Browngrotta Arts Presents Artists from the Grotta Collection November 1-10, 2019 Artist and Opening Reception: Saturday, November 2, 1PM to 6PM

Total Page:16

File Type:pdf, Size:1020Kb

Browngrotta Arts Presents Artists from the Grotta Collection November 1-10, 2019 Artist and Opening Reception: Saturday, November 2, 1PM to 6PM For Immediate Release browngrotta arts presents Artists from The Grotta Collection November 1-10, 2019 Artist and Opening Reception: Saturday, November 2, 1PM to 6PM Luba Krejci, ​Primitive Figures Birds and Insects, ​circa 1970s Knotted linen, 40.5” x 44.5” x 2”, photo by Tom Grotta Wilton, Connecticut (October 15, 2019) - 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. Long-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. "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​. The 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. Artists 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. The 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. The exhibition also marks the release of a new book ​T​he 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 e​ssays 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. Participating 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). The Artists Reception and Opening will take place at browngrotta arts on Saturday,​ ​November 2, 2019 from 1pm-6pm. The exhibition will be on view from November 1-10, 2019, and is open to the public from 10am-5pm daily. browngrotta 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​. All photos by Tom Grotta, courtesy of browngrotta arts. Not to be published without prior permission. High res. images available upon request. For all media inquiries, contact State Public Relations at (646) 714 - 2520 or [email protected]. About Sandy and Louis Grotta A celebrated interior designer and art curator, Sandy Grotta met her husband, Lou, at the University of Michigan in 1953. After enrolling in an art history course together, the Grotta’s quickly discovered their mutual admiration for contemporary architecture. Inspired by the artwork of such renowned craftsmen as furniture makers Joyce and Edgar Anderson, ceramist Toshiko Takaezu, Northwest Coast artist Chief Richard Lelooska, and textile designer Jack Lenor Larsen, Sandy completely renovated the Grotta’s first home by replacing family antiques with a new assortment of contemporary art pieces and furniture. During the construction of The Grotta House, in the 1980s, Sandy and Lou shared curatorial duties and acquired new acquisitions to enhance the Grotta’s existing collection of international art. Lou’s interest in modern architecture and Scandinavian art stems back to his early years as a student at the University of Michigan. In the early 80s, Lou reunited with his summer camp friend, Richard Meier, and despite some differences of opinion concerning craft materials, they decided to collaborate on the creation of The Grotta House. Over a span of five years, they worked together to design and build a house that incorporated the Grottas’ unique appreciation for contemporary art and Meier’s formal elements of design. Today, Lou and Sandy continue their role as consummate collectors, hunting down dimensional art, textile art, and sculptures that reflect the natural elements of each contemporary art form. They are long-time patrons of the Museum of Arts in Design and the American Craft Museum in New York. About browngrotta arts For 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. Founded 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. Each 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. browngrotta 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​. Tom 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
Recommended publications
  • Weaverswaver00stocrich.Pdf
    University of California Berkeley Regional Oral History Office University of California The Bancroft Library Berkeley, California Fiber Arts Oral History Series Kay Sekimachi THE WEAVER'S WEAVER: EXPLORATIONS IN MULTIPLE LAYERS AND THREE-DIMENSIONAL FIBER ART With an Introduction by Signe Mayfield Interviews Conducted by Harriet Nathan in 1993 Copyright 1996 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ************************************ All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Kay Sekimachi dated April 16, 1995. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley.
    [Show full text]
  • Architecture Art in Architecture Art by Architects Architect Six Texas Museums Mansbendel, Woodcarver N0
    In this issue: Design: Art or Object? Texas Art and Architecture Art in Architecture Art by Architects Architect Six Texas Museums Mansbendel, Woodcarver N0. 1 VOL. 28 JAN./ FEB. 1978 Contents 3 Tnas Archlttct is the official pubhcalion or The Texas Sociely or Archnecl\. TSA is lhe omcial or­ Design: Work of Art or aaniuuon .,r the Texas Rea,on or lhe American ln­ ,11,ute or Arch11ec1,. Working Object? .. 10 Des Taylor Editor-In-Chief A report 011 the A I A DeiiR11 Co11- Larry Paul Fuller Managing Editor f ere11ce in Warhingron D.C.. where Michael McCullnr Associate Editor John I a,h Advertising Director that regulllrly posed queHion wm Kay Payne Circulation Manager left 11n,1111wercd once ,1~ain. llydcr Jo,cph Brown, AIA E:dilorial Con,ultant Art and Arch itecture: Editorial Policy Committee Rivalry or Symbiosis? . .. 14 Mort I cvy. Chairman Jack E. Mee~ J,1d, Craycroh Jack M11<hdl A look at an apparent dil•,•rR<'IICe < r.111,t K,·nn,·d~ Jim Fo,h.·1 of l'iewpoint between arti.rt Pt\. l nrcnntrn I nrry Cinou and architect. Hn,n ,on n~u,t.·\ Tn11r Arr/111tct i, published ~ix time• yearly by the Art in Architecture: le,." S.m<ty or Arch11ecl\, 2121 Auslln Na1lo113I Does it Fit? 18 Bank Tower, Conarcss at Sixth, Austln, Texas 78701 1 clcphone ~ 12 •478-7'86. Sub,cription price is S6.00 A II a11alysir of large-.rc,ilt• art a11d per yc.ir for addr"\e, wnhin the con11nentnl Uniled itr role in em•iro11me11tal deri(l11.
    [Show full text]
  • Curriculum Vitae Ezra Shales, Ph.D. [email protected] Professor
    Curriculum Vitae Ezra Shales, Ph.D. [email protected] Professor, Massachusetts College of Art and Design Publications Books Holding Things Together (in process) Revised editions and introductions to David Pye, Nature and Art of Workmanship (1968) and Pye, Nature and Aesthetics of Design (1964) (Bloomsbury Press, 2018) The Shape of Craft (Reaktion Books, anticipated publication Winter 2017-2018) Made in Newark: Cultivating Industrial Arts and Civic Identity in the Progressive Era (Rutgers University Press, 2010) Peer-Reviewed Scholarly Publications “Craft” in Textile Terms: A Glossary, ed. Reineke, Röhl, Kapustka and Weddigen (Edition Immorde, Berlin, 2016), 53-56 “Throwing the Potter’s Wheel (and Women) Back into Modernism: Reconsidering Edith Heath, Karen Karnes, and Toshiko Takaezu as Canonical Figures” in Ceramics in America 2016 (Chipstone, 2017), 2-30 “Eva Zeisel Recontextualized, Again: Savoring Sentimental Historicism in Tomorrow’s Classic Today” Journal of Modern Craft vol. 8, no. 2 (November 2015): 155-166 “The Politics of ‘Ordinary Manufacture’ and the Perils of Self-Serve Craft,” Nation Building: Craft and Contemporary American Culture (Smithsonian American Art Museum, 2015), 204-221 “Mass Production as an Academic Imaginary,” Journal of Modern Craft vol. 6, no. 3 (November 2013): 267-274 “A ‘Little Journey’ to Empathize with (and Complicate) the Factory,” Design & Culture vol. 4, no. 2 (Summer 2012): 215-220 “Decadent Plumbers Porcelain: Craft and Modernity in Ceramic Sanitary Ware,” Kunst Og Kultur (Norwegian Journal of Art and Culture) vol. 94, no. 3 (Fall 2011): 218-229 “Corporate Craft: Constructing the Empire State Building,” Journal of Modern Craft vol. 4, no. 2 (July 2011): 119-145 “Toying with Design Reform: Henry Cole and Instructive Play for Children,” Journal of Design History vol.
    [Show full text]
  • The Factory of Visual
    ì I PICTURE THE MOST COMPREHENSIVE LINE OF PRODUCTS AND SERVICES "bey FOR THE JEWELRY CRAFTS Carrying IN THE UNITED STATES A Torch For You AND YOU HAVE A GOOD PICTURE OF It's the "Little Torch", featuring the new controllable, méf » SINCE 1923 needle point flame. The Little Torch is a preci- sion engineered, highly versatile instrument capa- devest inc. * ble of doing seemingly impossible tasks with ease. This accurate performer welds an unlimited range of materials (from less than .001" copper to 16 gauge steel, to plastics and ceramics and glass) with incomparable precision. It solders (hard or soft) with amazing versatility, maneuvering easily in the tightest places. The Little Torch brazes even the tiniest components with unsurpassed accuracy, making it ideal for pre- cision bonding of high temp, alloys. It heats any mate- rial to extraordinary temperatures (up to 6300° F.*) and offers an unlimited array of flame settings and sizes. And the Little Torch is safe to use. It's the big answer to any small job. As specialists in the soldering field, Abbey Materials also carries a full line of the most popular hard and soft solders and fluxes. Available to the consumer at manufacturers' low prices. Like we said, Abbey's carrying a torch for you. Little Torch in HANDY KIT - —STARTER SET—$59.95 7 « '.JBv STARTER SET WITH Swest, Inc. (Formerly Southwest Smelting & Refining REGULATORS—$149.95 " | jfc, Co., Inc.) is a major supplier to the jewelry and jewelry PRECISION REGULATORS: crafts fields of tools, supplies and equipment for casting, OXYGEN — $49.50 ^J¡¡r »Br GAS — $49.50 electroplating, soldering, grinding, polishing, cleaning, Complete melting and engraving.
    [Show full text]
  • National Endowment for the Arts Annual Report 1990
    National Endowment For The Arts Annual Report National Endowment For The Arts 1990 Annual Report National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts for the Fiscal Year ended September 30, 1990. Respectfully, Jc Frohnmayer Chairman The President The White House Washington, D.C. April 1991 CONTENTS Chairman’s Statement ............................................................5 The Agency and its Functions .............................................29 . The National Council on the Arts ........................................30 Programs Dance ........................................................................................ 32 Design Arts .............................................................................. 53 Expansion Arts .....................................................................66 ... Folk Arts .................................................................................. 92 Inter-Arts ..................................................................................103. Literature ..............................................................................121 .... Media Arts: Film/Radio/Television ..................................137 .. Museum ................................................................................155 .... Music ....................................................................................186 .... 236 ~O~eera-Musicalater ................................................................................
    [Show full text]
  • California and the Fiber Art Revolution
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UNL | Libraries University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2004 California and the Fiber Art Revolution Suzanne Baizerman Oakland Museum of California, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Baizerman, Suzanne, "California and the Fiber Art Revolution" (2004). Textile Society of America Symposium Proceedings. 449. https://digitalcommons.unl.edu/tsaconf/449 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. California and the Fiber Art Revolution Suzanne Baizerman Imogene Gieling Curator of Crafts and Decorative Arts Oakland Museum of California Oakland, CA 510-238-3005 [email protected] In the 1960s and ‘70s, California artists participated in and influenced an international revolution in fiber art. The California Design (CD) exhibitions, a series held at the Pasadena Art Museum from 1955 to 1971 (and at another venue in 1976) captured the form and spirit of the transition from handwoven, designer textiles to two dimensional fiber art and sculpture.1 Initially, the California Design exhibits brought together manufactured and one-of-a kind hand-crafted objects, akin to the Good Design exhibitions at the Museum of Modern Art in New York City.
    [Show full text]
  • Press Release, P
    1 Contacts: Karen Frascona Amelia Kantrovitz 617.369.3442 617.369.3447 [email protected] [email protected] MUSEUM OF FINE ARTS, BOSTON, ANNOUNCES MAJOR GIFT OF CONTEMPORARY CRAFT FROM DAPHNE FARAGO COLLECTION BOSTON, MA (January 18, 2013)— The Museum of Fine Arts, Boston (MFA), announces a gift of 161 works from longtime supporter Daphne Farago — the Museum’s largest-ever gift of contemporary craft across a range of media. These 20th- and 21st-century works are among the finest examples of studio craft and represent objects by notable artists, such as fiber artists Anni Albers and Sheila Hicks, sculptor Robert Arneson, glass artist Dale Chihuly, and furniture maker John Cederquist. The gift includes works of fiber (94), ceramics (24), glass (19), turned wood/carvings (11), metal (5), furniture (4), jewelry (2), Structure No. 18: Theory of Lift, basketry (1), and folk art (1). The largest donor of contemporary craft in the Jeanette Marie Ahlgren, 1994 Museum’s history, Mrs. Farago has transformed the MFA’s collection with gifts totaling nearly 950 objects to the Museum in her lifetime. Other significant donations to the MFA by Mrs. Farago include the 2006 gift of more than 650 pieces of contemporary jewelry and the 2004 gift of more than 80 works of contemporary fiber art created by the late Edward Rossbach and Katherine Westphal. "These works illustrate Daphne Farago's vision as a collector — they are part of her personal collection and represent some of the finest, most intellectually and technically ambitious creations in these areas," said Malcolm Rogers, Ann and Graham Gund Director of the MFA.
    [Show full text]
  • Annual Report 2013-2014
    The Museum of Fine Arts, Houston Arts, Fine of Museum The μ˙ μ˙ μ˙ The Museum of Fine Arts, Houston annual report 2013–2014 THE MUSEUM OF FINE ARTS, HOUSTON, WARMLY THANKS THE 1,183 DOCENTS, VOLUNTEERS, AND MEMBERS OF THE MUSEUM’S GUILD FOR THEIR EXTRAORDINARY DEDICATION AND COMMITMENT. ANNUAL REPORT ANNUAL 2013–2014 Cover: GIUSEPPE PENONE Italian, born 1947 Albero folgorato (Thunderstuck Tree), 2012 Bronze with gold leaf 433 1/16 x 96 3/4 x 79 in. (1100 x 245.7 x 200.7 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.728 While arboreal imagery has dominated Giuseppe Penone’s sculptures across his career, monumental bronzes of storm- blasted trees have only recently appeared as major themes in his work. Albero folgorato (Thunderstuck Tree), 2012, is the culmination of this series. Cast in bronze from a willow that had been struck by lightning, it both captures a moment in time and stands fixed as a profoundly evocative and timeless monument. ALG Opposite: LYONEL FEININGER American, 1871–1956 Self-Portrait, 1915 Oil on canvas 39 1/2 x 31 1/2 in. (100.3 x 80 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.756 Lyonel Feininger’s 1915 self-portrait unites the psychological urgency of German Expressionism with the formal structures of Cubism to reveal the artist’s profound isolation as a man in self-imposed exile, an American of German descent, who found himself an alien enemy living in Germany at the outbreak of World War I.
    [Show full text]
  • Ceramics Monthly Mar05 Cei03
    www.ceramicsmonthly.org Editorial [email protected] telephone: (614) 895-4213 fax: (614) 891-8960 editor Sherman Hall assistant editor Ren£e Fairchild assistant editor Jennifer Poellot publisher Rich Guerrein Advertising/Classifieds [email protected] (614) 794-5809 fax: (614) 891-8960 [email protected] (614) 794-5866 advertising manager Steve Hecker advertising services Debbie Plummer Subscriptions/Circulation customer service: (614) 794-5890 [email protected] marketing manager Susan Enderle Design/Production design Paula John graphics David Houghton Editorial, advertising and circulation offices 735 Ceramic Place Westerville, Ohio 43081 USA Editorial Advisory Board Linda Arbuckle Dick Lehman Don Pilcher Bernie Pucker Tom Turner Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The Ameri­ can Ceramic Society. subscription rates: One year $32, two years $60, three years $86. Add $25 per year for subscriptions outside North America. In Canada, add 7% GST (registration number R123994618). back issues: When available, back issues are $6 each, plus $3 shipping/ handling; $8 for expedited shipping (UPS 2-day air); and $6 for shipping outside North America. Allow 4-6 weeks for delivery. change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation De­ partment, PO Box 6136, Westerville, OH 43086-6136. contributors: Writing and photographic guidelines are available online at www.ceramicsmonthly.org.
    [Show full text]
  • Oral History Interview with Michael W. Monroe
    Oral history interview with Michael W. Monroe Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Michael W. Monroe AAA.monroe18 Collection Overview Repository: Archives of American Art Title: Oral history interview with Michael W. Monroe Identifier: AAA.monroe18 Date: 2018 January 22-March 1 Creator: Monroe, Michael W. (Interviewee) Herman, Lloyd E. Extent: 8 Items (sound files (3 hr., 59 min.) Audio; digital, wav) 71 Pages (Transcript) Language: English . Digital Digital Content: Oral history interview with Michael W. Monroe,
    [Show full text]
  • At Long Last Love Press Release
    At Long Last Love: Fiber Sculpture Gets Its Due October 2014 It looks as if 2014 will be the year that contemporary fiber art finally gets the recognition and respect it deserves. For us, it kicked off at the Whitney Biennial in May which gave pride of place to Sheila Hicks’ massive cascade, Pillar of Inquiry/Supple Column. Last month saw the opening of the influential Thread Lines, at The Drawing Center in New York featuring work by 16 artists who sew, stitch and weave. Now at the Institute of Contemporary Art in Boston, the development of ab- straction and dimensionality in fiber art from the mid-twentieth centu- ry through to the present is examined in Fiber: Sculpture 1960–present from October 1st through January 4, 2015. The exhibition features 50 works by 34 artists, who crisscross generations, nationalities, processes and aesthetics. It is accompanied by an attractive companion volume, Fiber: Sculpture 1960-present available at browngrotta.com. There are some standout works in the exhibition — we were thrilled Fiber: Sculpture 1960 — present opening photo by Tom Grotta to see Naomi Kobayashi’s Ito wa Ito (1980) and Elsi Giauque’s Spatial Element (1989), on loan from European museums, in person after ad- miring them in photographs. Anne Wilson’s Blonde is exceptional and Ritzi Jacobi and Françoise Grossen are represented by strong works, too, White Exotica (1978, created with Peter Jacobi) and Inchworm, respectively. Fiber: Sculpture 1960–present aims to create a sculp- tural dialogue, an art dialogue — not one about craft, ICA Mannion Family Senior Curator Jenelle Porter explained in an opening-night conversation with Glenn Adamson, Director, Museum of Arts and Design.
    [Show full text]
  • Q (Q § « ^ O.2 E (9 •G 0 § ^ 0 22 May—13 September 1964 S Trustees of the American Craftsmen's Councii Mrs
    »he Museum of Contemporary Crafts, 29 West 53rd Street, New York Q (Q § « ^ o.2 e (9 •g 0 § ^ 0 22 May—13 September 1964 s Trustees of the American Craftsmen's Councii Mrs. Vanderbilt Webb, Chairman of the Board Kenneth Chorley, Vice-Chairman William J. Barrett, President and, Treasurer May E. Walter, Secretary Mrs. 8. D. Adams Alfred Auerbach Thomas D'Arcy Brophy Rene d'Harnoncourt Mark EIIingson Mrs. John Houseman Bernard Kester Walter H. Kilham, Jr. V. Lada-Mocarski Jack Lenor Larsen Dorothy Liebes Harvey K. Littleton Francis S. Merritt Forrest D. Murden, Jr. Mary S. Nelson De Witt Peterkin, Jr. Frank Stanton John B. Stevens Mrs. R. Peter Straus Edward Worm ley Museum Staff Paul J. Smith, Director Sybil Frank Marion Lehane Robert Nunnelley Ben E. Watkins An introduction to THE AMERICAN CRAFTSMAN In assembling this exhibition, emphasis was given to representing the wide range of work being done today by America •: ::";: ftsmen—from the strictly utilitarian object to the non-functional work of fine art, from use in personal adornment to application in architectural setting, from devotion t<^ traditional means of work- ing to experimentation with new fabrication pro: .. -rom creation of unique pieces to design application in industrial production. The thirty craftsmen rep- resented, chosen from the hundreds of craftsmen of equal stature, are from every section of the country, of all ages, with every type of background and a wide variety of training. In illustrating the diversity of the work of the American craftsmen no attempt has been made, however, to explain this diversity in terms of geographical areas; cultural influences, or mingling of various art forms.
    [Show full text]