Viewing: New Work


Anna Boothe/Nancy Cohen, Between Seeing and Knowing, 2013-2017. Glass. Dimensions vary. courtesy: the artists

Thursday June 8, 2017 | by Stella Porter

OPENING: Anna Boothe and Nancy Cohen continue their collaborative embrace of Buddhist concepts

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.

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Doreen Garner, Big Pussy (From the Back), 2015. Glass, polyester fiber, Swarovski crystals and pearls, hair weave, teddy bear eyes, silicone, electrical parts, condoms, latex, acrylic, rubber, glitter, screws. H 16 W 23 D 16 in. photo: lindsay hargrave

Wednesday June 7, 2017 | by Lindsay Hargrave

SEEN: Doreen Garner deploys glass as abstracted organs in inquiry into abusive medical research

Doreen Garner's exhibition "Doctor's Hours," on view in New York City gallery through June 18, 2017, is an assemblage of drawings, video, and sculptural specimens that blend revulsion and attraction to provoke inquiry into atrocities inflicted on African American research subjects in the name of science. Most visceral is the response to the eerily intestinal yet abstract creations made from careful combinations of petroleum jelly-smeared glass, silicone, crystals, human hair, condoms and glitter, perched on shelves at nearly eye-level, spot-lit in the darkened pop-up gallery space on New York City's Lower East Side. Garner, who is often present in the gallery space, plays the role of both artist and surgeon as she invites her audience to become literally one with her art by receiving an actual tattoo, which she will administer either by appointment or for those inspired by their walk-in visit.

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Cutclear Fraction, 2017. Blown and wheel cut glass. H 11, W 18, D 3 in. photo: russell johnson. courtesy: traver gallery

Wednesday May 31, 2017 | by Gabi Gimson

CONVERSATION: Seeking a certain clarity, Ethan Stern explores the aesthetics of cut crystal

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.

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Laura Kramer with Pyrophyllite (2015) at the opening reception of her Heller Gallery exhibition. photo: gabi gimson

Tuesday May 30, 2017 | by Gabi Gimson

CONVERSATION: Laura Kramer mines her archaeologist past in works unearthed from creative depths

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.

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Matthew Szösz, untitled (inflatable) no.73, 2017. H 12 1/2 W 7 D 8 in. Glass. courtesy: Wheaton Arts

Monday May 29, 2017 | by Lindsay Hargrave

OPENING: Second “Emanation” at WheatonArts harnesses synergy between fabrication and concept

WheatonArts in Millville, New Jersey, is preparing to unveil its second “Emanation” exhibition during its long-running GlassWeekend event, a biennial gathering of collectors and artists to celebrate, discuss, buy and sell glass artwork coming up on June 9, 10 and 11, 2017. WheatonArts is a multi-dimensional nonprofit in Southern New Jersey, with programs ranging from a museum of American glass history to programming celebrating regional folk culture. But “Emanation,” initiated in 2015, is focused on the contemporary moment in art through an ambitious program to break down the barriers between fabricators and contemporary artists, something that other programs such as the high-profile Glasstress program by Berengo Studio in Venice don't directly address. Unlike that program, which brings well-known artists to Venice to have their ideas realized by glass masters, the "Emanation" project is based in the studios of WheatonArts' Creative Glass Center of America, best-known for its long-running fellowship program that allows artists free rein to realize experimental ideas at this unique facility. The New Jersey project is careful to avoid the one-way street of becoming a fabrication station. There are multiple efforts to create synergy between the artists and the facility, including during the installation of the exhibition component. The artists chosen for the second iteration of "Emanation" -- Emily Brown, Vanessa German, Michael Joo, Lorna Simpson, Therman Statom, Matthew Szösz, and the group Flock the Optic -- reveal varying levels of technical expertise working with glass, which creates interactions that cross-pollinate between artists approaching the project with different perspectives. 

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Tuesday May 23, 2017 | by Andrew Page

HOT OFF THE PRESSES: The Summer 2017 edition of GLASS (#147)

The Summer 2017 edition of GLASS: The UrbanGlass Art Quarterly (#147) is hitting newsstands and subscriber mailboxes next week. Once again, GLASS is partnering with The Corning Museum of Glass to distribute the latest edition of its annual exhibition-in-print, New Glass Review (#38), which is bundled with the summer issue of GLASS magazine at no extra charge to subscribers (newsstand copies carry an increased cover price for the special bonus issue). On the front of the new edition of GLASS is a striking work in neon and paint by celebrated American artist Glenn Ligon investigates issues of racial identity, American history, as well as the nature of language itself. The 2012 work Double America, features the word "America" shown twice, in white neon and inverted and painted black, creating a powerful graphic that challenges the nation's ideals and aspirations at a time when the country is so profoundly divided.

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rendering of the Chihuly Sanctuary. courtesy: Buffet Cancer Center website.

Friday May 19, 2017 | by Gabi Gimson

OPENING: Chihuly Sanctuary lends comfort to patients at Buffett Cancer Center

This afternoon, the Fred & Pamela Buffett Cancer Center in Omaha, Nebraska, will unveil The Chihuly Sanctuary—an extensive installation, featuring more than 200 original works by lauded glass maestro, Dale Chihuly. The sanctuary is a keystone of the Healing Arts Program at the University of Nebraska Medical Center and its clinical partner, Nebraska Medicine. and was made possible by a lead gift from Omaha philanthropists, Walter Scott and his late wife, Suzanne. The Fred & Pamela Buffett Cancer Center began construction in 2010 thanks to a major donation by Pamela Buffet and her late husband Fred, a relative of billionaire and Omaha native, Warren Buffet. Fred Buffett died of complications from kidney cancer in 1997. The 615,000-square-foot building cost $323 million to construct and is set to open its doors to patients in June. 

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Laura Kramer, Georgia, 2017. Glass. H 8 W 11 D 13 in. courtesy: heller gallery

Thursday May 18, 2017 | by Gabi Gimson

OPENING: Laura Kramer blends glass with objects from nature in new work debuting at Heller Gallery

Filed under: Exhibition, New Work, Opening

One of New York’s leading glass art institutions, Heller Gallery presents an exhibition featuring works by artist and designer, Laura Kramer, who synthesizes natural forms and uncommon objects in glass to "explore the liminal." Since 2000, Kramer has created intriguing glass sculptures from found curios and organic objects, like wasp nests and barnacles. Her objects explore the hybridization of fine art and natural findings, mimicking shapes and textures found in the natural world while defying any accepted system of classification. 

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courtesy: www.vermontglassguild.com/events

Tuesday May 16, 2017 | by Lindsay Hargrave

OPENING: Vermont Glass Guild members unveil new work in second annual exhibition

UPDATED 5/18/2017

For the second time, the Vermont Glass Guild, a group of glass artists based in Vermont, will feature the work of 25 artists in an annual exhibition curated by Joan Wilson at the Southern Vermont Arts Center from May 20th through July 2nd, 2017. An opening reception to be held at the gallery on May 20th from 4 to 6 PM is open to the public. The exhibit will represent a range of styles and forms, from blown glass to fused to slumped. This is because it is a representation of the guild itself: a wide range of artists and ideas brought together by a common locality and medium.

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Leana Quade, Release (video still), 2017. Glass panel and strap. courtesy: artist website.

Thursday May 11, 2017 | by Gabi Gimson

OPENING: Leana Quade’s anxiety-producing experimental glass projects on view in Pittsburgh exhibit

The Pittsburgh Glass Center has unveiled an exhibition by glass artist and self-proclaimed mad scientist, Leana Quade, best-known for her coiled glass springs and shattering a flat piece of tempered glass by ratcheting it into a tighter and tighter curve until it explodes. You can experience the nerve-rattling effect of her performance piece Release (2017) in the video below.

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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.