OKLAHOMA CITY, OK.-
In celebration of its 10th anniversary in downtown Oklahoma City, the Oklahoma City Museum of Art
has organized a profound and thought-provoking exhibition titled FUSION [A New Century of Glass], beginning June 14 through September 9, 2012. Curated by Alison Amick, curator for collections, and Jennifer Klos, associate curator, this major exhibition features 47 sculptures and installations from the twenty-first century that embrace the diversity and depth of the human experience.
FUSION includes examples by twenty contemporary artists working nationally and internationally who have engaged the medium of glass as part of their artistic practice. The objects reflect a range of subject matter and style and relate to concerns of the present day. Artists explore themes of social isolationism, paranoia, the passage of time, and also address the impact of technology on humanity and the environment, while exploring the dichotomy of utopian ideals and the realities of modern daily existence. The safety and sacredness of the home, family life, gender roles, and interpersonal relationships are also questioned. Artists offer a new context for historical models and art forms, contrasting the inherent beauty and intrigue of glass with the artists introspective and personal approaches to the medium.
The Oklahoma City Museum of Art has a strong commitment to contemporary glass, said Alison Amick. When the Museum opened the doors to its new downtown facility in 2002, it featured an exhibition of glass by Dale Chihuly, which was subsequently purchased with great community support.
In celebration of the Museums 10th anniversary, FUSION acknowledges the important role of glass at the Museum and presents alternate perspectives by a new generation of artists. Key works include Andrew Erdoss Texture of a Ghost (2011), a 6 x 8 foot room featuring hand-blown glass sculptures and a video installation; Josiah McElhenys Landscape Model for Total Reflective Abstraction (I) (2004); Luke Jerrams E. coli (2010), which explores the tension between scientific objectivity and cultural perceptions of viruses, diseases, and bacteria; twelve snow globes by Walter Martin and Paloma Muñoz from the Travelers series; three stained glass light boxes by Judith Schaechter; and a recent body of work by Czech Republic-based artist Karen LaMonte that highlights the role of the kimono in Japanese culture. The centerpiece of the exhibition is Beth Lipmans monumental sculpture, Bride (2010), a ten-foot, five-tiered dessert stand featuring handmade glass objects that rise, overflow, and then spill on the floor.
In addition to loans from major museums and galleries, works by Katherine Gray and Charlotte Potter were created specifically for FUSION. Grays Aglow incorporates a number of mass-produced glass ice buckets, which have been carefully arranged and lit, creating a dramatic installation. Potters Charlottes Web contains over 860 cameos modeled after the profile pictures of her Facebook friends.
It has been an exciting opportunity for the Museum to work with artists in realizing their visions, said Jennifer Klos. FUSION demonstrates the dynamic role of glass in the 21st century.
Artists in the exhibition include Lisa Capone, David K. Chatt, Steffen Dam, Andrew Erdos, Susan Taylor Glasgow, Katherine Gray, Timothy Horn, Luke Jerram, Karen LaMonte, Silvia Levenson, Beth Lipman, Walter Martin & Paloma Muñoz, Josiah McElheny, Matthias Megyeri, Marc Petrovic, Charlotte Potter, Clifford Rainey, Mark A. Reigelman II, Kari Russell-Pool, and Judith Schaechter.
Lenders to the exhibition include the Museum of Modern Art; Fine Arts Museums of San Francisco; Beth Rudin DeWoody; Dallas Museum of Art; Corning Museum of Glass; Claire Oliver Gallery, New York; PPOW Gallery, New York; Heller Gallery, New York; Imago Galleries, Palm Desert, CA; and Bullseye Gallery, Portland, OR, among others.