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14fg METAMORPHOSIS I.5
Françiose Grossen
mixed
38" x 14" x 6", 1986
$6,000 |
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12fg EMBRYO
Françiose Grossen
manila, cotton, wood
26.5" x 64" x 18", 1987, $9,000
32fg INTERPOLATION XVIII
Françiose Grossen
buff-pads 3/4 frayed, hardware, 1980-81, 4-8"(h) (comes with muslin bag.) $750
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20fg
METAMORPHOSIS IV.4
Françiose Grossen
mixed
84" x 24" x 15"
1988-89
$8,000 |
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13fg INCHWORM I, Françiose Grossen, floor piece, wick, 36" x 15’ x 25’, 1997, $30,000
photo by Françiose Grossen |
Selected permanent collections and exhibition venues:
Museum of Modern Art, New York, New York (Wall Hangings); Metropolitan Museum of Art, New York, New York; Art Institute of Chicago, Illinois; Milwaukee Museum of Art, Wisconsin (Fiber R/Evolution); Minneapolis Institute of Arts, Minnesota; National Museums of Art, Kyoto and Tokyo, Japan; Museum of Arts and Design, New York, New York; Lausanne, Switzerland (International Biennials of Tapestry); Renwick Gallery, National Museum of Art, Smithsonian Institution, Washington, D.C.; Museum Bellerive, Zurich, Switzerland; Museum of Art, Rhode Island School of Design (Term Limits); Musée d’Art et d’Histoire, Neuchatel, Switzerland (Françoise Grossen: Sculptures – solo exhibition).
Recipient: Fellowship, Government of Switzerland; Award, National Competition for Applied Arts; Fellowship, National Endowment for the Arts; International Honor Award, Women in Design. |
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25fg FROM THE MERMAID SERIES IV
Françiose Grossen, poly, metal, paper, braided, 16" x 72" x 72", $12,000
photo by Françiose Grossen |
Statement:
I like the encounter with my large relief forms and panels to be twofold: the first, seen from a distance; the second, more attentive, should reveal new surprises. The work has evolved from monumental or 'body scale' forms hanging from the ceiling or wall to a series of independent floor sculptures with biomorphic associations. These elements assume creature forms and evoke associations from our common unconscious memory with many layers of meaning.
The substance of my work is an enjoyment and fascination with the beauty of large-scale tubular, flexible material, positive and negative space, texture and mass. The work reaffirms throughout a human scale and a characteristic sense of hopefulness. It is my pleasure of working with my hands.
Françiose Grossen |
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YOUR GOLD TEETH II
Curated by Todd Levin
Marianne Boesky Gallery
June 19 – August 15, 2009
509 West 24th Street
New York, New York 10011 USA
Tel: (212) 680 - 9889
Fax: (212) 680 - 9897
Summer Hours:
Monday - Friday, 10am - 6pm
www.marianneboeskygallery.com
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 29r SUSPENSION, Ed Rossbach
jute and horsehair lace, 65" x 44", 1970, $7,000
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Your Gold Teeth II features more than 40 artists, ranging from Bruce Nauman, Jean-Michel Basquiat and Yoko Ono to Ed Rossbach, Françoise Grossen and Diane Itter. According to curator, Todd Levin, the artists he chose for inclusion in Your Gold Teeth II, "each have an affinity for the controlled yet significant gesture, for the performed essence; the result of a concentrated internal selection from a vast repertoire of expressive options. This stripped-down approach to craft often obscures a wider technical command than is immediately apparent. If you’re looking for order, you will find it. But even when these artists systematically subvert themselves for the devious pleasure of it, they still maintain a level of control where the strange can be made familiar - and vice versa. By eschewing displays of readily evident virtuosity, the artist gains the advantage of a kind of mystery.
Within this group exhibition one senses that boundaries are being tested, and rules of art conduct are being subverted – not subverted where craft is cast aside in favor of studied simplicity, but subverted by craft itself. On the contrary, there exists a ‘muchness’ to a great deal of the work in this exhibition. When the cultural bar has been lowered recently to a point of absurdity, the only revenge worthy of the name comes from reestablishing standards lost to laziness and expediency.
A good jazz improviser can make one note do the job of many. Incomplete utterances can fully communicate an idea. Imply, don’t state. Artwork doesn’t have a necessary end goal. Ideas, rendered in these artists’ distinctive lo-fi argot, feel aired out and simplified without being rendered trivial. A sense of satisfactory unsatisfaction remains. The artwork featured in Your Gold Teeth II is about the opening up of ideas and approaches, not the pin-point sharpening of them. " |
To purchase the artwork of Françiose Grossen
or to obtain information about other available works, contact:
Tom Grotta
browngrotta arts
or telephone
tel: 203-834-0623 or fax: 203-762-5981
www.browngrotta.com
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