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.
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.”
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.
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.
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.
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.
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.