From the Inside Flap:
Fire - Dale Chihuly, the long-awaited companion book to Chihuly: Form From Fire, showcases the handblown glass sculptures of Dale Chihuly in over one hundred full-color photographs taken across the globe in locations reaching from Jerusalem to Indianapolis; Las Vegas to Chihuly's hometown of Tacoma, Washington. Following his nearly four-decade career, the photographs, selected by Chihuy himself, show the best of each series, offering a comprehensive visual overview of his work.In addition to a fresh look at earlier Chihuly works, Fire - Dale Chihuly features Chihuly series such as Fiori, Reeds, and Towers, which did not appear in Chihuly: Form From Fire. Selected quotes from critics, friends, and Chihuly himself introduce sections dedicated to Ice & Neon, Cylinders, Baskets, Seaforms, Macchia, Persians, Venetians, Ikebana, Niijima Floats, Chandeliers, Reeds, Towers, Jerusalem Cylinders, Fiori, and Installations.An essay by independent curator Margery Aronson, a Seattle resident since 1976, follows Chihuly's career in narrative format and highlights how his efforts have stimulated glassblowing culture around the world, but specifically in the Pacific Northwest through programs such as the Pilchuck Glass School, Hilltop Artists-in-Residence, and Seniors Making Art, which have inspired similar programs elsewhere.A chronology follows this presentation of the art of Dale Chihuly. Forty-eight additional photographs illustrate Chihuly's life, family and friends, and the book closes with a complete list of museums where his work can be found.
About the Author:
Dale Chihuly (b.1941), a native of Tacoma, Washington, has contributed to revolutionizing the studio glass movement by expanding its original premise of the solitary artist to encompass the notion of collaborative teams and a division of labor within the creative process. For three decades, the artist has exhibited extensively in museums, and his site-specific, public sculptures can be seen in cities the world over. Chihuly's most recent exhibtions in gardens and conservatories have included installations at the Royal Botanic Gardens, Ken, in London (2005). New York Botanical Garden (2006), Missouri Botanical Garden (2006), and Phipps Conservatory and Botanical Gardens (2007), to name just a few. Margery Aronson, an independent curator and a member of the International Association for Professional Art Advisors, has lived in Seattle since 1976. She has written extensively about the studio glass movement and artists of the Northwest for a variety of publications. Currently, she is curator for The Pilchuck Glass Collection at City Centre, the Sheraton Seattle Hotel and Towers collection of Northwest art, and the contemporary glass exhibition at Seattle-Tacoma International Airport.
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