 
|
|
|
|
|
|
Advance Exhibition Information Michael Glancy: Infinite ObsessionsMay 5 –July 15, 2011NEW YORK – Barry Friedman Ltd. is pleased to present, “Infinite Obsessions”, a solo exhibition of glass and metal sculptures by the contemporary American artist Michael Glancy. This will be Glancy’s first solo show in almost five years and his largest to date, including more than 35 new works. Accompanying the show, and covering the last 15 years of the artist’s work, is a 228-page, full-color book published by Arnoldsche Art Book Publishers, Germany and Barry Friedman Ltd, featuring an interview by Tina Oldknow, Curator of Modern Glass at the Corning Museum of Glass. The catalogue will be available through the gallery for $75.00. The exhibition will open with a reception for the artist on Thursday May 5, 2011 from 6:00-8:00pm, and will be on view through July 15, 2011. Extraordinary and elegant in quality and beauty, Michael Glancy’s sculptures reveal the artist’s exacting struggle towards perfection. Drawing inspiration from natural macro- and micro- environments, Glancy translates cellular landscapes into elegant jewel-toned sculptural objects. Made with blown and plate glass, copper, bronze, silver, and gold, his works reference science, biology, molecular physics, and mathematics. Glancy’s process of electroforming metal and glass is both magical and scientific, so much so that Glancy walks a fine line between alchemy and art. The hand-carved surface details – intricate and complex – are extraordinary in skill. “The fun part for me,” Glancy states, “is the meticulous work. With a pair of visors that cuts my reality, really tunnels my reality down into a different plane, [I can get] into a micro area. By occupying my hands, it frees my mind.” Glancy’s vessels are organic and undulating, suggesting elements of topography. His base plates in contrast, flat and angular, suggest latitude and longitude. Tina Oldknow explains, “The finished objects—elegant, self-assured vessels grounded on a field, or base plate—to me have the demeanor of a figure in a landscape.” Critic William Warmus explains, “Michael Glancy magnifies nature in order to reveal its underlying structure. He uses electron microscopes to inspect the eyes of insects; geology inspires him with its stratifications and crystallizations; and the vortex of randomness and chaos theory not only fails to intimidate him, but provides a template for much of his work. Glancy’s two-dimensional sketches contain his musings on all of these matters, and he has found that sketching on glass is best suited to his ambitions. These become the flat glass panels that form sculptural bases for his artworks, and their structures unfold into and inspire the vessels that sit astride them.” Michael Glancy’s work is represented in the permanent collections of museums worldwide including the Carnegie Museum of Art, Pennsylvania; The Chrysler Museum, Virginia; The Cleveland Museum of Art, Ohio; The Corning Museum of Glass, New York; Detroit Institute of Art, Michigan; Ebeltoft Glass Museum, Denmark; de Young Museum, Fine Arts Museums of San Francisco, California; French Ministry of Culture, Fond National d'Art Contemporain, France; Hokkaido Museum of Modern Art, Japan; Indianapolis Museum of Art, Indiana; Los Angeles County Museum of Art, California; Metropolitan Museum of Art, New York; Musée de Design et d’Arts Appliques/Contemporains, Switzerland; Musée des Arts Décoratifs, Paris; Museum of Art and Design, New York; Museum of Fine Arts, Houston,Texas; National Museum of American History, Smithsonian Institution, Washington, DC; Philadelphia Museum of Art, Pennsylvania; Toledo Museum of Art, Ohio; Victoria and Albert Museum, London. Michael Glancy was born in 1950 in Detroit, Michigan. He has been the recipient of numerous awards including a National Endowment for the Arts Fellowship and has lectured extensively in the U.S. and abroad. He received a B.F.A. from the University of Denver in 1973 and went on to study with Dale Chihuly at the Rhode Island School of Design where he earned an additional B.F.A. and an M.F.A. Glancy is currently on the faculty of the Metals Department at RISD. For visuals or more information, please contact Carole Hochman at 212-239-8600.
Advance Exhibition Information Michael Glancy: Periodic EquilibriumNovember 2 through December 23, 2006Barry Friedman Ltd. is pleased to present “Periodic Equilibrium,” a solo exhibition of new works by Michael Glancy. This exhibition of more than 25 glass and metal objects, the artist’s largest exhibition of work to date, comprises more than 2½ years of work. Elegant and exceptional in their quality and beauty, Glancy’s sculptures reveal the artist’s exacting struggle towards perfection. Drawing inspiration from microscopic landscapes, Glancy translates cellular structure into elegant sculptural objects. The grid lines etched into the glass vessels and base plates suggest latitude and longitude, while the organic and undulating vessels allude to topography. Glancy’s algebraic artistry explores the vertical form in relation to a horizontal plane. Michael Glancy’s work is currently featured at the Los Angeles County Museum in “Glass--Material Matters,” on view through December 10. In an essay for the exhibition catalogue, Curator of Contemporary Art Howard N. Fox writes, “Michael Glancy would not be properly described as a conceptual artist, but his intricately materialist art is centered in scientific and philosophical concepts, as evinced by references in the titles of his works to biology, molecular physics, astronomical bodies, relativity, mathematics, and infinitude. The works themselves incorporate blown and plate glass, copper, bronze, silver and gold, and on occasion stone, such as black granite. He fuses these materials in a process known as electroforming, in which a high-voltage charge is passed through them. The strongly transformative process, together with his scientific interests, seems to position his creations within the practice of alchemy—at the intersection of physics and metaphysics—as much as in the domain of art. The forms he creates possess an ineffable, cosmic aura. … In the poetry of Glancy’s art there is always the impression of a momentous cosmological event or potential, perhaps the moment before the Creation or the Big Bang. Critic William Warmus explains, “Michael Glancy magnifies nature in order to reveal its underlying structure. He uses electron microscopes to inspect the eyes of insects; geology inspires him with its stratifications and crystallizations; and the vortex of randomness and chaos theory not only fails to intimidate him, but provides a template for much of his work. Glancy’s two-dimensional sketches contain his musings on all of these matters, and he has found that sketching on glass is best suited to his ambitions. These become the flat glass panels that form sculptural bases for his artworks, and their structures unfold into and inspire the vessels that sit astride them. It is as if the two-dimensional universe had unfolded and warped itself into three dimensions.” For visuals and more information, please call:
|
||
)
view full article