The Pittsburgh Glass Center (PGC) will feature Richard Royal at its annual Art on Fire celebration and auction this September, coinciding with his residency at PGC. Royal, a former gaffer for Dale Chihuly at the Pilchuck Glass School, creates art fueled by his interest in the math inherent in nature, and he is drawn to the geometric possibilities of the material, as well as its optical properties. He's been blowing glass for more than 30 years and combines both blown and solid glass elements in his internationally recognized and highly photogenic work. Royal’s art has been on exhibit at the Mint Museum of Art and Design, the High Museum, and the New Orleans Museum of Art, among others. Royal is a prolific teacher, including a regular at the Pilchuck School. He has also taught before at PGC. As honorary artist, one piece of Royal’s work from his optical lens series will be for sale at the auction.
Viewing: Artist Interviews
When glass artists Anna Boothe and Nancy Cohen come together, artistic accidents are embraced. Instead of tossing aside a mistake, the two consider it important to give value to an accidental creation as part of their effort to create art with a Buddhist sensibility in mind. The artists continue their 5-year-long collaboration in a new exhibit entitled “Permutations: A Collaboration Featuring Anna Boothe and Nancy Cohen,” which will have an opening reception at the Philadelphia Art Alliance (PAA) this evening. The two began collaborating in 2012, fusing together two unique styles and a combined experience of more than 50 years working with glass. Although neither artist considers herself a practicing Buddhist, they self-consciously sought to take on on the Buddhist style of thought as a strategy in the creation of their collaborative art, and they consider the work to share the aesthetic approach of Thangka, an elaborately composed Tibetan Buddhist tradition of painting.
Brooklyn-based multidisciplinary artist Amy Lemaire explores themes of history as a form of currency in her upcoming exhibit, "History of the Present Moment." The exhibition, which will include glass sculptures seeking to ignite thought and conversation around modern historical documentation, will be on display from June 7 to June 28 in the Window Gallery at UrbanGlass’ Agnes Varis Art Center. (Disclosure: The GLASS Quarterly Hot Sheet is published by UrbanGlass.)
Seattle-based glass artist Ethan Stern, whose work will be on view at Traver Gallery tomorrow as a part of a new exhibition titled "Cut Clear," is perhaps most well-known for his used of saturated gem-tones in high-contrast, semi-opaque engraved sculptures. This exhibition, however, marks the end of a slow-drifting departure from the chromatic intensity of his previous work. The work in the "Cut Clear" series employs similar forms and textures of Stern’s past work, but without the color that was so aesthetically integral. The GLASS Quarterly Hot Sheet spoke with Stern by phone to discuss the artist’s evolution and his unlikely recent source of inspiration — stylistically dated and aesthetically overwrought cut-crystal.
On a deep-sea archaeological excavation in the Caribbean, designer and glass artist Laura Kramer discovered that she was perhaps too invested in the aesthetic form of each artifact. In the process of cleaning a find, Kramer labored assiduously over the excavated object almost as if each was an individual work of art rather than an objective relic of past civilizations. Her temptation to influence the aesthetic presentation of these pieces helped her decide not to continue her career as an archeologist.
With a rainy VIP opening on Friday, May 5th, and the sun breaking through for a Saturday "Meet the Artist" afternoon event on May 6th, Dan Clayman unveiled Radiant Landscape, a monumental new project installed at the Grounds for Sculpture's Museum Building in Hamilton, New Jersey. This large-scale work that rises two stories is made up of thousands of 22-by-32-inch glass sheets rigged together in an intricate but elegant engineering solution which presents three fields of glass suspended vertically, at a steep pitch, and horizontally. The individual components are in shades of sunset gold, clear, and oceanic blue glass. The gold and clear are adjacent to one another and interact as they diffuse light that filters into the building's large windows, altering its hue and connecting to the landscape outside, and revealing several of Clayman's mapped-boulder sculptures (named for the geolocation where the natural boulder was found). The blue color field is suspended horizontally, and, bathed in its aquatic hues, one cannot escape the feeling of being under the surface of a large body of water.
The Winter Garden at Brookfield Place (formerly the World Financial Center) is the site for a recently unveiled installation by renowned Thai artist Pinaree Sanpitak. A leading artist from Thailand, and enjoying an international reputation, Sanpitak was already an established multidisciplinary artist when she became intrigued by glass on a 2008 trip to Murano, Italy, where she collaborated with Italian masters to create several glass sculptures, She continued to work with the material, including during a 2014 visiting artist residency at the Toledo Museum of Art. Her most recent achievement in glass is on display at one of the busiest public spaces in New York City.
Sibylle Peretti a German-born artist who renders nature-inspired dreamscape will unveil a new body of work at her upcoming exhibition entitled "It Was Such a Beautiful Promise," where she explores a world of complex relationships and issues of survival. Exhibiting at Callan Contemporary in New Orleans from May 4 to June 25, 2017, Peretti’s glass panels are a continuation of her previous work, The Land Behind, where she explored the effects imagination has on creating space. Compared to her earlier work, which exhibits similar themes, the glass artist evolves her use of external symbols, (i.e., bees, vegetation, and crystals) to a different found object: pearls.
Rui Sasaki is a Japanese conceptual glass artist and educator who, in recent years, has gained international notoriety for her ethereal and sometimes surrealistic work. She completed her MFA at Rhode Island School of Design in 2010 and has since been invited to participate in many artist-in-residence programs and exhibitions all over the world. Last month, Sasaki wrapped up a month-long residency in Stockholm funded by the Swedish Arts Grants Committee, and she has three major exhibitions opening in the coming months: “Inervals between Nature and Artifact” curated by Koichi Yoshimura in Osaka, Japan, “The Poetics Of Weather” on view at a historical temple in Hoen-ji in Kanazawa, Japan, and “Young Glass 2017” at Glasmuseet Ebeltoft in Ebeltoft, Denmark. Beginning in April, Sasaki will work as a faculty-member at Kanazawa Utatsuyama Kogei Kobo in Kanazawa, Japan, the traditional craft epicenter of the eastern world. Recently, the GLASS Quarterly Hot Sheet had the opportunity to discuss Sasaki’s work and source of inspiration with the artist herself via an email conversation.
GLASS Quarterly Hot Sheet: How have your travels influenced your work and general aesthetic?
Rui Sasaki: I've been traveling a lot, especially since March 2016. Perceiving different aesthetics in foreign places forces me to question my own concept, process, and vision when I am back home. Experiencing different environments is vital in recognizing the subtleties hidden in everyday life. My travels help me to create refined, nuanced concepts. Weather as a theme is one example of this: I don’t realize how physically and mentally essential sunshine and rain are when I’m not in Toyama.
Glass artist, Sarah Mizer, explores polarization, overindulgence, and nostalgia in her exhibition "Of Most Excellent Fancy," on view through April 1, 2017 at a project space in Laurel Park, North Carolina, that is the contemporary art component of a novel retail wine market called the Crate Project. Drawing inspiration from Vanitas Dutch still life imagery, and dialog from Shakespeare’s Hamlet, Mizer created three groups of art forms that reside on individual walls. Each set of works evoke a sense of conflicting ideas, such as life and death, like Vanitas imagery, while incorporating her own experiences from her time as an artist residence at the Penland School of Crafts. In these three questions, Mizer expands on how her botanical studies mesh with 17th-century sources of inspiration.
GLASS Quarterly Hot Sheet: What are you working on?
Sarah Mizer: When asked what am I up to I get excited to sum it up so simply: travel. Though based in Richmond, Virginia, travel is an important factor in generating imagery. “Of Most Excellent Fancy”, the show mounted at Crate Project in Laurel Park, North Carolina came to fruition while in residence at Penland just at the start of the new year. At Crate, you will see work mostly comprised of Penland plants rejoined as brittle and precarious still lifes. I was at Penland for their Winter Residency so the imagery is droopy, cold, and a little anemic. Meanwhile today on the schedule (worlds and seasons apart from Penland), I'm trying to find a birthday present for my mother somewhere in the souk while visiting Doha, Qatar. I'm here for a week and have some time today before the opening of “form(force)”, a juried exhibition of VCU faculty work fitting into the theme of "Analog Living in a Digital World." My contribution to the show is a still life construction titled "Sweet and Bitter at the Same Time". This work is a still life piece which incorporates a digitally printed lemon, glass, light, and faux greenery that has been resurfaced with a white coat. To be in such an arid desert landscape with a piece that is comprised of counterfeited imagery as a stand in for lush nature, it's all so surreal.