Suzanne McClelland’s exhibition “Just Left Feel Right” at the Aldrich Contemporary Art Museum in Ridgefield, Connecticut, is a survey that includes some of the artist’s recent forays into unfamiliar territory. Here, she discusses her glass piece Runners Up, 2014–16, in the context of her twenty-five years of painting. The show is on view through September 4, 2017.
“Until recently, the scientific community couldn’t agree if glass was a liquid or a solid, which is rather insane,” Cybele Maylone tells me. “It speaks to the magical properties that make glass so enchanting to artists.”
Design moves forward through conversation, and residency programs tailored to design and craft-based disciplines play an instrumental role in nurturing that dialogue.
On its 40th anniversary, UrbanGlass still proves a necessary resource for New York's creative community. Maybe you've never heard of UrbanGlass. But chances are, you've seen a thing or two that was made there.
What if the ocean was your studio? Artist Caroline Woolard and a group of collaborators embark on Carried on Both Sides, a research-based sculptural project that reimagines the past and future of a once ubiquitous object, the Roman amphora.
In the 1980s, New York glassblowers befriended the mafia. At least, that’s the story UrbanGlass executive director Cybele Maylone heard at the organization’s 40th anniversary benefit in May. The founders initially established the glass studio (originally called the New York Experimental Glass Workshop) on Great Jones Street in 1977.
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.