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GLANC Day Tours

[Susan Longini]

Our Day Tour chair, Arlene Garfinkle, has been amazingly productive, giving us opportunities to visit artists’ studios, exhibitions, and collections on a monthly basis.

GLANC at the Aldrich Collection
January 31, 2016

Steven and Allison Aldrich hosted GLANC members in their home with a wonderful and congenial reception and tour of their contemporary glass collection. Ranging from regional artists to the seminal couple Stanislav Libensky and Jaroslava Brychtova, the wide-ranging collection includes blown, cast, flameworked and pate de verre glass. They entertained us with stories of their early collecting, their commitment to regional emerging artists especially through their work with the Bay Area Glass Institute, where Steven is Board President, and how each piece in their collection has resonated with them personally.

In spite of the cloudy day, the mood in the Aldrich home was definitely sunny!

 


Artist Jay Musler at the Aldrich Home with his
Cityscape and Contemporary Glass where it made the cover

 

GLANC at the Museum of African Diaspora - MOAD
Sunday, February 28, 2016

Ghosts/Ships focuses on a dark part of American History that informs our current racial tensions. Artist Cheryl Derricotte researched archival images of slave ships and African captives and their descendants forced into slavery, and meticulously transferred them onto archival paper and glass.

The works are small, forcing you to examine them at close range. And while the exhibition is visually delicate and pristine, with white walls and white frames around the indigo-blue prints of the ships, the subject matter is painful.

Cheryl’s work is forceful in its objectivity and matter-of-fact observations… this is what happened and these were people who were trapped by the slave trade. By transforming the documented images into art pieces, the respect, sympathy, and empathy she feels for the victims of slavery rings clear.

 


Cheryl Derricotte and GLANC Tour

 

As an unexpected add-on treat, David Ruth invited the group to attend a lecture and slide show of his of his work.

David took us through a journey, from the beginning of his career, the challenges he has faced, to where he is now - building site specific, large scale, installation works. He has always been drawn to what is happening inside the glass, that window to the center of his pieces, depicting a visual, abstract language. Over time, his works have increased in scale and technical virtuosity, with a focus on commission works. We viewed slides of his tremendous installation for Disney, as well as peered into his journey in the Antarctic...the most recent inspiration, translated into his incredible glass sculptures.  

 

GLANC at Nikolas Weinstein Studio
Tuesday, March 29, 2016

As we walked into Nik Weinstein’s studio, vast undulating ethereal forms floated high above. These were just small bits of enormous installations that adorn public spaces in Singapore, Tokyo, Europe and more.

The work is made from slumped pyrex tubing, strung together with steel cables and rods into configurations reminiscent of the ribbons used by rhythmic gymnasts, or curtains billowing in the breeze. Most of it floats above the viewer, though there are the 20’ tall slumped columns at the Cosmopolitan Hotel in Singapore.
Nik’s first large commission was for Frank Gehry, who was designing a conference center in Berlin. It took nearly 5 years to complete, while he learned from scratch how to engineer and fabricate his forms. The finished piece was 34 panels, 2.5 tons and 2000 square feet. While the current commissions are not smaller, now the average timeline is 1.5 years, and every installation embodies out of-box thinking, amazing engineering, and spectacular aesthetic.

 


Nik Weinstein explaining his work

 


Nik Weinstein New Delhi

 

For each commission, Nik first “talks to the building…” what does the space, function and aesthetics of the architecture require? His work is always organic… he credits Michael Scheiner, his professor at RISD, for assigning a project requiring the work to be “organic.” He’s still working on the assignment.