Viewing articles by Chelsea Liu


Karen LaMonte, Kabuki (detail), 2012. H 53, W 28, D 31 1/2 in.

Tuesday August 7, 2018 | by Chelsea Liu

Karen LaMonte’s "Embodied Beauty" exhibition at Tennessee's Hunter Museum is her largest to date

Karen LaMonte’s ethereal female figures are absent save for an intimate record of their corporeal presence evoked by the exquisitely detailed drape of clothing. The models who sat for the artist as she created these suggestive forms have left, and what remains is a sculptural rendering of the uncanny, of lingering loss, paradoxes, and strange dualities. LaMonte's dresses thus occupy an intentionally undefined space between presence and absence, tradition and innovation, emptiness and overflowing with meaning. Through September 2nd, 2018, the exhibition "Embodied Beauty" offers 32 of LaMonte's figures to viewers at the Hunter Museum of American Art in Chattanooga, Tennessee. It unites two distinct series of works from her oeuvre, "Nocturnes" and "Floating World," and represents the largest museum exhibition to date of LaMonte’s work in the United States, bringing together her figures in cast glass, clay, bronze, and iron.

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Thursday July 26, 2018 | by Chelsea Liu

CALL FOR APPLICANTS: Prospective Netflix reality show "Blown Away" seeks competitive glassblowers

Glassblowing can result in serious art -- but it can also be intensely performative, a fact that has helped to fuel its expansion as an art material over the past five decades. Just ask the demo team at The Corning Museum of Glass in New York State or, on the opposite coast, at the Museum of Glass in Tacoma, Washington, where the amphitheater is regularly filled with museum visitors who want to witness the process of making. Few other art forms are as regularly paraded to the public as their final result is taking shape -- unfinished and hotly imperfect. The same theatricality that reliably fills the seats in Corning and Tacoma is being banked on to attract television viewers. A glass-blowing reality television show tentatively titled Blown Away is set to premiere in Spring 2019, and is seeking highly skilled glassblowers to audition for the first season.

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Tuesday July 17, 2018 | by Chelsea Liu

PROFILE: Military veteran and Ohio glassblower Doug Frates created a monumental installation in North Carolina

Stepping into Vidrio, a Mediterranean restaurant in Raleigh, North Carolina, visitors are met at once by kaleidoscopic discs and whorls of color that recall shells and aquatic flora, and combine to create an immersive atmosphere. Through this 30-by-50-foot wall mounted assemblage by Doug Frates Glass, which consists of 700 hand-blown glass pieces hung by the artist and his two assistants, the seascape is evoked in a rich display that is offset by the restaurant interior's otherwise minimalist decor.

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Friday June 29, 2018 | by Chelsea Liu

EXHIBITION: For its grand opening, the new Portheimka Glass Museum in Prague presents a Karen LaMonte exhibit "Clothed in Light"

Constructed in the 1720's to serve as a summer residence for the aristocratic Dientzenhofer family, the Baroque Portheimka Summer Palace has been repurposed as the Portheimka Glass Museum, the first institution devoted exclusively to glass art in Prague. The national cultural monument, named on its website “a baroque pearl of the Prague district of Smíchov,” was converted into a glass museum by Museum Kampa with the support of the Jan and Meda Mládek Foundation. Portheimka will present a permanent exhibition, host workshops for children, and is currently unveiling its first temporary exhibition, a display of American artist Karen LaMonte’s spectral glass figures that will remain on view through November 4, 2018.

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Denis Longchamps will take over as executive director at the Canadian Clay & Glass Gallery in Waterloo in August.

Thursday June 28, 2018 | by Chelsea Liu

Denis Longchamps plans to explore history and boundaries as newly appointed executive director of the Canadian Clay & Glass Gallery

When asked by Glass Quarterly about his attraction to the mediums of clay and glass the newly appointed executive director of the Canadian Clay & Glass Gallery simply responded in an email interview: “The material." Denis Longchamps went on to explain that "both are transformed by fire. Clay and glass have always been at the core of my curatorial practice and I also like to include textiles, wood and metal to provide a broader context. I did take a few classes in clay and stained glass so there is a personal attraction to both mediums. But there is more — both are hard and strong materials yet fragile at the same time. These opposing forces offers many possibilities for concept exploration.” This abundance of possibilities reflects Longchamps view of the porous boundaries between art and craft, and his resistance to definitions and standard narratives.

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Max Syron

Friday June 22, 2018 | by Chelsea Liu

EXHIBITION: Norway's S12 mounts a major retrospective prior to a big move

Since its inception in 2007, S12 Studio and Gallery in Bergen, Norway, has pursued programs with a focus on artistic purity and authenticity. An artist-run gallery and workshop, its approach has been marked by the ambitious cultivation of creative sparks and a fluid relationship between artist and public, between the conceptual and the formal, and between glass and other media. Now in its 11th year, S12 is preparing to cross its most ambitious threshold yet: a retrospective of many of its former resident artists as one last spectacular exhibition before packing up and relocating to a new location.

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Matthew Curtis, Ediface Pair Blue Gold, 2018. Blown and fused glass, stainless steel. H 23 1/2. W 17 3/4, D 8 in. courtesy: beth hirsch 

Tuesday June 19, 2018 | by Chelsea Liu

CONVERSATION: Matthew Curtis on light, craft, and exhibiting internationally

Through July 15th, Australia-based artist Matthew Curtis is showcasing his latest body of work in the exhibit "Matthew Curtis: Intersect" at LewAllen Galleries in Santa Fe. The Glass Quarterly Hot Sheet asked him a few questions about how his work has been developing, what it's been like to exhibit internationally, and where he sees himself going from here. Glass Quarterly Hot Sheet: Does the work in this exhibition represent a new direction for you? Matthew Curtis: This work signifies a subtle shift in my use of the material. It is a continuation in exploring the blown glass bubble, in slicing these elements and compiling them into fields of components. These are then fused together, creating a plane of glass, reminiscent of the cross section of the internal structure of organic growth. So there are similarities in both narrative and structure, yet I have been able to work with more abstracted color fields.…

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Gabe Feenan, Rider, 2016. Blown and solid hot-assembled glass. H 30 1/2, W 10, D 3 in. courtesy: the artist

Thursday June 14, 2018 | by Chelsea Liu

EXHIBITION: Bellevue Arts Museum readies its "Glasstastic" biennial surveying Northwest glass art

From Chihuly to Tagliapietra, glass has long had a storied history in the Pacific Northwest. That the Bellevue Museum in Washington will be devoting the last in its series of materials-based biennials to the medium is a fitting finale for the fifth iteration. The museum's juried exhibition has been occurring every two years, and offers a curated platform for regional, established and up-and-coming voices in art, craft, and design. On the heels of past shows on clay, fiber, wood, and metal, this fall's 2018 "Glasstastic Biennale" will celebrate the medium perhaps closest to Seattle’s heart. As executive director and chief curator of BAM Benedict Heywood stated in an exhibition announcement: “With Seattle being the undisputed center for the development of glass as an art form in North America, it was natural that this medium should have been selected to culminate the Museum's series of media-based biennials...The simplicity of its composition, the complexity of its production, the many forms it can take—blown, cast, frit, stained—as well as its many uses, from the stained-glass of a medieval cathedral to the modernist skyscraper, from the Venetian goblet to the IKEA tealight, attest to the fact that glass is a paradoxical material, that has inspired the artists of the Northwest for generations."

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Matthew Curtis, Section Teal Uranium, 2018. Blown and fused glass, stainless steel. H 11 3/4, W 17 1/4, D 7 3/4 in. courtesy: beth hirsch. 

Thursday June 7, 2018 | by Chelsea Liu

OPENING: Mesmerizing new work by Matthew Curtis debuts in "Intersect" exhibit at LewAllen Galleries in Santa Fe

Mesmerically patterned and radiant, the works of Australian artist Matthew Curtis are something uncanny in how they read as both organic and artificial. Inspired by what Curtis describes in his artist statement as the "exquisite architecture of cellular growth and how these biologically derived structures are reflected in our built environment," the interplay between the man-made solidity of the materials and the light and delicacy of glass filaments. With an opening on June 8th and running through July 15th, they will be on view at LewAllen Galleries in Santa Fe, New Mexico, in an exhibition entitled "Matthew Curtis: Intersect."

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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.