Contemporary art is on display in unexpected spaces within New York City and beyond thanks to the Art-in-Buildings program, an initiative by real-estate company Time Equities, Inc. that is transforming windows into non-traditional exhibition spaces. The program was founded in 2001 by Time Equities, Inc. CEO Francis Greenburger, who, after walking into an empty lobby in one of his downtown Manhattan properties, decided that the space would be a perfect place to display art. Since that initial idea, the concept has grown to include building fronts in many different sites -- from the Financial District and other areas in New York City, to buildings across the United States and in three different countries -- and over 110 artists have been featured in its rotating exhibitions.Currently on view at the program's West 10th Window, a street-level storefront window located in Manhattan’s West Village that has featured unique artists in short-term exhibitions since 2012 is an installation by Ukraine-born, New York-based artist Inna Babaeva, who frequently employs glass in her work (Disclosure: The work was fabricated at the studios of UrbanGlass, the nonprofit arts center that published the GLASS Quarterly Hot Sheet as well as the print publication GLASS.). Eliana Blechman, the curatorial assistant and exhibitions coordinator of Time Equities’ Art-in-Buildings program, said that said she and her fellow curators “scour the internet, galleries and magazines” for unique artists to invite to display their work in the space.
Brooklyn-based artist Amanda Patenaude has proved that one person’s trash can literally become another person's treasure, as she facilitated a community project to recast dangerous shards of broken glass into works of art. It all began in 2014, when a public park association known as the Fort Greene Park Conservancy (FGPC) turned to nearby arts nonprofit UrbanGlass in search of an artist to make use out of all the broken glass swept up in their efforts to beautify this urban green space. Patenaude, who describes her practice as “a nice blend of working with garbage and the things we throw away, as they relate back to our habits and the environments we inhabit,” was a perfect fit.The Brooklyn-based artist presented the FGPC with a list of what could be accomplished with the waste glass and from there, the work began. After six months of clean-up, the discarded glass that was accumulated was re-melted and blown into an ornament that was presented at a 2015 tree-lighting ceremony organized by FGPC and the community organization known as the Myrtle Avenue Revitalization Project.
This afternoon, the Fred & Pamela Buffett Cancer Center in Omaha, Nebraska, will unveil The Chihuly Sanctuary—an extensive installation, featuring more than 200 original works by lauded glass maestro, Dale Chihuly. The sanctuary is a keystone of the Healing Arts Program at the University of Nebraska Medical Center and its clinical partner, Nebraska Medicine. and was made possible by a lead gift from Omaha philanthropists, Walter Scott and his late wife, Suzanne. The Fred & Pamela Buffett Cancer Center began construction in 2010 thanks to a major donation by Pamela Buffet and her late husband Fred, a relative of billionaire and Omaha native, Warren Buffet. Fred Buffett died of complications from kidney cancer in 1997. The 615,000-square-foot building cost $323 million to construct and is set to open its doors to patients in June.
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.
San Francisco-based glass sculptor and designer 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.
Apple employees will be moving their desks to the much-anticipated new headquarters, Apple Park, sometime in April, according to a company press release, even though the construction process on the Santa Clara Valley, California, facility won't be complete until fall 2017. Billed as one of the world's most energy-efficient buildings thanks to its massive rooftop solar array and a natural ventilation system that is projected to need no heat or air conditioning 9 months of the year, the massive ring-shaped central building designed by Foster + Partners also claims to have the world's largest curved glass panels, which clad the space-ship like structure in seamless sheets of silica. Over 12,000 people will eventually occupy the new complex when it's fully occupied. The main building alone will provide 2.8 million square feet of space.
Martin Blank has called the concept of "flow" the unifying theme of the last 25 years of his career as an artist, and this is readily apparent in his latest public art commission. Set to be unveiled in Spring 2017 in the small city park next to the recently opened Four Seasons Hotel New York Downtown, Blank has created two working fountains in which the multiple glass elements mediate the falling water, and reference it in its cascading forms that appear like splashing water, or eddies. Contrasting with the restrained "New Classical" style of the building's architect, Robert A. M. Stern, Blank's exuberant work animates and enlivens the exterior space with its celebration of gravity and the shared fluidity of water and glass. The GLASS Quarterly Hot Sheet spoke to Blank after installation was complete, but before the water would be turned back on, about the project that he calls "the hardest installation he's done in his career."
While the conversion of a former glass factory into a museum is not in itself unusual, the recently expanded MusVerre celebrates a peculiarly touching history. Beginning as a 1967 exhibition of curiosity pieces made by factory glassblowers in the 19th and early-20th centuries, the project of MusVerre reached new heights with its grand reopening in a new building designed by Raphaël Voinchet and W-Architectures earlier this month in Sars-Poteries, France. The inauguration is being celebrated with an exhibition by Ann Veronica Janssens, a Belgian artist whose “relevance, power and poetry... recurrent use of glass as a material and the very particular fit of the “wide-angle” space [of the new museum] to her work made this invitation an obvious choice,” for the museum’s curators.
Following a top-floor renovation, The U.S. Bank Tower in downtown Los Angeles has just opened a unique and tourist-friendly architectural feature called "The Skyslide," an unusual way to access the expansive new observation deck on the building's 69th floor (which can also be reached by elevator). More dramatic (and somewhat silly) is to slide down from the 70th floor, enjoying the sights via a glass chute 1,018-feet above ground. The transparency of glass heightens the views from highest public vantage point in Los Angles, and the tallest building west of the Mississippi. While a ride on an empty sack down to the outdoor observation deck is not the most elegant way to get there, the glass slide is a headline-seeking way to get publicity, at which it has been quite successful. The official website of the OUE Skyspace deck and Skyslide can be found here.
Prominent Norfolk, Virginia-area philanthropists Richard and Carolyn Barry, whose names adorn the Chrysler Museum of Art's glass curator position, have just announced that their art collection will be gifted to Old Dominion University in nearby Hampton Roads, Virginia. The Barrys' collection is part of a $35-million gift to the academic institution that is earmarked for the construction of a new museum building to house their collection— which includes over 100 sculptural objects from some of the most prominent Studio Glass artists such as Dale Chihuly, Lino Tagliapietra, and Harvey Littleton.