new works by
March 25—April 23 Norte Maar 88 Pine Street Brooklyn, NY 11208
Artist’s Statement / 4 Essay / 8 Works / 20 CV / 41
new works by
bewilder, v. 1684 I. lit. “To lose in pathless places.” The Oxford Universal Dictionary (New York, NY: Oxford University Press, 1955): 175.
On my walks, I often feel bewildered— amazingly lost in the wilderness, seeking signs and writing down observations. Marking the season by the buds and blooms on the trees, the return of the hooded mergansers to the pond, and the skunk cabbage popping up in the frozen winter ground. I seek the tracks of the bobcat, deer and hare in the snow and delight in ﬁ nding wisps of wasp nests scattered along the road. Morning walks provide fodder for later work in the studio, bring me closer to what is in bloom, and root me to the 18th century farmhouse where we live. Daily I walk down the country lane that meanders by a marsh. During the winter of 2016, I frequently saw and heard a female ruffed grouse in the woods, rustling around for food and ﬂ ying away. One frosty morning, I found her frozen on the ground, ice crystals shimmering on her feathers. She was stunning in both life and death. I mourned for a lost soul.
Shortly thereafter, I read the poet Susan Howe’s essay, Submarginalia, in which she writes: I will twine feathers, pricklings, rulings, wampum beads, chance echoes, sprays of lace in the place of your name. I thought this is appropriate for you dear, Ruffed Grouse. By happenstance or coincidence, feathers fell at my feet. A dotted pigeon feather on a busy city sidewalk, a striped brown and white turkey feather deep in the woods, a shimmering pheasant tail feather glistened on an asphalt country road, and when I thought no more feathers, one appeared at the back door. I mark and dye paper and salvaged textiles with gathered plants-- morning glories, golden rod, black walnut, barberry, day lilies, marigold and coreopsis. Summer studio afternoons are spent rubbing plants onto paper and making monoprints with fragments of cloth and metal on notecards and hemp paper. Collected feathers are grouped and formed into strands suspended from rusty hooks and discarded farm implements. The act of stitching onto dyed cloth brings me back to the glimpsed lichen on the tree, the lines on the birch bark, the frozen ice on the pond and the sounds of the birds in the woods.
Left: pink lace #4, 2017, monoprint on paper, lace, thread, pencil, 7 x 4 ¼”
Susan Howe, The Birth-mark (New York, NY: New Directions, 2015): 27.
Thinking in Nature:
Brece Honeycutt’s Art As Domestic Archive
bewilder is both a state and place of interest for Brece Honeycutt. She walks in hopes of losing her way. Wandering off allows her to make discoveries. History, nature, the home and garden, the handmade, and memory intertwine in her artistic method. A peaceful, pensive person—she seems to live at odds with current styles and lifestyles. There is a warmth and grace at the center of her work. Patience seems the dominant presumption in her art. In order to discuss recent work by Honeycutt, it is helpful to see how her life experiences inform her art.
by Anne Swartz
There is a ruggedness and rigor to Honeycutt’s art. Some of the ruggedness originates in her oft-idyllic childhood where she could run freely through the woods.1 Born in 1960, Honeycutt lived for four years in Hickory, North Carolina. It also bespeaks affection for her Nannie (her grandmother Josie Dean Kenworthy Honeycutt) who lived “an easy walk away through the woods” from the artist’s childhood home. Summers were spent with Nannie—in her garden, gathering her ﬁgs, following her canning rituals, helping with her laundry chores.
One of Honeycutt’s most evocative series are loosely rendered drawings of scenes of her grandmother’s kitchen, made from her mind’s eye. Honeycutt tessellates linear sketches into a kitchen interior. These drawings titled kitchen installation, are gorgeous— almost abstracted treatments—of domestic objects and spaces. Their robust, voluptuous forms and assured lines recall Henry Moore’s Shelter Drawings (1940-41), inspired by bodies clustered together, as people sought shelter from wartime bombings in the England underground. The family’s relocation to Alexandria, Virginia in 1964 put Honeycutt in proximity to Mount Vernon. The family visited there, as well as other nearby Washington historic sites, often. Another move to a small rural area of Delaplane in western Virginia, coincided with her adolescence. The fall of her senior year in England was an important turning point as she began to study more about art and literature, expanding her awareness of cultural history. Skidmore College was a place for Honeycutt to delve into visual art and practice. She took weaving classes with Eunice Pardon, learned about Anni Albers, studied art history. Her mother’s unexpected death soon after graduation prompted her to move away from home. Over the next six years she worked in various artworld or ofﬁ ce jobs, as well as attending Columbia University and earning a M.F.A. in Sculpture. Right: blackwalnut summer book, 2014, ecoprint on paper, waxed thread, 26 x 7 x 4”
In 1989 Honeycutt married and moved to London for the ﬁ rst ﬁ ve years of her marriage. While living there, she had a warehouse studio. She studied historical women’s undergarments and women’s history, among other topics. When she returned to the United States to live in Washington, D.C. in 1994, she created work devoted to important historical ﬁ gures such as Clara Barton or practices such as food preparation from the 17th century. She actively exhibited, worked for artists such as Anne Truitt, and she held residencies. She spent time in Vietnam making art. She explored, read, researched, learned techniques like spinning. Honeycutt’s move to Shefﬁ eld, Massachusetts, in the Taconic Mountains, took her to a colonial farm situated in the shadow of the Appalachian Trail. The move intensiﬁ ed her imagination about temporality and the land as a positive space and an active continuance integrated into her daily experience. She began using weeds and plants for her health and her art. A residency in 2008 at Pocket Utopia in Bushwick connected her with a vital community of artists offering dialogue and a shared DIY approach to making and exhibiting.
Honeycutt returns to: the simple, the undeniable, the enduring, and the aphoristic. Although she is a transplant to the Berkshires, she has grown into a romanticized version of Yankee ways, such as respect for and cultivation of nature, thrift, and quiet. She transitions between her rural life in the mountains and urban life in the city. This ﬂ uctuation between country and city allows her the contact with nature in which she ﬂ ourishes in contemplating her process and the connection with the artworld to see art. The artist sees history as formative and generative; a living resource upon which to grow. Remembrances of her grandmother stimulated her mending practice series. This on-going multi-media series, begun in 2006, originated from a box of one-inch square swatches of fabric she found at an auction, such as her grandmother had done. She added the quilt squares to paper made from old shredded rags and then used the fabric patterns as the kernel of a design for a composition. In this ongoing series the colors are lush and vibrant with shapes and compositions ranging from geometric to ﬂ oral. Right: bewildered: land lines, 2017, eco-dyed damask textile, eco-dyed thread, 14 ½ x 27”
Sometimes the artist accomplishes this artistic engagement in divergent ways. It can be through the combination of text and image, prompting the viewer to experience her work visually and aurally. Occasionally, she inserts written text in her art and chronicles her ideas and thoughts in her blog “On A Colonial Farm.” At other times her art can be in the form of shared production, as it was with poet Dara Mandle in 2012. This collaboration, produced by Norte Maar, became the artist’s book Tobacco Hour, in which the artist created elaborately delicate and reﬁ ned eco-dyed books from handmade paper with no glue bindings. The colors, shadings, and patterns of the natural dyes creating diaphanous surges interlaced with drizzled lines and dots. #CorrespondenceCourse with artist Abigail Doan is a rich pen-pal collage series they began in 2015. In it, the two artists cull from their precious hoards of talismans, treasures, and ephemera to produce a visually responsive dialogue in a scrapbook-like, Exquisite Cadavre format (one artist begins and the other ﬁ nishes an image or composition). Honeycutt has shifted gears in her most recent work producing three series with integral meditative processes: winterﬁeld and bewilder, both of 2017, and grater of 2016. Extended focus on diligence in her process had been a part of Honeycutt’s work in earlier projects, such as the spinning and knitting included in her Pocket Utopia project which involved numerous
hand-spun and knitted sculptural ceiling- and wall-related elements. As an outgrowth of her intensive study of the ways women lived historically and managed life using the local herbs and plants, she began these three series from her practice of culling materials from sources and places experienced in the present. They can be in arbitrary states or in disarray— from sources like uncultivated, meandering paths in the woods to rummage sales. Inspired by a lecture given by the historian/scholar Katherine Grandjean discussing her book, American Passage: The Communications Frontier in Early New England,2 Honeycutt identiﬁ ed with the Puritan colonists of the early 17th century who had to rely on hired Indian guides to avoid getting lost in the woods and ensure the circulation of their correspondence. These colonists would get lost and literally be wildered, or in a state of bewilderment. Honeycutt remarked on this status: “It is hard to be bewildered in our world now. I try to reach that on my walks. Furthermore, one could also say that I am bewildered by the current state of affairs in regards to what might happen to the wilderness. A different type of bewilderment.”
Left: so noted, 2017, monoprint on 8 x 5” notecard, found object, 12 x 5 x 4 ¼”
Previous page: (l-r) grater #15, grater #16, grater #18, grater #19, 2016, monoprint on notecard, tea, hapa zome, plant dyes, 8 x 5”
The rectilinear ﬁ nal form of bewilder is the only truly straight line. Every other line is slightly askew—a clue to wander. The subtitles “yellow haze” and “land lines” have dubious connotations and are not entirely certain. For the works, the artist’s process of construction begins with the dyes made from plants, coreopsis and rhododendron. The procedure for making the work reads like a recipe: Bring to a boil and simmer for an hour. Leave overnight. The fabric is dyed along with thread, which is then stitched into it. The stitching is not obvious at a distance, but it is more in evidence up close. For the artist, this acute focus parallels her experience walking in the wilderness. She says: “Seeing something far off and getting up close to examine it fully.” The surface recalls tree bark in parts and marks left behind from leaves or branches on the ground. This chronicling of nature and experience are satisfying. There is a gratiﬁ cation in taking the time to look closely. Bewilderment here gives way to wonder.
Left: nature sketch #1, 2015, handmade ﬂax paper, hand spun wool, found nest, 11 x 8 ½ x 1” Above (l-r): nature sketch #2, 2015, handmade ﬂax paper, textile, ﬂax thread, found nest, 11 x 8 ½ x 1” nature sketch with #3, 2015, handmade ﬂax paper, ecodyed textile, textile, paper, 11 x 8 ½ x 1”
summer sketch #1-3 , 2015, ecodyed textile, thread, 6 x 6”
winterﬁeld is a series of found linen or damask textiles Honeycutt reclaimed. She stitches them in their soft state. Then she carefully irons them into a crisp condition. There is a sense of severity and serenity in their monochrome, suggesting cool constancy of a windswept ﬁ eld. The stitching itself forms images of ground plants and tree branches the artist recalled experiencing while walking in the winter. Finally, she carefully irons the delicate surface into a crisp, fresh, ﬂ at state. The ironing is a peaceful, orderly, and rhythmic activity. The grater series are monoprints on 8 x 5” note cards. Honeycutt used the hapa-zome technique in which
the artist smashes plants into the surface of paper or cloth to dye or mark it.3 Then using a collection of kitchen graters, she overlaid the surface and applied various tea and plant dyes with brushes through the holes. She used coreopsis, marigold, morning glory, pokeberry, and goldenrod to make the plant dyes for these pieces. The graters are weighed down with metal objects and left to print. Each print takes days to, as the artist describes it, “cure.” The residue on the surface appears in a grid. Underneath there is an abstract composition, which appears in diaphanous, delicate swirls and patches of color. At the center of the installation of the grid of grater works is pink lace #14, a work from a similar series,
pink lace. It provides a swirling pattern rather than a regularized gridded one as the basis for its compositional structure with the lace. While Honeycutt’s art is often local in reference, it has broad implications. Her contemplative life in the mountains allows her to explore a poetics of restraint and to weave her philosophy of intimacy in her art. She’s created a tempo of deceleration in her art. It allows her to immerse herself in the present so intensely that history comes alive through her investigations into mystifying nature and her mining the psychic and material territory of the home.
Anne Swartz is a professor of art history at the Savannah College of Art and Design. She lectures, curates, and writes on topics in contemporary art, especially feminist art. All quotations from telephone or in-person conversations with the artist or studio visit in Shefﬁ eld, Massachusetts on June 25, 2016. Any direct quotations are taken from the artist’s chronology, October 12, 2016 or studio visit document, January 29, 2017. I am grateful to the artist for her generosity in responding to my many questions and inquiries.
Katherine Grandjean, American Passage: The Communications Frontier in New England (Cambridge, MA: Harvard University Press, 2015). Lecture was sponsored by Bidwell House Museum, Monterey, Massachusetts, and held at the Tyringham Union Church, Tyringham, Massachusetts, August 20, 2016.
India Flint, “Hapa-Zome—Beating Colour Into Cloth,” Eco Colour: Botanical Dyes for Beautiful Textiles (Fort Collins, CO: Interweave Press, 2010): 165-66.
Left: winterﬁeld #2: stalks and stems, 2017, silk/cotton thread on damask, 16 x 15 ½”
winterﬁeld #4: rudbeckia, 2017, silk cotton/thread on linen, 16 x 15 ½”
winterﬁeld #5: notch, 2017, silk cotton/thread on linen, 15 x 15 ½”
winterﬁeld #6: treebark, 2017, silk cotton/thread on linen, 16 x 15 ½”
Left: bewildered: yellow haze, 2017, eco-dyed damask textile, eco-dyed thread, 28 x 22 ½” Right: pink lace #14, 2017, monoprint on paper, lace, thread, pencil, 7 x 4 ¼”
bewildered: from above, 2016, eco-dyed textile, ﬂax and silk/cotton thread, 21 ¼ x 22”
birchbark, 2017, birchbark, ecoprinted paper book, spindle, 10 x 6 x 4â€?
dots&dashes, 2017, monoprint on envelope, birchbark, found object, 17 x 5 ½ x 2”
inﬂight, 2017, monoprint on envelopes, feathers, string, found object, 11 x 7 x 3”
leaves, 2015, found object, repurposed book pages, waxed thread, 47 x 12 x 9”
spinning sessions, 2008, homespun wool, audio, video (ﬁlmed by Andrea Hull), video monitor, dvd player, headphones, stainless steel pins, 88 x 15 x 7”
Brece Honeycutt Born 1960, Hickory, NC Lives and works in New York City and Sheffield, MA
EDUCATION 1987 M.F.A in Sculpture, Columbia University, New York City, NY 1983 B.A. in Art History, Skidmore College, Saratoga Springs, NY
SOLO EXHIBITIONS AND INSTALLATIONS 2017 bewilder, Norte Maar, Brooklyn NY 2014 underfoot, Knox Gallery, Monterey, MA 2009 Arachne, Poplar Gallery. Online 2006 husks, Broadway Windows, New York, NY 2005 works on paper & sculpture, Arlington Arts Center, Arlington, VA at Table, Brook Commons Outdoor Sculpture Program, Longwood University, Farmville, VA 2004 silence, Bryn Mawr School, Baltimore, MD (permanent installation) 2003 silence, Baltimore Book Festival, Mt. Vernon Place, Baltimore, MD 2000 primer, Susan Conway Gallery, Washington, DC 1998 endangered species, Installation for Arlington County, Arlington, VA Sculptures and Drawings, Parish Gallery, Washington, DC 1996/95 Health & Hearth, Clara Barton National Historic Site, Glen Echo, MD 1994 Strange Fruits, Alternative Art Gallery, London
SELECTED 2017 2016 2015 2014 2013 2012 2011 2010
GROUP EXHIBITIONS Becoming: 25 Hotchkiss Artists, Tremaine Gallery, Hotchkiss School, Lakeville, CT The Warmth of Winter, National Arts Club, New York, NY Artists of the Mohawk Hudson Region, The Hyde Collection, Glens Falls, NY (Michael Oatman, curator) SHIFT: Environmentally Responsible Print Practice, McMaster Museum of Art, Hamilton, ON Connections: Scotland and Italy, Lillie Art Gallery in Milngavie, Glasgow, Scotland Royal Society of Watercolors Annual Exhibition, Edinburgh, Scotland Checkered History, Outpost Artist Resources, Ridgewood, NY Panorama, No. Six Depot, West Stockbridge, MA Exquisite, LABspace, Hillsdale, NY booksmart, Matteawan Gallery, Beacon, NY Fabriano in Watercolor invitational, Fabriano, Italy between a place and candy, Matteawan Gallery, Beacon, NY (Jason Andrew, curator) AZETTAGH, OUTLET, Brooklyn, NY (Julian Jimarez Howard, curator) Lost in Fiber | The Gathering, various venues, US/Europe Clouds, Lesley Heller Workspace, New York, NY (Adam Simon, curator) Art Romp, Anacostia Arts Center, Washington, DC To be a Lady: 45 Women in the Arts, Avenue of Americas Gallery, New York, NY Lyrical Color, Pocket Utopia, New York, NY Soul Appetite, Barn Gallery at Stoneover Farn, Lenox, NY What I know, NYCAMS, New York, NY (Jason Andrew, curator) Woven Mysteries: Grace DeGennaro & Brece Honeycutt, Aucocisco Gallery, Portland, ME Marche d’Acqua Fabriano Watercolor 2012, Fabriano, Italy Drawing Crazy Patterns on the Sheets, Geoffrey Young Gallery, Great Barrington, MA Bushwick Open Studios, Moore Street Market, Brooklyn, NY String Theory, Storefront, Brooklyn, NY (Re)Fashioning Fiber, GreenSpaces, New York, NY (Abigail Doan, curator) Spring Art Exhibition, Argazzi Art, Lakeville, CT BOS, Norte Maar, Brooklyn, NY Storefront, NEW year, NEW work, NEW space, Brooklyn, NY Cream, Katzen Art Center, American University, Washington, DC
2009 2008 2007 2006 2005 2004 2003 2002 2001 2000 1998
Ocketopia, Lesley Heller Workspace, New York, NY (Austin Thomas, curator) New Work, Norte Maar, Brooklyn, NY Cultural Corridor IV, Storefront Artist Project, Pittsfield, MA (Peter Dudek, curator) DRAW: Vasari Revisited or Sparring of Contemporary Thought, Norte Maar, Brooklyn, NY Print Edition, Pocket Utopia, Brooklyn, NY Global Fabrics, Common Threads, ISE Foundation, New York (Jeanne Gerrity, Melissa Levin, curators) Brece Honeycutt & Audra Wolowiec, Pocket Utopia, Brooklyn, NY The Thread as the Line, Contemporary Sewn Art, Ellipse Arts Center, Arlington, VA Washington Women in the Arts: A Selection, Osuna Art, Bethesda, MD Of Paper, Montpelier Arts Center, Laurel, MD Emily Dickinson Rendered, Wave Hill, Bronx, NY (Jennifer McGregor, curator) No Representation [abstraction in the capital], Warehouse Gallery, Washington, DC Déjà vu, Arlington Arts Center, Arlington, VA A Common Thread, Soho Myriad, Atlanta, GA Surface Image Form, Ganzer Gallery, Millersville University, Millersville, PA (Symmes Gardner, curator) Strictly Painting 4, McLean Project for the Arts, McLean, VA Fold Here 3d Paper, Ellipse Arts Center, Arlington, VA (Deborah McLeod, curator) Sculpture at Evergreen 2002, Evergreen House, Baltimore, MD (Mary Jane Jacob, curator) Magnitude, Ernest Rubenstein Gallery, New York Drawings, Salve Regina Gallery, Catholic University, Washington, DC Sculpture Now, Pittsburgh Center for the Arts, Pittsburgh, PA Opened Book, The Gallery, University of Maryland, College Park, MD (Kristen Hileman, curator) Deck the Walls, Susan Conway Gallery, Washington, DC In Praise of Paper, Hanoi College of Fine Arts, Hanoi, Vietnam Gardener’s Delight, The National Museum of Women in the Arts, Washington, DC All in the Family, Arlington Arts Center, Arlington, VA (Eileen Mott, curator) Open Studio, Santa Fe Art Institute, Santa Fe, NM Site-Story, installation, Arlington Arts Center, Arlington, VA (Kristen Hileman, curator) Critics’ Picks, Maryland Art Place, Baltimore, MD (Barbara Rose, Thelma Golden, curators) Drawings, Monotypes & Constructions, Susan Conway Gallery, Washington, DC Sculptors’ Plans -- Drawings and Maquettes, 505 Gallery, Washington, DC 43
ARTSCAPE Annual, Decker Gallery, Baltimore, MD (Gary Sangster & Olga Viso, curators) ARTSCAPE ‘97 Juried Exhibition, Meyerhoff Gallery, Baltimore, MD (Thelma Golden, juror) Social Studies, School 33 Art Center, Baltimore, MD (Judith Tannenbaum, curator) Sculpture Now ‘96, Washington Square, Washington, DC (Olga Viso, curator)
GRANTS, AWARDS, COMMISSIONS AND RESIDENCIES 2014 Monterey and Massachusettes Cultural Councils, Monterey, MA 2008 Pocket Utopia Residency, Brooklyn, NY 2007 Artist Fellowship Grant, DC Commission on the Arts and Humanities, Washington, DC 2002 Evergreen Foundation Honorarium, Johns Hopkins University, Baltimore, MD 2001 Anonymous Grant for “artist working in a particular American vein” Arlington Commission and Virginia Commission for the Arts, Jane Franklin Dance Collaboration 2000 Artist Fellowship Grant, DC Commission on the Arts and Humanities, Washington, DC Arlington Commission for the Arts grant, Jane Franklin Dance Collaboration Santa Fe Art Institute Visiting Artist Program with Squeak Carnwath, Santa Fe, NM Arts Al-Fresco Visual Artist in Residence, Arlington County Dept. of Cultural Affairs, Arlington, VA Washington Post Grants in the Arts Program, School Without Walls, Washington, DC 1998 Arts Fellowship Grant, DC Commission on the Arts and Humanities, Washington, DC Critics Residency Program, MAP, Baltimore, MD (Thelma Golden, Barbara Rose & Ingrid Schaffner) Arlington County, Department of Environmental Services and Cultural Affairs Division 1997 All-Media Juried Exhibition, Third Prize, Bonnie Clearwater, Juror, Arlington Arts Center, Arlington, VA 1996 Residency, Pyramid Atlantic, Riverdale, MD 1995 Glen-Gery Corporation, York, PA 1990 Beryl Ash Fund for Cable Street Studios Open 1991 1987 Honorarium, Windows on White Street, New York, NY Artists Space Grant, Windows on White Street & Six Private Eyes, New York, NY 1985-87 Columbia School of the Arts Fellowship, New York, NY 1983 Artist-at-Work Program, Skidmore College, Saratoga Springs, NY
SELECTED PUBLICATIONS James Panero, “The Critic’s Notebook” The New Criterion, January 4, 2017 Michael Oatman and Erin Coe, MHR-80 Firecrackers, The Hyde Collection, Glens Falls, NY, pg. 50, 2016 Sharon, Butler “Email: Report from a colonial farm, Two Coats of Paint, July 27, 2016 SHIFTERRP Environmentally Responsible Print Practice catalogue, McMaster Museum of Art, 2016 Kate Abbot, “Wildflower Festival: The Trustees of Reservations host wildflower walks at Bartholomew’s Cobble”, The Berkshire Eagle, April 23, 2016 Paul D’Agostino, “Best of Brooklyn Art 2015: The Past Conditional Edition, Brooklyn Magazine, 2015 Paul D’Agostino, “A Rite of Spring: CounterPointe 3,” The L Magazine, 2015 Amy DuFault, “Going ‘Underfoot’ with Natural Dye & Textile Artist Brece Honeycutt”, BotanicalColorsblog.com, October 27, 2014 Fabriano in Acquarello catalogue, pg. 284, 2014 India Flint, “Making the Way Home,Surface Design, Spring 2014, Vol. 38, No. 3, pgs. 28-33, 2014 Julia Sinelnikova, “Fiber is the New Black,” Bushwick Daily, February 13, 2014 Pocket Notes, Volume 1, Issue 2, Spring 2013 James Panero, “Gallery Chronicle,” The New Criterion, Volume 31, November, pg. 52, 2012 Lee Lawrence, “The Green Heart of Italy,” American Craft, October/November, pgs. 94-99, 2012 Pellegrini, Giorgio and Anna Massinissa Magini, Premio internatzionale di acquarello, 2012 “Home Gallery Il Senso Domestico Dell’Arte,” La Repubblica, no. 705, pg. 51, 2010 Cindy Kelly, Outdoor Sculpture in Baltimore, Johns Hopkins University Press, pgs. 266-67, 2011 Jessica Dawson, “The Fabric of Freedom, Redefined,” The Washington Post, May 23, pg. C2, 2008 Aaron Short, “A Whole new meaning of the ‘web’,” Bushwick Courier, May 2, pg.18, 2008 Michael J. Vaughn, Copper Brings Dickinson’s Work to Life at Wave Hill Exhibit, Copper in the Arts Magazine, Copper.org, Issue #1, May 2007 David Foxley, “Poetry Springs Eternal,” The New York Observer, pg. C2, April 22, 2007 Martha Schwendener, “How a Solitary Poet of the Past Speaks to 10 Artists of Today,” The New York Times, pg. B36, March 9, 2007 Kirsten Akens, “Mr. Postman, bring me a dream,” Colorado Springs Independent Newsweekly, March 8, 2007 Amanda Gordon, “The Belle of Wave Hill, The New York Sun, pg. 19, March 1, 2007 Lee Lawrence, “Adoption for art lovers, “Christian Science Monitor, pg. 20, January 4, 2007 45
Meghan Drueding, “Imagine + Create,” Residential Architect, pgs. 94-95, April 2006 Janis Goodman, WETA/Around Town Best Bets, December 26, 2005 New American Paintings, Number 57, Open Studios Press. pgs. 78-81, 2005 Jamie Stiehm, “History etched into silence,” Baltimore Sun, pgs. 1B, 5B, May 28 2004 Sarah Tanguy, “Sculpture at Evergreen,” Sculpture Magazine, Vol. 22 No, 2, pgs. 86-87, March 2003 Deborah K. Dietsch, “Rooms for Imagination, “ Washington Post Home, pgs. H1, H5, January 23, 2003 Anne Bennett Swingle, “She was One Powerful Woman,” Hopkins Medical News, pg. 10, Fall 2002 Lisa Speckhardt, “Gilding the Lily,” Landscape Architecture, pg.16, July 2002 Michael O’Sullivan, “Evergreen’s Hidden Pleasures,” Washington Post Weekend, pg. 48, June 28, 2002 Catalogue, Sculpture at Evergreen, Mary Jane Jacob and Cindy Kelly, 2002 Lee Lawrence, “Gardener’s Delight,” Internet Art Resources, July 2000 “Gardener’s Delight,” Women in the Arts, pg. 14, Summer 2000 Ferdinand Protzman, “Scott, Reid and Honeycutt at Conway, “ Washington Post, pg. C5, August 24, 2000 Joanna Shaw-Eagle, “Museum blooms like a ‘Gardener’s Delight,” Washington Times, pg. D5, July 15, 2000 Lisa Yoon, “Public Art in the 21st Century,” Public Art Review, pgs. 27-28, Fall/Winter 1999 George Howell, “Washington,” Art Papers, pgs. 47-48, November/December 1999 Catalogue, Site-story Exhibition, Kristen Hileman, Curator, Arlington Arts Center, 1999 Catalogue, Maryland Art Place Critics Residency Program, Barbara Rose and Kristen Hileman, pg. 5, 1999 Ferdinand Protzman, “Mixed Media at Susan Conway,” Washington Post, pg. D5, October 15, 1998 Ken Oda, “Recent Drawings and Sculptures”, at Parish Gallery,” KOAN, pg. 15, April 1998 Lippard, Lucy, The Lure of the Local, (New York: New Press), pg. 101, 1997
COLLECTIONS Bryn Mawr School, Baltimore, MD Hyatt Corporation KSI Services Museo della Carta e della Filigrana, Fabriano, Italy New Hall College, Cambridge University, United Kingdom The Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, NY Private collections in the United States and United Kingdom BLOG on a colonial farm, www.brecehoneycutt.com/blog
COLLABORATIONS 2015 #CorrespondenceCourse with artist Abigail Doan (ongoing) 2015 “Tobacco Hour” collaboration with poet Dara Mandle, published by Norte Maar, New York Intermezzo, costumes for Gleich Dances, Counterpointe, Brooklyn, NY 2002-1999 Jane Franklin Dance Company, sets and props, Washington, DC/Virginia locations
Published on the occasion of the exhibition: bewilder: new work by Brece Honeycutt March 25-April 23, 2017 Norte Maar 88 Pine Street, Cypress Hills, Brooklyn, NY 11208 Photography: Douglas Baz: cover, 4, 6-7, 9, 11, 16-17, 18-19, 20, 22, 25, 26, 29, 30-31, 33, 38, 40 Brece Honeycutt: 13, 14-15, 34, 36-37 Greg Staley: 39 Jim McLaughlin: 48-49 Catalog Design: Rebecca Brooker, www.rebeccabrooker.com Image retouching: Peter Freeby, www.peterfreeby.com All images ÂŠ Brece Honeycutt Essay ÂŠ Anne Swartz, 2017 Brece Honeycutt wishes to thank, Anne Swartz, Rebecca Brooker, Peter Freeby, and Jason Andrew and Norte Maar for continuing support and collaboration. All rights reserved. No part of the content of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, record or otherwise, without the written permission of Norte Maar. Published by Norte Maar www.nortemaar.org
Published on Dec 12, 2017