Current
Form and Feeling – Expressions of Humanity
This Richard L. Johnson memorial exhibition emphasizes the representation of human emotion and expression in figurative works of glass. Simultaneously strong and fragile, the glass pieces featured in this show draw a significant parallel to the condition of human feeling, be it pain, joy, anger, confusion, embarrassment, or a myriad of other emotions.
Scroll down to view thumbnails of objects in the Form and Feeling Expressions of Humanity Exhibition.
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Janusz Walentynowicz (Polish/Danish, b.1956), Blue, c.2000. Reverse painted cast glass, painted steel.
Janusz Walentynowicz's work focuses on human relations and gender roles. Admired globally for his expressive figurative imagery, he is perhaps best known for his reverse painted bas reliefs in cast glass, which have the effect of a three dimensional sculptural figurative form hung on a two dimensional wall format.
Gift from the collection of Jane Humzy and Peter D. Debreceny
Patrick Wadley (American, 1950-1992), Untitled, 1986. Blown and sandblasted glass.
Austin, Texas-based artist Patrick Wadley used the sandblasting technique to apply vivid figurative forms to blown glass vessels and window/plate glass. The imagery of this untitled piece, featuring two humanoid forms and multiple detached hands, suggests a cry for aid, understanding or acceptance.
Gift of Carol and Don Wiiken
Lucio Bubacco (Italian, b.1957), Devil Holding Flower, 1997. Flameworked glass.
This close-up view of Italian master Lucio Bubacco's Devil Holding Flower betrays a level of detail unrivaled amongst his contemporaries. From the sinewy definition of the abdominal muscles to the fine characteristics of the fingers and flower, Bubacco's artistry serves to model the human figure in gesture in movement.
On loan from the collection of Jill Pelisek
Ulrica Hydman Vallien (Swedish, 1938-2018), Untitled, Undated. Blown glass and enamels.
"Desire, energy, passion – I can love and hate all at the same time. I’m both argumentative and totally committed. With glass, everything is possible. It’s immediate, intense, demanding; never is it just plain old glass. I use it to paint on and tell tales. I have no rules, and I allow my instinctive feelings to take me wherever they want." - Ulrica Hydman Vallien
On loan from the collection of Bonnie Marx
Keke Cribbs (American, b.1951), Guillaume, 2001. Reverse fired enamels on glass mosaics, hybridized concrete, gold luster and copper
Working in glass and ceramics, Keke Cribbs creates an interactive form of storytelling, sculpturally creating shapes with narrative surfaces, bringing the whole work into a multifaceted exploration of the world of dreams, symbols and storytelling.
Gift from the collection of Jane Humzy and Peter D. Debreceny
Milon Townsend (American), Deco Study #2 in Butterscotch, 2002. Flameworked glass.
Performing arts such as music, theatre and ballet are often considered to be cathartic outlets for expression of feelings and emotion. Influenced by ten years of studying dancers in New York, Milon Townsend's flameworked sculptures focus on the depiction of movement as it relates to the performing arts.
Museum purchase in memory of Joan B. Leech
Lisabeth Sterling (American, b.1958), White Light from the Void, 1999. Cameo carved blown glass.
Even more so during times of social distancing, Lisabeth Sterling's cameo carved glass vessel White Light from the Void evokes a sense of the important role interpersonal relationships play in regards human to human wellness. "The stuff of human relationships - man to woman, child to parent, young to old, human to animal, the individual to the group - seem to be close to Sterling’s heart, and the various small pleasures and endemic frustrations of them get played out across these surfaces." - James Yood (1952-2018)
On loan from the collection of Jill Pelisek.
Alexis Silk (American, b.1983), Lexi, Undated. Hot sculpted glass, wood and metal.
Largely influenced by her interest in human nature and the interrelationship of humans, nature and industry, Alexis Silk's work explores objectification, body stereotypes, perceptual boxes and sexuality as strength.
On loan from the collection of Anthony and Susan Grosch
David Reekie (British, b.1947), On Shaky Ground IV, 1997. Cast glass with wood base.
"My work is influenced by man’s reaction and adaptation to the society in which he lives. We live in a world that grows more complex and difficult to comprehend, with its tensions and temptations that pulls us in different directions. I devise surreal settings showing how we try to cope with the very limited and purely imagined space that we have created for ourselves." - David Reekie
Gift of Jeffrey Stevens
Steven Ramsey (American, b.1958), Dreamer, 1986. Blown, enameled and gilded glass.
Gift of Donald and Carol Wiiken
Discussion
Lucy Lyon (American, b.1947), Summer Afternoon, Private Library, 1998. Cast glass, plate glass, steel and powder coated aluminum.
In the modern age, libraries are often seen as both places of social gathering as well as fortresses of solitude and introspection. Influenced by American painter Edward Hopper, artist Lucy Lyon uses body language to articulate an emotion or mood. She takes her inspiration from environments in which figures appear alone, even in the presence of others.
Gift of Jeffrey Stevens
Kate Vogel (American, b.1956) and John Littleton (American, b.1957), Sweet Dreams, 1991. Cast Glass.
Gift of Don and Carol Wiiken
Kristian Klepsch (Austrian, b.1943), Inner Thoughts, 1986. Cast, engraved and insculpted glass.
This figurative piece by Kristian Klepsch depicts a human visage, eyes open, staring into the world of the viewer, their thoughts, memories or emotions emanating from behind their head for all to see; the inclupted humanoid, insect and animal forms within exemplifying the term, "... to let one's imagination run wild."
Gift of Don and Carol Wiiken
Judy Hill (American, b.1953), Water Drinker, 1993. Cast glass and ceramics.
Judy Hill's works combine the craquelure-like glaze effect inherent with raku ceramics with the transparemcy of kilncasted glass. Her works, self portraits, convey feelings of longing, vulnerability and doubt.
On loan from the collection of Jill Pelisek
Robin Grebe (American, b.1957). Into the Night, c.1999. Cast glass, wood, ceramic glaze, gold leaf and marble.
Robin Grebe often takes her inspiration for form from Greek Cycladic fertility goddesses dating to the Bronze Age. Seemingly strong and yet somehow fragile, to her, these works illustrate the daily paradoxes of human existence.
Gift from the collection of Herbert and Jane Rozoff
Martin Blank (American, b.1962). The Seeker, undated. Cast glass and gold leaf.
Gift of Gerald Silverstein
Emily Brock (American, b.1945), Field Trip, 2009. Cast, fused and flameworked glass.
A part of Emily Brock's Books series, Field Trip conjures images of childhood school visits to the local art museum. “Of all the inanimate objects, of all men’s creations, books are the nearest to us, for they contain our very thought, our ambitions, our indignations, our illusions, our fidelity to truth and our persistent leaning toward error.”- Joseph Conrad, (1857-1924) Notes on Life and Letters
Museum Purchase with contributions from the Leslie Hamilton Memorial Fund and partial gift of Emily Brock
Deanna Clayton (American, b.1968). Scarred, 2018. Cast glass with electroplated copper.
Artist Deanna Clayton creates her figurative works, such as Scarred, by first modeling the form from clay, then kiln casting the work in glass using the pate-de-verre technique. The figure's wrap, created through the process of electroplating copper to the final bust, has the effect of not only neutralizing the subject's gender, but also enhancing its aesthetic presence.
Museum purchase with gift funds from the Family of Leon DeJongh
Monica Eaton (German, b.1956), Tryptich, 1988. Cast glass, cut and polished.
Gift of Don and Carol Wiiken
Irene Frolic (Polish/Canadian,b. 1941), Love Story Trilogy, I, 1989. Cast plate glass, silica sand and copper.
Working primarily in kilncast sculpture, Irene Frolic's works are concerned with personal identity and are widely recognized for their general emotional impact. This particular work speaks to the emotional impact texture and materials can have on the overall aesthetic of contemporary glass art.
Gift of Don and Carol Wiiken
Martin Blank (American, b.1962), Nikkos, 1998. Hot sculpted glass and copper.
Ricky Bernstein (American, b.1952), Betty's Big Night, from the Kitchen Dreams Series, 2013. Blown, sandblasted and painted glass, colored pencil, aluminum and mixed media.
Though his works are often described as whimsical due to theme, use of color and pattern and their larger-than-life scale, Ricky Bernstein believes this term "...belies the seriousness of the subject matter." The main character in this work is Betty, a 1950's housewife aspiring to win her husband's office party contest. Her fantastic balancing act creates a perfect metaphor for the roles, expectations and aspirations of women in the 1950's, as seen by the artist.
Partial gift of Ricky Bernstein and museum purchase with funds from Ron Abramson, Carl and Elizabeth (Betty) Pforzheimer, Solomon (Sonny) and Gloria Kamm, David and Monica Bernstein, Sheldon Bruce Palley, Peter Zandan, Mariah Riess, Warren and Margot Coville (Trico Foundation), Ann Rollins, Alan and Barbara Boroff, Henry and Linda Wasserstein, Bonita (Bonnie) Marx, Julia Mueller, John and Liane Butitta, and Chris Rifkin
Nicolas Africano (American, b.1948), Sleeping Girl, 1990. Cast glass with oil, water seal.
Nicolas Africano creates scaled, life-size and larger-than-life figures in cast glass. The primary subject of his sculpture is his wife and muse, Rebecca, of whom Sleeping Girl is likely based.
Gift of Lynde B. Uihlein
Hank Murta Adams (American, b.1956), Party Platter, 2006. Cast glass and copper.
Hank Murta Adam's rough, often disfigured human forms capture light and the essence of human emotion within. The incorporation of industrial debris to his works adds to a feeling of rawness both in form and thematic context.
Gift of Donna and Barry Rice
Mark Abildgaard (American), Totem Pole, 1995. Cast glass.
Of his work, Mark Abildgaard says, "In creating my glass sculpture I have found inspiration by looking at the artifacts from many different cultures which convey a sense of mystery about mankind’s existence through time... I try to create archetypical images which are not culturally specific. In working with these images I am seeking a way to combine ancient forms and my own life experiences. I want my work to maintain a connection to the past and at the same time reflect a sense of the immediacy of the moment when glass, light and color interact."
Gift of Burton and Libby Hoffman
Ann Wolff (German, b.1937), Fish Eating Man Bowl, 1984. Acid etched blown glass.
Gift of Dr. M. J. Caldwell
Richard Jolley (American, b.1952), Tableau, 2006. Blown and hot sculpted glass.
Using imagery from the Bible's creation story, Richard Jolley's Tableau series depicts a nude Adam and Eve figure standing before a large apple in the Garden of Eden. Quintessentially Jolley, the characatures' exaggerated features and the use of color give Tableau an almost comic-like quality.
Wes Hunting (American), Old Rust Bucket, ca. 2009. Hot sculpted glass, metal, mixed media
Artist Wes Hunting created figurative works in the mid 1990s, including this piece, which focuses on fishing in Wisconsin. Of the figurative works, Hunting says, "...these pieces were difficult to make... when you heated them up, the arms would move, the neck would [move]. The pieces would come alive, which is great!"
Om loan from the collection of Wes Hunting
Susan Taylor Glasgow (American, b.1958), Eve's Penance, 2005. Fused, draped, enameled, and sandblasted glass with waxed linen and nylon.
"For years I believed my work was about myself. But ultimately my work is about my Mother. With the sewing and cooking skills she passed on, I am able to indulge my own notions of domestic role-playing. My work embraces the feminine ideals of sewing and cooking, but in a contrary material, offering conflicting messages of comfort and expectation." - Susan Taylor Glasgow
Museum purchase with gift support from the Betty Smith Memorial Fund and contributions from Fred and Sharon Schomer, Bonnie Marx and Bud and Libby Hoffman.
Fred Di Frenzi (American, b.1953), Out Out Damn Spot, 1987. Mold slumped and reverse painted plate glass, gold leaf.
Fred Di Frenzi's Out Out Damn Spot takes it's title from the Shakespearean tragedy, Macbeth. In Macbeth, the wife of the titular character expresses remorse for having her husband murder the king, ultimately driving her to the brink of insanity. During an episode of sleepwalking, she imagines seeing a growing spot of the king's blood on her hand.
Gift of Donald and Carol Wiiken
Erwin Eisch (German, b.1927), One Breasted Lady, 1985. Blown and engraved glass with gilding.
Gift of Donald and Carol Wiiken
Thomas Scoon (American, b. 1961), Mate #2, 1997. Cast glass and quartz stone.
The abstract figurative forms created by New Hampshire artist Thomas Scoon incorporate self-gathered natural stone, minerals and metals with cast glass. By pairing or grouping these forms (see White Lives #4), Scoon explores familial and generational relationships in an attempt to convey personal narrative.
Gift from the collection of Jane Humzy and Peter D. Debreceny
Thomas Scoon (American, b.1961), White Lives #4, 1996. Cast glass and quartz.
The abstract figurative forms created by New Hampshire artist Thomas Scoon incorporate self-gathered natural stone, minerals and metals with cast glass. By pairing or grouping these forms (see Mate #2), Scoon explores familial and generational relationships in an attempt to convey personal narrative.
Gift from the collection of Jane Humzy and Peter D. Debreceny
Paul Stankard (American, b.1943), Berry Bouquet with Spirits Cloistered Botanical, 1992. Flameworked glass.
Commonly referred to as root people, Paul Stankard's earthen spirits have become a staple of his botanically realistic flameworked paperweights, combining nature with mysticism. His work represents spirituality and the life cycle of nature.
Museum purchase with funds from an anonymous donor
Paul Stankard (American, b.1943), Foxglove Medieval Herbal, 1978. Flameworked glass.
"The Benedictine Monks have a beautiful motto - to Labor is to Pray - I love the idea of making my labor my prayer. When I'm sitting at my torch, I'm making petals, I'm making stamens; by making it a mantra, it gives a spiritual dimension to my work. It's very personal." - Paul Stankard
Gift of Paul and Patricia Stankard
Lisabeth Sterling, as Lisabeth Levine (American, b.1958), A Point In Time, 2005. Cameo carved blown glass.
On loan from the collection of Bonnie Marx
David Reekie (British, b.1947), Venetian Floors V, 1999. Cast glass with wood and steel base.
Gift of Jeffrey Stevens
Kate Vogel (American, b.1956) and John Littleton (American, b.1957), Sweet Dreams, 1991. Cast Glass.
Gift of Don and Carol Wiiken
Michael Meilahn (American, b.1945), Helios, 1998. Cast Glass.
On loan from the collection of Michael Meilahn
Michael Meilahn (American, b.1945), Millennium Man, 1998. Cast Glass.
On loan from the collection of Michael Meilahn
Perthshire Paperweights from the Collection of Les and Angie Smith
September 28, 2018 – September 20, 2020
View more than 900 weights from the renowned Scottish paperweight maker, Perthshire. This exhibit is the first showing of the gift to Bergstrom-Mahler Museum of Glass from the collection of Les and Angie Smith. Perthshire paperweights are known for their superb quality that rivals that of 19th century French makers.
Exhibit sponsors include The Parsley Kreilein Bravo Fund to honor collaborative glass artists Johne Parsley and Peter McDougall.
