Because of the ongoing temporary closure of UrbanGlass and its Window Gallery due to COVID-19, David King's exhibition "Reduced to Uncertainty" will have to wait until at least April 30th to be featured in this area of the nonprofit's Agnes Varis Art Center that presents exhibitions, performances and other community-engagement programs of work by emerging artists in its ground-level Rockwell Street windows. (Glass Quarterly is a program of UrbanGlass.) The exhibition is part of a 2019-20 series curated by Yael Ebon of Tiger Strikes Asteroid Gallery. While you may have to wait to see the work in person, the Glass Quarterly Hot Sheet is sharing an in-depth conversation with David King about the highly personal work in the exhibition.
Artist Shelley Muzylowski Allen is expanding her role, adding " curator" to her already extensive resume for an upcoming show at Blue Rain Gallery, intended to "expand our understanding and visual vocabulary in Studio Glass art," according to the show announcement. In light of the current health crisis, Blue Rain's Santa Fe location is temporarily closed to the public (though still offering private viewings by appointment), but the gallery's executive director Denise Phetteplace is hopeful that Allen's invitational exhibition featuring 22 artists will open as planned in three months' time. "Currently we are operating with some optimism," Phetteplace told the Glass Quarterly Hot Sheet in a telephone exchange. Acknowledging the importance of slowing the spread of the virus, the gallery is shuffling its schedule for the next two upcoming exhibitions, but Allen's invitational exhibition is at the moment set to run as scheduled, opening June 12th and running through the Fourth of July.
"Backwaters," an exhibition at the Heller Gallery of nine new major works by German-born glass artist Sibylle Peretti, will shift to an online exhibition in light of the ongoing coronavirus (COVID-19) crisis. The in-person gallery event has been indefinitely postponed, with the hope that improving conditions will allow the gallery to reopen. (Heller has temporarily closed its 10th Avenue gallery in the Chelsea art district of New York City, but can be reached via email or phone.) The online exhibition will open on April 2nd, 2020.
Like their fellow Chrysler Museum of Art art patrons Richard and Carolyn Barry, who built a university art museum to exhibit their extensive collection, Doug and Pat Perry decided to construct a building where they could showcase their considerable holdings of glass art. But unlike the Barry Art Museum at Old Dominion University, the Perry collection is now on view at The Glass Light Hotel, where the majority of the viewers are staying the night at this boutique inn in the heart of downtown Norfolk, Virginia. A hotel that can also be a home for art was inspired by the Perry's trip to a Glass Art Society conference in Louisville, Kentucky, where they were transfixed by the first 21c museum/hotel, where contemporary art projects are integrated throughout. "We came back and said, 'Wouldn't it be neat to have a boutique, artsy, glass-art-themed hotel in downtown Norfolk?' " Doug Perry told the Virginian-Pilot newspaper in a 2016 interview about the project.
At the intersection of architecture, steel forging and glass casting lies the work of Albert Paley. This convergence is explored in an exhibition entitled "Complementary Contrasts: The Glass and Steel Sculptures of Albert Paley" opening at the Museum of Glass in Tacoma, Washington, on September 9th, 2017. Running through September 2018, the year-long exhibit aims to view glass and its applications through the eyes of artists who may not work in the medium exclusively.
“I think of my work as being dichotomous,” said Matthew Day Perez in an interview with GLASS Quarterly Hot Sheet. And many opposing forces are indeed at work in Perez’s first U.S. solo exhibition, "Fractured": order and chaos, connectedness and brokenness, simplicity and detail. Fracture and repair are the backbone of Perez’s artistic concept. His wall pieces, historically gigantic but now of various dimensions as he explores scale feature broken sheets of glass either reassembled in a kiln to form scar lines where the fractures once were, or simply piled on to create a busier, more three-dimensional effect. “I’m interested in broken glass for the absurdity of breaking it and putting it back together,” he said.
A new show at S12 Gallery this month will see experimental glass artist Justin Ginsberg using household objects to explore a personal issue: the constraints of domesticity. Opening on August 4th, "Considerations and Ants" features a series of drawings, installations, videos, and objects created over the course of a summer-long residency at the Norwegian studio and gallery. Though this marks something of an aesthetic break from the artist's past work, the new exhibition continues his efforts to challenge viewers' assumptions about common structures by confronting the limitations the home can impose on freedom -- both as a physical cage and a source of financial confinement.
Traver Gallery in Seattle is honoring its historical lineage with its 40th anniversary group exhibition this month, but the focus of its two upcoming exhibits in August is decidedly forward-looking. Straying from its long history as a premier gallery for top-tier glass artists such as Lino Tagliapietra, Traver Gallery will open two exhibits by experimental artists this evening, timed to the opening of the Seattle Art Fair. John Kiley, known for his intense style of breaking glass, will open alongside artist couple Matthew Szosz and Anna Mlasowsky, who push the limitations of the material through the unconventionality of their work. This is the couple's first exhibit at Traver Gallery.
Dani Montague first thought of opening a gallery devoted to glass art two decades ago, but it wasn't until her retirement from a career with March of Dimes, where she served as vice president of philanthropy, that she was able to realize her dream. This past February, Montague proudly unlocked the doors of Montague Gallery in San Francisco's Union Square area, home to many established galleries, for an opening reception that also served as a benefit for the Pilchuck Glass School. “I came from the nonprofit world, so I thought it would be great to launch my new business, my new art gallery, with a benefit,” she said in a telephone interview with GLASS Quarterly Hot Sheet.
Alex Bernstein sees his work as an exploration — of himself, of nature, and of his own unique process of sculpting and carving his large-scale castings. In a solo exhibition at Winterowd Gallery in Santa Fe opening this Friday, July 28, the Asheville, North Carolina-based artist revisits forms and techniques from his past seeking to reinvent them. “I’m always looking to pursue things and push things and find something new in the realm of my own work,” he said in a telephone interview with GLASS Quarterly Hot Sheet. Though this show is made up of entirely new work, Bernstein is seeking to do what many of us probably wish we could: go back into his past and reinterpret old forms with the benefit of new experience. “It’s me looking back at some of my older series and then kind of reinventing them,” he said.
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 more than 40 years.