This striking, six-pronged Green Glass Vase (circa 1931) is part of a small group of modernist art glass by Frederick Carder for the Steuben Division of Corning Glass Works. Carder was a glass blower, born and trained in England. He preferred traditional forms and elaborate ornament, but like many of his contemporaries active in the late 1920s, he responded to the international interest in abstraction and avant-garde experimentation by incorporating sharp angles, asymmetry, and bright color combinations into some of his designs.
Amsterdam-based designer Germans Ermics has worked extensively with frosted, ombre and colored glass in his furniture design studio. The Presence – Absence Table expands on his ideas with a design made from hardened laminated glass mirror with graduation from 100% Mirror to 100% Red Glass. It is really quire stunning.
Presence – Absence was originally created in collaboration with Iskos – Berlin for the Side by Side Outside SE exhibition at the Danish Museum of Art & Design in 2017. A statement on the table is below:
“The clearest way to perceive and define the world is through negation, through opposites:
We understand the meaning of light when it becomes dark; we first understand what our parents mean for us when they are gone; the presence of loved ones is truly grasped in their absence.
Presence and Absence walk together – Side by Side – as inseparable as day and night”
Photographed at The Salon Art & Design in NYC. Limited Edition of 8 Pieces, Available from Galerie Maria Wettergren, Paris.
Born in Tokyo in 1934, Shiro Kuramata studied at the city’s polytechnic high school and Kuwsawa Design School. He revolutionized design in postwar Japan by considering the relationship between form and function, adhering to minimalist ideas but embracing surrealism as well. During the 1970s and 1980s, Kuramata began to use new technologies and industrial materials. He was inspired by Ettore Sottsass and joined the Memphis Group at its founding in 1981.
Kyoto Table, Detail
The Kyoto Table (1983) is an example Kuramata’s innovative use of concrete and glass to create minimalist form with surface interest. Kuramata’s furniture and interiors have been influential both is his native country and abroad.
Hey Bitches, it’s been one Hell of a year, amiright? If you’re reading this, congratulations on making it out alive, and thanks for continuing to check in on the raddest pop culture blog on the interwebs! I appreciate your readership, referrals, comments, likes and shares! Let’s keep the love going in 2018! Celebrate safely tonight, and Happy New Year!
If you happen to pay a visit to the Museum of Arts and Design, be sure to take the stairs to travel between floors, because it is in the stairwell that you will find the museum’s stunning goblet collection.
MAD’s collection of goblets reveals the diversity of approaches taken by artists and designers to create this common vessel. The goblets range from those inspired by historic Venetian masterworks to mass produced pieces, to non-functional works by artists who make reference to the basic form.
There are advantages and disadvantages to having the goblets right up against the glass window, in that the natural light and transparency create favorable display conditions, but it’s challenging to get photos that don’t have, say, a crosstown bus, or the facade of the CVS Drug Store across the street in the background. First World Problems.
Open 24 Hours!
The center goblet, above, appears to pay homage to Bee Keeping. Nice.
The orange, spiny goblet reminds me of some of the pieces in This Post.
I love that this one has a collection of tiny goblets inside the cup!
The Museum of Arts and Design is Located at 2 Columbus Circle in NYC.
Inscribed on a strip of metal glued across the approximate center of this work are the words of its title, suggesting that viewers look through the lens that Duchamp mounted between two panes of glass and haloed in concentric circles. The title of this work, which Duchamp said he “intended to sound like an oculist’s prescription,” tells the viewer exactly how to look at it. But peering through the convex lens embedded in the work’s glass “for almost an hour” would have a hallucinatory effect, the view being dwarfed, flipped, and otherwise distorted.
Meanwhile, the viewer who is patiently following the title’s instruction is put on display for anyone else walking by. Duchamp called To Be Looked At . . . his “small glass,” to distinguish it from his famous Large Glass of 1915–23. He made this work while living in Buenos Aires, Argentina, where he had fled earlier in 1918 to escape the oppressive atmosphere of the United States during World War I. When he shipped it back to New York, the glass cracked in transit, an effect that delighted the artist.
No matter how confident I ever am that I know most of the street level galleries in Chelsea, today I stopped it to the Heller Gallery on Tenth Avenue and asked how long they’d been open, since this was the first time I’d noticed them. The answer, which was quite unexpected, is that they’ve been at that location almost two years! How have I missed that? I have a few ideas.
What had initially sucked me in off the street was a collection of blown glass works in the window. When I stepped farther back into the gallery, however, my eyes were dazzled by this piece by artist Katherine Gray, entitled A Rainbow Like You (2015); an installation of blown glass, acrylic and lightning. I couldn’t help but think of the work of artist Dale Chihuly; specifically, in his Persian Ceiling Gallery, which is beyond breathtaking.
This work sells for $25,000.
Heller Gallery is Located at 303 10th Ave. (between 27th and 28th Streets) in the Chelsea Gallery District.
This Sculpture / Installation, Untitled (Night Train) (1989) by African-American artist David Hammons had just been re-rotated into display from the permanent collection at MOMA when I visited earlier this month, and I think it’s really terrific.
David Hammons has risen to prominence while at the same time consciously ducking the attention of critics, galleries and museums, preferring to “do things in the street.” A recipient of both a MacArthur Foundation Genius Award and a Pric de Rome, Hammons places himself as an artist between Arte Povera and Marcel Duchamp. He makes his art from refuse and the detritus of African-American life: chicken wings, Thunderbird and Night Train bottles, clippings from dreadlocks, basketball hoops, etc. Hammons‘ deeply felt political views on race and cultural stereotypes give his witty and elegant sculptures, installations, and body prints an integrity that promises to keep the focus on his art rather than on his career.
Crystal Star with Javelins, 1977, Glass and Steel (Photo By Gail)
Stars and Javelins are two reoccurring themes in the work of Italian sculptor, performance artist and conceptual artist Gilberto Zorio (Born 1944), who is an artist I admit I don’t know much about. I like the reflective qualities of this piece however, and the fact that it is a sculpture mounted on the wall, which is always fun. Crystal Star with Javelins is part of the permanent collection at the Museum of Modern Art in New York City.