Vignettes is Less Than a Month Away: Who’s New? Neil and Francine Prince and Willa Rogers

September 13, 2023 0 Comment
1fnp Sea Grass Vessel, Neil and Francine Prince, sea grass, waxed linen, 6″ x 8″ x 8″; 1wr Torrey Pine Needles, Willa Rogers, pine needles, cbbage tree, waxed linen, 4″ x 8″ x 8″

This week, more on An Abundance of Objects, part of Vignettes: one venue; three exhibitions, this Fall’s exhibition at browngrotta arts (October 7 – 15). Abundance will feature works by several artists not shown before at the gallery, including basketmakers Francina and Neil Prince of the US and Willa Rogers of New Zealand.

The Princes and Rogers create vessels made of pine needles among other materials. All civilizations have created baskets — ancient Romans, Japanese, and Chinese. They predate pottery and stone carvings. The earliest example of basketry, sections of twined baskets and sandals, was found in Utah, circa 7000 BCE. Native Americans have been masterful basketmakers for centuries. The Seminoles, for example, utilized a sea shell as a sewing needle to sew bundles of pine needles together with sisal or swamp grass.The technique of creating crafts from pine needles is known as coiling. 

1fnp Detail: Sea Grass Vessel, Neil and Francine Prince, sea grass, waxed linen, 6″ x 8″ x 8″

“Both Fran and I were initially (and are continually) attracted to the coiled fiber process by the repetitive rhythmic sequence,” Neil Prince was quoted in the catalog for The Tactile Vessel exhibition, curated by Jack Lenor Larsen at the Erie Museum in New York in 1989.  “The pure structural simplicity of our construction is described by the helix, a universal mathematical principal underlying galaxies as well as DNA. A basket created from a continuous helical coil of fibers represents a personal crystallization of space and time.” An Abundance of Objects will include Sea Grass Vessel by the Princes — made of sea grass and waxed linen. “We feel as though we’re preserving part of the natural life by using what’s available to us: locally available pine needles, sea grasses and palm blooms,” Prince said. John Vanco, then-Director of the Erie Museum described its collection which includes the Princes, as “small-yet-definitive,” containing “works by virtually every key artist who has made the basket a familiar form in late 20th century art.”

Willa Rogers New Zealand Basket Stamp 2002

Willa Rogers is a well-known basket artist from New Zealand who also works with locally sourced materials. Rogers creates her contemporary basketry using a range of plant fibers she collects — pine needles, flax, watsonia, nīkau, and phoenix palm, cabbage tree, and grapevine. The country issued an Art Meets Craft series of stamps that were published in New Zealand and Sweden that includes a Maori basket by Rogers.”Through her work, which is displayed in galleries throughout New Zealand, “ the issuers wrote, “she strives to convey ‘a feeling for history and for the unknown and unsung artists of past centuries.’” The Abundance exhibition includes a pine-needle basket by Rogers, from the collection of the late Dorothy Gill Barnes.

See works by Rogers and the Princes — and dozens of other artists— at An Abundance of Objects, part of browngrotta arts’ Fall 2023 “Art in the Barn” exhibition,  Vignettes: one venue; three exhibitions this October 7th through October 15th. Reserve a time on Eventbrite.

One Month Until Vignettes. Who’s New? Gary Trentham

September 7, 2023 0 Comment

At browngrotta arts, we have been collecting available works by basketmaker Gary Trentham for some time. In An Abundance of Objects, part of our Fall 2023 exhibition, Vignettes: one venue, three exhibitions, we will feature several of his vessels and a grouping of his quiver-like hangings. “I cannot imagine myself making an art statement except through the techniques, ideas, and forms of basketry,” Trentham was quoted in The Tactile Vessel (Erie Art Museum, New York, 1989), the publication for the eponymous exhibition curated for the Erie At Museum by Jack Lenor Larsen.

Gary Trentham Hanging Basket Collection
9-11, 1gt Hanging Basket-1-4, Gary Trentham, coiled linen, 59″(h), Photo by Tom Grotta.

Among the artist’s best-known works are hanging, three-dimensional forms in elongated cone shapes. Trentham won a grant from the National Endowment for the Arts while teaching at Auburn University in the late 1970s. He took a summer off from teaching and devoted his time to making baskets that were meant to be suspended in the air. A series of works, inspired by Native American arrow quivers, including Hanging Baskets 1-4, were the result. The long, slender forms also evoke cocoons, as if something might be growing within the mass of tiny waving filaments.

Gary Trentham Hanging Basket
1gt Hanging Basket, Gary Trentham, coiled linen, 54″ x 3.25″. Photo by Tom Grotta.

Trentham worked in natural materials, knotting linen tightly, coiling paper, and brushing jute until it resembles silky fur. “I like simple, neutral-colored materials that let my forms show; they give me a feeling of safeness,” Trentham said. He explored a variety of techniques. Jack Larsen and Mildred Constantine describe the 1980 White Basket in their seminal book, The Art Fabric: Mainstream as, “[a] coiled basket is hidden by hundreds of braids. Their wiry crispness contrasts sharply with the outer fringe of brushed fiber, The braid yarns are attached by looping around a coils before plaiting.”

Gary Trentham Art Linen Basket
5gt Untitled Linen Basket, Gary Trentham, braiding, coiling, oblique linen, 8″ x 13″ x 13″, (flat: 6″ x 22″ x 22″), 1997. Photo by Tom Grotta.

Trentham discovered basketry while studying at the University of Indiana in Bloomington. Joan Sterrenberg, who started the basketry program at Indiana, had studied with Ed Rossbach at the University of California, Berkeley. ” I knew immediately, when I was introduced to baskets by Joan Sterrenberg, that I had found my area,” Trentham said, “and I have never failed to be excited by it.”

Gary Trentham Artwork
4gt Untitled Basket, Gary Trentham, coiled and brushed jute basket, 6″ x 16″ x 17″, 1997

Trentham participated in several important exhibitions, including the International Tapestry Biennial in Lausanne, Switzerland and traveling exhibitions The Art Fabric: Mainstream and Interlacing: the Elemental Fabric.

Several examples of Trentham’s work are included in An Abundance of Objects, part of browngrotta arts’ Fall 2023 “Art in the Barn” exhibition this October 7th through October 15th. Reserve a time on Eventbrite.

Hope to see you there!

Art Assembled – New This Week in August

August 30, 2023 0 Comment

As August comes to a close, we’re excited to reflect on the remarkable artwork that has graced our New This Week series throughout the month. This month, our focus has been twofold: celebrating the creative brilliance of Helena Hernmarck, Norma Minkowitz, Gerhardt Knodel, and Ferne Jacobs, while also putting the finishing touches on our upcoming exhibition, Vignettes: one venue, three exhibitions.

The anticipation has been building as we prepare to unveil this extraordinary fusion of artistry in a unique format. Vignettes will present a triad of exhibitions featuring the distinguished wood sculptor Dorothy Gill Barnes, the renowned weaver and surface designer Glen Kaufman, and An Abundance of Objects, showcasing an array of baskets, ceramics, and sculptures by over thirty international artists.

Stay tuned as we recap all of the New This Week features we covered throughout August.

5-6hh Ruskin Tickets, Helena Hernmarck, tapestry in wool, linen and cotton, 59″ x 47″, 1994-2019. Photo by Tom Grotta.

As we journeyed through August, our New This Week series began with a feature of artwork from artist Helena Hernmarck. Hailing from Sweden, Hernmarck is a trailblazer in the world of tapestry, revolutionizing the field with her innovative techniques and captivating designs. Her tapestries are not just artworks; they are harmonious unions of art and architecture, seamlessly integrating into modern spaces.

Hernmarck’s mastery lies in her handweaving technique, which allows her to conjure the illusion of movement within her tapestries. With every thread, she orchestrates a dance of colors and shapes that come alive, captivating our senses and challenging our perceptions.

Her tapestries, as displayed here, are dynamic conversations between art and observer – inviting us to explore their depths from various distances, each unveiling a different facet of the narrative.

Norma Minkowitz
102nm Sophia’s Heart, Norma Minkowitz, crochet, stitched some collage 34.5” x 17 x 13.5”, 2002. Photo by Tom Grotta.

As we ventured further into August, our New This Week spotlight was turned to Norma Minkowitz, a sculptor whose creations embody an intricate dance between structure and surface. Minkowitz has devoted years to pushing the boundaries of crocheted sculptures, weaving them into mesmerizing mesh-like forms that transfix the viewer’s gaze.

Minkowitz’s artistic journey delves deep into the thematic interplay of confinement and release. Her mesh sculptures, delicately formed through the art of crocheting, carry within them a profound reflection on the cycles of life, encapsulating the notions of mortality and rebirth. Beyond their visual allure, her works exude a powerful narrative that intertwines the fragility and resilience of existence.

Incorporating elements from the natural world, Minkowitz often intertwines twigs and branches into her sculptures. With each piece, Minkowitz masterfully transcends mere physicality, inviting us to contemplate the profound complexities that underlie the human experience, and Sophia’s Heart is no exception!

Gerhardt Knodel
3gkn Jacquard Suite #10, Gerhardt Knodel, cotton, linen, metallic gimp, 1982 38” x 30” x 1.75”

Up next we featured art from Gerhardt Knodel. Knodel is known across the world for his contributions that have shaped contemporary fiber art for over five decades. His artistic exploration of textures and textiles has led to pioneering applications that seamlessly merge fibers with interior architecture, pushing the boundaries of creative possibility.

Drawing from his early experiences in theater design, Knodel embarked on a unique path that delved into uncharted territories of textile applications. His innovative concepts resonated globally, showcased in exhibitions around the world and commissioned for contemporary architectural spaces across the United States. Notably, his work extends far beyond the realm of creation; for 25 years, he steered the graduate program in Fiber at the Cranbrook Academy of Art and directed the Academy from 1995-2007, ultimately earning the esteemed title of Director Emeritus.

Through his inventive approach, Knodel invites us to reimagine the potential of fiber and texture in shaping the aesthetics of our surroundings. His journey is a testament to the transformative power of artistic vision, and we are honored to be able to work with him.

Ferne Jacobs
7fj Shadow Figure, Ferne Jacobs, coiled and twined linen thread, 61″ x 11″ x 3″, 1980’s

And as we rounded out the month, we introduced you all to Ferne Jacobs, a pioneering figure who has been at the forefront of the fiber art revolution since the 1960s. With innovative ideas and a penchant for pushing boundaries, Jacobs has carved a new path in the world of sculpture, introducing an entirely fresh format to the realm of artistic expression.

Jacobs’ journey of creativity has led her to transcend the conventional, reshaping materials into striking sculptures that challenge traditional norms. Her acute sense of color, combined with her poetic and intuitive approach, infuses her artworks with a distinctive vibrancy that captures the essence of her artistic vision. Her pieces are more than sculptures; they are vibrant dialogues between imagination and reality, form and color.

As we bid farewell to August, we are humbled by the incredible artistic journeys we’ve had the privilege to explore. In the meantime, we are eagerly awaiting the opening of Vignettes: one venue, three exhibitions on Saturday, October 7. We invite you to register for the event and follow along as we continue to drop new artist features throughout September!

Lives Well-Lived: Adela Akers (1933-2023)

August 23, 2023 0 Comment

We were greatly saddened to learn of the passing of celebrated artist Adela Akers on August 9, 2023 after a long illness.

Adela Akers portrait
Adela Akers portrait in her California home/studio. Photo by Tom Grotta

Akers’ journey to the US and to fiber arts was an extraordinary one. “During the Civil War in Spain my family left Spain and everything behind in 1937,” she told us in 2022 as we prepared for Allies for Art: Work from NATO-related Countries. “A right wing coup led by Francisco Franco and aided by Hitler and Mussolini. It was a brutal war, but soon was overshadowed by the World War II that it helped introduce. My family relocated in Havana, Cuba. A tale of idealism, suffering tragically doomed yet a noble cause …. I definitely grew up being very aware of wars and emigration.” 

Two Akers Weavings
Adlea Akers, 63aa Rain and Smoke, linen gauze, India ink, acrylic paint and metal foil , 30” x 22”, 2021; 54aa Dark Horizon, Adela Akers. linen, horsehair and metal, 23″ x 24″, 2016. Photo by Tom Grotta

Akers studied to be a pharmacist in Cuba, but began taking art courses while in Havana. Her family supported her switch to art. She came to the US and studied at the Art Institute of Chicago, then the Cranbrook Academy of Art in Michigan, was weaver-in-residence at the Penland School of Crafts in North Carolina, and then taught at Tyler School of Art in Philadelphia for 23 years before relocating to coastal California. Her students included Lewis Knauss, John McQueen, and Deborah Warner.

17aa Night Pyramid, Adela Akers, linen, horsehair and metal, 28” x 100”, 1999. Permanent Collection of the Metropolitan Museum of Art, New York.

Akers’ affinity for math and geometry shaped her artwork. Akers was very attached to using a loom because the process of weaving is linear and mathematical.“ [W]eaving combines structure and order, and offers me the best way to put together my visions,” she observed.  In 1965, Akers traveled to Peru as a weaving adviser to the Alliance for Progress Program and studied early Indian weaving techniques there. Pre-Columbian textiles, especially, appealed to Akers because of their mathematical and geometric properties. Her tapestry forms incorporated the subtle shaping and striping, slits, and tabs that she studied there. Architecture, especially doors which she saw as slites and walls which she saw as weaving, travel, particularly to the sea, Scandinavian weaving, the paintings of Mbuti women and Agnes Martin, and a book called The World From Above by Hanns Reich are among the many other influences Akers cited in her oral interview with Mija Reidel for the Smithsonian Archives of American Art.

56aa Summer and Winter, Adela Akers, sisal & linen, 54” x 66”, 1977-2015. Photo by Tom Grotta

The artist’s work evolved and advanced throughout her career. In 2015, Ezra Shales noted the sweeping impact of Aker’s ouevre: “This one artist suggests the immensity of pleasures and productive capacities for what fiber art might be and where it might go,” he observed, comparing works from 1977, 1988, and 2014 (Influence and Evolution: Fiber Art … then and now, browngrotta arts, Wilton, CT, 2015). In the 60s, Akers’ works grew larger and incorporated multiple units. In the 70s, she added sisal and jute for greater haptic and structural effects. Work from the 70s and 80s was monochromatic in subdued colors, black, brown, gray, maroon.  By the late 80s and 90s, color had returned along with a unique approach in which she created two views, each of which can only be seen clearly from opposite vantage points. When spliced together and arranged in an accordian shape, the overall images in these works shift as viewed from different angles. After leaving Tyler in 1995, Akers moved from large works of heavy fibers to more delicate materials including horsehair, linen, and recycled metal foil, which she painstakingly wove and stitched into repetitive, optical wall-works, often incorporating painting on their wefts. Shales described this body of work, “From afar, the surface image … is illusionistic and self-referential to the process of interlace, while up close a rhythm of metallic rectangles, quieter incidents that are the wrapping off of wine bottles, keeps the surface lively and unpredictable.”

8aa Compostela, Adela Akers, sisl, linen and wool, 60” x 180” x 6”, 1985. Collection of the Minneapolis Museum of Art

Adela Akers’ mastery has been widely recognized through grants and collections. In 2014, Akers was an Artist in Residence at the de Young Museum, San Francisco, CA. She was named a Fellow of the American Crafts Council in 2008. Fellowships, awards and grants include: Pollock-Krasner Foundation Grant (2008); Flintridge Foundation Award (2005); Faculty Award for Creative Achievement, Temple University (1995); Pennsylvania Council on the Arts Grant (1989 and 1983); National Endowment for the Arts Award Individual Artist Fellowship (1980, 1974, 1971, 1969); New Jersey State Council on the Arts Grant (1971); and Cintas Foundation Fellowship (1968 and 1967). Her papers are at the Archives of American Art. Her works are found in numerous permanent collections including the Metropolitan Museum of Art, New York, New York; Renwick Gallery, Smithsonian American Art Museum, Washington, DC; Everson Museum of Art, Syracuse, New York; Museum of Arts and Design, New York, New York; Minneapolis Institute of Art, Minnesota; de Young Fine Arts Museum, San Francisco, California; Museum of Art, Providence, Rhode Island; Detroit Institute of Art, Michigan; Cleveland Museum of Art, Ohio; Philadelphia Museum of Art, Pennsylvania; Sonoma County Museum, California; Cranbrook Art Museum, Bloomfield Hills, Michigan. 

Artist Focus: Mary Giles

August 16, 2023 0 Comment
Portrait of Mary Giles in her Saint Louis Home/Studio. Photo by Tom Grotta

Renowned for her exceptional fiber art, artist Mary Giles blended organic textures with meticulous craftsmanship, carving out a memorable niche for herself in her lifetime. Mary Giles’ artistry centered in the realm of fiber art, a space in which she has had a profound impact. Fiber art encompasses textiles, natural fibers, and innovative techniques to create striking three-dimensional forms. Giles studied fiber technique with artists such as Ferne Jacobs, Lissa Hunter, Diane Itter, Jane Sauer and John McQueen. 

69mg Quill Bowl II, Mary Giles, waxed linen and porcupine quills, , 4.5″ x 11.5″ x 11.5″, 1983. Photo by Tom Grotta

Giles’ unique ability to manipulate materials such as waxed linen, porcupine quills, metal, paper, silk, and copper wire allowed her to craft intricate sculptures and vessels that blur the lines between the natural and the imagined. This juxtaposition exudes messages of both strength and fragility, inviting viewers to contemplate the symbiosis of these elements. Throughout her diverse portfolio, this contrast is oftenfound. For example, in her piece titled “A Gathering Bowl”, she utilized woven waxed linen along with copper to help achieve this effect — using a hard material to create a remarkably sensuous form.

11mg Anointed Rank, Mary Giles, waxed linen, wire, bone, paint, gesso, 10” x 31,” 1997. Photo by Tom Grotta

Giles’ fascination with the natural world played a significant role in shaping her art. She explained when she received the Master of the Medium Award for Fiber from the James Renwick Alliance, that “my ideas are an accumulation, my sources most often from nature and my palette is drawn from the colors of earth, water, wood and stone.” Natural formations; the fluid curves of a leaf, the intricate patterns of a spider’s web, or even the rugged textures of tree bark and bouldershave all found their way into her creations. Her distinctive approach involved incorporating thin metal strips to create texture, light and shadow, and often, small human figures, as in Anointed Rank. It enabled Giles to breathe life into organic forms through her artistic expression.

Detail of Mary Giles, 64mg Annointed Manstick, waxed linen, wire, paint, gesso , 33.5″ x 5” x 5” 1997, Photo by Tom Grotta

Growing up in a rural setting, she developed an early connection with the Earth’s elements. Giles said in 2013, “I’ve been drawn to the woods most of my life, from childhood summers at a log cabin in northern Minnesota, to the redwoods of northern California, to the tropical jungles of Costa Rica, and now at our current home on the banks of the St. Croix River.” Her art often serves as an homage to the natural world.

60mg Lead Relief, Mary Giles lead, iron, wood, 23.75” x 56 .75”” x 2”, 2011. Photo by Tom Grotta

Giles found solace and strength through her craft. Her art became a sanctuary—a place where she could confront her vulnerabilities and transform them into something beautiful and resilient. Giles observed about her work, “I interpret and express explored communication and intimacy in relationships. The results are reflected in my figural work. I admire the directness and honesty I see in tribal art and I try to incorporate those qualities in my own.” This intimate relationship between her life and art allowed her to create pieces, like Lead Relief, which resonate on a deeply personal level with audiences, evoking emotions and contemplation. In the piece, dozens of tiny figures cluster around the center seam, while fewer individual figures stand alone in the periphery, seemingly lost, amongst faint marks where figures had once been. The work conjures thoughts about connection, community, identity purpose, and more.

27mg Black Profile, Mary Giles, waxe linen, copper, copper wire, 12.75″ x 31.25″ x 6.5″, 2002. Photo by Tom Grotta

Mary Giles’ artistic legacy extends beyond the boundaries of her individual works. “She is one of the people who took the concepts of basketry technique and pioneered using them to make sculptural work,” Lois Russell, artist, collector, and former president of the National Basketry Organization has noted. Giles played a role in elevating the profile of fiber art, garnering recognition and respect for this unique form of expression. Her artwork is featured in a number of  museum collections, including that of the Minneapolis Institute of the Arts, Racine Art Museum, Wisconsin, Contemporary Art Museum, Honolulu, Hawaii, Detroit Institute of Arts, Michigan., the Yale Art Gallery, New Haven, Connecticut and the Museum of Arts and Design, New York, New York.

Giles work will be featured in browngrotta arts’ Fall Art in the Barn series, Vignettes: three exhibitions, one venue, from October 7 – 15.

Save the Date: Vignettes at browngrotta arts is Two Months Away

August 9, 2023 0 Comment

If one art exhibition is good, three exhibitions must be outstanding. That’s the theory that undergirds Vignettes; one venue, three exhibitions, browngrotta arts’ Fall Art in the Barn event in Wilton, Connecticut. From  October 7 to October 15, 2023, the gallery will offer two rooms celebrating the work of renowned weaver, surface designer, and educator Glen Kaufman, two rooms devoted to noted basketmaker and sculptor Dorothy Gill Barnes and two additional rooms featuring objects — baskets, sculptures, ceramics — by three dozen international artists.

Glen Kaufman exhibition installation. Photo by Tom Grotta

Glen Kaufman’s art experience and influences were extensive — studying, then teaching, at Cranbrook Academy of Art, a Fulbright Scholarship in Denmark, a year as a designer in Dorothy Liebes’ New York studio, and study visits to the UK.  He landed at the University of Georgia where he headed the fiber program for 20+ years, spending one-half of each year in Japan for much of that time. The work in Glen Kaufman: Elegant Eloquence, dates from the 1960s through the 2020s. It includes double weaves, macramé works, and a freestanding cylindrical form from the 60s, collages, and works of indigo, shibori, and gold leaf on paper. Several of the works Kaufman created using a Japanese technique to apply gold and silver leaf atop intricately woven damask fabric, often in a grid, to reflect disappearing Japanese architecture will be displayed. Janet Koplos and Bruce Metcalf in Makers: A History of American Studio Craft (2010) describe Kaufman’swoven and printed work from Japan as “a concept and creation entirely his own.” Both through imagery and construction, these works combine East and West. 

Dorothy Gill Barnes exhibition installation. Photo by Tom Grotta

The works in Dorothy Gill Barnes: a Way With Wood, illustrate the full range of the artist’s engaging and innovative approach to natural materials. A Way With Wood contains several dozen works from the Barnes’ personal collection including early experiments in weaving bark and other materials. There are also “dendroglyphs” made from bark that Barnes had marked on living trees and later harvested after scars had formed, and later works in which wood and glass were combined in intriguing ways. 

Abundance of Objects installation: Mary Merkel-Hess, Gary Trentham, Gertud Hals. Photo by Tom Grotta

An Abundance of Objects, filling another two rooms, presents an eclectic collection of items of varied materials and techniques. Citing the authors of How to Live with Objects, Monica Khemsurov and Jill Singer, the exhibition encourages viewers to think about their connection to the objects that surround them — how they were discovered and made and the associations they arouse, meanings they radiate and feelings they trigger. Included are silk squares by Kiyomi Iwata, a mechanical, segmented “tree” that collapses and then stands with the turn of a crank by Lawrence LaBianca, woven “quivers” by Gary Trentham, and a sculpture made from a textile cast in bronze by Eduardo Portillo and Mariá Davilá.  

Here is the complete list of artists whose work we expect to include: Dail Behennah (UK), Hisako Sekijima (JP), Tim Johnson (UK), Polly Sutton (US), Stéphanie Jacques (BE), Judy Mulford (US), Gizella Warburton (UK), Mary Merkel-Hess (US), Simone Pheulpin (FR), Lawrence LaBianca (US), Lizzie Farey (UK), Joe Feddersen (US), Toshiko Takeazu (US), Gary Trentham (US), Nancy Koenigsberg (US); Markku Kosonen (FI), Tamiko Kawata (US), Christine Joy (US), Kosuge Kogetsu (JP), Kajiwara Aya (JP), Kyomi Iwata (US), Katherine Westphal (US), Dona Look (US), John McQueen (US), Jiro Yonezawa (JP), Gyöngy Laky (US), Noriko Takimaya (JP), Gertrud Hals (NO), Jeannet Leenderste (US), Naomi Kobayashi (JP), Karyl Sisson (US), Willa Rogers (NZ), Neil and Fran Prince (US), Jin-Sook So (KO), Lewis Knauss (US), Dawn Walden (US), and Keiji Nio (JP).

Catalogs will be published for each of the three exhibitions and can be ordered from browngrotta arts in October. The Opening & Artist Reception for Vignettes: one venue; three exhibitions will take place on October 7th from 11 -6. Reservations for the exhibition can be made on Eventbrite.

See you then!

Art Assembled – New This Week in July

August 2, 2023 0 Comment

Welcome to our July Art Assembled blog, where we are thrilled to highlight the incredible art featured in our New This Week series. Throughout the past month, we had the privilege of showcasing the works of Jane Sauer, Mia Olsson, Mary Giles, Ed Rossbach, and Nancy Koenigsberg – four visionary artists who have left an indelible mark on the world of contemporary art.

During July, we were captivated by the diverse and thought-provoking creations of these artists. From Sauer’s intricate fiber art to Olsson’s evocative sculptures, and from Rossbach’s innovative weaving techniques to Koenigsberg’s mesmerizing wire sculptures, each artwork invited us to explore new dimensions of artistic expression.

Read on to delve into the artistic journeys of these remarkable individuals!

Jane Sauer
Cone Sculpture by Jane Sauer, waxed linen and acrylic paint , 21.75″ x 5″ x 5″, 1996.
Photo by Tom Grotta.

To kick things off, we celebrated the exceptional talent of Jane Sauer, an esteemed contemporary artist acclaimed for her remarkable exploration of fiber arts. Hailing from St. Louis, Missouri, Sauer’s artistic journey began with a focus on painting before a serendipitous encounter with the vibrant fiber arts movement in 1972.

In the realm of fiber art, Sauer’s craft shines brilliantly through her closed basket forms, meticulously crafted from knotted and waxed linen. Her art invites viewers into a world of intimate spaces and personal connections, creating an ambiance reminiscent of the sheltering environment of the womb. Each of her beautifully intricate designs thoughtfully explores the concept of “personal space,” leaving us captivated by the delicate interplay between form and function.

Through her artistic expression, Sauer deftly weaves together threads of emotions, experiences, and memories, forming art pieces that speak to the heart and soul. Her ability to create compelling narratives through the interplay of fibers is a testament to her mastery of the craft and her unique artistic vision.

Mia Olsson
10mo Pleated, Golden, Mia Olsson, sisal fibers, 30.625″” x 27.125″ x 2.55″, 2020.
Photo by Tom Grotta.

To continue on with our New This Week series July, we showcased the transformative creations of Mia Olsson, a Swedish fiber artist whose work defies expectations and pushes the boundaries of textile fibers. With an alchemical touch, Olsson works her magic on prickly sisal fibers, transforming them into ethereal and semi-transparent wall sculptures that enthrall the senses.

In her artistic practice, Olsson delves deep into the inherent properties and characteristics of textile fibers, exploring their untapped potential with ingenuity and creativity. Her works, dyed in richly saturated warm tones, evoke a sense of intrigue and wonder, inviting us to contemplate the magic of materials and the boundless possibilities they hold.

Olsson’s artistry bridges the gap between the ethereal and the earthly, seamlessly blending the tactile and the visual. Her works exude a sense of lightness and delicacy, as if they were suspended between the realms of reality and imagination. With each piece, she invites us to explore the unseen aspects of fibers, shedding light on their versatile nature and the artistic expressions they can evoke.

Mary Giles
70mg Copper Divide, Mary Giles, waxed line, fine iron and copper wire and hammered copper wire, 2011-2013. Photo by Tom Grotta.

We then turned our attention to the remarkable talent of Mary Giles, a renowned artist celebrated for her mastery of the coiling technique. Within the world of fiber art, Giles stands out for her distinctive approach, which involves incorporating thin metal strips delicately shaped as human figures into her works. These metal elements are skillfully layered over a surface or core, adding a remarkable sense of depth and dimension to her creations.

Giles’s artistry transcends traditional boundaries, evoking both environmental features and human figures through her expert manipulation of materials. Her artworks serve as a captivating dialogue between art and nature, inviting us to explore the intricate relationship between humanity and the world around us.

Inspired by the sincerity and directness found in tribal art, Giles infuses her own artistic expression with a unique authenticity. Her works are a testament to her creative vision, one that honors traditional techniques while embracing innovation.

Ed Rossbach
213r Red Java, Ed Rossbach, mixed media, 8.75″ x 7.5″ x 7.5″, 1988. Photo by Tom Grotta

Ed Rossbach, a visionary artist whose contributions to the field of fiber art have left an enduring impact. Rossbach’s artistic journey spanned decades and was marked by fearless experimentation with unconventional materials and innovative weaving techniques.

Throughout his prolific career, Rossbach continued to evolve and diversify his artistic practice, showcasing his mastery of various mediums. From dimensional weaving in the 1960s to later explorations in cast paper techniques and mixed-media sculpture, Rossbach’s trajectory was one of continuous growth and innovation. His relentless pursuit of creative exploration and commitment to pushing the boundaries of fiber art make him a true pioneer in the field.

Rossbach’s artistic legacy remains a source of inspiration for contemporary fiber artists, as his ability to bridge the gap between traditional practices and cutting-edge techniques continues to resonate with artists and art enthusiasts alike. The trail he blazed in the world of fiber art will be forever cherished and celebrated.

Nancy Koenigsberg
1nak.1 5 Concentric Cubes, Nancy Koenigsberg, copper wire, 12” x 12” x 12”, 1995

Last, but certainly not least, we explored the world of Nancy Koenigsberg, a visionary artist hailing from the vibrant city of New York. Koenigsberg’s artistic prowess shines brilliantly in her captivating exploration of wire sculpture, where she fearlessly pushes the boundaries of artistic expression using copper, steel, and aluminum wire.

Through her meticulous craftsmanship, Koenigsberg creates wire grids that exude a mesmerizing visual and conceptual allure. The interplay of shiny and dull, fragile and industrial-strength materials adds a dynamic depth to her masterpieces, challenging our perceptions and inviting us to question the very essence of art.

Intrigued by her intuitive process, we find ourselves enchanted, as the artist expertly shapes and layers the wires into captivating forms. The resulting artworks evoke a sense of wonder, urging us to delve deeper into the enigmatic world she creates.

As we bring our exploration of the captivating worlds of Jane Sauer, Mia Olsson, Mary Giles, Ed Rossbach, and Nancy Koenigsberg to a close – we are filled with admiration for the ingenuity and artistry that each of these remarkable artists has brought to the world of fiber art. Join us again next month as we continue our journey through the captivating world of contemporary art, where we will introduce you to more visionary artists and their extraordinary creations!

More Art Out and About — exhibitions in the US and abroad

July 26, 2023 0 Comment

It’s busy summer for fans of fiber art. We have more must-see exhibitions to bring to your attention, from the long-awaited (at least by us!)  A Dark, A Light, A Bright: The Designs of Dorothy Liebes  in New York to Beauty and The Unexpected in Stockholm, Sweden and some additional images from Denver, Riga and Portneuf.

Mariette Rousseau-Vermette
634mr Hommage á Dorothy Liebes, 1948-49 I, Mariette Rousseau-Vermette, silk leather, aluminum, fluorescent tubing (some materials obtained from Dorothy Liebes) , 54″ x 15″ x 15″, 2001. Photo by Tom Grotta.

New York, NY
A Dark, A Light, A Bright: The Designs of Dorothy Liebes 
through February 4, 2024
Cooper Hewitt
2 East 91st Street
New York, NY 10128
https://www.cooperhewitt.org/channel/dorothy-liebes/

From the 1930s through the 1960s, American textile designer, weaver, and color authority Dorothy Liebes (1897–1972) collaborated with some of the most prominent architects and designers of the time, including Frank Lloyd Wright, Henry Dreyfuss, Donald Deskey, Raymond Loewy, and Samuel Marx. Fashion designers, including Pauline Trigère, Adrian, and Bonnie Cashin, also used her fabrics, yielding some of the most distinctively American fashions of the mid-20th century. Artist Glen Kaufman and Mariette Rousseau-Vermette worked in her studios in New York and San Francisco. The “Liebes Look”—which combined vivid color, lush texture, and often a glint of metallic—became inextricably linked with the American modern aesthetic. This exhibition features more than 175 works—including textiles, textile samples, fashion, furniture, documents, and photographs — to highlight the powerful — but largely unacknowledged impact she has had on 20th-century design. 

Tawney, Laky, Knauss, Seelig details
clockwise: Lenore Tawney, Ioannes Fridericus, 1983, Collage, 8″ x 12.5,”, Photo by Inlån Dru
Gyongy Laky, Incident, natural, commercial wood, paint, bullets for building, 50″ x 50″ x 4.5″, 2012. Photo by Tom Grotta
Warren Seelig, Stone Carpet/ Shadowfield, 2005. Photo by Inlån Dru. Lewis Knauss, Tinder Dry Year: 2010, woven, knotted linen, hemp, paper twine, bamboo, 25″ x 25″ x 8.5″, 2010. Photo by Inlån Dru. 

Stockholm, Sweden
Beauty in the Unexpected: Modern and Contemporary Crafts
through January 21, 2024
Södra Blasieholmshamnen 2
Stockholm, Sweden
https://www.nationalmuseum.se/en/exhibitions/beauty-and-the-unexpected

Nationalmuseum has invited Helen W. Drutt English, pioneering craft educator and gallerist of American Modern and Contemporary Crafts since the 1960s, to assemble a collection of objects drawn from the field of “American Crafts”. The selection of 81 works from the 1950s until today will in future enrich Nationalmuseum’s collections and will provide a possibility to look at American Crafts in the Nordic context. Fiber artists have a good representation – Lenore Tawney,Lewis Knauss, Warren Seelig, Gyöngy Laky, Yvonne Bobroowicz, Deborah Rappoport, Nancy Worden, Rise Nagin, and Ted Hallman are all included in the collection.

Washington, DC
Shared Honors and Burdens: Renwick Invitational
through March 31, 2024
Renwick Gallery of the Smithsonian American Art Museum
1661 Pennsylvania Ave., NW
Washington, DC
https://www.si.edu/exhibitions/sharing-honors-and-burdens-renwick-invitational-2023:event-exhib-6575

The Renwick Invitational 2023 features artists Joe Feddersen (Arrow Lakes/Okanagan), Lily Hope (Tlingit), Ursala Hudson (Tlingit), Erica Lord (Athabaskan/Iñupiat), Geo Neptune (Passamaquoddy), and Maggie Thompson (Fond du Lac Ojibwe). Together, these artists present a fresh and nuanced vision of Native American art. The artists were selected for their work that expresses the honors and burdens that Native artists balance as they carry forward their cultural traditions. These artists highlight principles of respect, reciprocity, and responsibility through their work that addresses themes of environmentalism, displacement, and cultural connectedness.

Blair Tate
Work by Baiba Osite, Exodus, Riga, Latvia. Photo by Irina Versalyeva.

Riga, Latvia
Exodus: Baiba Osite
7th Riga International Textile and Fiber Art Triennial
through September 19, 2023
Dubulti Art Station
Riga, Latvia
https://www.lnmm.lv/en/museum-of-decorative-arts-and-design/news/programme-of-the-7th-riga-international-textile-and-fibre-art-triennial-quo-vadis-139

Baiba Osīte‘s wide-scope solo exhibition Exodus is part of the 7th Riga International Textile and Fiber Art Triennial QUO VADIS? The curator, Inga Šteimane, writes about Osite’s “paintings” made of pieces of wood washed out of the sea – “both landscape and abstract in conjunction, as well as archaic and modern ecological. The personal exhibition Exodus was created in a similar synthesis – the historical and the philosophically abstract are together, just like the experienced, felt and imagined.” For the artist, exodus [leaving] is a biblical theme that tells the story of the people of Israel coming out of slavery in Egypt, passing through the sea, escaping their persecutors and gaining their land and freedom. Osite says she has always been interested in this topic from the perspective of an individual’s life, but currently it is particularly relevant to the fate of one nation and humanity globally.” She sees parallels with what’s happening in Ukraine right now. “[T]hey’re fighting for their freedom,” she notes, “for their independence, for their respect among other nations. They’re just fighting it out in a very hard fight. And I think it doesn’t leave anyone indifferent.”

Gizella K Warburton installation
Works by Gizella K Warburton at the Natural (Re)Sources exhibition in Wales. Photo by the artist.

Denbighshire, UK
Natural (Re)Sources
through September 24, 2023
Ruthin Gallery
Gallery 1
Denbighshire, UK
through September 24, 2023
http://ruthincraftcentre.org.uk/whats-on/coming-soon-gallery-1/

Natural (Re)Sources looks at the origin of an artist’s chosen materials. This doesn’t mean that the finished work looks as if it has just been collected from a forest floor, or dug from the ground without intervention, but rather that the material basis for work that is “of the earth” in various forms. The exhibition is curated by Gregory Parsons and includes work by Laura Bacon and  Gizella K Warburton.

Karen Hassinger sculpture
installation by Maren Hassinger. Photos courtesy of LongHouse Reserve.

East Hampton NY
Maren Hassinger: Monuments
through December 31, 2023
LongHouse Reserve
133 Hands Creek Road
East Hampton NY 
Artist: Maren Hassinger

A native of Los Angeles, Maren Hassinger (b.1947) is a multimedia artist whose practice bridges fiber arts, installation, performance, and sculpture. Incorporating everyday materials such as wire, rope, newspapers, plastic bags, petals, and dirt, Hassinger’s art explores the subjects of movement, family, love, nature, the environment, consumerism, identity, and race.

East Hampton NY
A Summer Arrangement: Object & Thing
weekends through December 31, 2023
LongHouse Reserve
133 Hands Creek Road
East Hampton NY
Exhibition: A Summer Arrangement

While you are at LongHouse, visit A Summer Arrangement: Object & Thing at LongHouse features works by several artists and designers, including works from the collection of LongHouse founder Jack Lenor Larsen (1927-2020).

Stéphanie Jacques sculpture
Works by Stéphanie Jacques at the Biennial du Lin in Quebec. Photo courtesy of the artist.

Quebec, Canada
International Linen Biennial in Portneuf (BILP)
through October 1, 2023
Heritage sites throughout Deschambault-Grondines 
Quebec, Canada
https://www.artemorbida.com/biennale-internationale-du-lin-de-portneuf-bilp-2023/?lang=en

Anneke Klein (the Netherlands) Blair Tate (United States of America) Stéphanie Jacques (Belgium), Carole Frève (Québec) are all participants in the international Biennial of Linen in Portneuf, Canada now on view. The BILP is a cultural event showcasing works of professional artists exploring new ideas inspired by linen and flax, covering both technical and conceptual aspects. The subject of flax and linen is addressed through themes as varied as contemporary visual arts, crafts and design. The event takes place in different heritage sites of Deschambault-Grondines every odd year, since 2005.

indigo installation
Photos: Denver Botanic Gardens © Scott Dressel-Martin.

Denver, Colorado
Indigo 
Denver Botanic Garden
York Street Location
Denver, Colorado
through November 5, 2023

Open now, the Indigo exhibition at the Denver Botanic Garden features work by Polly Barton, Eduardo Portillo and Mariá Dávila, Chiyoko Tanaka, Hiroyuki Shindo, and Yeonsoon Chang, as well as other artists from across the globe. 

Kyoko Kumai sculpture
Memory by Kyoko Kumai in the Toshiba Gallery at the Victoria & Albert Gallery in London. Phots courtesy of the artist.

London, UK
Japanese Contemporary Craft
Victoria & Albert Museum
Japan, Room 45, The Toshiba Gallery
Cromwell Road
London SW7 2RL
through July 2025
https://collections.vam.ac.uk/item/O1731010/memory-sculpture-kumai-kyoko/

The V&A’s spectacular Japan collections feature ceramics, lacquer, arms and armour, woodwork, metalwork, textiles and dress, prints, paintings, sculpture and modern and contemporary studio crafts. Currently on display, Memory by Kyoko Kumai.

Enjoy!

Artist Focus: Judy Mulford

July 19, 2023 0 Comment

The late Judy Mulford was an artist known for her deeply personal and autobiographical approach to the creative process. This is reflected in her artwork, which serves as a testament to her life experiences, and the love she had for family. Mulford’s studio was located in Carpinteria, California, and acted as somewhat of a museum. The space was decorated with artifacts, baskets, and dolls from all over the world, which greatly influenced her artistic journey. Her artwork is a reflection of the unique storytelling ability that she possessed, manifested through a combination of various mediums and techniques and influenced by African and New Guinean artists.

31jm Bird Memory Chair, Judy Mulford, mixed media, 18″ x 9″ x 9″, 2016. Photos by Tom Grotta

Mulford’s compulsion to create was deeply rooted in her identity, as she explained, “I have to create. I cannot not create.” For her, art was a force that completed her being, and kept her calm and centered. She considered her art to be an autobiographical scrapbook, celebrating the essence of family, which she cited as the primary influence in her life. This influence was clearly visible in her studio space, which was adorned with pictures of her loved ones, serving as a constant inspiration for her work. “My work is personal, graphic, and narrative. Each piece I create becomes a container of conscious and unconscious thoughts and feelings, one that references my female ancestral beginnings.”

Mulford’s work was initially informed by her studies of the basketmaking culture of Micronesia, particularly on the islands of Truk and Ulithi. She was the author of Decorative Marshallese Baskets (1991) and other books about Micronesian material culture. Her array of artifacts, baskets, and dolls, displayed the cultural diversity that impacted her perspective as an artist. Her collection of over 200 dolls also served as a reflection of her emotional connection to motherhood and grandmotherhood. For Mulford, each doll carried its own story, and represented a “rescue” from being forgotten.

32jm Simple Abundances, Judy Mulford, gourd, waxed linen, photo transfers, antique buttons, hematite beads, beads, fine silver, polymer, 9” x 13” x 13”, 1998. Photo by Tom Grotta (Text: gratitude, simplicity, order, harmony, beauty, peace, balance, serenity, contentment, joy)

Mulford created natural material basketry, including pine needle baskets, in the 1970s. From there, her artistic practice evolved, and she expanded her repertoire to include clay, script, animals, and people. Eventually, Mulford settled on knotless netting (looping) as her signature technique, which she described as an obsession that pushed her passion to create even further. 

Dinner Party
The Dinner Party Acknowledgement Panel, The Brooklyn Museum of Art

Mulford embedded meaningful content in her pieces with each element. She was active in California in the years that feminist art was on the rise. Mulford was one of a group of women to work on Judy Chicago’s seminal work, The Dinner Party, in the 70s. Several of Mulford’s works offer an explicit take on women’s rights and family issues. In Help, Mulford included bullet casings, to make a statement about the plight of mothers in war zones. In Plan Your Parenthood/Overpopulation she referenced the old woman in the shoe to reflect her concerns about population and choice. Beaded babies burst from every room and even the roof of the tall thin house she built and embellished with wooden dollhouse chairs, a knitting needle and a rock. “I have one choice and it is pro-choice,” she said.

Another significant influence on Mulford’s artwork was her location on the California Coast. Living in a rustic beachside cottage in Carpinteria, the ocean and coastal surroundings inspired many of the materials visible in her work. The connection between her artwork and the environment is apparent in the themes of much of her work, including her mixed media piece, Aging By the Sea. Made up of materials such as shells, waxed linen, silver, beads, pearls, sand, and more, this captivating piece reflects the very environment it was created in.

Judy Mulford By the Sea
22jm Aging By the Sea, shell, waxed linen, waxed linen, silver, beads, pearls, silver spoon, sand, plexiglas
11 x 11 x 10 in, 2004. Photos by Tom Grotta

In her later years, her focus shifted to chairs as containers for people, covered in looping, and accompanied by dolls, artifacts, and buttons. She saw chairs as containers for people at meals, work, celebrations, for visiting, or just reading. These chairs celebrated lost loved ones, while simultaneously allowing viewers to reflect on their own stories and memories. Bird Memory Chair, for example, evokes the memory of a loved one who has passed on. It includes a handwritten journal with notes on the piece and process, as Mulford’s works often do. In this case, the journal is left blank in part, so the person who acquires the work can add notes of his or her own. In celebration of her 80th birthday, Mulford completed 80 Empty Chairs, accompanied by a book about them.

Judy Mulford exhibited widely, including at the Renwick Gallery, Smithsonian American Art Museum, Museum of Arts and Design, New York, the Mint Museum of Craft + Design, Charlotte, North Carolina, the Textile Museum, in Washington, D.C. and abroad, including the 12th International Biennial of Tapestry in Szombathely, Hungary.  Much of her work was housed in her studio, a private space that she shared with few people. She viewed this space as a sanctuary where she could immerse herself in her creative process. Her artwork is best described as a visual narration of her life experiences, inviting viewers to connect with her stories and relate them to their own. Mulford hoped that others would find resonance through her art and come away with their own narratives.

Mulford is one of the artists that will be included in browngrotta arts’ 2023 Art in the Barn exhibition, Vignettes: one venue, three exhibitions, October 6 – 15, 2023.

by Michael Propersi

Dispatches: The Bruce Museum, Greenwich, CT

July 11, 2023 0 Comment
Bruce Museum
The Bruce Museum. Photo by Tom Grotta

We had a chance to visit the newly expanded Bruce Museum in Greenwich, CT last month. The art galleries are well sized and provided intimate views of several interesting exhibitions. We were initially taken by the intricate Plexus installation by Gabriel Dawe, in which thousands of multicolored sewing threads are harnessed to create the full color spectrum of light. Each of the artist’s installations is meticulously constructed: individual strands of thread are interwoven through a series of hooks to create a unified network—or plexus. 

Elie Nadelman Thread Installation
Gabriel Dawes, Plexus installation. Photo by Tom Grotta

There are several exhibitions installed at the Museum which run through September or October including Material Matters: The Sculpture of Elie Nadelman (through September 24, 2023); The William L. Richter Collection (through April 21, 2024) and; Collection Installation: Connecticut Impressionism (through June 30, 2024). 

We most appreciated the dynamic Collection Installation: American Modernism (through October 15, 2023) and the eye-opening Then Is Now: Contemporary Black Art in America (through October 15, 2023).

Alexander Calder installation
Alexander Calder installation. Photo by Tom Grotta

American Modernism showcases varying artistic approaches including those of Alexander Calder, Suzy Frelinghuysen, George L.K. Morris, Theodore Roszak, Edward Hopper and Andrew Wyeth. The exhibition tells a broader story about the development of abstraction in the United States in the 1930s, 40s, and 50s, concurrent trends in figuration and themes pertaining to the alienation of modern life.

Bette Saar The Weight of Color
Betye Saar’s assemblage, The Weight of Color; in the background Emma Amos, The Mississippi Wagon, 1937, 2020. Photo by Tom Grotta

A selection of exciting works, made between 1968 and 2021, comprises Then Is Now: Contemporary Black Art in America. The exhibition explores how black artists of our time critically engage with the past and present. Betye Saar’s The Weight of Color (2007), for example, grapples with the complex relationship between racial violence and visual and material culture. In the multi-media sculpture, each element — a rusted antique scale, a stuffed crow awkwardly placed in a cage too small for its body, and a mammy figure — is a metaphor. The crow references Jim Crow laws that enforced racial hierarchy in the US South during the early 20th century, while the mammy figurine is an example of racist memorabilia envisioning African Americans content in their subservient societal roles. Here, the Museum label notes, “the artist’s totemic assemblage considers not only the burdensome weight of racism but also its refusal to be contained.”

Kehinde Wiley The Gypsy Fortune-Teller
Kehinde Wiley, The Gypsy Fortune-Teller. Photo by Tom Grotta

In The Gypsy Fortune-Teller (2007), Kehinde Wiley (American b. 1977) upends tradition, by rendering contemporary in a formal tapestry.

The Museum’s labels state that, “Wiley is perhaps best known for reimagining Old Master portraits by replacing their original European subjects with images or contemporary people of color. Wiley based this work on a tapestry by Francois Boucher, one of a series depicting aristocratic subjects posed in idyllic, pastoral environments. Wiley updates Boucher’s version to include five black men, a radical gesture that that interrogates both representations of black masculinity and the exclusion of black figures from art history … These works exemplify an ongoing effort among artists to encourage a more expansive and inclusive artist art history.”

The Museum has a cafe and a store, too. It’s well worth a visit!