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“Although Lino embodies centuries of Venetian traditions in glass-making techniques, he also continually quests to bring new ideas and approaches to the medium” –Jim Schantz, director of Schantz Galleries in Stockbridge, Massachusetts.
“The boldness of his vision is why he’s so widely celebrated, married with that technical virtuosity. It’s this combination of tradition and innovation that really sets Lino apart from pretty much anybody else working in glass.” Andrew Page, managing editor of GLASS Quarterly.
It began over a year ago with a conversation between a gallerist and a collector; Jim Schantz and Alan Levitan. Alan asked after learning that Jim had curated the show at the Bergstrom Mahler Museum of Glass, “How about a show of Lino’s work at the Morris Museum?”
“Of course!” Jim said, “… and we can help with it!”
After hundreds of hours and many phone calls, meetings, committees, detailed lists of arrangements, The Morris Museum currently showcases a selection of the maestro’s works in the exhibition, Lino Tagliapietra: Maestro of a Glass Renaissance through June 18th. The show features 30 pieces hand-picked by Morris Museum curator Alexandra Willis and Jim Schantz, director of Schantz Galleries.
For the first few months, it was a back and forth between Jim, Alex, and Alan in the beginning, choosing the work from our inventory, deciding which pieces to exhibit, and how to best utilize the space, pedestals, vitrines, and lighting. After the work was chosen and finalized, Kim Saul, Director of Publications at Schantz Galleries, worked on the catalog.
The exhibition chronicles the past 17 years of Lino Tagliapietra’s career. It includes a survey of his classical Venetian forms and canework, plus a range of examples of his experimental works. Pieces like those in his Dinosaur series meld sculpture with painting, as color and form accentuate and heighten the aesthetic response.
Dinosaur is a seminal work of Lino’s that has become an icon in his repertoire; it’s become a signature form which he goes back to from time to time, while exploring new approaches of essentially ‘drawing’ or ‘painting’ with the glass cane material.
Despite his worldwide acclaim and extensive exhibition record, the Morristown display represents the first solo museum show of Tagliapietra’s work in the New York, New Jersey metropolitan area. This has been a great opportunity for both Lino and the Morris Museum to present this work to both seasoned aficionados and those art enthusiasts new to the medium of glass. In both his life and work, Tagliapietra represents a living bridge between hundreds of years of Venetian glassmaking traditions and the experimental improvisations characteristic of the contemporary glass art movement.
Although Lino embodies centuries of Venetian traditions in glassmaking techniques, he also continually quests to bring new ideas and approaches to the medium. He’s been greatly responsible for the incredible growth in the field of contemporary glass as an art form throughout the past 40 years.
The exhibit spotlights Tagliapietra’s work from the 21st century. Since reaching “retirement age,” Tagliapietra has embarked upon a particularly productive period in his career, consolidating and advancing innovations and breakthroughs from earlier times. When curating this exhibition, it was important to focus on works that Lino has created since age 65. During this period he has not only created some of the greatest classical works, but some of the most innovative of his vast career.
The Morris Museum will host a number of special events in conjunction with “Maestro of a Glass Renaissance,” including “The Magic of Glass Through Time,” a historical perspective by Patricia Elaine of the Morris County School of Glass on Wednesday, April 19; a lecture titled “From Murano to Seattle: Lino Tagliapietra’s Journey” by GLASS Magazine Editor, Andrew Page on Sunday, April 23; a “Ladies Night Out” on Wednesday, April 26; and a tour through the exhibition conducted by Jim Schantz on Wednesday, May 17. Details and ticketing for these and other events are available at the museum’s website.
For more information on these or any works in the exhibition, please contact Jim at Schantz Galleries. email@example.com
Now more than ever, we feel compelled to find and celebrate the good in order to stay hopeful. We are very excited to share the news with you that in late January 2017, Dale and Leslie Chihuly gifted artwork at Union Station (Tacoma, Washington) to the United States. Mayor Strickland and the representatives from the GSA and the Tacoma Art Council recognized Dale and Leslie with a certificate of appreciation, and thanked them for making this amazing body of work accessible to everyone. Dale dedicated the work in memory of his father George, his mother Viola, and his brother George.
Click play for a preview and/or click the link to watch the full video Chihuly at Union Station.
Dale and Leslie were so pleased to donate these installations to the United States on Wednesday so that the artwork can continue to be viewed and enjoyed by all those who visit. . . . . #Chihuly #DaleChihuly #UnionStation #Tacoma #Seattle #seattleart #art #glass #glassart #installation #glassblowing #blownglass
It’s so great that Leslie and I could donate these installations to the GSA so people will forever go into that beautiful restoration and see my artwork there and the beautiful views of Mount Rainier… – Dale Chihuly
Thank you, Dale and Leslie, for your generosity and inspiration.
To see more of Chihuly’s work, click here.
We are honored to represent and know Paul Stankard, and looking forward to three new pieces by him this arriving at the gallery this week! Until then, we are announcing his newest book, sure to be collected by artists and art collectors alike.
Paul Stankard, internationally renowned glass artist, recently published his third book, Studio Craft as Career, A Guide To Achieving Excellence In Art Making. Stankard crafted this verbal artistry with two distinct purposes in mind. The first half of this superb resource offers readers a special insight into Stankard’s career, his personal journey that led him to find his niche and allowed him to grow and reach his full potential as an artist. In the second half, Stankard presents biographical career information and advice from a broad cross section of well-respected artists, who, along with Stankard, are important to the contemporary American craft landscape. The outstanding photography selected by the author, serves to enhance and enrich the words of experience and wisdom offered by the author.
Stankard wrote this book to be a provocative text filled with harsh realities and dreams that fill the life and work of an artist. The book was conceived to share personal experiences and offer direction for career growth. Stankard thoroughly enjoys teaching and sharing his craft in his role as the Artist in Residence and Lecturer at Salem Community College. He inspires students to search for their individual creative spirits and reach their full potential in life. This book reflects Stankard’s passion for teaching.
Stankard is also the author of No Green Berries of Leaves: The Creative Journey of an Artist in Glass; and, Spark the Creative Flame: Making the Journey from Craft to Art, both highly acclaimed by the academic and literary communities.
About Paul Stankard
Paul Stankard’s work is represented in more than 60 museums worldwide. A pioneer in the studio-glass movement, Stankard is known for interpreting native flowers in small scale glass sculptures. His work explores and interprets color, texture and delicacy while continuing to examine and celebrate the fecundity of the plant kingdom. He is a Fellow of the Corning Museum of Glass, Fellow of the American Craft Council, and received the coveted Urban Glass Award – Innovation In Glassworking Technique. Stankard has been recognized with Masters of the Medium honor by the James Renwick Alliance affiliated with the Renwick Gallery, Smithsonian Institute, Washington D.C. and was also awarded the Glass Art Society’s Lifetime Achievement Award. Stankard and his wife Pat live in Mantua, New Jersey.
Lino Tagliapietra is best known as one of the world’s preeminent glassblowers. He imbues each of his vessels with a rare elegance and intelligence. The contours of his Dinosaurs turn gracefully, his avventurine works dazzle, and each new series of Tagliapietra’s demands not only renewed contemplation of great beauty, but also renewed reflection on the locus of Lino’s work in terms of history, tradition, and inspiration.
A Maestro of Glass since age twenty-one, Lino Tagliapietra has kept us admiring and thinking with every twist of the blowpipe for over sixty years. Recently, however, the artist surprised us in a new way, diverging from blown glass to explore a new method within his dedicated medium. As always, Tagliapietra reveals both his mastery of and ability to seamlessly reinvent traditional techniques, employing murrini and cane in the creation of works that read as glass paintings, or more properly, constitute kiln-fused glass panels.
Lino Tagliapietra’s panels have garnered many comparisons to paintings by artists like Rothko, Klimt, and Van Gogh, placing Tagliapietra’s work in conversation with that of Western Civilization’s greatest painters. Though a Modernist aesthetic presents itself throughout the body of Lino’s work, perhaps his Modernism is most easily sensed in what could be considered one of the glass artist’s most experimental, or unconventional, series.
His panels represent risk, a new way of seeing, unyielding exploration, and an unquenchable vitality that pushes past fear and apprehension. As Lino said of his panels, “it’s a big effort with myself to go and explore in this direction. It feels a bit scary to go to the gallery with work like this. But it’s a huge opportunity…”
We are grateful and humbled to be able to watch as the Maestro transcends conventions and limitations. Lino Tagliapietra inspires with his work, but also with his immense talent, unparalleled dedication, and relentless search to experience and share that next new sense of wonder.
Many thanks to the curators, Andrew Page and Elisabeth Agro. Andrew Page is the editor-in-chief of GLASS: The UrbanGlass Art Quarterly, who works with art critics, museum curators, and practicing artists to put the most important work being done in glass into a critical context. Elisabeth Agro has served as Associate Curator of American Modern and Contemporary Crafts and Decorative Arts at the Philadelphia Museum of Art since June 2006. Thank you also to sponsors of the show, including The Leonard and Norma Klorfine Foundation Endowed Fund for Modern and Contemporary Craft, the Center for American Art at the Philadelphia Museum of Art.
Lino Tagliapietra continues to share his experience as a technically masterful glass blower, teacher and artist who travels the world in search of inspiration for his work. This thirst for discovery mirrors one of his favorite explorers, Corto Maltese, a character from an early graphic novel by Italian comic book artist Hugo Pratt (1927-1995), who was venerated for fantastical stories and graphic dexterity. An interesting sidebar is that Lino’s wife, (Lina Ongaro), of over 56 years had and uncle who also was an artist who worked alongside Pratt when he was in Venice. Through the artwork and stories, Lino found a simpatico spirit and fellow adventurer in the tales of Corto’s travels as told through Pratt’s art.
This year at SOFA Chicago, Lino Tagliapietra will debut several new series—Cayuga, Contarini and Fórcole—all reminiscent of places or experiences visited or imagined by the artist; he also continues to explore both panel glass and the sumptuous and challenging avventurine with a five Dinosaur Installation. Lino is forever striving to find new inspirations, forms, and techniques as well as opportunities to make his work.
Fórcole, which Tagliapietra designed specifically for this show, are named after the rowlocks found on the gondolas in the beautiful lagoons of his native Venice. In this body of work, he re-imagines the centuries-old tradition of making fórcole, metamorphosing a functional object into sculpture. With remarkable technical ability, he communicates his expressive aesthetic and his light, intelligent, and inspiring presence. The strength and beauty of the glass parallels the natural vitality of the young wood that becomes fórcole. As with traditional Venetian oarlocks, each of Tagliapietra’s Fórcole requires an impressive amount of time and labor. Much as the wood must first be carefully chosen, hewn, seasoned, carved, and then finished with sandpaper and a sealant, so the glass and colors must first be made, blown into a shape, cut from the vessel, carved with battuto, shaped through slumping in a kiln, and polished. The Maestro has stated that it will be some time before he creates additional Fórcole because the amount of work that goes into each piece is so staggering.
Cayuga experiments with shape as the compressed sides diverge from Lino’s more trademark symmetry. Lino worked with this form in May of this year at the MIT hot shop in Cambridge, MA and was very excited about the shape of the vessel. The sensual piece in this exhibition was made a few months later, at the GAS conference in at the Corning Museum of Glass in Corning, NY, and named after the nearby Finger Lakes. When he travels to work in different hot shops around the world, Lino prefers to bring his own color which he has special recipes for, and one of his favorites is his own red.
Another new series is the Contarini, first blown May 2016 at the MIT hot shop in Cambridge, MA. Lino’s Contarini— colorful, multilayered vessels with clear murrini and swirling, vertical composition—are defined by wildly mod graphics. They are so named because they reminded Lino of the windows the Palazzo Contarini, in Venice.
The Contarini family is a noted Venetian family, from which eight Doges led the Venetian Republic forward through ever changing ages between 1043 and 1797. The famous architect, Andrea Palladio, who was employed by the Contarini and their relatives, designed several of the most outstanding neo-classical structures in the Veneto’s environs.
A true adventurer with the material, another series in Tagliapietra’s recent body of work revitalizes a centuries-old glass-making technique called avventurine (from the Italian for adventure), which began in 17th-century Murano when a member of the Miotti family accidentally dropped some copper filings into a glass batch. The delicate process of incorporating metal into liquid glass then cooling it in low oxygen, reducing atmosphere as the mineral deposits clump gingerly together is capricious and often results in failure. Just to prepare the material is a feat of alchemy. When it works, shimmering striations of crystallized metal suspend wondrously in the glass. As Tagliapietra has described it “…sometimes I feel that it is not glass … but I feel the absolute magic and the preciousness of a material that came from the past.” The serpentine Fenice and the elegant Oca reveal how colors can vary from silver to gold, copper red to blue, purple to green depending on the filtering effects of the colored glass comprising the body of the material, and how the suspended metal deposits can be pulled into assorted shapes.
In Greek and Roman mythology, the Muses were a source of knowledge and the inspirational goddesses of the arts—music, sculpture, poetry and dance. Glass artist Lino Tagliapietra finds his muses all around him. Whether traveling to upstate New York or an island in the South Pacific, glimpsing a water bird stretching her neck to the sky or the reflection of colors in his lagoon, Lino discovers new ideas wherever he finds himself. He is completely open to the experiences of life and perpetually looking forward to the next inspiration.