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142r
TAPA CONSTRUCTION
Ed Rossbach
drawn and transfer printed tapa cloth
62" x 40", 1990
$7,500
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188r PAINTED NEWSPAPER
Ed Rossbach
newspaper and spraypaint
5.5" x 5.5" x 9.5", 1987
$4,000 |
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62r
PRE-COLUMBIAN
JAQUARD #2
Ed Rossbach
jaquard woven;
painted tape appliqué
40” x 30”, 1986
$6,500 |
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58r MORE FIBER, Ed Rossbach, mixed media, 14" x 9" x 9", 1987, $4,000
57r ART FORUM, Ed Rossbach, mixed media, 13"x 7" x 7", 1987, $4,000
100r KOREAN SHAPE, Ed Rossbach, (Annual Report Paper), mixed media, 13" x 9" x 9", $4,000
101r PUFFED WHEAT, Ed Rossbach, mixed media, 12" x 8" x 8", 1987, $4,000 |
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| 52r WARP IKAT SPIRAL, Ed Rossbach, 3’ X 9’, 1962, $9,000 |
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Author: The Nature of Basketry; The Art of Paisley; The New Basketry; Baskets as Textile Art; John McQueen: The Language of Containment and other works.
Recipient: Gold Medal, American Craft Council.
44r EL SALVADOR
Ed Rossbach
muslin, camouflage netting, sticks, plastic, plastic tape, wire, tied, dyed, linoleum block printed, contructed
15.5" x 15.5" x 13", 1984
$5,000 |
Selected permanent collections and exhibition venues:
Museum of Modern Art, New York, New York (Wall Hangings and The New Classicism); Metropolitan Museum of Art, New York, New York; Museum of Arts and Design, New York, New York; Art Institute of Chicago, Illinois; Stedelijk Museum, Amsterdam, the Netherlands (Structure in Textiles); Renwick Gallery, National Museum of American Art, Smithsonian Institution, Washington, D.C. (The Object as Poet); Milwaukee Art Museum, Wisconsin (Fiber R/Evolution); Philadelphia Museum of Art, Pennsylvania; Racine Museum of Art, Wisconsin; Museum of Fine Arts, Boston, Massachusetts; Textile Museum, Washington, D.C. (solo exhibition); Seattle Art Museum, Washington; Cooper Hewitt, National Museum of Design, Smithsonian Institution, New York, New York; Wadsworth Atheneum, Hartford, Connecticut; the Museum of Art, Rhode Island School of Design, Providence. |
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34r BOBBIN LACE WITH OPENINGS
Ed Rossbach, plastic tubing, bobbin lace 20.5" x 44.5", 1970
$7,000 |
Statement:
“Well, I love all this mixture of things that people might interpret in various ways that I didn’t intend," Ed Rossbach observed several years before his death. “I think it’s sort of amusing to have people misunderstand things and take things seriously that you mean not to be serious. Of course I don’t persuade myself that people think much about these things at all; I think they just sort of pass before their eyes. May-be somebody will think a little bit about it, but I don’t think anybody is very concerned about what the meaning is of what I’m doing. I think it’s very unusual for people to look seriously at what someone else is offering as a work of art. You’re very much doing it for yourself. And I suppose that’s the essence of what I’m doing…." From: Musings on a Gallery Project for Fiberworks, 1979.
Ed Rossbach |
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 Ed Rossbach
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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