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.
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.
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.
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.
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.
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.
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."
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.