Thursday, June 17, 2010

Christopher Knight on watching artists work

Here's an addendum on the Glass & Tourism posts in which the performance of making glass in order to attract tourists was examined in the context of art.  Christopher Knight, LA Times, writes about the reality TV show "Work of Art" in which artists are filmed as they complete assignments, after which they are judged by an art critic, gallerist, etc.  Is it true that they are not making art but "dramatizing the act of making art," as he says?  Can this be applied to the museums that feature artists in their hot shops?  Or are television and, as Knight says, the drama it requires, different pressures than a few "shows" before a live audience?


June 2010 Christopher Knight:

[excerpt] "Rather than making art, the cast is charged with dramatizing the act of making art.  Before the series ends, one or more of the contestants might recognize that. (It's what the academic critics call television's "performative" quality.) Perhaps they'll figure out how to meet the assigned challenges while also making art that lacerates the program's death grip on convention."

Knight, C. "TV review: Work of Art the next great artist on bravo." June 8, 2010.  Accessed June 17, 2010.  LA Times.   http://latimesblogs.latimes.com/culturemonster/2010/06/tv-review-work-of-art-the-next-great-artist-on-bravo.html.

Geoff Manaugh & Josiah McElheny

Josiah McElheny Model for a Film Set (The Light Spa at the Bottom of a Mine) 2008
Excerpted from Geoff Manaugh's posting at the Canadian Centre for Architecture, ccca.qc.ca, on the recent publishing of "The Light Club: On Paul Scheerbart's The Light Club of Batavia," a volume edited by artist Josiah McElheny (University of Chicago Press, 2010):

June 17, 2010 Geoff Manaugh:

"In 2008, artist Josiah McElheny exhibited new work at the Donald Young Gallery inspired by Paul Scheerbart’s peculiar short story “The Light Club of Batavia,” originally published in 1912. In the words of McElheny’s gallery, Scheerbart “tells the story of an ambitious woman’s unlikely plans for an underground light spa—a refuge for a modern illness she calls ‘Light Hunger.’ Her plan is realized by a motley crew of architects, artists, and foreign patrons after many long-winded speeches and romantic pledges”—though “long-winded” somewhat over-states the duration of a story that is itself only six pages long.
McElheny’s resulting piece is called Model for a Film Set (The Light Spa at the Bottom of a Mine).

“Constructed of colored glass modules stacked and mortared, it is McElheny’s abstract envisioning of the wondrous architectural installation described in Scheerbart’s tale.” But what is the “wondrous architectural installation” that the gallery refers to?

Recently republished in a volume edited by McElheny himself, Scheerbart’s story “The Light Club of Batavia” is available here in the CCA Library, where I had an opportunity to read it. [...]"


Read the rest of the original post at CCA, where Geoff Manaugh is a 2010 Visiting Scholar: http://www.cca.qc.ca/en/study-centre/1013-hurray-for-crystal-geoff-manaugh

Below, MOMA videos presents "Josiah McElheny presenting at MoMA" May 21, 2007 upload:

If everyone spends $1,000....

June 2010 The Lane Report:
"More than 1,000 artists, collectors, scholars, students and educators from around the world attended Glass Art Society’s 40th annual conference in Louisville June 10-12. Exhibits and events took place at nine museums, 15 galleries, two restaurants, two universities and a church.

Their attendance pumped some $1 million into the Louisville economy at hotels, restaurants and buying glass art and the conference exposed dozens of artists and high-end collectors from around the world to the city’s quality of life.

“The Louisville arts scene is very cutting edge, and that’s important for economic development,” said Pamela Koss, GAS executive director. “We came to Louisville because the city is so supportive of glass art.”

The conference could have the added benefit of attracting artists to the state and bolstering Louisville’s already strong arts community. Koss said the layout of the Market Street arts district was a major selling point. “The glass scene although young, is really well located for us. Logistically, it is all within an 18-block line in downtown Louisville.”"

Unknown.  "Art Glass Conference Enthusiasts Boost Local Economy in Louisville by $1 Million" The Lane Report. Accessed June 17, 2010.  http://www.kybiz.com/articles/article.cfm?id=1237

For more info on the conference see The Glass Quarterly Hot Sheet: http://blog.glassquarterly.com/2010/06/13/2010-gas-conference-ends-with-new-president-installed-but-no-announcement-of-2011-location/

Sequim Glass Art Festival seeks submissions


North of Sequim
Originally uploaded by Alex Reynolds

"Entries are now being accepted for participation in the new Glass Art Festival, to be held September 1-25, 2010, in Sequim. The festival will include a juried art exhibition of comtemporary glass art called "Transcendence - The Magic of Glass," as well as a variety of workshops, artist talks, and demonstrations. Glass artwork will be showcased in the MAC Exhibit Center gallery as well as other art galleries and venues throughout Sequim. The entry deadline is July 9th."

http://www.glassartfestival.org/

New Voices @ Pratt Gallery open until June 25

"New Voices"
June 3 - 25, 2010
Pratt Gallery at Tashiro Kaplan Studios

This show highlights the work of Pratt 2009 - 2010 scholarship recipients Granite Calimpong, Giustin Durall, Katelin Harpel, Cyra Hobson, Tyler Kimball, Isabella Leary, Jennifer Sievers, Jan Tervonen, and Jenny Wittlinger.

Pratt Fine Arts presents The Brychtova Forum in July


June 2010, Press Release from Grace Meils 
@ Pratt Fine Arts, Seattle: 
The Brychtovà Forum
Women Artists Working in Glass:
Celebrating Innovation and Vision 

Across Generations
July 15 - 18, 2010 in Seattle, WA

The Brychtovà Forum - Women Artists Working in Glass: Celebrating Innovation 
and Vision Across Generations, a four-day series of free lectures, 
panel discussions and events, will be presented from July 15 - 18, 2010. 
A collaborative effort by several prominent organizations involved with 
Seattle's glass community, The Brychtovà Forum was conceived to 
celebrate the rich tradition of women working in glass while also 
recognizing the life and work of one of the most important artists 
in the history of the glass movement.

The Brychtovà Forum includes opening night presentations by 

Ms. Brychtovà and Czech curator Sylva Petrova, followed by 
a reception and special exhibition curated by Sarah Traver at 
Traver Gallery Seattle. Ms. Brychtovà will discuss her ongoing 
work, her lifelong collaboration
with Stanislav Libensky and the 2010 opening of the 
Libensky/Brychtovà Museum in Zelesny Brod.

Panel discussions featuring three generations of leading glass 

artists will be presented at Seattle Art Museum throughout 
the day on Friday and on Saturday morning, all of which will 
be free and open to the public. A curator-led discussion will 
take place on Saturday afternoon, followed by a glassblowing 
demonstration and artist party at Pratt. Seating is limited for 
these events, and tickets will be available on a first-come first-
served basis.  A private closing reception and fundraising 
brunch will be held in honor of Ms.Brychtovà at Dale Chihuly's 
Boathouse on Sunday and guests are encouraged to visit 
Pilchuck Glass School's annual Open House afterward.

During the Brychtovà Forum, artists working in glass will have

the opportunity to participate in a film documentary project 
with the goal of capturing the essence of each individual's 
influences, motivations, inspirations and motivations and 
visions for their work and the future of glass. 
Each participant will be asked a 
set of specific questions and will also have an opportunity to 
include images of their work. Filming will take place on site.

The Forum is free, but participants must register in advance 

as space is limited. Online registration is available at 
www.pratt.org/happenings/forum.html. 

THE BRYCHTOVÀ FORUM SCHEDULE

What:             Jaroslava Brychtovà and Sylva Petrova:  

Opening Address
When:             Thursday, July 15, 2010 at 6pm
Where:            Arnold Board Room, Seattle Art Museum, 

1300 1st Ave., Seattle, WA
Admission:      FREE

What:             Exhibition and Reception 

at the Traver Gallery - Seattle
When:            Thursday, July 15, 2010 at 8pm
Where:           Traver Gallery, 

110 Union St. #200, Seattle, WA
Admission:     FREE

What:            Panel Discussion: Emerging Artists
Including:        Rebecca Chernow, Rachel Moore, April Surgent 

(moderated by Sarah Traver)
When:            Friday, July 16, 2010 from  9 - 10:30am
Where:           Auditorium, Seattle Art Museum, 

1300 1st Ave., Seattle, WA
Admission:     FREE

What:             Panel Discussion: Established Artists
Including:        Shelley Muzylowski Allen, 

Tina Aufiero, Nancy Callan, Jen Elek
                      (moderated by Rock Hushka)
When:            Friday, July 16, 2010 

from 11am - 12:30pm
Where:           Seattle Art Museum, 

1300 1st Ave., Seattle, WA
Admission:     FREE

What:              Jaroslava Brychtovà Documentary Film (2010)
Who:                Open to all participants
When:              Friday, July 16, 2010 from 1 - 1:30pm
Where:             Auditorium, Seattle Art Museum, 

1300 1st Ave., Seattle, WA
Admission:       FREE

What:             Panel Discussion: Master Artists
Including:        Joey Kirkpatrick, Flora Mace, 

Nancy Mee, Ginny Ruffner, Cappy Thompson
                      (moderated by Paula Stokes and Linda Tesner)
When:            Saturday, July 17, 2010 from 9 - 10:30am
Where:           Auditorium, Seattle Art Museum, 

1300 1st Ave., Seattle, WA
Admission:     FREE

What:             Panel Discussion: Curators
Including:        Maria Porges, Margery Aronson, 

TBA (moderated by Sylva Petrova)
When:            Saturday, July 17, 2010 

rom 11am - 12:30pm
Where:           Auditorium, Seattle Art Museum, 

1300 1st Ave., Seattle, WA
Admission:     FREE

WHAT:            Jaroslava Brychtova Documentary Film (2010)
Who:               Open to all participants
When:             Saturday, July, 17, 1 - 1:30pm
Where:            Plestcheeff Auditorium, 

Seattle Art Museum
Admission:      FREE

What:             Glassblowing Demonstration 

and Artist Party
Including:         All participants
When:             Saturday, July 17, 2010 from 6 - 9pm
Where:            Pratt Fine Arts Center, 

1902 S. Main St., Seattle, WA
Admission:      FREE

What:            Fundraising Brunch and Demo at 

Dale Chihuly's Boathouse Studio
Benefiting:      The Libensky/Brychtovà Museum in 

the Czech Republic
Featuring:       Sonja Blomdahl
When:            Sunday, July 18, 2010 from 10am - 12pm
Where:           Dale Chihlhy's Studio, 

509 NE Northlake Way, Seattle, WA
Admission:     $100 Donation

What:            Pilchuck Glass School Open House 
When:            Sunday, July 18, 2010 from 10am - 12pm
Where:           Pilchuck Glass School, 

1201-316th St NW Stanwood, WA
Admission:     $20

Additional information and online registration 

is available at http://www.pratt.org/happenings/forum.html.

Friday, June 11, 2010

Seattle Center Update

Here's a snippet of the Seattle Times article.  There are 181 comments on the article already.


June 2010 Emily Heffter:

"In a second attempt to sell the city and the public on a Dale Chihuly glass exhibit at Seattle Center, the Space Needle Corp. is proposing to add a free, art-inspired playground for kids and a free field trip to the exhibit for every eighth-grader in the Seattle school district.

The corporation also stressed the financial benefit of choosing the glass exhibit over eight other proposals for the 1 ½-acre site just south of the monorail station. The Chihuly exhibit needs no public investment and would return $24 million over 20 years to the city in lease money and taxes, according to the proposal released Thursday.

Among the eight competing ideas for the site are two proposals for more open space, a Native American cultural center and a new studio for the nonprofit radio station KEXP.

Chihuly faced criticism from some City Council members and the public this spring when his company unveiled the proposed exhibit, an idea it had quietly been working on for more than a year. At public meetings, some people questioned whether a private business should be able to use the Center, which is publicly owned. Some were critical of adding a paid-admission venue, and others felt a glass exhibit would not be a good place for kids.

The new Chihuly proposal seeks to address some of those concerns. The proposal includes a letter of support from Seattle Public Schools Superintendent Maria Goodloe-Johnson for a plan to develop an eighth-grade science and art curriculum about glass that would culminate with a field trip to the exhibit, all funded by the Space Needle Corp.

Space Needle CEO Ron Sevart said the company would pay Seattle teachers to write the curriculum, and the district could decide how extensive it should be. He said he thought it would be a couple of days of instruction before and after students' field trip to the exhibit.

Councilmember Sally Bagshaw, who chairs the Parks and Seattle Center Committee, thinks the public should have free access to its own property at Seattle Center. On the other hand, she said, the Center has to make money.

"That's the balance," she said. "It sounds like a really good start. It sounds like they listened to us." [...]"

Heffter, E. "Space Needle owners roll out new Chihuly proposal for Seattle Center."  The Seattle Times.  June 10, 2010.  Accessed June 11, 2010. http://seattletimes.nwsource.com/html/localnews/2012083798_chihuly11m.html

Comments:

Duff Hendrickson:  "The city is continually asked to glorify Dale Chihuli. He already has Tacoma. Give him Olympia, or Bremerton if he wants it. Let him and his company and business friends buy property and build their own monuments. Chihuli is a business and doesn't need our help promoting his business."

Ballard Guy:  "I really do not get this Chihuly attraction. If he wants a statue of himself, let him build it in his yard not ours. I do not know of one adult or child that has been longing to see a glass museum. It will never be a big draw of growds. Ever see a line at Tacoma's museum?, not really, sure its cool but one is enough.Leave it open space & what the heck, plant a few more trees & call it a park. That would be unique & cool."

JDinSeattle: "As much as I think Chihuly would be a lame addition, I think it has the most potential to bring in money for the center. All summer long there is tour bus after tour bus parked right in front of the Space Needle and there are a lot of people that would pay for it and might even come to Seattle just because of it. Tourism money = good for Seattle.

I personally liked
the KEXP idea since I'm a big fan of that station, definitely not because it's the most practical though."

auburnmom: "Almost Live was making fun of Chihully over 20 years ago. Even laughing at how ridiculous Chihully is has become passe. Can't this city think of something new? I've been to the glass museum in Tacoma and wanted to ask for my admission money back.

I know, how about we build an arena and try to get an NBA team to come to town?"

Tuesday, June 8, 2010

Friday, June 4, 2010

Resonances in Glass @ MoNA (review)

Photo Credit: ABJ
The Museum of Northwest Art is in La Conner, Washington.  The lamp-worked glass show currently on is a continuation of the entire museum's theme right now, "Resonances: Contemporary Echoes Modern," in which a modern artist was paired with a contemporary inspired by their work.  What makes the glass show featuring three contemporary artists, Ginny Ruffner, Masami Koda, and James Minson, in Benaroya Glass Gallery a part of the overall theme?  Kathleen Moles, Curator of Exhibitions, says in her notes to the show that Minson and Koda "both remember being struck in particular by Ginny's work" when it was featured at Tama Art University in Tokyo in 1988 where they were students.  As such, her work from the 1980s and 90s is shown in the middle of the room between Minson, whose displayed pieces are dated 2007, and Koda, whose pieces are from 2009.

With the exception of Koda's work on loan from Traver Gallery, most of the show is owned by Anne Gould Hauberg.  "The Queen of Everything" glass-jeweled crown which Ruffner made for the founder of Pilchuck is shown.  It's restrained, a child coloring within the lines.  It's different from "The Juggler of my Heart in Person" or "Balance Series: A Balanced Diet."  In these, her exploding crayola box of harlequin, checkered, and gilded symbols (cats, hearts, bones, tropical fish, wings) may have inspired Koda and Minson, but these two younger artists have what can only be described as a cooler contemporary feel compared to Ruffner's warm and open work.  Alki vs. Freemont.  Or, it's as if a way-out-there mom who baked pot brownies raised two children and they rebelled by being part of the mainstream.

Minson is pulled in two directions.  On one hand there are the very literal underwater scenes of anemone and coral, and on the other, the abstract 22 panels of black wood crawling with clear squiggles and the perfectly arranged green, orange and white mobile.  The mobile made of glass rods is amazing and well-balanced. 

Koda's "Still Life" (2009) is the best piece in the show.  Though it doesn't employ her beautiful silver and glass bead/berry technique found on "Red Dew 6" and "Spring Blow," and it does have the delicate cage look of a lot of lamp-worked pieces now, it contains the most perfect squared-off taper at the top of the bell-jar.  You'll can view it on Traver's website

I would have taken a picture, but there were no photos allowed.  (I did draw it, but my sketch is ugly.  There was a fascinating article somewhere recently about photography permission in museums, I'll try and find it.)  So here are a few photos of other things in and around La Conner instead.  La Conner is fun, the museum is only $2 for students $5 for adults, and Clayton Beach is not far away (from Seattle)...it's worth the trip.

Photo Credit: ABJ
Ries Niemi's Fish Bridge, the artist who once said "Glass art makes me wish for earthquakes."

Photo Credit: ABJ
La Conner Weekly News: "Full Jail Means Criminals (like this bad bad baby owl) Roam Free."

 Photo Credit: ABJ
close up of a Sandstone Boulder, Clayton Beach

Thursday, June 3, 2010

1968

Photo Credit (used with permission):  
1968. Dave Potts. Seattle P-I Collection, MOHAI

Monday, May 31, 2010

Seattle Sidewalk Prisms, photo by Bradleyolin


Glass for the ceiling
Originally uploaded by bradleyolin
Continuing on with prism posts. They're such a unique & beautiful part of the city I can't imagine my childhood without them. Every once in a while something changes your whole perspective on things.

Sidewalk Prism photo by zenobia_joy


under the sidewalks
Originally uploaded by zenobia_joy
I almost tagged along on a tour I passed yesterday. I listened in as the tour guide explained that the purple skylights were colored by magnesium, and that 90% of the orginals are now gone! Then the tour descended one of the stairwells to the underground that people have sex on at night in Pioneer Square, but he said nothing about that...

Crossing the Line on Seattle Glass Online?


Creepy hot dog man
Originally uploaded by Box.
The last ABJ post about the sidewalk prisms crossed a line. Industrial glass often creeps into writing about art glass although the two are mostly unrelated and it did just that the other day. This creep is as uncomfortable as it sounds and I have always been against using industrial glass as fluff when there is nothing I want to record about art.

Also Creepy ------ >   ---------->

Thursday, May 27, 2010

Monday, May 24, 2010

Seattle's purple sidewalks

Photo Credit: ABJ Seattle Glass Online
May 2010, 1st & Marion
Seattle, WA

In elementary school we took a field trip to Pioneer Square and went on the Underground Tour.  I remember only three things only from that trip:

1. The tour guide called horse shit "puckey" and we spent a long time discussing why.
2. As we exited into an alley, we all stepped on a giant dead rat just outside the doorway.
3. The purple squares in the sidewalks in downtown Seattle are visible if you look up from the walkways underneath... they're skylights, and they're made of glass.

There's a few good pictures from underground here:  http://www.visualsynthesis.com/unsea/unseattle6.swf

Photo Credit: Glassian
http://glassian.org/Prism/Vault/prisms.jpg

A history of vault lights is provided by glassian, the above photo shows what the prisms look like, (buy one if you ever see it for sale!): http://glassian.org/Prism/Vault/index.html#VVL

According to glassian, the purple glass squares are skylights and were used as a form of lighting in basements in the 1800s before electric light was used.  The idea was taken from ship decks and applied to city streets.  Found in cities all over the world, they are no longer used, and are in danger of disappearing because they are costly to replace.

In 2002, a section of sidewalk vaults in the Square were replaced with new, pre-purpled panels (the orignal glass was clear, and turned purple overtime due to UV exposure).  The project was federally funded and completed by Mid Mountain Contractors of Kirkland, WA.  http://northwest.construction.com/projects/04_BestOf/04_BestOfWashington.asp

The Pioneer Square Preservation Board (recent bad press with regards to its slow treatment of business owner requests: Seattle Weekly "Old and in the Way") has outlined how the prisms should be cared for in "Rules for the Pioneer Square Preservation District PSB 149/03":

"Sidewalk Prism Lights


The glass sidewalk prism lights are one of the unique elements in the District, and their retention is required. The Board maintains the right to require applicants for sidewalk repair to repair sidewalk prism light panels and individual prism lights that have deteriorated into a state of disrepair. (7/99)"


However, in 2008, the new owners of a building at 240 2nd Ave S. proposed to fill in broken prism lights with cement, citing a precedence set by other building owners in the district:

"Remove non-historic awning and replace with a steel canopy using
connection points of historic canopy
Fill missing sidewalk prism lights holes with cement
Remove existing fire escape landing grillwork and extension ladders with the
stairs, railings and supports to remain"

[...]

"Ms. Nashem asked the applicant to speak about the prism lights in the sidewalk.

Mr. Chatfield said the photos show the condition of the two sets of prism lights; with the exception of about 6, the rest of the prism lights are shattered and damaged.  They proposed to fill openings with concrete to remove the trip hazard.  They are also looking at sourcing prism lights; precedence has been set as other buildings have been filled in with concrete."

During Public Comment at the meeting, the prism lights were brought up again:

"Sarajane Bellanca asked if we are agreeing to this new material because it is being painted and asked if this is going to be a new material for Pioneer Square.  She also expressed concerns about the prisms in the sidewalk; they were replaced at the Smith Tower and at Toshiro Kaplan so it is possible to do.  She didn’t like the idea of filling in the broken prisms with cement.  She didn’t hear a solution to returning the prisms to their original condition.

Mr. Chatfield they would just fill in the three or four that have popped out more from a liability issue.

Mr. Hasson agreed with Ms. Bellanca and said a decision needs to be made if applicant wants concrete or prism lights."

The meeting continued on, returning to the subject of the lights later:

"The Board discussed the replacement of the glass prisms.  The applicant is concerned with the liability and wants to fill the holes with cement.  Replacing individual prisms is not an option; the whole sidewalk panel would need to be replaced which is expensive but it has been done as evidenced at Smith Tower and Toshira Kaplan buildings.


Chris Gibbs, Manager at the Toshiro Kaplan lofts confirmed that glass panels were replaced around his building and supports replacing the panels as they have been done at his building.

Mr. Hasson said he would go with the concrete.

Mr. McConachie asked the Board if a motion could be moved to leave out a couple issues such as stucco, color, masonry testing and prisms and the applicant could come back with additional information."
 
Minutes of Meeting.  May 21, 2008.  PSB 124/08.  www.seattle.gov/neighborhoods/preservation/minutes/PSB5.21.08.pdf

The lights are beloved by city dwellers, but if broken can be a tripping hazard.  Filling individual broken cells with cement is the most cost-effective way to repair them.  However, whole panels can be replaced if the money is available to do so.

Photo Credit: Ian Mackey, http://www.islandnet.com/~ringuett/prism/report/prisms.htm

North of here, in Victoria, the prisms are also being considered by city government, as notes from a city council meeting in 2006 shows:

"Janis Ringuette – Sidewalk Prisms: Promoting as a downtown attraction and better preserving them
Thank you for allowing me to speak about Victoria’s sidewalk Prisms.  She wants to thank the people in the past who have saved them.  Today, most residents are unaware of this heritage feature.  Others
notice and walk over them.  There has been no written history or map of their locations.  This is an
interesting heritage feature that is overlooked and unappreciated.  Over the last three months, she has
compiled information for the City to produce a brochure.  People will be interested to learn about early
basements.  Prisms were installed in the early 1900s.  The glass was not coloured, it turned purple over
the years due to exposure to sun.  To install interpretive signs is inexpensive.  It would be great to light
the purple glass squares below at night.  The greatest concentration of prisms surrounds the Yarrow
Building.  They are open and accessible.  Lighting does not have to be expensive.  When the lights are
left on in the building basement, it will light-up the prisms.  Ideally, the lights should be connected with street lights.  There are over 11,000 prisms today.  There are no replacement glass blocks on hand.

When they are broken, they are filled with concrete.  Over 500 have been filled.  If one breaks, it should be replaced, not filled.  And Council should make this a high priority.  Other cities have found glass suppliers and restoration projects.  A city representative should send a sample off before we replicate.

We need to make restoration a long-term goal and place it on a future projects list.  When someone
applies for heritage grant/funding, they are considered.  Finally, it is costly to restore prisms so we should focus on preserving the remaining prisms.  On Fort and Broad Streets, many trucks drive over them and there are two big postal boxes on prisms that could be moved to concrete.

Councillor Madoff thanked Ms. Ringuette for her wonderful report.  This is a part of our heritage that
people may not be conscious of.  There are suggestions in her report to avoid wear and tear, and the
next step is sourcing the prisms.  There used to be a company here.  She would be very happy to continue to work with Ms. Ringuette on this project.

Councillor Thornton-Joe thanked Ms. Ringuette for all her effort in compiling this information.  She
recalled an article in the Times Colonist recently about the prisms.  This matter was before the Heritage Advisory Committee and received its support.  She has discussed this matter with the Downtown Residents’ Association and the General Manager of the Downtown Victoria Business Association, who are very excited about this project.  There have also been some discussions amongst City staff, and she was advised by the Heritage Planner that the prisms were added to the Heritage Registry on November 22, 1990.

Motion:
It was moved by Councillor Thornton-Joe, seconded by Councillor Madoff, that this matter be referred to the Heritage Planner for review and report to Committee of the Whole."

Victoria City Council Meeting. March 23, 2006. www.victoria.ca/cityhall/minutes_council/min060323_cnc.pdf


Cas Stachelberg and Chad Randl have published a National Park Service technical guide to preserving the glass prisms.  They outline the main problems: 

"Repairing and restoring the historic vault lights presented a number of obstacles. These included finding an experienced contractor, locating suppliers and fabricators for the glass lenses and missing cast-iron panels, and keeping the overall cost of the restoration program reasonable."  

They describe a success story that occurred in New York on Broadway, excerpted below.  The glass was fabricated by Blenko in West Virginia: 

 "To facilitate treatment and allow the sidewalks to remain unobstructed, the panels were removed and temporary steel plates were installed over the vaults. In the cast-iron contractor’s workshop, the surviving deteriorated glass lenses were removed, the cast iron stripped, cleaned and repainted, and new lenses set into the openings. Replacement lenses were cast by a specialty glass manufacturer, Blenko. The company had created glass molds for a vault light restoration several years prior and were now a regular supplier of various sized lenses for similar projects. A cast-iron foundry was contracted to fabricate two new panels to match the missing historic panels. Both new and repaired panels were delivered to the building site where the cast-iron specialist reinstalled them."

The fabrication story shows how improvements were made upon the historical process:

"Because vault lights are no longer manufactured, new custom panels had to be fabricated to replace the two missing when the project began. The contractor chose a surviving panel that was in good condition and sent it to a foundry in Alabama for use as a pattern. The foundry, which had worked on a number of vault light projects in the past, cast two new panels using techniques that had changed little in the past century. The original sample was packed in a bed of casting sand to make a three-dimensional mold. To account for shrinkage in the casting process (1/8” per foot), the mold was made slightly larger than the pattern ensuring that all panels, original and new, would be the same size. Vents and gates were created in the mold to allow the flow of molten iron and gas.

Although the method of casting new panels was nearly identical to the historical process, the composition of the cast-iron was altered to improve the material’s tensile strength. To produce what is referred to as ductile iron, the iron was combined with a slightly higher percentage of carbon (+/- 3.75% in the new cast-iron versus +/- 3.5% in the historical). Very small amounts of magnesium and graphite were also added to produce a material two to four times stronger than that of historical cast-iron. Following fabrication, the new panels were shipped to the contractor who set the new glass lenses and transported them to New York City for installation alongside the repaired panels."
 

They conclude:

"Vault lights are an important architectural features that are frequently overlooked and under maintained. Historically considered advantageous for the way in which they manipulated light and improved dark, potentially usable space, vault lights were also a visual complement to a building’s entrance and façade. Today, whether severely deteriorated, buried under layers of asphalt or missing altogether, this feature need not be lost forever. As the restoration project described in this Preservation Tech Note shows, sensitively rehabilitated vault lights can continue to provide architectural and historic character to the urban streetscape while serving their original function of naturally illuminating basement spaces." 

Stachelberg, C. and Randl, C.  "Historic Glass Number 2:  Repair and Rehabilitation of Historic Sidewalk Vault Lights" NPS.  Accessed May 24, 2010.  http://www.nps.gov/history/hps/tps/technotes/ptn47/Contents.htm

Monday, May 3, 2010

Einar and Jamex de la Torre @ Traver Gallery


Fenchurch! on Flickr
Creative Commons license
Opens this Thursday, runs until May 30th.

Saturday, May 1, 2010

Elias Hansen @ Lawrimore Project (review)


This extensive, light-filled gallery provides the back rooms, hallways, and cement-floored spaces necessary for us to explore Hansen's work.  "We Used To Get So High" is a dirty mirror reflecting our young selves' inquiries into drug-warped perceptions.  If the lawn chair on the portaledge bolted to a retaining wall over railroad tracks or the guitar-shaped coffin box lined with a dirty blanket feel inviting to you, the drugs have not worn off.  And they may not ever:   Here the giant white pentagonal shapes emerging from the white wall are the chemical makeup of LSD--and you are let in on the grand idea that it's bigger than you.     

The show is darkly humorous and it's fun to get completely lost in it.  The Lawrimore space rocks for this show.  Cremaster Six, the slinky white cat, roams around, too, making the whole show more surreal.


PHOTOS by ABJ Seattle Glass Online

Sunday, April 25, 2010

Account of city council meeting on Seattle Center

photo credit: ABJ Seattle Glass Online 
 
April 1, 2010 Chris Grygiel:

"A proposal to place a Dale Chihuly glass museum at financially-struggling Seattle Center has reopened an old debate about what, exactly, the center should be - a park with open spaces or a hub for the arts.  The fact that it's a little of both right now was evident at a City Council public hearing held Thursday night at Seattle Center. During discussion about the glass museum one speaker referenced New York's Central Park and Lincoln Center, the former one of the world's premier public green spaces and the latter home to the Metropolitan Opera, the New York City Ballet and the New York Philharmonic Orchestra.

About 100 people attended the hearing, the second on the subject this week. A healthy percentage were there to support of a the proposed $15 million glass museum, which the Wright family, owners of the Space Needle, would like to replace the Center's Fun Forest. Supporters Thursday night said it would boost tourism and add to the arts opportunities, not just for visitors but for city residents, too.
Former City Councilmember Tina Podlodowski spoke for Chihuly.

"Dale supports green and open space. The vision of this project is to create an aesthetically pleasing, indoor-outdoor exhibit that adds color and vibrancy amongst green garden space while providing a point of entry to the visual arts that appeal to all ages," she said. "Seattle Center really isn't our Central Park, it's much more like Lincoln Center, a real gathering of a diverse set of arts organizations."  Speakers at Thursday's City Council hearing. But another speaker, Belltown resident Ron Turner, complained that the glass museum proposal seems to contradict earlier, stated goals of increasing green space in Seattle Center.

"The plan was very specific for the Fun Forest site. It said that an asphalt jungle becomes an urban park with trees," Turner said. "It is an active open space that connects to the heart of the campus."
Turner said Belltown residents especially are hungry for green spaces, "where we have little open space...we have practically none. And this is a compliment, because we do use the Center, we do come to the Center, in some respects it is our green yard."

There were complaints that a public hearing earlier this week was stacked with glass museum supporters who arrived early, crowding out opponents. City Councilwoman Sally Bagshaw, who chairs the Parks and Seattle Center Committee, assured people at Thursday's hearing that they "would go til midnight" if necessary.

While it seemed the majority of people at Thursday's meeting were also in favor of the glass museum, council members have reported that they're hearing from more opponents than supporters.
Debates about how to use Seattle Center are nothing new.

During the ill-fated Seattle Monorail Project - the aborted plan to extend monorail service from West Seattle to Ballard - there were plans for tracks to cross the grounds of Seattle Center. Critics howled, saying the trains would disrupt the park-like setting of the Center.

The Fun Forest figured into the rebuttal of those arguments. The Center, monorail proponents said, was home to carnival rides, noisy games and was already the northern terminus of the existing, 1962 World's Fair-era monorail line. It was not an idyllic park, they said. Financial questions led to the dissolution of the Seattle Monorail Project in 2005.

In 2010, the debate about Seattle Center - home to much open green space, as well as places like the Experience Music Project, theaters and Seattle Opera - continues.
As Mayor Mike McGinn has pointed out, the current discussion takes place in a time when the Center is struggling to pay for its existing operations and looking for new sources of revenue. McGinn hasn't taken a position on the Chihuly musuem, other than to say it's proper for the Center to explore the option."

Grygiel, C. "Chihuly debate revives question: Is Center a park or arts hub?"  Seattle Post-Intelligencer blog. http://blog.seattlepi.com/seattlepolitics/archives/200391.asp

Inspiring the collector, Habatat Galleries 38th Annual Invitational

Habatat Galleries had their 38th annual Masterworks auction this month.  The catalog is available to view online.  The introduction to it is reprinted here:


" We are interested in WHY the art is made not HOW. It is the difference between art and craft.  Having said this, making glass sculpture is so work intensive that the process of making becomes very alluring, and the ability to successfully translate an idea is married to the craft. This should not however be the dominant theme for the artist or the preoccupation of the collector.
If the how it is made is why you are collecting you will grow tired of looking; if you search for why it was made, it will give you a life time of enjoyment. “Collector” should be an earned category. An artist doesn’t become an artist in a day, so a collector shouldn’t become a collector in a day. It’s a lifetime passion and process of learning, understanding and engaging objects with an open mind and an explorer’s spirit. We welcome you on the journey and offer our services as scouts!
- Ferdinand Hampson

The Collector

Like paint strategically placed on an empty canvas the collectors surround themselves with objects with which they have a connection. This connection by nature is visually
stimulating to the collector. Some works can have an emotional impact or provoke a memory to its proprietor. Thoughts of the artist concept, the color or form are all there for the visual interpretation, enjoyment and mystery. Each collection tells a story that defines who the collector is. Each piece can act as a chapter or statement throughout the story.
Some collections are comprised of challenging thought and visual dialogue.  Others search for pure beauty and direct their collection of objects towards that which offers immediate gratification.
Victor Hugo once wrote “Inspiration and genius is one and the same” What is “genius” about art is that it breeds inspiration. An artist’s arousal of the mind can spawn a collector’s emotional connection on a conscious level that could be the same or very different from the artist.
This catalogue includes the artists’ Inspiration on one page and the artists’ creation on the opposite page.  A fun exercise would be to cover up the insight of the artist on one page and study the piece. Pull your own thoughts and connections from the piece then look to see if you had similarities with the artists’ inspirations for the creation of their work.
I hope this catalogue gives you inspiration and an understanding that glass in the hands of sincere artists is equal to any and all materials for making art.

- Corey Hampson"

Habatat Galleries.  "Introduction"  Habatat 38th Annual International Glass Invitational catalog.  Accessed April 25, 2010.  http://www.habatat.com/exhibit_international_detail.asp

Monday, April 12, 2010

David Meinert on Seattle Center/Chihuly plans

April 2010 David Meinert (excerpted from Publicola):

"Seattle Center has never been, and was never designed to be, an oasis of green parkland.  But, fortunately for the rest of us, Seattle Center is almost doubling its current campus open space by developing 3.5 acres of the former Fun Forest space adjacent to the EMP, and soon, 10 acres where Memorial Stadium now stands. That would bring the total of campus open space to over 30 acres from the now 17 acres. [...]  The Wrights will invest part of their fortune to build a temporary exhibit of Seattle’s most popular visual artist ever, Dale Chihuly, who has millions of fans internationally, but no local long-term exhibition.  [...]

As a resident of Queen Anne, a fan of local art and music, a regular user of the Center, an owner of a nearby business that might get some of that tourist business, and an oft-times community activist myself, I must say that I’m pretty happy the City has decided to take advantage of an obviously great deal.

Oh, but wait, this is Seattle.

Nothing is quite that simple. Chihuly is not that “cool” or “relevant” to some of Seattle’s most pernicious bloggers and forum commenters. Oh, and some “rich” folks might actually make a little more money. And in Seattle, that is horrible, because, well, profit is evil I guess, especially when it’s someone else’s who we don’t know. [...]

I want to say this to the critics of this plan – grow the hell up. Embracing diversity means embracing people with different ideas and tastes from our own. And in this case, even though I’m not a huge fan of glass art, and I don’t expect I’ll be going to this exhibit more than a few times when it opens or when I have guests in town, I do believe it can add a lot to the City in the form of tourism, diversity, beauty, and income.  [...]  Let’s be smart this time and not get bogged down in our loathing of local success at the cost of making this a great city."

Meinart, D. "Thumbs up on Chihuly at Seattle Center." Publicola.com. April 11, 2010.  http://www.publicola.net/2010/04/11/thumbs-up-on-chihuly-at-seattle-center/