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DTSTART;VALUE=DATE:20200713
DTEND;VALUE=DATE:20200801
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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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DTSTART;VALUE=DATE:20200608
DTEND;VALUE=DATE:20200701
DTSTAMP:20260502T084940
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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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DTSTART;VALUE=DATE:20200301
DTEND;VALUE=DATE:20200401
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CREATED:20200324T204719Z
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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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DTSTART;TZID=America/Halifax:20191102T130000
DTEND;TZID=America/Halifax:20191102T180000
DTSTAMP:20260502T084940
CREATED:20191101T171742Z
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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
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