A new exhibition at Brooklyn’s UrbanGlass has artist Carly Mandel reclaiming the traumas brought on by privatized healthcare and the consumer wellness industry, while looking at how people and objects are medicalized in late capitalism.
Adam Holtzinger and Susan Spiranovich are the husband-and-wife team behind Brooklyn-based glassblowing studio KEEP. Both graduates of Cleveland Institute of Art, Holtzinger discovered the art of glass after visiting the school’s glassblowing studio, where he immediately fell in love with the craft. Years later, Spiranovich is also obsessed with the ancient craft, and together they have a team that operates out of UrbanGlass in Fort Greene, Brooklyn.
Whether a party, wedding or church event in Nigeria, one striking accessory stands out on the women in attendance—their ‘gele’. Gele as headdress is an art form in itself, widely worn in Nigeria for social occasions and events. It has become a statement piece—a main focus of fashion attire—that exudes cultural pride and history.
After a year of the pandemic things are getting a little wild, even at uptown art galas, it seems. For example, there was a bit of confusion over the so-called glory hole at a fête for the city’s elite glass-blowers last week.
UrbanSparkle, an exhibit organized by UrbanGlass, an arts nonprofit group in Brooklyn, highlights five female artists who have transformed the glass into wearable statement pieces. Their works will be on sale through Jan. 15. Only 20 shoppers are allowed in the space at one time.
“My first strong impression was when [the Storm King team] came to visit me at UrbanGlass, where I was casting the glass stones for my project. We had quite a deep conversation, but also it was kind and lively and fun, which has come to summarise how I feel about the Storm King in general—profound, kind, fun.