TRANSFORMING AN INHERITANCEⁱ:
SOFA NEW YORK 2004 GALLERIES AND
DEALERS PRESENTATIONS
Seventh Annual International Exposition
of Sculpture Objects & Functional Art
Seventh Regiment Armory. Park Avenue and 67th
Thursday, June 3—Sunday, June 6
Gala Opening Night Benefit for Museum of Arts and Design:
Wednesday, June 2

Michael Glancy Converging Continuum 2003 Deeply engraved blown glass with gold foil inclusions, copper 13 x 9 x 6 Represented by Barry Friedman Ltd., New York

Key exhibitors in the Seventh Annual International Exposition of Sculpture Objects & Functional Art: SOFA NEW YORK 2004, June 3-6 at New York’s Seventh Regiment Armory, will present masterworks that bridge traditional and contemporary practice. From the inspiration of rare historical vessel forms by seminal French studio glass artist, Maurice Marinot (1882-1960), whose jewel-like, intricately carved surfaces decorated with oxides greatly influenced the contemporary glass and metal sculptures of Michael Glancy; to the elegant ceramic glaze and surface decorations that beautifully reflect the Kyoto heritage behind Hiroaki Taimei Morino’s bold, contemporary forms; to the Keisho (Continuation) line of furniture design by Mira Nakashima, daughter of George Nakashima (1905-1990), which strives to achieve the same harmonious relationship between aesthetics and function espoused by the Arts and Crafts Movement, as well as Asian philosophies embraced by her legendary father.

Carlo Zauli

Mark Lyman, President of Expressions of Culture, Inc., the company that produces SOFA NEW YORK and its sister show, SOFA CHICAGO says, “An understanding of historical context deepens our appreciation of contemporary practice. To this end we are honored to present a Special Exhibit at SOFA NEW YORK, organized by Garth Clark Gallery, New York in conjunction with Museo Carlo Zauli, Faenza, Italy, showcasing the art of Carlo Zauli (1926-2002), considered one of the master ceramic sculptors of the twentieth century, alongside works by other major contemporary European ceramists.

Notkin, Richard Cube Skull Teapot: Tea, Blood and Opium, Yixing Series 2002 Stoneware 8.25 x 8.75 x 4 Represented by Garth Clark Gallery, New York

In addition to the special exhibit, Garth Clark Gallery will also present key ceramists from the 20th and 21st century in its sales booth, including new work by Richard Notkin. Garth Clark said, “Notkin has made several trips to China and has been deeply influenced by the centuries old tradition of Yixing pottery, from which he adopted precise working methods and a penchant for trompe l'oeil. He uses his artwork as an extension of his conscience, believing art should be socially activist. For over ten years he has used the teapot format to focus on military adventures and questionable foreign policy around the world with particular focus on nuclear weaponry and energy.” Notkin has enjoyed two traveling museum exhibitions devoted exclusively to his work, and is represented in the collections of the Metropolitan Museum of Art and numerous other world museums.

Tagliapietra, Lino Anelli 2003 24.75 x 10 x 5 Glass Represented by Heller Gallery, New York photo: Russell Johnson

Heller Gallery, New York will premiere new work by Lino Tagliapietra, arguably the greatest ambassador of Italian art glassmaking. At age eleven, Tagliapietra began his career as an apprentice in a glass factory on his native island of Murano. At twenty-one he earned the title of maestro vetraio—master glassmaker. But it was not until the late 1970s that he set off to pursue the path of studio artist, combining Abstract expressionist, brutalist and pop-art influences in richly colored vessel forms with intricate surface treatment. Katya Garrow Heller says, "In his recent work, Anelli, Tagliapietra combines classic elements of 20th century Italian design—which is enjoying a major renaissance in the art world—with an expressive freedom characteristic of glass art by Americans like Dale Chihuly and Dante Marioni, who call him Maestro. Lino's new body of work, debuting at Heller Gallery at SOFA, will continue to intrigue and delight collectors."

Marioni, Dante Green Mosaic Vase 2003 Blown glass with murini 37 x 8.5 Represented by Holsten Galleries, Stockbridge, MA

Holsten Galleries, Stockbridge, MA will present new pieces by Dante Marioni, whose work is strongly influenced by Venetian glassmaking and the art of Lino Tagliapietra. “Lino's probably the best-known glass maestro alive today," says Marioni. "I work with him whenever I get the chance; he's the person I've learned the most from." With its elegant geometry and rich, saturated colors, Marioni’s vessels blend tradition with a modern sensibility. Marioni describes his works as “Post-Modern sculptures that refer to vessels." Kenn Holsten says of Green Mosaic Vase, which he will offer at SOFA NEW YORK, “An exceptional new work, Marioni’s Green Mosaic Vase is remarkable both for its classic form and its vibrant colors. The white o- shaped murini are set off against an unusually vibrant green, making for a dynamic, visually stimulating piece.”

Nakashima, George Untitled Coffee Table 1973 Curly maple 65 x 21 x 14 Represented by Moderne Gallery, Philadelphia, PA

Vintage works by George Nakashima (1905-1990), along with those of his daughter, furniture designer Mira Nakashima, will be represented at SOFA NEW YORK 2004 by Moderne Gallery, Philadelphia. Robert Aibel, owner/director of Moderne Gallery, says, “We’re delighted to show works by Mira and George Nakashima side-by-side at SOFA NEW YORK. The continuity of the Nakashima tradition is clear in her new work, but it is also evident that she brings her own approach to the interaction of 'nature' and 'design.'" Aibel says that Mira will create new pieces for SOFA NEW YORK. Aibel says of Untitled Coffee Table, an outstanding piece by George Nakashima, which he will bring to the exposition: “This custom-made coffee table is untitled because its base is very unusual for George. It’s highly organic design demonstrates the enduring appeal of George's eye for great wood, his originality and his extraordinary craftsmanship." Aibel adds," Although prices have consistently and dramatically risen over the past 10 years, these one-of-a-kind pieces are always in demand." Mira Nakashima and Robert Aibel will both speak in the SOFA NEW YORK 2004 Lecture Series.

Glancy, Michael Biomorphic Ganglia 2003 Deeply engraved, Pompeii cut blown glass, industiral plate glass and copper 12 x 24 x 10 Represented by Barry Friedman, Ltd., New York

Barry Friedman, Ltd., New York, will present the first exhibition in four years of new work by Michael Glancy at SOFA NEW YORK. Glancy’s resplendent surfaces of glass and metal are influenced by Maurice Marinot (1882-1960), one of the earliest pioneers of the Studio Glass Movement. Carole Hochman of Barry Friedman, Ltd. says, “While Marinot’s primary form is the flacon, Glancy’s open vessels incorporate copper grids and often rest on patterned base plates. Exploring the relationship between the vertical form and the horizontal plane, the base plate defines the space on which the vessel is held. Glancy’s new body of work is a tour-de-force, with larger and more complex forms.” Glancy himself says, “My primary concern is to develop objects as extravagantly dynamic as the material itself.” Glancy will speak in the SOFA NEW YORK 2004 Lecture Series.

Mason, John Vertical Intersection, Blue 1997 Ceramic 62.5 x 13.5 x 13.5 Represented by Franklin Parrasch Gallery, New York

Franklin Parrasch Gallery, New York will represent John Mason at SOFA NEW YORK 2004, who along with Peter Voulkos, led the “California clay revolution” in the 1950s that transformed ceramics from a craft to a fine art medium. In 1957, Mason and Voulkos shared a studio in Los Angeles and built a large kiln, enabling them to increase the scale of their work. Until this time, Mason’s work had been thrown on the potter’s wheel, and although it became increasingly sculptural, it retained strong associations with pottery. Free to explore larger forms, Mason became fascinated with testing the structural and sculptural possibilities of clay. Throughout his long career, he has emphasized a dominance of the geometric form, counterbalancing the austerities of his minimal shapes with a depth and richness of glazed surface color and texture.ⁱⁱ

Morino, Hiroaki Taimei Reishû hamon, Henko 2003 Stoneware with iron-oxide glaze 11.75 x 10.5 x 5 Represented by Joan Mirviss, Ltd., New York

Joan B. Mirviss, Ltd., New York specializes in Japanese contemporary ceramics and fine art. Mirviss is bringing outstanding artworks by Hiroaki Taimei Morino to SOFA NEW YORK and notes: “Morino is celebrated for his ability to create consistently elegant and bold forms that easily stand alone or work well as functional vessels. A designer of the first rank, Morino’s work exemplifies a unique blending of Kyoto aesthetics enhanced with subtle international flavors, which has captured the attention of collectors worldwide. His functional works are hand-built and double-glazed with subdued combinations of persimmon red, deep green, turquoise blue, black, eggplant purple, white and silver glazes. The glaze and surface decoration perfectly compliment the form of each vessel. In addition to his classical ceramic training with National Treasures Tomimoto Kenkichi and Fujimoto Yoshimichi, Morino was also influenced by his time spent in the West as a teacher in the art department at the University of Chicago. He has participated in hundreds of shows in Australia, Europe, Japan, and the United States.”

Paul Stankard Pineland Pickerel Weed Orb with Honeycomb & Honeybees 2003 lampworked glass 5 x 5 x 5 R epresented by Marx-Saunders Gallery, Chicago photo: Douglas Schaible

Marx-Saunders Gallery, Chicago will present new Orbs by Paul Stankard, whose crystal-encased floral sculptures owe their origins to the historic flameworked glass paperweight tradition. Stankard grew up in southern New Jersey with its long tradition of paperweights dating back to the 19th century, and which was revived in the mid-20th century by Charles Kazium and later, Francis Whittemore (whom Stankard befriended in the early 1960’s.) Stankard rigorously studied 19th century floral paperweights by French firms such as Baccarat and Clichy, noting, “The idea that secrets had been lost, interested me.” Though books and experimentation, Stankard taught himself technical processes and skills that had been lost for a hundred years. The intimacy and beauty of Stankard’s work, which reveal themselves completely only after many viewings, has bridged the gap between paperweight enthusiasts and sophisticated studio glass collectors.ⁱⁱⁱ Stankard will speak in the SOFA NEW YORK 2004 Lecture Series.

Fujitsuka, Shosei Fire II 2003 Hobichiku 16 x 12 x 43.5 (47” tall mounted) Represented by Tai Gallery/Textile Arts, Santa Fe, NM

Robert Coffland of Tai Gallery/Textile Arts, Santa Fe, NM, specializing in Japanese bamboo arts and antiques from Asia, Africa and the Americas, reports that an outstanding piece he will bring to SOFA NEW YORK is Fire by Shosei Fujitsuka: “Traditional Japanese houses were heated by a centrally located fireplace, around which the family would gather around to keep warm. The smoke from the fire would rise and soot the ceiling, which was made of bamboo. Over the course of a hundred years or more, the soot would react with the bamboo and transform its color. In Fire, Fujitsuka used a low temperature flame to shape the smoked bamboo into a sculpture representing the force that transformed its color. The artist works now in the Traditional Craft Arts Association, but his teacher, with whom he studied as a young man, was involved with the Japanese Fine Arts Association, where sculpture is valued over functional use. Recently, Fujitsuka has started again to experiment with sculptural forms, and Fire is an outstanding example.”

Yamanaka, Kazuko Golden Globe 2002 Crocheted stainless steel, brass and copper wire 10d Represented by Lea Sneider, New York

Lea Sneider, New York, dealer of contemporary ceramics, wood and fiber from Japan and Korea, will represent works by Kazuko Yamanaka of Kyoto, Japan. Sneider writes, “Japanese textile production has a long, illustrious tradition with the invention of various new techniques of dying and adornment. Kazuko Yamanaka continues this inventiveness through her crocheting of metal fibers, such as copper and stainless, to create illuminating and delicate objects. Objects found in nature influence the forms of her works. This is obvious in one of her works entitled Snowballs, which she created a string of crocheted metal balls.”

ⁱ Mark Del Vecchio, “What Postmodernism is Not,” SOFA NEW YORK 2004 Catalogue.
ⁱⁱ Richard Marshall and Suzanne Foley, Ceramic Sculpture: Six Artists, Whitney Museum of American Art, (New York, NY 1981), p. 56.
ⁱⁱⁱ Jennifer Scanlan, “Paul Stankard: Forty Years of an American Master,” SOFA NEW YORK 2004 Catalogue.