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SUMMARY:browngrotta arts presents Crowdsourcing the Collective: a survey of textile and mixed media art
DESCRIPTION:browngrotta arts is pleased to present their Spring 2022 Art in the Barn exhibition\, Crowdsourcing the Collective: a survey of textile and mixed media art\, May 7-15\, featuring 40+ artists from 13 countries. \nThe 40+ artists in Crowdsourcing the Collective illustrate the vitality of art textiles\, ceramics and mixed media. The growing prominence of these art forms finds them the subject of exhibitions in major museums alongside paintings and traditional sculpture in ways unthinkable a decade ago. The journey of the artists in this exhibition tells us much about where craft and fiber art are now and how they got here. Some of the artists began working during craft and fiber art’s less popular period in the 1980s and 1990s\, while some have been working since fiber art’s heyday in the 1970s. Their education\, experience and inspiration vary. They differ in material and approach. They come from more than a dozen countries around the world and the influence of those places is often evident in their work. \n“There have been so many changes in the last few years — new ways of working\, new worldwide worries\, new ways of responding to anxiety\, new acceptance of viewing and acquiring art online. We decided to lean into this turbulence\, asking our artists to help us curate Crowdsourcing the Collective\, an exhibition that reflects where craft and fiber art are now\, with reference to how they got here.” – Rhonda Brown\, browngrotta arts \nThe work in this exhibition reflects an impressive range of materials and techniques: tapestries of silk and agave\, sculptures of seaweed\, seagrass and willow\, wall works made of sandpaper\, hemp and horsehair\, and ceramics of Shigaraki clay. The scope of these artists’ preoccupations are also on view — from environmental concerns\, to questions of the cosmos and identity\, to explorations of material and process. It includes new work\, work from earlier periods and work from artists invited specifically for this exhibition. \nParticipating artists: Adela Akers (US)\, Caroline Bartlett (UK)\, Polly Barton (US)\, James Bassler (US)\, Nancy Moore Bess (US)\, Marian Bijlenga (NL)\, Pat Campbell (US)\, Lia Cook (US)\, Włodzimierz Cygan (PL)\, Neha Puri Dhir (IN)\, Chris Drury (UK)\, Shoko Fukuda (JP)\, Kiyomi Iwata (US)\, Stéphanie Jacques (BE)\, Marianne Kemp (NL)\, Lewis Knauss (US)\, Naomi Kobayashi (JP)\, Nancy Koenigsberg (US)\, Yasuhisa Kohyama (JP)\, Gyöngy Laky (US)\, Sue Lawty (UK)\, Jeannet Leendertse (US)\, Dawn MacNutt (CA)\, Rachel Max (UK)\, John McQueen (US)\, Mary Merkel-Hess (US)\, Norma Minkowitz (US)\, Laura Foster Nicholson (US)\, Eduardo Portillo & Mariá Eugenia Dávila (VE)\, Lija Rage (LV)\, Heidrun Schimmel (DE)\, Hisako Sekijima (JP)\, Karyl Sisson (US)\, Jin-Sook So (SE/KR)\, Polly Adams Sutton (US)\, Chiyoko Tanaka (JP)\, Blair Tate (US)\, Wendy Wahl (US)\, Gizella K Warburton (UK)\, Chang Yeonsoon (KR)\, Shin Young-ok (KR)\, Carolina Yrarrázaval (CL). \nFor the month of May\, browngrotta arts philanthropy initiative “Art for a Cause” will benefit Sunflower of Peace\, a non-profit group that provides medical and humanitarian aid for paramedics and doctors in areas that are affected by the violence in Ukraine. browngrotta arts will donate a portion of profits and match donations collected during the exhibition). \nExhibition: Sat May 7: 11AM to 6PM; Sun May 8: 11AM to 6 PM; Mon – Sat May 9-14: 10AM to 5PM; Sun. May 15: 11AM to 6PM \nMedia Contact: State PR (646)714.2520 press@statepr.com \nSafety protocols: Eventbrite reservations strongly encouraged • We will follow current state and federal guidelines surrounding COVID-19 • As of March 1\, 2022\, masks are not required • No narrow heels please (barn floors) \n  \nAbout browngrotta arts\nFor over 30 years\, browngrotta arts has been advancing the field of contemporary fiber arts by curating and exhibiting renowned contemporary artists who celebrate the exploration of fiber art techniques and drive the unique possibilities of soft materials. Representing many of the artists who have helped define modern fiber art since the 1950s\, browngrotta arts reflects the cultivated eye and intellect of its directors\, husband and wife team\, Tom Grotta and Rhonda Brown. \nFounded in 1987 in Wilton\, Connecticut\, browngrotta arts showcases unique sculptural and mixed media works with an emphasis on concept\, supported by technique. The focus of the work is on the materials and the technical mastery of the artist as intrinsic to the significance of the work\, prioritizing aesthetic value over utility. Museum-quality artworks by more than 100 international artists are represented through art catalogs\, art fairs\, co-partnered exhibits at museums\, retail spaces\, and an online gallery. \nThe founders open their private home – a two-story barn built in 1895 expanded and contemporized by architect David Ling in 2000 – for “Art in the Barn”\, a unique annual salon-style exhibition. Over 3500-square feet of space with a viewing vista of 55’ allows for experiencing works that reflect complex illusionary space. The 21’ high ceilings permit the installation of tall sculptures and two free-standing walls enable dramatically shaped fiber structures best hung off the wall. The living environment also grants the artwork to be shown in situ. browngrotta arts has published 50 art catalogs and placed works in private and corporate collections in the US and abroad\, including the permanent collections of the Metropolitan Museum of Art\, Museum of Arts and Design\, Art Institute of Chicago\, Philadelphia Museum of Art\, and the Renwick Gallery of the Smithsonian Museum. They also regularly work with architects and interior designers offering consultation for commissioned artworks and site-specific installation for commercial and residential spaces. \nA selection of works is on view and available for sales inquiries at browngrotta.com. \n 
URL:https://artinamericaguide.com/event/browngrotta-arts-presents-crowdsourcing-the-collective-a-survey-of-textile-and-mixed-media-art/2022-05-07/
LOCATION:browngrotta arts\, 276 Ridgefield Road\, Wilton\, CT\, 06897\, United States
CATEGORIES:Event,Exhibition
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DTSTART;TZID=America/Halifax:20210925T110000
DTEND;TZID=America/Halifax:20210925T180000
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SUMMARY:browngrotta arts presents Japandi: shared aesthetics and influences
DESCRIPTION:browngrotta arts is pleased to announce its forthcoming exhibition\, Japandi: shared aesthetics and influences\, exploring common approaches shared between Japanese and Scandinavian cultures through contemporary art. The show will feature 39 contemporary fiber and ceramic artists from Denmark\, Finland\, Japan\, Norway and Sweden. Opening September 25 through October 3\, 2021. \nJapandi is a hybrid union of Japanese and Scandinavian aesthetic approaches appreciated for its exceptional craftsmanship\, simplicity and minimalism\, reverence for nature and natural\, sustainable materials\, and the beauty of embracing imperfection. This union evokes a visual and physical sense of calm and tranquility. \nThe artistic kinship stretches back a century and a half ago when Japan’s closed border policy was lifted in 1858 and Danish designers and creatives began traveling to Japan. Early influence can be seen in ceramic crafts\, architecture\, and Danish furniture. After World War II\, the Japanese government began promoting cultural exchange among designers and artists from Scandinavia. \nArtists of Fiber Art and Modern Craft uniquely embody principal elements of what is currently termed Japandi style – from their use of natural materials and neutral color palettes to the fundamentally “slow art” process of hand craftsmanship. The core of their processes and materials are invoked with an intrinsic sense of contemplation\, tranquility\, and harmony that reverberates through their work and into the spaces the artworks inhabit. Unique basket forms may be made of bamboo\, willow\, cedar\, or their earthly “scraps” such as branches\, grasses\, bark\, and twigs. Materials come from regionally or locally sourced plant life or even backyard cultivation. Works made of soft materials such as linen\, cotton\, or wool are handwoven in meticulous detail act as textural counterpoints\, adding warmth and calm in modern interiors. Both cultures make room for reuse\, artful imperfection\, and comfortable simplicity\, through the Japanese concept of wabi-sabi and the Scandinavian idea of hygge. \nJapandi: shared aesthetics and influences will feature more than three dozen artists from six countries whose works are complementary in approach and execution. Birgitte Birkkjaer (Denmark) is working on baskets made from handmade paper yarn inspired by the Japanese paper textiles shifu. Kay Sekimachi’s (Japanese American) folded tower sculptures are made of antique Japanese gampi paper treated with persimmon tannin. Jiro Yonezawa (Japan) known for his bamboo basketry reflects that his recent baskets “represent a search for the beauty and precision in nature and a way to balance the chaos evident in these times.”  Hiroyuki Shindo (Japan) hand weaves fabrics developed through his own system for natural indigo dyeing\, a process that takes several days to complete. For her large-scale textile work\, Ane Henriksen (Denmark) replicates strips of webbed rubber matting based on the oil-tainted discarded materials she found washed up along the West coast of Denmark\, challenging the viewer to address global environmental issues. Chiyoko Tanaka (Japan) sees weaving as a representation of time passing. Through her process of “grinding\,” she elevates the less-than-perfect\, distressing her linen weavings on the ground over brick or stone\, embedding the earth onto her work. Basketmaker Markku Kosonen (Finland) subverted the symbolism and traditional utility of willow to create new works and/or functions. Mia Olsson (Sweden) handcrafts sculptures in natural sisal. Jin-Sook So (Korea) studied in Japan and lived in Sweden for decades\, where her palette has grown lighter and richer in response to Sweden’s changeable light and landscape. \nCo-curators at browngrotta arts\, Rhonda Brown and Tom Grotta have been pairing the warm minimalist aesthetic of Japanese and Scandinavian artwork for over 30 years in their own home and the homes of others\, as dealers of Fiber Art and Modern Craft. \n“From the outset\, we were intrigued by the way Scandinavians integrate good design in all aspects of their lives\, from plates and dish towels to rugs\, furniture\, automobiles and art. Markku Kosonen\, one of the first basketmakers we represented\, embodied this approach – making furniture\, wood bowls\, even jewelry in addition to his sculptural willow artworks. The Japanese take this approach as well. The dialogue of thought\, hand\, eye and material that is integral to the approach of these artists results in work that is timeless and deeply pleasing to acquire and live with.” – Rhonda Brown and Tom Grotta \nArtists include Jane Balsgaard (Denmark)\, Birgit Birkkjær (Denmark)\, Gjertrud Hals (Norway)\, Norie Hatakeyama (Japan)\, Ane Henriksen (Denmark)\, Agneta Hobin (Finland)\, Kazue Honma (Japan)\, Mutsumi Iwasaki (Japan)\, Kiyomi Iwata (Japan)\, Tomika Kawata (Japan)\, Masakazu Kobayashi (Japan)\, Naomi Kobayashi (Japan)\, Yasuhisa Kohyama (Japan)\, Markku Kosonen (Finland)\, Kyoko Kumai (Japan)\, Åse Ljones (Norway)\,Kari Lønning (Norway)\, Keiji Nio (Japan)\, Mia Olsson (Sweden)\, Gudrun Pagter (Denmark)\, Toshio Sekiji (Japan)\, Hisako Sekijima (Japan)\, Kay Sekimachi (United States)\, Naoko Serino (Japan)\, Hiroyuki Shindo (Japan)\, Jin-Sook So (Korea/Sweden)\, Grethe Sørensen (Denmark)\, Kari Stiansen (Denmark)\, Noriko Takamiya (Japan)\, Hideho Tanaka (Japan)\, Tsuruko Tanikawa (Japan)\, Chiyoko Tanaka (Japan)\, Jun Tomita (Japan)\, Eva Vargo (Sweden)\, Ulla-Maija Vikman (Finland)\, Merja Winqvist (Finland)\, Grethe Wittrock (Denmark)\, Jiro Yonezawa (Japan)\, Masako Yoshida (Japan) \nThe exhibition will be accompanied by a full-color catalog #52 of the same title. \nExhibition Hours: Sept 25\, 11am to 6pm; Sept 26\, 11am to 5pm;  Sept 27 – Oct 2\, 10am – 5pm daily; Oct 3\, 11am to 5pm. \nWe will uphold current state and federal guidelines surrounding COVID-19. Advanced time reservations are mandatory\, click here https://www.eventbrite.com/e/165829802403 \nAll photos by Tom Grotta\, courtesy of browngrotta arts. Not to be published without prior permission. High res. images available upon request. \nFor media inquiries\, contact State Public Relations at (646) 714 – 2520 or browngrotta@statepr.com. \n  \nAbout browngrotta arts\nFor over 30 years\, browngrotta arts has been advancing the field of contemporary fiber arts by curating and exhibiting renowned contemporary artists who celebrate the exploration of fiber art techniques and drive the unique possibilities of soft materials. Representing many of the artists who have helped define modern fiber art since the 1950s\, browngrotta arts reflects the cultivated eye and intellect of its directors\, husband and wife team\, Tom Grotta and Rhonda Brown. \nFounded in 1987 in Wilton\, Connecticut\, browngrotta arts showcases unique sculptural and mixed media works with an emphasis on concept\, supported by technique. The focus of the work is on the materials and the technical mastery of the artist as intrinsic to the significance of the work\, prioritizing aesthetic value over utility. Museum-quality artworks by more than 100 international artists are represented through art catalogs\, art fairs\, co-partnered exhibits at museums\, retail spaces\, and an online gallery. \nThe founders open their private home – a two-story barn built in 1895 expanded and contemporized by architect David Ling in 2000 – for “Art in the Barn”\, a unique annual salon-style exhibition. Over 3500-square feet of space with a viewing vista of 55’ allows for experiencing works that reflect complex illusionary space. The 21’ high ceilings permit the installation of tall sculptures and two free-standing walls enable dramatically shaped fiber structures best hung off the wall. The living environment also grants the artwork to be shown in situ. browngrotta arts has published 50 art catalogs and placed works in private and corporate collections in the US and abroad\, including the permanent collections of the Metropolitan Museum of Art\, Museum of Arts and Design\, Art Institute of Chicago\, Philadelphia Museum of Art\, and the Renwick Gallery of the Smithsonian Museum. They also regularly work with architects and interior designers offering consultation for commissioned artworks and site-specific installation for commercial and residential spaces. A selection of works is on view and available for sales inquiries at browngrotta.com.
URL:https://artinamericaguide.com/event/browngrotta-arts-presents-japandi-shared-aesthetics-and-influences/2021-09-25/
LOCATION:browngrotta arts\, 276 Ridgefield Road\, Wilton\, CT\, 06897\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20210508T130000
DTEND;TZID=America/Halifax:20210508T180000
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SUMMARY:browngrotta arts presents Adaptation: Artists Respond to Change
DESCRIPTION:James Bassler My Letterman Yantra\, 2012\, photo by Tom Grotta \n\nbrowngrotta arts is pleased to announce their Spring 2021 “Art in the Barn” exhibition\, Adaptation: Artists Respond to Change. The exhibition looks at the myriad ways artists change direction or their practice in response to changed circumstances like a move\, a health issue\, a shift in personal circumstances\, or\, more recently\, a global pandemic. \n“Over the last year\, by necessity\, we’ve grown more introspective\, more insular and more aware of our interconnectedness\,” note the exhibition’s curators\, Tom Grotta and Rhonda Brown. “We’ve had to acknowledge our permeable national boundaries\, shared air\, the limits of personal space.” \nThe artists who work with browngrotta arts have coped with the changes the pandemic has wrought in various ways — moving locations\, taking up art photography\, taking new inspiration from nature. Their responses were the impetus for the theme the gallery will explore in the exhibition but these recent adaptations reflect just some of the many reasons artists make changes in their art practice. \nAdaptation: Artists Respond to Change also explores situations such as when a material becomes unavailable (willow) or a new one suggests itself (fiber optic\, bronze\, copper\, steel\, kibisio\, akebia)\, a move in the US from the East to the South or from one country to another or from the city to the desert\, a change in physical abilities (allergy\, injury)\, an altered personal relationship\, or a commission opportunity or an exhibition challenge. \nFor Yasuhisa Kohyama\, for example\, it was a natural disaster that led to a new artistic approach. In 1982\, he lost his kiln to heavy rains. As a result\, he changed his sculpture from Japanese traditional shapes to sculpted works made from large blocks of Shigaraki clay. \nIrina Kolesnikova found her work changing in response to this year’s events when travel and trips to museums and galleries came to an end. “Suddenly\, life was put on pause\, our social circle reduced to the size of our immediate environment\,” she says. “In these circumstances\, I felt a need to dive deeper into myself to realize the direction in which I should act and work.” The result was a series of small works\, Letters from Quarantine in which small handwritten fragments are layered or mixed with scraps of printed texts and with large letters or numbers created with a brush. \nSara Brennan and Keiji Nio found images from nature influencing their work as they were forced to remain indoors. Trees that Brennan had driven by each day on her former commute appeared in her work. Nio found images of brightly colored plants an inspiration\, transforming them into brightly colored fabric tapes from which he braids three-dimensional forms. Polly Sutton took a short detour\, the result of not being in the woods gathering and not thinking about showing work led her to explore some new ideas involving lashing new materials onto the cedar she customarily uses. Adaptation will include two of the baskets that resulted. They are truly period pieces\, reflecting a specific time. Sutton says that now\, “I am more centered so am back to more intentional work with rusted cedar.” \nFor Ane Henriksen\, change resulted from a move from the countryside to the city. Relocated to Copenhagen\, she found and gathered loads of lost gloves and mittens along the cycle paths. The work that resulted paralleled her personal transition to city dweller. “From this poetic waste material – a kind of urban fall – new growths can arise\,” Henriksen observes. In her piece for Adaptation\, she makes gloves float between threads resulting in a kind of Urban Growth. \nArtists include Adela Akers (US)\, Polly Barton (US)\, James Bassler (US)\, Zofia Butrymowicz (Poland)\, Sara Brennan (UK)\, Pat Campbell (US)\, Włodzimierz Cygan (Poland)\, Neha Puri Dhir (India)\, Paul Furneaux (UK)\, John Garrett (US)\, Ane Henriksen (Denmark)\, Kazue Honma (Japan)\, Tim Johnson (UK)\, Lewis Knauss (US)\, Nancy Koenigsberg (US)\, Yasuhisa Kohyama  (Japan)\, Irina Kolesnikova (Russia/Germany)\, Lawrence LaBianca (US)\, Gyöngy Laky (US)\, Sue Lawty (UK)\, Jennifer Falck Linssen (US)\, Federica Luzzi (Italy)\, Rachel Max (UK)\, John McQueen (US)\, Mary Merkel-Hess (US)\, Norma Minkowitz (US)\, Laura Foster Nicholson (US)\, Keiji Nio (Japan)\, Gudrun Pagter (Denmark)\, Eduardo Portillo & Mariá Eugenia Dávila (Venezuela)\, Mariette Rousseau-Vermette (Canada)\, Heidrun Schimmel (Germany)\, Hisako Sekijima (Japan)\, Naoko Serino (Japan)\, Karyl Sisson (US)\, Jin-Sook So (Korea/Sweden)\, Polly Sutton (US)\, Noriko Takamiya (Japan)\, Chiyoko Tanaka (Japan)\, Blair Tate (US)\, Wendy Wahl (US)\, Gizella K Warburton (UK)\, Grethe Wittrock (Denmark)\, Carolina Yrarrázaval (Chile). \nThe exhibition will be accompanied by a full-color catalog #51 of the same title. \nbrowngrotta arts is located at 276 Ridgefield Rd\, Wilton\, CT\nOpening: Saturday\, May 8\, 1pm – 6pm\nExhibition Hours: May 9-16\, 10am – 5pm daily\nFor reservations click here\nVisit www.browngrotta.com \nAdvanced time reservations are mandatory. To ensure the well-being of all visitors and staff\, there will be a maximum capacity of 15 visitors per time slot. Surfaces will be disinfected between reservations. Masks will be required.\n\nFor all media inquiries\, contact State Public Relations at (646) 714 – 2520 or browngrotta@statepr.com. \n\nAbout browngrotta arts\nFor over 30 years\, browngrotta arts has been advancing the field of contemporary fiber arts by curating and exhibiting renowned contemporary artists who celebrate the exploration of fiber art techniques and drive the unique possibilities of soft materials. Representing many of the artists who have helped define modern fiber art since the 1950s\, browngrotta arts reflects the cultivated eye and intellect of its directors\, husband and wife team\, Tom Grotta and Rhonda Brown. \nFounded in 1987 in Wilton\, Connecticut\, browngrotta arts showcases unique sculptural and mixed media works with an emphasis on concept\, supported by technique. The focus of the work is on the materials and the technical mastery of the artist as intrinsic to the significance of the work\, prioritizing aesthetic value over utility. Museum-quality artworks by more than 100 international artists are represented through art catalogs\, art fairs\, co-partnered exhibits at museums\, retail spaces\, and an online gallery. \nThe founders open their private home – a two-story barn built in 1895 expanded and contemporized by architect David Ling in 2000 – for “Art in the Barn”\, a unique annual salon-style exhibition. Over 3500-square feet of space with a viewing vista of 55’ allows for experiencing works that reflect complex illusionary space. The 21’ high ceilings permit the installation of tall sculptures and two free-standing walls enable dramatically shaped fiber structures best hung off the wall. The living environment also grants the artwork to be shown in situ. browngrotta arts has published 50 art catalogs and placed works in private and corporate collections in the US and abroad\, including the permanent collections of the Metropolitan Museum of Art\, Museum of Arts and Design\, Art Institute of Chicago\, Philadelphia Museum of Art\, and the Renwick Gallery of the Smithsonian Museum. They also regularly work with architects and interior designers offering consultation for commissioned artworks and site-specific installation for commercial and residential spaces. A selection of works is on view and available for sales inquiries at browngrotta.com \n 
URL:https://artinamericaguide.com/event/browngrotta-arts-presents-adaptation-artists-respond-to-change/2021-05-08/
LOCATION:browngrotta arts\, 276 Ridgefield Road\, Wilton\, CT\, 06897\, United States
CATEGORIES:Event,Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200913T100000
DTEND;TZID=America/Halifax:20200920T170000
DTSTAMP:20260504T083718
CREATED:20200121T172549Z
LAST-MODIFIED:20200914T141004Z
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SUMMARY:browngrotta arts presents Volume 50: Chronicling Fiber Art for Three Decades
DESCRIPTION:Photo credit: Annette Bellamy\, Long Lines\,  2010 – courtesy of Tom Grotta \n“The catalogs produced by browngrotta arts\, and the photography therein\, have become so superior\, they are an important part of our literature.” – Jack Lenor Larsen\, author\, curator\, and textile designer \n  \nbrowngrotta arts is pleased to announce their Fall 2020 “Art in the Barn” exhibition Volume 50: Chronicling Fiber Art for Three Decades – a retrospective celebration of 50 print catalogs on fiber and modern craft published by browngrotta arts and exhibition of 60 works by 50 important artists of fiber\, ceramics\, and mixed media\, who have helped define modern craft movement since the 1950s. Artists include Laura Ellen Bacon\, Polly Barton\, James Bassler\, Annette Bellamy\, Lia Cook\, Mary Merkel-Hess\, Agneta Hobin\, Gyöngy Laky\, Simone Pheulpin\, and  Aleksandra Stoyanov to name a few. \nA forerunner in the field\, browngrotta arts has been dedicated to researching\, documenting\, and raising awareness of fiber and modern craft art through exhibitions and catalogs for over 30 years. The publication of the 50th catalog of the same title\, will continue the tradition with full-color exhibition photos by the co-founder of browngrotta arts’ Tom Grotta\, and an essay by Glenn Adamson\, noted author\, historian\, curator\, and former Director of the Museum of Arts and Design in New York. \nThe range of works on view will include woven vessels\, three-dimensional sculptures made of paper\, wood\, jute\, waxed linen\, cotton\, gold leaf\, steel\, ceramic\, fiber-optic\, and basket forms of bark and twigs\, jasmine and bamboo\, willow and cedar. A number of artists have created wall works of linen\, viscose\, steel\, cotton\, horsehair\, fish scales and in one case\, silk from silkworm raised by the artists. The techniques are as varied as the materials — weaving\, plaiting\, knotting\, molding\, ikat\, tying\, bundling\, crochet\, and katagami. \nThere will be several large-scale museum-quality works on view. The show’s centerpiece is Long Lines (2010) by Alaska-based artist Annette Bellamy (b. 1951) whose work is inspired by her life on the sea as a fisherwoman. It is made of 132 ceramic hooks suspended from 12 ft of twine. The kinetic nature of the hanging work reflects the movement of the sea. \nDrawing from her Nordic-Finnish roots\, Agneta Hobin’s (b. 1945) fiber sculpture\, Bridge (2001)\, traverses 18 ft across the entrance of browngrotta arts between the original structure and extension wing of the house. The artwork involves a unique technique developed by Hobin\, using mica and handwoven stainless steel mesh. \nIsrael-based weaver Aleksandra Stoyanov’s (b. 1957\, Ukraine) Waiting 1-4 (2012) is a four-panel tapestry that features life-size portraits of the artist’s ancestors\, standing 9 ft tall and 2.75 ft wide each. Somber tones reflect the landscape found in northern Israel where she immigrated in the 1990s\, fleeing from the worsening anti-semitism in her home country of Ukraine. Her work\, woven from her own handmade threads of raw wool\, portrays a deeply emotional quality that reflects the social dilemmas experienced by immigrants\, the loss of family\, and disconnection. \nCalifornia-based Lia Cook’s (b. 1942) neuroaesthetic experiment is titled Su Series (2010-2016). It is composed of 32 woven identical images of her face as a child superimposed with empirical data from her neuroscience research\, created on a Jacquard computerized handloom. Each individual image is translated and altered through different weaving structures\, provoking a subtle and sometimes dramatic variation in emotional expression from the viewer. \nThree periods of work by Mary Merkel-Hess (b. 1949) will be represented in the exhibition. Merkel-Hess is known for her “landscape reports” – lyrical basket forms of brilliant green\, indigo\, cornflower\, red\, and bronze\, composed of paper cord and reed inspired by the natural surroundings of the prairie of her hometown in Iowa. In the mid-90s\, she eschewed color and began using translucent white papers of gampi\, kobo\, abaca\, flax for vessels\, sometimes tinged with gold leaf. In her third period\, her works are less recognizable as vessels; they have grown larger and more sculptural and her recognition\, too\, has grown. \nGyöngy Laky’s (b. 1944) four works in the show continue her personal examination of the complex relationships with the world around us Deviation\,2020\, is a typographical wall sculpture made of apple trimmings\, acrylic paint\, and screws\, portrays many meanings\, from functioning like diacritical marks representing “Oh \,Why?” to the myriad implications and emotions of the word “Oy”  or\, if flipped\, “Yo; Other works include  We Turn\, 2019\, Traverser\, 2016\, and Dry Land Drifter\, 2010. \nParticipating artists include: Adela Akers (US)\, Laura Ellen Bacon (UK)\, Jo Barker (UK)\, Caroline Bartlett (UK)\, Polly Barton (US)\, James Bassler US)\, Dail Behennah (UK)\, Annette Bellamy (US)\, Nancy Moore Bess (US)\, Marian Bijlenga (The Netherlands)\, Birgit Birkkjaer (Denmark)\, Sara Brennan (UK)\, Lia Cook (US)\, Włodzimierz Cygan (Poland)\, Neha Puri Dhir (India)\, Lizzie Farey (UK)\, Susie Gillespie (UK)\, Agneta Hobin (Finland)\, Kiyomi Iwata (Japan)\, Ferne Jacobs (US)\, Stéphanie Jacques (Belgium)\, Tim Johnson (UK)\, Christine Joy (US)\, Tamiko Kawata (Japan/US)\, Nancy Koenigsberg (US)\, Marianne Kemp (The Netherlands)\, Anda Klancic (Slovenia)\, Lewis Knauss (US)\, Naomi Kobayashi (Japan)\, Irina Kolesnikova (Russia)\, Kyoko Kumai (Japan)\, Lawrence LaBianca (US)\, Gyöngy Laky (US)\, Sue Lawty (UK)\, Jennifer Falck Linssen (US)\, Åse Ljones (Norway)\, Kari Lønning (US)\, Federica Luzzi (Italy)\, Rachel Max (UK)\, John McQueen (US)\, Mary Merkel-Hess (US)\, Norma Minkowitz (US)\, Keiji Nio (Japan)\, Mia Olsson (Sweden)\, Gudrun Pagter (Denmark)\, Simone Pheulpin (France)\, Eduardo Portillo & Mariá Eugenia Dávila (Venezuela)\, Lija Rage (Latvia)\, Toshio Sekiji (Japan)\, Hisako Sekijima (Japan)\, Karyl Sisson (US)\, Jin-Sook So (Korea/Sweden)\, Grethe Sørensen (Denmark)\, Aleksandra Stoyanov (Ukraine/Israel)\, Chiyoko Tanaka (Japan)\, Blair Tate (US)\, Deborah Valoma (US)\, Ulla-Maija Vikman (Finland)\, Wendy Wahl (US)\, Gizella K Warburton (UK)\, Grethe Wittrock (Denmark)\, Chang Yeonsoon (Korea)\, Jiro Yonezawa (Japan)\, Carolina Yrarrazaval (Chile). \nCataloging the Cannon\nbrowngrotta arts published their first catalog as a pamphlet in 1990\, Markku Kosonen: Baskets and Woodwork\, which included 27 b&w photographs. The 49 catalogs since have collectively recorded a narrative of Modern Craft and contributed in no small measure to preserving the continuity of the field. \n“Every artist here is a master: Mary Merkel- Hess\, America’s primary paper sculptor; the great structuralist Kay Sekimachi and her husband\, the woodturner Bob Stocksdale; Leon Niehues from Arkansas\, who has infused traditional basketmaking with rare formal intelligence; the two beating hearts of Bay Area fiber art\, Ed Rossbach and Gyöngy Laky; magisterial Canadian colorist Mariette Rousseau-Vermette; and the leading exponent of pictorial tapestry of the past half century\, Helena Hernmarck.” Glenn Adamson \nThis archival documentation has not only permitted their pioneering exhibitions\, which are ephemeral in nature\, to enter into the canon but provides a rare historical insight and a unique chronicle of an often-overlooked art field that is currently enjoying a renaissance. As fiber art gains renewed recognition and reappraisal from major institutions\, the browngrotta arts archive\, in which works by Sheila Hicks\, Lenore Tawney\, Ed Rossbach\, Magdalena Abakanowicz and many others are showcased\, is an invaluable resource. \n“There are a few catalogs that go beyond the intellect to convey the spirit of the exhibition objects. The fine images of browngrotta arts’ publications capture the dimension of the objects\, something often lacking\, yet totally necessary to the appreciation of fiber. Their publications seem to consistently engage much more than readers’ minds\,” wrote Lotus Stack\, then-Curator of Textiles at the Minneapolis Institute of Arts in Minneapolis\, Minnesota\, in 1999. \nWhen browngrotta arts founders\, Tom Grotta and Rhonda Brown began promoting artists in the late 1980s they discovered two important facts about the field. First\, at that time\, before digital printing\, galleries and museums rarely had the budget to document their exhibitions in a catalog or book. Second\, regardless of the medium\, when catalogs were prepared\, the works were photographed like paintings: two lights at 45-degree angles\, dimension and detail obscured. \nGrotta set out with the intention to resolve this disparity and began an annual cataloging program recording exhibitions\, artists\, and works through photography that specifically captured the tactile and haptic characteristics of fiber and craft art. While the first catalogs were modest\, black-and-white pamphlets\, Grotta photographed the work with reference to scale and shape from the outset\, and in the case of fiber art\, a sensitivity to conveying the work’s organic and haptic qualities and unique materials. This approach allowed for an immersive experience of the works\, one that extended beyond the time and geographic limitations of the exhibitions. \nAs technology developed\, the browngrotta arts catalogs were printed in four-color\, grew in size\, and came to include essayists and authors of stature. By 1998\, Art of Substance (#21) included an essay by renowned architect David Ling and won an American Graphic Design USA Award. Last year’s art + identity: an international view (#49) was 156 pages and featured the work of more than five dozen artists with an essay by art scholar Jessica Hemmings\, Ph.D. \nSelect titles include: Markku Kosonen Baskets and Woodwork (#1)\, 1990 – 27 b&w photographs; Changing Shapes Basketwork by Mary Merkel-Hess (#2)\, 1992 – 29 b&w photographs; Claude Vermette (#4)\, 1992 – 34 b&w photographs with the first color photo cover;  Ed Rossbach and Katherine Westphal (#6)\, 1993 – 35 photos b&w with 2-sided color cover; Mariette Rousseau-Vermette (#7)\, 1993 – 31 color photos; Helena Hernmarck and Markku Kosonen (#10)\, 1994 – 37 color photos (although the cover is b&w); Sheila Hicks: Joined by seven artists from Japan (#13)\,  1996 – 64 color photos\, commentary by Sheila Hicks; Art of Substance (#21) Essay by architect David Ling\, 1998 – all color\, 43 photos Winner of an American Graphic Design USA Award; Tradition Transformed: Contemporary Japanese textile art & fiber sculpture (#22)\, 1999\, all color\, 54 photos of 63 works featuring work by artists who were included in “Structure and Surface: Contemporary Japanese Textiles” at the Museum of Modern Art in New York; Lenore Tawney: celebrating five decades of work (#28)\, 2000\, 61 color photos; Lia Cook: In the Folds– Works from 1973-1997 (#36)\, 2007\, 40 color photos; Ethel Stein: Weaver (#37)\, 2008\, 48 color photos. \nThe catalog will be available for purchase for $55 at http://store.browngrotta.com/ \nThe exhibition will be on view from September 12 from 1pm to 6:30pm and Sept 13-20 from 10am – 5pm daily. \nAdvanced time reservations are mandatory and can be made here https://bit.ly/2QrlI0F. \nTo ensure the well being of all visitors and staff\, there will be a maximum capacity of 15 visitors per time slot. All surfaces will be disinfected between reservations. Masks will be required. \nbrowngrotta arts is located at 276 Ridgefield Road\, Wilton\, CT\, accessible from New York via Metro-North on the New Haven Line to South Norwalk transferring to the Danbury Line to Wilton Station. For driving directions click here. \nAll photos by Tom Grotta\, courtesy of browngrotta arts. Not to be published without prior permission. High res. images available upon request. \nFor all media inquiries\, contact State Public Relations at (646) 714 – 2520 or browngrotta@statepr.com. \n  \nAbout browngrotta arts\nFor over 30 years\, browngrotta arts has been advancing the field of contemporary fiber arts by curating and exhibiting renowned contemporary artists who celebrate the exploration of fiber art techniques and drive the unique possibilities of soft materials. Representing many of the artists who have helped define modern fiber art since the 1950s\, browngrotta arts reflects the cultivated eye and intellect of its directors\, husband and wife team\, Tom Grotta and Rhonda Brown. \nFounded in 1987 in Wilton\, Connecticut\, browngrotta arts showcases unique sculptural and mixed media works with an emphasis on concept\, supported by technique. The focus of the work is on the materials and the technical mastery of the artist as intrinsic to the significance of the work\, prioritizing aesthetic value over utility. Museum-quality artworks by more than 100 international artists are represented through art catalogs\, art fairs\, co-partnered exhibits at museums\, retail spaces\, and an online gallery. \nEach Spring\, the couple opens their private home – a two-story barn built in 1895 expanded and contemporized by architect David Ling in 2000 – for “Art in the Barn”\, a unique annual salon-style exhibition for 10 days. Over 3500-square feet of space with a viewing vista of 55’ allows for experiencing works that reflect complex illusionary space. The 21’  high ceilings permit the installation of tall sculptures and two free-standing walls enable dramatically shaped fiber structures best hung off the wall. The living environment also grants the artwork to be shown in situ. \nbrowngrotta arts has published nearly 50 art catalogs and placed works in private and corporate collections in the US and abroad\, including the permanent collections of the Metropolitan Museum of Art\, Museum of Arts and Design\, Art Institute of Chicago\, Philadelphia Museum of Art\, and the Renwick Gallery of the Smithsonian Museum. They also regularly work with architects and interior designers offering consultation for commissioned artworks and site-specific installation for commercial and residential spaces. A selection of works is on view and available for sales inquiries at browngrotta.com. \nTom Grotta graduated from Rochester Institute of Technology with a fine arts degree in photography. He has been recognized for his extensive knowledge of contemporary art textiles and fiber sculpture and his photography of fiber art. He has lectured on these subjects at museums and art programs in New York\, California\, Hawaii and elsewhere. Grotta’s art photographs are included in several private collections\, that of the Serralves Museum of Art in Portugal and numerous magazines and books\,  including Toshiko Takaezu: Earth and Bloom (University of Hawaii Press\, 2007)\, California’s Designing Women 1896-1986 (Museum of California Design\, 2013)\, Fiber Sculpture\, 1960 – Present (Prestel\, 2014)\, Makers: A History of American Studio Craft (University of North Carolina Press\, 2010) and Tapestry: A Woven Narrative (Black Dog Publishing\, 2012). He photographed and designed The Grotta House by Richard Meier: a Marriage of Architecture and Craft (Arnoldsche\, 2019). \nRhonda Brown works as an attorney for a publishing company in Manhattan and at browngrotta arts\, managing editor for the catalogs\, its blog www.arttextstyle.com\, and online content. She is the co-author of Making Room: Strategies for Small Spaces (Perigee\, 1983). Her writing on textile arts has appeared in several exhibition catalogs and publications including selvedge; Fiberarts; NBO Quarterly Review and Weston Magazine. \nFor more information\, visit www.browngrotta.com
URL:https://artinamericaguide.com/event/browngrotta-arts-presents-volume-50-chronicling-fiber-art-for-three-decades/
LOCATION:browngrotta arts\, 276 Ridgefield Road\, Wilton\, CT\, 06897\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="browngrotta arts":MAILTO:browngrotta@statepr.com
GEO:41.2036033;-73.4518807
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=browngrotta arts 276 Ridgefield Road Wilton CT 06897 United States;X-APPLE-RADIUS=500;X-TITLE=276 Ridgefield Road:geo:-73.4518807,41.2036033
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200810
DTEND;VALUE=DATE:20200901
DTSTAMP:20260504T083718
CREATED:20200817T134157Z
LAST-MODIFIED:20200817T134157Z
UID:72474-1597017600-1598918399@artinamericaguide.com
SUMMARY:browngrotta arts presents Catalog Lookback: Chronicling the Canon
DESCRIPTION:Image: Ethel Stein\, Butah\, 2011\nPhoto: Tom Grotta \n  \nbrowngrotta arts \npresents\n\nCatalog Lookback: Chronicling the Canon\nAugust 10 – 31\, 2020 \nOnline exhibition: artsy.net/show/browngrotta-arts-chronicling-the-canon \nbrowngrotta arts is pleased to continue their online survey of Modern Craft with Catalog Lookback: Chronicling the Canon  – celebrating contemporary artists Sheila Hicks\, Lenore Tawney\, Lia Cook\, Jin-Sook So\, and Ethel Stein\, inspired by a retrospective selection of exhibition catalogs\, published between 1992-2001. \nContemporary fiber art is a fairly new art genre\, having begun in the 1950s with experiments in weaving abstraction in the US and Poland and achieving its first international acknowledgment in the 1960s (Lausanne International Tapestry Biennial\, Switzerland\,1962 and Woven Forms\, Museum of Contemporary Crafts of the American Craft Council\, 1963 and Wall Hangings\,  Museum of Modern Art 1969). browngrotta arts has been involved in promoting international art textiles and fiber sculpture since 1987 – or nearly half of that history. \nbrowngrotta arts has been fortunate to work with\, been guided by and document the work of pathbreakers and innovators in the field\, including Lenore Tawney\, Sheila Hicks\, Lia Cook\, Jin-Sook So and Ethel Stein. Each of these artists have played a significant role in more than one of browngrotta arts’ publications\, including Sheila Hicks\, Joined by seven artists from Japan (vol. 13)\, Lenore Tawney: celebrating five decades of work (vol. 28)\, and Beyond Weaving: International ArtTextiles (vol. 33). Three of them were the subject of artist monographs — Lenore Tawney: Drawings in Air (#1M); Lia Cook: In the Fold\, Works from 1973-1977 (#2M) Ethel Stein: Weaver (#3M); one of them an artist’s focus — Focus: Jin-Sook So (#1F). \nChronicling the Canon is a precursor to browngrotta arts’ upcoming “Art in the Barn” exhibition Volume 50: Chronicling Fiber Art for Three Decades\, opening at browngrotta arts in Wilton\, CT in September 12-20\, 2020. \n  \nExhibition Highlights \nIn 1996\, browngrotta arts worked with Sheila Hicks on an exhibition that included seven artists from Japan – Masakazu Kobayashi and Naomi Kobayashi\, Chiaki Maki\, Toshio Sekiji\, Hiroyuki Shindo\, Chiyoko Tanaka and Jun Tomita. “The choice to show these works together was personal\,” Hicks wrote in Sheila Hicks\, Joined by seven artists from Japan (#13). She chose browngrotta arts’ space in Connecticut\, intentionally\, noting that in the Connecticut landscape\,“it would be easy to contemplate their inner messages or\, at least\, to discover their structural wizardry.” \nHicks had shown these artists works to friends\, and noted that\, “A harmonious dialogue between their work and my own began to develop naturally.” Hicks designed the exhibition and the installation was in collaboration with Cara McCarty\, then-head of the Department of Decorative Arts and Design at the St. Louis Art Museum\, and Mathilda McQuaid\, then-Associate Curator\, Department of Architecture and Design at MoMA\, both now at the Cooper Hewitt. The exhibition was well received and led to others in Paris and Jerusalem and a follow up show in Wilton (Traditions Transformed (#22)). Ultimately\, Hicks and six of the artists appeared in the major MoMa survey: Surface and Structure: Contemporary Japanese Textiles (1998-99)\, curated by McQuaid and McCarty\, which highlighted the revolution that had occurred in the creation of textiles during the 90s. Hicks went on to be the subject of numerous solo exhibitions — Israel Museum\, Jerusalem\, Israel\, Centre Pompidou\, Paris\, France\, Museo Amparo\, Puebla\, México\, Municipal Cultural Center Gallery\, Kiryu\, Gunma\, Japan and The Bass\, Miami Beach\, Florida\, Museum of Nebraska Art\, Kearney\, Nebraska\, Contemporary Art Center of Virginia\, Virginia Beach\, Virginia\, Museo Chileno de Arte Precolombino\, Santiago\, Chile\, Bard Graduate Center\, New York\, Addison Gallery of American Art\, Andover\, Massachusetts\, and Joslyn Art Museum Omaha\, Nebraska. \nbrowngrotta arts’ representation of Lenore Tawney was equally meaningful to founders\, Rhonda Brown and Tom Grotta\, and influential to browngrotta arts’ evolution. When they decided to move their home and exhibition space\, a major factor was finding a room with a ceiling high enough to exhibit a Tawney “cloud” from the series for which she was well known). In 2000\, they were able to make that happen celebrating five decades of Tawney’s work. The exhibition illuminated the breadth of Tawney’s vision — including woven forms\, collage\, assemblage and drawings. Many of the works — created in the 50s\, 60s\, 70s\, 80s and 90s — had rarely been exhibited before. The catalog also included never-published excerpts from Tawney’s journals and an essay by Bauhaus scholar\, Sigrid Wortmann Weltge\, who authored Bauhaus Textiles: Women Artists and the Weaving Workshop (Thames & Hudson 1998). This was followed with a monograph (#1M) exploring Tawney’s Drawings in Air series — ruled drawings on graph paper that predated systemic drawings of Minimalists like Sol Lewitt and served as the impetus for three-dimensional thread sculptures three decades later. “I did some of these drawings that look so much like threads that people think they are threads\,” Tawney wrote. “but I didn’t do them with that in mind …. It’s like meditation — you have to be with the line all the time—you can’t be thinking of anything.” \nLike Hicks and Tawney\, Lia Cook was a participant in Lausanne International Tapestry Biennial\, first in 1973\, just after she completed her Master’s degree at the University of California\, Berkeley in Art & Design. Since that time Cook has reinvented her art practice several times\, first creating macroscopic imagery of woven structures\, then exploring images of draped fabrics incorporating hand-painted rayon warp threads. In the 90s\, she began weaving photographic compositions and then\, in the 2000s\, she began taking measurements of brain waves as people looked at photos and then at woven images\, integrating them into her work as well. “Cook’s work defies the ocular-centricity of Western art by overturning the hierarchy of the senses\,” wrote Deborah Valoma in our monograph on Cook (#2)\, “and repositioning the sense of touch in the foreground …. Cook asks her viewers to ’see’ the experience of touch — to imagine the sensations of touch through the visual experience of seeing.” The uniquely tactile experience created by Cook’s work has been featured in dozens of exhibitions worldwide\, many of them solo exhibitions. Her work is found in dozens of museum collections\, including that of the Metropolitan Museum of Art\, the De Young Museum\, Minneapolis Institute of Art and the Art Institute of Chicago. \nJin-Sook So is another innovator with an international presence who has moved from working with wool to working with organza\, and for the last two decades\, stainless steel and copper mesh. For the Lausanne International Tapestry Biennial in 1989\, she worked directly with flat steel mesh\, pleated manually\, and colored black and blue and brown with a blow torch. By the mid-90s\, “her form language had become more distinct and more consistently constructivist\,” Kerstin Wickman\, Professor of History of Design and Craft at Konstfack\, University College of Arts Crafts and Design in Stockholm wrote in Focus: Jin-Sook So (#1F). “In spite of their minimal and precise shapes\, [her] boxes\, as well as the folded constructions\, impart a softness and a sensuality created by the illusionary ‘movements\,’ the variations and the poetic surfaces.” Born in Korea\, studies in Japan and New York and nearly three decades of residence in Sweden\, So’s work is influenced by each of these experiences. The shimmering gold and blue and black of her constructed works reflect light in ways that recall urban landscapes in New York and Sweden’s remarkable\, diffused light. More recent works\, including the bowl shapes which link back to her childhood\, tie more directly to the past\, evoking a pool of memories\, of stories told and feelings expressed. Her work has been exhibited in Asia\, Scandinavia\, Japan\, and the US. \nA contemporary and colleague of Tawney’s in New York and also invited to the Lausanne International Tapestry Biennale\, when Ethel Stein began weaving in the 60s\, she took a different tack than the textile artists creating large\, dimensional and off-loom works. Instead\, despite her background as she worked “counter trend” in Jack Lenor Larsen’s words\, her weavings remained small and flat. She immersed herself in difficult and exacting cloth traditions\, using an ancient drawloom which was replaced 200 years ago by the Jacquard loom. browngrotta arts’ monograph\, Ethel Stein: Weaver (#3M)\, follows Stein through her early art instruction\, work as a sculptor and creation of damasks\, double weaves and feathery skates. At 96\, the fresh expressions that Stein created from her explorations into ancient techniques brought her well-deserved recognition in a one-person exhibition\, Ethel Stein: Master Weaver\, at the Art Institute of Chicago in 2014\, which featured large images and information from the monograph. The delay\, the Art Institute’s material surmised\, was due\, in part\, to the fact that\,“her weavings look deceptively simple\, with the result that only those well versed in the craft she practices can truly appreciate the sophistication of Stein’s work and the magnitude of her accomplishment.” \nCatalog Lookback: Chronicling the Canon  is on view on Artsy from Aug 10 – 31\, 2020\nwww.artsy.net/show/browngrotta-arts-chronicling-the-canon \nVolume 50: Chronicling Fiber Art for Three Decades\, opening at browngrotta arts in Wilton\, CT from Sept 12-20\, 2020\nhttp://www.browngrotta.com/Pages/calendar.php \nFor media inquiries\, contact State PR at (646)714.2520 or browngrotta@statepr.com \n 
URL:https://artinamericaguide.com/event/browngrotta-arts-presents-catalog-lookback-chronicling-the-canon/
LOCATION:browngrotta arts\, 276 Ridgefield Road\, Wilton\, CT\, 06897\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200713
DTEND;VALUE=DATE:20200801
DTSTAMP:20260504T083718
CREATED:20200717T211025Z
LAST-MODIFIED:20200717T211025Z
UID:70139-1594598400-1596239999@artinamericaguide.com
SUMMARY:browngrotta arts presents Catalog Lookback:  Fan Favorites
DESCRIPTION:Leading up to their “Art in the Barn” exhibition Volume 50: Chronicling Fiber Art for Three Decades\, opening this September\, browngrotta arts continues their online surveys with Catalog Lookback: Fan Favorites – a grouping of works by contemporary artists Mary Merkel-Hess\, Kay Sekimachi\, Hisako Sekijima and Gyöngy Laky\, inspired by a retrospective of a selection of exhibition catalogs\, published between 1992-2001. \nThrough 50 catalogs\, showcasing the works of 172 artists\, browngrotta arts has been dedicated to researching\, documenting and raising awareness of fiber art and Modern Craft through exhibitions and catalogs for over 30 years. Merkel-Hess\, Sekimachi\, Sekijima and Laky each have been the subjects of more than one catalog –  solo or two-person or special groupings  – and each has been featured in several themed survey publications. These artists explore different materials or forms\, creating objects and works for the wall.  That willingness to innovate and reinvent has made them continuously collectible for those who acquire works in breadth and for those who pursue the work of individual artists in depth as well. \nExhibition Highlights\nMary Merkel-Hess is known for her “landscape reports” – sculptural basket-like forms inspired by the natural surroundings of her hometown in Iowa. She was the subject of one of browngrotta arts’ first exhibition catalogs in # 21\, 1992. While the works in this first solo show were vessels of brilliant green\, indigo\, cornflower\, red and bronze\, the gallery’s catalog technology at the time allowed only black-and-white printing. Despite the lack of color in the small catalog\, the lyrical works of paper cord and reed sold out. Her work was acquired by the Metropolitan Museum of Art that year\, as one of the first contemporary baskets to enter the museum’s collection. The success of that exhibition spurred a second show of works by Merkel-Hess alongside Leon Niehues in catalog #152\, 1996. Ironically\, Merkel-Hess eschewed her hallmark vividly colored works and produced a show of translucent white papers made of gampi\, kobo\, abaca\, flax\, with some tinged with gold.  These works turned out to be as popular as those in color. Since then\, her works have become larger and more sculptural and her recognition has grown while her popularity with collectors has remained a constant.  Her work will be part of Volume 50: Chronicling Fiber Art for Three Decades\, catalog #503 in September of this year. \nIn catalog #34\, 1992\, still in black and white\, Kay Sekimachi’s wall weavings and intricate vessels were coupled with wood bowls turned by her husband\, Bob Stocksdale. Sekimachi has reinvented her practice several times in her lengthy career. She studied weaving with Trude Guermonprez in San Francisco and Jack Lenor Larsen at Haystack in Maine in the 1950s. By the 1960s she was working with complicated 12-harness looms to create ethereal hanging sculptures of monofilament\, then a new material\, one of which was featured in MoMA’s Wall Hangings exhibition in 1963. Sekimachi also participated in Deliberate Entanglements at UCLA in 1971 and the Lausanne Biennial in 1975 and 1983. She was part of the contemporary\, nonfunctional basket movement with other California artists in the 1960s and 1970s.  This body of work included small woven baskets and woven folded boxes made of antique Japanese papers. For the browngrotta arts exhibition in 1992\, she created gossamer flax bowls and patched pots of linen warp ends and rice paper. For the 1999 exhibition\, catalog #245\, she created woven boxes and books as well as bowls in typical Japanese ceramic shapes that she formed using Stocksdale’s turned bowls as molds. Still the subject of museum recognition and collector acclaim\, Sekimachi continues to work at 94\, weaving intimate\, abstract weavings reminiscent of drawings in pen and ink. \nIn 1993\, browngrotta arts produced their first catalog featuring Gyöngy Laky’s work\, catalog #56\, with that of Leon Niehues. The exhibition included 13 vessel shapes and one wall work. In 1996\, browngrotta arts visited Laky’s complex construction again in an exhibition and catalog #167. “I think of myself as a builder of sketches in three dimensions\,” she said of her textile architecture. The exhibition featured Laky’s three-dimensional words\, an important aspect of her oeuvre. The two versions of the word “No” or “On” illustrated the myriad ways in which such themes are deftly articulated by Laky. Affirmative No. 1 was made of brightly colored\, coated telephone wire\, piled and sewn. Affirmative No. 2  was much larger — the “O” made of branches still covered with bark\, the “N” made of pieces of stripped\, unfinished wood. \nThe catalog also contained an image of That Word.  Now in the collection of the federal court in San Francisco\, the work spells “ART” in 7-foot tall\, 3-D letters made of orchard prunings. Laky has continued to create word sculptures that combine natural and manmade materials\, as disparate as bleached cottonwood branches\, plastic army men and construction bullets of metal. In 2008\, The New York Times Magazine commissioned her to create titles for its environmental survey\, “The Green Issue.” The works that resulted were awarded a Type Directors Club Award. Laky will have two works in Volume 50: a large vessel-shaped sculpture and a type-related\, free-standing arrow. \nThe first catalog\, #88\, of Hisako Sekijima’s work included works in a wide variety of materials including cherry bark\, kudzu vine\, cedar\, willow\, hackberry\, bamboo. The New York Times Magazine featured a work of kudzu vine in an article on the uses of the invasive plant species. A second show in 1998\, paired her pieces made of zelikova\, apricot\, hinoki\, walnut and palm hemp bark\,  with jacquard weavings by Glen Kaufman that featured photographic images of Kyoto. In the third exhibition in 2001\, Japan: Under the Influence\, Innovative basketmakers deconstruct Japanese tradition\, catalog #309\,  Sekijima was featured with four of her students from Japan — Norie Hatekeyama\, Kazue Honma\, Noriko Takamiya and Tsuroko Tanikawa— each of whom had\, like their teacher\, given Japanese basketmaking tradition a twist. Sekijima wrote in Japan Under the Influence\, that Kay Sekimachi (also featured in the catalog) was one of the American artists whose “new notions of basketmaking” and “new forms” had a decisive impact on her as she studied basketmaking in the late 70s. “Since then\,” she wrote\, “Sekimachi has always been one of my teachers at a distance. Her work has always reminded me of a Japanese respectful expression orime tadashii\, which literally means\, ‘one’s kimono preserves neat lines of folding which connotes integrity of behavior.’” Sekijima’s work\, A Line Willow IV is part of our September exhibition. Like the works these artists have produced over nearly three decades\, A Line Willow IV\, represents a line that is knotless\, homogeneous and flexible.  \n\nBibliography\n1 Mary Merkel-Hess\, vol 2\, 1992  \n2 Mary Merkel-Hess and Leon Niehues\, vol 15\, 1996 \n3 Volume 50: Chronicling Fiber Art for Three Decades\, vol 50\, 2020 (available September 2020) \n4 Bob Stocksdale and Kay Sekimachi\, vol 3\, 1992 \n5 Bob Stocksdale and Kay Sekimachi: books\, boxes and bowls\, vol 24\, 1999 \n6 Leon Niehues and Gyöngy Laky\, vol 5\, 1992 \n7 Gyöngy Laky and Rebecca Medel\, vol 16\, 1997 \n8 Hisako Sekijima\, vol 8\, 1994 \n9 Japan Under The Influence: Innovative basketmakers deconstruct Japanese tradition\, vol 30\, 2001 \n10 Glen Kaufman and Hisako Sekijima\, vol 19\, 1997
URL:https://artinamericaguide.com/event/browngrotta-arts-presents-catalog-lookback-fan-favorites/
LOCATION:browngrotta arts\, 276 Ridgefield Road\, Wilton\, CT\, 06897\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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ORGANIZER;CN="browngrotta arts":MAILTO:browngrotta@statepr.com
GEO:41.2036033;-73.4518807
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=browngrotta arts 276 Ridgefield Road Wilton CT 06897 United States;X-APPLE-RADIUS=500;X-TITLE=276 Ridgefield Road:geo:-73.4518807,41.2036033
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200608
DTEND;VALUE=DATE:20200701
DTSTAMP:20260504T083718
CREATED:20200529T204632Z
LAST-MODIFIED:20200529T204632Z
UID:68351-1591574400-1593561599@artinamericaguide.com
SUMMARY:browngrotta arts presents Cross Currents: Water/Art/Influence
DESCRIPTION:browngrotta arts is pleased to announce Cross Currents: Water/Art/Influence\, an online exhibition featuring works of Modern Craft on Artsy from June 8-30 – www.artsy.net/browngrotta-arts/shows. \nWater has long been a potent influence for the artists exhibited by browngrotta arts\, who explore its mystery and majesty in widely divergent ways. Works reside at the intersection of the maker’s fascination with a variety of nautical and natural themes and the artmaking process. The multifaceted exhibition combines sculptures\, tapestries\, installation works\, paintings and ceramics. \nCross Currents is the second online exhibition in a new series featuring artists and works of fiber art supported by a retrospective of catalogs published by browngrotta arts. They have been recording the narrative of fiber and Modern Craft through print catalogs for over 30 years\, contributing in no small feat to preserving the continuity of the field. \nThe exhibition highlights artists from three catalogs we have published\, Of Two Minds: Artists Who Do More Than One of a Kind (Vol. 38\, 2014); Plunge: explorations from above and below (Vol. 43\, 2017) and Blue/Green: color/code/context (Vol. 44\, 2018). \nIn all\, the work of 20 artists will be included in Cross Currents. Some are moved by water as a natural force\, for others there is a more spiritual connection\, still\, others are interested in how Man is impacting our oceans and rivers. \nParticipating artists include: Dona Anderson\, Jane Balsgaard\, Dorothy Gill Barnes\, Micheline Beauchemin\, Marian Bijlenga\, Birgit Birkjaaer\, Annette Bellamy\, Ferne Jacobs\, Christine Joy\, Lawrence LaBianca\, Ase Ljones\, Norma Minkowitz\, John McQueen\, Judy Mulford\, Keiji Nio\, Ed Rossbach\, Debra Sachs\, Karyl Sisson\, Ulla-Maija Vikman\, and Grethe Wittrock. \nExhibition Highlights:\nInspired by her years of commercial fishing in Alaska\, Anette Bellamy’s (b 1951) Long Lines\, 2010\, features 132 handmade kiln ceramic hooks\, twisted and turned while others remain in their original circle shape. \nIn Aging By The Sea\, 2004 and A Day At The Beach\, 1997\, Judy Mulford (b 1838) creates narrative sculpture and baskets of gourds inspired by her home at the beach in California. \nInspired by the pristine beauty and fragility of the Arctic ecosystem\, Danish artist Grethe Wittrock’s (b 1964) Arctica\, 2015\, is made from a repurposed weather-beaten sails from the Danish Navy. \nDebra Sachs’ (b 1953) Water Studies\, 2009\, evoke movement by distorting a static grid using the color blue\, akin to the movement of rivers and oceans. \nLawrence LaBianca’s (b 1963) Skiff\, 2010\, is an antique telephone receiver that links viewers to sounds of a rushing river. For What Lies Beneath/Moby Dick Book\, 2016\, he photographs an encased copy of Moby Dick into water. \nAll photos by Tom Grotta\, courtesy of browngrotta arts.
URL:https://artinamericaguide.com/event/browngrotta-arts-presents-cross-currents-water-art-influence/
LOCATION:browngrotta arts\, 276 Ridgefield Road\, Wilton\, CT\, 06897\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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ORGANIZER;CN="browngrotta arts":MAILTO:browngrotta@statepr.com
GEO:41.2036033;-73.4518807
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=browngrotta arts 276 Ridgefield Road Wilton CT 06897 United States;X-APPLE-RADIUS=500;X-TITLE=276 Ridgefield Road:geo:-73.4518807,41.2036033
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200301
DTEND;VALUE=DATE:20200401
DTSTAMP:20260504T083718
CREATED:20200324T204719Z
LAST-MODIFIED:20200331T174704Z
UID:66798-1583020800-1585699199@artinamericaguide.com
SUMMARY:Viewing Room | browngrotta arts presents Transforming Tradition: Japanese and Korean Contemporary Craft
DESCRIPTION:In honor of Asia Art Week 2020 this March\, browngrotta arts has collated contemporary works by 12 artists born in Japan and Korea for an online exhibition\, Transforming Tradition: Japanese and Korean Contemporary Craft. The works include ceramics\, weavings\, baskets and sculptures made of paper and silk. \nNotable in the exhibition are paper sculptures by Naomi Kobayashi and an elegant silk thread assemblage by her late husband\, Masakazu Kobayashi. The couple often collaborated\, working on installations that combined elements created by each of them. “These works express a shared vision and such common themes as the tranquility of nature\, the infinity of the universe and the Japanese spirit\,” Masakuzu once explained. “Naomi and I work in fiber because natural materials have integrity\, are gentle and flexible. In my own work\, I search for an equilibrium between my capacity as a creator and the energy of the world around me.” \nKeiji Nio’s interlaced wall work is inspired by a haiku\, Rough Sea of Sado\, from Japanese haiku master Matsuo Basho’s haiku series. In it\, Basho describes the deep blue waves of the Sea of Japan as they are reflected in the night sky and the light blue waves hitting the beach. The work incorporates ribbons on which Nio has screened images from the sea and tiny pebbles from the shore. Nio is a faculty member at the Kyoto University of Art & Design\, who combines industrial and natural materials in his works to make statements about nature and man’s relationship to the world. \nSeveral ceramics by Yasuhisa Kohyama\, are included in Transforming Tradition. Kohyama is a renowned Shigaraki potter who uses ancient techniques to explore new forms. He gained widespread attention in Japan in the 60s when he built one of the first anagama kilns since medieval times. Collectors and museums have been quick to acquire his works\, including the Metropolitan Museum of Art\, the Cleveland Museum of Art\, the Stedelijk Museum in Amsterdam\, the Gardiner Museum of Art in Toronto\, the Philadelphia Museum of Art\, the Museum of Art and Craft in Hamburg and the Shigaraki Ceramic Cultural Park in Shiga\, Japan. Kohyama’s work graces the cover of Contemporary Clay: Japanese Ceramics for the New Century by collectors Alice and Halsey North and curator Joe Earle. \nBamboo sculptures by Jiro Yonzawa are also part of browngrotta arts’ exhibition. Yonezawa has been recognized with the Cotsen Prize\, a commission from Loewe to work in leather and inclusion in the prestigious Japan Nitten National Fine Arts Exhibit. Yonezawa has explained his work: “Bamboo basketry for me is an expression of detailed precision. These baskets represent a search for the beauty and precision in nature and a way to balance the chaos evident in these times.” \nKorean artist Chang Yeonsoon\, who creates ethereal works of starched indigo\, was Artist of the Year at the National Museum of Contemporary Art in Seoul in 2008. For 35 years\, Jin-Sook So\, also of Korea\, has been creating dimensional works — sculptural vessels and wall pieces  — from stainless steel mesh to international acclaim. \nYou can view Transforming Tradition: Japanese and Korean Contemporary Contemporary Craft online by visiting browngrotta arts’ YouTube channel: www.youtube.com/channel/UCV7IJwPD34cF-U88hB5e4aw. \nYou can see each individual work in the exhibition on Artsy: www.artsy.net/browngrotta-arts/shows and learn more about the artists included by visiting arttextstyle arttextstyle.com and browngrotta arts’ website: www.browngrotta.com \n  \nArtists included:\nChiyoko Tanaka (Japan)\, Jiro Yonezawa (Japan)\, Masakazu Kobayashi (Japan)\, Naomi Kobayashi (Japan)\, Kyoko Kumai (Japan)\, Kiyomi Iwata (Japan/US)\, Yasuhisa Kohyama (Japan)\, Keiji Nio (Japan)\, Hisako Sekijima (Japan)\, Toshio Sekiji (Japan)\, Jin-Sook So (Korea)\, Chang Yeonsoon (Korea)  \n  \nAll photos by Tom Grotta\, courtesy of browngrotta arts. Not to be published without prior permission. High res. images available upon request.\n\nFor all media inquiries\, contact State Public Relations at (646) 714 – 2520 or browngrotta@statepr.com.  \n 
URL:https://artinamericaguide.com/event/browngrotta-arts-online-viewing/
LOCATION:browngrotta arts\, 276 Ridgefield Road\, Wilton\, CT\, 06897\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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ORGANIZER;CN="browngrotta arts":MAILTO:browngrotta@statepr.com
GEO:41.2036033;-73.4518807
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=browngrotta arts 276 Ridgefield Road Wilton CT 06897 United States;X-APPLE-RADIUS=500;X-TITLE=276 Ridgefield Road:geo:-73.4518807,41.2036033
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20191102T130000
DTEND;TZID=America/Halifax:20191102T180000
DTSTAMP:20260504T083718
CREATED:20191101T171742Z
LAST-MODIFIED:20191101T185317Z
UID:61173-1572699600-1572717600@artinamericaguide.com
SUMMARY:Artists from The Grotta Collection at browngrotta arts
DESCRIPTION:browngrotta arts is excited to announce Artists from The Grotta Collection\, a new Fall exhibition highlighting important works of fiber and dimensional art by more than 40 artists collected by Sandy and Louis Grotta. Artists will include Toshiko Takaezu\, Naomi Kobayashi\, Norma Minkowitz\, Axel Russmeyer and Mariette Rousseau-Vermette. A full artist list is found below. \nLong-time patrons of the Museum of Arts and Design and the American Craft Museum of New York the Grotta’s collection represents 70 years of arts patronage as well as unique friendships fostered by the Grottas with pioneering contemporary craft makers in the fields of textile art\, sculpture\, furniture\, and jewelry. The private collection is housed in an architecturally significant home designed by Richard Meier in the 1980s known as The Grotta House. Built of a balance of glass and concrete\, the home was conceived as a living gallery for the collection\, framing the objects within the open architecture. Nature\, visible from many vantage points\, also plays an essential role. The home is located in Harding Township\, NJ. \n“In quality and depth\, the Grotta collection of contemporary craft outshines all others\, including what is in museums\,” according to designer and curator Jack Lenor Larsen. \nThe Grottas’ son\, Tom Grotta\, and his wife\, Rhonda Brown\, co-founded browngrotta arts in 1987. Since then\, they have been continuing the guardianship and advancing the field of modern fiber art by curating and exhibiting renowned artists and publishing scholarly catalogs.  They represent/work with many of the artists who are part of The Grotta Collection. \nArtists from The Grotta Collection is a special Fall addition to browngrotta arts’ “Art in the Barn” programming – an annual 10-day exhibition held in the Spring at the couple’s private home – a two-story barn built in 1895 and expanded and contemporized by architect David Ling. Over 3500 square feet of space with a viewing vista of 55’ allows for experiencing works that reflect complex illusionary space. \nThe range of works will include ceramic vessels\, three-dimensional sculptures made of paper\, wood\, waxed linen\, steel\, and basket forms of bark and twigs\, bamboo\, willow\, and cedar. A number of artists have created wall works of linen\, viscose\, steel\, cotton\, and horsehair. The techniques are as varied as the materials — weaving\, plaiting\, knotting\, ikat\, tying\, bundling\, crochet and photography. \nThe exhibition also marks the release of a new book The Grotta Home by Richard Meier: a Marriage of Architecture and Craft (Arnoldsche\, $85\, 336 pp.\, 28 x 30 cm\, approx. 300 illustrations\, hardcover). The book celebrates the Grottas’ lifelong passion for craft art with 300 photographs of the private collection taken in its singular setting\, photographed and designed by Tom Grotta. Accompanying essays by contributors to the craft movement including Glenn Adamson\, Matthew Drutt\, Sheila Hicks\, Joseph Giovannini\, Louis Grotta\, Jack Lenor Larsen\, John McQueen\, Richard Meier\, Wendy Ramshaw and David Watkins\, afford the reader a greater sense of how the Grottas have not simply acquired art but have immersed themselves in its making. A limited number of copies will be available at the exhibition and Tom will be available to sign them. \nParticipating artists in Artists in the Grotta Collection include: William Accorsi (US)\, Dorothy Gill Barnes (US)\, Birgit Birkkjaer (Denmark)\, Sara Brennan (UK)\, Mary Giles (US)\, Helena Hernmarck (Sweden/US)\, Marion Hildebrandt (US)\, Thomas Hucker(US)\, Kiyomi Iwata (Japan/US)\, Ferne Jacobs (US)\, Stéphanie Jacques (Belgium)\, Tamiko Kawata (Japan/US)\, Naomi Kobayashi (Japan)\, Markku Kosonen (Finland)\, Luba Krejci (Czechoslovakia)\, Lila Kulka (Poland)\, Kyoko Kumai (Japan)\, Gyöngy Laky (US)\, Kari Lønning (US)\, Dawn MacNutt (Canada)\, John McQueen (US)\, Mary Merkel-Hess (US)\, Norma Minkowitz (US)\, Judy Mulford (US)\, Leon and Sharon Niehues (US)\, Ed Rossbach (US)\, Mariette Rousseau-Vermette (Canada)\, Axel Russmeyer (Germany)\, Debra Sachs (US)\, Hisako Sekijima (Japan)\, Kay Sekimachi (US) \, Sylvia Seventy (US)\, Hiroyuki Shindo (Japan)\, Karyl Sisson (US)\, Jin-Sook So (Korea)\, Aleksandra  Stoyanov (Ukraine/Israel)\, Toshiko Takaezu (US)\, Chiyoko Tanaka (Japan)\, Hideho Tanaka (Japan)\, Deborah Valoma (US)\, Katherine Westphal (US)\, Chang Yeonsoon (Korea)\, Masako Yoshida (Japan). \nThe Artists Reception and Opening will take place at browngrotta arts on Saturday\, November 2\, 2019 from 1pm-6pm. \nbrowngrotta arts is located at 276 Ridgefield Road\, Wilton\, CT. The exhibition will be on view from November 1-10\, 2019\, and is open to the public from 10am-5pm daily. 
URL:https://artinamericaguide.com/event/artists-from-the-grotta-collection-at-browngrotta-arts/
LOCATION:browngrotta arts\, 276 Ridgefield Road\, Wilton\, CT\, 06897\, United States
CATEGORIES:Event
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X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=browngrotta arts 276 Ridgefield Road Wilton CT 06897 United States;X-APPLE-RADIUS=500;X-TITLE=276 Ridgefield Road:geo:-73.4518807,41.2036033
END:VEVENT
END:VCALENDAR