Art of Glass 2 gallery guide - Virginia Museum of Contemporary Art



Art of Glass 2 gallery guide - Virginia Museum of Contemporary Art
Art of
In 1999, Contemporary Art Center of Virginia (CAC), Chrysler
Museum of Arts, Virginia Art Festival and 15 regional affiliates joined forces to produce world class exhibitions of contemporary glass art for Southeastern Virginia.
Art of Glass was born from a collective dream of Suzanne
Mastracco, Andrew Fine and Harry Lester. Art of Glass would
have remained a dream had it not been for the enormous
support and commitment of the community. Trustee Rod
Rodriguez and his company, Bay Mechanical, fabricated the
armatures which held the chandeliers.
A major highlight of Art of Glass was the CAC's presentation
of Dale Chihuly's work. The exhibition featured dazzling
chandeliers, a walk-through glass ceiling, and a stage set
that Chihuly had designed for the opera, Pelleas &
Melisande. The Chrysler Museum of Art, home to one of the
greatest glass collections in the USA, featured glass installations by three major contemporary artists: Thermon
Statom, William Morris and Stephen Antonakos. The Virginia
Arts Festival developed programming that illuminated the
connection between visual and performing arts. Portable hot
shops for glass blowing demonstrations enhanced the exhibitions.
In April 1999, The Daily Press compared Southeastern
Virginia with Seattle, the acknowledged capital of glass art in
the United States, proclaiming "Over the next few weeks,
Hampton Roads will push aside the cultural capital of the
Pacific Northwest as the best place in the country--maybe
even the world--to look at contemporary glass."
Art of Glass illustrated the power of art as a transcendent
force when volunteers, professionals and communities work
together in partnership.
A part of the lasting legacy of Art of Glass resides in the
Rodriguez Pavilion with Dale Chihuly's 2003 Mille Colori, purchased by passionate glass art patrons. The Chihuly chandelier, "the gem of Virginia Beach," inspires awe and delight
for thousands of adult visitors and school children each year.
Art of Glass--dare to dream.
At the crux of the Contemporary Art Center of Virginia's mission is art education. For Art of Glass 2 we have provided an
educational section titled Make it Molten: The Art, Science
and History of Glass. In this area of the Museum you will find
a timeline contextualizing glass from the 1960s to the present day, information about several processes including a
video on glass processes from the Corning Museum, various glass tools and samples of glass. This educational component provides basic understanding of glass art as you
travel into the exhibits.
Organized by Alison Byrne, curator of education; Kate Pittman, special projects manager; Heather Hakimzadeh, associate curator; and glass consultant Ali Rogan.
Special thanks to the host of local artists who contributed images and glass
samples to the project.
The 1999 debut of Art of Glass stimulated an entire region of
glass art collectors. People from all over Hampton Roads
were overcome by Dale Chihuly's '99 retrospective and after
the show's completion many individuals started contacting
galleries and traveling to various cities, all in the interest of
purchasing glass art. In this exhibition, CAC showcases
numerous artworks from 9 local collections. The works on
display were all purchased within the last ten years and cultivated through discussions with collectors and the curator.
Selections were based on notoriety of the artists, accessibility of the works and technical prowess in the realm of glass.
The purpose of the exhibition is to highlight not only the significance of contemporary glass art in our community, but to
dually expose the diversity of production and use of
processes through the lens of renowned artists. Throughout
the exhibition you will find glass that has been blown, cast,
painted and flame- or lamp-worked.
Special thanks go to the collectors who participated in this
exhibition. We appreciate their generosity in sharing private
works with our Museum community:
Suzanne and Vince Mastracco
Irene and Randy Sutton
Pam and George Clarke
Gale and Scott Higgs
Uschi and Bill Butler
Lynne and Steven Winter
Terri and bob McKenzie
Valerie and Walter Neff
Barbara and Andrew Fine
We would also like to recognize our sponsors who have supported this exhibit: Cindy and Rod Rodriguez and Al Ward of
Bay Mechanical; Dave Jester and Rick Hughes of Marlyn
Development; Tom Hitt and Hitt Electric; Randy Sutton of
Waterfront Marine Construction; Gale and Scott Higgs;
designer Jim Armbruster (lighting); Art of Glass 2 steering
committees and sponsors; and the entire CAC staff.
In the exhibition, along the walls, you will find accompanying
quotes from many of the artists. Our hope is that you will
retain a sense of the artists' voices or learn a bit more about
their processes while viewing their work.
The artists represented in 1999-2009: A Region Collects are
of national and international renown. You will find their biographical information and web addresses here. We encourage you to continue research if you are interested in a particular artist and his or her technique or ideas.
Martin Blank
b. 1962. Martin Blank graduated from Rhode Island School
of Design (RISD) in 1984 with a B.F.A. in Glass, and went on
to work with many glass artists, including Dale Chihuly.
Blank's work is on display in galleries throughout the United
States and is featured in international exhibitions, including
the Millennium Museum in Beijing, China; the Shanghai
Museum of Fine Art and the American Embassy in Slovakia.
He now owns and operates his own hot shop, Martin Blank
Studios, in Seattle, Washington.
Lucio Bubacco
b. April 1957, Murano, Italy. Lucio Bubacco was born on the
island of Murano in the lagoon of Venice, Italy, in 1957. At fifteen he received his artisan's license and launched his
career creating flame-worked Venetian glass pieces. He
later studied painting and drawing for two years with
Alessandro Rossi. Bubacco's work has been exhibited in
Venice, Japan, Mexico, France, Australia, and the United
States. His work is included in the permanent collections of
the Corning Museum of Glass, in Corning, New York; the
Venetian Glass Museum in Otaru, Japan; the Borowsky
Collection of Contemporary Glass in Philadelphia,
Pennsylvania; and the J&L Lobmeyer Museum Collection in
Vienna, Austria.
Dale Chihuly
b. 1941, Tacoma, Washington. Dale Chihuly was introduced
to glass while studying interior design at the University of
Washington. After graduating in 1965, Chihuly enrolled in the
first glass program in the country, at the University of
Wisconsin. He continued his studies at the Rhode Island
School of Design (RISD), where he later established the
glass program and taught for over a decade. In 1968,
Chihuly was awarded a Fulbright Fellowship to work at the
Venini factory in Venice, Italy. In 1971, he co-founded
Pilchuck Glass School in Washington. With this international
glass center, Chihuly has led the avant-garde in the development of glass as a fine art. His work is included in over two
hundred museum collections worldwide. He has been the
recipient of many awards, including eight honorary doctorates and two fellowships from the National Endowment for
the Arts.
Hans Godo Fräbel
b. 1941, Jena, East Germany. At the age of 15, Hans Godo
Fräbel was enrolled into a "Lehrausbildung Program" (a
traineeship) as a scientific glassblower at the prestigious
Jena Glaswerke in Mainz, West Germany, where he earned
his "Gehilfenbrief," an apprenticeship diploma. In 1965 he
came to the U.S. and settled in Atlanta, where he obtained a
position at the Georgia Institute of Technology in its scientific glass blowing laboratory. There, he also continued his art
studies at Emory University and Georgia State University. In
1968, Fräbel established his own glass studio in Atlanta.
Now he continues the European tradition of apprentice and
mentoring studio master.
Susan Gott
b. 1959, Roanoke, VA, lives and works in Tampa, FL. Susan
Gott received her B.S. in Art Education from Radford
University in 1981 and her M.F.A. from Kent State University
in 1992. Her continued education is as follows: In 1991, '92,
and '94 she attended Pilchuck Glass School to study kiln
casting, art and architecture and lost wax casting; In 1991
she was also a teaching assistant with Paul and Dante
Marioni at hte Haystack Mountain School of Crafts; and from
1988-89 she studied hot glass and casting with Paul Marioni
and Albinas Elskus at the Penland School of Crafts. Her art
is featured in numerous glass publications and trade journals, including Glass Art and New Glass Review 16. She has
been honored with numerous awards and grants including
the 2000 Individual Artist Fellowship from the state of Florida
and the New Forms Florida Grant.
Jon Kuhn
b. 1949, and resides in Winston-Salem, North Carolina. Jon
Kuhn earned an M.F.A. from Virginia Commonwealth
University in 1972. His work can be found in prominent
museums as well as private and public collections, including
the White House Collection, The Metropolitan Museum of
Art, New York City; the Smithsonian American Art Museum,
the Carnegie Museum of Art, the Corning Museum of Glass,
the Museum für Kunst und Gewerbe, Hamburg; and the
Museé des Arts Decoratif, Lausanne, Switzerland. His work
is discussed in several publications including American
Craft: Source Book for the Home, and Glass: State of the Art
1984 (and 1989).
Stanislav Libenský and Jaroslava Brychtová
Stanislav Libenský: b.1921, Sezemice-Mnichovo Hradiste,
Czech Republic, d. 2002, Zelezný Brod, Czech Republic;
Jaroslava Brychtová: b. 1924, Zelezný Brod, Czech Republic.
Stanislav Libenský was an integral contributor to the modern
glass art movement in his native country, along with his wife
Jaroslava Brychtová (1924- ). They significantly influenced
the greater world of glass artistry. Libenský studied glassmaking and painting in Novy Bor and Zelezny Brod
Specialized Schools of Glassmaking in the Czech Republic.
In 1944, he graduated from the Secondary Art School in
Prague, Czech Republic; and in 1950, he graduated from
the Academy of Applied Arts in Prague, Czech Republic. In
1954, Libenský began his almost 50-year collaboration with
Brychtová, who also completed studies at the Academy of
Applied Arts. Libenský was headmaster at Zelezny Brod
from 1954 to 1963 and headmaster at the Academy of
Applied Arts from 1963 to 1987. Beginning in 1982, he was
a guest lecturer at such prestigious institutions as Pilchuck
Glass School, Stanwood, Washington, and the Royal
College of Art, London, United Kingdom.
Robert Mickelson
b. 1951, Fort Belvoir, Virginia. Robert Mickelson apprenticed
with a professional lampworker for two years in the mid-sev-
enties; and in 1987, he attended a class taught by Paul
Stankard that opened his eyes to the possibilities of his
medium. His work is exhibited in many prominent collections
including the Renwick Gallery of American Crafts at the
Smithsonian Institution, the Corning Museum of Glass, The
Toledo Museum of Art, The Carnegie Museum of Art, The
Mint Museum, The Cleveland Museum of Art, The Museum
of American Glass at Wheaton Village, and the Pilchuck
Glass School.
Tobias Møhl
b. 1970, Aalborg, Denmark. Tobias Møhl's training came at
the age of 19 from his on-the-job experience as a glassblower for the Danish firm, Holmegaard Glasværk, where he
started in 1989. By 1992 he was a master glass blower. He
was blowing for Lino Tagliapietra's master class at Pilchuck
in 1996 and at Tagliapietra's master class at Haystack in
1997. His work is in many international collections, including
The Danish Museum of Decorative Art, Denmark; The
Danish Art Foundation, Denmark; Holstebro Art Museum,
Denmark; Museum of Art and Design, New York;
Kunstindustrimuseum, Norway; Memorial Art Museum,
Rochester, New York; Malmø Kunstmuseum, Sweden;
Museum für Kunst und Gewerbe, Hamburg, Germany; and
the Corning Museum of Glass. or
Klaus Moje
b. 1936, Hamburg, Germany. Klaus Moje was trained as a
glass cutter and grinder at age 16 and established his first
studio in 1961. He relocated to Australia in 1982, where he
founded the Glass Workshop of the Canberra School of Art
and the modern art glass movement in Australia. He has
participated in exhibitions in Europe, North America,
Australia and Japan. In 2004 he was honored with the
Lifetime Achievement from UrbanGlass. His work is included
in the permanent collections of the Victoria and Albert
Museum, the Museum Bellerive in Zurich, the Metropolitan
Museum of Art, and the Museum of Arts & Design.
Grant Miller
Grant Miller received his B.F.A. in Fine Art from California
State University, Long Beach. He established his own studio
in the late 1970s working primarily in clay and wood. In the
1980's he began to work exclusively in glass. He has shown
work in galleries and juried exhibitions throughout the United
William Morris
b. 1957, Carmel, California. William Morris received his
degrees from California State University at Chico and
Central Washington University. He originally worked as Dale
Chihuly's gaffer (master glassblower) in the early 1980s, and
has since maintained his own studio. William Morris' work is
included in the permanent collections of the Metropolitan
Museum of Art, the American Craft Museum, the Chrysler
Museum of Art, the Louvre, the Victoria and Albert Museum
and the Musee des Arts Decoratifs, Paris.
Dino Rosin
b. 1948, Venice, Italy. At the age of twelve, Dino Rosin left
school to apprentice at the Barovier and Toso glassworks
until he was able to join his brothers, Loredano and Mirko, at
their factory, Artvet, in 1963. In 1975 he moved to Loredano
Rosin's newly established studio as his assistant where he
collaborated with his brother for more than 25 years. In 1988
Dino Rosin was invited to Pilchuck Glass School in
Washington to teach with Loredano Rosin and the American
glass artist, William Morris. Dino Rosin's work has also been
seen at the Museo dell'arte vetraria in Murano Italy.
Maria Grazia Rosin
b. 1958, Cortina d'Ampezzo, Italy. Maria Grazia Rosin attended the Academy of Fine Arts in Venics, studying with Emilio
Vedova in the painting section. In 1991, she began experimenting with glass, conceiving of creative sculptures with
organic forms. With these new works, she participated in the
Glass Project at the Bevilacqua La Masa Foundation; and
the next year she was invited to participate in the
Deterritoriale exhibition at the 45th Biennale, curated by
Achille Bonito Oliva. Rosin is now a well-known artist on the
international scene and is found in such museum collections
as that of the Corning Museum of Glass in New York,
Düsseldorf's Kunst Museum and the Murano Glass
Richard Royal
b. 1952, Bremerton, Washington. Richard Royal began
working as a hot glass sculptor in 1978 at the Pilchuck Glass
School, located north of Seattle. Royal worked his way
through the ranks to find himself as one of Dale Chihuly's
main assistants. Since the 1980's, Royal has since been an
independent artist exhibiting work internationally in both solo
and group exhibitions for the past 25 years. Royal's work is
included in renowned public and private collections worldwide, such as The Mint Museum of Art + Design, The High
Museum, the New Orleans Museum of Art, The Tampa
Museum of Art, and the Daiichi Museum. His artwork is also
included in the SAFECO Collection, Price Waterhouse, IBM,
and the Westinghouse Corporation.
Laura De Santillana
b. 1955, Venice, Italy. Laura Diaz de Santillana attended the
School of Visual Arts in New York. After working as a graphic designer at the design firm of Vignelli Associates in 1976,
she returned to Italy and began an active collaboration with
Vetreria Venini & C., founded by her grandfather, Paolo
Venini. From 1985 to 1993, she was the designer and artistic director of Eos and later worked as designer for
Rosenthal and for Ivan Baj. She has participated in numerous exhibitions in Europe, the United States, and Japan,
winning widespread consensus. Several of her works have
been acquired by public and private collections such as the
Corning Museum of Glass, New York; the Museum für Kunst
und Gewerbe, Hamburg, and the Museo Vetrario di Murano.
Josh Simpson
b. 1949, New Haven, Connecticut. Josh Simpson attended
Hamilton College where he received a bachelor's degree in
Psychology. He then chose a career as a glass artist, establishing his own studio in rural New England in 1972. His work
has been published in the Corning Museum's New Glass
Review 5 and 8, as well as OMNI Magazine, LIFE, The
Smithsonian Magazine, and The New York Times. Simpson's
work is included in the permanent collections of the White
House Collection of American Crafts; Corning Museum of
Glass, New York; Smithsonian American Art Museum;
Museum of Decorative Arts in Prague, Czech Republic;
Museum of Fine Arts in Boston, Yale University Art Gallery;
and the Royal Ontario Museum.
Preston Singletary
b. 1963, San Fransico, California. Preston Singletary learned
the art of glass blowing by working with artists, including
Benjamin Moore and Dante Marioni, in the Seattle area. He
studied at the Pilchuck Glass School in Stanwood,
Washington. Singletary has also had the opportunity to work
with Italian legends Lino Tagliapietra, Cecco Ongaro, and
Pino Signoretto. Singletary's artworks are included in museum collections such as the Museum of Fine Arts, Boston;
The Seattle Art Museum; the Corning Museum of Glass,
New York; the Mint Museum of Art + Design, the Heard
Museum; and the Handelsbanken, Stockholm, Sweden.
Ivana Šrámková
b. 1960, Liberec, Czechoslovakia. Ivana Šrámková attended
Specialized Secondary School for Glass, elezný Brod. She
is a recipient of the 1991 Prague Glass Prize emerging artist
award. Šrámková's work has been exhibited in Europe, the
United States and Japan. Her sculptures are represented in
the collections of major museums such as the Victoria and
Albert Museum, London; the Corning Museum of Glass,
New York; and the Museum of Modern Art, Lausanne,
Cappy Thompson
b. 1952, Washington, USA. Cappy Thompson is a
Washington native who graduated from The Evergreen State
College in Olympia, Washington, in 1976. She has taught at
the Rochester Institute of Technology, the California College
of the Arts, the Canberra School of Art in Australia, the
Centro del Arte Vitro in Monterrey, Mexico, Pilchuck Glass
School and Penland School of Crafts in North Carolina. Her
public commissions include a curtain wall at Seattle-Tacoma
International Airport; a mural at the Museum of Glass in
Tacoma, Washington; a window for the Evergreen State
College in Olympia, Washington; and a window for the
Montgomery Museum of Fine Arts in Montgomery, Alabama.
Her work is included in the permanent collections of the
Museum of Arts & Design, New York; the Corning Museum
of Glass, New York; the Tacoma Art Museum, Washington;
and the Art Gallery of Western Australia in Perth. Thompson
serves on the Bellevue Arts Museum board of directors and
the Pilchuck Glass School's Artistic Program Advisory
Hiroshi Yamano
b. 1956, Fukuoka, Japan. Hiroshi Yamano began his serious
study of glass at the California College of Arts and Crafts,
continuing at the Tokyo Glass Art Institute. He received his
M.F.A. from the Rochester Institute of Technology. Yamano is
cofounder of the Ezra Glass Studio in Fukui, Japan, and
helped establish the formidable glass program at Osaka
University of Arts, where he now serves as chairman. His
work is included in the permanent collections of the Racine
Art Museum, Wisconsin; The Chrysler Museum of Art,
Virginia; Corning Museum of Glass, New York; Rochester
Institute of Technology Library, Permanent Collection, New
York; Wheaton Glass Museum, New Jersey; and Winter Park
City Hall, Florida.
Toots Zynsky
b. 1951, Boston, Massachussetts. Toots Zynsky was born
Mary Ann, but was called Toots almost from birth. She
earned her B.F.A. at the Rhode Island School of Design
(RISD) in 1973. She was one of Dale Chihuly's first students
at RISD. In the early 1970's Toots, again working with
Chihuly, was instrumental in the founding and early development of the Pilchuck Glass Studio in Washington State. She
was also involved in the establishment of New York
Experimental Glass Workshop in New York City, now known
as UrbanGlass in Brooklyn. She has participated in innumerable shows both internationally and in the United States. Her
work was shown at special exhibitions in Tokyo, Zurich,
Venice, Philadelphia, and Chicago and is included in the
permanent collections of the Smithsonian American Art
Museum, the Corning Museum of Glass, New York; and The
White House Collection of American Crafts among many
other collections.
Special thanks to Heather Hakimzadeh, associate curator for composing
biographical information and quotes for the purposes of this exhibition.
Curated by Ragan Cole-Cunningham, director of exhibitions and education
b. 1964, Mill Valley, California
found respect for and mastery of the glassblowing process.
Throughout his signature series--from the intricate pattering
of the Mosaic and Reticello vessels to the striking color contrasts characteristic of the Finestra and Gambo vases; from
the whimsicality-infused Cactus Vases, Leaves and Vessel
Displays to the tour de force Ten-Handled Vases--Marioni
plays with color, line and pattern, delineating space, redefining forms and our perceptions of them. His work conjures
emotions ranging from meditative introspection to joyful exuberance. All evoke a sense of wonder.
Text from Dante Marioni: Form|Color|Pattern exhibition, Museum of Glass,
Tacoma, Washington
Dante Marioni: Form|Color|Pattern is a traveling exhibition organized by
Dante Marioni Studios. The exhibition has traveled to Muskegon Museum of
Art, Michigan; Amarillo Museum of Art, Texas; the Museum of Glass,
Tacoma, Washington; and now, the Contemporary Art Center of Virginia. All
works are from the personal collection of Dante and Alison Marioni.
Special thanks to Dante and Alison Marioni for sharing this prolific body of
work with our community. Additional thanks to the Museum of Glass,
Tacoma, Washington; Suzanne Mastracco and Andrew Fine and Art of
Glass 2 committees and sponsors; Kelly Conway and Bill Hennessey of the
Chrysler Museum of Art; Cindy and Rod Rodriguez and Al Ward of Bay
Mechanical; Dave Jester and Rick Hughes of Marlyn Development; Randy
Sutton and Waterfront Mmarine Construction; designer Jim Armbruster; and
the entire CAC staff.
Organized for CAC purposes by Ragan Cole-Cunningham, director of exhibitions and education.
Dante Marioni has been creating sculptural vessels in glass
for nearly three decades. He was born in Mill Valley,
California, the son of Paul Marioni, an active participant in
the Studio Glass Movement. Engaging his natural affinity for
glass, young Marioni pursued formal studies with Fritz
Dreisbach at the Penland School of Crafts in Penland, North
Carolina, as well as at the Pilchuck Glass School in
Stanwood, Washington. Following high school graduation,
he plunged all of his energies into glassblowing. Marioni has
since become a prolific teacher in his own right, offering
classes at institutions throughout the United States,
Australia, Japan, New Zealand, and Europe.
This exhibition illustrates Dante Marioni's elegant style, rooted in the centuries-long artistic conversation surrounding
classical design, proportion and aesthetics, as well as the
teachings of contemporary mentors such as Lino
Tagliapietra, Benjamin Moore and Richard Marquis. These
works demonstrate Marioni's ability to transform ancient
Venetian techniques and classical forms into impressively
scaled, vibrant, modern sculptural expressions, that are distinctly his own.
For Dante Marioni, "the art of glassblowing rather than the
blowing of glass art" is the ultimate purpose. The practiced
refinement and sophistication of his work reflects his pro-
Dante Marioni, Acorns, 2006. Glass. 9”x15”
Photograph by Russell Johnson
b. 1956, Philadelphia, Pennsylvania
Hank Murta Adams is widely regarded as one of the greatest glass sculptors of our time. For this exhibition, Adams
presents four distinct series of works. Here you will find the
artist's figurative busts and cast glass still-lifes; his latest
installation piece, Produce, 2008, which consists of a 24-foot
expanse of mixed media and glass objects; his Floor Event
series that is created from a sand-mold process; and his
work Ocuppato that combines common steel cans with
glass to create an ever-growing installation.
Hank Murta Adams currently lives and works in Troy, NY
while simultaneously serving as the Creative Director at
Wheaton Arts and Cultural Center in Millville, NJ. His work
consists of large-scale glass castings, site-specific installations, performances and community projects. He received a
Fine Arts degree in painting from the Rhode Island School of
Design (RISD). It was at RISD that Adams met Dale Chihuly
and discovered a love of glass.
Adams often acts as a visiting artist at college and university venues and teaches part-time throughout the country. He
is represented by Elliott Brown Gallery in Seattle, WA and
Heller Gallery in New York City.
Adams is the recipient of three National Endowment of the
Arts fellowships and the New York State Arts Grant. His
works are housed by some of the greatest collections in the
United States and abroad including Glas Museum
Frauenau, Germany; Hokkaido Museum of Modern Art,
Sapporo, Japan; Kunstmuseum Düsseldorf, Germany;
Contemporary Arts Center, Honolulu, Hawaii; Corning
Museum of Glass, Corning, New York; and the Detroit
Institute of Art, Detroit, Michigan.
For more information on Hank Murta Adams, please visit, and,
or purchase the Hank Murta Adams catalogue in CAC's
Museum Shop.
Special thanks to Hank Murta Adams for his unwavering support and dedication to the project. Additional thanks to Suzanne Mastracco and Andrew
Fine and the Art of Glass 2 committees and sponsors; Cindy and Rod
Rodriguez of Bay Mechanical; Dave Jester and Rick Hughes of Marlyn
Development; Randy Sutton of Waterfront Marine Construction; Katya and
Doug Heller, Heller Gallery, NY; Kate Elliott and Elliott Brown Gallery; MarxSaunders Gallery; designer Jim Armbruster; Hank Adams' technical assistants Sam Geer and Max Lefko-Everett and the entire CAC staff.
Curated by Ragan Cole-Cunningham, director of exhibitions and education
top right:
Hank Adams, Analyst. 2005. Glass and copper. 17.5" x 13.5" x 13"
Courtesy of Hank M. Adams
bottom right:
Hank Murta Adams
"Analogies prove nothing, that is true, but they can make one
feel more at home."
- Sigmund Freud
The works in this group exhibition examine ideas of mortality and illuminate various attributes of human existence.
Using the glass process as a metaphor for life and death we
selected works that are diverse in materiality and production
and address the subject of transience. Within this overarching theme, a multitude of issues reveal themselves--spirituality, rebirth, rejuvenation, transformation, and identity all
emerge from the conceptual underbelly of the works.
Aesthetically pleasing and masterfully crafted, the works in
"Ashes to Ashes" provide food for thought. New ideas in
glass production expose themselves through the diverse
use of the material. Artists in the show have created visionary objects that offer fresh dialog about glass as sculptural
art material. At times, the subject matter and imagery may
cause us to recoil given our traditional knowledge of glass
form and function, though what is distinct about this grouping of works is that while the objects do produce a sense of
awe and beauty in their construction or in our appreciation
for process, it is the overarching ideas encompassed within
each piece that generate greater interest.
Volcanoes, birds, stomachs, skulls and canopic jars point to
mythologies and histories that hold spiritual connotation and
contemplation of one's own life span. Grief, turmoil, trial and
tribulation are illuminated in many of the pieces.
Upon studying glass and its production--one which illuminates the great complexities of substance and questions a
material's physical states and properties--we find an analogy between this and the ideas surrounding our own mortality. The artists featured in "Ashes to Ashes" point to various
phases and psychological positions of one's existence.
Feelings towards life and death are not easily defined and
are more difficult to discuss publicly.
For one, death could bring about needed relief after a welllived run on Earth, or provide a sense of comfort and reconciliation or even a connection with a Higher Power, if one so
believes. For another, the thought of death brings terror and
anxiety and reveals a macabre truth--that we live to eventually die. Like glass, we boil and bubble, percolate and fester,
meld and form relationships, and find a kind of magic within
the smallest details, only to harden and cool in the end. The
works provide a multiplicity of ideation depending on our
presumption of death and how we live our lives in the present.
Issues of our spiritual path, family ancestry and pathology,
relationships and sexuality allude to vicissitudes of our
human condition and daily life. This inevitable experience,
birth and death, is what binds us as a people, and here, illuminated in approximately 20 works, we are asked to consider our path in life, our troubles and triumphs, our beliefs and
our passions, our relationships with one another as a society and our place in this world at this particular moment.
Ned Cantrell
b. 1975, United Kingdom. Ned Cantrell is an Englishman,
but has lived in Denmark for many years. He earned an
National Diploma from Colchester Institute School of Art and
Design, UK, a B.A. from The Surrey Institute of Art and
Design University, UK and trained at the Glass & Ceramics
School on Bornholm, Denmark. Ned Cantrell has participated in exhibitions from around the world including, the U.S.,
Frida Fjellman
b. 1971, Sweden. Frida Fjellman earned her M.F.A. in Glass
and Ceramics from Konfstack in Stockholm, Sweden. In
2003, Fjellman was awarded an Honorary Diploma from the
Jutta Cuny-Franz Foundation. Her work is in the collection of
the Nationalmuseum, Stockholm, Rohss Museum of Arts
and Crafts, Goteburg and the Swedish Glass Museum,
Karen Willenbrink-Johnsen and Jasen Johnsen
Karen Willenbrink-Johnsen b .1960, Cincinnati, Ohio. Karen
Willenbrink-Johnsen was a vital part of the William Morris
team at Pilchuck Glass School for two decades, and has
taught more than 50 workshops in glass art throughout the
world. Jasen Johnsen makes handcrafted specialty glass
tools, engineered from his years of experiences as a cogaffer and studio technician at Pilchuck. Their work is shown
in galleries and museums across the U.S., including a recent
acquisition by the Tacoma Art Museum.
Dafna Kaffeman
b. 1972, Jerusalem, Israel. Dafna Kaffeman specialized in
glass at the Gerrit Rietveld Academie, where she earned her
M.F.A. Kaffeman received a scholarship to Pilchuck from
Dale and Doug Anderson in 2002. Her work is shown in
Europe and the United States and is in the collection of the
American Glass Museum as well as in private collections.
The Association of Israel's Decorative Arts has represented
Dafna at SOFA Chicago and recently her work has been
exhibited at Heller Gallery in New York.
Beth Lipman
b. 1971, Philadelphia, Pennsylvania. Beth Lipman earned a
B.F.A. from the Tyler School of Art at Temple University in
1994. In 2006, she received the UrbanGlass Award for New
Talent and has completed several artist-in-residence programs, including The Studio at the Corning Museum of
Glass in Corning, New York. She has taught at the Pratt Fine
Arts Center at New York University, the Parsons School of
Design and the Bard Graduate Center, all in New York City.
Since 2005 she has served as the Arts/Industry coordinator
of the artist-in-residence program at the John Michael Kohler
Arts Center.
Sibylle Peretti
b. 1964, Mulheim-Ruhr, Germany. Sibylle Peretti was trained
as a glass designer at the School for Glass Making in
Zweisel, Germany. She studied sculpture and painting at the
Academy of Fine Arts in Cologne, where she received her
MFA In 1997 she received the Raphael Founders prize.
Together with Stephen Paul Day, she was awarded a Warhol
Grant for artist residency at Penland School of Crafts. Her
work can be seen at the Corning Museum, New York; the
American Glass Museum, and many museums in Europe.
She lives and works in New Orleans, and Cologne,
Marc Petrovic
b. 1967, Cleveland, Ohio. Petrovic received his B.F.A. in
1991 from the Cleveland Institute of Art. His work has been
exhibited throughout the United States, Canada and Japan.
He is represented in numerous public and private collections
including the Racine Art Museum, WisconsinI; Tucson
Museum of Art, Arizona; The Mint Museums, North Carolina;
and the Niijima Museum of Glass in Japan.
Jane Rosen
b. 1950, New York, New York. Jane Rosen received a
Bachelor of Arts degree from New York University in 1972
and attended the Art Students League in 1975. Rosen's
works are collected by notable collections around the world,
including The Brooklyn Museum, Scottsdale Museum of Art,
Mitsubishi Corporation, Luso American Foundation and the
US Embassy in Tunis, Tunisia. The Pilchuck Glass School
honored her in 1999 as an Artist in Residence.
Judith Schaechter
b. 1961, Gainesville, Florida. Judith Schaechter graduated
from the Rhode Island School of Design in 1983. She is the
recipient of many grants, including two National Endowment
for the Arts Fellowships and a Guggenheim Fellowship. Her
work is in the collection of the Philadelphia Museum of Art,
the Fine Art Museum of San Francisco, the Museum of Arts
and Design in New York, the Corning Museum of Glass, the
Renwick Gallery of the Smithsonian Institution, the Victoria
and Albert Museum in London, and numerous private collections. Judith has taught at the Pilchuck Glass School in
Seattle, Rhode Island School of Design, the University of the
Arts, and the Pennsylvania Academy of Arts.
Kiki Smith
b. 1954 Nuremberg, Germany. Kiki Smith enrolled at
Hartford Art School in Connecticut in 1974 but dropped out
eighteen months later. Smith's work has been shown in
numerous one-person exhibitions including the Corcoran
Gallery of Art, Washington, D.C., Whitechapel Art Gallery,
London, the Montreal Museum of Fine Arts, Canada, the
Modern Art Museum, Texas; the Irish Museum of Modern Art,
Dublin; the Hirshhorn Museum and Sculpture Garden,
Smithsonian Institution, Washington, D.C. and The Museum
of Modern Art, New York. In 2000, the Skowhegan School of
Painting and Sculpture awarded Smith with their prestigious
Skowhegan Medal for Sculpture. She was elected to the
American Academy of Arts and Letters, New York, in 2005,
and most recently, the Rhode Island School of Design honored her with the Athena Award for Excellence in
Printmaking. Smith's work can be seen in public collections
around the world.
Tim Tate
b. 1960, Washington, DC. Tim Tate is the Co-founder,
Creative Director and Marketing Director of the Washington
Glass Studio. He is a sculptor who has been working in
glass, steel, concrete and ceramics since 1989. He oversaw
a glass casting production studio in New Orleans for three
years. His work is included in the permanent collections of
the Smithsonian American Art Museum, the Mint Museum,
the University of Richmond Art Museum and the University of
Virginia Art Museum.
Mark Zirpel
b. 1956, Portland, Oregon. Mark Zirpel received a B.F.A. in
drawing from the University of Alaska in 1985 and an M.F.A.
in Fine Arts Print Making from San Francisco Art Institute. He
has been the print studio coordinator at Pilchuck for over a
decade. Zirpel's work print and glasswork is shown nationally. He has taught in University and short-course programs
from Alaska to Scotland.
Special thanks to all of the artists in the exhibition and their respective galleries, especially Traver Gallery, Heller Gallery, Galleri Grønlund and Claire
Oliver Gallery. Thanks to Bill Fick, John and Colleen Kotelly, and Paul and
Sara Monroe. Additional thanks to Suzanne Mastracco and Andrew Fine
and the Art of Glass 2 committees and sponsors; Cindy and Rod Rodriguez
and Al Ward of Bay Mechanical; Dave Jester and Rick Hughes of Marlyn
Development; and the entire CAC staff.
Curated by Ragan Cole-Cunningham, director of exhibitions and education
with Katya Heller, Heller Gallery, NY serving as project advisor.
was surrounded by machinery. Plows, threshers and silos
dotted the landscape and their form and function mesmerized Koss and this is evidenced in his current work.
Gene Koss is a New Orleans-based sculptor who uses steel
and glass to create monumental works. The Tulane
Professor, who started the University's glass program almost
30 years ago, now presents awe-inspiring outdoor works
whose material combinations point to issues surrounding
architecture, engineering, agriculture and the environment.
Utilizing his blue-collar roots by constructing steel armatures
and supports, Koss marries the thick material with the more
ethereal fluidity and transparency of glass. In Bridge, 1995,
Koss creates a bridge-like armature with steel supports on
either side. From the implied steel arc, two chain-links suspend one large I-beam that is lit from within by neon and
covered with panels of cast glass. Working with serial cast
glass parts to enlarge scale, and combining these elements
with iron and neon, he has raised glass sculpture to the
realm of public art.1 Simultaneously Koss raises humanitarian issues regarding power, structure and well-being, so the
works are not strictly a processed-based feat, rather there
are larger concepts at play.
CAC discovered Koss' work approximately one year ago
while researching potential artists for an outdoor sculpture
show. The landscaping for the Museum's Jessica Glasser
and Larry Mednick Sculpture Garden was complete and it
was time to slot work in the space. We studied many artists,
but it was Koss' work that resonated with the staff and Board
of Trustees due in part to its unusual nature. Trips to New
Orleans to visit the artist's studio were scheduled and a nice
dialogue began.
Koss grew up in Mindoro, Wisconsin, a small dairy town in
the Coulee Region of the State. His father was a farmer and
imparted the ideals of the physically laborious and disciplined work-ethic needed for agriculture. At this time Koss
"No Pedestals", Glass & Iron, Lew Thomas, Contemporary Art Center of
New Orleans, 1993.
Special thanks to Gene Koss for his hard work and dedication to the project. Additional thanks to Suzanne Mastracco and Andrew Fine and the Art
of Glass 2 committees and sponsors; Randy Sutton and Waterfront Marine
Construction; Barry Drude; Chris Carpenter Sr. and Chris Carpenter Jr. of
Independent Lighting; and Tom Hitt and Hitt Electric.
Gene Koss, Bridge, 1995. Three tons of cast glass and two tons of steel. Photo by Kyla Hurt.
Extended museum hours
Tuesdays, 10am-9pm starting May 5.
Special Highlight Tours offered at 7pm each Tuesday evening during
extended hours and Sundays at 1pm and 2pm. Get insight on the history
of glassblowing, glass-making techniquies and artist biographies. Starts
on Tuesday, May 5. Free with admission.
Dante Marioni Gallery Talk and Catalogue Signing
Friday, April 24, 10am-noon
$10 admission includes free catalogue! Marioni offers remarks and leads
guest through his exhibition, "Form, Color and Pattern." Artist will sign catalogues at a small reception following the walk-through.
Kids Master Class
on regional Art of Glass 2 programs,
Art of Glass 2 logo image based on work
designed and made by Lino Tagliapietra.
Present your CAC ticket stub for $2 off admission at
the Chrysler Museum of Art and Virginia Arts Festival
Ticket Office during Art of Glass 2!
Saturday, May 9
10am-12:30pm (ages 6-8) and
1-3:30pm (ages 9-11)
$45, CAC Members only
With the assistance of local artist Ali Rogan, each child will experiment
with clay mold making techniques to create personalized cast glass handprints, which will be fired and displayed at CAC through the duration of Art
of Glass 2. Families can pick up artwork at the end of August. Visit or call 757.425.0000 x 29 for details.
High Craft vs. Fine Art Panel
Thursday, June 4, 5:30-7:30pm,
Free with Museum admission.
Moderator Linda McGreevy of ODU prompts panel with questions to facilitate a lively dialogue regarding glass art. When is it strictly craft or can it
be fine art? Panelists are Jack Wax of VCU, Katya Heller of Heller Gallery,
and Ali Rogan, local educator and glass artist.
Dance Your Glass Off
June 5, 8-11pm,
$25/person. Sponsorships available.
Drinks and dancing against a dazzling backdrop of glass art.
Tickets online:
FREE Family Fest
Sunday, July 19, noon-4pm
Free admission
Families receive free admission to the galleries and participate in a handson project inspired by Art of Glass 2 exhibitions. Enjoy complimentary
refreshments and the opportunity to watch a regional glass artist working
with glass.
Hank Murta Adams Gallery Talk and Catalogue Signing
Friday, August 7, 5:30-7:30pm
$10 admission includes free catalogue! Adams leads visitors through his
current exhibit, offering remarks about his artwork and the creative
process. Catalogue signing at reception following walk-through.
Hank Murta Adams Master Class
Saturday, August 8, 10am-1pm,
$45, CAC Members only
Adams provides class with first hand experience with glass making techniques, utilizing an on-site hot shop. Class limited to 15 CAC members.
Call 757.425.0000 x.29 for information on membership or class registration.
Suzanne Mastracco, Andrew Fine and the
Art of Glass 2 Steering Committee
Cindy and Rod Rodriguez and Al Ward of Bay Mechanical
Dave Jester and Rick Hughes of Maryln Development
Randy Sutton of Waterfront Marine Construction
Tom Hitt of Hitt Electric
Chris Carpenter of Independent Lighting
Gail and Scott Higgs
Barry Drude
Norfolk International Airport
Jim Armbruster, exhibit designer
2200 Parks Ave | Virginia Beach, VA 23451
757.425.0000 |
Gallery Hours:
Tuesday 10am-8pm
Wednesday-Friday 10am-5pm
Saturday 10am-4pm
Sunday 12-4pm
Monday closed
Admission is $7 adults, $5 students/seniors/military
CAC members and children under 4 admitted free.
Hot Shop
Saturday August 8, 1pm-4pm; August 15 & 22, 10am-4pm
Free with Museum admission
The OFF CENTER GLASS traveling hot shop, a scaled-down version of a
traditional glassblowing studio, demonstrates a wide variety of glassblowing techniques. Watch live demonstrations and learn about glassblowing!
The Contemporary Art Center of Virginia is funded in part by
the citizens of Virginia Beach through a grant from the City of
Virginia Beach Arts & Humanities Commission, and by the
Virginia Commission for the Arts, National Endowment for the
Arts, Business Consortium for Arts Support and The Norfolk