Sarah Brama and Renaud Proch, Executive Director of Independent Curators International (ICI), discuss Braman's 2016 exhibition at Mitchell-Innes & Nash, You Are Everything
March 16, 2016
b. 1970, Tonawanda, New York
Lives and works in Amherst
Sarah Braman, widely recognized for her large-scale sculptures that serve as monuments to everyday life, is interested in the interplay between sensory experience and emotional resonance. In creating her precariously balanced sculptures, Braman combines elements from scrap-yard vehicles, old buildings or antique furniture with translucent volumes of color and light. The artist’s distinctive color palette of rich pinks, blues and purples permeates the space, from spray paint on found objects and hand-dyed fabric to the expansive nature of the glass forms. In their formal construction, her works relate to the legacies of minimalism and color-field painting. Defying a narrow modernist definition, Braman’s works suggest themes of home, family and nature, with their joyful immersion in lived experience and emotional life.
Sarah Braman was born in 1970 in Tonawanda, New York. She currently lives and works between New York and Amherst, Massachusetts. Braman received a BFA from Maryland Institute College of Art in Baltimore and an MFA from Tyler School of Art in Philadelphia. Solo exhibitions include True Blue Mirror, with Ellen Berkenblit, McEvoy Foundation for the Arts, San Francisco (2019);Growth, Mitchell-Innes & Nash, New York (2019); Here, Marlborough Contemporary, London (2017); You Are Everything, Mitchell-Innes & Nash, New York (2016); Sarah Braman: Alive, Museum of Fine Arts, Boston (2013-14) and Lay Me Down, MACRO, Rome (2011). Braman has also participated in group exhibitions at Crystal Bridges, Bentonville (2019); MASS MoCA, North Adams (2017-18); the Brant Foundation, Greenwich (2017); Kunsthalle Helsinki, Finland (2016); The Kemper Museum of Contemporary Art, Kansas City (2015) and The Saatchi Gallery, London (2010). Braman is one of the founders of artist-run gallery CANADA in New York. In 2013, she was the recipient of the Maud Morgan Prize from MFA, Boston.
All images © Sarah Braman.
Sarah Braman and Annette Lemieux are both included in the group show Starting Something New: Recent Contemporary Art Acquisitions and Gifts at the Mead Art Museum at Amherst College.
True Blue Mirror is the premiere Bay Area exhibition for artists Ellen Berkenblit and Sarah Braman, featuring recent works by the prolific, mid-career artists and curated by Kevin Moore from the McEvoy Family Collection.
Sarah Braman is included in XTCA: Cross Town Contemporary Art, an outdoor public art exhibition that seeks to reveal our interconnectedness as citizens and to highlight the gateway district between downtown Amherst and the University of Massachusetts.
Bid on Sarah Braman, Keltie Ferris and Eddie Martinez in the 2018 White Columns Benefit Auction. All proceeds benefit White Columns, New York's oldest alternative, non-profit space.
On view in the gallery is a new, large scale construction entitled Day Trip. Built expressly for the purposes of this exhibition, the work is designed to fit snugly inside the volume of the gallery space, where its form hovers between an autonomous sculpture and an immersive installation.
Sarah Braman and Keltie Ferris are included in the group show, Noon - One, at CANADA Gallery, New York.
Bid on Sarah Braman, Chris Johanson and Eddie Martinez in the Merge Records Auction. All proceeds benefit the Southern Poverty Law Center and their initiatives to fight hate and bigotry. Along with the original artwork, auction winners will receive an exclusive signed vinyl record by Merge's flagship band Superchunk.
Support those impacted by the hurricanes in Puerto Rico by bidding on artworks generously donated by artists including Katherine Bernhardt, Joe Bradley, Keltie Ferris, Angel Otero, Josh Smith, Stanley Whitney and more. All proceeds will go to the MariaFund, which provides immediate relief to Puerto Rican communities in need, and El Serrucho, an emergency grant program that supports artists and cultural workers on the island.
Sarah Braman is included in Jack Hanley's 30th Anniversary Exhibition.
Nature meets contemporary art in Sarvisalo, Pernaja. The Zabludowicz estate hosts an artistic residency for young, international artists, whose work can be seen in different ways on the island. Art has spread to Sarvisalo, but the idyllic seaside venue is only open to public on special occasions so this exhibition offers an exciting opportunity to see works from Sarvisalo in the city.
This exhibition drawn from the Zabludowicz Collection presents contemporary art from nine artists who have visited or been exhibited in Sarvisalo.
In its fifth iteration, the Martos Gallery summer exhibition will feature a number of artists invited by curator Bob Nickas to serve as curators, creating shows-within-the show. Outdoors is a show organized by Bob Nickas and Virginia Overton, including works by Sam Anderson, Uri Aran, Lisa Beck, Sarah Braman, Jim Drain, Wayne Gonzales, Eli Hansen, Charles Harlan, Jim Kanter and Lisa Ward, Servane Mary, Jason Metcalf, Greely Myatt, Chuck Nanney, Amy O'Neill, Kelly Parr, Ugo Rondinone, Davina Semo and Aaron Suggs.
The exhibition debuts new sculpture, painting, and video by artist Sarah Braman. For the MFA, Braman has designed works in dynamically leaning cubes of colored glass that will respond directly to the natural glow emanating through the vaulted glass ceiling in the Linde Family wing for Contemporary Art.
My Crippled Friend investigates the recent history of the intersection of painterly abstraction and the object. While “painting as object” has often been a formalist issue, the works in this exhibition gather their identity through the subversion of formalism—scrambling and reassembling themselves in an aesthetic shell game where the act of painting is always an investigation of a painting’s ability to push into objecthood.
PAINT THINGS navigates the recent direction of contemporary artists to expand painting beyond the stretcher into sculptural forms. This group exhibition focuses on the growing spatial and material freedom in painting as it merges with installation and sculpture.
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.”
It’s an ironic development. Anna Mary Robertson Moses was the biggest American artist of the 20th century, thanks in part to her swimmingly successful “Grandma” brand, which headlined down-home paintings that translated well onto aprons, lampshades, and Hallmark cards. But time passes and brands calcify, even if the art remains alive and juicy.
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.