# 1 Lia Cook, Legs. #2 Federica Luzzi, White Shell
In January, the Metropolitan Museum of Art launched a new short-session game, Art Links, that invites players to identify common threads and intriguing connections between works of art from The Met collection.
# 3 Gertrud Hals, Terra 8. #4 Wlodzimierz Cygan, Trap IV
We thought we would give arttexstyle readers a chance to make material Links between works from artists who work with browngrotta arts.
Materials to match: A) IRON – B) WOOL – C) STEEL – D) LINEN – E) COTTON – F) PAPER – G) LIGHT – H) SILK
# 7 Mary Merkel-Hess, Dark Woods. #8 Axel Russmeyer, Bits
There are 16 images in this post — 8 pairs. Based on the major materials utilized, match two art works to create a pair based the material they share. Note — We’ve cheated a bit on the names in some cases to preserve the mystery.
# 9 Simone Pheulpin, Megalith IV and VI . #10 Agneta Hobin, En Face
There are artworks by fourteen artists for you to match.
#11 Birgit Birkkjaer, Folded Baskets. #12 Glen Kaufman, Odd Man In
Here are the final two.
# 13 Hideho Tanaka, Vanishing II. #14 Kiyomi Iwata, Red Aperture
#15 Mary Giles, Fog Break. #16 Jeannet Leenderste, Amber Pleats
Here is the LINKS Key: IRON: 3 and 15 STEEL: 10 and 13 SILK: 14 and 16 WOOL: 8 and 12 LINEN: 5 and 11 COTTON: 1 and 9 PAPER: 2 and 7 LIGHT: 4 and 6
Ways of Seeing, our Fall art event, is mid-exhibition today. It’s a celebration of collecting and the myriad ways that people acquire and arrange art. We’ve put together some groupings within the show and thought of others. We’ll share some of them below for those of you who can’t attend in person. For example, collecting by material, even one as ubiquitous as paper, can result in a varied collection. We put together a wall of works on paper: a print using xerography by Katherine Westphal, a painting on paper by Claude Vermette, collages by Norma Minkowitz and Hideho Tanaka, an intricately folded paper work by Dail Behennah, a composition of twisted commercial paper by Wendy Wahl, and an assemblage of colored sandpaper by Marian Bijlenga.
left to right, top to bottom: Katherine Westphal, 10w Amphora and Fern, 1993; Wendy Wahl, 2ww 7 by 7 and 22, 1999; Marian Bijlenga, 37mb Luitzen, 2019; Hideho Tanaka, 31ht Emerging 008, 2016; Norma Minkowitz, 114nm The Seeker, 2014; Claude Vermette, 126c Untitled, 1980; Dail Behennah, 56db Two Golds, 2019; Toshio Sekiji, 26ts Lacquered and Torn, 1998. Photo by Tom Grotta
A more unusual material choice — assembling items made of materials from the sea, will also result in a wildly diverse group of works. We’re showing baskets of seaweed, wall work of fish skin and fish scales, and works that incorporate sea sand and sea stones.
12jle Bivalve, Jeannet Leendertse, 2023; 5ab Threading Fish, Annette Bellamy, 2023; 40mb Scale Flowers, Marian Bijlenga, 2019; 32kn Sazanami(Ripples), Keiji Nio , 2022; 35sl Coast, East Riding of Yorkshire 1-3, Sue Lawty, 2024. Photos by Tom Grotta
Collecting by artist can yield a broad mix of results. Choosing a category, like Polish, LQBTQ+ or self-taught artists, can result in considerable variation. Even a single artist, if it is one who experiments relentlessly like Jiro Yonezawa, can ground a surprising collection.
Jiro Yonezawa 109jy Yellow Lady Bug, 2021; 95jy Ecdysis , 2019; 64jy Ascension, 2006 92jy Orbit, 2019. Phots by Tom Grotta
There are four very different works by this artist in Ways of Seeing, and they don’t even include the wide bamboo spheres which he has created more recently.
Hisako Sekijima 650hs Suspended Decision, 2021; 620hs From 2 to 3 Dimensions V; 643-655hs A Line of Willow, 2020; 639-651hs Bound to Continue VII; 625hs Structural Discussion VI, 2016
Basketmaker Hisako Sekijima, who has worked in everything from cherry bark to kudzu is another example of someone who can be collected in multiples. Lia Cook is another — her practice has moved in several different and exciting ways through out her career.
Lia Cook 55lc Between Clouds , 1978; 4lc Crazy Quilt: Royal Remnants, 1988; 16lc Presence/Absence: Gather, 1998; 28lc Su Brain Tracts Renew, 2014. Photos by Tom Grotta
Then there are them groupings — we are showing art related to water, but even a color, like Picasso’s blue period, can be an energizing organizing principle. We’ve gathered weavings and objects that meet that criteria:
12lt Cross, Laura Thomas, 2023; 25gs Blue Color Gradation, Grethe Sørensen, 2005; 14jle Blue Levels, Jeannet Leenderste, 2019. Photos by Tom Grotta
Gallery Dates/Hours: Monday, September 23rd through Saturday, September 28th: 10am to 5pm (40 visitors/ hour) Sunday, September 29th: 11am to 6pm [Final Day] (40 visitors/ hour)
Ways of Seeing, browngrotta arts’ Fall 2024 exhibition (September 20 – 29) explores various ways that individuals envision and organize art collections. One of the three types of collections we will exhibit in Ways of Seeing is an arrangement based on a specific theme. Having a fondness for water and a location between the Norwalk River and Long Island Sound, we chose water-related art, specifically, The Art Aquatic, as our sample organizing principle.
Flight III, Karyl Sisson, deconstructed vintage zippers, thread, 5″ x 32″ x 22″, 2013. Photo by Tom Grotta
The changeable, fluid nature of water has often been an inspiration for artists. Artists use water to convey a variety of meanings. Some are moved by water as a natural force, for others there is a more spiritual connection, and still others are interested in how humans are impacting our oceans and rivers — in each case the results are thought provoking and intriguing.
40mb Scale Flowers, Marian Bijlenga, dyed Nile Perch fish scales, 22.375″ x 18.875″ x 2.5″, 2019
Artists in The Art Aquatic exhibition reflect that diversity of approaches. Some have made imaginative uses of water-related materials. There are patchworks of fish skins by Annette Bellamy, who spends part of each year fishing commercially and compositions of fish scales by Marian Bijlenga. Keiji Nio photographs sea scenes, uses the images in ribbons that he plaits and edges with beach sand. Jeannet Leenderste creates baskets of seaweed she forages in Maine and works with the Rockweed Coalition. “Seaweed not only creates a habitat for countless species, it sequesters carbon,” she says, “and protects our shoreline as our sea levels are rising.”
Ulla-Maija Vikman, Biagga (Sea Wind), painted viscose and linen, 67 x 71 in, 2010. Photo by Tom Grotta
Other works in The Art Aquatic offer more abstract references to life in the deep, including Ulla-Maija Vikman’s “painting,” Biagga(Sea Wind), made of viscose threads in marine colors. Mariette Rousseau-Vermette’s Blue Water II, made of woven tubes of beachy blue, grey, white, and yellow, evokes a sunny day at the water’s edge. Masakazu Kobayashi’s assemblage of silk-wrapped bows reflects an ocean horizon.
Fish Trap, Ed Rossbach, 14″ x 11″ x 11″, 1988. Photo by Tom Grotta
A third series of works offer watery imagery, like Judy Mulford’s Aging by the Sea which incorporates a conch shell and a tiny boat covered in knotless netting, Ed Rossbach’s Fish Trap Basket, with a whimsical fish motif, the mermaid in Norma Minkowitz’s sculpture, My Cup Runneth Over, and Karyl Sisson’s Flight III, a sea-creature-like sculpture of vintage zippers.
Paper boats by Jane Balsgaard and Merja Winqvist, Tubular textile by Mariette-Rousseau-Vermette. Photo by Tom Grotta
More literal still, there are the nautical object interpretations included in the exhibition, like Mercedes Vicente‘s shell of cotton canvas. Jane Balsgaard’s Relief floats alongside Merja Winqvist’s gridded boat – both are made of paper. Text from Moby Dick is etched on Call Me Ishmael, Lawrence LaBianca’s ivory-colored boat sculpture. La Bianca has created a body of work that engages aquatic environments. “The tools we apply to nature—to contain it, shape it, understand it and categorize it also have a profound impact upon it,” he says. LaBianca references the impetus to measure, understand, contain, and manipulate nature that animates his art – that impetus is one that can animate collectors of art as well.
Judy Mulford, Aging-By the Sea , shell, waxed linen, waxed linen, silver, beads, pearls, silver spoon, sand, plexiglas, 11″ x 11″ x 10″, 2004. Photo by Tom Grotta
Join us at Ways of Seeing and learn more.
ExhibitionDetails: Ways of Seeing exploring ways individuals envision and curate art collections browngrotta arts 276 Ridgefield Road Wilton, CT 06897
Gallery Dates/Hours: Saturday, September 21st: 11am to 6pm [Opening & Artist Reception] Sunday, September 22nd: 11am to 6pm (40 visitors/ hour) Monday, September 23rd through Saturday,September 28th: 10am to 5pm (40 visitors/ hour) Sunday, September 29th: 11am to 6pm [Final Day] (40 visitors/ hour) browngrotta.com
Schedule your visit at POSH. Safety protocols: Reservations strongly encouraged; No narrow heels please (barn floors)
It’s September and it’s not just schools that are opening their doors. Tanned, rested and ready — museums and galleries like browngrotta arts are presenting fall events. Here’s a round up of some fiber events to view in the next few months.
In New York, it’s NYTM — New York Textile Month. That means range of activities — talks, films, studio visits, workshops, an in-window exhibition at Bergdorf Goodman, exhibitions at Mana Contemporary and elsewhere, and Eva Hesse’s Expanded Expansion at the Guggenheim — all celebrating textile art, making and conservation. Check out the NYTM website for suggestions, times, and dates.
Detail of Memory, Kyoko Kumai, stainless steel filaments, 41” x 19” x 19”, 2017. Photo by Tom Grotta
Since 2017, Tanabe City Museum of Art has been presenting Contemporary Weaving, an exhibition series that showcases outstanding contemporary weavers who create world-class works by combining traditional and unique materials and techniques with new weaving expressions that reflect the times. This year’s Contemporary Weaving Artist Series 6 features the art of Kyoko Kumai (1943), who has expanded the world of weaving through her innovative use of metallic threads, and continues to develop a variety of expressions that evoke light and wind.
Intellectual Beauty 2nd International Exhibition of Textile Art and Mixed Media Museu Textil September 1 – February 28, 2022 Virtual https://www.museutextil.com
Vessel from Intellectual Beauty by Jeannet Leenderste. Photo by Jeannet Leenderste
Rodrigo Franzao founded a fully envisioned virtual museum that focuses on the work of artists who “use textile strategies as support for their creations.” For Intellectual Beauty, Fanzao has gathered 43 artists from 18 countries, who have used their “sensitive reality to introduce to the beholder the sensorial perceptions of a reality emancipated from rules and theory, free and absorbed by inspiration.” You can view the entire exhibition, 116 artworks, including two by Jeannet Leenderste, online.
Contextile 2022 September 3 – October 31, 2022 Guimarães, Portugal
Landscape Here West, by Åse Ljones from the Intellectual Beauty exhibition. Photo by Helge Hansen.Anthropocene by Neha Puri Dhir from Contextile 2022. Photo by Neha Puri Dhir.
Contextile 2022 – Contemporary Textile Art Biennial celebrates its 10th Anniversary this year. The exhibition features 57 works by 50 artists from 34 countries chosen for their high creativity, originality and technical competence around the textile element, by construction, theme, concept or material used, as well as their adherence to the concept of Contextile 2022: RE-MAKE. Among the artists included are Neha Puri Dhir of India. In addition, the Contextile organizers selected Norway as its invited country and are presenting work from 13 Norwegian textile artists including Åse Ljones.
X International Biennial of Contemporary Textile Art, “25 Years World Textile Art” From November 3rd to December 15th, 2022 Miami International Fine Art (MIFA) 5900 NW 74th Ave Miami, FL 33166 Colombia Consulate 280 Aragon Ave Coral Gables, FL 33134
This year 2022, WTA celebrates its 25th anniversary with the X International Biennial “25 YEARS WTA”, from October through December 2022. For the 10 th Biennial, more than ten countries will be interconnected to celebrate WTA history through salons featuring 25 artists each. A number of artists will have worked displayed in connection with this exhibition including Anneke Klein.
Detail of River by Jolanta Owidzka, 1978 and Ultima Copper, Green, Orange vessels by Gertrud Hals, 2021. Photo by Tom Grotta.
Mindful of the impact that poitical events can have on artists and their art, browngrotta arts will present to work of nearly 50 artists from 21 NATO-related countries in Europe whose work reflects diverse perspectives and experiences. Allies for Art: Work from NATO-related countries (October 8 – 16, 2022) will include art created under occupation, in the ‘60s, ‘70s and ‘80s, art by those who left Hungary, Spain and Romania while occupied, and who left Russia in later years, including Jolanta Owidzka, Zofia Butrymowicz, and Krystyna Wojtyna-Drouet of Poland and Luba Krejci and Jan Hladik of Czechoslovakia, Ceca Georgieva of Bulgaria, Gyöngy Laky (Hungary/US), Ritzi Jacobi (Romania/Germany), Adela Akers (Spain/US), Aleksandra Stoyanov (Ukraine/Israel) and Irina Kolineskova (Russia/Germany). Allies for Art will also include recently created art by artists living in Europe, including works by Gudrun Pagter of Denmark, Åse Ljones of Norway, Ulla-Maija Vikman of Finland, Heidrun Schimmel of Germany, Lilla Kulka and Włodmierz Cygan of Poland, and, five artists new to browngrotta arts, including, Esmé Hofman of the Netherlands, Aby Mackie of Spain and Baiba Osite of Latvia.
