New work by Dale Chihuly graces the cover of GLASS: The UrbanGlass Art Quarterly’s Spring 2012 edition.
The new issue of GLASS: The UrbanGlass Art Quarterly is hitting newsstands and subscriber mailboxes over the next few days. On the cover of the Spring 2012 edition: A piece from Dale Chihuly’s new “White Work” series entitled White Soft Cylinder (2011) and standing 18 inches tall. A dramatic departure from the exuberance that has characterized most of his career the new work was fabricated Flora Mace and Joey Kirkpatrick, Studio Glass artists in their own right. Chihuly’s new monochromatic baskets recall his early breakthrough series of baskets, assisted by Kate Elliot and Flora Mace. As GLASS contributing editor James Yood puts it in his cover article: “It’s news when, late in his career (he’ll be 71 in September), he decides to eschew color, to quiet the exuberant cacophony of tone and shade that has been his forte for several decades.”
Elsewhere in this issue, the oversized glass pills of painter Beverly Fishman are considered in light of her intricate paintings that directly reference medical imaging motifs. GLASS managing editor Grace Duggan examines this well-established artist’s first forays into the material of glass and assesses the results. Up-and-coming artist Andrew Erdos is represented by Claire Oliver, a contemporary art gallery in the Chelsea art district of New York that represents more established artists working with glass such as Judith Schaecter and Beth Lipman. Erdos, as we learn in an article by Ruth Reader, marries technical glassblowing skill with a conceptual art strategy (one he honed through his mentor, Claire Oliver) that caught attention at Art Miami last December. Read all about Erdos first in GLASS magazine.
Finally, regular contributor John Drury shares his love of Outsider Art, taking us on a tour of notable artists who work with found glass. From discarded bottles as canvases for untrained painters to shards of broken glass embedded into concrete surfaces, the material draws the attention of outsider artists for its ubiquity and its unique ability to elevate work by capturing light and color like nothing else.
Reviews in GLASS #126 include a look at the plentiful glass art on view at the newly opened Winnipeg International Airport in Manitoba, Canada; a group exhibition of painterly glass wall works at Bullseye Gallery in Portland, Oregon; and at the dual exhibitions at the Museum of Glass in Tacoma, Washington, of Paul Stankard and John Miller.
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