The SOFA WEST art fair opens its doors to the public for a special preview on Wednesday, August 3rd at the Sante Fe Convention Center in the New Mexico capital. Highest-level supporters of the Museum of New Mexico Foundation receive a private preview beginning at 5 PM for their contributions to Sante Fe’s arts community. At 6:30, VIP Cardholders can enter the exhibition space. Then at 7, the doors will be thrown wide so the general public can view the new pieces on display. General admission tickets for the special opening night preview run $50 and are available for purchase in advance online or at the door beginning at 5 PM. This opening night sneak peek is just the beginning of a long weekend filled with lectures, special events, in-booth events, and special exhibits. Continue reading
Category Archives: Art Market
The four-day 2011 SOFA NEW YORK art fair that closed Sunday evening was a boom for one dealer in secondary-market sales, while primary market dealers reported modest sales and a Chicago-based dealer who had devoted their exhibition display to the work of a single artist had not sold any work by the end of the third day. SOFA founder Mark Lyman, president of The Art Fair Company that produces the show, said the latest installment of SOFA NEW YORK was a mixed bag, as it always is. “It was a fair like all other successful fairs,” Lyman wrote in an email to the GLASS Quarterly Hot Sheet. “We had dealers sell out of major artists exhibits, dealers that sold very well from a range of artists, dealers that were met with sales only adequate to meet the expense of the fair, and some dealers who met new clients but did not have strong sales at the fair.” Continue reading
Time capsules capture UrbanGlass history as its fund-raising Fête de Verre gala celebrates its bold future
As Urban Glass makes final preparations for a complete renovation of its Brooklyn, New York, studios, numerous artists and employees have contributed their time, talent, and personal mementos for a project that preserves over three decades of Urban’s history. The 26 limited-edition time capsules that will serve as the centerpieces for its fund-raising auction Fête de Verre that takes place Saturday evening, April 16th. These time capsules house bits and pieces of the studio’s history as interpreted by over 70 artists, collectors, and friends of the organization that have passed through the leading nonprofit open-access glass studio. UrbanGlass-affiliated artist Erica Rosenfeld collaborated with a team of “capsule fabricators” to produce the time capsules that are currently being sold online until Friday April 15. On Saturday April 16 the capsules will be available for sale at the Urban Glass Fête de Verre gala, and can also be reserved online for those anxious to own a piece of Studio Glass history. Continue reading
Hot on the heels of his November SOFA CHICAGO sale of a major installation for a quarter-of-a-million dollars, the Italian glass master Lino Tagliapietra triumphed at one of the most important contemporary art fairs, where six of his works sold at the 2010 Art Miami this past weekend. While his sales prices may have been a fraction of the figures fetched by work by some of the most-established 20th-century artists such as Alexander Calder (whose work Smeary sold for $550,000 at Mark Borghi Fine Art) or Helen Frankenthaler (whose painting sold for $475,000 at Scott White Contemporary Art), Tagliapietra’s prices, and the number of sales, caught the attention of Internet publications such as artdaily.org reporting on the fair. Continue reading
Tonight, when the 21st edition of Art Miami gets underway with a preview party, visitors to the city’s longest-running contemporary art fair may notice a subtle but significant change. In recent years, galleries specializing in glass have been all-but-absent among the 100 or so art galleries and institutions showcasing modern and contemporary works across a wide variety of fine arts media. But the 2010 show will include three American galleries devoted exclusively to glass art — Heller Gallery, Schantz Galleries, and Bullseye Gallery (the only glass gallery in the 2009 Art Miami) — that will exhibit works from nine artists. Continue reading
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
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.