So many exhibitions to visit this Spring from Sweden, Australia and the UK to California, Washington and New York — and two in Connecticut. Check them out.
Beauty and the Unexpected Modern and Contemporary American Crafts National Museum Șdra Blasieholmshamnen 2 Stockholm, Sweden March 30, 2023 РJanuary 21, 2024
National Museum has invited Helen W. Drutt English, pioneering craft educator and gallerist of American Modern and Contemporary Crafts since the 1960s, to assemble a collection of objects drawn from the field of “American Crafts.” The selection of 81 works from the 1950s until today will in future enrich National Museum’s collections and will provide a possibility to look at American Crafts in the Nordic context.
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International Textile Art Biennale (Fibre Arts Australia) Emu Park Art Gallery EMU Park 13 Hill Street Queensland, Australia From April 15 – June 10, 2023
Overflow by Neha Puri Dhir, stitch-Resist Dyeing on Handwoven Silk (Diptych), 95 x 128cm 95 x 32cm, 2022. Photo by Neha Puri Dhir
The International Art Textile Biennale (IATB) seeks to exhibit the best of contemporary art textiles and invited submissions, from Australia and Internationally, that reflect a wide range of works related to the textile medium. Thirty-five artists were selected to participate, including Neha Puri Dhir. The works are exhibited at various locations throughout Australia.
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This exhibition takes paper out of the two-dimensional into a world that is fantastical, intricate, colorful, and personal. Inspired by the materiality of paper and the metamorphic quality of the papermaking process,
Explores paper in pulp, cast, folded, and cut forms.The exhibition includes artwork by several artists located in New England: May Babcock, Erik and Martin Demaine, Andrea Dezsö, Tory Fair, Hong Hong, Fred Liang, Michelle Samour, Heidi Whitman and browngrotta artistWendy Wahl.
Will enter the woven world of ikat, a complex textile pattern that knows no borders. Presenting over 100 textiles from the museum’s global collection with gifts and loans from a dedicated Seattle-area collector,
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is an introduction to the meticulous and time-honored processes of dyeing threads to create complicated hand-weaving. Contemporary work in the exhibition includes tapestries by Polly Barton and James Bassler, and an extraordinary installation by Rowland Ricketts.
provides a window into what is currently engaging fiber artists, even as this discipline continues to evolve and change. Emanating from artists’ studios in Southern California, the exhibition offers unique perspectives on the complicated identities of fiber art as a genre. Collectively they offer a penetrating examination of fiber’s possibilities. Exhibiting artists include Jim Bassler, Cameron Taylor-Brown, Ben Cuevas, Mary Little, Michael F. Rohde, and Carol Shaw-Sutton.
In the ’60s and ’70s, the Polish artist Magdalena Abakanowicz created radical sculptures from woven fibers. They were soft, not hard; ambiguous and organic; towering works that hung from the ceiling and pioneered a new form of installation. They became known as the “Abakans.” Many of the most significant Abakans are brought together at the Tate Modern in a forest-like display in a 64-meter long gallery space.
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The exhibition explores this transformative period of Abakanowicz’s practice when her woven forms came off the wall and into three-dimensional space. With these works she brought soft, fibrous forms into a new relationship with sculpture. A selection of early textile pieces and her little-known drawings are also on show.
Wordplay: Messages in Branches & Bark Flinn Gallery: Greenwich Library 101 West Putnam Avenue Greenwich, CT March 30 – May 10, 2023have arrived in the US from our publishing partner arnoldsche art publishers in Stuttgart, Germany. Order a copy on our website: http://browngrotta.com. Designed by Tom Grotta, with text edit assistance from Laky and Rhonda Brown, and featuring Tom’s photography and that of several other photographers, the book examines the career of renowned textile artist and sculptor Gyöngy Laky from three perspectives. First, is Laky’s personal story of immigration and education narrated by arts and culture writer, Mija Reidel. Second, is an assessment of the evolution and impetus for Laky’s artwork by David M. Roth, editor and publisher of
, a San Francisco Bay Area online visual art magazine. Third, are images of forms, vessels and wall works, 249 pages, divided into seven sections:
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Laky has been described as a “wood whisperer.” Her highly individual, puzzle-like assemblages of timber and textiles helped propel the growth of the contemporary fiber-arts movement. Laky’s art reflects an extraordinary personal story: Born amid the bombings of World War II, escaping from post-war, Soviet-dominated Hungary to a sponsor family in Ohio, attending grade school in Oklahoma, studying at the University of California, Berkeley and in India, then founding Fiberworks Center for Textile Arts in the 1970s and fostering innovations as a professor at the University of California, Davis. And, since the late 60s, she has been creating individual works and installations in the US and abroad.
Oeuvre, which reflects those experiences, “defies easy classification, ” writes David M. Roth. “It draws on the history of indigenous people using found or harvested objects to create art and basic necessities; the 20th-century tradition of using found objects in collage, assemblage and sculpture; and the design and engineering principles that undergird contemporary architecture.“ Symbols and three-dimensional words feature in much of Laky’s work— using wood in this way, Roth posits, is akin to learning a foreignlanguage, and Laky is conversant in more than a dozen, ”becoming conversant in the dialects‘spoken’ by each species.” Pieces like
Can be read in more than one way— in this case, as“Gal, ” a statement on the hiring of women faculty at the University of California.“[It’s] an intellectual kind of play, ”says Bruce Pepich, executive director and curator of collections at the Racine Art Museum, in Wisconsin.”It’s not aconventional sense of humor, but it’s the kind one gets from walking into various layers that existin objects …You can take them at face value, but the more questions you ask, the deeper your engagement goes.”
Art Materials Archives
The bookprovides insight into Laky’s studio practice, activism, and teaching philosophy, which champions sustainable art and design, original thinking, and the value of the unexpected.
(May 7 -15)browngrotta arts is delighted to introduce the work of two artists new to the gallery, Jennet Leenderste, Netherlands, US and Shoko Fukuda, Japan. Each of them creates sinuous and supple objects — Leenderste of seaweed and Fukuda of sisal, ramie and raffia.
Jeannet Leenderste crafted with fabric as a child. She studiedgraphic design in the Netherlands and at27left forNew York in search of an internship. After completingher degree
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She moved to the Boston area and became an award-winning book designer. In recent years, has turned her focusagain to textiles. Having grown up on the Dutch shore, her fiber work responds to the rugged coast of Maine, where she now lives and finds sculptural forms in the landscape and its creatures. As an immigrant, she says, her Dutch culture and heritage are always with her, while she continues to make this new environment her home. Exploring theconcept of belonging, she develops work that feels at home in this marine environment. Adaptation and reflection are ongoing. Her fiber process brings these outer and inner worlds together.
, Jeannet Leendertse, coiled-and-stitched basket, rockweed [ascophyllum nodosum], sugar kelp [saccharina latissima] waxed linen, beeswax, tree resin, 11″ x 13″ x 5.5″, 2021. Photo by Tom Grotta
“My work grows from coastal impressions and material experimentation, ” Leenderste explains. “It takes on a new life when moved out of the studio and placed back in its natural environment.” That feedback propels her process. “I feel a strong responsibility to consider my materials, and what my creative process will leave behind. She began foraging seaweed—in particular rockweed—to work with, and discovered the amazing benefits this natural resource provides. “Seaweed not only creates a habitat for countless species, ” she says, “it sequesters carbon, and protects our beleaguered shoreline from erosion as our sea levels rise. Rockweed vessels show the beauty of this ancient algae, while drawing attention to its environmental value.” Several examples of Leenderste’s seaweed works will be featured in
Aldrich Museum Of Contemporary Art Archives
Shoko Fukuda is a basketmaker and Japanese artist who holds a Bachelor of Design from Kyoto University of Art and Design, and a Master’s degree from Osaka University of Art, where she focused on research in textile practice. She has exhibited her work internationally for the past 10 years. Shoko Fukuda currently works as an instructor at Kobe Design University in the Fashion Design department.
At browngrotta arts, we were recommended to Fukuda’s work by noted basketmaker Hisako Sekijima. “I encountered Sekijima’s artworks about 20 years ago, ” Fukuda says. “Lines made with expressive plant materials were woven into an abstract and three-dimensional shapes. I had never seen such small artworks, like architectural structures before. I have been fascinated by the structural visibility and the various characteristics of the constructive form consisting, of regular lines ever since then.”
Fukudaconsidered how to create a multifaceted form from a flat surface. By making corners, shapes are formed based on intentional decisions that lead to unexpected tortuous and twisted shapes. By weaving and fastening as if making a corner, a rotating shape was created. The movement of coiling creates a rhythm, and the lines being woven together leave organic traces in the air. In
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Is made of cylindrical spirals stacked like layers.
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