For the past decade, French artist, Baptiste Debombourg, has exploited the fragility of glass to explore the “evidence of humanity" out of scenes of apparent wreckage, as GLASS Quarterly contributing editor Victoria Josslin put it in a Fall 2015 (GLASS #140) profile of the artist. And Debombourg’s three recent exhibitions prove just as gasp-inducing as their predecessors. “RAGING DREAMS—over the horizon” by Debombourg opened May 19 at Gallery S12 in Bergen, Norway to celebrate the gallery’s 10th anniversary. According to the S12 event announcement, energy and the power of dreams are guiding motifs in the installation, composed mostly of laminated broken glass. Like the artist’s previous works, “RAGING DREAMS” references the destructive power of natural forces with large, immersive and engulfing installations that creep from the gallery walls to its floors with edges that resemble a breaking wave.
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.
"Paracosm" is a technical term for an imaginary world. The most famous examples are literary, like J.R.R. Tolkein's Middle Earth or C.S. Lewis's Narnia; but in the visual arts, narrative works are often set in manufactured worlds. In an independently organized exhibition in Brooklyn, New York, the work of six experimental artists has been organized into “Paracosm: new worlds in glass,” which showcases the capacity of glass art to provide a transporting experience in a wide range of works, all with a conceptual foundation. Brooklyn’s Norte Maar, a nonprofit focused on “connecting emerging artistic communities and uniting cultural forces to foster artistic expression and raise the imaginative energy in us all,” is the setting for this fanciful exhibition, which runs through October 23, 2016.
A video by Mücahit Aydınhan, a "calligraphy artist" based in İstanbul, Turkey, shows him breaking a sheet of glass with a hammer, selecting the right shaped shard, and then expertly writing the word "Glass" in scarlet red ink. A brief but elegant diversion courtesy of YouTube.
Chorus (2012) is a stained-glass installation by Kiki Smith presented by the Art Production Fund from May 24th to September 4th on one of the few remaining undeveloped parcels in the area, located on 46th Street and 8th Avenue in Midtown Manhattan. Comprised of a dozen-or-so colorful stars, the main point of interest is an image of Josephine Baker who is apotheosized in this medium associated with spirituality. Baker was not only one of the twentieth century’s most important stage entertainers, but fitting the feminist and body-political themes in much of Smith’s work, someone who overcame many prejudices against her being female and a person of color.
A Brooklyn-based artist is using glass to pay tribute to an oft-overlooked architectural icon in New York City: the water tower. Commuters crossing the Manhattan Bridge can see Watertower, a kaleidoscope of salvaged plexiglass and steel sitting on the rooftop of 20 Jay Street, where artist Tom Fruin has worked for the last 15 years.
Dan Flavin, untitled (in honor of Harold Joachim) 3, 1977. Pink, yellow, blue, and green fluorescent light. 8 ft square across a corner. Collection of Stephen Flavin © 2012 Stephen Flavin / Artists Rights Society (ARS), New York. Photography: Graham S. Haber, 2012
A soft glow emanates from the Clare Eddy Thaw Gallery on the ground floor of The Morgan Library & Museum. Inside the spare white room, an eight foot square grid of pink, yellow, green and blue fluorescent lights bathes you in warm light. Dan Flavin’s untitled (in honor of Harold Joachim) 3 takes over the entire room, setting the tone for Dan Flavin: Drawing, the retrospective upstairs.
Every so often there comes an artist crossing so many boundaries, mixing so many mediums, that their place in the echelon of artistic society is hard to determine. Was Robert Mapplethorpe, for instance, a photographer, glass artist, or sculptor? Southern author Flannery O’Connor’s illustrations are prized almost as much as her award-winning literature. The GLASS Quarterly Hot Sheet discovered such an artist at the PULSE Contemporary Art Fair in New York City in early May. Jordi Alcaraz, a Spanish artist shown widely across the European continent over the past two decades, found a place of prominence in New York City due to representation at the fair by both Galeria Nieves Fernandez (Madrid, Spain) and Tomlinson Kong Contemporary (New York City).
Prow Art Space in the Flatiron Building in New York City.
Chinese artist Hu Bing makes her mark on the Manhattan landmark Flatiron building this month. “Shattered Glass Sheer Transformation,” her colorful installation of broken glass bottles molded into sculpture with resin and hung from the ceiling in stockings, occupies the Prow Art Space in the Flat Iron building from now until June 2nd.
Brothers Doug and Mike Starn, perhaps best-known in New York for their tree-themed installation at the South Ferry stop on the Number 1 train, and their Big Bambúexhibit atop the Met, are back in Manhattan with a new sculpture for the “Glasstress New York” exhibition at the Museum of Arts and Design. They constructed the untitled work from delicate rods of acid-etched glass, echoing at smaller scale the intricate composition of their much larger bamboo installations, which rise to heights of 100 feet.