Toots Zynsky

TOOTS Zynsky

TOOTS Zynsky

DAVID RICHARD CONTEMPORARY 130 Lincoln Avenue, Suite D, Santa Fe, NM 87501 | p (505) 983-9555 www.DavidRichardContemporary.com | info@DavidRichardContemporary.com

ISBN: 978-0-9834078-8-1

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FRONT COVER: Riscoperta Mizimah (Rediscovery), 2011 Glass -Filet-de-verre (Fused and thermo formed color glass threads) 11 1/2” x 10 7/8” x 10 3/8” TITLE PAGE: Installation Shot, David Richard Contemporary, Santa Fe, NM, August, 2011 BACK COVER: Spuntare (To Dawn), 2011 Filet-de-verre (fused and thermo formed color glass threads) 9 1/2” x 19” x 10”

Published on the occasion of the Exhibition: Toots Zynsky August 3 – 28, 2011 David Richard Contemporary, Santa Fe, NM Gallery Directors: David Eichholtz Richard Barger

Published by: David Richard Contemporary, LLC, Santa Fe, NM All Rights reserved. No part of this publication may be reproduced in any form or by any means, electronic or otherwise, without the express written permission of David Richard Contemporary, LLC. Catalogue ©2011 David Richard Contemporary, LLC, Santa Fe, NM Essay by Davira Taragin Art ©2011 Toots Zynsky Photos of Art ©Toots Zynsky Photos of installation by Richard Barger ©2011 David Richard Contemporary, LLC Design by: David Eichholtz and Richard Barger, Santa Fe, NM

Toots Zynsky: A Passion for Red

By Davira S. Taragin After more than thirty years, Toots Zynsky has brought her work full circle: what started initially as an exploration of the power of red and black and then evolved into her signature, exquisite, multicolored glass thread vessels has become since 2007 a dedicated investigation of the color red. The earlier exuberant compositions that present a dialogue between vibrant colors and relatively symmetrical forms with subtly pinched rims have given way to highly emotive, lyrical expressions that rely upon the union of scale, contorted form, and color.

Zynsky’s contribution to centuries-old traditions of glassmaking, particularly the technique she calls “filetde-verre” (glass thread), is well documented. Much has been written about how she moved from using timehonored Venetian techniques of making cane and pulling glass thread—having two people with a glob of hot glass attached to pontils move in opposite directions within a confined space until a long thin glass thread is produced—to co-inventing and employing delicate computer-driven machinery to pull threads that are then hotformed in a kiln into a vessel.

In many ways, Zynsky’s approach to creating “filet-de-verre” vessels resembles that of a painter or a master draftsman. She begins by laying tiers of glass threads on a flat, circular kiln board. In the earliest pieces the threads were layered parallel to one another and then heated in a kiln and fused. Quickly transferred into a mold, it slumped into a vessel form with no defined flat bottom. After 1992, Zynsky began to experiment with increased scale by then slumping the completed vessel over a cone–shaped mold, producing taller vessels with distinctly defined bottoms. In the later work, the outermost layers of threads often are placed at acute angles to the lower layers to create a crosshatching effect on the exterior walls.

One final step of the process, developed in 1984 while Zynsky was briefly working in the Venini factory in Italy, occurs when the artist dons special heat-resistant gloves to manipulate the walls of the vessel while it is still hot and in the kiln. After 2005, as the forms became larger, the folds in the walls became more dramatic and daring— an indication of the artist’s increased skill and confidence in manipulating the material. As a result, the dialogue between interior and exterior that marks much of Zynsky’s earlier work is less pronounced and the undulating exterior walls are the focal point of the compositions.

Within the wealth of literature devoted to Zynsky, the influences that have defined her aesthetic have not been examined. Her passion for fiber has been discussed, particularly in reference to her pre-2005 work in which the glass threads retain their individual identity despite being fused and slumped in a kiln. Yet, nothing has been written about how the artist attributes her fascination with textiles to her grandmother, whom Zynsky remembers knitting long, thin strands of yarn into sweaters or, as Zynsky says, “making line into three dimensional structures.” Similarly, only recently have comparisons been drawn between Zynsky’s layering of glass threads in series such as her “Exotic Birds” or “Tierra del Fuego” and the feather patterns of birds she routinely saw during her childhood in northeastern Massachusetts. The marshlands adjacent to her family’s home had been one of the regular haunts of the nineteenth-century ornithologist, naturalist, and painter John James Audubon because of its extensive bird population.

Zynsky has often talked about her love for music. Recently, she recognized the critical role music plays in her work: “Music and color are virtually inseparable to me, musical notes are colors to me and colors are musical notes.” However, since childhood, dance has been equally important. Discouraged initially from pursuing a career

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in dance, she was attracted to glass after a chance visit to the new glass studio at the Rhode Island School of Design. Walking into the glass shop, then headed by Dale Chihuly, she was immediately fascinated by the students “moving constantly in what appeared to be spontaneous choreography” as they blew glass to the tune of loud music that competed with the roaring furnaces. Zynsky still loves to dance: talking recently about her sixmonth trip to Africa in late 1984, she warmly recollected dancing daily to the traditional music that she and her colleagues were recording for the special project that had brought her to Ghana. Since returning to Rhode Island in 1999, she has served as a trustee for the Festival Ballet Providence, a nationally recognized contemporary and classical company.

The colors black and red, which Zynsky considers primal, were critical to her first experiments in 1979 when she returned to working with glass following a six-year hiatus. However, when the pieces cracked due to chemical incompatibility of the colored threads, she was forced to experiment with a wider palette. She never formally studied color theory, but Zynsky learned a great deal during her travels in thirteen countries on five continents from 1983 to 1999. While her sojourn in Ghana has often been cited as a major source of inspiration, she now talks about the impact of her studies of paintings from every period of time in European, Japanese, American, and South American collections. Memorable series such as “Exotic Birds”, “Tierra del Fuego”, “Chaos” and “Serena” resulted. These consist of open-bodied vessels with brilliantly colored surfaces and walls that appear only minimally manipulated. These series cemented Zynsky’s reputation in contemporary art as a leader among the generation of Studio Glass artists who focused on color along with content.

By the millennium, subtle changes had begun to appear in Zynsky’s work. Compositions became softer and color contrasts less dramatic thanks to the introduction of gold, amber, and colorless threads. However, beginning in 2005, Zynsky’s aesthetic was impacted by a series of life-altering events. First, a commission from the respected Chicago collectors Natalie and Ben Heineman for “the biggest, most beautiful piece that Toots has ever made” caused her to finally identify, after a multiyear search, a United States company that could create the large spun stainless steel molds required for a body of work of significant proportions. Then, during trips to Greece and Italy respectively in 2006 and 2007, she found herself mesmerized by the drapery of marble figures on the Acropolis and the bronzes of Renaissance Florence, taking countless photographs that she revisited later in her studio. Finally, Zynsky experienced firsthand the upheaval of caring for terminally ill family and close friends, eventually only to lose them.

Initially traumatized by her personal situation, she received a private sponsorship that allowed her a year to focus solely on developing a new body of work. Her immediate response was to explore red and black, augmenting them at times with amber and gray. “Red and black are the same to me as white or no color because they’re so powerful. They’re not pretty colors, like pink or green or blue. They are powerful colors, life and death colors.”

The resulting “Ombri” (Italian for “Shadows”) series, consisting of works ranging from approximately five to twenty-two inches in height, deal with death, life, and new beginnings. Focusing on form as well as color, the objects brim with raw emotion. Because their walls were so dramatically manipulated, they appear to gyrate, at times resembling dancing figures. Zynsky later saw them as portraits of loss.

The works in this show, created since the artist relocated her studio earlier this year, reflect the next logical progression. As in the “Ombri” series, form dominates, taking priority even over color. Folds in the walls are so

Azzittire (To Hush), 2011 Filet-de-verre (fused and thermo formed color glass threads) 6 1/4” x 17 1/2” x 7”

masterfully handled that they resemble drapery more than ever before. Manipulation of the threads to create subtle surface patterns and textures is now particularly sophisticated. In “Riscoperta Mizimah”, 2011, for example, Zynsky has seemingly re-created the lustrous moiré effect seen in silk.

Although still focused on red, in this new body of work Zynsky no longer confines herself to a limited palette; in addition to single-colored compositions are works with a varied, multihued scheme. The colors are sometimes paler and more subtle, perhaps reflecting the inner peace that Zynsky is trying to regain. Seen in their entirety, these works with their curvaceous, seemingly delicate walls resemble blooming flowers and represent some of the most serene and lyrical statements of her career.

Zynsky has never been a chameleon, moving quickly from one aesthetic to another. Rather, she works with deliberation, working slowly with color and form to bring an idea to masterful fruition. Only now is the impact of her personal turmoil of the past few years emerging in Zynsky’s art. It will be carefully considered and acted upon, then define the artist’s oeuvre for years to come.

Author’s note: This essay is based upon conversations with the artist, June and July 2011. See also “Masters of Studio Glass: Toots Zynsky,” www.cmog.org, 2011 and “Meet the Artist: Toots Zynsky (transcription), www.cmog. org, 2007.

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Ripristino (Renewal), 2009 Filet-de-verre (fused and thermo formed color glass threads) 15 1/8” x 9 1/2” x 8 1/8”

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Dolcetta, 2011 Filet-de-verre (fused and thermo formed color glass threads) 7 1/4” x 15 3/8” x 7 1/4”

Afoso Ancora (Sultry Again), 2011 Filet-de-verre (fused and thermo formed color glass threads) 6 3/4” x 16” x 8 1/8”

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Premura (care, solicitude), 2011 Filet-de-verre (fused and thermo formed color glass threads) 14 3/4” x 13” x 7”

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Srotolare (To unwind, unroll), 2011 Filet-de-verre (fused and thermo formed color glass threads) 6 1/2” x 17 3/4” x 7 1/3”

Rifiorire (To Bloom Again), 2011 Filet-de-verre (fused and thermo formed color glass threads) 7 1/2” x 14” x 8”

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Corvo (Rook), 2011 Filet-de-verre (fused and thermo formed color glass threads) 12 5/8” x 8 3/4” x 8”

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Allearsi (united, joined), 2011 Filet-de-verre (fused and thermo formed color glass threads) 4 1/4” x 15 3/4” x 5”

Ammicco (Wink), 2011 Filet-de-verre (fused and thermo formed color glass threads) 5 1/8” x 9 1/2” x 6 1/4”

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TOOTS ZYNSKY Born:

Boston, Massachusetts, U.S.A., March 25, 1951 B

Education:

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1979 1973

1971 1970

Rhode Island School of Design, Special Student Advanced Glass Program (Fall Semester).

Pilchuck Glass Center, Stanwood, Washington, Independent degree project video/glass/sculpture (August) B.F.A. Rhode Island School of Design, Providence, R.I. Pilchuck Glass Center, Stanwood, Washington. Glassblowing Workshop (June thru August).

Haystack Mountain School of Crafts, Deere Isle, Maine.

Glass-blowing Workshop (August).

Solo Exhibitions: 2011

2005

2004 2003 2002

2001 2000 1999

1998 1989

The Corning Museum of Glass, Corning, NY, Masters of Studio Glass, Toots Zynsky David Richard Contemporary, Santa Fe, NM, Toots Zynsky.

Notojima Glass Art Musem, Notojima-machi, Japan.

Toots Zynsky.

Shoha Museum of Sarutahiko Shrine, Ise, Japan. Toots Zynsky.

Solo (x) 4. Barry Friedman Ltd., NY. Museo Correr (Civici Musei Veneziani D’Arte e di Storia),Venice, Italy. Toots Zynsky. (Traveling Exhibition) Barry Friedman Ltd., NY, Toots Zynsky: Baiaderi.

Glasmuseet Ebeltoft, Ebeltoft, Denmark, Toots Zynsky (Traveling Exhibition) Barry Friedman Ltd., NY, Toots Zynsky: Passeggero.

Koganezaki Glass Museum, Shizuoka, Japan, Toots Zynsky and Nakao Yuko.

Barry Friedman Ltd., NY, Toots Zynsky: Chaotic Fusion.

Stedelijk Museum, Amsterdam, The Netherlands, Toots Zynsky.

Group Exhibitions: 2010

2009

2008

2007

2006

The Norton Museum of Art, West Palm Beach, FL, Beyond the Figure: Abstract Sculpture in the Norton Collection The Racine Art Museum Racine, Wisconsin A Glass Act: First Rate Glass from RAM’s Collection Montreal Museum of Fine Arts, Montreal (Quebec) Canada, The Body in Glass: Gift of the Anna and Joe Mendel Collection to the Montreal Museum of Fine Arts Bellevue Arts Museum, Bellevue, WA, Eyes For Glass: The Price Collection Corning Museum of Glass, Corning, NY Voices of Contemporary Glass: The Heineman Collection Museum of Fine Arts, Houston, Texas Pioneers of Contemporary Glass: Highlights from the Barbara and Dennis Dubois Collection The Patty and Jay Baker Naples Museum of Art, Naples, Florida, Living with Studio Furniture:Collection of Robert and Carolyn Springborn The Cooper-Hewitt Museum, National Design Museum, Smithsonian Institution, New York Rococo: The Continuing Curve 1730-2008 Houston Center for Contemporary Craft, Houston, TX, Hot Glass, Cool Collections Cantor Arts Center at Stanford University, Stanford, CA, Contemporary Glass Museum of Art, Rhode Island School of Design, Providence, RI, Studio Glass in Rhode Island: The Chihuly Years The Powerhouse Museum, Sydney, Australia, Inspired!

Design Across Time, permanent exhibition of objects from the collection of the Powerhouse Museum Newport Art Museum, Newport, RI, U.S.A. Networks 2008 Montreal Museum of Fine Arts, Montreal, Canada, All for Art! Great Private Collections Among Us Carnegie Museum of Art, Pittsburgh, PA, USA, Viva Vetro!

Glass Alive! Venice and America, 1950-2006 The Newark Museum, Newark, NJ, U.S.A. The Art of Glass from Galé to Chihuly: Highlights from the Lowenbach Collection The Museum of Design and Contemporary Applied Arts (mudac), Lausanne, Switzerland, Contemporary Glass Art: A new vision of the mudac’s collection (Permanent exhibition) Farnsworth Art Museum, Rockland, ME, U.S.A., A Gathering of Contemporary Glass Glasmuseet Ebeltoft, Ebeltoft, Denmark Twenty Years On Angeles County Museum of Art, Los Angeles, CA, Glass: Material Matters Steninge Slott Cultural Centre, Marsta, Sweden, Steninge World Exhibition of Art Glass Springfield Museum of Art, Springfield, Ohio, USA, Two Media/ Two Expressions; an exhibition of Contemporary Clay and Glass

Seattle Asian Art Museum, Seattle, WA, U.S.A.,

A Transparent Legacy: Studio Glass Gifted to the

Seattle Art Museum from the Collection of Jon and

Mary Shirley

The Brunnier Art Museum, Iowa State University, Ames,

Iowa, USA, From Craft to Art: Contemporary Studio

Sculpture

Worcester Center for Crafts, USA, New England Glass: The

Quiet Force Worcester, MA, USA 2005 National Gallery of Australia, Canberra, Australia,

Transformations: the Language of Craft

Musée Tomo, Tokyo, Japan, Contemporary Glass- Light

Transfigured, from Toyoma City Collection

Bellevue Arts Museum, Bellevue, Washington, USA,

Taking Shape: Pilchuck Glass School in the ‘70s

The RISD Museum of Art, Providence, RI, Chazan’s Choice: Gifts of

Contemporary Art to the RISD Museum

The Arts and Science Center for Southeast Arkansas, Pine Bluff, AZ

American Studio Glass: A Survey of the Movement

(traveling exhibition)

Glasmuseet Ebeltoft, Ebeltoft, Denmark,

Exhibition of the Permanent Collection

Through American Eyes: Two Centuries of American Art from the

Huntington Museum of Art (traveling exhibition) Louise Wells

Cameron Art Museum, Wilmington, NC; Muskegon Museum of

Art, Muskegon, MI; Krasl Art Center, St. Joseph, MI 2004 The Marxhausen Gallery of Art, Concordia University, Seward

Nebraska, USA, Studio Glass International: Selections from

the Esterling/Wake Collection

The RISD Museum of Art, Providence, RI,

Recent Acquisitions in Glass

American Studio Glass: A Survey of the Movement

(traveling exhibition) Muscarelle Museum of Art, College of

William and Mary, Williamsburg, VA; Bergstrom-Mahler

Museum, Neenah, WI, Heckscher Museum of Art, Huntington,

NY, International Museum of Art and Science, NcAllen, TX, Through American Eyes: Two Centuries of American Art from the

Huntington Museum of Art (traveling exhibition) The Morris

Museum, Morristown, NJ; Museum of Texas Tech University,

Lubbock, TX; The Taft Museum, Cincinnati, Ohio,

Kogenezaki Glass Museum, Shizuoka, Japan,

Technique and Expression II: Fusing and Gluing 2003 Norton Museum of Art, West Palm Beach, Florida, USA,

Fire and Form: The Art of Contemporary Glass

The Huntington Museum of Art, Huntington, West Virginia, USA.

Through American Eyes: Two Centuries of American Art from

the Huntington Museum of Art (traveling exhibition)

Toledo Museum of Art, Toledo, OH USA, Contemporary Directions:

Glass from the Maxine and William Block Collection

(traveling exhibition)

Kentucky Museum of Arts and Design (formerly Kentucky Art and

Craft Foundation), Louisville, Kentucky, USA, Glass Vessel: An

International Invitational

The World Craft Forum Kanazawa, Kanazawa, Japan,

World Competition of Arts and Crafts, Kanazawa, Special

Invitational Exhibition “Crafts Now - -21 Artists each from

America, Europe, and Asia”

American Studio Glass: A Survey of the Movement

(traveling exhibition)

The William S. Fairfield Art Museum, Sturgeon Bay, WI, USA; Flint

Institute of Arts, Flint, MI; The Haggin Museum, Stockton, CA, 2002 The Gallery at Steuben, N.Y, N.Y., USA UrbanGlass @ 25- An

Anniversary Exhibition Carnegie Museum of Art, Pittsburgh,

PA, USA, Contemporary Directions: Glass from the Maxine

and William Block Collection (traveling exhibition)

The Philadelphia Museum of Art, Philadelphia, PA, USA, Crafting a

Legacy Newport Art Museum, Newport, RI, USA,

Transparent Illusions 2001 Nordjllands Kunstmuseum, Aalborg, Denmark and Tonder Museum,

Tonder, Denmark, Flet, Braid

Mingei International Museum, San Diego, CA,

Venini- Glass and Design in a World Perspective

Corning Museum of Glass, Corning, N.Y.,

Late 20th Century Sculpture

The Newark Museum, Newark, NJ, Fire and Light, 3000 Years of

Glass Artistry

The Rockford Art Museum, Rockford, IL,

Contemporary Glass from the Permanent Collection 2000 Museum of Modern Art, Open Ends, MoMa2000,

New York, NY, USA

American Craft Museum, Venetian Glass: 20th Century Italian Glass

from the Olnick Spanu

Collection concurrent with Memories of Murano: American Glass

Artists in Venice, New York, NY, USA

Museum of American Art, From Westmoreland Glass to

Contemporary Glass, Greensburg, PA, USA

Koganezaki Glass Museum, Shizuoka, Japan

“Vessels” The International Exhibition of Glass

The Lowe Art Museum, University of Miami, Florida, USA, Splendor

in the Glass: Contemporary Glass from the Palley Collection

1999

1998 1997

1996

1995

1994

1993

1992

1991

1990

1988

1986

1985

1984 1983

1982

1981

1980

Smithsonian Institution Traveling Exhibition (SITES), Civic Fine Arts Center, Sioux Falls, SD, 2000; Museum of Arts and Sciences, Georgia, 2000; George Walter Vincent Smith Art Museum, Springfield, MA, 1999; Huntsville Museum of Art, Huntsville, AL Fine Arts Museum of San Francisco, M.H. de Young Memorial Museum, The Art of Craft: Contemporary Works from the Saxe Collection Singapore Art Museum, Handmade: Shifting Paradigms, Singapore Global Art Glass, Borgholm Castle, Borgholm, Sweden Venezia Aperto Vetro, Italy Indianapolis Museum of Art, Masters of Contemporary Glass, Selections from the Glick Collection, Indianapolis, IN, USA Tucson Museum of Art, ¡Cálido!, Contemporary Warm Glass, Tucson, AZ, Museum of Fine Arts, Boston, Glass Today by American Studio Artists, Boston, MA, USA Cleveland Museum of Art, Glass Today: American Studio Glass from Cleveland Collections, Cleveland, OH, USA Museo del Vidrio, Inaugural Exhibition, Monterrey, Mexico Musée des Arts Décoratifs de la Ville de Lausanne, Artistes Verriers Contemporains, Lausanne, Switzerland Venezia Aperto Vetro, Italy Musée National de Céramique, Couleurs et Transparence, Chefs-d’Ouvre du Verre Contemporain, Sèvres, France Yamaha Corporation, Glass Now ’95, ’94, ’92,’ 91,’ 90,’ 89, & ’87 Tokyo, Japan International Craft Exhibition, Lillehammer, Norway, Winter Olympics White House, White House Craft Collection, Museum of American Art, Washington DC, USA Toledo Museum of Art, Contemporary Crafts and the Saxe Collection Art Gallery of Western Australia, The Second Australian International Crafts Triennial, Perth Australia The Whatcom Museum of History and Art, Clearly Art - The Pilchuck’s Glass Legacy, Bellingham, WA, USA Conseil Régional de Haute-Normandie, Exposition Internationale de Verre Contemporaine France Erfurt, Germany, Configura 1 - Kunst in Europa Erfurt 91 Musée des Arts Décoratifs de Prague, “Chefs d’Oeuvres de la Verrerie Française du XIXe siècle à nos jours”, Czechoslovakia Museum für Kunst und Gewerbe, Gaste aus Frankreich, Hamburg, Germany The National Gallery of Art, “Masterpieces of Glass from the Corning Collection”, Washington, DC, USA The Hermitage, “Masterpieces of Glass from the Corning Collection”, St. Petersberg, Russia Traveling Museum Exhibition, Vormen in Glas, The Netherlands Hokkaido Museum of Modern Art, World Glass Now, Sapporo, Japan American Craft Museum, Poetry of the Physical, New York, NY, USA Huntington Museum of Art, New American Glass, Focus 2 West Virginia, Huntington, W. VA, USA Oakland Museum of Art, The Saxe Collection, Oakland, CA, USA Hokkaido Museum of Art, World Glass Now, Sapporo, Japan Musée des Beaux Arts de Rouen, Art du Verre Actualité International, France Cheney-Cowles Museum, Pilchuck Glass, Spokane, WA, USA The American Embassy, Special Exhibition of Contemporary American GLASS, Prague, Czechoslovakia Dimock Gallery, George Washington University, The Fine Art of Private Commissions, Washington, DC, USA Montclair Art Museum, New York Experimental Glass Workshop Exhibition, Montclair, NJ, USA Leigh Yawkey Woodson Museum, Americans in Glass, Wausau, IL, USA Exhibition traveled to: The Cooper-Hewitt Museum, New York, NY; The Krannert Museum of Art, Illinois: (The Western Association of Art Museums) De Cordova and Dana Museum, Glass Routes, Lincoln, MA, USA Clayworks-Glassworks Gallery, Sculptural Glass, 10 New York City Area Artists, New York, NY, USA

Honors: 2009 2006 1999

1997 1988 1986 1984 1982

1981

American Craft Council College of Fellows Rhode Island Pell Award for Excellence in the Arts Innovation in a Glassworking Technique. UrbanGlass Annual Award, USA. Die Bayerische Staatsregierung. Munich, Germany.

Rakow Commission, Corning Museum of Glass, USA. National Endowment for the Arts, U.S.A. Research Grant, Stichting Klankschap (Foundation), Amsterdam, The Netherlands.

Music recording and research, Ghana: 1984-1985.

National Endowment for the Arts, Visual Artist Fellowship, USA. Pilchuck Glass Center, Stanwood, Washington. Artist-inResidence:August.

New York State Council on the Arts, Artist-in-Residence Grant. In conjunction with the New York Experimental, Glass Workshop NY: 1981-1982.

International Museum and Public Collections: Art Gallery of Western Australia, Perth, Australia Art Sonje Museum, Gyongju, Korea Birmingham Museum of Art, Birmingham, AL, U.S.A. Boymans van Beuningen, Rotterdam, Netherlands Carnegie Museum of Art, Pittsburgh, PA, U.S.A. Chrysler Museum of Art, Norfolk, VA, U.S.A Cleveland Museum of Art, Cleveland, OH, U.S.A. The Contemporary Museum Honolulu, HI, U.S.A. Cooper-Hewitt Museum, New York, NY, U.S.A. Corning Museum of Glass, Corning, NY, U.S.A. Crocker Art Museum, Sacramento, CA U.S.A. Dayton Art Institute, Dayton, OH, U.S.A. de Young Fine Arts Museums of San Francisco, San Francisco, CA Detroit Institute of Arts, Detroit, MI, U.S.A. Glasmuseum, Ebeltoft, Denmark Glassammlung Ernsting, Coesfeld-Lette, Germany Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY Hokkaido Museum of Modern Art, Sapporo, Japan Hunter Museum of Art, Chatanooga, Tennessee, U.S.A. Huntington Museum of Art, Huntington, W.VA, U.S.A. Indianapolis Museum of Art, Indiana, U.S.A. J.B. Speed Museum, Louisville, KY, U.S.A. Kestner Museum, Hannover, Germany Koganezaki Glass Museum, Koganezaki, Japan Kunstammlungen der Veste-Coburg, Coburg, Berlin,Germany Kunstgewerbemuseum Berlin, Stiftung Preussischer Kulturbesitz, German Kurokabe Museum of Glass Art, Shiga Japan Leigh Yawkey Woodson Museum, Wausau, WI, U.S.A. Lowe Art Museum University of Miami, Miami, Florida, U.S.A. Mayo Foundation, Rochester, MN, U.S.A. Metropolitan Museum of Art, New York, NY, U.S.A. Milwaukee Art Museum, Milwaukee, WI, U.S.A. Mobile Museum of Art, Mobile, AL, U.S.A. Montreal Museum of Fine Arts, Montreal, Canada Musée-Atelier du Verre de Sars Poteries, Sar Poteries, France Musée de Design et D’Arts Appliqués (mudac), Lausanne, Switzerland Musée des Arts Décoratifs du Louvre, Paris, France Musée des Arts Décoratifs de la Ville de Lausanne, Switzerland Musée du Verre et du Cristal de Meisenthal, France Musei Civici Veneziani, Museo Correr, Venice, Italy Museo Municipal de Arte en Vidrio de Alcorcon, Alcorcon, Spain Museo del Vidrio, Monterrey, Mexico Museum Bellerive, Zürich, Switzerland Museum of Art, Rhode Island School of Design, Providence, R.I., U.S.A. Museum of Art, Washington State University, Pullman, WA, U.S.A Museum of Arts and Design, New York, NY, U.S.A. Museum of Fine Arts, Houston, Texas, U.S.A. Museum of Fine Arts, Boston, Massachusetts, U.S.A. Museum of Modern Art, New York, NY, U.S.A. Museum fur Kunst und Gewerbe, Hamburg, Germany Muskegon Museum of Art, Muskegon, Michigan, U.S.A. National Gallery of Australia Parkes Canberra, Australia National Gallery of Victoria, Victoria, Australia National Museum of American Art (Smithsonian), Washington DC Nederlandsche Bank NV (The Dutch Central Bank), Amsterdam,

The Netherlands New Orleans Museum of Art, New Orleans, LA, U.S.A. Newark Museum, Newark, NJ, U.S.A. Newport Museum of Art, Newport, RI U.S.A. Nordenfjeldske Kunst Industrimuseum, Trondheim, Norway Norton Museum of Art, West Palm Beach, Florida, U.S.A. Notojima Glass Art Museum, Nanao City, Japan Philadelphia Museum of Art, PA, U.S.A. Powerhouse Museum, Museum of Applied Arts and Sciences,

Sydney, Australia Prescott Collection of Pilchuck Glass of Pacific First Center,

Seattle, WA, U.S.A. The Racine Art Museum, Racine, Wisconsin, U.S.A. Saint Louis Museum of Art, St. Louis, Missouri, U.S.A. Sarutahiko Jinjya Shoha Museum, Ise, Japan Seven Bridges Foundation, Greenwich, CT. USA Shimonoseki City Art Museum, Shimonoseki, Japan Stedelijk Museum, Amsterdam, Netherlands Tampa Museum of Art, Tampa, FL, U.S.A. The Toledo Museum of Art, Toledo, OH, U.S.A. Toyama City, Japan University Hospitals, Beachwood OH, U.S.A. University of Iowa Healthcare, Iowa City, Iowa, U.S.A Victoria and Albert Museum, London, England The White House Collection, Washington DC, U.S.A.

(now housed at the William J. Clinton Presidential Library,

Little Rock, Arkansas, U.S.A) Wichita Art Museum, Wichita, Kansas, U.S.A Würth Museum, Künzelsau, Germany Yale University Art Gallery, New Haven, CT, U.S.A. Yokohama City Museum of Art, Yokohama City, Japan

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DAVID RICHARD CONTEMPORARY 130 Lincoln Avenue, Suite D, Santa Fe, NM 87501 | p (505) 983-9555 www.DavidRichardContemporary.com | info@DavidRichardContemporary.com