This week you’re in for a weird ride. From Aaron Pexa’s installation inspired by faeries from Welsh mythology (opening Wednesday at UrbanGlass) to a show of fake John Waters memorabilia Thursday night at La MaMa, there’s a lot of idiosyncratic happenings to partake in.
On May 16th, UrbanGlass marked its 40th anniversary at its annual Gala and Auction, held at their building in Ft Greene, Brooklyn. A celebration of this important milestone, the evening also honored the contributions of artist Thaddeus Wolfe and gallerists Katya and Doug Heller to the organization and field at large.
US magazine Sight Unseen has partnered five New York and five Norwegian design studios to create products for its annual Offsite exhibition, with results including brick furniture, a bent-steel bench and colourful glass vases.
It was 1977 when three art-school graduates, Erik Erikson, Joe Upham, and Richard Yelle, transported a glassblowing furnace in the back of a car to a downtown New York warehouse, thereby launching the first artist-access glass center in the U.S.
Glassblowing requires a steady hand, a sharp eye, a tolerance for heat, a fascination with fire, and the ability to work with light. For many glassblowers, going from tabletop to lighting is a natural extension of their work.
This fascinating manifestation of New York City history has been explored in the exhibit Dead Horse Bay: The Glass Graveyard of Brooklyn. Curated by writer Allison C. Meier, the exhibit is on display at the UrbanGlass until March 26th and features pieces from 13 artists, predominantly revolving around the theme of glass at Dead Horse Bay. The prevalence of glass is not only used as inspiration for the exhibit, but also to raise awareness about the site itself.