Karen Karnes Untitled, 2007 Watershed Special Exhibit

Related special events at SOFA CHICAGO include the special exhibit Legends: Watershed Artists Honor Artists, presenting works by Daley, Karnes and Mason. Janet Koplos, Senior Editor, Art in America will make an accompanying Lecture Series presentation entitled What Makes Them Great? on Nov. 2 at 10:00 – 11:00 am.

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Foreword by Milton Glaser, Essay by William Warmus, Interview with Dan Dailey by Tina Oldknow

Dan Dailey, Positive Individuals Series, 2007 Represented by Leo Kaplan Modern at SOFA CHICAGO 2007 photo: Bill Truslow

From the frontlines of the American Studio Glass Movement to the renowned studios of Cristallerie Daum, the Fenton Art Glass Company, Waterford Crystal, Herman Miller, and Steuben Glass, Dan Dailey�?Ts stunning glasswork has been in the public eye for the past four decades. DAN DAILEY (Abrams; August; $60.00), for the first time, offers a comprehensive and stunningly illustrated look at his beautiful �?’ and playful �?’ oeuvre.

Dan Dailey is one of the most creative artists working in glass today. He has pushed the material to new frontiers in making it a conduit for his active imagination. The attributes of his work and his 40 years of achievement and recognition have made Dailey a prominent artist in the history of glass, and unique among American artists. His work is represented in 46 museum collections around the world. Among them are the Metropolitan Museum of Art, New York; the Mus�e des Arts Decoratifs, Louvre, Paris; the Mus�e de Design dArts Appliques Contemporains, Lausanne; the Renwick Gallery, National Museum of American Art, Smithsonian Institution, Washington, DC; the Museum of Fine Arts, Boston; the Detroit Institute of Arts, Detroit; the Los Angeles County Museum of Art, Los Angeles; the Royal Ontario Museum, Toronto; the National Gallery of Victoria, Melbourne, Australia; and the National Museum of Modern Art, Kyoto, Japan.

Like his colleagues and predecessors Harvey Littleton and Dale Chihuly, Dailey�?Ts work has been met with critical and popular acclaim at home as well as abroad, and collected by nearly fifty museums on three continents. His vibrant, humorous pieces draw upon his background in cartooning and training in nearly every glass technique, as well as a proficiency in metalwork �?’ a blend of antic and innovation that continually pushes the medium forward. With a foreword by renowned graphic designer Milton Glaser, an interview with the artist by Corning Museum curator Tina Oldknow, and an essay by William Warmus, this collection of over 400 captivating works is an essential addition to any library.

DAN DAILEY
By Milton Glaser, William Warmus, Tina Oldknow
460 illustrations, including 400 in full color
August 2007; $60.00, Abrams
384 pages, 9x 11 �?�??
Hardcover with jacket
ISBN 978-0-8109-9319-8

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Lene Bødker Section, 2007 Cast Glass, hand-sculpted with hammer and chisel Represented at SOFA CHICAGO 2007 by Galleri Grønlund, Copenhagen

For the first time ever, the coveted Japanese prize, the “Kanazawa Glass Award,” goes to a Danish artist. On August 30, Lene Bødker receives the award, which is only given every third year and is considered the glass art equivalent of Hollywood’s Oscar awards.

600 applicants from 37 countries vied for the internationally renowned “Kanazawa Glass Award 2007″, each submitting a slide photo of one of their works. Only 75 applicants made the short-list. The jury, which is made up of international professionals, chose Lene Bødker as the winner of the contest and the recipient of the ”Grand Prize” - the most esteemed award of them all, ranking above the gold medal and the four silver medals. ”The Grand Prize” of Kanazawa is the highest international accolade that a glass artist can hope for. Apart from the honor of receiving this prestigious award, the prize-recipient receives 1 million yen and an invitation to participate in ”The International Exhibition of Glass Kanazawa 2007” in September at the esteemed Notojima Glass Art Museum.

Lene Bødker’s work is featured in the exhibition “Glasss 2007″ at The Danish Museum of Art & Design in Copenhagen through August 26. Later this year, Bødker will mount a solo exhibition, which opens on December 9, 2007 and takes up the entire new wing of Glasmuseum Ebeltoft, Denmark, featuring a selection of her objects, sculptures and reliefs from the past two years.

Bødker (born 1958) belongs in the elite of Danish glass art, and the Kanazawa Award marks the culmination of her growing international success. Lene Bødker is associated with galleries in France and the USA, has staged several solo exhibitions in Paris, and recently participated in “Contemporary Glass” at the Heller Gallery in New York. Galleri Gronlund, Copenhagen will represent her work at SOFA CHICAGO 2007.

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Aliza Olmert (Wife of Israeli Prime Minister) Jew doesn’t expel Arab doesn’t expel Jew doesn’t expel Arab…, 2005 Oil color on ceramic, 17 x 20 x 6 Offering Reconciliation Special Exhibit

Philippe Boulakia (Palestinian artist) Untitled, 2005 Stones on ceramic, 17 x 20 x 6 Offering Reconciliation Special Exhibit

A standout special exhibit at SOFA CHICAGO 2007, Nov. 2 - 4 at Navy Pier, Festival Hall is entitled Offering Reconciliation, which will present ceramic bowls designed by 135 prominent Palestinian and Israeli artists on the theme of reconciliation. The exhibit is presented by the Parent’s Circle Families Forum (PCFF), which consists of several hundreds of bereaved families, half Palestinian and half Israeli, whose members have all lost immediate family members due to the violence in the region; and AIDA: the Association of Israel’s Decorative Arts, which will for the 5 ^th straight year present a curated exhibit of contemporary decorative artwork by artists currently living in Israel. A live auction of bowls in the Offering Reconciliation special exhibit will be held at SOFA CHICAGO on November 3, with pre-bidding on-line beginning in September; all proceeds will support PCFF programs in Israeli and Palestinian communities.

Follow the link below to read a Washington Post article on Offering Reconciliation.

Read more

Takashi Hinoda Fluid World, 2002-2006 Ceramic, 17 x 23 x 17 Photo: Takashi Hinoda Dai Ichi Arts, New York, NY

Mark Lyman, Director/Founder of SOFA, described SOFA artworks as “premier examples of a post-craft art movement.”

SOFA was founded in the 1990s when aesthetic pluralism legitimized a wide variety of forms, styles and artistic intentions. Over the years, the word craft (a shortened version of crafts derived from the Arts and Crafts Movement,) increasingly failed to capture the essence of the new expressions being created from traditional materials, and from time-honored, virtuoso techniques applied to new media. And certainly, it did not do justice to the intellectually sophisticated content of the resonant artworks being produced.

As crafts shortened to craft in popular discourse, the true meaning of the word became lost. Craft properly denotes fine craftsmanship, skill—a virtuosity of process and technique, which can be applied to many creative endeavors.

The craft field has struggled in the last two decades to redefine itself. Like all movements in the arts, it has been an organic process. No one wants to throw out the baby with the bath water—hand-craftsmanship, virtuosity of execution and celebration of sensuous materials remain highly prized virtues.

Post-craft, like many art movements, can be identified by its sameness and difference with prior movements; in our case, the Studio Craft Movement, which is so handsomely honored in the current Metropolitan Museum of Art’s retrospective exhibition, One of A Kind: The Studio Craft Movement.

Rather than trying to explain the nuances of sameness and difference in post-craft artworks, which like all good art, will always transcend definitions, the main evolution seems to be a further embrace of the abstract and sculptural over the functional, increasingly sophisticated intellectual content, and experimentation with new materials.

In my view, the best way to understand post-craft is experience post-craft artworks. SOFA NEW YORK will present some premier examples in traditional and non-traditional craft media, works that transcend words and discrete disciplines— and therein lies their beauty.

Elsa Schiaparelli Evening dress and headscarf in Tear design, Summer/Fall 1938 On loan from Philadelphia Museum of Art, no. 1969-232-45a, b

On view March 29 – July 22 at London’s Victoria and Albert Museum, Surreal Things will examine Surrealism’s impact on architecture, design and the decorative arts, from the sensuality of Dali’s Mae West Lips sofa to Schiaparelli’s disturbing Tear dress.

Surrealism evolved from radical avant-garde beginnings to become one of the most influential movements of the 20th century. Surreal Things will trace its development from the creation of the first objects in the 1920s to its commercialization after World War II, as the movement was absorbed into the worlds of fashion, commercial design, graphics and film. On view through July 22.

For more information: www.vam.ac.uk/exhibitions/future_exhibs/
surreal_things/index.html

Boryana Rossa (Bulgarian, b. 1972) Celebrating the Next Twinkling (Praznuvane na sledvascia mig), 1999 Single-channel video, Edition of 2, 2 min. 45 sec. Private collection Photo: courtesy of the artist

In celebration of the opening of the Elizabeth A. Sackler Center for Feminist Art on March 23, the Brooklyn Museum presents Global Feminisms, the first international exhibition dedicated to feminist art from 1990 to the present. Dramatically expanding the definition of art to be more inclusive in all areas, from subject matter to media, feminist art reintroduced the articulation of socially relevant issues after an era of aesthetic “formalism,” while pioneering the use of performance and audiovisual media within a fine art idiom.

Global Feminisms consists of work by approximately eighty women artists from around the world and includes work in all media—painting, sculpture, photography, film, video, installation, and performance. The exhibition is on view thru July 1.

For more information: www.brooklynmuseum.org/exhibitions/global_feminisms/

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Judy Chicago (American, b. 1939) The Dinner Party, 1974–79 Mixed media: ceramic, porcelain, textile Brooklyn Museum, Gift of the Elizabeth A. Sackler Foundation Photo: Donald Woodman

The much anticipated Elizabeth A. Sackler Center for Feminist Art opens at the Brooklyn Museum on March 23 with the permanent exhibition of Judy Chicago’s landmark The Dinner Party, an important icon of 1970s feminist art and a milestone in twentieth-century art. The ceramic work is comprised of a massive ceremonial banquet, arranged on a triangular table with a total of thirty-nine place settings, each commemorating an important woman from history. The settings consist of embroidered runners, gold chalices and utensils, and china-painted porcelain plates with raised central motifs that are based on vulvar and butterfly forms and rendered in styles appropriate to the individual women being honored. The names of another 999 women are inscribed in gold on the white tile floor below the triangular table.

The Elizabeth A. Sackler Center for Feminist Art is an exhibition and education facility dedicated to feminist art—its past, present, and future. The stated mission of the Center is:

to raise awareness of feminism’s cultural contributions; to educate new generations about the meaning of feminist art; to maintain a dynamic and welcoming learning facility; and to present feminism in an approachable and relevant way.

For more information: www.brooklynmuseum.org/exhibitions/sackler_center/

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