NICHOLAS AUEN Born: 1982, San Diego, CA Education: 2016 B.A. Art

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NICHOLAS AUEN Born: 1982, San Diego, CA Education: 2016 B.A. Art History, Arizona State University, Phoenix, AZ 2008 Ringling College of Art and Design, Sarasota, FL, specialized study in glass 2007 Pilchuck Glass School, Stanwood, WA 2004 Palomar College, San Marcos, CA Exhibitions: 2016 Art Market San Francisco, Scott Richards Contemporary Art, San Francisco, CA Residency: 2009 Bernis Center, Omaha, NE Teaching: 2006-pres Private teaching in glass blowing, casting, and new techniques in glass art 2009 Teaching assistant, Fresno State University, Fresno, CA Teaching Assistant, Ringling College of Art and Design, Sarasota, FL 2008 Taught inner city primary school children how to blow glass and use art as a way to express their thoughts, Year in Glass, Pittsburgh, PA Nicholas Auen’s professional career began when he was 19 years old, studying under the artist Therman Statom. While working with Therman, he developed skills in glass blowing, painting, ceramics and metallic materials. With Therman’s guidance, he was also able to study with many other established artists, such as Martin Blank, Dale Chihuly, Dante Marioni, Jun Kaneko, Karen LaMonte and others. Working with these diverse artists strengthened Auen’s desire to create art that conveys messages through multiple mediums. Auen has conceived and built and countless private and public projects. He has demonstrated glass blowing, painting and art therapy to more than 1000 students nationwide and hundreds of students in Europe. Auen’s gallery exhibition history debuts in 2016 with Scott Richards Contemporary Art at the San Francisco Art Market art fair. His current series, Envisage, focuses on the use of negative shapes cut out of thick aluminum plates. .

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An Artists' Resume
DANTE MARIONI Selected Museum Collections The White House Collection of American Crafts, Washington, DC Tacoma Art Museum, Tacoma, WA Seattle Art Museum, Seattle, WA Corning Museum of Glass, Corning, NY Los Angeles County Museum of Art, Los Angeles, CA The Museum of Art and Design, New York, NY Smithsonian American Art Museum Renwick Gallery, Washington, DC Carnegie Museum of Art, Pittsburgh, PA Birmingham Museum of Art, Birmingham, AL Chrysler Museum of Art, Norfolk, VA Cincinnati Art Museum, Cincinnati, OH Columbia Museum of Art, Columbia, SC The Museum of Fine Arts, Houston, TX Hunter Museum of American Art, Chattanooga, TN Racine Art Museum, Racine, WI Vero Beach Museum of Art, Vero Beach, FL Huntsville Museum of Art, Huntsville, AL Mint Museum of Craft and Design, Charlotte, NC Mobile Museum of Art, Mobile, AL Suffolk Center for Cultural Arts, Suffolk VA New Orleans Museum of Art, New Orleans, LA Philadelphia Museum of Art, Philadelphia, PA Whatcom Museum, Bellingham, WA Washington State University’s Museum of Art, Pullman, WA University of Miami’s Lowe Art Museum, Miami, FL Western Washington University, Bellingham, WA University of Missouri’s Museum of Art and Archaeology, Columbia, MO Stanford University’s Iris & Gerald Cantor Center for Visual Arts, Stanford, CA Arizona State University’s Art Museum, Tempe, AZ Montreal Museum of Fine Arts, Quebec, Canada Victoria and Albert Museum, London, England Scottish National Gallery, Edinburgh, Scotland Ebeltoft Glass Museum, Ebeltoft, Denmark National Museum if Fine Arts, Stockholm, Sweden
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Dale Chihuly | Chronology
Dale Chihuly | Chronology 1941 Born September 20 in Tacoma, Washington, to George Chihuly and Viola Magnuson Chihuly. 1957 Older brother and only sibling, George, dies in a navy flight-training accident in Pensacola, Florida. 1958 His father suffers a fatal heart attack at age fifty-one, and his mother has to go to work. 1959 Graduates from high school in Tacoma. Enrolls at College of Puget Sound (now University of Puget Sound) in his hometown. 1960 Transfers to University of Washington in Seattle, where he studies interior design and architecture. 1961 Joins Delta Kappa Epsilon fraternity and becomes rush chairman. Learns to melt and fuse glass. 1962 Interrupts his studies and travels to Florence to focus on art. Frustrated by his inability to speak Italian, he moves on to the Middle East. 1963 Works on a kibbutz in Negev desert, Israel. Reinspired, returns to University of Washington and studies under Hope Foote and Warren Hill. In a weaving class with Doris Brockway, incorporates glass shards into woven tapestries. 1964 Returns to Europe, visiting Leningrad and making the first of many trips to Ireland. 1965 Receives BA in interior design from University of Washington. In his basement studio, blows his first glass bubble by melting stained glass and using a metal pipe. 1966 Earns money for graduate school as a commercial fisherman in Alaska. Enters University of Wisconsin at Madison on a full scholarship, to study glassblowing in the first glass program in the United States, taught by Harvey Littleton. 1967 After receiving MS in sculpture from University of Wisconsin, enrolls at Rhode Island School of Design (RISD) in Providence, where he begins exploration of environmental works using neon, argon, and blown glass.
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Community Art Grade K – Chihuly-Inspired Macchia
Grade K – Chihuly-inspired Macchia Community Art What do you see? Macchia ceiling at the Chihuly Garden and Glass Museum in Seattle Artistic Focus: Community Art COMMUNITY ART is an artistic activity based in a community setting, emphasizing collaboration. Today’s objectives: 1. For each student, using colored markers and water, to create a “macchia” or spot of color reminiscent of Dale Chihuly’s colorful glass work. 2. To allow students to observe what happens when colors mix together. 3. To combine all of the students’ individual pieces into a larger work that will represent a kaleidoscope of colors. WA State Visual Arts Standard Engage in exploration and imaginative play with materials. (VA: Cr1.1.K) Macchia ceiling by Dale Chihuly Dale Chihuly • Local, Seattle artist • Born in 1941 in Tacoma, Washington • Learned how to melt and fuse glass in 1961 • Began glassblowing in 1965 • Chihuly's art can be found all around the world in private and public settings • Chihuly’s Garden and Glass museum stands right next to the Space Needle at Seattle Center Artwork Light shining through the macchia ceiling at the Chihuly Garden and Glass Museum in Seattle Artwork Three individual macchia pieces at the Chihuly Garden and Glass Museum in Seattle Artwork Macchia hung under the glass ceiling at the Chihuly Garden and Glass Museum in Seattle Materials Basket coffee filters, white Crayola markers, in any color except black or brown Paper towels Spray bottles for water Plastic cups for Optional: Starch, drying the macchia Rubber bands Example of Today’s Project Before You Begin • Write your name very small in pencil near the edge of your coffee filter.
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Vol. 23, No. 8 August 2019 You Can’T Buy It
ABSOLUTELY FREE Vol. 23, No. 8 August 2019 You Can’t Buy It As Above, So Below Artwork is by Diane Nations and is part of her exhibit Under the Influence of Jung on view at Artworks Gallery in Winston-Salem, North Carolina through August 31, 2019. See the article on Page 28. ARTICLE INDEX Advertising Directory This index has active links, just click on the Page number and it will take you to that page. Listed in order in which they appear in the paper. Page 1 - Cover - Artworks Gallery (Winston-Salem) - Diane Nations Page 3 - Ella Walton Richardson Fine Art Page 2 - Article Index, Advertising Directory, Contact Info, Links to blogs, and Carolina Arts site Page 5 - Wells Gallery at the Sanctuary & Halsey MCallum Studio Page 4 - Redux Contemporary Art Center & Charleston Artist Guild Page 6 - Thomas Dixon for Mayor & Jesse Williams District 6 Page 5 - Charleston Museum & Robert Lange Studios Page 7 - Emerge SC, Helena Fox Fine Art, Corrigan Gallery, Halsey-McCallum Studio, Page 6 - Robert Lange Studios cont., Ella Walton Richardson Fine Art & Rhett Thurman, Anglin Smith Fine Art, Halsey Institute of Contemporary Art, Lowcountry Artists Gallery The Wells Gallery at the Sanctuary & Saul Alexander Foundation Gallery Page 9 - Lowcountry Artists Gallery cont. & Halsey Institute / College of Charleston Page 8 - Halsey Institute / College of Charleston Page 10 - Halsey Institute / College of Charleston & Art League of Hilton Head Page 9 - Whimsy Joy Page 11 - Art League of Hilton Head cont. & Society of Bluffton Artists Page 10 - Halsey Institute
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The Influence of Lino Tagliapietra
FOR IMMEDIATE RELEASE CONTEMPORARY GLASS AT INAUGURAL SILICON VALLEY ART FAIR: THE INFLUENCE OF LINO TAGLIAPIETRA Media Inquiries: Thursday, April 10-Sunday, April 13, 2014 at Silicon Valley Contemporary Art Fair Kristin Carlson McEnery Convention Center in San Jose, California | Schantz Galleries Booth #410 Think All Day 505-501-2497 [email protected] SAN JOSE, CA—Schantz Galleries (Stockbridge, Massachusetts) is pleased to present new work by five top contemporary glass artists at the first annual Silicon Valley Contemporary Art Fair, April 10-13, 2014, Booth #410, McEnery Convention Center in San Jose, California. The work of Lino Tagliapietra, Dante Marioni, John Kiley, David Walters, and Giles Bettison demonstrates that the intersection between technology and art precedes the digital age; cutting-edge science and innovative expression have long been synthesized in the discipline of glassmaking. Each of these artists has mastered and pushed the boundaries of traditional techniques, and achieved important advances in this time-honored art form. Italian glass maestro Lino Tagliapietra is acknowledged worldwide as one of the most influential glassmakers of our time; the other four artists in this exhibition have each studied and worked with Tagliapietra, and the broad scope of his influence in the field of glass art is evident in the far-reaching facets of their careers. Lino Tagliapietra, Africa, 2013, blown glass, 10.25 x 19.25 x 19.25.” Photo by Russell Johnson. LINO TAGLIAPIETRA: MAESTRO. Celebrating his 80th birthday this year, Lino Tagliapietra is one of the world’s most accomplished artists working with glass today. Tagliapietra has been an independent glass artist since 1989, exhibiting in museums internationally, receiving countless honors, openly sharing his extensive knowledge of the medium and his skill as one of its finest practitioners, and helping to create a new renaissance in studio glassmaking.
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Press Release, P
1 Contacts: Karen Frascona Amelia Kantrovitz 617.369.3442 617.369.3447 [email protected] [email protected] MUSEUM OF FINE ARTS, BOSTON, ANNOUNCES MAJOR GIFT OF CONTEMPORARY CRAFT FROM DAPHNE FARAGO COLLECTION BOSTON, MA (January 18, 2013)— The Museum of Fine Arts, Boston (MFA), announces a gift of 161 works from longtime supporter Daphne Farago — the Museum’s largest-ever gift of contemporary craft across a range of media. These 20th- and 21st-century works are among the finest examples of studio craft and represent objects by notable artists, such as fiber artists Anni Albers and Sheila Hicks, sculptor Robert Arneson, glass artist Dale Chihuly, and furniture maker John Cederquist. The gift includes works of fiber (94), ceramics (24), glass (19), turned wood/carvings (11), metal (5), furniture (4), jewelry (2), Structure No. 18: Theory of Lift, basketry (1), and folk art (1). The largest donor of contemporary craft in the Jeanette Marie Ahlgren, 1994 Museum’s history, Mrs. Farago has transformed the MFA’s collection with gifts totaling nearly 950 objects to the Museum in her lifetime. Other significant donations to the MFA by Mrs. Farago include the 2006 gift of more than 650 pieces of contemporary jewelry and the 2004 gift of more than 80 works of contemporary fiber art created by the late Edward Rossbach and Katherine Westphal. "These works illustrate Daphne Farago's vision as a collector — they are part of her personal collection and represent some of the finest, most intellectually and technically ambitious creations in these areas," said Malcolm Rogers, Ann and Graham Gund Director of the MFA.
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Download New Glass Review 15
eview 15 The Corning Museum of Glass NewGlass Review 15 The Corning Museum of Glass Corning, New York 1994 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, daB sie inner- the 1993 calendar year. halb des Kalenderjahres 1993 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 Telephone: (607) 937-5371 Fax: (607) 937-3352 All rights reserved, 1994 Alle Rechte vorbehalten, 1994 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland Standard Book Number 0-87290-133-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Library of Congress 81-641214 unter der Nummer 81 -641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstlerlnnen und Objekte 10 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 58 etztes Jahr an dieser Stelle beklagte ich, daB sehr viele Glaskunst- Jury Statements Ller aufgehort haben, uns Dias zu schicken - odervon vorneherein nie Zeit gefunden haben, welche zu schicken. Ich erklarte, daB auch wenn die Juroren ein bestimmtes Dia nicht fur die Veroffentlichung auswahlen, alle Dias sorgfaltig katalogisiert werden und ihnen ein fester Platz in der Forschungsbibliothek des Museums zugewiesen ast year in this space, I complained that a large number of glass wird.
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Dale Chihuly
Dale Chihuly Born September 20, 1941, Tacoma, WA EDUCATION 1968 M.F.A., Rhode Island School of Design, Providence, RI 1967 M.S., University of Wisconsin, Madison, WI SELECTED SOLO EXHIBITIONS 2016 Chihuly in the Garden, Atlanta Botanical Garden, Atlanta, GA Chihuly Drawings, Wichita Art Museum, Wichita, KS Chihuly, Royal Ontario Museum, Toronto, Ontario, Canada 2015 Chihuly Drawings, Museum of Glass, Tacoma, WA Chihuly in the Garden, Chrysler Museum of Art, Norfolk, VA Glass Art Garden, Toyama Glass Art Museum, Toyama, Toyama, Japan Ulysses Cylinders, Vassar College, Dutchess County, NY 2014 Chihuly, Arthur Roger Gallery, New Orleans, LA Chihuly, Clinton Presidential Center, Little Rock, AR Chihuly, Denver Botanic Gardens, Denver, CO Ulysses Cylinders, Dublin Castle, Dublin, Ireland Chihuly at Fairchild, Fairchild Tropical Botanic Garden, Coral Gables, FL 2013 Chihuly Venetians: From the George R. Stroemple Collection, Paine Art Center and Gardens, Oshkosh, WI Chihuly: Tradition and Transformation, Jundt Art Museum, Gonzaga University, Spokane, WA Chihuly, Montreal Museum of Fine Arts, Montreal, Quebec, Canada Irish Cylinders, Museum of Glass, Tacoma, WA Chihuly in the Garden, Desert Botanical Garden, Phoenix, AZ 2012 Chihuly Venetians: From the George R. Stroemple Collection, Foothills Art Center, Golden, CO Chihuly at the Dallas Arboretum, Dallas Arboretum and Botanical Garden, Dallas, TX Origins: Early Works by Dale Chihuly, Museum of Glass, Tacoma, WA Chihuly Garden and Glass, Chihuly Garden and Glass, Seattle, WA Chihuly Venetians: From the George R. Stroemple Collection, Kimball Art Center, Park City, UT Chihuly at the VMFA, Virginia Museum of Fine Arts, Richmond, VA 2011 White, Arthur Roger Gallery, New Orleans, LA Dale Chihuly’s Northwest, Tacoma Art Museum, Tacoma, WA Chihuly: Through the Looking Glass, Museum of Fine Arts Boston, Boston, MA Chihuly Venetians: From the George R.
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Playing with Fire: 50 Years of Contemporary Glass November 6, 2012 to April 7, 2013
TEACHER RESOURCE PACKET Playing with Fire: 50 years of Contemporary Glass November 6, 2012 to April 7, 2013 Sandy Skoglund Breathing Glass, 2000 Cibachrome photograph 44 3/4 x 57 5/8 in. (113.7 x 146.4 cm) Gift of the artist, 2004 WELCOME Dear Educator, We are delighted that you have scheduled a visit to Playing With Fire, 50 Years of Contemporary Glass. When you and your students visit the Museum of Arts and Design, you will be given an informative tour of the exhibition with a museum educator, followed by an inspiring hands- on project that students can take home with them. To make your museum experience more enriching and meaningful, we strongly encourage you to use this packet as a resource, and work with your students in the classroom before and after your museum visit. This packet includes topics for discussion and activities intended to introduce the key themes and concepts of the exhibition. We have suggested writing, storytelling, and art projects so that you can explore ideas from the exhibition in ways that relate directly to your students’ lives and experiences. Please feel free to adapt and build on these materials and to use this packet in any way that you wish. We look forward to welcoming you and your students to the Museum of Arts and Design. Sincerely, Cathleen Lewis Manager of School, Youth and Family Programs [email protected] Lessons written by Swati Khurana and Natalia Nakazawa, Museum Educators, in collaboration with the Museum of Arts and Design Education Department. 1 TABLE OF CONTENTS WELCOME 1 THE MUSEUM OF ARTS AND DESIGN 3 HELPFUL HINTS FOR YOUR MUSEUM VISIT 4 Playing With Fire 50 years of Contemporary Art INTRODUCTION 5 THEMES FOR DISCUSSION / RECURRING QUESTIONS 7 LIGHT AND LIGHTNESS ICONS AND STORYTELLING FIGURE AND SHAPES FORM AND FUNCTION GLOSSARY 22 WEBOGRAPHY 23 2 THE MUSEUM OF ARTS AND DESIGN has been functioning as an international resource center for craft, arts, and design since 1956.
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Process & Presence
ProCeSS & PreSenCe: Selections from the Museum of Contemporary Craft March 15-July 4, 2011 hroughout history, hand skills Most inDiviDuals now learn craft processes and the ability to make things have been in academic environments, rather than within necessary for human survival. Before the the embracing context of ethnic or other cultural advent of industrial mechanization and traditions. The importance of individual expression the dawn of the digital age, all members of and experimentation has caused the contemporary Tany given community were craftspeople. Everything craft world to come alive with innovation and ever- that was necessary for life—clothing, tools and home changing interpretations of traditional styles, objects furnishings—was made by hand. In America, diverse and techniques. In recent years, the hallowed and populations—Native peoples, immigrant groups and often contentious ideological separation of fine art and regional populations—have preserved and shared craft has begun to ease. Some craft artists have been ancient and evolving traditions of making functional embraced by the fine art community and included in objects for everyday use. the academic canon. Many colleges and universities During the twentieth century, the mass now incorporate crafts education into their overall arts production of utilitarian wares removed the need for curricula and work by studio craft artists routinely functional handmade objects from modern society. appears in art galleries and art museums. This ultimately gave rise to the studio craft movement. PortlanD’s MuseuM of contemporary craft Unlike traditional crafts, studio crafts include visual has long been an important proponent of the studio values as a primary function of creative expression.
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Download New Glass Review 21
NewG lass The Corning Museum of Glass NewGlass Review 21 The Corning Museum of Glass Corning, New York 2000 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, dass sie in- the 1999 calendar year. nerhalb des Kalenderjahres 1999 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass please contact: Review konnen angefordert werden bei: The Corning Museum of Glass Buying Office One Corning Glass Center Corning, New York 14830-2253 Telephone: (607) 974-6479 Fax: (607) 974-7365 E-mail: [email protected] All rights reserved, 2000 Alle Rechte vorbehalten, 2000 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland Standard Book Number 0-87290-147-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Library of Congress 81-641214 unter der Nummer 81-641214 Table of Contents/In halt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstlerlnnen und Objekte 16 1999 in Review/Ruckblick auf 1999 36 Bibliography/Bibliografie 44 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 73 Jury Statements Here is 2000, and where is art? Hier ist das Jahr 2000, und wo ist die Kunst? Although more people believe they make art than ever before, it is a Obwohl mehr Menschen als je zuvor glauben, sie machen Kunst, "definitionless" word about which a lot of people disagree.
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Mu Useum M Ove Erview W
1701 Pacific Avenue Tacoma Washington 98402 T.253.272.4258 F.253.627.1898 www.TacomaArtMuseum.org Museum Overview Curriculum Guide MUSEUM OVERVIEW Join a museum educator for an introduction to the museum and a brief overview of each current exhibition (approximately an hour in length), followed by self-guided time in areas of interest. SCHOOL TOUR INTRODUCTION Each tour is led by knowledgeable museum volunteer educators who engage students in a conversation-based gallery visit utilizing Visual Thinking Strategies. HOW TO USE THIS CURRICULUM The curriculum guide includes sample images, pre- and post-visit lessons plans, background information, lesson plans, extension activities, and other resources to help you integrate the museum experience into your classroom curriculum – lessons may also be modified to be used independently of a museum visit. Grade levels are suggested for each lesson; however, teachers may adapt the lessons to other grade levels as appropriate. PRE- AND POST-VISIT LESSONS To ensure a successful and informative museum visit, pre-visit lessons are created to prepare your students for their museum visit. After your museum visit, use the post-visit exercises to help reinforce your students’ museum experience and the concepts and information addressed during the tour and art activity. Each lesson is designed to correspond to Essential Academic Learning Requirements (EALRs) and Common Core State Standards (CCSS). CONFIRMATION PACKET Please be sure to review the confirmation letter you received when you booked your school tour. The confirmation packet includes directions and parking instructions, and information about obtaining a free museum pass so that you may familiarize yourself with the exhibition content and the layout of the museum prior to your school tour.
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