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Sculpture, Glass, And American Museums
In recent decades, glass sculpture has entered American museum collection in unprecedented numbers. A new phenomenon, this reflects new an understanding that art-making occurs in glass as suitable for inclusion in museum collections.In this lavishly illustrated volume, Martha Drexler Lynn takes the reader on a tour of glass sculpture in American museums. She covers 26 permanent collections across the U.S., including the Metropolitan Museum of Art, New York, Cleveland Museum of Art, Detroit Institute of Art, Los Angeles County Museum of Art, Museum of Fine Arts, Boston, and the Museum of Modern Art, New York. Her survey of these museums reveals their lively interest in glass as an artistic medium, despite an earlier modernist bias.Sculpture, Glass, and American Museums will appeal to collectors, museums, critics, and art historians. Covering the work of such artists as Christopher Wilmarth, Howard Ben Tré, Lynda Benglis, and Stanislav Libens
248 pages, Hardcover
First published September 30, 2005
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June 23, 2013
Sculpture, Glass, and American Museums;
Martha Drexler Lynn
This handsome book begins by stating that "the arc of the acceptance of glass sculpture parallels and reveals profound changes in the understanding of what constitutes art," and in her introductory essay, Martha Drexler Lynn traces that evolution clearly and carefully--from Alfred Barr's dogmatic modernist definition of "art" to postmodernist awareness of multiculturalism and a more generous, universal, conception of art and the materials of which it can be made, enlarging the concept of craftsmanship itself and opening museum doors to the aesthetic value of "utility-referent forms."
Enter "glass." Following an incisive introduction that makes the acceptance of glass sculpture as enticing as a trip to Monet's Gardens in Giverny, we are taken on a tour of twenty-six national museums that house this exciting "new" art form in permanent collections, from San Francisco and Seattle to Tampa and Boston. I came away with a host of, for me, fresh names of artists--Howard Ben Tre, Dale Chihuly, Jill Reynolds, William Morris, and more--and a rare, rich visual experience as full of possibility and fulfilled promise as "Scream Against the Sky."
Martha Drexler Lynn
This handsome book begins by stating that "the arc of the acceptance of glass sculpture parallels and reveals profound changes in the understanding of what constitutes art," and in her introductory essay, Martha Drexler Lynn traces that evolution clearly and carefully--from Alfred Barr's dogmatic modernist definition of "art" to postmodernist awareness of multiculturalism and a more generous, universal, conception of art and the materials of which it can be made, enlarging the concept of craftsmanship itself and opening museum doors to the aesthetic value of "utility-referent forms."
Enter "glass." Following an incisive introduction that makes the acceptance of glass sculpture as enticing as a trip to Monet's Gardens in Giverny, we are taken on a tour of twenty-six national museums that house this exciting "new" art form in permanent collections, from San Francisco and Seattle to Tampa and Boston. I came away with a host of, for me, fresh names of artists--Howard Ben Tre, Dale Chihuly, Jill Reynolds, William Morris, and more--and a rare, rich visual experience as full of possibility and fulfilled promise as "Scream Against the Sky."
Displaying 1 of 1 review