sg news spring 2011

news from schantz galleries spring 2011 1

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Courtyard. The installation weighs some 10,000 pounds and comprises over 2,300 individual pieces of glass. “I tend to do things on a huge scale because it’s exciting. I like to push things in new and different ways,” Chihuly said. “My philosophy is: when one is good, a dozen is better.”

The Shapiro Courtyard also includes an environmental installation, “Boathouse Neon II, which spans more than 40 feet across what were once the exterior pilasters of the Museum Building.

The main part of the exhibition downstairs in the Ann and Graham Gund Galleries consist of nine awe inspiring enviroments which embody the range of Chihuly’s sensibilities. Each of the several galleries display a different series including the mythic Ikebana Boat (pictured), amazing Venetians and one room featuring the subtle Blanket Cylinders and Baskets from the earlier years. Further along we were awestruck by a group of Chandeliers, including those from

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We have been looking forward to Dale Chihuly’s exhibiton at the Museum of Fine Arts in Boston. Finally, the time has arrived, for perhaps the most important museum exhibition Chihuly has had in the Northeast.

The cover photo shows the opening night crowd and the 42-foot-tall Lime Green Icicle Tower, installed in the high-ceilinged, Shapiro Family

Through the Looking Glass

Dale Chihuly at the MFA, Boston

Silvered Venetian with Garnet and Lapis Leaves and Flowers, 2010. Available at Schantz Galleries.

photo:David Emery

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“ Dear Kim and Jim,

The Chihuly exhibit was wonderful..... John and I were amazed at how much we appreciated the skill and techniques that went into creating the artwork, thanks to have just seen and learned so much on your trip. The ikebana pieces were HUGE and HEAVY... how DO they manage to blow something that big? John loved the room with all the Baskets and blankets... it was a replica of what we had seen. For the first time he liked the subtleties of the slumped Baskets, the layers of color, the small details. (Gosh, we have come a long way since last year, when we liked only bold and bright pieces.)

Thank you! Thank you! Thank you for educating us.”

Myrna R., Newton MA

“Chihuly over Venice” and a dramatic Persian Ceiling. The exhibit ends with a a fantastical Reed Installation of purple Neodymium Reeds (pictured) which seem to grow out of the decaying birch logs they are part of.

Works in the exhibition were created over a span of more than thirty years. The planning of this exhibition took over a year and a half and a team of 30 people three weeks to install the work at the museum. While Chihuly’s work may give the impression of playful ease, it is not easily realized. While the final outcome of the work gives the impression of being spontaneous and natural, it has been

rehearsed repeatedly in the studio before being presented to the public.

Dale Chihuly’s art is a reflection of unrestrained American pop culture and is also reveals a range of cross cultural influences traversing stylistically from the Baroque to the sublime. What we see “Through the Looking Glass”, is the depth of a man who has dedicated his life to his art and his place within our culture. Visitors to this exhibit in Boston are fortunate to have this opportunity for the pure experience and optimism of Dale Chihuly’s art featured at the MFA.



LINO TAGLIAPIETRA from Murano to Studio Glass orks 1954-2011

a response by Jim schantzPrinted in the AACG newsletter.

It was a privilege to be present at Lino Tagliapietra’s opening on February 19 for his survey exhibition Lino Tagliapietra, da Murano allo Studio Glass Opere 1954-2011 at the Palazzo Cavalli Franchetti in the Grand Canal in Venice. The exhibition spans more than fifty years of Tagliapietra’s career and presents early works of the 50s, 60s and 70s which testify to Lino’s early influence as a contemporary Venetian maestro as well as presenting the artist’s recent masterpieces.

Maestro Tagliapietra has been presented with the opportunity to exhibit in this prestigious and historic Gothic space provided by The Istituto Veneto di Scienze, Lettere ed Arti. While Lino has been honored many times in the U.S. for his integral role in the American Studio Glass Movement, this exhibition is particularly significant in honoring his contribution to the history of glass in Murano.

Witnessing Lino’s art within the grandeur of the 16th century palazzo is a very moving experience. One enters the piano nobile (the principal floor in a palazzo) via the sweeping marble staircase flanked by frescoes and wonderfully carved ornamentation. The juxtaposition of Lino’s art in this setting underscores the relationship of his art to the rich history and artistry of Venice. The exhibition is divided among eleven rooms on one floor of the palace. Four palace rooms are dedicated to early works created by the Maestro during his years working in the vetrerias of Murano, including the earliest piece, a red goblet made in 1954. Three exhibition spaces are dedicated to pieces made at Ferro Galliano, La

Murrina and Effetre International with the fourth containing collaborative works with Emilio Baracco, Dale Chihuly, A.D. Copier and Dan Dailey.

One of the most beautifully curated spaces features clear glass works from Lino’s Steuben residencies as well as the delicate and intricate white reticello vase forms which pay tribute to the lace making heritage of Burano.

The center gallery includes a dramatic Avventura wall installation with over one hundred vase forms with the golden aventurine surface. The work is a journey into the influence of Assyrian and Roman form. The room also contains a sixteen part Masai d’Oro wall installation and the vibrant Angel Tear used in the exhibition advertising and banners.

Among the other installations in the exhibition are twenty three gondola-like Endeavor forms, appropriately floating in front of windows overlooking the Grand Canal and a fantastic floor mounted Borboletta (butterfly) creation. Within the grand ballroom are the suspended Ala (seagull) forms dramatically hovering in front of the Venetian Late Gothic framework.

The exhibition was brilliantly curated by Rosa Barovier Mentasti, esteemed art historian who descends from one of the oldest glassmaking families in Murano. In her superb essay in the exhibition catalog she writes of Lino’s rise through the “hierarchal ladder” in Murano before attaining his independent status. She uses a term from Renaissance

Suspended Ala (seagull) forms dramatically hovering in front of the Venetian Late Gothic framework.

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Lino in front of the Palazzo Franchetti

origin, “sprezzatura” (nonchalance) to point out that when reaching the highest technical level, “the master can allow himself anything”. This is what Lino has done and this exhibition chronicles the evolution and his influences by artists such as Archimede Seguso, Galliano Ferro, Ludovico Diaz de Santillana and Andries Dirk Copier.

The importance of patrons from the United States recognizes Lino’s contribution to the American Studio Glass Movement. This was also underscored by Stephen Powell’s and John Kiley’s presence at the opening and will be also be reinforced in April with Dante Marioni’s visit to Murano and lecture on Lino’s work at the Institute.

It was an honor to be present with those who helped make this exhibition a reality and those who have been involved with Lino’s career in Murano. Among those are Lino’s wife, Lina Ungaro Tagliapietra, whose family has been a major force in Murano glass since the Renaissance, her brother, Maestro Checco Ungaro, Rosa Barovier Mentasti, Silvano Rubino who designed and installed the exhibition, Dr. Pino Casalino, Matteo Seguso and the co-curator and sponsor from Milano, collector Sandro Pezzoli.

I would hope that many collectors, artists and art enthusiasts will have the opportunity to visit this exhibition before it closes. Visitors will have the opportunity to see a large-scale exhibition of the work of this Venetian maestro in the setting where the grand history of Venetian glass began.The exhibition will run through May 22nd.

Please contact the gallery with any questions about the exhibition or catalog.

[email protected]

Dinosaur, and other works from the exhibit are available through Schantz Galleries. photo: Russell Johnson



ShOuT-OuTS

making art happen Last month Jim and I took a trip to the glass mecca of the uS… Seattle! There we visited with the creators and their creations, gleaning deeper insights to the processes, inspirations, and trials and tribulations inherent with this medium. We visited with over 31 artists, 15 studios, the Museum of Glass, and Pilchuck. This year, we we were able to choose historical archived works as well as some of the newest work for the gallery. We left informed, happy and that good kind of tired that happens when you have done something you truly enjoyed.

While visiting the various studios, I was reminded about the immense cost of making art; in particular glass art. To keep3 glory holes and an efficient furnace going, it costs approximately $3500 - 4000 a month for the gas bill; more than most mortgages. Many artists working with glass rent time in hot shops, helping those owners to defray costs. One source told me that a rental fee can be $900 a day. Artists who work with a team, pay for the team to assist them either in trade (time for time) or money, as much as $2000 per day, depending on the size of the team. Some artists work on more than one team, and must schedule their time efficiently and still make time to create their own art. Then there is the cost of the materials. I did not ask, but I imagine to have all the colors available is not inexpensive. In some studios, I see forklifts, and large crates of glass. To maintain a physical gallery, a large portion of our overhead is in the shows we do nationally, and the expense of shipping works around the

country to shows, artists and clients. I can only image the cost to artists for the raw materials to be received sometimes from other countries.

I have to say I was even more impressed by the enthusiasm, joy, passion and commitment our artists give to their work. One friend commented on how giving and nice everyone is who works with glass. The team effort speaks volumes for this optimism, and each person supports one another in their accomplishments as well as in times of difficulty.

The reason I am sharing this insight with you now is so you can better appreciate even more what goes into Making Art Happen. ~Kim Saul

Kim Saul, Benjamin and Debora Moore, and Jim Schantz

nancy callan is a featured speaker at TEDxEast in NYC on May 9th. The series is titled “Tinker, Noodle, Inspire”. her talk is called “21st Century Glass Artist: Tradition and Innovation”. There will be a livestream of the talk online that day, and then it will be put up on YouTube later. More info here: www.tedxeast.com. Additionally, in conjunction with the GAS conference, her work be at the Bellevue Art Museum, “Convergence Zone”, Bellevue, WA April 26 - Sept 26.

Artists Karen and Jasen willenbrink-Johnson recently fired up the furnace

in their new studio space on their own property. On March 27th, we were honored to witness the very first batch to be melted there. True to their generous and loving spirits the two artists provided visitors with an opportunity to blow glass. New work by the husband and wife team the new series of mammals; including a white snow leopard and an African Dog which will be coming to the gallery.

Speaking of new studios, this spring, latchezar Boyadjiev has started casting in his newly built 7,000 square

Nancy Callan working at Pilchuck

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foot studio. “First I started with very small pieces, then the medium and I just finished building a larger kiln and soon larger pieces will follow. The cold working and finishing is also done here. This way I feel in more control and I am very excited about the changes. For the last 13 years all of the castings were made in the Czech Republic.”

richard Jolley and tommie rush are having a show, “A Life in Glass” at the Mobile Museum of Art. It opens April 21 and closes in July. There will be a 24 page catalogue with an essay by Peter Morrin.

michael taylor just completed a commission of 7’ high laminated glass, “Directional Positron, Solidified“, to be installed in a newly constructed Library in Coasta da Caperica, Lisbon, Portugal, April 11th at the universidade Nova de Lisboa. Additionally, he received a commission to be completed later this year to measure 15‘ x 25’ at the main entrance to Nazareth College, Rochester, New York.

We wish to welcome habatat galleries ...back to the Berkshires! We welcome Linda Boone who will be reopening her gallery in Great Barrington, this summer. It is an affirmation that the Berkshires is truly a destination for contemporary glass.

Lino Tagliapietra, Garry Knox Bennett, Linda MacNeil, John Eric Riis and Jun Kaneko received the James Renwick Alliance award for Masters of the Medium. Congratulations to each of them!

Echoes, Fire and Shadows runs through September 5, at the National Museum of the American Indian. This solo show of works by Preston singletary is a mid-career survey of which includes his contemporary interpretations of Tlingit myths; a monumental work referencing the interior of a Tlingit longhouse; and a large-scale wall mural created expressly for the exhibition.

Debora moore is installing her Orchidarium as part of a group show, Convergence Zone at the Bellevue Art Museum in Bellevue, Washington, which opens April 15th and runs through September.

Boyadjiev Studio

For inquiries or to be added to our mailing list: [email protected]

We are proud to represent two of the five artists who were honored at the James Renwick Alliance, Master of the Medium awards this year. linda macneil for Metal/jewelry and lino tagliapietra for glass. We were able to meet new and old friends at this elegant event in Washington DC last month.

Welcome to the world!Our first grandchild

otto st. John



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vases are inspired by art deco Italian glass. We featured these in New York at SOFA as well as a large wall installation of colorful smaller vases.

We visited the new Schack Art Center in Everett WA, where John Kiley is now the director of the glass program. The hot shop which has just opened

When we met with Preston Singletary at his studio, he had several pieces in process. We are featuring Preston this summer at the gallery and several of the pieces were being finished for our catalog. It is fascinating to see how the designs on his pieces are made first from a drawing then masking the glass forms. The masking process takes days to complete before the piece can be sandcarved.

Dante Marioni is also getting ready for his upcoming exhibition with us this summer. his new multi handle

We would like to share with you some of the highlights from our recent visit with several Seattle Artists.

We were able to visit Dale Chihuly’s recently renovated Boathouse, which included a grouping of wonderful smaller Chandeliers in the Evelyn Room. At Dale’s Ballard studio we saw an amazing violet and green Persian Wall which was created for our gallery, and some of the works in the photo above which will also be in the gallery this summer. We are expecting a very busy summer season ahead with the exhibition of “Through the Looking Glass” at the Boston MFA, which runs through August.

Martin Blank is currently working on his new installation series, “Crystal Skin” which can be free standing or suspended. The response thus far to these has been great. These tree-like installations are comprised of several elements which have the texture of bark. Beginning with a photo

montage, the works can be designed to fit into a particular space and is usually made on commission.

Chihuly works to be exhibited at Schantz Galleries.

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This winter at Pilchuck, nancy callan, ross richmond and randy walker created new and inspired works for our summer exhibition. Visitors to Schantz Galleries can also expect new works by Lisabeth Sterling. Lisabeth is carving into panels of glass as well as on the vessel forms.

While in Seattle, we were able to choose from the newest works by the Maestro, Lino Tagliapietra. he has created great new work for the gallery and we are continually impressed by his innovation and quest to find new approaches to his medium.

We hope many of you will have the chance to visit the gallery and view these works in person, snf until that day, please visit our website schantzgalleries.com .

~K&J

of the sea. We are looking forward to having work by Ethan and April this summer. Below, April explains some of the tools of her trade.

We visited studios in the Bemis Building and saw archived and new

works by Richard Royal. This is one of the nice aspects of visiting in person. We were able to choose and find homes for works that were historical as well as new and learn even more about Richards’s evolution as an artist.

We are also proud to preview the

“Gigantica Series”; large scale orchid botanicals by Debora Moore. Traveling to various places to witness the grand and delicate fragility of her subject, Moore has mastered the colors and textures found in her botanicals. here she has enlarged the plants to confront the viewer directly with their exotic power and mystery.

is a state of the art facility. John has not only been busy setting up the new studio, but has made a fine body of work for our gallery. We now have a catalog of these works available. We

also saw impressive new works on display by Veruska Vagen and David Walters.

Sonja Blomdahl has been busy with her rondell series which have been received as commissions, for pubic and private installations.

Collaborative d e s i g n s with metal

sculpture by Louis Mueller and glass by Benjamin Moore feature geometric form and primary, minimal color. Turn-of-the-century art movements such as De Stijl and Wiener Werks tätte and Modernists Piet Mondrian, Gerrit Rietveld, Joseph hoffman and Adolf Loos have all had a strong influence on these works. The metal in this work is an integral design element, not just as a support for the glass. This is an example of some of the work we exhibited at SOFA NY.

Kait Rhoads, Ethan Stern, and April Sergent, shared a space for their presentation to us. Kait’s fluidly woven wall sculptures are organic, coral like soft sculptures reminiscent

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Robin Grebe with the first work sold on opening night.

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Renovations at the Gallery!

Expect a new look at the gallery next time you visit! Thom Lipiczky (r) and his assistant Joe, have built a more efficient working and show space for us! Thank you to our sales associate, Stanley Wooley, and to James

and Ron Bill for all their great work with packing, shipping and installing this past winter.

A young admirer of Dante Marioni’s Vessel Display.

Louis Mueller and Benjamin Moore in front of their collaboration, “Amsterdam”.

Martin Rosol and Jim Schantz

Latchezar Boyadjiev with his new work.

New Illuminated sculpture by Sid Hutter.v

Debora Moore and Kim Saul

Torey Schantz assists with installation.

sg news spring 2011

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