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/


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

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

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

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

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

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

The Glass House
New Canaan, CT

LongHouse
Glass House. Photo by Tom Grotta

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

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

Dave Brubeck

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

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

Holly Danger
Holly Danger video projection installation at the Bruce Museum

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

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

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

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

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

Looking forward to seeing you next month!


Earth Day Flashback – Green from the Get Go: International Contemporary Basketmakers

Barkbåden by Jane Balsgaard
32jb Barkbåden, Jane Balsgaard, peeled willow twigs and paper morbæbark, 17″ x 29″ x 14″, 2008-2009. Photo by Tom Grotta

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.

Wall / Mur by Stéphanie Jacques
8sj Wall / Mur, Stéphanie Jacques, willow, 59” x 90.5” x 13.75”, 2013. Photo by Tom Grotta

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.” 

The Basket for the Crows  by Chris Drury
4cd The Basket for the Crows, Chris Drury, crow feathers, willow and hazel, 118″ x 12″ x 1.5″, 1986. Photo by Tom Grotta

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.

From the Old Haystack by Dorothy Gill Barnes
26dgb From the Old Haystack, Dorothy Gill Barnes, 2005. Photo by Tom Grotta

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.

Same Difference by John McQueen
21jm Same Difference, John McQueen, wood, sticks, bonsai, 54” x 60” x 24”, 2013. Photo by Tom Grotta

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!


Art Out and About: Exhibitions Around the US

Adaptation: Artists Respond to Change

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

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

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

May 1 – November 14, 2021

Uncommon Threads NBAM

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

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

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

Sonya Clark: Tatter, Bristle and Mend

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

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

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

May 22, 2021–Feb 13, 2022

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

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

Building Bridges: Breaking Barriers

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

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

Building Bridges, Breaking Barriers

See the Exhibit 

RSVP for the Artist Talk on April 15th

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


Artist Focus: Blair Tate

Balir Tate Self portrait
Blair Tate self portrait, 2021

Blair Tate has explored flat woven grids in her work since the 70s. Her work evidences an “austere elegance,” Jack Lenor Larsen and Mildred Constantine observed in the seminal The Art Fabric: Mainstream in 1985. “I began weaving in the early 70s, under the influence of 60s Minimalism and modernist architecture,” she wrote in 1986. “I believed that form should follow function and accordingly I sought an objective basis for my work. In this, I was reacting against the majority of the weavnig I saw at the time: weaving that seemed either unfocused and overwhelmed by an eruption of materials, or myopically and exclusively concerned with complex technique …. I determined that my work in fiber should come from fiber and celebrate the medium.” 

Rift, 1991 by Blair Tate
Rift, Blair Tate, linen, cotton rope and aluminum, 96″ x 65″, 1991. Photo by Tom Grotta

To compose her works, Tate creates modular units of woven linen strips tied together with cotton cords. The knots that result create an additional pattern — what Tate considers a scaffold for the tapestry, producing a second complicating scrim. She sees an analogy between textile and text. The strips are like sentences that can be edited,  “rearranged to re-contextualize, to forge relationships, to develop meaning.” Her influences are diverse, African kente cloths “for their beauty and directness,” Baroque architecture, Berber carpets, Italo Calvino’s, If on a Winter’s Night a Travelerand an appreciation for Japanese order and symmetry, broken by natural variations. In addition to her weavings, she has worked as a commercial textile designer, authored The Warp: A Weaving Resource (New York: Van Nostrand Reinhold, 1984) which analyzes the elements of weaving, and in the past year, she has made masks for neighbors, friends and a local care center.

Pangaea, 2021 and Small Gemelli, 1977 by Blair Tate
Pangaea, linen, cotton rope and aluminum, 46″ x 29″ x 1.5″, 2021 2021
Small Gemelli, woven linen, spago (hemp). loosely constructed plaid. It exposes and clarifies each element of weaving – counted wefts follow a small doubling sequence within parallel warps which leave all weft ends exposed, 24.75” x 18.75” x 3.25”, 1977

In Adaptation: Artists Respond to Change this spring at browngrotta arts (May 8 -16), Tate will exhibit two works that explore her ideas about the warp. Small Gemelli (1977) was one of her earliest pieces to focus on the elements of weaving. It is a simple plaid – one of the most fundamental woven configurations – but opened to keep both warp and weft distinct.  In Panagea, created this year, Tate consciously wove to the very limits of her warp to minimize loom waste.  In the past, she says,  “I might have incorporated interruptions in the strips while weaving, thereby wasting the unwoven warp; in Pangaea, the gaps emerge only in the rearranging.” 

Jaiselmer by Blair Tate
Detail of Jaiselmer by Blair Tate, linen, cotton rope and aluminum, 73″ x 39″, 1999. Photo by Tom Grotta

Artist Focus: Naoko Serino

Naoko Serino portrait
Naoko Serino, 2021

Japanese artist, Naoko Serino, our focus this week, works in jute, a remarkably adaptable material that provokes references to other biological structures. Jute’s golden sheen and sinuous strands “yield a most spectacular softness and luminosity,” notes author Moon Lee (http://thecreatorsproject.vice.com/blog/naoko-serino-spins-vegetable-fiber-into-golden-sculptures). In Serino’s work, “the natural fibers are spun densely or pulled thin, making for infinite gradations of densities. Irregular shapes in varying degrees of transparency provoke an effect that is strongly biological. Spheres, tubes, tubes contained within spheres, spheres contained within cubes, and rows of coiled strands evoke thoughts of phospholipid bilayers of cell membranes, veins, sea sponges, and so forth.” 

Existing -2-D
13ns Existing -2-D, Naoko Serino, jute, 56″ x 56″ x 11″, 2006

Serino creates her sculptures by first covering molds with jute fibers, which she removes when they have dried, creating a final work combining individual fiber elements. Some of the works that Serino creates are small individual pieces, while others are installations that are large enough to fill an entire room. Despite the fragile appearance of the jute fibers, the works have an imposing presence. 

Existing II
12ns Existing II, Naoko Serino, jute 7.375” x 8.5” x 8.5”, 2016. Photo by Tom Grotta

“I moved to a seaside town 30 years ago. I felt the light and wind there and my feelings were stirred by my proximity to Nature,” Serino says. “I began to see with new eyes and I discovered a material, jute. I think the discovery was inevitable. In and through my hands, a dignified hemp produces a shape that contains both light and air. I am grateful that I came across this material. It is a joy for me to express things with jute that stir deep emotions in me. I see myself continuing to express my feelings in this form.”

Generating outside
Generating Outside, Naoko Serino, jute, 39.5″ x 24″ x 4″, 2020. Photo by Naoko Serino

Serino’s work was included in the Fiber Futures: Japan’s Textile Pioneers exhibition which traveled from Japan to New York, Milan, Copenhagen and other venues. She was awarded the Silver Prize in the 10th Kajima Sculpture Competition and the Encouragement Award in the 16th Kajima Sculpture Award in 2020. She was a awarded the first prize in the Collection Arte & Arte alla Torre delle Arti di Bellagio, Como, Italy in 2014, the Silver Prize in the 10th Kajima Sculpture Competition and the Encouragement Award in the 16th Kajima Sculpture Award in 2020.

Generating Mutsuki
17ns Generating Mutsuki, Naoko Serino, jute, 9.5″ x 8″ 8″, 2021. Photo by Tom Grotta

Serino is one of the artists whose work is included in browngrotta arts’ next Art in the Barn exhibition, Adaptation: Artists Respond to Change (May 8th – May 16th) http://www.browngrotta.com/Pages/calendar.php. Her work for the exhibition, Generating-Mutsuki, came out of her desire to create a work along the lines of the large-scale sculpture she created for Kajima Sculpture competition in a smaller size.


A Whiter Shade of Pale

Bow-W-98.2, Masakazu Kobayashi; Petites-ailes-de-glacé-blanc, Micheline Beauchemin
Bow-W-98.2, Masakazu Kobayashi, rayon, aluminum, 30″ x 33″ x 3.75″, 1998; Petites-ailes-de-glacé-blanc, Micheline Beauchemin, nylon, silk and silver aluminum wire, lead wire, 30″ x 32.25″ x 7″, 1980’s. Beauchemin used white to evoke the icy rivers of Quebec. Photo by Tom Grotta

As American Songwriter opined, “who could have possibly predicted the success of “A Whiter Shade Of Pale,” which went to #1 in the UK in 1967, #5 in the US, and has outlasted so many other flower-power and psychedelic-flavored tracks from that era to be one of the most enduring songs of the 60’s?” 

Traverser, Gyöngy Laky
Traverser, Gyöngy Laky, ash, paint, “bullet for buildings” (trim screws), 22” x 22” x 22”, 2016, Photo by Tom Grotta
paper sculpture, Naomi Kobayashi
Untitled, Naomi Kobayashi, , Naomi Kobayashi, kayori thread, paper, 99″ x 54″ x 5″ (x2), 2006. Photo by Tom Grotta
Ondes, Simone Pheulpin
Ondes, Simone Pheulpin, cotton, 26” x 49.5”, 2016, Photo by Tom Grotta. Pheulpin creates her wall- and free-standing sculptures exclusively of white cotton tape.

It’s an unforgettable lyric that often comes to mind when we view works by artists who work with browngrotta arts. Many of of them work in white, to evoke clouds or an icy river or purity or to explore the absence of color or a dichotomy with black. 

Second Cousin, Grethe Wittrock
The Second Cousin, Grethe Wittrock, white paper yarn knotted on steel plate, 67” x 78.75”, 2006. Photo by Tom Grotta
Sara Brennan tapestry
Detail of Sara Brennan tapestry, wools, linens and silk. Brennan incorporates dozens of shades of white in her tapestries. Photo by Tom Grotta
White Paper Shell, Federica Luzzi
White Paper Shell, Federica Luzzi, paper cord, 12.875″ x 12.875″, 2016. Photo by Tom Grotta
Plan Your Parenthood-Population, Judy Mulford
waxed linen, polyform, antique mother of pearl buttons, beads, pins, gesso, knitting needle, gourds, rock, wooden doll chairs, 22″ x 7.5″ x 8″, 2009 . Photo by Tom Grotta
Blanc de Blanc, Mariette Rousseau-Vermette
Blanc de Blanc, Mariette Rousseau-Vermette, wool, 4’6″ x 10′, 1980. Photo by Tom Grotta

“In many cultures, white is seen as the color of innocence and virginity, purity, loyalty and peace,” noted the Textile Museum in Tilburg, the Netherlands in its materials for its 2019 exhibition, Black & White | Symbolic Meaning in Art & Design. In the West, white clothing and decoration are symbolic of the joy around births, baptisms and weddings, the Museum notes, while in many African and Asian cultures, as well as in medieval Europe, white is the traditional color of death and mourning. 


Artist Focus: Lija Rage

This week we are highlighting the work of artist Lija Rage of Latvia. Rage creates her fiber works by painting small sticks and wrapping them in copper wire, by gluing and sewing, layer upon layer until the work is finished. Her work is infused with color. As Rage described it for her 2018 Colours exhibition at the Mark Rothko Centre in Daugavplis, Latvia,

Lija Rage. Photo by Ruta Pirta.
Lija Rage. Photo by Ruta Pirta.

“Green – the woods outside my window; blue – the endless variety of the sea; orange – the sun in a summer sky; brown, grey and black – fresh furrows and the road beneath the melting snow; red – the roses in our gardens. The colours in my work are drawn from the splendour of Latvian nature.”

Animal, Lija Rage, silk, metallic thread, flax 2006 photo by Tom Grotta
Animal, Lija Rage, silk, metallic thread, flax 2006. Photo by Tom Grotta

Rage is influenced by different cultures. “I plunge into them with the help of literature,” she said in her statement for the Transition and Influence, exhibition, which traveled in the UK. “I am particularly interested in drawings of ancient cultures on the walls of caves in different parts of world; Eastern culture with its mysterious magic, drawings of runes in Scandinavia, Tibet and the mandala, Egyptian pyramid drawings. The world culture seems close and colorful to me due to its diversity.”

Beginnings, Lija Rage, bamboo, copper wire, fabric 2019, photo by Tom Grotta
Beginnings, Lija Rage, bamboo, copper wire, fabric 2019, photo by Tom Grotta

Rage was born in 1948 and lives and works in Jūrmala, Latvia. She completed a master’s degree in the Textile Department of the Art Academy of Latvia. Rage has been a member of Latvian Artists’ Union since 1976. Her work has been featured in more than 10 solo shows and in numerous group exhibitions in Latvia and abroad.

Detail, Beginnings, Lija Rage, photo by Tom Grotta.

Rage has received a number of awards: Grand Prix of the Baltic Applied Arts Triennial in Tallinn, Estonia, special award of the Korean Biennale (2007), the Valparaiso Foundation grant (2009); the Nordic Culture Point grant (2010); Excellence Award of the 7th International Fibre Art Biennale in China (2012); Excellence Award of the Applied Arts Biennale in China (2014). 

Crossroads, Lija Rage. Winner of the Excellence Award
Crossroads, Lija Rage. Winner of the Excellence Award

In 2020, she received an Excellence Award for Crossroads, at a solo exhibition at the Zana Lipkes Memorial Museum, which memorializes a family that hid Jews during World War II. The exhibition text quotes Rage, “With our works and our choices, we all leave traces and footprints. Human paths intersect, and the choices we make have consequences and affect others. To life! Spread goodness.”


Artist Focus: Yasuhisa Kohyama

Our artist focus this week is on Yasuhisa Kohyama.

portrait of Yasuhisa Kohyama and Wakae Nakamoto
Yasuhisa Kohyama and Wakae Nakamoto. Photo by Tom Grotta.

Yasuhisa Kohyama’’s masterly ceramics are inspired by the ancient Shigaraki, Jomon and Yayoi ceramics of Japan. Kohyama has played a significant part in reviving the use of the traditional Japanese anagama wood-firing kiln. He was the first potter in the area to build such a kiln since the Middle Ages. Using the distinctive Shigaraki clay and a wood-firing kiln, he has created modern ceramic vessels and sculpture, which are vigorous and new, but timeless in their beauty.

Kohyama shapes his asymmetrical forms using a piano string, thereby creating distinctive, rough surfaces. The clay with its nuggets of feldspar creates a tactile quality not often seen in contemporary work. No glazes are used, but the wood ash and the placement in the kiln produce an extraordinary array of colours and shading on the surface.

grouping of Yasuhisa Kohyama ceramics; wood-kiln ceramic
Yasuhisa Kohyama wood-kiln ceramics. Photo by Tom Grotta

The exhibition of the works from the first firing of the anagama kiln in 1968 created widespread interest in Kohyama’s work, with famous potters such as Shoji Hamada visiting the exhibition. Collectors and museums were quick to acquire his works, including the Metropolitan Museum of Art, the Cleveland Museum of Art, the Stedelijk Museum in Amsterdam, the Gardiner Museum of Art in Toronto, the Philadelphia Museum of Art, the Museum of Art and Craft in Hamburg and the Shigaraki Ceramic Cultural Park in Shiga, Japan.

“Keeping a tradition alive and fresh like that is not easy for any contemporary Japanese ceramic artist. No other Shigaraki artist, in my humble opinion, does it with the flair and diversity of Kohyama,” wrote Robert Yellin in the catalog for Kohyama’s 2002 Tokyo exhibition, which was held at the Takashimaya Department Store in Tokyo. (http://www.e-yakimono.net/html/kohyama-yasuhisa.html) “His larger works, which speak of the wind, canyons, and mountains, would look equally at home in a traditional Japanese tokonoma (alcove) or a marbled penthouse in London. To have that spirit in form, whatever the size, cross borders with such ease is a testament to the integrity and vision of Kohyama. Ceramic art is indeed universal.”

Detail of Yasuhisa Kohyama
Detail of Danpen by Yasuhisa Kohyama 神山易久, 2016. Photo by Tom Grotta

Kohyama’s work is the subject of Yasuhisa Kohyama: The Art of Ceramics (Arnoldsche Verlagsanstalt, Stuttgart, Germany), co-authored Susan Jeffries, former curator of the Gardiner Museum of Ceramic Art in Toronto, Canada and Michael R. Cunningham, former chief curator of Asian Art at The Cleveland Museum of Art. Kohyama’s work also graces the cover of Contemporary Clay: Japanese Ceramics for the New Century by collectors Alice and Halsey North and curator Joe Earle.

48yk Sai, stimuli: character of Sai an ancient word that means container for offering to Gods, wood-kiln ceramic, 14.5″ x 13″ x 3.25″, 2011. Photo by Tom Grotta