Viewing: Exhibition


Ruben Toledo, Summer Heat Wave, 2009. Screenprint with hand painting. courtesy: pilchuck glass school

Wednesday April 26, 2017 | by Hailey Clark

Chrysler exhibition celebrates Harvey Littleton’s lesser-known innovation: vitreography

In her tenure as director of marketing and communications at the Pilchuck Glass School, Diane Wright became enamored of the little-known print collection in the school's archive of work made through the glass plate printing process known as vitreography. These are works in paper that are printed using a cold-worked sheet of glass as the plate, offering a number of advantages over a metal place, including that it can be laid over the paper it will eventually be printed on during its creation, and it doesn't break down during repeat uses. Since she was appointed curator of glass at the Chrysler Museum of Art in December 2013, Wright had been looking forward to giving a platform to highlight this less well-known artform. "I wanted to be able to show them here in an environment where we have a strong focus on glass, but we also show a lot of other work," Wright said in a telephone interview with the GLASS Quarterly Hot Sheet. "There's this wonderful marriage between 2-D work that uses glass as a printing matrix and it also illustrates an interesting range of artists who who have worked at Pilchuck."

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Sibylle Peretti, Pearl River, 2017.

Tuesday April 25, 2017 | by Hailey Clark

OPENING: Sibylle Peretti plumbs intricate relationships in nature with new body of work

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 affects 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.

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Bandahu Dunham, A Spot of Tea. Flame worked glass. H 12, W 10, D 9 in. courtesy: morgan contemporary

Wednesday April 19, 2017 | by Awura Ama Barnie-Duah

EXHIBITION: Annual “teapots!” exhibition continues Pittsburgh gallery’s celebration of the form

Tea and the ceremonies it inspires have brought people people together across centuries and across continents. People have gathered, celebrated, and connected as they share the product of hot water and tea leaves that is steeped in teapots, a simple device that has brought people together and inspired complex traditions. For over a decade, Morgan Contemporary Glass Gallery, has organized their annual teapot invitational, which is a multi-media celebration of the time-honored vessel, as well as an opportunity to showcase the creativity of artists working in glass and other materials. The gallery, which was Pittsburgh's first art gallery devoted to contemporary glass, is currently exhibiting its 11th annual teapot exhibition, and features striking new ways of thinking about this vessel that can be traced back to 13th-century China.

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Bob Snodgrass, Skull Pipe, 2016. 6 in. courtesy: apexart.

Tuesday April 4, 2017 | by Awura Ama Barnie-Duah

OPENING: Gaining acceptance, glass pipes being shown at larger art venues

Apexart, a downtown Manhattan non-profit arts venue for independent curators and emerging and established artists, is currently showing an exhibition of glass pipes unabashedly celebrated by the show's organizer David Bienenstock, who is the former head of content at High Times magazine and a self-described "cannabis consultant." Despite the growing support for the decriminalization of marijuana (the most recent Gallup poll on the subject found 60-percent of Americans support legalization), Bienenstock has titled the exhibition "Outlaw Glass," and it gathers a wide range of work by a new generation of artists following in the footsteps of pioneering flameworker Bob Snodgrass, whose legacy the exhibition is designed to honor. Not just a showcase of the best work by contemporary glass, the exhibition also delves into the "authentic underground cannabis culture," examining the sometimes shadowy aspects of pipemaking, which has endured targeted law enforcement crackdowns as recently as in 2003's Operation Pipedreams. Bienenstock notes that the fine art world's embrace of pipemaking may be "following the trajectory of graffiti culture, which started literally in the streets amid serious and sustained official repression, only to break through into galleries and then put its stamp on both high art and popular culture."

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Preston Singletary, Travels on Water, 2017. Blown and Sand Blasted Glass with Metal Oars. H 11 W 20 D 6 in. courtesy: the artist

Thursday March 30, 2017 | by Hailey Clark

OPENING: Preston Singletary engages politics, the environment, in new body of work

Preston Singletary, whose blown and sandblasted works in glass channel his Native American heritage, brings a political edge to a new body of work to be unveiled in his upcoming exhibition, Premonitions of Water, opening April 6, 2017, at the Traver Gallery in Seattle. Singletary has explored traditional Tlingit iconography for much of his artistic career. Working with images and narratives from Native American people from Alaska and British Columbia, Singletary weaves traditional figures usually carved into wood into blown-glass works. Interviewed for an upcoming episode of Nature, airing on PBS on April 21, 2017, Singletary discussed in depth his portrayal of the Tlingit myth The Raven.

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Philip Baldwin and Monica Guggisberg, Boat People, 2016. Blown and carved glass, brass hammered hull. H 20 W 105 D 19 cm. photo: alex ramsay

Sunday March 26, 2017 | by Hailey Clark

New work by Baldwin and Guggisberg at Sandra Ainsley Gallery extends ongoing boat series

Filed under: Exhibition, New Work, News

Husband and wife artistic collaborators Philip Baldwin and Monica Guggisberg continue to explore the metaphor of journey in their exhibition Thinking in Glass that runs through May 6, 2017, at the Sandra Ainsley gallery in Toronto. Assemblages of blown forms gathered into water craft is not new to this artistic duo, who have been experimenting with boat vessels since their initial series, "Sentinel" in the mid-1990s.

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Rachel Owens, Queens Giant no. 5 (Oldest Being in NYC), 2017. Broken glass cast in resin with steel. H 93, W 19, D 55 in. courtesy: ziehersmith, new york

Thursday March 23, 2017 | by Andrew Page

Rachel Owens’ majestic works in cast resin and glass explore globalization and endurance

Filed under: Exhibition, New Work, News

Rachel Owens, whose previous solo exhibit at Zieher Smith Gallery in New York's Chelsea neighborhood was a pointed critique of consumer culture, turns her sharp eye (and shards of broken glass) to the pre-European American landscape, global glass production, and New York City history in a new body of shattered glass and cast resin sculptures. The exhibition, titled "Mother," is the product of taking molds of a 400-year-old tree in the Queens borough of New York City. Owens uses these molds to render sides of the trunk of the oldest-living being in the city in a wide palette chosen from shattered glass from surplus supplies of cheaply made bottles from China. Her work is an homage to the longevity of the tree, which likely predates the arrival of the first Europeans, and brings an environmental component in its reference to American colonization being driven partly by the overuse of natural resources such as wood in Europe. Owens' glass and resin creations soar skyward in a defiant majesty, limited only by the reach of the artist's arms in making the molds of her arboreal subject.

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Artist Sarah Mizer at work in the studio.

Wednesday March 22, 2017 | by Hailey Clark

3 Questions for ... Sarah Mizer

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.

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Monir Farmanfarmaian, Third Family - Heptagon (Detail), 2011. Mirror, reverse-glass painting, and acrylic. photo: robert divers herrick. courtesy: the artist and haines gallery

Thursday March 16, 2017 | by Awura Ama Barnie-Duah

OPENING: Iranian contemporary artist’s richly mirrored work featured at Chrysler Museum of Art

Kandinsky and Mondrian are two Western painters credited with pioneering the form of geometric abstraction. But artwork that focuses on patterns of color and shape rather than figuration goes back to ancient art forms, especially in Islamic Art, where depiction of religious figures has been carefully avoided in respect for the faith's ban on idolatry. The mirror sculptures of Monir Farmanfarmaian, an Iranian artist, bring together influences of Western avant-garde painting and centuries-old Islamic art in works of refraction and geometric abstraction. An opening reception this evening at The Chrysler Museum of Art in Norfolk, Virginia, will kick off an exhibition of Farmanfarmaian's work that will continue through July 30, 2017.

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Lino Tagliapietra standing in front of his 2013 panel, Campo dei Fiori (Field of Flowers), installed at the Philadelphia Museum of Art.

Thursday March 9, 2017 | by Gabi Gimson

OPENING: Lino Tagliapietra at the Morris will be maestro’s second art museum exhibit in Mid-Atlantic

Filed under: Announcements, Exhibition

Master glass artist Lino Tagliapietra will showcase works from the past 15 years in an upcoming solo exhibition at the Morris Museum in Morristown, New Jersey, opening with a private reception on Saturday. "Lino Tagliapietra: Maestro of a Glass Renaissance" brings together works from private collections as well as the artist’s personal holdings. The exhibition has been organized by Morris Museum curator Alexandra Willis with consultation from Jim Schantz, director of the Stockbridge, Massachusetts, gallery that bears his name. New York City's Heller Gallery was also involved in the organization and support of the exhibition.

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GLASS: The UrbanGlass Quarterly, a glossy art magazine published four times a year by UrbanGlass has provided a critical context to the most important artwork being done in the medium of glass for 35 years.