paint, stainless steel wire, 18″ x 19″ x 4″, 2001. Photo by Tom Grotta

In recent years, Henton made work in response to museum collections, (including Hasting Museum in 2018); and textile mill buildings and their history (Sunnybank Mill in 2019). During 2020 she researched the 18th and 19th century textile trade and its legacy of mill buildings in Lancashire. Much of this work focused on investigations into the legacies of Empire, including a project concerning poverty and disease in Victorian London. 

Diamond Bowl
Diamond Bowl, Maggie Henton, dyed and painted cane and copper wire, 7.5” x 30” x 19”, 1993. Photo by Tom Grotta

In reviewing Henton’s legacy upon her death, artist Caroline Bartlett wrote, “I have found there a lifetime’s work from basketry and wood-based pieces to textile works and combinations of stitch and print, all executed with such integrity and based on thorough research of content and material.”

Maggie Henton Birch Plywood Sculptures
0206mh Untitled, Maggie Henton, laminated birch plywood, sandblasted perspex, acrylic paint, steel nuts and bolts, 14” x 11.675” x 5.275”, 2002; 0105mh Untitled, Maggie Henton, laminated birch plywood, sandblasted perspex, acrylic paint, steel nuts and bolts, 14” x 16” x 7.25”, 2001. Photo by Tom Grotta

Henton’s work is found in a number of public collections include that of the Victoria & Albert Museum, London, UK; American Craft Museum, New York, New York; Museum of Fine Arts, Houston, Texas; Charles A. Wustum Museum of Fine Art, Racine, Wisconsin; Ulster Museum, Ireland; Negenoord Maaspark, Belgium; Crafts Council, London, UK; Contemporary Arts Society, UK; Calderdale Museums, Halifax, UK; Shipley Art Gallery, UK; Leicester City Art Gallery, UK; Zoology Museum, Cambridge, UK; Bankfield Museum, Halifax, UK;  the Welbeck Estate, Nottinghamshire, UK; Platt Hall Costume Museum, Manchester, UK; and Shoreditch Town Hall, UK. 

Pieces and Parts – Patchwork and Appliqué

August 8, 2024 0 Comment
Kay Sekimachi
5k Lava (Patched Pot), Kay Sekimachi, handwoven and laminated warp-dyed linen on 12 layers of japanese paper, 11” x 14” x 14”, 1991. Photo by Tom Grotta

We are on vacation and Maine and rather than post a “Gone Fishing” sign this week (only one of us fishes anyway) we decided to explore some pieced, patchworked, and appliquéd works made by artists who have worked with browngrotta arts. They include this striking patched pot by Kay Sekimachi and Resound, a large appliqué by Ase Ljones. Work by both artists will be featured in browngrotta arts’ fall exhibition, Ways of Seeing (September 20 – 29, 2024).

Åse Ljones
Detail: 4al Resound, Åse Ljones, rubber, silk, thread, 72” x 43.75″, 2001. Photo by Tom Grotta

Patchwork and appliqué have been integral to textile arts for centuries. Originating from the need to reuse and repurpose worn-out fabrics, patchwork involved stitching together various fabric pieces to create a larger, functional piece, often a quilt. Appliqué, on the other hand, involves sewing smaller pieces of fabric onto a larger base fabric to create decorative designs. Both techniques have roots in diverse cultures, from the elaborate quilts of 19th-century America to the intricate Indian patchwork and Japanese boro textiles.

Katherine Westphal
36w Untitled, Katherine Westphal, paper and linen, 32″ x 47″, 1983. Photo by Tom Grotta
Katherine Westphal
Detail: 1w October: A Walk with Monet, Katherine Westphal, paper, dyed, heat transfer photo copy, patched, 60″(h) x 51″, 1992. Photo by Tom Grotta

The techniques have continued relevance. They are used in mixed media works and in upcycling recycled fabrics, leather, and plastic, reflecting a broader cultural shift towards sustainability. Contemporary patchwork and appliqué often intersect with other art forms, including modern art, graphic design, and even digital art. This cross-disciplinary approach results in innovative works that challenge traditional boundaries and invite viewers to see these techniques in a new light. Noted surface designer Katherine Westphal, created a kimono by combining Japanese subway tickets and fabric. In another, October: A Walk with Monet, she patched together images she created using paper and heat transfer. Westphal is one of the artists in the upcoming exhibition Impact: 20 Women Artists to Collect (September 21-29, 2024), one part of Ways of Seeing.

Neha Puri Dhir
6npd Farmers Jacket, Neha Puri Dhir, cotton, reversible, Japanese 18th century woodcutter’s vest inspired, stitch-resist dyeing, discharge dyeing, patchwork, overdyeing, Sashiko on the collar, 2015. Photo by Tom Grotta
Anette Bellamy
Detail: 3ab Food Chain, Annette Bellamy, halibut, sablefish, salmon (including smoked salmon skins) 36″ x 21.5″, 2017. Photo by Tom Grotta

Contemporary artists use patchwork and appliqué as a medium for personal storytelling. Annette Bellamy is a commercial fisherwoman in Alaska part of the year, a part of her life that is reflected in works like Food Chain, made of pieced fishskins from a variety of fish. Neha Puri Dhir’s Farmer’s Jacket reflects a interest in upcycling and Japanese stitching techniques.

Mia Olsson
Detail: 9mo Map of Warm Area, Mia Olsson, sisal, 24.75″x 19.75″, 2012. Photo by Tom Grotta

Patchwork and appliqué techniques are powerful tools for expressing individuality. In Aphelion, the late Lena McGrath Welker merged drawings and monotypes of Ptolomy’s diagrams, constellations, plus legible and illegible writing, and blackened copper prayer tabs in a statement about the universe and our role in it. The techniques may also be used to address contemporary issues, pieced works and intricate quilts that make social and political statements. Mia Olsson’s Map of a Warm Place, for example, uses pieces of sisal to make an environmental statement.

Lena Welker
Detail: 10lw Aphelion I, Lena Welker, Arches paper (white), Rives BFK, Cave flax, Twinrocker cotton, all hand-dyed indigo; shikibu gampi folios, silk thread, ink, handwoven and hand dyed indigo lace fragment (from The Labyrinth/Toward Illumination installation). Books have Hosho paper folios all drawn in, longstitch binding, and are tied shut with tow linen and blackened bronze prayer tabs. Mei-mei Berssenbrugge’s poem fragments are all stitched to the woven lace. You have a document with all the other citations. Silk paper scrolls stitched with silk thread. 79” x 34.75” x 6.5”, 2OO8.. Photo by Tom Grotta

For more contemporary patchwork and appliqué, checkout contemporary boro: https://upcyclestitches.com/contemporary-boro/, Yoshiko Jinzenji, and Natalie Chanin.