Coming off a successful inaugural year, the second Collective Design Fair opens today and runs through May 11th, 2014, in Skylight at Moynihan, highlighting limited editions of design pieces and one-of-a-kind artworks in various media. Glass figures in many of the exhibitors displays, primarily in various approaches to lighting from the French Art Deco-style designs at Maison Gerard, to the sculptural glass lighting by Thaddeus Wolfe and Jeff Zimmerman at R and Company, to a mix of lighting and fine art glass works at Wexler Gallery, which blurs the boundaries between art and design. A series of discussions entitled Collective Conversations
Viewing: Art Market
Red Hook, Brooklyn-based Pier Glass, reopened in April of this year after the devastation of Hurricane Sandy, but some essentials such as the furnace and glory holes are still in need of replacing, and the cold shop is still in partial commission. …
With the highest attendance numbers since the pre-recession expo in 2007, the 20th anniversary of SOFA CHICAGO looks to have been an encouraging sign for the much-discussed future of the art market for work in glass. The official attendance figure was 34,000, a 2,000-person increase over 2012, and chats with some dealers indicated that many of those who came were there to buy. The show felt busy from the opening Thursday night cocktail party to the surprisingly crowded Sunday afternoon. This year's fair was also more filled with exhibitors, with 65 dealers, including many international galleries. With new owners taking over the well-established SOFA brand name (The Atlanta-based show management company Urban Expositions purchased the show earlier this year), many were nervous about the transition, but with founder Marc Lyman staying on as a consultant (though less visible during the show than in years past) and Donna Davies maintaining her role as fair director, it seems to have been a smooth changing of hands, with several dealers offering the GLASS Quarterly Hot Sheet very positive feedback on logistics this year.
Since 2007, when William Morris retired with great fanfare at the peak of his glass-artist career, he’s been spending his time perfecting his stone-carving technique in Hawaii. Meanwhile, his unique body of work in sculpted and blown glass that channels non-European ancient artifacts continues to attract the attention of collectors, and fetch record prices. One large installation, however, has not sold. Mazorca, originally displayed as part of his 2005 mid-career retrospective at the Museum of Glass in Tacoma has not found a buyer. The more-than-8-foot-tall cornucopia of dangling glass objects that look like earthenware, shells, carved bone, and wood, will be restrung in smaller compositions, according to Lewis Wexler, who will be showing these works at the Sculptural Objects Functional Art Fair in Chicago this November. Morris’s brief return to the glass art studio was confirmed by his studio manager, Holly Lyman in an email exchange.
Possibly a student work made while Chihuly was making the “Navajo Blanket Cylinder” series, this work was quickly discredited as an authentic Chihuly by Kate Elliott, who was one of the artists involved in the authentic groundbreaking series.
On June 19th, a 35-year-old Renton, Washington, resident named Michael Little plead guilty in federal court to wire fraud in connection with “his scheme to advertise and sell fake Chihuly artwork,” according to U.S. Attorney Jenny A. Durkan in an F.B.I. announcement. Little admitted he bought “generic glasswork and artwork over the Internet” and resold it, claiming that it was authentic Dale Chihuly, and making “at least $40,000” for counterfeit sales between 2011 and 2013, according to the release. Citing the October 4, 2013 sentencing date, investigators in the case declined to comment on details until after the legal proceedings were complete, but the appraiser who helped identify the works as fakes has shared some of the story with The GLASS Quarterly Hot Sheet to help alert others to the market in counterfeit glass artwork.
A work by William Morris entitled Sable Antelope from the “Canopic Jar” series set a new record for the artist’s work when the bidding ended at $290,500 (the price includes the buyer’s premium). The setting was the 20th Century Decorative Arts auction at Bonhams in New York City on June 14, 2013. The jar, created by Morris in 1995, sold for more than triple its pre-auction estimate, and was the standout work of the event, which also saw successful sales of Studio Glass work by Harvey Littleton ($18,750), Michael Glancy ($15,000), Paul Stankard ($22,500), Toots Zynsky ($9,375), and Stephen Rolfe Powell ($8,125) alongside decorative glass works by Gallé, Daum Nancy, Lalique, and Tiffany.
Lino Tagliapietra will receive the Visionary Award on Friday, January 25th, at the Art Palm Beach art fair. courtesy: schantz galleries, stockbridge, massachusetts
Art Palm Beach, which runs from January 24th through the 28th at the Palm Beach Convention Center in West Palm Beach, Florida, will present Lino Tagliapietra with its Visionary Award during a ceremony on Friday, January 25th. The award presentation will be followed by a public presentation and interview with Scott Indrisek, senior executive editor of Modern Painters magazine.
More than 250 works in glass will be going up for auction on Friday, October 12th, at the Westin Seattle as part of a black-tie fund-raising event that will support the educational and artistic programs at The Pilchuck Glass School for the 34th year running. In addition to the work up for live and silent bidding, there will be table centerpieces designed by Neils Cosman, who, alongside a team of 24 volunteer artists, created elegantly draped vessels that conjure up both ancient Roman glassware and the West Coast Funk movement that was a major influence in the early days of Studio Glass.
The Cini Foundation, long established as a privately-funded nonprofit research center in Venice for scholarship in art, history, and music, is expanding its purview to include Venetian glassmaking. The organization embarked on a cultural project in collaboration with Swiss-based foundation Pentagram Stiftung to promote 20th-century Venetian glass. The foundation recruited New York-based firm Selldorf Architects to refurbish the wing of a former boarding school on the CF’s San Giorgio Maggiore island headquarters, which will be home to the foundation’s new glass-only exhibition space, Le Stanze del Vetro (In English: “Rooms for Glass”). This new wing will house year-long exhibits with a focus on quality pieces that highlight significant moments in the history of Venetian glass art, and will be opening its first-ever exhibit “Carlo Scarpa. Venini 1932 – 1947“ at the end of August.