As glass fund-raising auctions have proliferated, artists have become subject to a steady stream of requests to donate art in exchange for a small percentage of the sales price. It’s an offer many can’t refuse because the donation offers them exposure to collectors and the chance to support a good cause. But a Toledo arts organization has taken a slightly different approach by offering up to half the sales price to the artist. Following up on the success of their inaugural 2008 event, “Hot Glass 2010″ will raise money for the Arts Commission of Greater Toledo, pay homage to the city’s legacy as the birthplace of Studio Glass, put money in the pockets of artists locally as well as those who donated work. Continue reading
Category Archives: Art Market
The GLASS Quarterly Hot Sheet caught up with the founder of the Sculptural Objects Functional Art fair, Mark Lyman, on the second day of the SOFA CHICAGO 2010 exhibition. We asked him about the changing mix of dealers at the 16-year-old fair originally devoted exclusively to fine art from craft media. We also wanted to know about the turnout, the response to the addition of a host of galleries specializing in Outsider Art, the growing number of jewelry and design dealers, and future plans for the most important art fair for work in glass. Continue reading
Pilchuck annual auction results climb back to $1.2 million, benefactors and direct supporters credited
Bucking the gloomy economic atmosphere, supporters of Pilchuck showed up in force at the organization’s annual benefit auction last weekend, and they were ready to bid on artwork and donate. The 32nd running of the leading glass program’s annual auction netted $1.2 million through ticket sales, sponsorships, “Fund-the-Future” matching donations, and other direct giving. This represents an increase of $200,000 over 2009′s results. The 2010 figure matches exactly the money raised in 2008. “I couldn’t be happier with the results,” says new Pilchuck executive director Jim Baker in a prepared statement. “The quality of the artwork donated this year is evidence that Pilchuck is evermore appreciated by artists who come through the school. And the large turn-out of supporters and glass art collectors surpassed our expectations, greatly helping us meet our fund-raising goals.” Continue reading
When the 17th annual SOFA CHICAGO 2010 kicks off with its opening night party on the evening of November 4th, visitors to Navy Pier in Chicago might notice a new type of gallery mixed in with the high-end dealers of artwork made from craft materials. For 2010, SOFA’s parent company, The Art Fair Company, is joining two art fairs — the SOFA blockbuster and the much smaller Intuit Show of Folk and Outsider Art — into a single event. SOFA founder and Art Fair Company president Mark Lyman told the GLASS Quarterly Hot Sheet that he had been approached by the organizers of the Intuit Art Fair because their show was struggling as partners to the Art Chicago fair at Merchandise Mart. The Intuit organizers wanted to see if they could join forces with SOFA: “I agreed and my company, The Art Fair Company, decided that the best solution would be to have it as a new fair on the same floor with SOFA,” says Lyman. Continue reading
Down by $5,000 over last year’s auction results, the Pittsburgh Glass Center’s annual gala fund raising event still brought in a very respectable $110,000 on Friday, October 15th. Held again at the American Eagle Outfitters headquarters, the event was titled “Art on Fire 10 Celebration & Auction” in honor of the glass nonprofit’s 10th anniversary. A crowd of 400 art collectors, artists, and area philanthropists joined event chair and independent curator Sarah Nichols (formerly the curator of decorative arts at Pittsburgh’s Carnegie Museum of Art) for an evening filled with art and martinis. Four artists — Robert Mickelsen, Richard Jolley, Susan Taylor Glasgow and Jon Kuhn — served as honorary chairs, each one representing one of the four techniques of glass available at Pittsburgh Glass Center. Continue reading
The Pilchuck gala, the largest glass art auction in the world, gears up for its 32nd run Friday night
More than 250 works in glass will be going up for auction on Friday, October 15th, at the Westin Seattle as part of a black-tie fund-raising event that will support the educational and artistic programs at The Pilchuck Glass School for the 32nd year running. In addition to the work up for live and silent bidding, there will be table centerpieces designed by regular Pilchuck instructor Chuck Vannatta, who, alongside a team of 30 volunteer artists, created large glass vessels that reference the flora and fauna that surround Pilchuck’s rustic Northwest coast location. Continue reading
One of the highlights of the first full day of SOFA WEST, which will continue through Sunday, July 11th at the Santa Fe Convention Center, was the Karen LaMonte breakfast and lecture at the New Mexico Museum of Art, where, at 8:30 Thursday morning, approximately 200 people came out to hear a detailed presentation extensively illustrated with PowerPoint and video clips that described LaMonte’s process and development of her signature cast-glass dresses. Back at the Convention Center, where 28 galleries had set up displays, those showing works in glass — Blue Rain, Bullseye Gallery, David Richard Contemporary, Duane Reed Gallery, Habatat Galleries, Jane Sauer Gallery, Kenn Holsten Galleries, Riley Galleries, and Scott Jacobson Gallery — had a steady stream of viewers but only a smattering of sales by 2 PM. To help take the temperature of the market, the GLASS Quarterly Hot Sheet presents a sampling of the sales in just the latest installment of its ongoing Red Dot Report series. It is an incomplete list, and includes the list prices, not the actual negotiated sales price which are often lower. Continue reading
On Friday, May 21st, a major paperweight collection in America will be going up for auction in Philadelphia. The 260 lots coming up at Freeman’s Auctions include many antique works by French companies Baccarat and Clichy, as well as contemporary botanical paperweights by American master Paul Stankard.
Tonight at 8 PM, Habatat Galleries will hold its eighth contemporary glass auction, timed to coincide with the gallery’s 38th annual international invitational exhibition (download a PDF of the exhibition catalog here). This year, the auction will get special attention as it includes 40 historic works to be bid on in-person at a Michigan banquet hall, online, and via telephone. It will include several important works from the personal collection of Frances S. Merritt (1913–2000), who served as director of the Haystack School until 1977. Merritt’s collection includes several works of special significance including pivotal pieces by Harvey Littleton, Richard Marquis, Dan Dailey, Marvin Lipofsky, and Dale Chihuly. Continue reading
Continuing through Monday, April 19th, SOFA New York has taken over the Park Avenue Armory, where organizers have subtitled the annual event: “Pushing the boundaries of art and design” With an official tally of 58 dealers showing work in a range of media, the Hot Sheet toured the show on Saturday to take stock of the type of work in glass that was selling. With many dealers removing successfully sold work to use the space to display additional pieces, our survey of red dots is far from a complete list of what customers were snapping up, but it does give some indication of what had moved during the second full day of the show. Chatting with the dealers also provided some insights into the mood of the market. Continue reading
Editor’s Note: This is the second posting by guest blogger Lauren Fujii who asks whether using Studio Glass to build tourism is ultimately good for the artists or the work they produce. Part I can be read here.
Douglas Lloyd Jenkins, director of the Hawke’s Bay Museum and Art Gallery in Wanganui, New Zealand, and a prominent architecture and design writer, recently questioned his city’s desire to become known for glass in an article in the New Zealand Listener. He worried that Wanganui was promoting its glass festival primarily to attract tourists, and that this increase in visitors would result in a market flooded by glasswork without “long-term cultural significance.”
His argument leads to some interesting questions: What are the results of glass-oriented tourism on the market for glass? Who is concerned about protecting cultural heritage in cities with a history of glass manufacturing and preserving glassblowing jobs? In other words, how is glass tourism sustainable?
Raising approximately $10,000 less than in 2009, the organizers of the 9th annual Great Glass Auction to support the Bay Area Glass Institute are calling it a success with $110,000 in total monies generated by the event. About 110 people attended the auction on February 6th, 2010, in San Jose, California, to raise money for this public-access glass center. The amount raised constitutes one-fourth of the entire annual operating budget of BAGI. Continue reading
There are several aspects of Tel Aviv’s Litvak Gallery that makes it unique. One of the most unusal is that it charges admission to the public. While the entrance fee of 48 shekels (about US $13) is waived for serious clients, some days bring hundreds of paying visitors, many of whom are seeing glass sculpture for the first time. Continue reading
New “cottage craft” advocate Garth Clark ratchets up his criticism of “palace craft” and the American Craft Council
With the recent shows in Miami still top of mind, the glass community might turn its attention once again to gallerist Garth Clark, whose remarks at the American Craft Council’s Minneapolis conference last October (just recently made available for listening online) emphasize a very different view of art-from-craft-media than what we recently saw at Art Basel Miami Beach and its satellite shows. Continue reading
As the heat and light surrounding the Miami contemporary art shows begin to dissipate (at least until next year), it’s an appropriate time to reflect on how glass figured into what has arguably become the most important commercial event in visual art. Anchored by the behemoth Art Basel Miami Beach and the longer-running Art Miami show, and multiplied by the dozens of satellite fairs that have sprung up to bask in their white-hot glow, the Miami shows the first week in December are a dialog between show organizers, gallery exhibitors, and visitors, all of whom reinforce in one another what constitutes the most-sought-after in contemporary art. The organizers are extremely careful about what galleries they invite to exhibit, the galleries are extremely careful about what art they bring, and the collectors wander from show to show, conferring their acceptance of the hierarchy by fighting to attend the hottest cocktail parties, and, most importantly, by choosing where to spend their money.
This weekend, the international contemporary art world descends on Miami, Florida for the infamous Art Basel Miami Beach exposition, and its numerous satellite events. In its eighth year and already shaping up to be more outrageous than ever, Art Basel opened its doors to the public yesterday at the Miami Beach Convention Center, while, back on the mainland, the longer-running Art Miami show had already opened its doors on Wednesday. Shuttle buses kept art collectors moving between these two major events, with other shuttles whisking buyers to the many satellite fairs such as NADA, Scope, and Verge, to name just three. Continue reading
With the holiday season upon us, it’s only fitting that the performance art troupe Burnt Asphalt Family would reunite at their Brooklyn, New York, “homestead” Urban Glass (where several cast members regularly rent time to work), to cook up a big communal meal. This family get-together took the form of a Saturday-evening performance entitled “TV Dinner,” just the most recent evolution of the troupe’s series of 1950s-era glass cooking performances that have included “Turkey Dinner,” “Garden Barbecue,” “Cocktail Party,” and an earlier version of “TV Dinner” performed at the Glass Art Society conference in Corning, New York, in June 2009. Continue reading
Opening in Chelsea in October 2000, Chappell Gallery was early in setting up shop in what has become New York City’s red-hot contemporary art district. But then the gallery, which also had a Boston location from 1997 to 2004, has always been bold, a quality well-suited to an important outpost for emerging artists working with glass. Founded by Alice Chappell, a former vice-president at Steuben Glass, who became enamored of Japanese contemporary glass sculpture during her decade as president of the United States branch of Japan-based Hoya Crystal Corporation, the gallery quickly set itself apart for a willingness to identify new talent from Asia, Australia, and the United States, and for the care that went into producing serious exhibition catalogs. Continue reading
With SOFA CHICAGO 2009 a wrap, it’s time to take a moment to reflect on the meaning of the frenzied three-day art extravaganza. While it’s impossible to fully digest the experience only a day after, there are a few thoughts and observations to share as a starting point.
The most apparent shift is how galleries that have survived the downturn in good enough condition to afford the expensive trip to Chicago clearly understand that business-as-usual doesn’t work any longer. This was a different SOFA in size (68 exhibitors instead of the 100-plus from years past), in assortment (the selection of works on display seemed more carefully considered and offered a wider variety), and in tone (“guardedly optimistic” would best describe the mood of collectors and, by the last day of the expo, the dealers). Continue reading