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.
Viewing: New Work
San Francisco-based glass sculptor, designer, and architect Nikolas Weinstein is not completely comfortable with any of those terms. At least he said as much in a feature article in the Spring 2011 edition of the print magazine (GLASS #122). Weinstein's singular focus is to create large-scale, unorthodox glass sculptures that exist in conversation with the architectural spaces that house them. They also happen to do things you might never have imagined glass can do. Just before Christmas 2016, Weinstein and his team installed their largest and most complex sculpture yet in the lobby of a Jakarta, Indonesia office building. Weinstein had been asked by the developers of the Noble House, a premier office tower in downtown Jakarta, to design something that would set their new building apart, and the results didn't disappoint.
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.
As a special bonus, current subscribers to GLASS: The UrbanGlass Art Quarterly will once again receive the latest version of The Corning Museum of Glass's annual exhibition in print of notable new work for no extra charge. Overseen for the first time by Corning's new curator of modern glass, Susie Silbert, New Glass Review 38 will identify the 100 most important new works in glass from over 1,000 submissions from around the world. Subscriber copies will arrive in mailboxes on June 1st, 2017, poly-bagged with the extra bonus of the beautifully printed 2017 edition of New Glass Review. Newsstand copies will also include the extra bonus issue, but the retail cover price will be higher than the typical $11/copy. Subscribers, who already enjoy a discount off the cover price, pay nothing extra to receive this definitive publication that has successfully picked some of the most important new artists to emerge in its nearly two-decade run.
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.
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.
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.
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.
Mixed-media artist, Marita Dingus, will exhibit her most recent body of work at Seattle’s Traver Gallery beginning March 2. "The Gathering" will feature figurative sculptures made from discarded materials—an aesthetic for which Dingus has come to be known, but this exhibition will also include some of her largest-scale work to date. Dingus takes inspiration from African tribal art, particularly the bristly Nkondi sculptures of the Kongo people. Nkondi sculptures are anthropomorphic figures traditionally used to summon spirits for the purpose of correcting and healing social strife.
Visitors to an upcoming exhibition by glass artist Kazuki Takizawa will experience a unique aural experience thanks to the artist having suspended colored glass bulbs, enclosed in a swaying metal structure, as part of “Catharsis Contained,” which will open at Craft In America Center in Los Angeles in May 2017. The work entitled Breaking the Silence II is designed so that it has a rocking motion that will cause the blown bulbs to gently bump into one another, producing a soothing, tinkling sound that was inspired by Takizawa's experience of visiting a temple in Thailand. Not only will this installation provide a sonic atmosphere to accompany the rich visual experience of his repeated glass forms in various subdued hues, but the artwork also seeks to develop a conversation about a topic rarely engaged in art: suicide prevention.