Craft is Now an Art Market Force: Just 3 Weeks to Win a Lia Cook of Your Own

Lia Cook Spatial details
Details of Spatial Ikat III_1976; Spatial Ikat III-2, 1976; Space-Dyed-Weaving-2, 1975

Craft is now an “art market force,” according to the art platform Artsy, “How Craft Became an Art Market Force,” Benjamin Sutton, February 10, 2021. “The boundaries separating painting, ceramics, weaving, drawing, glassblowing, printmaking, and other processes and practices are now porous if not completely antiquated. This is plainly clear from visiting most major art museums where, increasingly, textiles share wall space with abstract paintings and glass, and clay sculptures sit on plinths alongside bronzes.”

The Ceramic Presence in Modern Art: Selections from the Linda Leonard Schlenger Collection at the Yale Art Gallery in 2016 (https://www.youtube.com/watch?v=CuNAdtbxRPw) provided an early exhibition example of impactful intermixing of media. The exhibition featured over 80 objects from the Schlenger collection by leading 20th-century ceramicists—including Toshiko Takezu, Ruth Duckworth, Kenneth Price, Lucie Rie, and Peter Voulkos—alongside works in other media from the Yale University Art Gallery’s permanent collection by artists such as Hans Hofmann, Willem de Kooning, Isamu Noguchi, Mark Rothko, and Edward Ruscha. The Gallery recognized that, allthough critically lauded within the studio-craft movement, works by these ceramicists were only then coming to be recognized as integral to the wider field of contemporary art. This ecumenical approach is further illustrated in Making Knowing; Craft in Art 1950-2019  at the Whitney in New York (November 2019 until February of next year; https://whitney.org/exhibitions/making-knowing). The exhibition “foregrounds how visual artists have explored the materials, methods, and strategies of craft over the past seven decades. Some expand techniques with long histories, such as weaving, sewing, or pottery, while others experiment with textiles, thread, clay, beads, and glass, among other mediums.” It includes artists like Robert Raushenberg, Kiki Smith and Agnes Martin beside Robert Arneson, Sheila Hicks and Ron Nagle. Also exhibiting currently, Women in Abstraction, at the Pompidou Center through August 23rd (https://www.centrepompidou.fr/en/program/calendar/event/OmzSxFv) .Transcending the traditional reductionist hierarchies between high and low art, the exhibition presents a history that includes dance, the decorative arts, photography and cinema and artists that include Ruth Asawa, Barbara Hepworth and Lenore Tawney. 

Fiber art has played a major part in this surge of interest and now through July 31st, you can be a part of this emerging trend. Enter the UncommonGood sweepstakes for an important Lia Cook tapestry. You’ll promote her work, fiber arts and the Breast Cancer Alliance in the process, and just maybe, add a remarkable work to your your personal collection.

Installation view of Making Knowing: Craft in Art
Installation view of Making Knowing: Craft in Art, 1950–2019 (Whitney Museum of American Art, New York, November 22, 2019–January 2021). From left to right: Peter Voulkos, Red River, c. 1960; Robert Rauschenberg, Yoicks, 1954; Ruth Asawa, Untitled (S.270, Hanging Six-Lobed, Complex Interlocking Continuous Form within a Form with Two Interior Spheres), 1955, refabricated 1957-58. Photograph by Ron Amstutz.

Spatial Ikat III-2, woven by Lia Cook in 1976 during a formative period for fiber art, will be the prize in a sweepstakes organized by UncommonGood, along with a $7,500 prize, a Zoom call with the artist and a copy of the catalog: Lia Cook: In the Folds – Works from 1973 – 1997. The tapestry was donated by browngrotta arts in Wilton, Connecticut, as the latest of its Art for a Cause projects. The proceeds from the sweepstakes will go to the Breast Council Alliance.

Lia Cook works in a variety of media combining weaving with painting, photography, video and digital technology. Her current practice explores the sensuality of the woven image and the emotional connections to memories of touch and cloth. Long recognized as an innovator, Cook’s work has been featured in dozens of group and solo exhibitions worldwide. Her work is found in dozens of museum collections, including that of the Museum of Modern Art and the Metropolitan Museum of Art. 

In Spatial Ikat III-2 Cook aimed to envelop the viewer in a work that was imposing and strident. She perfected the technique used in this work over a period of years. Distorting a plain weave with strenuous physical intervention, the lines undulate and create a topographical terrain, creating the illusion of massive threads moving over and under one another.

Spatial Ikat III-2
Spatial Ikat III-2 by Lia Cook

Donating to win this important tapestry, aids the Breast Cancer Alliance. BCA funds innovative research, breast surgery fellowships, regional education, dignified support and screening for the underserved. 

Enter the sweepstakes here: https://uncommongood.iohttps://uncommongood.io/sweepstakes/win-a-lia-cook-art-piece-valued-at-35000-and-7500-in-cash


Process Notes: On Making Variant by Gyöngy Laky – Material

Gyöngy Laky tells us more about the making of her recent work, Variant. Specifically she answers, Why golf tees?

Detail: Variant by Gyöngy Laky
Detail: Variant, ash, huge ripstixx Mustang Red, 30” x 20” x 4” 2021. Photo by Tom Grotta

“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.  

Golf Tease by Gyöngy Laky
Golf Tease, wooden, red golf tees, 16” x 25” x 2” , 2019. Photo by Gyöngy Laky

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.  

Fifth Avenue 1/23/16 by Gyöngy Laky
Fifth Avenue 1/23/16, AK-T Tequila MX bottle, golf tees, golf ball, 23″ x 9.5″ x 3.75”, 2019. Photo by Gyöngy Laky

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. 

Variant by Gyöngy Laky
Variant, ash, huge ripstixx Mustang Red 30” x 20” x 4”, 2021, Photo by Tom Grotta

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.”


Process Notes:  Gyöngy Laky’s Variant — Meaning

Gyöngy Laky’s work, Variant, a three-dimensional sculpture of “V” was featured in browngrotta arts’ recent exhibition, Adaptation: Artists Respond to ChangeLaky often creates words and symbols. In this post she tells us why the “V.” In next week’s post, she shares the impetus behind her choice of materials — specifically, golf tees. 

Q with No A, Gyöngy Laky, Photo by Tom Grotta

“A recurring theme in my art lexicon is language, symbols, signs and glyphic shapes and communication they inspire when in sculptural form,” says Laky.  “Words fascinate me, their origins and what playing with them explores.  Letters are word’s vehicles.  Letter forms, like symbols, are lyrical, suggestive. A letter standing alone can convey much. ‘Q,’ a favorite subject of several sculptures, is no longer… given the assault on democracy on January 6, 2021.

“Learning languages is play for me:  Early, I spoke Hungarian and German (mother, also Polish and French, father, English). Age 5, as refugees to the U.S., came English (French fluency in High School and a Paris year). Short studies of Russian, Hindi, Japanese, Mandarin, Italian and Spanish and playing with Catalan, Yiddish, Greek and Dutch followed.

“Many words came to play new, large roles with Covid 19.  Early in 2020, ‘novel’ caught my eye.  Articles I read with urgent interest to understand the new virus, to my surprise, used ‘novel’ corona. Novel? New?  New crown?  It was puzzling.  Scientists use ‘novel’ as a provisional name until a permanent makes sense.  We all know coronas as the common cold… but this one is devastating – a pandemic within weeks of appearing.

Gyöngy Laky 201L Variant ash, huge ripstixx Mustang Red 30” x 20” x 4” 2021. Photo by Tom Grotta

I became curious about the Latin plural form of virus discovering ‘viri’ translates as ‘men.’

The label ‘variant’ is ubiquitous warning us of impending danger. In the months of creating Variant it was everywhere, every day, accompanied by warnings and on April 5, 2021, I read about the new variant, ‘Eeek,’ a double mutation!  ‘Eeek?’  Again, the scientists got right to the crux.  A mutation named ‘Eeek’ calls for immediate high alert to danger.

As the word ‘variant’ drilled deep it occurred to me that we had recently experienced another devastating variant, a political variant, a leader with no governmental, administrative experience who was as unexpectedly dangerous as the following Covid 19.”

More on Variant on next week’s arttextstyle.


Women Artists Get Their Due: Learning About Lia Cook

Women didn’t win the vote until 1920. It took another 100 more years, but in the last few, women artists have finally begun to win the comprehensive, worldwide recognition they long deserved. Exhibitions like Women Take the Floor, at the Boston Museum of Fine Arts, Anni Albers and Dora Maar at the Tate Modern in London, Sheila Hicks at the Centre Pompidou and A Tale of Two Women Painters: Sofonisba Anguissola and Lavinia Fontana at the Prado in Spain are just some of the ways female artists are getting their due. 

Bamian by Sheila Hicks (American (lives and works in Paris) 1968, Wool and acrylic yarns, wrapped. Charles Potter Kling Fund and partial gift of Sheila Hicks © Sheila Hicks * Photograph © Museum of Fine Arts, Boston; Bethany CT. © 2018 The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York/DACS, London. Photography: Tim Nighswander/Imaging4Art

Lia Cook is one of those artists. Receiving critical acclaim from the onset of her career, innovating, experimenting and creating art for nearly five decades, Cook’s recent work in neuroaesthetics in the last decade has gained her a broader audience.  Since the 70s, Cook’s work has promoted a reconsideration of weaving, long-considered women’s work and thus inferior to high or fine art. While pursuing a Master’s degree in Art at UC Berkeley, she joined a group of progressive women in forming Fiberworks Center for Textile Arts. Just out of graduate school, she was issued an invitation to the prestigious Lausanne Biennial in 1973, where she exhibited with fiber art pioneers Magdalena Abakanowicz and Sheila Hicks. Viewers of Cook’s work find craft/fine art distinctions superfluous — a view that has finally taken hold in the art world at large.

space-continuum-1-portrait , Continuum I, exhibited at the 1973 International Biennial of Tapestry, Lausanne, Switzerland

Through July 31st, you have the chance to win an important work from Cook’s early explorations, Spatial Ikat III -2 (1976). The tapestry is a prize in a sweepstakes organized by UncommonGood, a B-corp that helps nonprofits of all sizes expand their reach and do even more good. The sweepstakes prize includes a $7500 prize, a 20-minute Zoom call with the artist and a copy of Lia Cook: In the Folds – Works from 1973 – 1997 (browngrotta arts, Wilton, CT 2007). The tapestry was donated by browngrotta arts as the latest of our Art for a Cause projects; the cash prize is from UncommonGood. The proceeds from the sweepstakes will go to the Breast Council Alliance https://breastcanceralliance.org which funds innovative research, breast surgery fellowships, regional education, dignified support and screening for the underserved. 

browngrotta arts is thrilled to partner with UncommonGood and Breast Cancer Alliance in this sweepstakes. UncommonGood provides comprehensive software solutions for nonprofit organizations. With these tools, groups like the Breast Cancer Alliance can engage more donors and amplify their reach.

This sweepstakes presents an opportunity to create a new fans for Lia Cook’s work while benefiting a worthy cause in the process. A winning combination!

To enter the sweepstakes: https://uncommongood.io


Art Out and About: Exhibitions Abroad

Things are (happily!) opening up all over. If you are located abroad or planning to travel , there are a number of exciting exhibitions to visit in person and to check out online.

Lookout installation in Spain, Photo by Tim Johnson

Lookout
Mas de Barberans, Spain
An exhibition of the best of European basketmaking, Lookout, has been curated by Monica Guilera and Tim Johnson at the Museu de la Pauma, Mas de Barberans in Catalonia, Spain until September 30, 2021. The collection includes work by Dail Behennah, Mary Butcher and makers from Poland, France, Italy, Crimea and elsewhere. There is a beautifully illustrated 52-page catalogue which you can view online here.

Participation, Archie Brennan, 1977, woven at Dovecot Studios. Image Courtesy of Dovecot Studios

Archie Brennan Goes Pop
Edinburgh, Scotland
The Dovecot Studios in Scotland, is celebrating the extraordinary career of Archie Brennan in Archie Brennan Goes Pop through August 21, 2021. The Studios describe the exhibition as: “Bringing together over 80 tapestries as well as archive material, this is a chance to delve into the world of a master of modern tapestry. Sharp, witty, and immensely talented, Brennan began his 60-year weaving career at Dovecot and was an innovator and iconoclast who inspired weavers all over the world from Papua New Guinea to Australia.” Brennan’s contribution as a pop artist has not been recognized, until now.

Light, Nancy Koenigsberg, coated copper wire, 47″ x 47″ x 8″, 2011, photo by Tom Grotta. Part of the Artapestry6 traveling exhibition. 

ArtTapestry 6
Jyväskylä, Finland
2020’s ArtTapestry finally opened and has begun traveling, opening in Denmark and now installed in Finland and the Museum of Central Finland in Jyväskylä, through September 2022. Next it travels to Sweden. 43 works of 40 artists, from 16 countries were selected. Among the artists included are Gudren Pagter of Denmark, Wlodzimierz Cygan of Poland, Nancy Koenigsberg of the US and Helena Hernmarck, originally from Sweden but now of the US. For more information and to see the catalog, visit here: https://static1.squarespace.com/static/5e55552503aff02749460670/t/602e819c27e2076281e2ef40/1613660584707/Artapestry6_catalog_2021.pdf

Sheila Hicks: Cosmic Arrivals
Milan, Italy
The Francesca Minini gallery opened an exhibition of Sheila Hick’s work last week in Milan. Sheila Hicks: Cosmic Arrivals runs until July 17, 2021 (http://www.francescaminini.it/exhibition). The gallery quotes Hicks in its press release, “Nature determines everything. Climate and light influence space. Each of my works inhabits in a particular place, respects its history, its temperature, its architecture.” Fibers are unmade and recreated in her hands, according to the release. Cloth is thus the cornerstone of a way of thinking that was developed under the influence of her mentor [Josef] Albers and continued through the search for a new construction of color and the reuse of textile fibers, often considered functional or decorative.

MAKING NUNO Japanese Textile Exhibition, Photo by JSouteyrat courtesy of the Japan House London

Making Nuno: Japanese Textile Innovation from Sudō Reiko
London, UK
Japan House in London hosts an extraordinary exhibition, Making Nuno: Japanese Textile Innovation from Sudō Reiko, showcasing the innovative work of Japanese textile designer Sudō Reiko. Sudō is renowned for pushing boundaries of textile production and championing new methods of sustainable manufacturing. She has been the design director of leading textile design firm Nuno for over 30 years and is a member of the Japan Design Committee. Her fabric designs combine Japanese craft traditions with new engineering techniques and unusual combinations of diverse materials such as silk, hand-made washi (Japanese paper), nylon tape and thermoplastic. Through July 11, 2021: https://www.japanhouselondon.uk/whats-on/2021/exhibition-making-nuno-japanese-textile-innovation-from-sudo-reiko/.

Textilés
Mons, France
BeCraft in collaboration with the City of Mons and Les Drapiers, Contemporary Art Center (Liège) has installed a provocative exhibit, Textilés through August 1, 2021. www.becraft.org

Happy travels!


Artist Focus: Carolina Yrarrázaval

Carolina Yrarrázaval portrait
Carolina Yrarrázaval portrait by Tom Grotta

Strength and refinement are words used by those who review or just experience Carolina Yrarrázaval’s elegant tapestries. For a 2003 solo exhibition at the Chilean Museum of Fine Art in Santiago, Sheila Hicks wrote of her works: “Somber steps/weaving dignity/without digression/relentless ascent/rigorous denial/without shame.” Yrarrázaval’s work features a formal and chromatic purity, achieved through the use of colors achieved through a personal dyeing process.

Tapestries by Carolina Yrarrázaval
Tapestries by Carolina Yrarrázaval. Photo by Tom Grotta

There are multiple influences reflected in Yrarrázaval’s work. A solo exhibition, Capas de Recuerdos, at the Centro Cultural Las Condes in 2019, was entitled Layer of Memories, reflecting the layers of weaving, years of research and volumes of textures that feature in her work. Yrarrázaval draws on different manifestations and cultures, from pre-Hispanic geometry to the subtlety and mystery of Japanese textiles. 

Detail of  Memoria Andina
Detail of Memoria Andina, Carolina Yrarrázaval, linen and cotton, 54.25″ x 25.25″, 2019. Photo by Tom Grotta

For example, she lives on the Chilean coast and that environment infuses her work, which features blue greens, wavy lines and iridescent threads that reflect the colors of the beach and lines of the ocean and the horizon. She has traveled to India and Japan and cites costumes she saw there as another influence, evident in deep reds and indigos. She works in linen, jute, cotton, silk, raffia and hemp.

Amazonas, Carolina Yrarrázaval
17jy Amazonas, Carolina Yrarrázaval, yute, jute, raffia and silk, 35.5” x 39.25”, 2017. Photo by Tom Grotta

Traditional textiles are still another source of influence for Yrarrázaval. “Throughout my entire artistic career I have devoted myself to investigating traditional textile techniques from diverse cultures, especially Pre-Columbian techniques, trying to adapt them to my creative needs. Abstraction has always been present as an aesthetic aim, informing my choice of materials, forms, textures and colors. The simple proportions are guided by an intuitive sense that avoids the use of mathematical formulas.” 


Our 51st Catalog – Adaptation: Artists Respond to Change

The theme of our most recent exhibition, Adaptation: Artists Respond to Change was intentionally broad, to cover all sorts of external circumstances — besides the pandemic — that might influence an artists process. 

Adaptation: artists respond to change cover

Artists who work with browngrotta arts coped with the changes of the last year various ways — moving locations, taking up art photography, taking new inspiration from nature. But COVID and lockdowns are just some of the many reasons artists make changes in others include adapting when a material becomes unavailable (willow) or a new one suggests itself (fiber optic, bronze, copper, steel, kibisio, akebia), making a move in the US from the East to the South or from one country to another or from the city to the desert, facing a change in physical abilities (allergy, injury), an altered personal relationship, or a commission opportunity or an exhibition challenge. Our 51st catalog tells the stories of 47 artists from 14 countries, how their art has changed and why.

Adaptation: contents page

Replete with photos of work, installation and detail shots the catalog also includes an essay by Josephine Shea, Art Bridges Initiative, American Art at the Philadelphia Museum of Art. 

“Every year brings losses and change, but 2020 brought them on a global scale. In the US, election-year politics and racial injustice, were layered on top of the pandemic,” writes Shea. “Some of the artists in Adaption created work that responded to the challenges of moment, while others looked at long-term issues, like climate change.  Work by these artists also reveals the impacts of lockdown constraints, some imposed and some self-imposed, as studio space access was interrupted and available supplies a variable for experimentation …. And, that art aids resilience, providing artists a way to find calm, express emotional turmoil and turn adversity — like injury or a mudslide or trip on a vine — into opportunity.”

Jin-Sook So spread

The artists included in the exhibition and catalog are: Adela Akers (US), Polly Barton (US), James Bassler (US), Zofia Butrymowicz (Poland), Sara Brennan (UK), Pat Campbell (US), Włodzimierz Cygan (Poland), Neha Puri Dhir(India), Paul Furneaux (UK), John Garrett (US), Ane Henriksen (Denmark), Kazue Honma (Japan), Tim Johnson (UK), Lewis Knauss (US), Nancy Koenigsberg (US), Yasuhisa Kohyama  (Japan), Irina Kolesnikova(Russia/Germany), Lawrence LaBianca (US), Gyöngy Laky (US), Sue Lawty (UK), Jennifer Falck Linssen (US), Kari Lønning (US), Federica Luzzi (Italy), Rachel Max (UK), John McQueen (US), Mary Merkel-Hess (US),Norma Minkowitz (US), Laura Foster Nicholson (US), Keiji Nio (Japan), Gudrun Pagter (Denmark), Eduardo Portillo & Mariá Eugenia Dávila (Venezuela), Mariette Rousseau-Vermette (Canada), Heidrun Schimmel (Germany), Hisako Sekijima (Japan), Naoko Serino (Japan), Karyl Sisson (US), Jin-Sook So (Korea/Sweden), Polly Sutton (US), Noriko Takamiya (Japan), Chiyoko Tanaka (Japan), Blair Tate (US), Wendy Wahl (US), Gizella K Warburton (UK), Grethe Wittrock (Denmark) and Shin Young-ok (Korea), Carolina Yrarrázaval (Chile).

Lewis Knauss Spread

For a copy of Adaptation: Artists Respond to Change, visit our website: http://store.browngrotta.com/adaption-artist-respond-to-change/


Artist Focus: Włodzimierz Cygan

Detail: Cycle Tapping: May, Włodzimierz Cygan, viscose, linen and fiber optic, 117” x 34”, 2014

In a recent catalog of Włodzimierz Cygan’s work, Dariusz Lesnikowski, writes that commenting on Cygan’s work is both easy and hard. “Easy because his works fascinate, stimulate imagination, and trigger a variety of associations and inspirations.” Difficult because his work has been analyzed often and “[h]e is one of those artists who have significantly reshape the art of weaving, daring to overcome the traditionally guaranteed limitations of his field of art.” According to Lesnikowski, fibers in Cygan’s work are constantly used in new ways, meeting the warp in successive places for interlacing and each time providing unpredictable surprises. (“Woven on the bright side of imagination,” Dariusz Lesnikowski, Włodzimierz Cygan: Unique Fiber, Gallery Amcor, Lodz, Poland, 2020).

Traps, wool, viscose, linen, sisal, fiber optic installation 92” x 106”, 2019

Cygan’s work has been exhibited in Europe, Asia and Latin America, including the Jean Lurcat Museum in France, the Kyoto Art Center in Japan and the National Gallery in San Jose, Costa Rica. He was awarded a Bronze Medal at the 6th International Fiber Art BiennialFrom Lausanne to Beijingand the Grand Prix, 12th International Triennial of Tapestry. Cygan is reknown for his textile innovations. “When trying to determine why the means of artistic expression in tapestry was becoming archaic,” he has written, “I realized that one of the reasons might have to do with the custom of treating the threads of the weft as the chief medium of the visual message. . . . These observations led me to wonder how the artistic language of textiles might benefit from a warp whose strands would not be parallel and flat but convergent, curved or three dimensional … .” As a result of these explorations, in some of Cygan’s works, the warp changes direction, enabling the weaving of circles or arcs. 

Detail of Miracle, Włodzimierz Cygan linen, wool and sisal, 56.5” x 47” x 6.5” 2006

For more than 10 years, Cygan has been teaching at Gdańsk Academy and Architecture of Textiles’ Institute at Łódź Technical University. Miracle, which won the Bronze medal at the 6th From Lausanne to Beijing, features a hypnotic curve, that draws the viewer into the heart of the work. “The artist shapes the rhythm of the composition, consciously interfering with the structure of the fabric. Like a calligrapher, he builds the form by weaving the thread of the weft through the framework of the warp,” writes Lesnikowski. “Regularity (the general rule) confronts irregularity (modifications) of the warp.”

Blue/Green Weaving, Włodzimierz Cygan, polyester, linen, sisal, fiber optic, 41” x 41” x 15”, 2018

In 2004, during the 11th Lodz Triennial, Cygan met Danish artist Astrid Krogh

who worked with optical fibers. She gave a lecture for Cygan’s students and provided him the optical material that was not available in

Poland at the time and gave him another opportunity to experiment. He created a work entitled, Dear Astrid as a thank you. He has created several works since using optical fibers, including Blue/Green Weaving in 2018 and Traps in 2019. You can see more examples of Cygan’s work on our website: http://www.browngrotta.com/Pages/cygan.php.


Good Press for Adaptation: Five Days Left to See It

Adaptation: Artists Respond to Change has been well attended and it’s been well recognized in the press as well. ArteMorbida: Textile Arts Magazine described the exhibition well: 

“This project is born from the reflection on how the world of art and its protagonists, the artists, had to rethink and redesign their action, when the pandemic, significantly affecting the global lifestyle, compelled everyone to a forced and repeated isolation. .

But the need to adapt their responses to change, generated by the complicated health situation, was only the beginning of a broader reflection that led the two curators to note that change itself is actually an evolutionary process immanent in human history, generative, full of opportunities and unexpected turns.

How can art provide tools for solving daily critical issues? And above all, what are the strategies that artists use to deal with complex situations?” https://www.artemorbida.com/adaptation-artists-respond-to-change/?lang=en

In the Connecticut Post, Andrea Valluzzo noted that the artists had surprised the gallery when submitting work for this exhibition. “We got different bodies of work that we did not expect,” Tom Grotta told her. “Some did not have access to their studios so they made different works than if they had been in their studios.” She called out Lewis Knauss, as an example, who found it difficult to focus. ““As the pandemic went on into months and then a year, I was trying to do some work – and my work is very time involved – and I just could not sit there and do it, so I started cleaning out the studio,” he said. “The first thing that I dealt with was 40 years’ worth of slides, which was thousands and thousands of them.” Over the years, Knauss kept reference slides of landscapes he’s photographed as texture inspiration for his art, Valuzzo writes. “In this recent clean-out, he transformed them into a new work of art he calls Old Technology Landscape, made from woven and knotted linen, paper twine and Ektachrome slides. The slides are random but woven together in a manner where they create a landscape made out of images of landscapes.” https://www.ctpost.com/entertainment/article/How-did-artists-deal-with-the-pandemic-A-new-16150600.php

The Italian magazine Gessato told its readers about the exhibition as did selvedgeArchDaily, Art in America and several other online outlets — including The Westchester and Fairfield County Business Journal (any press is good press, right?).

Check us out for yourself in the news by clicking on the logos below, or visit us in person through May 16th. Schedule your appointment for Adaptation: Artists Respond to Change here:

https://www.eventbrite.com/e/adaptation-artists-respond-to-change-tickets-148974728423 and purchase the catalog at browngrotta.com.


Adaptation Opens Saturday at browngrotta arts, Wilton, CT

from left to right works by Paul Furneaux and Eduardo Portillo & Mariá Eugenia Dávila. Photo by Tom Grotta

This Saturday at 11 am, our Spring Art in the Barn exhibition: Adaption: Artists Respond to Change opens to the public. We can’t describe it better than ArteMorbida: the Textile Arts Magazine did. “This project is born from the reflection on how the world of art and its protagonists, the artists, had to rethink and redesign their action, when the pandemic, significantly affecting the global lifestyle, compelled everyone to a forced and repeated isolation,” the magazine wrote. “But the need to adapt their responses to change, generated by the complicated health situation, was only the beginning of a broader reflection that led the two curators [Rhonda Brown and Tom Grotta] to note that change itself is actually an evolutionary process immanent in human history, generative, full of opportunities and unexpected turns.”

Tapestries by Carolina Yrarrázaval. Photo by Tom Grotta

The 48 artists in Adaptation pose, and in some cases answer, a series of interesting questions about art. Does it offer solutions for dealing with daily stress? For facing larger social and global issues? How do artists use art to respond to unanticipated circumstances in their own lives. The work in the exhibition offers a wide variety of responses to these questions.

Several of artists wrote eloquently for the Adaptation catalog about how art has helped them manage the stress and upheaval of the past year. Ideally, for those who attend Adaptation: Artist’s Respond to Change that calming effect will be evident and even shared. 

pictured: works by Lawrence LaBianca, Włodzimierz Cygan, Chiyoko Tanaka, Gizella Warburton, Norma Minkowitz, Polly Adams Sutton

Wlodzimierz Cygan of Poland says the time of the pandemic allowed him to draw his attention to a “slightly different face of Everyday, the less grey one.”  He found that, “slowing down the pace of life, sometimes even eliminating some routine activities, helps one to taste each day separately and in the context of other days. Time seems to pass slower, I can stay focused longer.” Life has changed in Germany, Irina Kolesnikova told us. Before the pandemic, “we would travel a lot, often for a short time, a few days or a weekend. We got used to seeing the variety in the world, to visit different cities, to go to museums, to get acquainted with contemporary art. Suddenly, that life was put on pause, our social circle reduced to the size of our immediate environment.” Kolesnikova felt a need to dive deeper into herself and create a new series of small works, Letters from Quarantine, “to just work and enjoy the craft.”

clockwise: Adela Akers, Irina Kolesnikova, Ane Henriksen, Nancy Koenigsberg, Laura Foster Nicholson, Lawrence LaBianca, Gizella Warburton. Photo by Tom Grotta

Other artists were moved to create art that concerned larger social issues. Karyl Sisson’s Fractured III, makes use of vintage paper drinking straws to graphically represent in red and white the discontents seen and felt in America as the country grappled with police violence against Black Americans, polarized election politics and larger issues like climate change and the environment.  Climate change and the danger of floods and fire were reflected in the work of the several artists in Adaptation. New Yorker Nancy Koenigsberg created Approaching Storm, adding an even greater density of the grey, coated-copper wire that she generally works with to build a darkened image that serves as a warning for the gravity of current events.

High water appears in Laura Foster Nicholson’s view of Le Procuratie, which envisions a flooded Venice, metallic threads illustrating the rising waters. Works by Adela Akers and Neha Puri Dhir were influenced by wildfires in California and India, respectively.

left to right: Karyl Sisson, Jennifer Falck Linssen, Sue Lawty, Jin -Sook So

Still other artists found way to use their art as a meditative practice in order to face their sense of personal and public dislocation. For Jennifer Falck Linssen, the solution was to turn off all media, go outside and find inspiration in morning and evening light. For Paul Furneaux, initially cut off from his studio, the garden became an obsession as he undertook an extensive renovation.  Returning to art making, the spring colors, greens and yellows he had seen while gardening, created a new palette for his work.  Feeling the need for complete change, Hisako Sekijima turned away from basket finishing. Instead, immersing herself in the underlying processes of plaiting. Her explorations became both meditative and a process that led to new shapes. 

Experience these artists’ reflections on change in person. Schedule your appointment for Adaptation: Artists Respond to Change here:

https://www.eventbrite.com/e/adaptation-artists-respond-to-change-tickets-148974728423

The full-color catalog(our 51st) for Adaptation: Artists Respond to Change is available Friday May 7th:

http://store.browngrotta.com/adaption-artist-respond-to-change/