Norma Minkowitz

56nm Inner Sanctum, Norma Minkowitz, mixed media, 9.5” x 14” x 13”, 2012, $8,000



Norma Minkowitz

59nm Football "The Perfect Fit: Shoes Tell Stories “, mixed media, 7.5” x 13” x 4”, 2006, $5,000



Norma Minkowitz GOLDEN CRATER

36nm Victim, Norma Minkowitz, mixed media, 13" x 34" x 12", 1993, $15,000



Norma Minkowitz

44nm Excavation, Norma Minkowitz, mixed media, 25" x 25" x 25", 2009-11, $20,000



Norma Minkowitz GOLDEN CRATER

37nm Golden Crater, Norma Minkowitz, mixed media, 18" x 18" x 18", 2009, $18,000



Norma Minkowitz Baggage

12nm Baggage, Norma Minkowitz, mixed media, 43" x 50" x 6", 2007, $20,000



Norma Minkowitz Chrysalis

7nm Chrysalis, Norma Minkowitz, wood, fiber, paint, resin, 58", x 23.5" x 10", 2004, $15,000



Norma Minkowitz LADYBIRDS

42nm I Give Myself, Norma Minkowitz, mixed media, 28” x 32” x 23", 2010, $17,000



Norma Minkowitz LADYBIRDS

25nm Wild in the Woods, Norma Minkowitz, fiber, wood, mixed materials, 40" x 11" x 16", 1997, $18,500



Norma Minkowitz GOLDEN CRATER

46nm Remembrance, Norma Minkowitz, fiber and mixed media, 15" x 22" x 20", 2001, $10.500



Norma Minkowitz

Selected collections and exhibition venues:
Metropolitan Museum of Art, New York, New York (One of a Kind: The Studio Craft Movement; permanent collection); Renwick Gallery, National Museum of American Art, Smithsonian Institution, Washington, D.C.; Museum of Arts and Design, New York, New York (Intertwined: Contemporary Baskets from the Sara and David Lieberman Collection, permanent collection); De Young Memorial Museum, San Francisco, California; Milwaukee Art Museum, Wisconsin (FibeR/Evolution); Montreal Museum of Fine Arts, Canada (Anthropomorphism, permanent collection); Philadelphia Museum of Art, Pennsylvania (permanent collection); Wads-worth Atheneum, Hartford, Connecticut (Traditions/Transitions/The Changing World of Fiber Art, permanent collection); LongHouse Reserve, East Hampton, New York; Museum of Fine Arts Boston, Massachusetts (permanent collection); Racine Art Museum, Wisconsin; Denver Art Museum, Colorado (Sleight of Hand, permanent collection); Detroit Institute of Arts, Michigan (permanent collection); Mint Museum of Art, Charlotte, North Carolina; Houston Museum of Fine Arts, Texas (permanent collection); Kyoto International Conference Hall, Japan (A Proposal for a New Century); Kwang Ju Museum, Korea (permanent collection); The Contemporary Museum, Honolulu, Hawaii; Yokohama Museum of Art, Japan (Weaving the World, Contemporary Art of Linear Construction); Museum of Applied Arts, Frankfurt, Germany (Corporal Identity-Body Language, 9th Triennial for Form and Content). Recipient: Award, Master of the Medium, James Renwick Alliance; Visual Arts Fellowships, American Crafts Council; Grant, National Endowment for the Arts.



Despite the repeated use of the same basic stitch, no two are exactly alike. This conveys the intimacy and imperfection of the human hand while creating a movement akin to the cross hatching of a pen and ink drawing. The interlacing technique that I use makes it possible for me to convey the fragile, the hidden, and the mysterious qualities of my work, in psychological statements that invite the viewer to interpret and contemplate my art. I am still drawing, but with fiber.

Norma Minkowitz

Norma Minkowitz

10nm Rebirth of Venus, Norma Minkowitz, fiber, wire resin, paint, 58" x 54" x 8", 2004, $20,000

Statement:
I seek mystery in the shadows of the work. The netting's effect is to blur the shape within. There is often paint on the surface, which can at times be invisible and at other times obvious depending on the light, another important element of my work. I want the openness to convey a sense of energy as the viewer moves around the sculpture. My work retains implications of containment and psychological complexity, while focusing on the human form and often the land-scape. I am engaged in a process that weaves the personal and universal together. The interlacing suggests a delicate quality symbolic of the human condition, but conversely, the pieces could also imply the strength of steel mesh. In many of my works twigs and branches are left inside, and are visible in an eerie way through the exterior of the sculpture, often suggesting connections to the human skeletal or circulatory systems.