Promises and Other Misinformation

Title: 
Promises and Other Misinformation

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Object Name: 
Sculptural Vessel
Title: 
Promises and Other Misinformation
Accession Number: 
2005.4.193
Dimensions: 
Overall: H 13.5 cm, Diam (max): 20.3 cm
Location: 
Not on Display
Date: 
1981
Web Description: 
Before working with her signature fused glass threads, Zynsky experimented with blown glass, plate glass, cast glass, and mixing glass with other materials, such as barbed wire. Wanting to combine her interest in barbed wire and glass, she began to look at manipulating glass threads. This vessel and the sculpture in this exhibition titled Waterspout No. 13 are examples of Zynsky’s “spun glass” vessels, in which colorless glass threads are wrapped around blown forms. The layered glass threads on this vessel are meant to evoke a tangled mass of barbed wire. While barbed wire is dangerous, Zynsky’s interpretation of it in colorless glass makes it less menacing, and almost beautiful.
Department: 
Provenance: 
Barry Friedman Ltd., Source
2005-11-23
Category: 
Inscription: 
"Promises" and other misinformation Web Series Mary Ann Toots Zynsky 1981
inscription
Engraved Bottom
Primary Description: 
Sculptural Vessel, "Promises and Other Misinformation" (from the Webs series). Colorless glass with grey tint; blown and hot-worked glass, applied threads. Vessel has smooth concave bottom with large ground pontil and is made up of applied glass threads on interior and exterior over a solid body.
Venue(s)
Corning Museum of Glass 2011-04-02 through 2011-12-04
A pioneer of the studio glass movement, Toots Zynsky draws from the traditions of painting, sculpture and the decorative arts to inspire her innovative, intricate vessels. Masters of Studio Glass: Toots Zynsky, featured 12 works representing the varied techniques and inspirations from throughout Zynsky’s career. Zynsky attended the Rhode Island School of Design (RISD), where she was one of acclaimed artist Dale Chihuly’s first students. In 1971, she was part of a group of Chihuly’s friends and RISD students who founded the influential Pilchuck Glass School in Washington State. There, she made installations of slumped plate glass, and later experimented with video and performance work with artist Buster Simpson, incorporating hot and cold glass. This experimental work was critical to the development of using glass as a material to explore issues in contemporary art.