The picturesque summer manor Frank Lloyd Wright designed on a cliff in Derby is the setting for two contemporary outdoor sculptures and several more on both floors of the recently restored 1926 Graycliff estate. The outdoor sculptures provided by Albright-Knox Art Gallery for the exhibition "Sarah Braman: Finding Room" will be on the grounds until October 2023, with the indoor pieces on view until March 2023. "This exhibition is unlike anything Graycliff has ever hosted," said Anna Kaplan, Graycliff Conservancy's executive director. "It is a real opportunity to invigorate our now restored historic grounds and interiors with brilliant contemporary art that is sure to challenge perspectives, and allow us to experience our historic site in an entirely new way."

Winding through a one-mile stretch of the University of Houston’s park-like campus is a series of colorful, bright, large-scale sculptures, offering visitors an emotional lift and escape to fun. Lace up your most comfortable shoes and feel the joy of color in “Color Field,” open to the public through May 31. Presented by Public Art of the University of Houston System (Public Art UHS), “Color Field” is an outdoor temporary exhibition featuring 13 works of art by seven contemporary artists.

This October, the traveling exhibition “Color Field” will unveil (and run through May 2021). The must-see, highly engaging show comes to the UH campus from its originating museum, the vaunted Crystal Bridges Museum of American Art, in Bentonville, Arkansas, which this scribe likens to a Guggenheim of the South.

stablished in 1999 by artists Sarah Braman, Suzanne Butler, Phil Grauer and Wallace Whitney, Canada Gallery was, as they told Observer, “born out of a kind of necessity.”

“This was the late 1990s,” they said in an email. “So we just banded together to do it ourselves.”

Twenty years later, that has proven a successful business model. Their roster has grown to encompass close to 30 artists, including Katherine Bradford, Katherine Bernhardt and Marc Hundley. The four put their good fortune and ability to stay in business in a sometimes-volatile arts market down to collaboration (“As it turns out, sharing responsibilities and making decisions by committee has helped broaden our influences”) and a certain flexibility.

The sculptor and painter Sarah Braman creates abstract artworks from Minimalist, no-frills materials like bits of furniture and plywood. She is perhaps best known for her sculptures that, like those of John Chamberlain, fuse scrapyard metal from cars; but she also spray paints many of her objects and sculptures, creating a Rothko-esque feeling of color-field painting upon her sculptural medium.

On view through April 6 at Mitchell-Innes & Nash in New York, her current exhibition, “Growth,” includes many of these kinds of works; but, more widely, her artistic practice is philosophical, evocative of quotidian pleasures. Her car sculptures are redolent of road trips; her works with furniture bring to mind being cozied in a living room. Braman’s most pressing interest, as she told Modern Painters, however, is light, the concept of which informs everything she creates. “It’s hard for me to talk about color without also talking about light,” she said, adding that many of the artists to whom she most looks up, “felt that painting the way that light fell onto the earth was a way to describe the spiritual.”

There’s apparently a new development in which artists such as Sarah Braman (b. 1970) include acknowledgments, like writers do at the end of novels. In the press materials for her industrially luscious show, it’s noted that “the artist would like to thank Steve Grant for his patience and skill in welding, Nina Weyl and Seth Coen for their tireless and careful sewing, Barb Hadden for so much studio help, Mom and Liz for all the babysitting, and Saul, Jody and Phil for being the best home team.”

I’d call Sarah Braman’s show at Mitchell-Innes & Nash a breakthrough were it not for her slow and steady ascent. You Are Everything, her first solo New York City exhibition in five years, presents a newfound ease with her material, a gracefulness in both subject and physicality I hadn’t noticed before. It’s as if she had traversed the messy, awkward, early stages of self-conscious invention and emerged on the other side, fully confident and in total command.

A few blocks north of Sarah Braman’s exhibition “You Are Everything” at Mitchell-Innes & Nash is a rare sight: A defunct and shuttered McDonald’s restaurant on the corner of 34th Street and 10th Avenue. The title of Ms. Braman’s show comes from a graffiti tag on a similar-looking structure — red, yellow and white — in a rural location, a photograph of which is printed on the news release.

Sarah Braman's sculptures and paintings are at once monumental and ethereal. She explores light and space with spare forms and a nonchalant, almost cavalier, manipulation of materials. Nothing she does ever seems over worked or overwrought. In her fresh and airy 3-D works, she combines found objects, often abject detritus, with carefully constructed forms made of tinted glass and steel.

Sarah Braman, sensational sculptor.

In this solo show, Braman embraces a sort of dilapidated but still-loved found-sculpture aesthetic, assembling in beautiful agglomerations with tinted glass; wonderfully colored fabrics; and unruly discarded furniture, household items, and cut-up plywood. She arrives among Rachel Harrison, Mike Kelley, Richard Prince, and Donald Judd, putting a marker down as one of the strongest sculptors working anywhere. —Jerry Saltz
Mitchell-Innes & Nash, through April 16.

Although the title of Sarah Braman’s latest solo exhibition is You Are Everything, the artist believes that there is, perhaps, a more appropriate title, one that better captures the spirit of her new work.

“I think the unofficial name for the show should be Driving, Sleeping, Screwing, Reading. It turned out that a lot of the sculptures either include beds or actually are beds where you can lay down,” Braman says. “My husband told me the studio looks like a sci-fi, post-apocalyptic tent city.”

New York-based artist Sarah Braman makes quirky sculptures by marrying found objects, constructed elements of colored glass and Plexi and oddly shaped pieces of plywood bearing brightly colored acrylics and spray paints. For her second solo show at the gallery, the artist uses a tree stump, a trashed truck cab, discarded bunk beds and fabricated glass structures to create eccentric assemblages.

Looking at the artworks of Sarah Braman, one can get a feeling that she’s like someone who is able to see certain things in a completely different way than regular folk. For instance, that sectioned old camper trailer is, indeed, exactly what it sounds, but it is also an artwork, placed on an art gallery floor like it’s always belong there, without any doubt. The truth is that the artist puts found objects together, in the manner of a proper Neo-Dadaist, creating art that is somewhere between sculpture and assemblage, ready to be contemplated by a contemporary viewer. Sarah Braman’s new sculptural works and panel paintings are soon going to be gathered for her first solo exhibition in New York in five years, hosted by Mitchell-Innes & Nash.

The story behind the artist's work, in her once words.

This engaging exhibition, "Sarah Braman: Alive," debuted new works by the winner of the MFA's 2013 Maud Morgan Prize, given biennially to a female artist working in Massachusetts. Set in the museum's contemporary-art wing, the show consisted of an abstract painting, a video, and - the focal point of the room - two colordul, large-scale, glass and steel sculptures.

For Braman's newest found-object sculptures, which include salvaged car, furniture, and industrial parts, the artist used Craigslist to source the works' unifying material: a broken down camper chopped into several pieces. 

In 1969, Shasta Trailer Industries--then the best-selling mobile-home manufacturer in the United States--introduced a new product: the Loflyte.  

In her fourth solo in a New York gallery, Sarah Braman continues the confident development of her loquacious, hardscrabble formalist assemblages. 

Effervescence and flow distinguish this solid group exhibition, featuring paintings, drawings, photographs and sculptures by 17 artists who are mostly under 40.

This show creates a cross-generational dialogue between two artists who are primarily concerned with space and color, and with how these aspects of sculptural work affect light on a surface.

One day, while tinkering around art school I was given the task of meeting with a young woman and convincing her to join our graduate program. 

Though she is well known among habitués of the Lower East Side, sculptor Sarah Braman is no city slicker.