At browngrotta arts, we’re kicking off the year with the same enthusiasm that propels us forward year after year. Throughout January, we’ve had the privilege of shining a spotlight on some extraordinary artists and their creations. The talents of Mariette Rousseau-Vermette, Warren Seeling, Nancy Moore Bess, Federica Luzzi, and Ethel Stein have graced our ‘New This Week’ series.
But, that’s just the beginning of the excitement. We’ve also been hard at work prepping for our next upcoming exhibition.. We will be sharing the details soon, so be sure to keep following along so you don’t miss out!
Until then, we invite you to recap on our past month of ‘New This Week’ features below.
To start off our series for the month, we began by highlighting the late, Ethel Stein. With a career spanning decades, Stein left an indelible mark on the world of weaving and textile art. Her intricate and masterful creations were not only celebrated across the country but also earned her a solo exhibition at the prestigious Art Institute of Chicago in 2014.
What makes Stein’s artistic journey truly exceptional is her mastery of the drawloom—a skill that few contemporary weavers possess. This expertise allowed her to craft intricate textiles that were both technically advanced and visually captivating.
Her influence resonated across the globe, as her works found a place in exhibitions not only in the United States, but also in the United Kingdom, the Netherlands, Switzerland, and beyond.
Up next in January, we turned our focus to the talented Federica Luzzi. Luzzi’s vertical loom technique allows her to transform fibers from their traditional two-dimensional frame into captivating three-dimensional creations.
What truly sets Luzzi apart is her presentation. She curates her works in dimensional installations, where they appear as fragments of a galaxy, blending the macrocosm and microcosm seamlessly. Her artistry is akin to a magnetic aggregation of fragile bodies, meticulously arranged like constellations or an enigmatic form of writing.
At the core of Luzzi’s exploration lies a deep connection with nature. Her work delves into the intricate beauty of leaves, barks, seeds, and plant pods. Through her art, she unveils the hidden wonders of these organic elements, inviting viewers to ponder the intricate patterns of the natural world.
Up next in our series, we highlighted the work of artist, Nancy Moore Bess. Based in California, Bess is an artist who views tradition as a reference point rather than a boundary. Her journey has revolved around the idea of mystery and containment within the realm of basketry, and she brings a unique twist to her creations using lids and closures inspired by her time living in Japan.
When creating, Bess seamlessly weaves together the practicality of traditional basketry with an enigmatic, and almost secretive allure. Her works beckon viewers to imagine the hidden treasures they might hold.
We are continuously impressed by the work Bess creates, and that’s exactly why we wanted to shine a light on her, so our audiences can see it too!
Nearing the end of the month, we brought you all art from the one and only, Warren Seeling. Seelig’s impact on the art world is significant, with his work featured in over 30 major museum exhibitions worldwide. His relentless exploration of possibilities within textile and fiber art continues to inspire and challenge conventional ideas of texture, weight, and form.
Warren Seelig’s journey as an artist has been marked by a relentless pursuit of innovation. Back in the late ’70s, he ventured into creating structural, fan-like works, using mylar frames and introducing a unique double-weave technique that pushed the boundaries of traditional textile art. Over time, Seelig’s focus evolved, leading him to craft suspended spoke-and-axle pieces and wall-mounted shadow fields.
To close out our series for the month, we brought you art from the late artist, Mariette Rousseau-Vermette. With a career spanning four decades, she left an indelible mark on the world of tapestries and sculptures, captivating collectors and commissions across the globe.
Rousseau-Vermette’s artistic journey took her from the Quebec School of Fine Arts to working alongside Dorothy Liebes in California. She later participated in five International Tapestry Biennials in Lausanne, using these opportunities to connect with artists worldwide. In the 1980s, she made significant contributions as part of the Art and Architecture program, ultimately heading the Fibers Department at the Banff Center for the Fine Arts.
It’s no wonder why her achievements are so widely recognized! She is truly one of the best.
We hope you enjoyed our January series! Stay tuned for more ‘New This Week’ features in the months ahead.
The Resurgence of Interest in Fiber Sculpture and Art Textiles Will Continue in 2015
Last year was an extraordinary one for those of us who appreciate contemporary art fiber and art textiles. More than 10 exhibitions opened in the US and abroad. In October, the art newspaper reported that “textiles are gaining international stature in art museums” and further that “[c]ommercial interest is on the rise,” quoting art advisor Emily Tsingou: “Textile [art] has entered the mainstream.” Soft Fabrics-Have Solid Appeal. Below is a roundup of exhibitions and reviews from last year and a guide to what to expect in 2015.
Mainstream attention began with the coverage of Sheila Hicks‘ inclusion
Sheila Hicks, Pillar of Inquiry/Supple Column, 2013-14 (installation view, Whitney Museum of American Art, New York). Photograph by Bill Orcutt
in the Whitney Biennial in March and was followed by coverage of the restoration of her remarkable 1960s tapestries at the Ford Foundation in New York Sheila Hicks Tapestries to Again Hang at Ford Foundation. In June, the Art Institute of Chicago’s textile galleries reopened, featuring 96-year-old Ethel Stein’s work, in Ethel Stein, Master Weaver.
September saw three fiber-related exhibitions; the Museum of Arts and Design opened What Would Mrs. Webb Do? A Founder’s Vision (closes
February 8, 2015),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
February 8, 2015), which featured significant textiles from the permanent collection by Anni Albers, Kay Sekimachi, Katherine Westphal, Ed Rossbach, Françoise Grossen and Trude Guermonprez, while The Drawing Center’s: Thread-Lines offered Anne Wilson creating fiber art in situ
Ann Wilson’s In Situ Performance at the Drawing Center, photo by Tom Grotta
together with a collection of works by Lenore Tawney, Louise Bourgeois and others. Contemporary 108 in Tulsa, Oklahoma, featured a series of large photographic weavings by Aleksandra Stoyanov of the Ukraine
Contemporary 108 in Tulsa, Oklahoma, curated from the 2013 “Aleksandra Stoyanov” Tefen Open Museum, Israel exhibition. photo copyright Tefen Open Museum
and now Israel, described as “warp and weft paintings.”
In October, Fiber: Sculpture 1960 – present, opened at the Institute of Contemporary Art in Boston with works by 34 artists including
Fiber: Sculpture 1960 — present opening, photo by Tom Grotta
Magdalena Abakanowicz, Ritzi Jacobi and Naomi Kobayashi. The Boston Globe called the exhibition “[s]plendid, viscerally engaging…groundbreaking;” the exhibition catalog (available at browngrotta.com) was pronounced by Blouin art info, “an amazing resource for anyone interested in learning more about the medium.” Art Info – Art in the Air Fiber Sculpture 1960 Present October also saw a survey of the work of sculptor and poet, Richard Tuttle, at the Tate in London, Richard Tuttle:
I Don’t Know, Or The Weave of Textile Language in which Tuttle investigated the importance of textiles throughout history, across his remarkable body of work and into the latest developments in his practice. Tate Modern – Richard Tuttle I Don’t Know or Weave Textile Language
Throughout the year, Innovators and Legends, with work by 50 fiber
artists, including Adela Akers, Nick Cave, Katherine Westphal and Sherri Smith toured the US, exhibiting at museums in Colorado, Iowa and Kentucky. The fiber fanfest culminated at Art Basel in Miami Beach in December, where Blouin’s Art Info identified a full complement of fiber works and textiles in its listing, “Definitive Top 11 Booths, “ including Alexandra da Cunha’s compositions of mass-produced beach towels and various colored fabrics at Thomas Dane Gallery, a Rosemarie Trockel embroidered work at Galerie 1900-2000, marble and dyed-fabric pieces by Sam Moyer at Galerie Rodolphe Janssen and woven paintings by Brent Wadden at Mitchell-Innes & Nash Blouin Art info – The Definitive Top-11 Booths at Art Basel Miami Beach.
And what’s ahead in 2015?
More auctions and exhibitions that include fiber sculpture and art textiles are scheduled for 2015. Fiber: Sculpture 1960 – present will
open at the Wexner Center for the Arts, Columbus, Ohio on February 7th and travel to the Des Moines Art Center, Iowa in May. Innovators and Legends will open at contemporary 108 in Tulsa, Oklahoma in February, as well. In April, the Tate in London will open The EY Exhibition: Sonia Delaunay, which will show how the artist
Sonia Delaunay Prismes electriques 1914 Centre Pompidou Collection, Mnam / Cci, Paris © Pracusa 2013057
dedicated her life to experimenting with color and abstraction, bringing her ideas off the canvas and into the world through tapestry, textiles, mosaic and fashion.
Also in April, the Museum of Arts and Design will host Pathmakers:
Lenore Tawney in her Coenties Slip studio, New York, 1958.
Courtesy of Lenore G. Tawney Foundation; Photo by David Attie
Women in Art, Craft and Design, Midcentury and Today, featuring work by Sheila Hicks, Lenore Tawney and Dorothy Liebes http://madmuseum.org/exhibition/pathmakers.
In June, the Toms Pauli Foundation in Lausanne, Switzerland will celebrate the International Tapestry Biennials held there from 1962 to 1995 and display work by the Polish textile artist and sculptor Magdalena Abakanowicz, in an exhibition entitled, Objective Station.
Also this summer, the Musée d’Art Contemporain de Baie St Paul in
Mariette Rousseau Vermette Portrait by Tom Grotta
Quebec, Canada will examine the work of Mariette Rousseau-Vermette, who participated in five of the Lausanne Biennials.
From April 24 – May 3, 2015, browngrotta arts will host Influence and Evolution, Fiber Sculpture then and now at our barn/home/gallery space in Wilton, Connecticut. In its 27-year history, browngrotta arts
has highlighted a group of artists – Sheila Hicks, Ritzi Jacobi, Lenore Tawney, Ed Rossbach and others – who took textiles off the wall in the 60s and 70s to create three-dimensional fiber sculpture. The influence of their experiments has been felt for decades. Influence and Evolution, Fiber Sculpture then and now, will explore that impact and examine how artists have used textile materials and techniques in the decades since, by juxtaposing works by artists who rebelled against tapestry tradition in the 60s, 70s and 80s,
Françoise Grossen, From the Mermaid Series IV, 1983, photo by Tom Grotta
including Magdalena Abakanowicz, Lia Cook, Kay Sekimachi and Françoise Grossen, with works from a later generation of artists, all born after 1960, through whom fiber sculpture continues to evolve. These artists, including María Eugenia Dávila and Eduardo Portillo of Venezuela, Stéphanie Jacques of Belgium and Naoko Serino of Japan, work in a time when classification of medium and material presents less of a constraint and fiber and fiber techniques can be more readily explored for their expressive potential alone.
“It is rare to find so many inventive, compelling works in one show, and it astounds that many are so little known,” wrote Kirsten Swenson in Art in America, about Fiber: Sculpture 1960 – present, in October 2014. Art in America Magazine – reviews: Fiber Sculpture 1960-present. This spring, in Influence and Evolution, browngrotta arts will offer dozens more significant works of fiber art for collectors to appreciate and new audiences to discover — more than two dozen works by fiber pioneers and another 30 more recent fiber explorations. We hope you will visit the exhibition, order the catalog or both. Please contact us for more information about what’s in store. art@browngrotta.com