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.
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.
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.
On February 22, 2017, the Newark Museum will open a provocative exhibition titled "When Objects Became Art," which presents early twentieth-century glass and ceramic works from its private collection to foster a new understanding of the dividing line between decorative and fine art.
St. Petersburg, Florida, may seem an unlikely hub for glass art, but the city that holds the world's record for the most consecutive days of sunshine is also soon to be home to a new museum devoted entirely to the material as a medium of sculpture. The brand-new Imagine Museum is currently being installed in a repurposed building just nine blocks away from the Morean Arts Center, which boasts a now-permanent collection of Dale Chihuly’s work. The Imagine Museum expects to have a grand opening before the end of 2017, but it is already hosting events even as it undergoes a major renovation of its building, which has in previous incarnations been a bank, nightclub, and, most recently, a charter school. The museum is in the process of installing signage and building out its museum store. The first floor is on schedule to be complete by the end of February, where it will host occasional activities and events before the museum officially opens.
Adriano Berengo is back with another Glasstress exhibition, this time in partnership with an art museum in Boca Raton, Florida. Known for bringing artists who don't usually utilize glass as a medium together with his team of glass maestros in Murano, Berengo has built Glasstress into an art-world brand since it debuted as a collateral exhibition at the 2009 Venice Bienalle. In addition to his Glasstress exhibits at the international exhibition, Berengo has also been developing "Glasstress World" in which Berengo Project artists display their work in partnership with major museums around the globe.
This Friday, February 3rd, the Pittsburgh Glass Center will present "Emerge/Evolve 2016," an annual juried exhibition of kiln-glass artists organized by the Bullseye Glass Company of Portland, Oregon. "Emerge 2016" will feature up-and- coming artists who participated and placed in Bullseye’s ninth biennial juried competition for kiln-glass. Of the 370 contenders, more than 40 artists—representing 16 different countries—were selected as finalists, and a total of seven prizes were awarded. The panel of jurors included Stefano Catalani, curator at the Bellevue Arts Museum; Kim Harty, assistant professor of crafts/glass, College for Creative Studies, Detroit; and Sue Taylor, professor of art history at Portland State University.
On Monday evening, when the Bakalar & Paine Galleries at Massachusetts College of Art and Design unveiled its new exhibition, "VITREOUS BODIES: Assembled Visions in Glass," it marked the first time glass art was displayed at this prime visual arts venue in the Fenway-Kenmore area of Boston, a cultural destination. Bringing together works by 13 multidisciplinary artists including Dan Clayman, who had spent the Fall semester at MassArt as a visiting professor, the show also includes work by an international group made up of Kanik Chung, Petah Coyne, Mona Hatoum, Timothy Horn, Michael Joo, Dafna Kaffeman, Jacob Kassay, Maya Lin, Lucy and Jorge Orta, Arlene Shechet, Thaddeus Wolfe, and Rob Wynne. Also debuting on Monday, but at a different location on the MassArt campus was a second work by Clayman, his largest installation to date. (Disclosure: Clayman serves as an advisor for the Robert M. Minkoff Academic Symposium at UrbanGlass, which is organized by GLASS magazine.)