Kelly Akashi’s Triple Helix (2020) evokes relationships among bodies across time, history, and memory. Akashi imagines the biomorphic glass sculptures — inspired by the simple contours of figural, pre-Hispanic ceramics — as ancestral female bodies tethered by a snaking coil of rope.
When the quartz bell suspended overhead is chimed, it emits a low-pitched tone that Akashi intends “to be felt in the deepest part of your body.” The combinatin of sound, vibrations, and blown glass encourages a moment of reverent self-awareness.
I spent an extended Pride Weekend relaxing at a friend’s vacation home in The Hamptons. Activities mostly involved us floating in the pool, eating, and then taking long walks to work off whatever we had just eaten or were about to eat. We also did some driving to nearby hamlets like East Hampton, West Hampton, and Sag Harbor, which is the location of the gift shop where I found this Pink Glass Elephant. I have no idea of the price, but I can guarantee you it was not cheap.
Richly-colored blown glass in the Bohemian taste, ornamented with cutting and engraving, attracted the American public beginning in the mid-nineteenth century. This whiskey decanter (from the Boston and Sandwich Glass Company), in a shape typical of the 1860s and 1870s, is distinguished by its brilliant faceting and detailed depiction of fruit, revealing the skill of the engraver, George Franklin Lapham . As a testament to its quality, Lapham signed and dated the work.
Photographed in the Metropolitan Museum of Art in NYC.
A dramatic evocation of a downpour at nightfall, a convergence of nature and the urban world, New York Night is an installation of 120 hand-blown crystal pendants majestically cascades 90 feet through a six-story staircase, engaging the viewer in an ever-changing pattern of expansion and compression, much like the rhythm of a rain storm itself.
Symbols of speed and good fortune, Dolphins swim down the sides of this ocean-colored vase (1866–70s) from Salviati & Co. John Ruskin’s Stones of Venice created a wave of enthusiasm for the lost art of cristallo. Published from 1851 to 1853, Ruskin’s book proved a stroke of good luck for Venetians seeking to revive old glassblowing techniques.
Photographed at the Metropolitan Museum of Art in NYC.