Seattle will soon have a new public sculpture by Ginny Ruffner outside of the Sheraton Hotel in downtown. The Seattle Times profiles the artist's recent accomplishments.
Gayle Clemans October 2010:
"...Ruffner is clearly on a high right now. A big public sculpture for the corner of Seventh Avenue and Union Street in downtown Seattle is in the final stages of production. An award-winning documentary, "Ginny Ruffner: A Not So Still Life," is currently being screened at film festivals and arts venues. And a big exhibition of recent work has just opened at the Bellevue Arts Museum...Although friends and supporters say the attention she is receiving is well-deserved, Ruffner is not sure why the sudden flurry.
...The technical complexity of her work is obvious in the exhibition at BAM, where five new works of art have been added to the exhibition originally organized by the Museum of Northwest Art in La Conner. There's also a huge sculpture newly installed in BAM's lobby, a graceful aluminum double helix that extends from the ceiling of the grand lobby all the way down to the floor, where it meets a bed of glass flowers.
A self-described "closet geek" who reads science journals for pleasure, Ruffner has been inspired for the last four years by "the recent extraordinary bloom in genetic engineering, particularly plant and animal engineering. That's extremely evocative in terms of what other things could happen, with inter-kingdom, interspecies implications. Does that mean we could share genes with birds?"
The sculptures she has created in this series are hybrids of glass and metal, two and three-dimensions, animal and plant forms, visual and musical references. She considers them "thought experiments," but they are rooted in visual, formal techniques.
...While delighting in the events unfolding at BAM, Ruffner is also overseeing the final production of her public sculpture, "Urban Garden," to be unveiled in early 2011. The Sheraton hotel, sponsor of the project, wanted a water feature. Ruffner wanted to give downtown a garden. The result? A large steel flowerpot with giant flowers that will open and close after being watered by a giant watering can."
Clemans, G. "Ginny Ruffner's art blooms at Bellevue Arts Museum and on film." The Seattle Times. October 22, 2010. Accessed October 31, 2010. http://seattletimes.nwsource.com/html/thearts/2013214662_ruffner24.html?cmpid=2628
Showing posts with label bellevue art musuem. Show all posts
Showing posts with label bellevue art musuem. Show all posts
Sunday, October 31, 2010
Monday, April 5, 2010
2004 part three
This is a continuation of the history/criticism timeline in glass that is found in the left margin of this blog. You can search through it using dates or keywords in the search boxes at left. The timeline is useful when writing about glass to ensure that what is being written takes into account the physical history of glass and glass objects; finds threads of continuance with other writers' ideas; and is saying something new.
Excerpts from the 2004 Keynote Lecture to the Glass Art Society, speech entitled "Some Propositions on Glass (Art)":
"Dada and Surrealist artists, for instance, conceived of art as dangerous to society and its cherished defenses of class and power. Society mostly took these artists at their word and did its best to persecute them. Since then, a lot of art has flown under the bridges of Venice, and postmodern art, playful, accommodating, and quite socially acceptable, is only dangerous when it's not up to code--the safety code, not the social code. As far as glass art goes, the danger is mostly to the artist, not to society.
Practically then, glass art has the same concerns as any art now. Namely, now to be art and not-art at the same time. All its qualities--high birth, artistic pedigree, psychological pertinence, metaphorical reach, ubiquity, promiscuity, modesty, transparency, opticity, exploratory indispensibility, matrixity, conductivity, agency, and exemplariness--can often be a burden. No wonder glass has so often masqueraded as stone. Or maybe that was to draw attention to itself, like a drag queen; ooops, surprise! I'm really glass!
[...]However, most art created now, including glass art, finds itself in an oddly protected position: it is unbreakable--because it is 'art.' Without the subversive ideals of incitement to violence and passion or even the nervous ticks of the 20th century avant-garde, contemporary art is quite safe. The history of art has also been rewritten to read that even the avant-gardists who did profess those violent desires were in fact concerned with another fundamental challenge, namely, to make thought possible for those who care to think. That was a subversive proposition, this rewriting tells us, as long as thinking was itself deemed dangerous, but that isn't the case now, or at least, it isn't so obvious what is and what isn't unthinkable. In other words, the history of modern art has been largely rewritten for the benefit of glass art, for which safety is primary.
Anyone who has ever walked barefoot has stepped on glass, and that's about everyone. People who break glass bottles on the sidewalk are called Assholes.
Insofar as the shop window and the chandelier are seen as status symbols, not art, it is still possible to break them--but only in third-world countries with large masses of 19th-century-style poor people. In the West, the museum walls protect us from all that ideological hubris and, given the demotic nature of the museum, who'd dare defile an object that has only the best interests of your mind heart? Thinking leads to more thinking and that is what it's all about! So pay up."
Codrescu, A. " Some propositions on glass (art)." GAS Conference keynote lecture, 2004, New Orleans. GAS Journal, 2004. p 19-23.
"Opening night of the College Art Association Conference in Seattle belonged to the Guerrilla Girls.
They're this year's winners of the prestigious Frank Jewett Mather Award for art criticism. When four of them took the stage in gorilla masks, 3,000 art historians, students, artists and critics rose to their feet to applaud, leaving a few medievalists seated and shaking their heads.[...]
With corrosive wit, merry sarcasm and many buckets of wheat paste, their posters and billboards -- first in New York and now worldwide -- have made sexism and racism seem worse than wrong.
They've made it dull, stuffy and out of date, a three-strikes-you're-out combo for the museums and galleries that are most often their targets.
Now that the Guerrilla Girls are famous authors as well as agitators, they're doubly honored in the art world for remaining anonymous. If the original members of the band came forward, surely they'd boost their careers, but all have remained silent, passing on the masks to second and third generations.
New York artist Fred Wilson, the keynote speaker, let his work speak for him, screening "September Dreams," an elegiac response to the destruction of the World Trade Center, approaching the theme through Shakespeare. On four screens, the piece opened with Othello strangling Desdemona and rolled back to when they were happily in love, evoking the common desire, after disaster, to retreat to a happier time.
No one could have gone to more than a fraction of the 180 sessions that followed the Wednesday night opening and continued through Saturday at the Washington State Convention and Trade Center.
Anxious artists and doctoral students stood in long lines waiting their turns for a brief interview, hoping to make the short list for a college or university job that may or may not materialize in the age of scarce funding.
New York critic Eleanor Hartney dutifully attended the panel for which she served as moderator, "Public Art and the Art Critic: Advocate or Antagonist," and then skipped out to look at art. She said she liked Claire Cowie at James Harris Gallery, Ben Darby at Bryan Ohno Gallery and James Martin at Foster/White. Heading down to Tacoma, she was impressed by the new Tacoma Art Museum and the sweeping plaza exterior of the Museum of Glass. [...]
Points for honesty and insight go to painter Gregory Amenoff, who said on a landscape-in-crisis panel that he thought artist Andy Goldsworthy's insertions in the land were precious and overwrought. "Martha Stewart is a better artist," he said.
The most important panel locally was the least advertised, slipping in under the radar too late for inclusion in the catalog, a discussion of what went wrong at the Bellevue Art Museum, which closed in September.
After the story broke in the P-I, the issue was thoroughly chewed in the press. The Stranger thought an installation of thong underwear was the break point of Eastside audience alienation. The Seattle Times went with money mismanagement and, oddly, lack of communication with the community. (No museum has surveyed its audience more.)
Most peculiar was The New York Times, who blamed the fiasco on the museum's sweeping, postmodernist spaces. As anyone knows who ventured beyond the lobby into the galleries, they're boxy with low ceilings.
At Saturday's panel, participants tried to clear up some of the confusion.
Sharon Burke was director of finance for the museum, hired after it moved into its new building. The books were a mess, she said. Turns out the museum was running a $1.3 million deficit, instead of the $200,000 deficit the board knew about. Because there was no financial cushion, the museum started a downward spiral it was unable to pull out of.
She'd advise museums contemplating a new building to fold into the capital campaign another 10 percent operating surplus and get donors to commit to covering museum costs in the first three years.
Board president Rick Collette said the school within the museum was a disaster. Instead of providing income, it was a money drain. It won't be there when the museum reopens in the summer. The board is developing partnerships with the University of Washington's Burke Museum and Pilchuck Glass School to share a floor of exhibition space.
The interior needs a major remodel, he said.
"With what money?" called out former Bellevue curator Miriam Sternberg, from the audience.
"We need to raise it," he replied.
Former chief curator Brian Wallace said he thought it was important for institutions to encourage those who work there to maintain a healthy skepticism. "Don't drink the Kool-Aid," he said. "Don't buy into ill-founded enthusiasms."
Collette said the board has been meeting with more than 400 community, civic and art leaders on the Eastside and in Seattle and will, as a result, return to its craft roots, focusing on craft along with art and design.
"We let our supporters and the community down," he said. "We had to close to step back, take stock and fix it."
Doug McLennan, editor of artsjournal.com, said he thought the direct way the board handled the problem was admirable but worried about its survey-the-audience approach to articulating a vision.
Asked if he would have become board president if he'd known what was in store, Collette replied, "Absolutely not. Who would? But I'm staying around after we reopen. That will be the fun part. It will make all of this worthwhile."
The museum hopes to reopen at least in time for the next Bellevue Arts Fair in July."
Hackett, R. "College art conference goes wild over guerrilla girls." Seattle PI. February 24, 2004. http://www.seattlepi.com/visualart/161734_collegeart24.html
Excerpts from the 2004 Keynote Lecture to the Glass Art Society, speech entitled "Some Propositions on Glass (Art)":
2004 Andrei Codrescu:
"Dada and Surrealist artists, for instance, conceived of art as dangerous to society and its cherished defenses of class and power. Society mostly took these artists at their word and did its best to persecute them. Since then, a lot of art has flown under the bridges of Venice, and postmodern art, playful, accommodating, and quite socially acceptable, is only dangerous when it's not up to code--the safety code, not the social code. As far as glass art goes, the danger is mostly to the artist, not to society.
Practically then, glass art has the same concerns as any art now. Namely, now to be art and not-art at the same time. All its qualities--high birth, artistic pedigree, psychological pertinence, metaphorical reach, ubiquity, promiscuity, modesty, transparency, opticity, exploratory indispensibility, matrixity, conductivity, agency, and exemplariness--can often be a burden. No wonder glass has so often masqueraded as stone. Or maybe that was to draw attention to itself, like a drag queen; ooops, surprise! I'm really glass!
[...]However, most art created now, including glass art, finds itself in an oddly protected position: it is unbreakable--because it is 'art.' Without the subversive ideals of incitement to violence and passion or even the nervous ticks of the 20th century avant-garde, contemporary art is quite safe. The history of art has also been rewritten to read that even the avant-gardists who did profess those violent desires were in fact concerned with another fundamental challenge, namely, to make thought possible for those who care to think. That was a subversive proposition, this rewriting tells us, as long as thinking was itself deemed dangerous, but that isn't the case now, or at least, it isn't so obvious what is and what isn't unthinkable. In other words, the history of modern art has been largely rewritten for the benefit of glass art, for which safety is primary.
Anyone who has ever walked barefoot has stepped on glass, and that's about everyone. People who break glass bottles on the sidewalk are called Assholes.
Insofar as the shop window and the chandelier are seen as status symbols, not art, it is still possible to break them--but only in third-world countries with large masses of 19th-century-style poor people. In the West, the museum walls protect us from all that ideological hubris and, given the demotic nature of the museum, who'd dare defile an object that has only the best interests of your mind heart? Thinking leads to more thinking and that is what it's all about! So pay up."
Codrescu, A. " Some propositions on glass (art)." GAS Conference keynote lecture, 2004, New Orleans. GAS Journal, 2004. p 19-23.
2004 Regina Hackett:
"Opening night of the College Art Association Conference in Seattle belonged to the Guerrilla Girls.
They're this year's winners of the prestigious Frank Jewett Mather Award for art criticism. When four of them took the stage in gorilla masks, 3,000 art historians, students, artists and critics rose to their feet to applaud, leaving a few medievalists seated and shaking their heads.[...]
With corrosive wit, merry sarcasm and many buckets of wheat paste, their posters and billboards -- first in New York and now worldwide -- have made sexism and racism seem worse than wrong.
They've made it dull, stuffy and out of date, a three-strikes-you're-out combo for the museums and galleries that are most often their targets.
Now that the Guerrilla Girls are famous authors as well as agitators, they're doubly honored in the art world for remaining anonymous. If the original members of the band came forward, surely they'd boost their careers, but all have remained silent, passing on the masks to second and third generations.
New York artist Fred Wilson, the keynote speaker, let his work speak for him, screening "September Dreams," an elegiac response to the destruction of the World Trade Center, approaching the theme through Shakespeare. On four screens, the piece opened with Othello strangling Desdemona and rolled back to when they were happily in love, evoking the common desire, after disaster, to retreat to a happier time.
No one could have gone to more than a fraction of the 180 sessions that followed the Wednesday night opening and continued through Saturday at the Washington State Convention and Trade Center.
Anxious artists and doctoral students stood in long lines waiting their turns for a brief interview, hoping to make the short list for a college or university job that may or may not materialize in the age of scarce funding.
New York critic Eleanor Hartney dutifully attended the panel for which she served as moderator, "Public Art and the Art Critic: Advocate or Antagonist," and then skipped out to look at art. She said she liked Claire Cowie at James Harris Gallery, Ben Darby at Bryan Ohno Gallery and James Martin at Foster/White. Heading down to Tacoma, she was impressed by the new Tacoma Art Museum and the sweeping plaza exterior of the Museum of Glass. [...]
Points for honesty and insight go to painter Gregory Amenoff, who said on a landscape-in-crisis panel that he thought artist Andy Goldsworthy's insertions in the land were precious and overwrought. "Martha Stewart is a better artist," he said.
The most important panel locally was the least advertised, slipping in under the radar too late for inclusion in the catalog, a discussion of what went wrong at the Bellevue Art Museum, which closed in September.
After the story broke in the P-I, the issue was thoroughly chewed in the press. The Stranger thought an installation of thong underwear was the break point of Eastside audience alienation. The Seattle Times went with money mismanagement and, oddly, lack of communication with the community. (No museum has surveyed its audience more.)
Most peculiar was The New York Times, who blamed the fiasco on the museum's sweeping, postmodernist spaces. As anyone knows who ventured beyond the lobby into the galleries, they're boxy with low ceilings.
At Saturday's panel, participants tried to clear up some of the confusion.
Sharon Burke was director of finance for the museum, hired after it moved into its new building. The books were a mess, she said. Turns out the museum was running a $1.3 million deficit, instead of the $200,000 deficit the board knew about. Because there was no financial cushion, the museum started a downward spiral it was unable to pull out of.
She'd advise museums contemplating a new building to fold into the capital campaign another 10 percent operating surplus and get donors to commit to covering museum costs in the first three years.
Board president Rick Collette said the school within the museum was a disaster. Instead of providing income, it was a money drain. It won't be there when the museum reopens in the summer. The board is developing partnerships with the University of Washington's Burke Museum and Pilchuck Glass School to share a floor of exhibition space.
The interior needs a major remodel, he said.
"With what money?" called out former Bellevue curator Miriam Sternberg, from the audience.
"We need to raise it," he replied.
Former chief curator Brian Wallace said he thought it was important for institutions to encourage those who work there to maintain a healthy skepticism. "Don't drink the Kool-Aid," he said. "Don't buy into ill-founded enthusiasms."
Collette said the board has been meeting with more than 400 community, civic and art leaders on the Eastside and in Seattle and will, as a result, return to its craft roots, focusing on craft along with art and design.
"We let our supporters and the community down," he said. "We had to close to step back, take stock and fix it."
Doug McLennan, editor of artsjournal.com, said he thought the direct way the board handled the problem was admirable but worried about its survey-the-audience approach to articulating a vision.
Asked if he would have become board president if he'd known what was in store, Collette replied, "Absolutely not. Who would? But I'm staying around after we reopen. That will be the fun part. It will make all of this worthwhile."
The museum hopes to reopen at least in time for the next Bellevue Arts Fair in July."
Hackett, R. "College art conference goes wild over guerrilla girls." Seattle PI. February 24, 2004. http://www.seattlepi.com/visualart/161734_collegeart24.html
Monday, March 22, 2010
Eyes for Glass, more thoughts
At Eyes For Glass this weekend, Jill Reynold's hilarious "Movers and Shakers" provoked this loud response from two ladies, "Ahhhhhhhg. Blech." As if they had become enveloped in a cloud of pollution and could not breathe. Which leads to this: If you are as concerned about the carbon emmissions of glassblowing as Seattle writer Knute Berger is, then offset your trip to the Bellevue Arts Museum by taking an alternate means of transportation. Bicycle or walk, as my friend Andrew and I did on Sunday. Here's directions from downtown Seattle to the Bellevue Arts Museum. Bring rain gear (of course).
Begin at 1st Avenue
Ride East up Jackson Street through the International District.
Take a right onto 12th Avenue and cross the Jose P. Rizal bridge.
Take a left onto the bike trail at the light and go through Daejeon Park.
Continue on the bike/foot path as it parallels the start of the I-90 freeway.
Cross Martin Luther King, Jr. Boulevard, at the crosswalk, into Sam Smith Park.
Bike/walk through the I-90 tunnel.
[This video is going West through the tunnel, you are going the other direction.]
Bike/walk a short distance downhill to the I-90 Trail and cross Lake Washington.
Once on Mercer Island, you will stay on the bike trail, it's not completely intuitive, but follow signs and other bikers to get to the second part of the I-90 bridge.
Once off the bridge, get off the bike trail and take a sharp left onto the road (SE 34th Street).
Take a right onto 108th Avenue SE.
Ride/Walk 108th Avenue SE through the quiet neighborhoods (there isn't a bike lane here, you're on the road for now).
Take a left onto Bellevue Way SE. (you are now in Bellevue and very very close, so if you'd prefer a smaller street, any will do)
Cross Main Street.
Stay on Bellevue Way SE.
Gregg's Cycles is up this street on the left.
The Bellevue Arts Museum is up this street on the right.
Bellevue Art Museum by Steven Holl
Originally uploaded by FHKE
There is place to lock your bike up in the BAM parking garage.
Find the map at http://www.bikely.com/maps/bike-path/Pioneer-Square-to-Microsoft-via-I-90
Begin at 1st Avenue
Ride East up Jackson Street through the International District.
Take a right onto 12th Avenue and cross the Jose P. Rizal bridge.
Take a left onto the bike trail at the light and go through Daejeon Park.
Continue on the bike/foot path as it parallels the start of the I-90 freeway.
Cross Martin Luther King, Jr. Boulevard, at the crosswalk, into Sam Smith Park.
Bike/walk through the I-90 tunnel.
[This video is going West through the tunnel, you are going the other direction.]
Bike/walk a short distance downhill to the I-90 Trail and cross Lake Washington.
Once on Mercer Island, you will stay on the bike trail, it's not completely intuitive, but follow signs and other bikers to get to the second part of the I-90 bridge.
Once off the bridge, get off the bike trail and take a sharp left onto the road (SE 34th Street).
Take a right onto 108th Avenue SE.
Ride/Walk 108th Avenue SE through the quiet neighborhoods (there isn't a bike lane here, you're on the road for now).
Take a left onto Bellevue Way SE. (you are now in Bellevue and very very close, so if you'd prefer a smaller street, any will do)
Cross Main Street.
Stay on Bellevue Way SE.
Gregg's Cycles is up this street on the left.
The Bellevue Arts Museum is up this street on the right.
Bellevue Art Museum by Steven Holl
Originally uploaded by FHKE
There is place to lock your bike up in the BAM parking garage.
Find the map at http://www.bikely.com/maps/bike-path/Pioneer-Square-to-Microsoft-via-I-90
Eyes for Glass @ Bellevue Arts Museum, review
March 2010, ABJ Seattle Glass Online:
Downstairs at the Bellevue Arts Museum, the people chose clothes; upstairs, pictures. Beth and Herbert Levine made and marketed women’s shoes; John and Joyce Price collected art. To read the review on toe-pumps and rhinestoned vamps please go to the Seattle Times. To read about the Price Collection, Eyes for Glass, continue below.
There are two main parts to the Price collection as it is arranged at the museum: Studio glass and Native Art. The accompanying brochure explains that the Price collection began with John Price’s childhood desire to collect the art of Henri de Toulouse-Lautrec after seeing the movie Moulin Rouge. Several Toulouse-Lautrec lithographs from the 1890s are shown, alongside them are two vessels by Walter Lieberman that feature paintings of Toulouse-Lautrec on their surfaces, accompanied by one of Martin Luther King, Jr. Was Lieberman commissioned to do the series of vessels for Price or did Leiberman’s interest in influential artists coincide with Price‘s love of Toulouse-Lautrec?
Certain artists, such as Lieberman, appear more than others in the collection and make the viewer curious which themes appealed to the Price’s. It wasn't just his portrayal of Toulouse-Lautrec that drew the collectors to him; Gregory Grenon and Jill Reynolds are both represented with multiple pieces, their painted-style, like Leiberman, standing apart from the Venetian vessels shown as singular examples by the artist (Dale Chihuly, William Morris, Benjamin Moore) and other forms of cast abstract sculpture.
Beginning in the 1970s, John Price began to collect glass from artists with a student/teacher/artist-in-resident connection to Pilchuck Glass School. As he explains in Wealth in 2006, “One of my main areas of expertise has been working with art dealers, and that’s absolutely key to putting together a significant collection…you can’t completely avoid [mistakes], but a good dealer will help you make sure you are acquiring original pieces.”
If collecting art is about establishing relationships with artists and art dealers, then showing the collection is partly about sharing this relationship with the viewer. The curator may be asking the viewer to simply enjoy the art on display, but one can't help but wonder about the personal events that shaped this collection. What part did Joyce Price play in the collection, is one unanswered question. But in this case the viewer is thwarted from looking for cues to the collector/artist story by the hollow quotes on art collecting on the walls:
“Collectors are happy people.” -Johann Wolfgang Von Goethe.The second part of the Price collection on exhibit at BAM is an amazing assemblage of Native Art with the emphasis on glass. Joe David’s carvings and blown glass are shown in depth. His piece Whaler’s Spirit is a graceful form; it shows a killer whale carrying a clear glass skull atop its body. Preston Singletary’s sand-carved hats and many other sculptures are exhibited in a brightly lit gallery space, as opposed to how his work was shown recently in Tacoma at the Museum of Glass, and the pieces still feel powerful, and they still glow from within.
If there are artists in the exhibit [you can find a list here] that you have not yet had the chance to see in person, or if you are interested in the glass work of Native artists who are currently creating a ‘new tradition‘ as artist Ed Archie Noisecat says, Eyes for Glass is only $10, or $7 for students, at the Bellevue Arts Museum. The show runs until August 8, 2010.
Bibliography:
Unknown. "Master Collectors" Wealth. p. 24, 2006, Accessed March 22, 2010. http://www.northerntrust.com/wealth/06-spring/living.html
“You can either buy clothes or buy pictures.” -Gertrude Stein
Downstairs at the Bellevue Arts Museum, the people chose clothes; upstairs, pictures. Beth and Herbert Levine made and marketed women’s shoes; John and Joyce Price collected art. To read the review on toe-pumps and rhinestoned vamps please go to the Seattle Times. To read about the Price Collection, Eyes for Glass, continue below.
There are two main parts to the Price collection as it is arranged at the museum: Studio glass and Native Art. The accompanying brochure explains that the Price collection began with John Price’s childhood desire to collect the art of Henri de Toulouse-Lautrec after seeing the movie Moulin Rouge. Several Toulouse-Lautrec lithographs from the 1890s are shown, alongside them are two vessels by Walter Lieberman that feature paintings of Toulouse-Lautrec on their surfaces, accompanied by one of Martin Luther King, Jr. Was Lieberman commissioned to do the series of vessels for Price or did Leiberman’s interest in influential artists coincide with Price‘s love of Toulouse-Lautrec?
Certain artists, such as Lieberman, appear more than others in the collection and make the viewer curious which themes appealed to the Price’s. It wasn't just his portrayal of Toulouse-Lautrec that drew the collectors to him; Gregory Grenon and Jill Reynolds are both represented with multiple pieces, their painted-style, like Leiberman, standing apart from the Venetian vessels shown as singular examples by the artist (Dale Chihuly, William Morris, Benjamin Moore) and other forms of cast abstract sculpture.
Beginning in the 1970s, John Price began to collect glass from artists with a student/teacher/artist-in-resident connection to Pilchuck Glass School. As he explains in Wealth in 2006, “One of my main areas of expertise has been working with art dealers, and that’s absolutely key to putting together a significant collection…you can’t completely avoid [mistakes], but a good dealer will help you make sure you are acquiring original pieces.”
If collecting art is about establishing relationships with artists and art dealers, then showing the collection is partly about sharing this relationship with the viewer. The curator may be asking the viewer to simply enjoy the art on display, but one can't help but wonder about the personal events that shaped this collection. What part did Joyce Price play in the collection, is one unanswered question. But in this case the viewer is thwarted from looking for cues to the collector/artist story by the hollow quotes on art collecting on the walls:
“Collectors are happy people.” -Johann Wolfgang Von Goethe.
If there are artists in the exhibit [you can find a list here] that you have not yet had the chance to see in person, or if you are interested in the glass work of Native artists who are currently creating a ‘new tradition‘ as artist Ed Archie Noisecat says, Eyes for Glass is only $10, or $7 for students, at the Bellevue Arts Museum. The show runs until August 8, 2010.
Bibliography:
Unknown. "Master Collectors" Wealth. p. 24, 2006, Accessed March 22, 2010. http://www.northerntrust.com/wealth/06-spring/living.html
Tuesday, March 16, 2010
BAM begins John and Joyce Price collection show
On Thursday "Eyes for Glass" opens at BAM.
March 2010, from The Bellevue Arts Museum website:
"For John and Joyce Price, collecting art is a passion; a unique, personal way of entering into a rich and meaningful life experience as well as a way of being receptive and responsible to life. Collecting objects has allowed them to establish not only a dialogue with artists, but also to grow into lifelong friendships with them. Each object is a reminder of an intimacy established over time through giving and receiving. At a time when the world is fragmented and chaotic, the Prices have sought to share objects that speak of balance, beauty and harmony.
March 2010, from The Bellevue Arts Museum website:
"For John and Joyce Price, collecting art is a passion; a unique, personal way of entering into a rich and meaningful life experience as well as a way of being receptive and responsible to life. Collecting objects has allowed them to establish not only a dialogue with artists, but also to grow into lifelong friendships with them. Each object is a reminder of an intimacy established over time through giving and receiving. At a time when the world is fragmented and chaotic, the Prices have sought to share objects that speak of balance, beauty and harmony.
Enamored by the art created in the United States' Pacific Northwest and British Columbia, the Prices' collection includes works in all art and craft media by American and Native American artists. Eyes for Glass focuses on just one aspect of their collecting activities – works whose common denominator is glass – whether it be blown, cast, cold-worked, sand-cast, engraved, fused, slumped, carved, lamp-worked, painted or in combination with non-glass materials.
Artists included in the exhibition are: Sean Albert, Kenojuak Ashevak, Jane Beebe, Lisbeth Biger, Sonja Blomdahl, Curtis Brock, Frederick Carder, Dale Chihuly, Joe David, Laura de Santillana, Steven DeVries, Fritz Driesbach, Tom Farbanish, Gisele et Regis Fievet, Fabio Fornasier, Kyohei Fujita, Saburo Funakoshi, Ann Gardner, Mitchell Gaudet, Katherine Gray, Gregory Grenon, Susan Holland Reed, James Houston, Clarissa Hudson, Ulrica Hydman-Vallien, Ryosuke Kinoshita, Joey Kirkpatrick, Sabrina Knowles, David Leight, Walter Lieberman, Flora Mace, Joanna Manousis, Dante Marioni, Paul Marioni, Massimo Micheluzzi, Ohotaq Mikkigak, Yasuko Miyazaki, Tobias Mohl, Benjamin Moore, William Morris, Mel Munsen, Felice Nittolo, Marvin Oliver, Allan Packer, Jackie Pancari, Danny Perkins, Shaun Peterson, Susan Point, Anni Pootoogook, Jill Reynolds, Richard Royal, Ginny Ruffner, Judith Schaechter, Preston Singletary, David Schwartz, Therman Statom, Susan Stinsmuehlen-Amend, Lino Tagliapietra, Cappy Thompson, Cesare Toffolo Rossit, Henri de Toulouse-Lautrec, Veruska Vagen, Bertil Vallien, Laura Ward, Dick Weiss, Sally Worcester, Willian Worcester, Hiroshi Yamano, Mark Zirpel and Toots Zinsky."
Accessed March 16, 2010. http://www.bellevuearts.org/exhibitions/upcoming/eyes_for_glass.htm
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