“Cosa vuol dire amare il vetro?” (What does it mean to love glass?) For Lino, to love glass is also to love life.
STOCKBRIDGE, MA: Schantz Galleries proudly presents an exhibition of works by Maestro Lino Tagliapietra, whose spirit of adventure, risk and learning drives him to push the medium of glass and test the seemingly boundless limits of his skill. His intricate work in filigrana, murrini, reticello, zanfirico, incalmo, and aventurine prove him to be a master of glass techniques and a creator of transcendent art experiences.
Lino with Medusa, 2006, at Schantz Galleries.
Glass is deeply ingrained in Lino Tagliapietra; his astonishing body of work both chronicles his life and transcend his personal journey. They are artful illuminations of the myriad elements that make all our lives so full. From the tangible—things like colors, places, and animals, to the intangible—ideas like balance, strength, fragility, passion, whimsy, and freedom. Lino has said that “an exhibition is a long process made of life experiences.… Every object represents something I would like to be, like a tree that has many roots. It is crucial to recognize Lino—the tree—in each object.” Like the roots of a tree, the works by Lino in this exhibition unfurl in many directions, all the while retaining the quintessential qualities of their creator.
Lino with Florencia, 2018. Click to view additional works currently on exhibition.
Recent works include the Florencia series, symbolizing the energy and exuberance of the Florentine culture. Few artists possess Lino’s skill at translating the essence of a place into a piece of glass. Fiery flames lick up the sides of Etna. Africa’s organic color palette adorns a basket-like vase. Urban sprawl and a mountainous backdrop form the minimalist decoration of Tapiei, and the magnificent peak of Fuji emerges from rings of evocatively colored glass.
Lino brings this characteristic expressiveness to his interpretation of animals. The curved ellipse of the belly of the Oca (Goose) supports the bird’s trumpeting neck. The humble Chiocciola (Snail) adorns a delicately balanced ovoid of clear glass. Boisterous patterns cover the powerful Fenice works, whose necks pull into long and impossibly curved forms.
When Lino Tagliapietra thinks about the meaning of his work, he must invariable think about the meaning of his life. He asks himself: Cosa vuol dire amare il vetro? (What does it mean to love glass?) For Lino, to love glass is also to love life. It means to embrace the harmonious elements of life that are so uniquely reflected in glass. It means to communicate this reverence and spread joy through beautiful works of art.
Lino and Lina looking into Celtica, 2018.
View the catalog online!
Raven Skyriver | featured June 2-16 2018 | Nature in Glass | A Delicate Balance |
“Raven Skykriver’s glass sculptures immerse us in nature, allowing us to contemplate our mortality and encouraging us to change our way of being in the world.”
Raven Skyriver also brings awareness to the fragility of the ecosystem and the risk of endangerment in his breathtaking glass animals. Icons of the Pacific Northwest such as whales, tortoises, seals, and salmon feature prominently in his vocabulary, along with ancient shelled creatures and undulant octopuses. He expertly manipulates glass to express different textures—soft mat seal fur, rough patchy tortoise skin, glistening chromatophore’s cells, iridescent carapaces. Skyriver’s glorious creatures capture a panoply of forms and colors as diverse as marine life itself.
Raven Skyriver, Descent,2017, Off hand sculpted glass, 30 x 13 x 35″
Though Skyriver consults reference books and deliberately plans the shapes and coloration of each sculpture to achieve naturalistic accuracy, he also distills each creature to its essence and relishes the whimsical accidents of glass that can augment a piece. Skyriver suggests swimming bodies in their native marine habitat by giving the sculptures fluid movements reminiscent of real life—stretched necks and expansive flippers pushing through the water, arcing backs diving under the surface, waving tentacles riding the ripples.
Raven Skyriver, Adrift, 2017, Off hand sculpted glass, 27 x 29 x 20″
The inherent viscosity of glass, its ability to morph in shape and color, and its seeming weightlessness as light filters through and around it, make it the ideal instrument for Skyriver. Though he originally did functional pieces in the traditional Venetian style, it is through working with glass that he has found his artistic voice. For him, there is great joy in making beautiful renditions of animals, bringing awareness to, and helping safeguard, the creatures with whom we share our planet. There is also great passion for both the medium of glass, an intriguing substance with many characteristics to learn and cultivate, and the process of glassmaking, a team effort that allows him to collaborate with creative talents.
Leviathan, 2018, Off hand sculpted glass 38 x 9 x 24″
Raven Skykriver’s glass sculptures immerse us in nature, allowing us to contemplate our mortality and encouraging us to change our way of being in the world. Humans cannot halt, but in fact will eventually be folded into, the inevitable circle of life. But humans do have a choice if they want to be forces of destruction or agents of preservation.
Chinlook 2018 (detail), off hand sculpted glass. 30 x 8 x 19”
Master of Beauty | Lino Tagliapietra
To behold Lino Tagliapietra’s glass art is to perceive pure beauty, inspired by the magnificence of the artist’s surroundings, travels, and experiences. In his 1753 volume Analysis of Beauty, English painter and writer William Hogarth (1697-1764) laid out the six principles that affect our perception of beauty: fitness (fitting parts of a whole elegantly together); variety (blending shapes and colors harmoniously); uniformity (balancing symmetry with shifting perspectives); simplicity (discarding superfluous elements); intricacy (leading the eye with thoughtful composition); and quantity (inspiring awe through grandness). Hogarth’s ground-breaking tome also described the serpentine “line of beauty,” an s-shaped curve used in art that awakens the viewer and is pleasing to behold. Flawlessly orchestrating all six of Hogarth’s tenets and deftly employing the “line of beauty,” each work by Tagliapietra beguiles the viewer, transporting them to a place of unadulterated grace.
The Fenice series epitomizes the lively allure of the curving line. Impossibly elongated pulls of glass twist dynamically through the air. Hot reds give way to fiery oranges, which cool to deep blues, manifesting the myriad colors of flame as the glass phoenix rises. The interplay of curves in the installation of three Fenice works reveals myriad expressions as the viewer moves around the piece. Equally in the Dinosaur works, a sense of infinity defies their physical boundaries. The magnificence of the extinct beasts are expressed, softened through graceful bends in their necks and modernized through the graphic patterns of the glass. A repetition of circles plays delightfully against the kaleidoscopic swathes of color that surround the surfaces.
The graceful arcing forms of the Forcola works are also enhanced by undulating layers of design. Concentric circles—in some cases from a single color family, in others from complimentary hues—stretch like taffy to reveal the exquisite patterns inlaid in the glass. So named because their shape artfully recalls the rowlocks of Venetian gondolas, the Forcola works—like so many by Tagliapietra—expressively celebrate a place of affection for the artist.
Geography has had a considerable influence on the artist, who has traveled the world extensively to work and teach; each location leaves its mark on his soul and in his work. Recalling woven African baskets in form and pattern, the globular Africa vase sits nimbly on a narrow foot and revels in a vibrant, jewel-like palette. Rippled “lines of beauty” wind their way up the vase in both directions, culminating in a vivid blue lip of gently waving canes. The rolling swells of a sand dune are captured in the intricate Sahara, its amber coloring punctuated by an azure oasis. Like the blue sea that gives way to the volcano for which they are named, the Stromboli works erupt with cascading cerulean lava, punctuated by frenetic green swirls and daubs of crimson.
Just as Tagliapietra brings a unique perspective to the places he visits by rendering them abstractly in glass, so he brings his forward-looking ideology to artistic traditions. A long-lost glass making technique using avventurine glass is reborn in Tagliapietra’s hands. In a triumph of alchemy, suspended metal in the glass infuses the material with shimmering luster. Hogarth wrote that “simplicity gives beauty even to variety.” In the Avventurine works, minimal and classical shapes are brilliantly juxtaposed with a mosaic of swirling, sparkling designs.
Whether by the 18th century standards of a thinker like Hogarth, or by modern codes, Lino Tagliapietria is a master of beauty. To combine centuries-old traditions with contemporary explorations of the medium, to pay homage to the intimate places he knows and the faraway worlds he has visited, and to do so with such an inherent understanding of what makes things beautiful—this is a true gift. Tagliapietra’s sumptuously articulated forms and dazzling designs are masterfully balanced yet playful. A “line of beauty” unfurls in front of our eyes in each work and in the body of work as a whole.
Chihuly Gifts Artwork at Tacoma’s Union Station
Chandelier and the Monarch Window at Union Station
Now more than ever, we feel compelled to find and celebrate the good in order to stay hopeful. We are very excited to share the news with you that in late January 2017, Dale and Leslie Chihuly gifted artwork at Union Station (Tacoma, Washington) to the United States. Mayor Strickland and the representatives from the GSA and the Tacoma Art Council recognized Dale and Leslie with a certificate of appreciation, and thanked them for making this amazing body of work accessible to everyone. Dale dedicated the work in memory of his father George, his mother Viola, and his brother George.
Click play for a preview and/or click the link to watch the full video Chihuly at Union Station.
It’s so great that Leslie and I could donate these installations to the GSA so people will forever go into that beautiful restoration and see my artwork there and the beautiful views of Mount Rainier… – Dale Chihuly
Thank you, Dale and Leslie, for your generosity and inspiration.
Click here to watch the full video on Chihuly’s Vimeo page.
To see more of Chihuly’s work, click here.
LINO TAGLIAPIETRA | INSPIRATIONS
Lino Tagliapietra continues to share his experience as a technically masterful glass blower, teacher and artist who travels the world in search of inspiration for his work. This thirst for discovery mirrors one of his favorite explorers, Corto Maltese, a character from an early graphic novel by Italian comic book artist Hugo Pratt (1927-1995), who was venerated for fantastical stories and graphic dexterity. An interesting sidebar is that Lino’s wife, (Lina Ongaro), of over 56 years had and uncle who also was an artist who worked alongside Pratt when he was in Venice. Through the artwork and stories, Lino found a simpatico spirit and fellow adventurer in the tales of Corto’s travels as told through Pratt’s art.
Fórcole, 2016 38¾ x 11 x 8″; 38½ x 14 x 8″; 37 x 11 x 8″ photo: Kim Saul
This year at SOFA Chicago, Lino Tagliapietra will debut several new series—Cayuga, Contarini and Fórcole—all reminiscent of places or experiences visited or imagined by the artist; he also continues to explore both panel glass and the sumptuous and challenging avventurine with a five Dinosaur Installation. Lino is forever striving to find new inspirations, forms, and techniques as well as opportunities to make his work.
Gondolier in Venice, see the fórcole, on which the oar is resting. Adobe stock photo
Fórcole, which Tagliapietra designed specifically for this show, are named after the rowlocks found on the gondolas in the beautiful lagoons of his native Venice. In this body of work, he re-imagines the centuries-old tradition of making fórcole, metamorphosing a functional object into sculpture. With remarkable technical ability, he communicates his expressive aesthetic and his light, intelligent, and inspiring presence. The strength and beauty of the glass parallels the natural vitality of the young wood that becomes fórcole. As with traditional Venetian oarlocks, each of Tagliapietra’s Fórcole requires an impressive amount of time and labor. Much as the wood must first be carefully chosen, hewn, seasoned, carved, and then finished with sandpaper and a sealant, so the glass and colors must first be made, blown into a shape, cut from the vessel, carved with battuto, shaped through slumping in a kiln, and polished. The Maestro has stated that it will be some time before he creates additional Fórcole because the amount of work that goes into each piece is so staggering.
Cayuga, 2016 21½ x 14½ x 7½” photo: Russell Johnson
Cayuga experiments with shape as the compressed sides diverge from Lino’s more trademark symmetry. Lino worked with this form in May of this year at the MIT hot shop in Cambridge, MA and was very excited about the shape of the vessel. The sensual piece in this exhibition was made a few months later, at the GAS conference in at the Corning Museum of Glass in Corning, NY, and named after the nearby Finger Lakes. When he travels to work in different hot shops around the world, Lino prefers to bring his own color which he has special recipes for, and one of his favorites is his own red.
Contarini, 2016 20 x 9¼ x 6″ photo: Russell Johnson
Another new series is the Contarini, first blown May 2016 at the MIT hot shop in Cambridge, MA. Lino’s Contarini— colorful, multilayered vessels with clear murrini and swirling, vertical composition—are defined by wildly mod graphics. They are so named because they reminded Lino of the windows the Palazzo Contarini, in Venice.
Palazzo Contarini in Venice. Adobe stock photo
The Contarini family is a noted Venetian family, from which eight Doges led the Venetian Republic forward through ever changing ages between 1043 and 1797. The famous architect, Andrea Palladio, who was employed by the Contarini and their relatives, designed several of the most outstanding neo-classical structures in the Veneto’s environs.
Dinosaur Installation, 2016, 29½ x 45¾ x 5″ photo: Russell Johnson
A true adventurer with the material, another series in Tagliapietra’s recent body of work revitalizes a centuries-old glass-making technique called avventurine (from the Italian for adventure), which began in 17th-century Murano when a member of the Miotti family accidentally dropped some copper filings into a glass batch. The delicate process of incorporating metal into liquid glass then cooling it in low oxygen, reducing atmosphere as the mineral deposits clump gingerly together is capricious and often results in failure. Just to prepare the material is a feat of alchemy. When it works, shimmering striations of crystallized metal suspend wondrously in the glass. As Tagliapietra has described it “…sometimes I feel that it is not glass … but I feel the absolute magic and the preciousness of a material that came from the past.” The serpentine Fenice and the elegant Oca reveal how colors can vary from silver to gold, copper red to blue, purple to green depending on the filtering effects of the colored glass comprising the body of the material, and how the suspended metal deposits can be pulled into assorted shapes.
In Greek and Roman mythology, the Muses were a source of knowledge and the inspirational goddesses of the arts—music, sculpture, poetry and dance. Glass artist Lino Tagliapietra finds his muses all around him. Whether traveling to upstate New York or an island in the South Pacific, glimpsing a water bird stretching her neck to the sky or the reflection of colors in his lagoon, Lino discovers new ideas wherever he finds himself. He is completely open to the experiences of life and perpetually looking forward to the next inspiration.
It is rare that the maestro is without his camera, ready to capture the next encounter along his travels and to remind himself later of the colors and spirit of a person, place or time. photo: Jim Schantz
Classical, Native and Pop Culture in Glass
Karl Marx wrote in 1845 that “only in community with others has each individual the means of cultivating his gifts in all directions.” The interconnectedness of Richard Marquis, Dante Marioni, and Preston Singletary, cultivated throughout the years, has not created a vacuum of homogeneity in glass. Rather, as these three distinct artists demonstrate, the community of glass has given each individual the “means of cultivating his gift in all directions.”
Richard Marquis, Whole Elk Tower with Manikins, 2015. Blown glass,murrine whole elk technique,found objects, 17.5 x 19 x 13″
Schantz Galleries is pleased to present an exhibition of works by three contemporary artists working in glass. Having worked together on and off over the past 30 years, and maintained a friendship, the three men are each masters of their techniques and have developed extremely different thematic concerns over the years. Each in their own time has studied and then taught their specialized techniques.
Richard Marquis, Setter Head Bottle Vehicle, 2016. Glass: hot slab construction, cast glass, wood, and brass. 7 x 18 x 7″
With over 50 years of experience and a sophisticated understanding of material, color, and form, Richard Marquis balances his training and scrupulous artistic integrity with the playfulness and capacious spirit of an upstart, full of original notions just waiting to burst out in creative action. Simultaneously ironic yet refined, silly yet smart, eclectic yet recognizable, Marquis is nothing if not totally, authentically himself. In part, Marquis’ style emerged from 1960s California funk (he got his B.A. and M.A. from U.C. Berkeley), a counter-movement to east coast Minimalism fusing, among other things, pop-culture, a cartoon aesthetic, and the use of found objects.
Dante Marioni, Leaf Vessels, 2016. Blown glass, greatest height is 42″
Dante Marioni grew up in the thick of the studio art glass movement and first met Marquis when he was 7. When Marioni got into glass as a teen, he felt disconnected with what he called the “loose and free-form” aesthetic that characterized the movement in the 1970s. He has said that “over the course of my career I have been consumed mostly with forms—that is, making interesting shapes. As a glass blower, I have always considered that to be my primary challenge.”
Preston Singletary, Supernatural Being, 2016. 13 x 12 x 12″
Preston Singletary uses glass a means of understanding, and sharing, his Tlingit heritage in the context of modern society. He explains that he compares “my current notion of society with that of my ancestors, intuiting ideas and concepts in glass, referencing my connection to my Tribe, my clan and my family. My influences range from Indigenous art around the world to the glass-blowing process, modernist sculpture, design and music.” Though he considered a career in music, he realized that glass-making gave him a purpose and a responsibility, to “interpret the codes and symbols of the land in a new way.”
Preston Singletary, Tlingit Shelf Baskets, 2015. Blown and sand carved glass, greatest height is 8.75″
The unique cultures of the Pacific Northwest, both past and present, encourage friendship, a sharing of ideas, and cooperative efforts. This is certainly true of Richard Marquis, Dante Marioni, and Preston Singletary. From pop to classical to native, from murrini to cane to sandblasting, from witty to refined to narrative, Marquis, Marioni, and Singletary demonstrate the endless possibilities when the creative mind meets molten glass and fire.
PHOTOS: Richard Marquis, Manikins, 2016; Dante Marioni, Leaf Vessels, 2016; Preston Singletary, Blue Tooth, 2016. photo credits: R.Marquis, K.Saul, Russell Johnson
IF YOU GO:
POP, CLASSICAL, and NATIVE CULTURES IN GLASS (THREE OLD FRIENDS): Richard Marquis, Dante Marioni, and Preston Singletary
Exhibition September 9 – October 4, 2016
Gallery Hours: 11 a.m.–5 p.m.
Schantz Galleries Contemporary Glass, 3 Elm Street, Stockbridge, Massachusetts 01262
Tel: 413-298-3044 www.schantzgalleries.com
For more information, email Kim Saul at firstname.lastname@example.org
NANCY CALLAN | A Fantastic Journey
Click to view online catalog. Printed catalogs are available. photo: Russell Johnson
It is apparent when an artist loves what he or she does. Nancy Callan’s work reflects her pure joy and energy and good nature. While the work connotes a playful ease, it is created with great technical skill and mastery. We truly admire Nancy’s great energy and dedication—she has become a major force in the art glass community as an artist, gaffer, educator and mentor.
Nancy Callan, Top Sampler #3, 2016, 5.5 x 5.5 x 5.5″ (each element)
The works in this exhibition, Dancers, Orbs, Tops, and Clouds, all have a rich diversity of character and style reflecting Nancy’s early career as a graphic designer. Each work projects its own character, denoting a place, person or mood, offering its own narrative.
Julia’s Garden, 2016, and on site installation by Nancy Callan, at Chesterwood, Stockbridge, MA
In addition to being a featured artist at our June Collectors Weekend, Nancy is also one of the twelve exhibiting artists at the outdoor exhibition at Chesterwood, a site of the National Trust for Historic Preservation. The exhibition, “The Nature of Glass: Contemporary Sculpture at Chesterwood 2016” Opens June 18 in Stockbridge and runs through September 18, 2016.
Nancy Callan, Indigo Anemone Paloma, 2016, 25.5 x 13 x 8.5″.
We feel very fortunate to represent Nancy’s work and to know her. Enjoy this fantastic journey into Nancy’s world! We hope you can come to the gallery this summer to see the work in person, but if not, please view additional works by Nancy Callan on our website.
RICHARD ROYAL | Full Circle
Richard Royal, Full Circle Catalog available. Click to view online version.
We are fortunate to know Richard Royal and represent him at our gallery. A highly skilled, thoughtful, and creative artist, Richard’s contribution to the education and development of the medium, through his teaching at Pilchuck Glass School in Washington, and his collaboration with other artists, has established him as a major force in the art glass renaissance in the northwest and throughout the U.S. This exhibition primarily focuses on Richard’s newest Geometric Series and Optic Lens Series. In developing the elements for the Geometric Series, Richard has developed a method of mold blown and constructed elements to explore his sculptural ideas on a larger scale. The Optic Lens Series push the limits of blown glass in terms of scale, and they are pure statements about the incredible transparency and optical qualities inherent in the medium. It has been exciting to see the evolution of Richard’s work throughout the almost twenty years we have known him, and we are pleased to present his latest achievements which we feel are among some of his finest work to date.
Royal commented on this body of work in the catalog…
This exhibition includes two of my most recent bodies of work, the Geometric Series and the Optic Lens Series. I’ve worked in glass for thirty years and for a good portion of that, I’ve focused on making large-scale sculptural objects that have deeply personal roots. A reoccurring theme is one of the relationships of individual parts, bonding together to make a dynamic whole.
Richard Royal in his studio in Seattle, WA, with Kimono Tower, 2016, 54 x 11 x 17″.
The Geometric Series is an exploration into the theory that all things have a geometric significance or a mathematical sequence. Often this sequence builds on itself. If you break objects down, eventually you will find a geometric structure in the essence, whatever it is. My vision is to create organic sculpture using rigid components to portray this concept of growth and clarity in form.
Richard Royal, Optic Lens, 18 x 18 x 18″
The Optic Lens evolved from a life-long experience of being on, or close to, the water and my fascination with lighthouses and the Fresnel lens. Safety and security are recurring themes in my work and the idea of glass and light used as an instrument of guidance is very inspiring. To me, this system of glass and light is a metaphor for simple concepts and a reminder that the basic things in life are sometimes the most important and have the strongest impact.
Richard Royal is also one of twelve artists who are part of the outdoor exhibition, The Nature of Glass: Contemporary Sculpture at Chesterwood, 2016. The exhibition, curated by Jim Schantz, runs from June 17 through September 18, 2016. Chesterwood is the former home and studio of Daniel Chester French, who among many other things, created the statue of Abraham Lincoln at the Lincoln Memorial, Washington D.C.
Richard Royal, Orbs, 2016. Installation at Chesterwood. photo Cassandra Sohn
View additional works by Richard Royal on our website, or better yet, come to the gallery!
Richard Royal, Red Pepper Spiral, 21 x 21 x 17″
Lino Tagliapietra: The Golden Age of Glass | A Recent Exhibition
A Golden Age of Glass with Lina and Lino Tagliapietra at Schantz Galleries ProjectSpace Boston 2016.
Essay by Jeanne Koles for Schantz Galleries, 2016
When we take an adventure, we mine the depths of the unknown in search of physical and spiritual treasures. We risk what is familiar and easy. A maestro of Lino Tagliapietra’s caliber could freely dwell in his comfort zone and still dazzle us with his creations. But his spirit of adventure, risk, and learning drives him to push the medium of glass and test the seemingly boundless limits of his skill. The results are indeed treasures, both in that they are stunning tactile objects to behold and in that they contribute to an intangible awakening of the spirit.
Fittingly, Tagliapietra’s recent body of work revitalizes a centuries-old glass-making technique called avventurine (from the Italian for adventure), which began in 17th-century Murano when a member of the Miotti family accidentally dropped some copper filings into a glass batch. The delicate process of incorporating metal into liquid glass then cooling it in a low oxygen, reducing atmosphere as the mineral deposits clump gingerly together is capricious and often results in failure. Just to prepare the material is a feat of alchemy. When it works, shimmering striations of crystallized metal suspend wondrously in the glass. As Tagliapietra has described it “….sometimes I feel that it is not glass … but I feel the absolute magic and the preciousness of a material that came from the past.”
Though the discovery of avventurine dates back centuries, it is experiencing a Golden Age in the hands of Lino Tagliapietra. He has said that “the material is very important and beautiful, but it is important to make something special.” Beyond the challenge of preparing the material is the enterprise of using it to create art. Tagliapietra explains: “If you compare the chunk of avventurine glass in a solid form on the table you can see it is a beautiful piece of glass—a beautiful material. Then to transform this beautiful material into a sculpture is sometimes more challenging—not only because of the difficulty of working with the material technically, but because it is so beautiful by itself.”
Cuore d’ Oro, 2016 20 x 14 x 5″
Yet, Tagliapietra does just that, metamorphosing a beautiful material into an even richer treasure that quenches both our lust for beauty and our fundamental pursuit of the sublime. The extraordinarily attenuated necks in the Dinosaur series and the swan-like Oca curve and stretch the glass to ethereal heights. Alternatively, the Cuore D’oro balances its weight on a narrow point and swells like an organ filling with air. The serpentine Fenice works and the winged Batman reveal how colors can vary from silver to gold, copper red to blue, purple to green depending on the filtering effects of the colored glass comprising the body of the material, and how the suspended metal deposits can be pulled into assorted shapes.
Marcus and Kia from Shakespeare and Company found much drama and beauty Dinosaur, 2016 by Lino Tagliapietra.
Shakespeare’s admonition not to gild the lily flounders in the presence on Tagliapietra’s Goccia d’Oro, or Golden Teardrop. Tagliapietra’s gift is that he elevates the beautiful to the transcendent with grace and humility. His admiration for the magic of avventurine glass goes back to his childhood, from which he also learned the spirit of adventure that allows him to bring this venerable material to a modern and breathtaking level.
We recently exhibited the most recent works by Lino Tagliapietra in our Boston ProjectSpace and met with great success on all levels. People loved the work and the space and meeting Lino in person! Here are some photos of the event…
Goccia d’ Oro, 2016, 24 3/4 x 11 1/2 x 6″
A Golden Age of Glass
A Golden Age of Glass with Maestro Lino Tagliapietra
“A Golden Age is a period in a field of endeavor when great tasks were accomplished. The term originates from early Greek and Roman poets, who used to refer to a time when mankind lived in a better time and was pure….”
Schantz Galleries ProjectSpace: Boston 2016 A Special Exhibition at 211 Newbury Street, Boston MA, May 14 – 22, Opening Reception May 14, 3-6pm
Lino Tagliapietra, Fenice, 2016
A few years ago, at Massachusetts Institute of Technology when Lino Tagliapietra was collaborating with some research on glass, and among other things, the limited or unlimited potential of zanfirico cane,with Peter Houk, Erik and Martin Demaine, they told him they wanted to expand their hot-shop, which they shared with a blacksmith. Peter Houk is the Director of the Glass Lab, Erik Demaine is an artist and professor of computer science at MIT, while his father, Marty Demaine, is a mathematician and artist in residence at MIT. MIT offers their students the opportunity to work in various art classes to balance the technological aspects of their studies. MIT has a great cross-curriculum arts program.
Martin Demaine, Lino Tagliapietra, Erik Demaine and Peter Houk at MIT in 2011.
As the team gathered, blew and molded the glass, moving around each in the limited space, they were all imagining and talking about more space and newer equipment. When asked, Lino promised that when it happens, he would come to work there again, and Schantz Galleries promised to supplement that event by curating an exhibition of Lino’s work. A big fundraising campaign occurred and we along with some of our friends contributed to the new hot-shop and now, the time has arrived… Lino will be coming back to Massachusetts to work at the MIT Glass Lab.
View the catalog online.
Schantz Galleries is proud to debut the newest series of the Maestro, May 14-22, at the Schantz Galleries ProjectSpace, 211 Newbury Street in Boston, which in some way seems fitting, because it is a technique called avventurine, from the Italian for adventure. The delicate process of incorporating metal into liquid glass then cooling it in a low oxygen, reducing atmosphere as the mineral deposits clump gingerly together is capricious and often results in failure. Just to prepare the material is a feat of alchemy and of course, science.
We hope you have an opportunity to visit this unique exhibition of Lino Tagliapietra’s work, at 211 Newbury Street during our special exhibition in May. Opening Reception with the artist, May 14, 3-6 pm.
ProjectSpace Hours: Thursday – Sunday 11am-5pm | Stockbridge Hours: Daily 10am-5:30pm (413) 298-3044