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Download New Glass Review 19.Pdf The Corning Museum of Glass NewGlass Review 19 The Corning Museum of Glass Corning, New York 1998 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, daf3 sie inner- the 1997 calendar year. halb des Kalenderjahres 1997 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 E-mail: [email protected] All rights reserved, 1998 Alle Rechte vorbehalten, 1998 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-: 1-141-6 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 12 Some of the Best in Recent Glass 32 Bibliography/Bibliographie 40 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 86 Jury Statements Two kinds of people select pieces for the New Glass Review, people ^^wei Sorten von Menschen wahlen die Arbeiten fur die New Glass who make things and people who don't. The first group includes artists, Review aus: Menschen, die Dinge machen und Menschen, die keine craftspeople, and designers (frequently all in one); the second group machen. Zur ersten Gruppe gehoren Kunstler, Kunsthandwerker und consists of museum people, critics, and writers (also frequently all in Designer (oft alles in einer Person); die zweite Gruppe besteht aus Mu- one). Jurors from these two groups often have decidedly different view­ seumsleuten, Kritikern und Autoren (oft auch alles in einer Person). Ju- points - they come from different worlds. roren aus diesen beiden Gruppen haben oft entschieden unterschiedli- Looking back over the years, it seems to me that the people who che Standpunkte - sie kommen aus unterschiedlichen Welten. make things are more generous in their selections than those who Wenn ich auf die Jahre zuruckschaue, kommt es mir so vor, als ob die don't. (The famous art critic Clement Greenberg was an exception. He Menschen, die Dinge machen, in ihrer Auswahl groBzugiger sind als die, wanted to include just about everything.) I know that I am a source of die das nicht tun. (Der beruhmte Kunstkritiker Clement Greenberg war great frustration to my fellow permanent juror - Susanne Frantz, curator eine Ausnahme. Er wollte fast alles aufnehmen). Ich wei(3, daf3 ich eine of 20th-century glass at The Corning Museum of Glass - because I Quelle grofBer Frustration bin fur meine Dauerjurorkollegin - Susanne want to include all sorts of intriguing delights that do not meet her cura­ Frantz, Kuratorin fur Glas des 20. Jahrhunderts am Corning Museum of torial standards. I know this to be true because she moans when I make Glass - weil ich alle Arten kurioser Entzuckungen aufnehmen mochte, my selections. die nicht mit ihren Standards als Kuratorin ubereinstimmen. Ich weif3, And this is probably as it should be. Museums in our era are about daB das stimmt, weil sie stohnt wenn ich meine Entscheidungen treffe. "significance" when it comes to contemporary work. The curators spend Und das mufB vielleicht so sein. Museen in unserer Epoche legen their lives reading, looking, and comparing to discover the truly signifi­ Wert auf „Bedeutung" wenn es um zeitgenossische Kunst geht. Die cant. They have panoramic vision and magnificent memories. Nothing Kuratoren verbringen ihr Leben damit, zu lesen, zu gucken und zu ver- escapes them. (Susanne not only knows when my choice is insignifi­ gleichen, um das wahrhaft bedeutungsvolle zu entdecken. Sie haben cant, but she also knows that I chose a similar piece by the same per­ einen Panoramablick und groBartige Gedachtnisse. Nichts entgeht son three years ago.) ihnen. (Susanne weiB nicht nur wann meine Wahl bedeutungslos ist, Our co-juror David McFadden, chief curator at the American Craft sondern sie weiB auch, daB ich ein ahnliches Stuck von der gleichen Museum in New York City, also saw very few peaks from a very elevat­ Person vor drei Jahren gewahlt habe.) ed plane. For both of these distinguished curators, collecting is a pro­ Unser Co-Juror David McFadden, leitender Kurator am American fessional responsibility. They work for institutions whose function is to Craft Museum in New York City, sah von einer sehr erhohten Ebene survive us all. They choose for posterity. ebenfalls nur sehr wenige Spitzen. Fur diese beiden ausgezeichneten Lino Tagliapietra, the other visiting juror in 1998, had no trouble filling Kuratoren ist Sammeln eine Berufsverantwortung. Sie arbeiten fur Insti- his quota of choices. He is so much a part of the contemporary glass tutionen, deren Aufgabe es ist, uns alle zu uberleben. Sie wahlen fur die scene, so immensely knowledgeable (on a firsthand basis) about who Nachwelt aus. makes what, how, and where, that he epitomizes the present. With his Lino Tagliapietra, 1998 der andere Gastjuror, hatte keine Schwierig- perspective as a world-famous master of an ancient craft tradition, he keiten, seine Wahlquote zu erfullen. Er ist so sehr Teil der zeitgenossi- might be expected to have a strong bias. It was not evident, however, schen Glasszene, so immens darin bewandert (aus erster Hand) wer as his selection demonstrates. was macht, wie und wo, daB er die Gegenwart verkorpert. Mit seiner Lino teaches glassmaking, and I teach painting. We see people Perspektive als weltberuhmter Meister in einer alten Handwerkstradition struggling to master ideas and techniques, just as we keep struggling to konnte man meinen, sei er stark befangen. Das war nicht ersichtlich, do. It makes us empathize with those who really try. I cannot speak for was auch seine Auswahl demonstriert. Lino, but when I looked at the candidates for inclusion in this year's Lino lehrt Glasmachen, und ich lehre Malerei. Wir sehen Leute sich Review, I was struck as never before by the high degree of technical abmuhen, Ideen und Techniken zu meistern, genauso wie wir weiter competence, by the sheer amount of effort involved in so much of what darum ringen. Das befahigt uns in die einzufuhlen, die es richtig versu- flashed before us. Little of it may prove to be significant in historical chen. Ich kann nicht fur Lino sprechen, aber als ich mir die Kandidaten terms, but we did see a great deal of good work. I find it very difficult to fur die diesjahrige Review ansah, war ich wie noch nie beeindruckt von pass by anything made with care and knowledge by a gifted human dem hohen Niveau der technischen Kompetenz, durch die reine Menge being. But as New Glass Review jurors, we do it all the time. der Anstrengungen bei vielem was vor uns aufblitzte. Wenig davon mag For me, a retired glass museum person with bulging cupboards and unter historischen Gesichtspunkten von Bedeutung sein, aber wir ha­ enough clutter to make visits from grandchildren a high-risk delight, ben eine Menge guter Arbeiten gesehen. Ich finde es schwierig, etwas there is much to admire but little to desire. I look for the extraordinary beiseite zu legen, das mit Sorgfalt und Wissen von einem talentierten glass by the anonymous maker, a piece that is not about self-identity or Menschen gemacht wurde. Aber als New Glass Review Juroren tun wir self-expression or political sensitivity, but so good that I wonder who das die ganze Zeit. could have made it. This is less about collecting on either a professional Fur mich als Glasmuseumsperson im Ruhestand mit Schranken, die or a personal level than it is about interest. zum bersten voll sind, und genug Wirrwarr, um den Besuch von Enkeln There are pieces in this Review\ha\ delight and inspire, many of zu einem auBerst riskanten Vergnugen zu machen, gibt es viel zu be- which I would just like to see and to hold. I no longer have any idea of wundern aber wenig zu verlangen. Ich suche nach dem auBergewohnli- how significant they may prove to be, but I can imagine the private chen Glas von einem anonymen Macher, ein Stuck, bei dem es nicht pleasure they would give me. Hikari Ando's tazza Aki no Oiwai (2) is um die eigene Identitat oder Selbstdarstellung oder politisches Gespur such a piece. Like a pastry in a window, it looks enriching. Blaise Camp­ geht, das aber so gut ist, daB ich mich frage, wer es gemacht haben bell's Strange Fruit (10) suggests the futility of leg lifts to a mosaic- konnte. Das hat wenig mit Sammeln, weder auf einer professionellen crusted yam with which I feel a strong personal identity. Some pieces noch einer personlichen Ebene zu tun, als mit Interesse. are just so puzzling that they hold a siren-like allure. Giselle Courtney's Es gibt Stucke in dieser Review, die entzucken und inspirieren, viele Anemone (16) is such a piece for me. When it comes to curious charm, davon wurde ich gerne sehen und anfassen. Ich habe keine Idee mehr the beaded blonde in JoAnn Feher's Let Down Your Golden Hair (22) wie bedeutungsvoll sie sich erweisen konnten, aber ich kann mir das intrigues like the story it reflects. The search for significance in glass private Vergnugen vorstellen, das sie mir geben wurden. Hikari Andos tends to denigrate humor, which is a shame. Wit can be as enduring as tazza Aki no Oiwai (2) ist solch ein Stuck.
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