The Portland Panels: Choreographed Geometry

Title: 
The Portland Panels: Choreographed Geometry

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Object Name: 
4-Part Wall Panel
Title: 
The Portland Panels: Choreographed Geometry
Accession Number: 
2015.4.1
Dimensions: 
(a) Panel H: 189.5 cm, W: 119.9 cm, Th: 1.3; (b) Mount H: 172.9 cm, W: 106.7 cm, Th: 3 cm
Location: 
On Display
Date: 
2007
Credit Line: 
Gift in part of David Kaplan and Glenn Ostergaard and purchased in part with funds from James B. Flaws and Marcia D. Weber
Web Description: 
Klaus Moje has been an innovator in "painting" with fused glass, a challenging process. A painter can mix any number of colors on a palette, but in order for glass colors to fuse together, they must have similar rates of expansion when heating and cooling. Moje's process involves fusing sheets of colored glasses in layers, cooling, cutting the layered glass into pieces, assembling them into abstract patterns, and fusing the patterns again inside a kiln. After the final cooling, Moje grinds the glass to create texture and remove shine.
Provenance: 
Ostergaard, Glenn, Source
2011
to
2015-03-05
Kaplan, David A., Source
2011
to
2015-03-05
Bullseye Connection Gallery, Former Collection
2011
Inscription: 
Klaus Moje 2007 "CHOREOGRAPHED / GEOMETRY" 1-4
signature
Engraved (a) bottom right corner
Klaus Moje 2007 / "CHOREOGRAPHED GEOMETRY" 4-4
signature
Engraved (g) bottom right corner
Klaus Moje 2007 "CHOREOGRAPHED / GEOMETRY" 3-4
signature
Engraved (e) bottom right corner
Klaus Moje 2007 / "CHOREOGRAPHED GEOMETRY" 2-4
signature
Engraved (c) bottom right corner
Primary Description: 
4-Part Wall Panel, "The Portland Panels: Choreographed Geometry". Colored strips of black, white, gray, pink, red, orange, red, blue, purple, yellow, green, and brown glasses, cut, fired, re-cut, re-fired, ground, and polished. The work consists of four separate kiln-formed and diamond-polished glass panels that form one composition. The art work is mounted onto the wall with double aluminum brackets on the back side of each panel. The aluminum brackets are bonded to the glass panels (each weighing 160 pounds) with DOW 995 adhesive.
Links: Australian Glass and the Pacific Northwest
Venue(s)
Museum of Glass 2013-05-17 through 2014-01-26
Wichita Art Museum 2014-05-31 through 2014-09-14
Palm Springs Art Museum 2014-10-18 through 2015-01-25
Links: Australian Glass and the Pacific Northwest tells two related stories that began in the 1970s. In 1974, American artist Richard Marquis travelled to Australia to lecture, demonstrate and build glass studios at the invitation of the Australia Council for the Arts. Marquis’ relationship with Australian artist Nick Mount initiated a lineage of blown glass artists in Australia. The second story centers on kiln-formed glass and the relationship between Klaus Moje, founder of the glass workshop at Australian National University in Canberra, and the Bullseye Glass Company in Portland, OR. In 1979 Moje met Boyce Lundstrom, co-founder of Bullseye Glass Company, while at a workshop at Pilchuck Glass School in Stanwood, WA. At Moje’s instigation, Bullseye Glass Company developed a line of compatible, fusible glass that solved long-standing technical problems. This glass is widely used by Australian artists today. Vicki Halper, Curator of Links: Australian Glass and the Pacific Northwest, notes, “The connections between Australia and the Pacific Northwest are longstanding and fascinating, but the differences between the art of the two regions are just as intriguing. Australians excel in fused and cold worked glass, which are not as prevalent in the Pacific Northwest. Opaque surfaces and muted colors are likewise more dominate in Australian glass than in the Pacific Northwest. Expect to be awed by what you see.” “This exhibition is long overdue given the excellence of the work being produced in Australia, and the interest in it shown by important American museums and collectors,” states Susan Warner, Executive Director of Museum of Glass. “The museum is proud to have organized this exhibition.” The artists represented by this exhibition include: Clare Belfrage, Giles Bettison, Gabriella Bisetto, Jane Bruce, Scott Chaseling, Cobi Cockburn, Nadège Desgenétez, Mel Douglas, Ben Edols and Kathy Elliott, Tim Edwards, Brendan Scott French, Mel George, Steve Klein, Jessica Loughlin, Dante Marioni, Richard Marquis, Klaus Moje, Tom Moore, Nick Mount, Stephen Proctor, Kirstie Rea, Tom Rowney, April Surgent, Janice Vitkovsky and Richard Whiteley. Approximately four pieces from each artist will be in the exhibition for a total of 92 pieces.
Chromatic Fusion: The Art of Fused Glass
Venue(s)
New Mexico Museum of Art
Chromatic Fusion: The Art of Fused Glass, featuring Klaus Moje explores the various technical, thematic, and visual approaches to kilnformed glass by artists working around the globe. The centerpiece of the exhibition is Klaus Moje’s large-scale, multipanel work The Portland Panels: Choreographed Geometry (2007). A tour de force work by this German-born artist who helped build the renowned glass program at the Canberra School of Art in Australia, The Portland Panels consist of four 6-foot panels and over 22,000 pieces of glass fused together. Other artists in the exhibition likewise demonstrate their mastery of glass through myriad techniques such as murrini, pate de verre, slumping, engraving, and fusible film. These artists include Kate Baker, Giles Bettison, Cobi Cockburn, Mel George, Deborah Horrell, Steve Klein, Jessica Loughlin, Richard Marquis, Catharine Newell, April Surgent, Joanne Teasdale, Carmen Vetter, Yoko Yagi, and Toots Zynsky.
 
Klaus Moje: Painting with Glass
Venue(s)
Portland Museum of Art 2008-05-30 through 2008-09-07
Museum of Arts and Design 2009-04-29 through 2009-08-16
Recent Important Acquisitions (2016) illustrated, p. 117; BIB# AI101517
Acquisitions (2016) illustrated, pp. 48-49 #33; BIB# AI101418
The Corning Museum of Glass Annual Report 2015 (2015) illustrated, p. 9 (top); BIB# 706294
Acquisitions (2015) illustrated, p. 15 (top);
Links: Australian Glass and the Pacific Northwest (2013) illustrated, p. 110-111, 157 (no. 69) ill. on p. 110-111; BIB# 135258
Klaus Moje (2008) illustrated, pp. 82-92, 97 (no. 67) ill. on p. 82-92; BIB# 104518