Light Purple Silver Carpaint Pitcher

Light Purple Silver Carpaint Pitcher

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Object Name: 
Light Purple Silver Carpaint Pitcher
Accession Number: 
Overall H: 46.2 cm, W: 31.7 cm, D: 26.5 cm
On Display
Primary Description: 
Light Purple Silver Carpaint Pitcher. Blown and hot-worked colorless glass, car paint, metal plating. Pitcher, consisting of an off-center, cylindrical body, thick pad base, oversize, chunky handle, and a wide collar for a rim and mouth that is squeezed and worked to form wrinkles, like fabric. After the object was blown and annealed, it was lightly sandblasted, so that the surface would hold the paint, and then painted with a metallic light purple car paint, and then painted twice with a clear coat to make the paint stronger and to protect the surface and color, just as it is applied onto a car. The paint and clear coats are applied with a sprayer and the paint is heated to harden. Next, the pitcher is thinly plated with metal inside of a chamber (which the artist calls metallisation). This is done at AMB, in Broakulla, Sweden, and it is a more environmental process than chroming, for example. It is cooked aluminum that comes out in the closed chamber as a cloudlike steam, and touches what you have inside the chamber, depositing a very thin layer (just 9 nanometers) of metal on the surface. He put the pitcher in a chamber used for the silvering of bathroom pipes, and he let the aluminum steam touch the piece wherever it would naturally, depending on how the object stands in the chamber. After that, he took the pitcher back to the car painting garage, where he covered the silver surface with two coats of clear car paint, and hardened the layers with low heat.
Nielsen, Fredrik (Swedish, b. 1977), Source
Fredrik / Nielsen / 2010
Engraved on base in script
The Renwick Gallery 2021-10-22 through 2022-06-03
New Glass Now documents the innovation and dexterity of artists, designers, and architects from around the world working in the challenging material of glass. This global survey is designed to highlight the breadth and depth of contemporary glass making. Its presentation at SAAM’s Renwick Gallery features objects, installations, videos, and performances made by fifty artists working in more than twenty-three countries. From technically masterful vessels to experiments in the chemistry of glass, these works challenge the very notion of what the material of glass is and what it can do.  New Glass Now, organized by The Corning Museum of Glass, was curated by a panel of thinkers, makers, and writers and is the result of their varied perspectives and experiences. The artworks were selected by Aric Chen, curatorial director at Design Miami, and professor and director, curatorial lab, Tongji University; Beth Lipman, artist, Sheboygan Falls, Wisconsin; Susanne Jøker Johnsen, head of exhibitions at The Royal Danish Academy of Fine Arts School of Architecture, Design, and Conservation; and Susie J. Silbert, curator of modern and contemporary glass at The Corning Museum of Glass.  In 2018, The Corning Museum of Glass issued an open call for submissions to artists and designers from around the world, asking for works made in the previous three years. Anyone working in glass could apply from the novice hobbyist to the most famous artists—all were given equal consideration. More than 1,400 individuals, collaborators, and companies submitted nearly 4,000 images of work. The Corning Museum of Glass then asked the curatorial panel to review and choose 100 artworks that best represented a diverse approach to glass working today. New Glass Now is the third iteration of a groundbreaking exhibition series. The two prior exhibitions, Glass 1959 and New Glass: A Worldwide Survey in 1979, catalyzed major changes in the glass field. The Renwick Gallery hosted New Glass: A Worldwide Survey in 1980. Today, as the Renwick continues to keep with the pulse of contemporary glass in the United States, New Glass Now once again highlights the dynamic, global field as it is today. The presentation at the Renwick Gallery features artists who embody new voices, visions, and representation through glass, including American artists James Akers, Miya Ando, Dylan Brams, David Colton, Deborah Czeresko, Nickolaus Fruin, Sharyn O’Mara, Suzanne Peck, Austin Stern, Megan Stelljes, C. Matthew Szösz, Bohyun Yoon. The exhibition also features artworks by Tamás Ábel (Hungary), Kate Baker (Australia), Maria Bang Espersen (Denmark), Monica Bonvicini (Italy), Doris Darling (Austria), Nadege Desgenetez (France), Karen Donnellan (Ireland), Choi Keeryong (United Kingdom), Jitka Kolbe-Růžičková (Czech Republic), James Magagula (Kingdom of eSwatini), Fredrik Nielsen (Sweden), Aya Oki (Japan), Wang Qin (China), and Sylvie Vandehoucke (Belgium). The Renwick Gallery of the Smithsonian American Art Museum is the first venue for the New Glass Now tour. CREDIT New Glass Now has been organized by The Corning Museum of Glass, Corning, New York. The presentation at the Renwick Gallery is made possible by generous support from the Alturas Foundation, and the Crown Equipment Exhibitions Endowment.
CA+D Reopening 2020
Corning Museum of Glass
2020 refresh of the Contemporary Art and Design galleries after the deinstallation of the 2019 temporary exhibition, "New Glass Now".
Corning Museum of Glass 2018-05-12 through 2020-01-05
New Glass Now is an international survey of contemporary glass celebrating the 40th anniversary of the Museum’s flagship contemporary publication, New Glass Review. For 40 years, New Glass Review has served as an annual benchmark for contemporary glass, documenting the innovation, dexterity, and creativity of artists, designers, and architects working in this challenging material. New Glass Now also commemorates the 40th and 60th anniversaries, respectively, of two groundbreaking exhibitions in the Museum’s history: New Glass: A Worldwide Survey (1979) and Glass 1959. These landmark exhibitions documented glass on a global scale and brought unprecedented critical and popular attention to the material, its makers, and designers. Just like New Glass Review and its precursor exhibitions, New Glass Now will be curated from an open call for submissions by the Museum’s curator of modern and contemporary glass and a panel of guest curators. Selected entries will be included in both New Glass Review 40 and the exhibition New Glass Now.
Q&A: Karen LaMonte: 2018 Specialty Glass Resident (2017) illustrated, p. 8; BIB# 705019