Art/Text Events: Helena Hernmarck and Norma Minkowitz at Connecticut Libraries

Helena Hernmarck Portrait, photo by Tom Grotta

Helena Hernmarck Portrait, photo by Tom Grotta

This Sunday, January 25, 2015, award-winning artist Helena Hernmarck will speak at the Ridgefield Library, 472 Main Street, Ridgefield, CT 06877 from 2-3:30 p.m. A longtime resident of Ridgefield, Hernmarck was born in Sweden and educated at the University College of Arts, Crafts and Design in Stockholm. Hernmarck is known for her monumental tapestries, found in numerous corporate and museum collections, including the Metropolitan Museum of Art, Museum of Modern Art, Museum of Arts and Design, the Detroit Art Institute, Time-Warner, Kellogg, Pitney Bowes and Newsday, which are based on photographs, rephotographed collages and her own watercolors. “It is easy to affix the label photo-realism or trompe l’oeil to her work, but the medium itself, full of surprising surface effects, rejects such classifications,” according to Sigrid Wortmann Weltge, professor emeritus, history of art and design, Philadelphia University. “Hernmarck is thoroughly modern and asserts her rights as an artist by defying all rules. Ignoring that a weaving should be flat, for example, she superbly manipulates not only the textile but the viewer as well. Through the use of perspective and shading, her iconography appears dimensional while it is in effect flat. Yet the surface, as a result of deftly combined yarns of varying density, is dimensional. Hernmarck draws on various sources for her subject matter, nature as well as mundane objects. Though unideological, her imagery is, nevertheless, entirely in tune with contemporary life, immediately understood yet unexpected and mysterious.” (“Helena Hernmarck,” American Craft magazine, Sigrid Wortmann Weltge, Dec 1999/Jan 2000). SNOW DATE: Sunday, February 8, 2015 at 2p.m. The Library encourages registration as the talk is likely to fill up quickly. For more information: tel: 203.438.2282; http://www.eventkeeper.com/code/events.cfm?curOrg=RDGFLD#3838996.

Norma Minkowitz artist talk at Drawn to the Edge reception at the Westport Library. Photo by Tom Grotta

Norma Minkowitz artist talk at Drawn to the Edge reception at the Westport Library. Photo by Tom Grotta

Beginning this month, visitors to the library in Westport, Connecticut can view Drawn to the Edge, an exhibit of small sculptures and textured pen-and-ink drawings combined with collage and fiber by Westport resident, Norma Minkowitz, whose work is held in the collections of the Metropolitan Museum of Art, the Museum of Arts and Design (MAD) and Renwick Gallery of the Smithsonian American Art Museum. Minkowitz has long used stiffened crochet to create airy, three-dimensional objects. In these, “[e]ach of the smallest elements — a crossing of threads, an individual knot, is essential to her realization of the final form, in a manner not unlike the complex assembling of individual cells to form a complete organism,” wrote David McFadden, former Chief Curator at the Museum of Arts & Design, New York of Minkowitz’s work. “This transformation is made possible only by cells held in genetically predetermined arrangements. By paying homage to the basic construction principles of the natural world, the artist achieves forms that appear to have been given the breath of life.” Minkowitz has been creating her intensely detailed pen-and-ink drawings for many years, but only recently begun to exhibit them. Like her sculptures, they are complex assemblages that include collage elements that the artist says, “interest, intrigue or scare me.” The artist spoke last week at the opening of Drawn to the Edge after being introduced by Chris Timmons, the Library exhibits coordinator, as a “treasure.” The cross-hatching in her drawings Minkowitz described as a link to stitching. She explains that she works spontaneously without a preplanned ending, letting the final work enfold on its own.

The Seekers collage/drawing by Norma Minkowitz. Photo by Tom Grotta

The Seekers collage/drawing by Norma Minkowitz. Photo by Tom Grotta

In The Seekers, for example, she had included cutouts of birds, but it was not until she came across an image of Picasso’s eyes, “so dark and piercing,” that “I knew how to finish the piece.” Minkowitz spoke some about the inspiration for her imagery, but added that she doesn’t wish to over explain her works. “I want them to be open to interpretation,” she says, “I like it when people see something else entirely.” Drawn to the Edge runs through March 25th in The Great Hall of the Westport Library, 20 Jesup Road, Westport, CT 06880 | 203.291.4800 | Hours: Mon-Thurs 9-9 , Fri 9-6 , Sat 9-5 , Sun 1-5; http://westportlibrary.org/services/art-exhibits.


Last Minute Art Gift Ideas from browngrotta arts

We’ve got lots of art-y gift ideas for all the Basket Cases, Paper Chasers, Metal Heads, Log Lovers and Soft Touches on your list.
Select something for more than $50 before January 15th and we’ll pay to upgrade your shipping and send a donation to the International Child Art Foundation!!

b53 Fiber Sculpture  1960 - Present 

Fiber Sculpture 1960 – Present By Jenelle Porter

119L Notes to Self

Notes to Self, Gyöngy Laky, wood and paint, 29.5” x 21.5”, 2012

Stephanie Jacques

Sauvages Dyptch, Stephanie Jacques willow, 51″ x 18″ x 12″, 2014

Eye

Eye, Jiro Yonezawa, bamboo, steel, urushi lacquer, 20” x 20” x 20”, 2014

Large Shallow Bowl

Large Shallow Bowl, Karyl Sisson, wood clothspins and wire, 5” x 21” x 21”, 1987

58mg Gathering

Gathering, Mary Giles, galvanized steel wire, paint, wood, 30” x 30″, 2012

60nk Cube Red

Cube Red, Naomi Kobayashi, Japanese paper, paper thread, mirror, 2.5” x 10.5” x 10.5”, 2014

In the Realm of Nature

In the Realm of Nature: Bob Stocksdale & Kay Sekimachi By Signe Mayfield

 


Books Make Great Gifts: 2014 Edition

As in previous years, artists represented by browngrotta arts have an eclectic and interesting list of books to recommend, art-related and otherwise. Thanks to dozen-plus artists who made suggestions, 18 books in all.

Tamiko Kawata reports that she had the chance to read a few books while icing her injured shoulder after therapy, first three times a day, then two times. She enjoyedHaruki Murakami’s Colorless Tsukuru Tazaki Haruki Murakami’s Colorless Tsukuru Tazaki and His Years of Pilgrimage. She is now reading — and enjoying — Even Back.Then.the.Fox.Was.the.HunterHerta Muller, Even Back Then, the Fox Was the Hunter.

Mary Merkel-Hess recommends Pilgrim.on.the.Great.Bird.ContinentPilgrim on the Great Bird Continent: The Importance of Everything and Other Lessons from Darwin’s Lost Notebooks by Lyanda Lynn Haupt. “It is the gracefully written account of how, during his five years on the Beagle, Charles Darwin became an accomplished naturalist who could discern scientific truths from the creatures he studied. “ she writes. “Haupt documents this transformation by concentrating on Darwin’s lesser-known writings, particularly his notebooks. At points it reads like a travelogue and a manual for bird watchers. I found it fascinating.”

“I do not get to read books as much as I like,” writes Kiyomi Iwata, ” but the best book I read this year wasThe.Grief.of.Others.Leah.Hager.Cohen The Grief of Others by Leah Hager Cohen. Even though she is very young — my daughter’s age — I found her prose most sensitive, insightful and compassionate. Her most recent book is No.Book.but.the.World.A.NovelNo Book for the World, which I am still reading.”

The most inspirational book Toshio Sekiji read this year was Korea.Economic.drilled.throughKorean Economy Drilled Through by Lee Hong Chang, which was originally published in Korea by Bobmun-sha,1999, the Japanese translation was by Hosei University Press in 2004. The book illuminates the dramatic changes from the medieval age to the modern age. It was one of a number of related books Toshio has read over the last two years as he prepared a report, “Korean Lacquer Culture through Neolithic Age to Modern Age” for the Bulletin of the Lacquer Art Museum in Wajima, Japan.

Ulla-Maija Vikman most enjoyed Flayed.ThoughtsNyljettyjä ajatuksia (Flayed Thoughts) by Juha Hurme. In Finnish only at this point, it’s a story of a 700-mile, 20-day rowing journey in which the characters eat, camp on islets and beaches and discuss what is essential and how what’s essential is transmitted.

There are two recommendations from Ruth Malinowski: The.Hare.With.Amber.EyesThe Hare with Amber Eyes by Edmund de Waal, recommended last year by Kay Sekimachi (and published by Rhonda’s other employer, FSG/Macmillan) and 1913: The Year Before the Storm1913.The.Year.Before.the.Storm by Florian Illies. The latter highlights developments in literature and art, as well as politics, covering the lives of Kafka, Rilke, Thomas Mann, Camille Claudel, Freud, Stalin, Hitler and some Royalty. Wars, love letters, art thefts and many more events from1913 are cleverly combined in 12 chapters, each reflecting a calendar month.

Ceca Georgieva rated ShantaramShantaram by Gregory David Roberts as her most inspirational read of the year. (Full disclosure, this one is also published by Rhonda’s other employer, St. Martin’s Press/Macmillan and a book she also quite enjoyed. It’s been optioned by Johnny Depp and the movie is currently in production.)

“Of the many inspiring reads this year,” writes Wendy Wahl, “two authors stand out who had an impact on my work as a visual artist interested in the potency of printed text on paper. I was given The.Size.of.ThoughtsNicholson Baker’s The Size of Thoughts, by my husband when I was trying to weave together seemingly disparate yet connected ideas that sometimes are considered mundane and should be thought of as blessed into a cohesive short story. Baker’s style reminded me to keep doing what I was doing. I went onto read his Double.Fold.Libraries.and.the.Assault.on.PaperDouble Fold: Libraries and the Assault on Paper, which became the inspiration for a sculpture I made this year that shares its name. One of my favorite library activities is to stroll through the stacks with my head cocked to one side and my index finger underlining titles vertically to see what’s there. I was delighted to come upon On Paper,On.Paper.The.Everything.of.Its.2000.Year.History The Everything of Its Two-Thousand-Year History by Nicholas Basbanes, ‘a self-confessed bibliophiliac.’ I’ve checked this book out several times, paid late fees and, since I can’t write in this copy, I realize I must own it.”

Five art books got the nod from our artist/correspondents including Iridescent.LightIridescent Light: The Emergence of Northwest Art by Deloris Tarzan Ament with photographs by Mary Randlett. Dona Anderson “enjoyed immensely” Ament’s profiles of 21 artists who lived and worked in Washington State during formative periods in their careers, profiles that blend discussion of their work and commentary on the obstacles they faced and the influences they brought to bear on one another.

Scott Rothstein rates Bharany.CollectionsA Passionate Eye: Textiles, Paintings and Sculptures from the Bharany Collections, Giles Tillotson, ed. as a “great book.” Mr. Bharany is Scott’s “Indian Father.” He is very involved with textiles as well as paintings and other Indian art forms. Scott says, “I had tea with him three times a week when I lived there and we get back to India almost every year, mostly to spend time with him. He is around 88 years old, so we feel we need to be with him as much as we can.” The book on Judith Scott, Judith.Scott.Bound.UnboundJudith Scott, Bound and Unbound, he recommends, too — more for the photos than the text.

Nancy Koenigsberg found the volume created to accompany the traveling exhibition at the Institute of Contemporary Art, Boston, Fiber Sculpture 1960-presentFiber: Sculpture 1960 to the Present (available on our website, browngrotta.com), “a must read for fiber people,  makers and buyers — especially young artists who don’t know who some of these artists are. I was really surprised to discover that!!,” she says.

“My favorite book for this year,” writes Adela Akers, “is, without a doubt: In the Realm of NatureIn The Realm Of Nature: Bob Stocksdale & Kay Sekimachi (available on our website, browngrotta.com). A beautiful book, well conceived with excellent writing by Signe S. Mayfield. The life history of these two wonderful artists is beautifully intertwined with perfect images of their work. What a pleasure!”

Wishing you all new year that provides plenty of time for pleasure reading!


Art News — Pulp Culture: Paper is the Medium

Morris Museum, Morristown New Jersey, photo by Tom Grotta

Morris Museum, Morristown New Jersey, photo by Tom Grotta

Morris Museum, Morristown, New Jersey

Takaaki Tanaka work "A Harden Nest" in front of the Morris Museum's Pulp Culture exhibit. Photo by Tom Grotta

Takaaki Tanaka work “A Harden Nest” in front of the Morris Museum’s Pulp Culture exhibit. Photo by Tom Grotta

Through December 7th

More than 80 works are presented in the Morris Museum’s current exhibition of art by contemporary artists who have stretched the boundaries of paper as a creative medium and source of inspiration.

A Red Grethe Wittrock among the works at the  Morris Museum, Pulp Culture exhibit, Photo by Tom Grotta

A Red Grethe Wittrock among the works at the Morris Museum, “Pulp Culture” exhibit, Photo by Tom Grotta

The exhibition includes surprising objects made from paper ranging from life-size sculptures of human figures and whimsical figures to geometrically complex folded objects to jewelry and paper dresses. The “paper” includes dollar bills, book pages, florists’ wrapping, dress patterns and more. Included are papermakers, sculptors and engineers, whose methods and materials include handmade paper pulp, folded paper, molded paper, recycled paper and cut paper.

Richard Meier Collages among the artists exhibited in "Pulp Culture" at the Morris Museum. Photo by Tom Grotta

Richard Meier Collages among the artists exhibited in “Pulp Culture” at the Morris Museum. Photo by Tom Grotta

Among those featured in Pulp Culture are architect Richard Meier, designer Massimo Vignelli and jeweler Robert Ebendorf. Ten of the 46 featured artists are represented by browngrotta arts. Takaaki Tanaka’s several-part paper pulp piece appears at the entrance. Wendy Wahl’s works made of Encyclopedia Britannica pages are also included along with

Morris Museum, Pulp Culture, Wendy Wahl, Kazue Honma, Merja Winqvist. Photo by Tom Grotta

Morris Museum, Pulp Culture, Wendy Wahl, Kazue Honma, Merja Winqvist. Photo by Tom Grotta

work by Dona Anderson. Jennifer Falck Linssen, Grethe Wittrock, Kay Sekimachi, Toshio Sekiji, Merja Winqvuist, Mary Merkel-Hess and Kazue Honma. The Morris Museum is at 6 Normandy Heights Road, Morristown, New Jersey and open 11 a.m. to 5 p.m. Tuesdays through Saturdays; noon to 5 p.m. Sundays. For more information: 973-971-3700 or www.morrismuseum.org.


Fiber Sculpture Gets its Due at MAD in New York

At Long Last Love Update

Kay Sekimachi, Ed Rossbach, Françoise Grossen, Katherine Westphal and others Museum of Art Design installation of What Would Mrs Webb Do?, Photo by Tom grotta

Kay Sekimachi, Ed Rossbach, Françoise Grossen, Katherine Westphal and others Museum of Art Design installation of What Would Mrs Webb Do?, Photo by Tom Grotta

We visited What Would Mrs. Webb Do? A Founder’s Vision at the Museum of Arts and Design and discovered the answer is, in part, “collect sculptural and other examples of textile art.” The exhibition celebrates the enduring legacy of its founder Aileen Osborn Webb, highlighting Webb’s advocacy and dedication to skilled makers across America, and featuring objects drawn largely from the Museum’s permanent collection.

Anni Albers, Tikal, 1958, Photo by Eva Heyd

Trude Guermonprez; Banner, 1962 Silk, brass rods; double weave 81 x 28 x 28 in. (205.7 x 71.1 x 71.1 cm) Museum of Arts and Design, Purchased by the American Craft Council with funds from the Valerie Henry Memorial Fund, 1967, 1967.96 Photo Credit: Eva Heyd

Trude Guermonprez; Banner, 1962, Photo: Eva Heyd

The exhibition is especially rich in works from the 50s and 60s, according to Karen Rosenberg in The New York Times. The pioneering fiber works we’ve been touting on arttextstyle are well represented, including textile designs by Studio Jack Lenor Larsen, tapestries by Jan Yoors and Anni Albers, dimensional works by Kay Sekimachi, Lia Cook, Ed Rossbach, Trude Guermonprez and Françoise Grossen, and, one of the ” bigger highlights” according to Rosenberg, “a riotous hand-printed and appliquéd fabric wall hanging by Katherine Westphal.”

Dominic Di Mare Museum of Art Design installation of What Would Mrs Webb Do?

Dominic Di Mare, Where the River Meets the Sea, 1984

The exhibition runs through February 8, 2015. Museum of Arts and Design, 2 Columbus Circle, New York, NY 10019; 212.299.7777.


Art on Display and In Print. In The Realm of Nature: Bob Stocksdale & Kay Sekimachi in San Diego

Kay Sekimachi, paper tower, photo by Tom Grotta

Kay Sekimachi, paper tower, photo by Tom Grotta

74b PISTASHIO 6

Pistashio Bowl by Bob Stocksdale, photo by Tom Grotta

In the Realm of Nature: Bob Stocksdale & Kay Sekimachi at the Mingei International Museum in San Diego, presents an inspiring, retrospective view of work by two of America’s foremost pioneers in wood and textile art. Kay Sekimachi (1926-) and Bob Stocksdale (1913-2003) married in 1972. Seen together, their 50 years of work has a true poetic resonance.

Hailed as a father of American woodturning, Bob Stocksdale revitalized the craft of lathe-turned bowls, beginning in the 1950s. In his exquisite works, he unveiled a compelling beauty in diseased and in rare woods, of which many are now endangered. Serpentine or ellipsoidal shapes— seemingly impossible to turn— are among his innovations. The exhibition features, for the first time on view, an example of his one-of-kind furniture.

Kay Sekimachi is an influential master of complex weave structures in both off-loom and on multiple-harness loom techniques. Transparent marine creatures were the inspiration for the interlocking hangings in monofilament (fish line) that she created in the 1960s. With these majestic pieces she ascended to the forefront of contemporary fiber art during the 1960s and 1970s. Her work is included in the current exhibition Fiber: Sculpture 1960-present at the Institute of Contemporary Art in Boston, Massachusetts through January 4, 2015. Throughout her 60-year career she has created unique works of art in such natural materials as skeletal leaves, hornet’s nest paper and grass. The exhibition includes examples of her translucent sculptural hangings and room dividers, along with other woven forms – accordion-formatted books, vibrant scrolls, seamless nesting boxes and jewelry. The Mingei is at 1439 El Prado, San Diego, California, 92101. Open Tuesday through Sunday from 10 a.m. to 5 p.m. For more information: ph. 619.239.0003; web address: http://www.mingei.org.

In the Realm of NatureExhibition curator Signe Mayfield has authored a lush 210-page book to accompany the exhibition. In the Realm of Nature: Bob Stocksdale & Kay Sekimachi, available at browngrotta.com features scores of attractive object photos. It includes essays by Melissa Leventon (former Curator-in-Charge of Textiles at the Fine Arts Museums of San Francisco and founding member of Curatrix Group of museum consultants) and John C. Lavine (former editor of Woodwork Magazine and furniture maker.)


Don’t Miss: Anne Wilson’s Performances and Thread Lines at The Drawing Center in New York

Anne Wilson’s In Situ Performance at the Drawing Center, photo by tom Grotta

Anne Wilson’s In Situ Performance at the Drawing Center, photo by Tom Grotta

We watched one of the Anne Wilson’s mesmerizing weaving in situ performances at The Drawing Center on Thursday. Titled To Cross (Walking New York), the performance was conceived when Ms. Wilson discovered that The Drawing Center’s SoHo building was originally built in 1866 for the Positive Motion Loom Company. In it, the artist uses the main gallery’s four central columns as a weaving loom. Four participants walk around the 12-foot columns, carrying a spool of thread to form a standard weaving cross (a method used to keep warp threads in order). The effect is meditative as the walker/weavers slowly move in a deliberate pattern and ethereal as shadowy figures are viewed through the threads of the work in progress. When concluded, the result will be a 5- x 34-foot foot sculpture: a colorful cross composed of innumerable strands of thread. There are three performances remaining: Sunday, October 26th, 12:30-5:30 p.m.; Saturday, November 1st, 12:30-5:30 p.m. and Sunday, November 2nd, 12:30-5:30 p.m. Find more information on those at: http://www.drawingcenter.org/en/drawingcenter/20/events/21/public-programs/879/Anne_Wilson_Performance/. If you can’t get to The Drawing Center for one of the performances, there’s a vimeo, http://thebottomline.drawingcenter.org/2014/09/30/anne-wilson-to-cross-walking-new-york-2014/, but by all means, go and see the exhibition, Thread Lines, as it is well worth a trip.

Lenore Tawney Drawing Center installation, UNION OF WATER AND FIRE linen weaving and pen and ink drawing. Photo by Tom Grotta

Lenore Tawney Drawing Center installation, UNION OF WATER AND FIRE linen weaving and pen and ink drawing. Photo by Tom Grotta

On display through December 14, 2014, the exhibition contains a thoughtful combination of works by 16 artists who engage in sewing, knitting and weaving to create works that “activate the expressive and conceptual potential of line and illuminate affinities between the mediums of textile and drawing.” As the catalog essay by curator, Jessica Kleinberg Romanow, explains, the exhibition joins the pioneers, including Lenore Tawney, Sheila Hicks and Louis Bourgeois, “who first unraveled the distinction between textile and art” and “a ‘new wave’ of younger practitioners who have inherited and have expanded upon their groundbreaking gestures.”

Sheila Hicks Drawing Center installation of her miniatures. Photo by Tom Grotta

Sheila Hicks Drawing Center installation of her miniatures. Photo by Tom Grotta

The combination, wrote Karen Rosenberg in The New York Times, http://www.nytimes.com/2014/10/17/arts/design/thread-lines.html?ref=design&_r=0, “sets up some smart intergenerational conversations.” The Drawing Center is in Soho at 35 Wooster, New York, New York; 212.219.2166; info@drawingcenter.org; http://www.drawingcenter.org.

Anne Wilson’s In Situ Performance at the Drawing Center. Photo by Tom Grotta

Anne Wilson’s In Situ Performance at the Drawing Center. Photo by Tom Grotta


At Long Last Love: Fiber: Sculpture 1960–present Opens at ICA, Boston

fiber, sculpture, opening, ICA

Fiber: Sculpture 1960 — present opening, photo by Tom Grotta

It looks as if 2014 will be the year that contemporary fiber art finally gets the recognition and respect it deserves. For us, it kicked off at the Whitney Biennial in May which gave pride of place to Sheila Hicks’ massive cascade, Pillar of Inquiry/Supple Column. Last month saw the opening of the influential Thread Lines, at The Drawing Center in New York featuring work by 16 artists who sew, stitch and weave. Now at the Institute of Contemporary Art in Boston, the development of abstraction and dimensionality in fiber art from the mid-twentieth century through to the present is examined in Fiber: Sculpture 1960–present from October 1st through January 4, 2015. The exhibition features 50 works by 34 artists, who crisscross generations, nationalities, processes and aesthetics. It is accompanied by an attractive companion volume, Fiber: Sculpture 1960-present available at browngrotta.com.

Fiber, Sculpture, book, ICA

There are some standout works in the exhibition — we were thrilled to see Naomi Kobayashi’s Ito wa Ito (1980) and Elsi Giauque’s Spatial Element (1989), on loan from European museums, in person after admiring them in photographs. Anne Wilson’s Blonde is exceptional and Ritzi Jacobi and Françoise Grossen are represented by strong works, too, White Exotica (1978, created with Peter Jacobi) and Inchworm, respectively.

Françoise Grossen and Kathleen Mangan in front of Grossen’s Inchworm sculpture at the opeing of Fiber: Sculpture 1960–present opening at the ICEA

Françoise Grossen and Kathleen Mangan in front of Grossen’s Inchworm sculpture at the opeing of Fiber: Sculpture 1960–present opening at the ICEA

Fiber: Sculpture 1960–present will tour nationally to the Wexner Center for the Arts, Columbus, Ohio (January 30 – April 5, 2015), the Des Moines Art Center, Iowa (May 8, 2015 – August 2, 2015) and the Contemporary Arts Museum, Houston (August 22, 2015 — November 29, 2015). You can also see Innovators and Legends, which has traveled across the country in the last two years, at 108 Contemporary, Tulsa Oklahoma in January 2015. And not to be outdone, browngrotta arts will open Influence and Evolution next April 24, 2015 in Wilton, Connecticut. Influence and Evolution will also celebrate experimenters in fiber while exploring how the use of textile materials and techniques has evolved, showing early works — from the 60s, 70s and 80s — by Sheila Hicks, Ed Rossbach, Magdalena Abakanowicz and Françoise Grossen, alongside work created after 2000 by both influencers like Ritzi Jacobi, Naomi Kobayashi and Ferne Jacobs and by a later generation of artists, including Stéphanie Jacques, Gizella Warburton and Naoko SerinoInfluence and Evolution, will run through May 3, 2015 and will be accompanied by a full-color catalog.

 

 Jenelle Porter, Glenn Adamson, Musuem of Arts and Design, photo by Tom Grotta

ICA Mannion Family Senior Curator Jenelle Porter explained in the conversation with Glenn Adamson, Director, Musuem of Arts and Design, photo by Tom Grotta

Fiber: Sculpture 1960–present aims to create a sculptural dialogue, an art dialogue — not one about craft, ICA Mannion Family Senior Curator Jenelle Porter explained in an opening-night conversation with Glenn Adamson, Director, Museum of Arts and Design. On that score, we think it succeeds — go and see for yourself. Let us know what you think.

And watch this space for more about Influence and Evolution.

Jenelle Porter, Ed Rossbach, fiber

ICA Mannion Family Senior Curator Jenelle Porter in front of Ed Rossbach weaving photo by Tom Grotta


Dispatches: Art and Nature in South Jersey

Going Solo And Tandem, Selected Works by Marilyn Keating and Debra Sachs

Going Solo And Tandem, Selected Works by Marilyn Keating and Debra Sachs

We traveled to Southern New Jersey for the opening of Going Solo And Tandem, Selected Works by Marilyn Keating and Debra Sachs at the Stockton College Art Gallery in Galloway, New Jersey, near Atlantic City. The works, created over the last 25 years, feature observations and navigations of the artists’ daily environment.

3 OBLONG BOOKS by Debra Sachs, Going Solo And Tandem, Selected Works by Marilyn Keating and Debra Sachs photo by tom Grotta

3 OBLONG BOOKS by Debra Sachs, Going Solo And Tandem, Selected Works by Marilyn Keating and Debra Sachs photo by tom Grotta

They reflect the spirit of the artists’ partnership, general influences, and mutual interest in the South Jersey industrial/natural world. The artists have approached the gallery “like a playground for artists…filling the space with objects recovered from the attic and stripped off walls.”

Stockton College

Stockton College, photo by tom Grotta

It’s a large space in the center of the well-kempt Stockton College campus, which rumor has it, is soon to become a University (choose Parking Lot 6 and look for signs that say PBA (Performing Arts Building).

Going Solo And Tandem, Selected Works by Marilyn Keating and Debra Sachs, photo by Tom Grotta

Going Solo And Tandem, Selected Works by Marilyn Keating and Debra Sachs, photo by Tom Grotta

Sachs’ and Keatings’ works are installed thoughtfully, leading viewers to see shared references, examine where their approaches differ and appreciate their collaborative works. There is an Artists’ Talk on October 16th, at 11:30 a.m. The exhibition runs through November 9, 2014. For more information, visit: http://intraweb.stockton.edu/eyos/page.cfm?siteID=230&pageID=5.

Mission B & B Cape May NJ

Mission B & B Cape May NJ, photo by tom Grotta

We stayed an hour away in charming Cape May, New Jersey at a truly memorable B&B, The Mission Inn http://www.missioninn.net. Quite a contrast to the Victorians that make up most of Cape May’s architecture, the Mission Inn was built in 1912 by Nelson Z. Graves inspired by his turn of the century business trip to the Pacific Coast. It’s an authentic example of California Spanish Mission architecture. Its stained glass window, Flemish gable and pergola veranda, exposed wood-beamed ceilings contribute to the warm feeling of this al fresco house. Kayaking, beaching combing and window shopping were all fine. Sachs and Keating also recommend the Edwin B. Forsythe National Wildlife refuge, near Atlantic City, as a must visit for bird lovers.

Cape May NJ Beach View

Cape May NJ Beach View, photo by tom Grotta


Art Events: Must-See NYC Exhibition Opens at the Drawing Center This Month

Sheila Hicks, COMPRESSE II, linen, 14" x 26", 1967, photo © Tom Grotta

Sheila Hicks, COMPRESSE II, linen, 14″ x 26″, 1967, photo © Tom Grotta

Thread Lines opens at New York’s Drawing Center next week on September 19th and runs through December 14th. Blouin ArtInfo declares it one of Fall’s NYC’s “Must-See Shows,” noting, “There’s been a lot of buzz around textile-based artworks lately, with some exemplary pieces making their way into major museum surveys — a great example being Sheila Hicks’s cascading fiber column piece in the last Whitney Biennial.” (Editor’s Note: Not a moment too soon!!) Hicks is one of 16 artists in the exhibition,

UNION OF WATER AND FIRE, Lenore Tawney, linen, 38" x 36", 1974, photo ©Tom Grotta

UNION OF WATER AND FIRE, Lenore Tawney, linen, 38″ x 36″, 1974, photo ©Tom Grotta

which also includes work by Lenore Tawney and Robert Otto Epstein. Including work from the mid-1960s to the present, Thread Lines will feature 16 artists who sew, stitch and weave to create works “that activate the expressive and conceptual potential of line and illuminate affinities between the mediums of textile and drawing.” The exhibition also includes a site-specific performance work by Anne Wilson, conceived when she discovered that The Drawing Center’s SoHo building was originally built in 1866 for the Positive Motion Loom Company. The performance, which takes place over the course of two months, will use the main gallery’s four central columns as a weaving loom and will result in the fabrication of a five by thirty-four foot sculpture: a colorful cross composed of innumerable strands of thread. Performance times can be found here: . The Drawing Center
is at 35 Wooster Street, New York, NY, 10013; for more information: telephone: 212.219.2166; fax: 888.380.3362; email: info@drawingcenter.org.