Tag: Randy Walker

Save the Date: Beauty is Resistance Opens at browngrotta arts on October 11th

We’ll be exploring Beauty as Resistance: art as antidote in our 2025 Fall “Art in the Barn” exhibition at browngrotta arts in Wilton, Connecticut. The exhibition will explore how aesthetic creation—particularly within textile, fiber, and material-based practices—serves as a form of defiance, cultural preservation, and political voice. In an age of political polarization, ecological crisis, and rampant commodification, beauty might seem like a luxury—or a distraction. But the artists in this exhibition harness the power of beauty not as escape but as agency: to mourn, to protest, to remember, to heal, and to imagine

Beauty is Resistance by Norma Minkowitz
Frozen in Time by Norma Minkowitz. Photo by Tom Grotta

Beauty is Resistance will bring together more than two dozen artists, spanning generations, mediums, and geographies. The works fall loosely into four subthemes. Norma Minkowitz’s Frozen in Time reflects Threads of Memory, artworks in which fiber as a tool to archive personal, cultural, and collective memory and experience. Minkowitz’s work is about once-used personal items, perhaps ancient relics, in ominous black, showing every detail in time. A diary, combined with combs, various brushes, documenting a persons lived life, hidden messages inside a book that can’t be opened, are all frozen in time. These tell a story or trigger a question for the viewer.  

Reading Between the Lines
Fragments Of A Life Lived 3 by Aby Mackie. Photo courtesy of Aby Mackie

Reading Between the Lines includes works that subtly or explicitly engage with, politics, ecology, and resistance. Aby Mackie, an artist located in Spain, works with discarded historic textiles, deconstructing and reconfiguring them. “In reworking with what was cast aside,” Mackie says, “my practice becomes a form of quiet resistance—honoring forgotten stories and reasserting the enduring significance of craft in the face of environmental and cultural neglect.” In the 80s, Ed Rossbach created aseries of assemblages, titled El Salvador. In the series, Rossbach used camouflage cloth and sticks to protest US covert activity in that South American country. More personal is Yong Joo Kim’s Weight of Commitment: 4 Years Old. For Kim, making art is less a means of expression and more a residue of her efforts to sustain her life under pressure and weight. She creates art works she hopes are seen as symbols of resilience, beauty, and the transformation of struggle into creation. Weight of Commitment illustrates that approach. “As light and shadow played across the work,” Kim says, “the silhouette of a child appeared—seemingly around four years old—floating in mid-air. This moment was meaningful, because it was completely unintended, and I made it while I was going through IVF.”

Collider by Randy Walker
Collider by Randy Walker. Photo by Tom Grotta

Randy Walker’s Collider reflects another of Beauty’s subthemes, Radical Ornament, in which art reclaims ornamentation, surface and structure as valid forms of protest and joy. Trained as an architect, Walker’s work straddles several boundaries of craft, sculpture, and installation.His works create dialogues — solidity and transparency; structural stability and collapse; visibility and invisibility.

Donald and his Habsburg Empire by James Bassler
Donald and his Habsburg Empire by James Bassler. Photo by Tom Grotta

Finally, for Ritual and Reverence, the fourth subtheme, we’ll exhibit work grounded in indigenous craft and sacred traditions reimagined. James Bassler’s Donald and his Habsburg Empire, is a comment on both the historical and the contemporary attitude of arrogance and entitlement that has existed throughout history. Bassler references the Habsburgs, the ruling family of Austria, 1276-1918 and of Spain,1516-1700, that gave the world elitism through birthright, with no regard to proven achievement, noting that today in the US, the Kardashian and the Donald Trump model has made the acquisition of vast sums of money and profit an alarming societal objective, an elitism that values profits over people. In 2016, Bassler was invited to an exhibition at the Museo Textile de Oaxaca in Mexico that utilized feathered yarn, created of Canadian feathers, by spinners in Mexico who based the yarns on ones created in the 17th century. “After reviewing all of the material, I couldn’t help but notice that on many of the ancient textiles in which the feathers were used promoted the double-headed eagle of the Habsburg Empire, a reminder to those subjugated as to who was in charge,” Bassler says. “With that in mind and knowing that the feathers came from Canadian ducks, it was a logical step to create the double-headed ducks. The Donald Trump arrogance factor developed as the presidential debates materialized.”

Other artists whose work will be exhibited in Beauty is Resistance include: Kay Sekimachi (US), Neha Puri Dhir (IN), Karyl Sisson (US), Naoko Serino (JP), Laura Foster Nicholson (US), Jin-Sook So (KR), Irina Kolesnikova (DE), James Bassler (US), Gyöngy Laky (US), Lia Cook (US), and Eduardo Portillo and María Dávila (VE). 

Reserve a time to visit Beauty as Resistance: art as antidote : HERE

Beauty as Resistance: art as antidote
October 11 – 19, 2025

Location: 
browngrotta arts, 276 Ridgefield Road Wilton, CT 06897 

Times:
Saturday, October 11th: 11AM to 6PM [Opening & Artist Reception] 
Sunday,  October 12th: 11AM to 6PM
Monday, October 13th through  Saturday, October 18th: 10AM to 5PM
Sunday, October 19th: 11AM to 6PM [Final Day]

Safety Protocol:
No narrow heels please — barn floors.


Art Assembled: New this Week November

 

 Lead Relief Mary Giles lead, iron, wood 23.75” x 56 .75”” x 2”, 2011

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

We kicked off November’s New This Week with Mary Giles’ Lead Relief. “In Giles’ work, one will find the traditional basketry technique coiling alongside contemporary materials of waxed linen, copper, and iron,” notes the Textile Center. Giles’ uses both her basketry and sculpture as a means to express her concerns about the environment and human condition. Giles’ concern about the growing population is visible in works such as Lead Relief. In 2013, she was named Master of the Medium by the James Renwick Alliance of the Smithsonian Institution.

 

Sinuous, Randy Walker, found steel, cotton cord, nylon thread, 28” X 30" x 20”, 2003

Sinuous Horse, Randy Walker, found steel, cotton cord, nylon thread, 28” X 30″ x 20”, 2003. Photo: Tom Grotta

Sinuous Horse, is an example of how Walker, uses fiber as his medium to endlessly explore the possibilities of a single strand of thread. In Sinuous Horse, Walker used pieces of salvaged steel to create the bone-like structure of a horse. Walker then used nylon thread and cotton cord to form the curves of a horses body. “My work straddles precariously on several boundaries: solidity and transparency; structural stability and collapse; visibility and invisibility,” notes Walker “I strive to create work that primarily engages our sense of sight by contemplating how light can define structure, surface, and color.”

Kundalini Rising II, Pat Campbell,
rice paper, reed and wood, 24” x 14” x 6.5”, 2009. Photo: Tom Grotta

Delicately crafted of rice paper, reed and wood Pat Campbell’s Kundalini Rising II also made an appearance in November. The technique Campbell uses to create her rice paper sculptures is derived from those used to created Japanese shoji screens. Rice paper provides Campbell with the transparency she desires in creating a simple but spectacular piece of work. The thin nature of rice paper also allows Campbell to easily shape reed, wood, and paper cord necessary for her sculptures.

Fog Break, Mary Giles, waxed linen, iron, brass, 11” x 26” x 9”, 2011

Fog Break, Mary Giles, waxed linen, iron, brass, 11” x 26” x 9”, 2011. Photo: Tom Grotta

We concluded November with Fog Break, another impeccable piece by Mary Giles. When working with coiled forms such as Fog Break Giles uses waxed-linen, iron and brass. Giles individually cuts and hammers each piece of iron and brass and then torches the metal to alter the color. “By torching the metals I am able to alter the colors in varying degrees enabling me to blend them from darks to brights,” explains Giles. “I use this blending to interpret the colors, textures and light that I see in the natural settings.”

 

 


Art News: Publications

A number of interesting and varied press reports, books and catalogs have crossed our desk at browngrotta arts in the last couple of months. The truly glorious Spoken Through Clay,  Native Pottery of the Southwest: The Eric S. Dobkin Collection, edited by Charles S. King (Museum of New Mexico Press) is one example. The volume documents 300 vessels in the Dobkin collection in large-scale, meticulously corrected color photos, a collection that has a “unique and distinctive focus on aesthetic of the vessel.” King has organized the works into several sections: Dreamers, Traditionalists, Transitionists, Modernists, Visonaries, Transformists and Synchronicity. The Navajo artists — mostly Pueblo — provide uniques insights into the works.
The catalog from Ane Henriksen’s recent exhibition in Denmark, Ane Henriksen in collaboration with Jens Søndergaard, is another.  Visual artist and weaver Ane Henriksen returned to Museum Thy in Denmark in June, with “a handful of great pictures,” inspired by the painter Jens Søndergaard’s works. The catalog chronicles that exhibition. For a number of years, Ane Henriksen has worked with image theories, including at the National Workshops at the Old Dock in Copenhagen. For 25 years, she has lived in Thy and created woven pictures inspired by nature and culture there. Highlighting work by Sara Brennan, James Koehler and Ann Naustdal among others, the Coda 2017 catalog is the third Coda volume published by the American Associate of Tapestry. It also includes informative
essays by Lesley Millar, Alice Zrebiec and other authors.
Several recent magazines have also featured browngrotta arts’artists including Fiber Art now’s Summer 2017 article, “Marian Bijlenga: Creator and Curator” by Jamie Chalmers. Chalmers notes that Bijlenga’s works dissect individual elements and disperse them while still maintaining an order to the arrangement. “[T]he incisions in the work reinforce the notion of scientific intervention and have echoes of the natural architectural work of Andy Goldsworthy, someone Biljenga’s cites as an influence.” In the September/October 2017 issue of Crafts magazine from the UK, Laura Ellen Bacon’s elegant work of willow is the subject of a feature, which notes that she has created a new work of Flanders Red willow, “about movement and vigor and trying to show how the material is being worked,” for the Woman’s Hour Craft Prize, for which Crafts noted in its July August issue, she is a finalist.
In the fall 2017 issue of Interweave Crochet, Dora Ohrenstein explains how Norma Minkowitz has established crochet “as a legitimate tool for artistic expression ”recognized by the 31 major museums that have acquired her work, including the Wadsworth Atheneum Museum of Art in Hartford, Connecticut, New York’s Metropolitan Museum of Art and the Philadelphia Museum of Art, in her article “Norma Minkowitz: A Life in the Fiber Arts.” And online in “Randy Walker: Thread Held in Tension,” textileartist.org shares “what fires Randy’s imagination…how his background in architecture has shaped his artistic vocabulary…and how he puts together his subtle, yet mind-blowing installations.” Look for them.

Still Crazy…30 Years: The Catalog

Still Crazy...30 Years: The Catalog Cover Naoko Serino and Mary Yagi

Still Crazy…30 Years: The Catalog

It’s big! It’s beautiful (if we do say so ourselves –and we do)! The catalog for our 30th anniversary is now available on our new shopping cart. The catalog — our 46th volume — contains 196 pages (plus the cover), 186 color photographs of work by 83 artists, artist statements, biographies, details and installation shots.

Still Crazy...30 Years: The Catalog

Naoko Serino Spread

Still Crazy...30 Years: The Catalog

Michael Radyk Spread

Still Crazy...30 Years: The Catalog

Lilla Kulka Spread

Still Crazy...30 Years: The Catalog

Jo Barker Spread

The essay, is by Janet Koplos, a longtime editor at Art in America magazine, a contributing editor to Fiberarts, and a guest editor of American Craft. She is the author of Contemporary Japanese Sculpture (Abbeville, 1990) and co-author of Makers: A History of American Studio Craft (University of North Carolina Press, 2010). We have included a few sample spreads here. Each includes a full-page image of a work, a detail shot and an artist’s statement. There is additional artists’ biographical information in the back of the book. Still Crazy After All These Years…30 years in art can be purchased at www.browngrotta.com http://store.browngrotta.
com/still-crazy-after-all-these-years-30-years-in-art/.
Our shopping cart is mobile-device friendly and we now take PayPal.


More Art Outdoors: Randy Walker’s latest in Minneapolis

Randy Walkers Urban Fabric installation. photo courtesy of Randy Walker

Randy Walkers Urban Fabric installation. photo courtesy of Randy Walker

Randy Walker is at work on a temporary art installation outdoors in Minneapolis, Minnesota, entitle Urban Fabric. Walker received his fifth Minnesota State Arts Board Artist Initiative Grant that will fund the work. The installation is located on the side wall of the historic Pantages Theater, which is home to a nondescript parking lot. It will be part of the Pantages’ 100th anniversary recognition. Another artist is creating a billboard above the installation, and some of the fiber from Urban Fabric will extend over the top to connect to the building above.

Urban Fabric

Urban Fabric

The image below of Walker’s assistant, Arnold Carlson, illustrates that while the work is simple in concept, its execution is extremely tedious and difficult. The Pantages Theatre is located at: 710 Hennepin Avenue, Minneapolis, Minnesota, 55403. You can take a behind-the-scenes tour of the Panteges and other beautifully preserved theaters in downtown Minneapolis in September. More information here: http://dev.preserveminneapolis.org/event/historic-theaters-of-minneapolis-walking-tour/.


Books Make Great Gifts: Our Annual Artists’ Reading Round Up

Another year of interesting and inspirational book recommendations from browngrotta arts’ artists and staff. History, humor, poetry, philosophy — it’s all here. I recently read Listening to Stone: The Art & Life of Isamu Noguchi by Hayden Herrera

Dona Anderson reports, “I recently read Listening to Stone: The Art & Life of Isamu Noguchi by Hayden Herrera. Noguchi created Black Sun, a sculpture in Seattle’s Volunteer Park. Postwar, Noguchi was increasingly involved in designing public spaces — the UNESCO garden in Paris, Yale University’s Beinecke Library Garden, the Billy Rose Sculpture Garden in Jerusalem — while still creating personal work. His aim, he said was to form ‘order out of chaos, a myth out of the world, a sense of belonging out of loneliness.’ Building Art: The Life & Work of Frank Gehry by Paul Goldberger

My current read is Building Art: The Life & Work of Frank Gehry by Paul Goldberger.” Chris Drury loved John McPhee’s Coming into the Country – although, he notes, it is an older book now – about Alaska. A Thousand Splendid Suns by Khaled Hosseini Ceca Georgieva read A Thousand Splendid Suns by Khaled Hosseini and is currently reading, The Secret Book of Frida Kahlo: A Novel by F.G. Haghenbeck. Don't Despair by Matias Dalsgaard Helena Hernmarck recommends, Don’t Despair by Matias Dalsgaard (www.pinetribe.com; Twitter:@MatiasDalsgaard). Dalsgaard is a Danish scholar who has a background in comparative literature and postdoctoral degree in philosophy. The book offers a Lutheran-Kirkegaardian perspective on life, criticizing the modern perspective of being self-centered and ultimately despaired. 10% Happier: How I Tamed the Voice in My Head, Reduced Stress Without Losing My Edge, and Found Self-Help That Actually Works--A True Story, by Dan Harris Helena also found 10% Happier: How I Tamed the Voice in My Head, Reduced Stress Without Losing My Edge, and Found Self-Help That Actually WorksA True Story, by Dan Harris, a fun read. For Tim Johnson, 2015 was a great year for personal book discoveries! “After years of being out of print and hard to find Charles Jencks and Nathan Silver’s influential Adhocism, The Case for Improvisation was republished in 2013 (https://mitpress.mit.edu/books/adhocism). Adhocism, The Case for Improvisation When I first held this book in the 1980s it offered a thoughtful contextualization to the real life process of gathering and recycling urban materials for my sculptures and installations. With contemporary concerns of upcycling and sustainability, Jencks’ and Silvers’ assertions seem more apt than ever.” Nancy Koenigsberg recommends a favorite from 2014, Fiber Sculpture: 1960-Present by Jenelle PorterFiber Sculpture: 1960-Present by Jenelle Porter. Mary Merkel-Hess says her favorite book on art this year was Playing to the Gallery by Grayson Perry Playing to the Gallery by Grayson Perry, a British ceramic artist, described by one reviewer as “a man in a frock who makes pots with rude designs.” Mary describes it as “a quirky, personal and lively journey through the issues facing the contemporary art world and a lot of it is hilarious – especially the illustrations.”
The Blazing World by Siri Hustvedt Heidrun Schimmel read, “with great pleasure,” The Blazing World by Siri Hustvedt (Simon and Shuster, New York 2014). “And not always with great pleasure,” Heidrun says she read, All the World's Futures: 56 International Art Exhibition All the World’s Futures: 56 International Art Exhibition, the catalogues for this year’s Venice Bienniale. “Most of the essays are very interesting and important,” she writes. “There were some very good pavilions in the Giardini this year, for example the Japanese Pavillon for the textile art scene.” Hisako Sekijima recommends a book in Japanese, U.S. Cultural Diplomacy and Japan in the Cold War Era Tokyo Press U.S. Cultural Diplomacy and Japan in the Cold War Era (only the title is in English; the contents are in Japanese. It’s a 300-page hardcover book published by University of Tokyo Press, 2015) It is an extensive study done by Fumiko Fujita, ex-professor at Tsuda College. “Actually, the author is my college friend,” writes Hisako. Reading this book, she “happily” realized that she had been exposed to much of this cultural climate after the World War, as she grew up. “From home comedies, like Lassie to Edward Steichen’s The Family of Man, I learned — and was surprised — at the large extent to which numberless cultural programs had been politically planned to create a good partnership between US and Japan.” She was also surprised to learn such programs had been also worked to be less political or more culturally meaningful by the efforts done by enthusiastic and respectful private people like cultural attachés, artists or sports players. “I liked this latter part of the story! Though planned politically, such rich programs proved to influence us so much. I studied English and could enjoy my chance to live in NYC, where I came across with new waves in crafts.” Kay Sekimachi recommends Masters of Craft: Portraits by Paul Smith (and so do Tom and Rhonda) and also The Monocle Guide to Cozy Homes, edited by Tom Morris, Monocle (Gestalten, Berlin. 2015). Last Spring, Wendy Wahl began teaching, Soft Materials, a course in the department of Constructed Environments at Parson’s New School in New York. “In researching books for the course,” she writes, “I was reintroduced to Fabrics: A Guide for Interior Designers and Architects, by Mary Paul Yates (W.W.Norton). Imagine my delight to see the inclusion of Fiber Art and the images from browngrotta arts. At a rare and used bookstore I came upon The Root of Wild Madder: Chasing the History, Mystery and Lore of the Persian Carpet by Brian MurphyThe Root of Wild Madder: Chasing the History, Mystery and Lore of the Persian Carpet by Brian Murphy (Simon and Schuster). The author takes the reader on a magic carpet ride traveling in the regions of its origins and destinations to tell the stories of the dyers, weavers and sellers of this remarkable art form. At my local public library I found Textiles --The Whole Story: Uses, Meanings, Significance by Beverly Gordon Textiles –The Whole Story: Uses, Meanings, Significance by Beverly Gordon (Thames and Hudson, 2011). With words and images she beautifully covers the uses, meanings and significance of textiles in the course of human history, as the subtitle suggests.” The Genome Rhapsodies
Randy Walker writes, “At the risk of appearing immodest, I’m recommending a book of poetry, The Genome Rhapsodies, that has one of my pieces on the cover. And I’m not even an avid poetry reader. When I was approached by Anna George Meek, a friend and accomplished poet, about using an image of my first public art installation, Woven Corncrib, on the cover of her new collection of poems, I was, of course, honored. But that’s not why I’m recommending this book. As we worked together to find an appropriate image, a series of conversations ensued over several months. These conversations were about histories, found objects, genetic material, fibers of all kinds woven throughout our lives. Gradually, I began to see clearly why Anna would venture to adorn her book, winner of the Richard Snyder Publication Prize and a product of over 15 years of work, with an image of an old steel corn crib woven with 300 pounds of salvaged fiber. Reading these poems, some deeply personal, opened an expansive view to me of a world that, as a primarily visual person, I don’t usually glimpse.” Tom and Rhonda recommend Organic Portraits, a photography book by John Cooper. Organic Portraits by John CooperCooper’s organic portraits will be on exhibit this Spring at the Morris Museum in New Jersey in conjunction with Green from the Get Go: International Contemporary Basketmakers, from March 19 to June 26, 2015. “From the beginning,” Cooper explains, “the intent of the Organic Portraits project was to create a series of timeless and fundamentally beautiful images that would create awareness for—and help preserve—the world’s rainforests. In the 1950s, around the time I was born, about 15 percent of Earth’s landmass was covered with oxygen-generating and carbon-dioxide storing rainforests. At the time of this book’s publication, fewer than 70% of those forests remain. The aim of this project is to drive home the understanding that our rainforests— the lungs of our Earth— are both vital and in dire need of protection.” Cooper published Organic Portraits through a Kickstarter campaign; he is donating all profits from the book to the Rainforest Action Network Fund.

We hope your holidays provide you lots of leisure reading time!


browngrotta arts Returns to SOFA Chicago, November 5-8th

627mr PapelionIidae, Mariette Rousseau-Vermette wool, steel, 54” x 54” x 16”, 2000

627mr PapelionIidae, Mariette Rousseau-Vermette
wool, steel, 54” x 54” x 16”, 2000

After a few-year hiatus, browngrotta arts will return to the Sculpture, Objects, and Functional Art Exposition at the Navy Pier in Chicago next month. We’ll be reprising our most recent exhibition, Influence and Evolution: Fiber Sculpture…then and now, with different works for a number of artists, including Naoko Serino, Kay Sekimachi, Anda Klancic, Ritzi Jacobi, Randy Walker, Mariette Rousseau-Vermette, Carolina Yrarrázaval and Lenore Tawney. Other artists whose work will be featured in browngrotta arts’ exhibit are Magdalena Abakanowicz, Adela Akers, Lia Cook, Sheila Hicks, Masakazu Kobayashi, Naomi Kobayashi, Luba Krejci, Jolanta Owidzka, Ed Rossbach, Sherri Smith, Carole Fréve, Susie Gillespie, Stéphanie Jacques, Tim Johnson, Marianne Kemp, Federica Luzzi, Rachel Max, Eduardo Portillo & Mariá Eugenia Dávila, Michael Radyk and Gizella K Warburton. SOFA will publish a related essay, Fiber Art Pioneers: Pushing the Pliable Plane by Jo Ann C. Stabb,
on the origins of the contemporary fiber movement.

1cy AZUL Y NEGR Carolina Yrarrázaval rayon, cotton 116" x 40.5”, 2003

1cy AZUL Y NEGR
Carolina Yrarrázaval
rayon, cotton
116″ x 40.5”, 2003

Now in its 22nd year, SOFA CHICAGO is a must-attend art fair, attracting more than 36,000 collectors, museum groups, curators and art patrons to view museum-quality works of art from 70+ international galleries. After a nationwide competition, SOFA CHICAGO recently placed #7 in the USA Today Reader’s Choice 10 Best Art Events.New this year, SOFA CHICAGO will unveil a revamped floorplan created by Chicago architects Cheryl Noel and Ravi Ricker of Wrap Architecture. The re-envisioned design will create a more open and cohesive show layout, allowing visitors to explore the fair in a more engaging way. Changes include a new, centrally located main entrance where browngrotta arts’ booth, 921, will be located. Cheryl Noel of Wrap Architecture adds, “The most effective urban contexts contain distinct places within the larger space, corridors with visual interest and clear paths with fluid circulation. We believe this new floorplan will capture the spirit of the art and be an expression of the work itself, exploring form and materiality, with the same level of design rigor applied.”

1rw SAW PIECE NO.4 (AUTUMN) Randy Walker, salvaged bucksaw, steel rod, nylon thread 42" x 96" x 26", 2006, Photo by Tom Grotta

1rw SAW PIECE NO.4 (AUTUMN)
Randy Walker, salvaged bucksaw, steel rod, nylon thread
42″ x 96″ x 26″, 2006, Photo by Tom Grotta

On Friday, November 6th, from 12:30 to 2:30, Michael Radyk will be at browngrotta arts’ booth to discuss his Swan Point series, Jacquard textiles created to be cut and manipulated after being taken off the loom, in which Radyk was trying “to bring the artist’s hand back into the industrial Jacquard weaving process.” SOFA opens with a VIP preview on Thursday, November 5th, from 5 pm to 9 pm. The hours for Friday and Saturday are 11 am – 7 pm; and 12 to 6 pm on Sunday the 8th. SOFA is in the Festival Hall, Navy Pier, 600 East Grand Avenue Chicago, IL 60611. Hope to see you there!


Influence and Evolution: The Catalog is Now Available

Influence and Evolution: Fiber Sculpture...then and now catalog cover artwork by Federica Luzzi

Influence and Evolution: Fiber Sculpture…then and now
catalog cover artwork by Federica Luzzi

Our Spring exhibition Influence and Evolution: Fiber Sculpture…then and now explored the impact 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. In Influence and Evolution, we paired early works by Magdalena Abakanowicz, Lia Cook, Kay Sekimachi and Françoise Grossen — artists who rebelled against tapestry tradition — with works from a later generation of artists, all born in 1960 or after. Fiber sculpture continues to evolve through this second group of artists, including María Eugenia Dávila and Eduardo Portillo of Venezuela,

Influencers Title page  Influence and Evolution catalog

Influencers Title page Influence and Evolution catalog

Stéphanie Jacques of Belgium, Naoko Serino of Japan and Anda Klancic of Slovenia. In our 160-page color exhibition catalog, Influence and Evolution: Fiber Sculpture…then and now, you can see the works in the exhibition. Each artist is represented by at least two works; images of details are included so that readers can experience the works fully. The catalog also includes an insightful essay, Bundling Time and Avant-garde Threadwork by Ezra Shales, PhD, Associate Professor, History of Art Department, Massachusetts College of Art and Design in Boston. Influence and EvolutionShales write in his essay, “poses rich comparisons and asks the mind to sustain historical linkages. We feel the uneven texture of time, luring us into a multiplicity of artistic pasts and an open road of varied fibrous futures. An emphasis on plural possibilities makes this exhibition quite distinct from a tidy biblical story of genesis or masters and apprentices. We witness multiple intra-generational passing of batons as well as many artists changing horses midstream, as well they often do.” The three works in Influence and Evolution by Adela Akers that traverse five decades provide a fascinating view of the artistic progression Shales refers to. The curvilinear, draped forms of Summer and Winter 

Influence and Evolution, Adela Akers spread

(1977; restored 2014), he notes, resemble “both a ruffle and a row of ancient mourners.” Midnight, from 1988, by contrast, is hard-edged, “a monumental window into an alternative architectural space.” And Akers recent work, Silver Waves, completed in 2014, is “an intimate surface with linear imagery” whose horsehair bristles “almost invite a caress if they did not seem to be a defensive adaptation.” Juxtapose Silver Waves with American Michael Radyk’s Swan Point (2013) and and Dutch artist, Marianne Kemp’s Red Fody (2013) that also features horsehair,  and catalog readers are likely to understand  Shales’ query: should we categorize woven forms as a logical temporal narrative or inevitable sequence of linked inquiries? Shales is a guest curator of Pathmakers: Women in Art, Craft and Design, Midcentury and

Influence and Evolution, Sheila Hicks spread

Influence and Evolution, Sheila Hicks spread

Today currently at the Museum of Arts and Design in New York which features more than 100 works, by a core cadre of women—including Ruth Asawa, Sheila Hicks, Karen Karnes, Dorothy Liebes, Toshiko Takaezu, Lenore Tawney, and Eva Zeisel—who had impact and influence as designers, artists and teachers, using materials in innovative ways. To order a copy of Influence and Evolution: Fiber Sculpture…then and nowour 43rd catalog, visit browngrotta.com.

80.89

Influence and Evolution, Stéphanie Jacques spread


Influence and Evolution Update: More Innovators

Details of works by Anda Klancic, Stephanie Jacques, Naoko Serino, Susie Gillespie, photos by Tom Grotta

Details of works by Anda Klancic, Stephanie Jacques, Naoko Serino, Susie Gillespie, photos by Tom Grotta

This April’s exhibition at browngrotta arts, includes 15 artists whose work we believe shows the experimental approach to materials and methods that characterized the fiber art movement in its early days, in the the 1960s. Six of these 15, Anda Klancic, Stéphanie Jacques, Naoko Serino, Susie Gillespie, Carolina Yrarrázaval and Randy Walker are not new to browngrotta arts, but they do epitomize an approach that deftly combines exploration and technical mastery. Anda Klancic of Slovenia for example, has won awards and holds patent on the techniques she has developed to create lace-like works using a sewing machine. Naoko Serino of Japan blows air into jute to create surprisingly luminous, magical forms. Stéphanie Jacques of Belgium is an innovative sculptor in willow and clay, who also uses photography, video and performance to explore larger questions of identity. As one observer wrote “watch her voids and shadows carefully as they are rich with meaning.” Susie Gillespie of the UK combines natural materials, including hand-spun nettle, with a novel mix of techniques, broken borders, insets and slits and twining, to create works with a sense of earth, stone, vegetation and decomposition, that

15cy Mar Y Arena, Carolina Yrarrázaval, silk and linen 69” x 31, 2012. Photo by Tom Grotta

appear old, yet feel new. Throughout her career, Carolina Yrarrázaval of Chile has investigated and adapted traditional textile techniques from diverse cultures, especially Pre-Columbian techniques. Her highly accomplished, abstract weavings are austere and sensual at the the same time. American artist, Randy Walker, takes an architectural approach, creating interesting and elegant constructions that use fine threads, cords and ropes to re-envision humble found objects.

8rw Collider Randy Walker steel, nylon 29.75” x 31.5” x 12”, 2015. Photo by Tom Grotta

Recent works by this diverse group of artists will be featured in Influence and Evolution, Fiber sculpture…then and now, at browngrotta arts, 276 Ridgefield Road, Wilton, Connecticut from April 24th – May 3rd. The Artists Reception and Opening is on Saturday April 25th, 1pm to 6pm. The hours for Sunday April 27th through May 3rd are 10am to 5pm. To make an appointment earlier than 10am or later than 5pm, call: 203-834-0623.


The Year in Books: Art, Life and Learning — Part 2

RichardDiebenkornAs always, art books are well represented among this year’s recommendations from browngrotta arts-affiliated artists, and at least one of the volumes offers life lessons, too.  Adela Akers writes that “the best books so far this year are the Diebenkorn catalogs for the exhibition at the de Young Museum,” which includes, Richard Diebenkorn, The Berkeley Years, 1953- 1966. Adela also recommends The Intimate Diebenkorn: Works on Paper 1949-1992, both as “good reads that include wonderful reproductions.” 39b.SHEILA.HICKSThe comprehensive volume,  Kyoko_Kumai_bookWorks of Kyoko Kumai Metallic Textile Art, published earlier this year tops Kyoko Kumai’s list. The book’s text appears in English and Japanese and it includes a digital version of the book on cd. Naomi Kobayashi recommends  Sheila Hicks for its content and beautiful binding.  The.Hare.with.Amber.EyesKay Sekimachi listed The Hare with Amber Eyes. In it, Edmund de Waal,  a potter and curator of ceramics at the Victoria & Albert Museum, describes the experiences of his family, the Ephrussis, and explores the family’s large collection of Japanese netsuke, tiny hand-carved figures including a hare with amber eyes. La_Biennale_di_VeneziaIn Heidrun Schimmel’s view, the 55. Esposizione Internazionale d´Arte  was one of the best Biennials in Venice ever, and she enthused about the accompanying catalog, The Encyclopedic Palace, 55th International Art Exhibition: La Biennale di Venezia. Its title was chosen by the director for the 55th Biennale as a reference to the 1955 design registered with the US Patent office by the self-taught artist Marino Auriti, depicting an imaginary museum that was meant to house all worldly knowledge and human discoveries, from the wheel to the satellite.  On the opposite side of Canale Grande writes Heidrun, “there is an important exhibition, Prima Materia, Punta della Dogana, Venezia, Dorsoduro, Pinault Collection, especially for artists who are working with material as matter. This exhibition continues through 2014, and is accompanied by a very good catalog, Caroline Bourgeois and Michael GovanPrima Materia,  edited by curators Caroline Bourgeois and Michael Govan.”  Visual Complexity: Mapping Patterns of Information by Manuel LimRandy Walker  read Visual Complexity: Mapping Patterns of Information by Manuel Lima this year.  “To me, network diagrams and their many variations are highly suggestive of fibrous connections. I am experimenting with the idea of my lines as connectors of different types of information.  The information can generate the connections. The book played an inspirational role in a new public art project I working on with Roosevelt High School here in Minneapolis to explore the network diagram in three dimensions. Here’s a link to the Kickstarter campaign to raise money for the project: Connections Gallery.”

Scrape_Willow_Until_It_Sings_Words_Work_Julia_ParkerAnd From Gyöngy Laky, a recommendation for a book and a for approaching life.  “Two artists I admire enormously, Julia Parker and Deborah Valoma, created, Scrape the Willow Until It Sings, The Words and Work of Julia Parker, one of the best books on basketry, life and art I have ever read. It was published this year by an exceptional book publisher, Heyday, Berkeley, California. Native American basketry, especially the work of indigenous people in California, has been, and continues to be, a major inspiration to me and my creative life. Julia Parker and the author Deborah ValomaValoma writes in the introduction, Julia Parker and other traditional practitioners have much to teach those of us in the academy. I would add, and to those not in the academy, as well. The vast personal experiences, broad and deep scope of historical evidence and creative wisdom that these two thoughtful women have brought together in this book is a gift to us all. Near the end I found a something that Parker said that feels like a guide: In our story – in our Indian way – we stop, look, and listen.  Stop. Think about yourself.  Rest yourself.  Rest your eyes, your hands.  Rest your body.  Look.  Look about you. Look at the smallest insect.  Look at the tallest trees, which have given us shelter and food.  And we listen.  Listen to the sound of the water flowing.  Listen to your elders, your teachers.  Listen to your grandmother, your grandfather, your parents.  And above all, listen to yourself.