Grossen in a sentence | Use of the word grossen examples

Looking at Francoise grossen’s “Five Rivers” (1974), with its heavily knotted, hanging yarns that look like they could only be brought into being by human hands, I get that craft has to be part of the formula.

When: Opens Saturday, July 2, 6–8pm Where: Blum & Poe (2727 South La Cienega Boulevard, Culver City, California) Since the late 1960s, Swiss artist Françoise grossen has been a major figure in fiber and textile arts, which makes it somewhat surprising that her upcoming exhibition at Blum & Poe is only her first show in Los Angeles.

grossen breaks free of the flat, rectilinear boundaries that previously limited textiles to the wall or the floor, stressing the weight, mass, and three-dimensional qualities of her materials.

Françoise grossen, who began making fiber art in the 1960s, has long drawn on disparate influences, so it should be intriguing to see how she positions her own rope sculptures beside selections of work in basketry, wood, and metal.

grossen’s rope sculptures complicate the boundary between art and craft in a productive way.

Advertise on Hyperallergic with Nectar Ads Two years after Blum & Poe mounted fiber artist Françoise grossen’s first survey in the United States, her third show with the gallery feels like a gift of quietude.

Born in 1943 in Neuchâtel, Switzerland, grossen first encountered fiber art in a textile class she took while studying architecture in Lausanne.

I wanted to get rid of the frame.” After transitioning from wool to rope, grossen began to produce hanging sculptures and floor pieces, including massive commissions for homes and offices, as well as works that interacted directly with the environment, such as “Inchworm,” an early piece made from cotton industrial piping, which she recreated with plastic tubing corked at the ends in 1978 and floated on a pond at Reed College in Oregon.

grossen’s freehand style is particularly evident in a 62 by 44-inch wall hanging made in 1981, in which loose braids and textured ridges, made from golden, partially dyed strands of Manila rope of varied thicknesses, replace the precision of a loom weaving.

grossen’s objects are both organic and highly structured.

grossen has stressed the importance of understanding her work as sculpture.

There is reciprocal insertion and intertwining of one in the other.” Activating both optic and haptic fields, grossen’s sensual sculptures invite just this kind of “chiasmic intertwining” — to encounter them is to engage with them.

Françoise grossen continues at Blum & Poe (19 E. 66th Street, Manhattan) through January 6.

When: November 2–December 23 Where: Blum & Poe (19 E 66th Street, Upper East Side, Manhattan) Two years after giving the Swiss-born, New York–based artist her first US survey, Blum & Poe is unspooling more of Françoise grossen’s startling rope sculptures from the 1960s onward, some of which she recently modified.

The relationships that emerge in Françoise grossen’s work feel like they matter.

Advertise on Hyperallergic with Nectar Ads There is a poem by Robert Creeley, “The Mechanic,” which came to me as I looked at Françoise grossen’s exhibition at Blum and Poe, New York.

Do you believe.” I think of what makes weight interesting, or better yet crucial, when I look at grossen’s “Gamma (Signe II),” a work from 1993 that consists of just two metal pegs shoved into the wall, what the gallery describes as “natural paper piping cord,” and tape.

Much has been made of Françoise grossen’s clever intertwining of the gravitas and aesthetics of contemporary art with craft.

It’s not the question of craft’s relation to art practice (which should by now have been conclusively understood to not exist in opposition), but rather how grossen’s ropes and cords, braids and yarn feel like they have consequence, like they are metaphors whose meaning I would do well not to miss.

Françoise grossen continues at Blum & Poe (19 East 66th Street, Manhattan) through January 6.

Gary grossen, the master cheesemaker at the Dairy State’s flagship university, knew his calling by age 14, when his dad left him alone in the barn to look over the Emmenthaler.

grossen lives and breathes cheese.

“There’s two type of cheese,” grossen says.

Why did you pick cheese as a profession?Gary grossen: At a very young age, my brother, sister and I were learning about cheesemaking—long before people would even imagine to, you know?

FRANÇOISE grossen SELECTS One of the great figures in the fiber movement of the 1960s and 70s, Françoise grossen moved away from the weaving loom and used rope instead, knotting it and letting it flow across the floor or up the wall.

Ms. Rist, a Swiss artist, has many international fans, including Beyoncé, who seems to have adapted one of her best-known images in the video component of “Lemonade.” Add to the season solo shows by Frances Stark (Museum of Fine Arts, Boston, Sept. 17); Françoise grossen (Museum of Arts and Design, Oct. 18); Lygia Pape (the Met Breuer, March 21); Florine Stettheimer, early-20th-century New York’s czarina of culture, who arrives at the Jewish Museum in May, and the Guerrilla Girls at the Baltimore Museum of Art later this month (Sept. 26), and you have an unbeatable executive lineup.

Er sang den Anfang des grossen Monologs “Dio mi potevi” so weich und flauschig, dass man beim Zuhören frappiert Otellos innere Gedankengänge nachzuvollziehen glaubte.

Dramaturgisch gesehen ist sein Otello eindeutig noch in der Phase der Formation, aber gesanglich ist er schon ein Teil der grossen Tradition.

Hicks is sometimes linked with other ’60s and ’70s post-Minimalist sculptors, including Françoise grossen and Jackie Winsor, female artists who turned to fiber (often rope) both for its formal properties and its associations beyond the art world, its household and industrial applications.

grossen, known for her sculptures and installations of braided rope that hang from the ceiling or twist along the floor, saw many of her largest works dismantled as the spaces they were created for (building lobbies, corporate offices) were altered or changed hands.

“If the elections turn out as the current state of affairs suggests, we’ll have to discuss the ‘magic formula’,” GLP President Juerg grossen told the SonntagsZeitung paper this month.

More, the entire show demonstrated definitively that while underlying abstract concepts, formal inquiries, and concerns about agency drove the making of this work, one understood — by, for example, looking at Francoise grossen’s heavily knotted, hanging yarns — that craft, that is skilled handiwork, is often an essential aspect of work we regard as successful.

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