Dalle Mani del Maestro
L I NO
agliapietra
Lino Tagliapietra
Dalle Mani del Maestro Lino Tagliapietra Š 2011 Schantz Galleries Stockbridge, Massachusetts Tel | 413 298 3044 www.schantzgalleries.com All artwork images Š Lino Tagliapietra, Inc.
Design by Kim Saul Artwork photography by Russell Johnson Working photos by Kim Saul, Elyse Vinitsky Editorial review by Jeanne Koles Printed by MCRL, Ontario
Dalle Mani del Maestro
From the Hands of the Maestro
L I NO T a g li a p i e t r a
“Anybody who has ever seen Lino Tagliapietra at work, will know that he is ... a true master - a unique person who appears maybe once or twice in a century.� Finn Lynggaard Glasmuseet Ebeltoft, Denmark
Lino Tagliapietra and Jim Schantz examine a fused panel at Pilchuck, Stanwood, WA, 2011
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t is with great pleasure that Schantz Galleries presents the exhibition, Dalle Mani del Maestro, the Art of Lino Tagliapietra and this accompanying catalog of works. For more than 15 years, we have worked with Lino, developed a friendship and feel that it is time to celebrate our relationship with this publication. With the advent of the 50th anniversary of the birth of the American Studio Glass Movement*, it is fitting that Lino Tagliapietra is to be honored with a major retrospective exhibition at the Museum of Glass in Tacoma, Washington. It is certain that since arriving in 1979 to teach at the Pilchuck Glass School in Stanwood Washington, as well as other schools in the US, France, Japan and Australia, Lino has been a major influence and inspiration to three generations of artists working in glass and has been a leader in defining the Studio Glass Movement. Lino's generosity and creative spirit have transformed the movement through his example of work ethic, innovation and dedication. Lino's passion for expression and creativity is perhaps at its highest. Lino continues to experiment and push the glass medium in his quest to bring to light new form, pattern and texture. It is the Maestro's unsurpassed technical expertise which affords him the great freedom of expression. Lino has continued his quest for experimentation this past year at the Museum of Glass, Bullseye Glass Factory, Pilchuck School and Massachusetts Institute of Technology. It was at these locations that Lino was able to take his work into uncharted territory and to a new level. Lino's willingness to engage with the glass community, share his enthusiasm and be a strong mentor brings a constant exchange of new energy to his own work. This is best represented by Lino's latest series highlighted in this exhibition catalog. These include the dramatic Osaka, Fuji, Fenice and Venice Series, which all produced during the past year are the result of his ongoing exploration and commitment to his art. We are honored to present Lino Tagliapietra's incredible range of artistry with this book. It is our humble offering of an insight into his enormous passion for creativity, the intense energy sustained to make his art and the birth of each new form as it evolves from a gather of molten glass at the end of a punty into pulled or twisted cane. Cut into lengths or chopped into murrini, these prime elements are composed into a complex design and then expertly blown or fused into a form - all from the heart, mind, soul and the hands of the Maestro. Jim Schantz and Kim Saul Schantz Galleries, 2011 * 2012 marks the anniversary of the first experimental glassblowing workshops with Harvey K. Littleton and Dominick Labino at the Toledo Museum of Art.
Last night, I was thinking... At night, strange thoughts come, sometimes bad, sometimes “creative. I thought last night, how to answer the question... ‘Where do you get inspiration?’ It is often at night, you wake up and you’re working and you dream or think of doing something different, something a little crazy and definitely new. For example, Kenia is a product of the night, also Osaka, Fuji and Avventura. To have ideas or inventions at night is easy; what is difficult is to implement them. I can do it if I work in the morning or during the following days. It is most frustrating if I cannot try immediately because the ideas overlap. It’s like putting white sheets of paper one over the other and covering those dreams which are asking to be. You ask, ‘Why don’t you draw?’ I tried and it does not work for me. I realize I draw while working; I need the raw glass, the color, the fire, to SWEAT. My concentration is in putting together dreams and trying to make them become reality.
”
Lino Tagliapietra, 2011
a v v e n t u r a , 2011 5.75 x 8 x 5.75”
The H a n d s of t h e M a es tro
b y J am es Yood
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here are (at the very least!) two reasons why each new exhibition of the work of Lino Tagliapietra is an opportunity for celebration, the first because of who he is, and the second because of what he does. It just has to be acknowledged - there are probably no two words more respected and honored in the history of modern sculpture in glass than ‘Lino Tagliapietra’; he is the living bridge, the crucial link between the august history of Venetian glass (he was even born in Murano and began his career there at the age of 11) and the ceaseless wonders of what we today call the modern Studio Glass movement. In his 77 years he has seen the context of sculpture in glass shift, from his role as a certified ‘Maestro Vetraio’ (Master of Glass, at age 21) working within the skilled workshop and artisanal traditions of for-profit firms with regular product lines, to the current situation where a sculptor functions as an independent artist in his or her studio. Tagliapietra not only witnessed this, he helped bring it into being, beginning in the 1960s when American artists (Littleton, Chihuly, Lipofsky, etc.) began to find their way to Murano coveting the skills and techniques that only Tagliapietra and
his colleagues possessed. Tagliapietra shared his knowledge with those artists and more, and beginning in 1979 began to visit the US regularly, leading workshops and classes all over the country, accelerating (I would argue) the technical proficiency of a generation of American artists through his generous transmission of his consummate mastery of Venetian techniques (please feel free to YouTube him to see a master at work). Tagliapietra himself was changed by these encounters too, responding favorably to the independence and ambition and risk-taking spirit of American artists. In 1988, after 42 years of working for Muranese firms and glass factories he became an independent artist. That’s a nice tale, and a true one, and a month doesn’t go by that some American sculptor who works in glass doesn’t speak to me with awe about the privilege of having watched Tagliapietra work and possibly crewed for him. But this is not just about what Tagliapietra knows and has witnessed, it is about what he does, and continues to do. More than sixty years of working with glass in the finest workshops both in Italy and around the world have given him what are almost singular and unique skills with glass, built upon a thousand-year-old tradition and applied today with great beauty and elegance. From his work with filigrana into reticello, zanfirico and murrine into incalmo, working with blown or fused glass, the arenas of his inquiry into the possibilities of glass seem literally endless. His recent Fuji and Osaka series, and his new Venice wall panels, each skirt the edges of expressionism in subtly different ways, providing Tagliapietra with a more painterly and inherently risky platform than he has regularly investigated. They are a kind of foil for the consummate elegance he continues to achieve to this day, particularly in the capricious Fenice series, some of which are as close to giddy giggles as anything I’ve seen in any branch of contemporary art. Exult in the rhythmic sweep of an Angel Tear or a Bilbao or a Dinosaur, see how it plays toward and against the vessel tradition, stretching its limits to a kind of poignancy and grazia. It is the assuredness of his activity that continues to amaze, the sheer pleasure of watching someone, in this case someone who has been a maestro for 56 years, work his will, seemingly effortlessly, over his material, making it look so easy and inevitable that the thousands and thousands of hours of experiment and experience seem to slip away. The hands of the master - dalle mani del maestro - after all, are directed by that master’s mind and eye and shoulders and wrists, and Lino Tagliapietra’s hands are led by the very best.
James Yood teaches art history at the School of the Art Institute of Chicago and writes regularly for GLASS magazine.
Lino at MIT
Er i k D . Dem ai ne & M a r t in L . D e m a in e
M a r t i n D e m a i n e , E r ik Demaine, Lino Tagliapietra and Peter Houk at M I T , C amb rid g e , M A, 2011
M I T ’s mo t t o i s “Men s et Man us” , wh i c h i s L ati n for “Mi nd and H and . ” A g r e a t ex a m p le o f this pri n c ipl e is t he MIT Gl ass L ab , a h ot g l ass stud i o r un b y Peter H ou k a n d a d v is e d by Michael Cima. The Glass L a b a l l o w s s t u d e n t s t o ex p e r i e n c e t h e p h y s i c a l i t y a n d art form of glass blowing (with t h e i r h a n d s ) , w h i l e o t h e r c l a s s e s o f f e r t h e u n d e r l y i n g ma te ria ls sc ien c e an d t ec hn ol og y of g l ass (w i th th ei r m i nds). I ntroduc tor y g l a s s b lo w in g is one of the most popular class e s a t M I T, w i t h o v e r t e n t i m e s a s m a n y p e o p l e w a n t i n g to ta ke the c l ass as we have spac e. Lino f irs t visi t ed MIT i n O c t ob er 2009 to g i v e a pu b l i c l ec tu r e ab ou t h i s w o r k. In addition to showing his amazin g p i e c e s a n d t e c h n i q u e s , w e f o u n d i t s t r i k i n g h o w m u c h Lino stressed the histor y of blo w n g l a s s , m a k i n g h i m a g e n u i n e s c h o l a r i n a d d i t i o n t o an artist. I n Octo ber 2 0 10 , Lin o c am e for a w eek wi th h i s team of ov er 1 2 year s: N a n c y C a lla n , John Kiley, and David Walters. To g e t h e r t h e y m a d e 1 7 b e a u t i f u l p i e c e s , w h i l e t h e M I T community watched Lino’s tech n i q u e s w i t h f a s c i n a t i o n . T h e l a b i s s m a l l , t u c ke d i n t o a room in the basement of MIT ca m p u s . Fo r t u n a t e l y, L i n o f i n d s t h i s q u a i n t n e s s c h a r m i n g , (“like the old way”). While the t o o l s i n t h e G l a s s L a b a r e a l l t r a d i t i o n a l , t h e s u r ro u n d i n g s cie nce a nd t ec hn ol og y of MIT h as star ted to c r eep i nto i ts i nfl uenc es. Bei ng b o t h gla s s blo we rs an d sc i en t ist s, our g oal h as b een to pu r sue th ese c onnec ti ons m or e t ho ro u ghly, ho ping to c han ge t he way p eop l e b l ow g l ass or th i nk ab out b l ow i ng g l ass.
We a s ke d Lin o about a n ew proj ec t i d ea to use c om pu tati onal and g eom etr i c t e c hn iq u e s to de s ign n ew gl ass c an e ( filigr a n a i n I tal i an). C ane i s m ad e b y pul l i ng a f a t c y lin d e r of colored glass into a ver y lon g s t r i n g , o f t e n t w i s t e d t o p ro d u c e a f i n e , i n t r i c a t e c o l o r pattern that later gets incorpor a t e d i n t o a g l a s s s c u l p t u r e . W h i l e t h e r e a r e d o z e n s o f s ta nda rd c an e desig n s, few n ew patter ns h av e b een desi g ned i n th e past fe w d e c a d e s . Our idea was to develop a com p u t e r p ro g r a m t h a t w o u l d h e l p g l a s s b l o w e r s v i r t u a l l y explore a vast range of cane d e s i g n s w i t h t h e g o a l o f d i s c o v e r i n g n e w d e s i g n s . We asked Lin o whether he thought t h e r e w e r e a n y n e w c a n e d e s i g n s t o b e f o u n d , a n d h e e nco ura ged us wit h his bel ief t h at th er e w er e m any new desi g ns yet to b e f o u n d . Peter Houk suggested that Lino w o r k w i t h u s o n t h i s p ro j e c t , a n d t h e y s c h e d u l e d a third visit for September 2011. T h i s d e a d l i n e e n c o u r a g e d u s t o t r a n s f o r m o u r i d e a i n t o a re a l projec t . We form ed a t e am of c ol l ab or ator s: Andr ew W i nsl ow (l ead d e v e lo p e r, geometer, and PhD student at Tu f t s ) , J i m M c C a n n ( g r a p h i c s a n d r e n d e r i n g ex p e r t , postdoc at Adobe Research), B e n j a m i n L e e ( p ro g r a m m e r, u n d e r g r a d u a t e a t M I T ) , Kimberly Baldauf (programmer, m a s t e r ’ s s t u d e n t a t M I T ) , a n d Pe t e r H o u k ( w h o h e l p e d ground us with the glass blowe r ’ s p e r s p e c t i v e ) . O v e r t h e i n t e r v e n i n g s e v e r a l m o n t h s , we developed a first version of o u r v i r t u a l g l a s s b l o w i n g s o f t w a r e , w h o s e c u r r e n t f o c u s is a ro und p ul l i n g, t wist in g, an d ar r ang i ng c ane. Lino wa s eager t o expl ore n ew c ane desi g ns and m ake sev er al l ar g e pi ec es. We p r e s e n t e d him with a c oup l e dozen desi g ns th at we h ad c om e u p wi th on th e c om p u t e r, s o m e of which we were not certain h o w t o m a ke w h e n c o n s t r a i n e d b y t h e r e a l i t y o f g l a s s blowing. Lino immediately saw h o w t o m a ke a l l o f t h e m , a n d c h o s e a f e w d e s i g n s t h a t seemed particularly attractive a c c o r d i n g t o o u r s i m u l a t i o n s . D u r i n g t h e w e e k o f h i s visit, he pulled the cane and i n c o r p o r a t e d t h e m i n t o h i s l a r g e r p i e c e s . L i n o t u r n i n g o ur virtual desi g n s i n t o real i t y was th e ul ti m ate c om pl i m ent. Th i s ex per im e n t a ls o re pre s e nted t he first t i m e t hat L i no put twi sty c ane i nto m u r r i ni pi c ku ps th a t he f o r m e d into vessels. Lino also gave us l o t s o f u s e f u l f e e d b a c k o n t h e c a n e s o f t w a r e , i l l u s t r a t i n g by way of example how cane w a r p s a n d t r a n s f o r m s d e p e n d i n g o n w h a t f i n a l s h a p e i t be co me s ( bowl , c y l in der, pl at e, etc . ). We are excited about collabora t i n g m o r e w i t h L i n o, b o t h o n f u r t h e r v i r t u a l s i m u l a t i o n of blown glass, and on designin g m o r e g e o m e t r i c g l a s s . I t a m a z e s u s h o w L i n o h a s b e e n such an icon of glass blowing fo r s o m a n y y e a r s , y e t r e m a i n s a t t h e f o r e f ro n t , a d v a n c i n g the frontiers of ideas in glass. N o t o n l y i s L i n o t h e b e s t g l a s s b l o w e r i n t h e w o r l d , b u t he is a ls o t he m ost open an d sh ar i ng of h i s k nowl edg e, tec h ni qu es, and i de a s .
Erik D. Demaine is professor of Computer Science at Massachusetts Institute of Technology. Martin L. Demaine is artist in residence at Massachusetts Institute of Technology,
L i n o a n d Dave working in Mukilteo, WA, 2009
A Maes t ro o f L i v i n g
Dav i d Wa lt e r s , A r t is t
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feel it most poignant to remark o n m y o b s e r v a t i o n s f ro m s t a n d i n g o v e r L i n o’ s s h o u l d e r for the past 18 years, during whi c h w e h a v e b a s i c a l l y w o r ke d , t r a v e l e d , e a t e n , a n d l i v e d together. In doing so, I am tr ying t o u n d e r s t a n d f o r m y s e l f w h y h e i s s o s p e c i a l t o m e . I s o often have to remind myself to n o t b e s u r p r i s e d b y t h e t h i n g s h e c o n t i n u e s t o a c c o m p l i s h a nd the tirel ess m ovem en t of hi s m i nd, i t i s i n h i s w or k as i t i s al so i n h i s ou t lo o k o n t he world and in his life. It comes f ro m a s p e c i a l d e s i r e t h a t w e a l l w i s h f o r b u t f e w o f u s achieve on so high a level, namel y n o t t o w a s t e a m o m e n t o f y o u r l i f e u n n e c e s s a r i l y. T h a t is how Lino lives. He is constantly m o v i n g f o r w a r d b u t e n j o y i n g a n d l i v i n g i n t h e m o m e n t with equal poise. When Lino feels like he has squee z e d a l l t h e r e i s o u t o f t h e m o m e n t , h e e l e g a n t l y e a s e s h i s wa y into the n ext adven t ure. Despi te b ei ng l ov ed b y m any, h e i s ex tr aor di nar ily ge n e ro u s with his time and finds time for u s a l l . H e g i v e s h i s h e a r t s o w i l l i n g l y t h a t y o u f e e l l i ke the most important person in the w o r l d w h e n y o u m o s t n e e d a f r i e n d . T h e r h y t h m w i t h which he conducts a coordinated t e a m o f g l a s s b l o w e r s t r i c k l e s d o w n i n t o ev e r y t h i n g h e does. He is so much more than a t e c h n i c a l t h e s a u r u s o f a n a n c i e n t t r a d i t i o n b e i n g l o s t t o the modern world (as if that were n o t e n o u g h , w h i c h i t i s n o t f o r L i n o ) . H e h a s a n a b i l i t y to re co gnize op port un it y in t he u nanti c i pated and m ake i t a poi nt of i nter est r a t he r t ha n a distraction. His mind is open i n a w a y t h a t s e e m s a l m o s t u n n a t u r a l , o r a t l e a s t t o m e is unexpected, for a man comin g f ro m a t r a d i t i o n a l a n d r e l a t i v e l y c o n s e r v a t i v e w o r l d . The world he was born into cam e l a t e t o t h e I n d u s t r i a l Re v o l u t i o n , b u t i t h a s c a u g h t u p now. Lino saw the writing on the w a l l e a r l i e r t h a n m o s t ; h i s a b i l i t y t o s e e o p p o r t u n i t y i n misfortune leads him to share his k n o w l e d g e w i t h t h o s e t h a t a s p i r e t o c a r r y o n t h e s a m e sense of purpose he represents. All life has a pulse to accompa n y i t , b u t s o m e l i v e s p ro d u c e a c e r t a i n r hy t h m t h a t i s beautiful to watch. The rhythm o f L i n o’ s l i f e g e t s m o r e b e a u t i f u l a n d f u n t o w a t c h a s i t de ve lo ps an d his i m provi sat i on al m i nd tr av el s th rou g h i t. I t sh ows i n th e l an gu a ge o f his wo rk a s it does in t he way he m ov es th rou g h th e w or l d. I t i s for th i s r eason h e is a m a e s t ro and now Dr., but most importan t l y h e i s a m a s t e r o f l i v i n g a n d s q u e e z i n g al l t h e r e i s t o be ha d o f t he hum an exp eri en c e. For th i s r eason I ’ m m ost g r atefu l to k now him a n d s ha r e th e pa rt o f hi s l i fe I am fort un at e enoug h to sh ar e wi th h i m . L i no tol d m e on c e t ha t “ y o u ha ve to s uffer ” an d I see n ow t hat th ese ar e th e tr u est wor ds of al l for a c om p le t e lif e . If yo u truly love what y ou do an d w ant to feel th e deepest i m pac t l i fe c an off e r, y o u ha v e to not just be willing to suffer a l i t t l e , b u t t h r i v e i n t h e s u f f e r i n g . T h a t ’ s w h e r e t h e s o u l of things lingers and I think that i s w h a t L i n o m e a n s .
Catalog of ex h ibited w orks
Nov ember 20 11 - J anu ary 2012
kenia, 2011 14.25 x 12.5 x 12.5�
o s a k a , 2011 18 x 13 x 13” next p age:
o s a k a , 2011 17.75 x 12 x 11.75”
o s a k a , 2011 18 x 13 x 13”
f u j i , 2011 25.75 x 13.5 x 9”
f u j i , 2011 19.5 x 16 x 8.75”
f u j i , 2011 18.75 x 21.5 x 10.25”
f u j i , 2011 25.75 x 13.5 x 9”
george, 1999 60.25 x 30 x 1.25�
venice,2011 18.75 x 34.5 x 0.5�
v e n i c e , 2011 36 x 14 x 0.75”
v e n i c e , 2011 34 x 19 x 0.75”
b i l b a o , 2011 34 x 13.75 x 9.5”
b i l b a o , 2004 44.5 x 13.75 x 9.5”
f e n i c e , 2011 14 x 21.25 x 4.75”
fenice,
2011
11 x 39.75 x 5.5�
fenice,
2011
39.75 x 16 x 5.25�
fenice,
2011
40.5 x 13 x 4.5�
a n g e l t e a r , 2011 63.5 x 19.75 x 5”
k i r a , 2011 19.5 x 19.75 x 8”
o s t u n i , 2011 18.25 x 16.75 x 6.5”
d i n o s a u r , 2011 61.75 x 26.25 x 9.75”
o c a , 2011 39 x 9.25 x 7”
d i n o s a u r , 2011 61.75 x 26.25 x 9.75”
n a t o a l o s , 2007 21 x 20.25 x 10.5”
c e l l o , 2006 27 x 16.75 x 7.25”
niomea, 2008 27.25 X 16 X 8”
tatoosh, 2008 25.25 x 13.24 x 8�
saba, 2006 28.5 X 14.75 X 6. 75”
e n d e a v o r , 2009 7.5 x 57 x 6.75”
Ar ti st Bi ogr aphy, Exhi bitions, S elected Bi bli ography
L i no T a g liap ie t r a Born in Murano, Italy, 1934
Training 1946 Apprenticeship wi th Archimede Seguso, Murano, Italy
P r o f e s s io n al 1955-65 Vetreria Galliano Ferro, Murano, Italy 1955 Achieves status of Maestrino 1956 Achieves status of Maestro 1966-68 Venini & Co., Murano, Italy 1976-89 Artistic and Techn ical Director, Effetre International, Murano, Italy 1989- Independent artist
T e a ch in g 1976/78/81 Workshops at La Scuola Internazionale del Vetro, Murano, Italy 1979 Begins teaching regularly at P ilchuck Glass School, WA , USA , Other: C.E.R.V.A.F., Vannes Le Chatel, France Centre College, KY , USA Centre International de Recherche sur le Verre, Marseille, France Haystack Mountain School of Crafts, ME, USA JamFactory, Adelaide, Australia MIT , MA, USA Pratt Fine Arts Center, WA, USA R hode Island School of Design, R.I., USA San Jose State University, CA, USA The Studio of Corning Museum of Glass, NY, USA Toyama Art School, Toyama, Japan University of Sydney, Sydney, Australia UrbanGlass, NY , USA
Selected International Awards 1968-76 Cofounder and chief maestro at La Murrina, Murano, Italy 1968 Borsella d’Oro Award, Murano, Italy 1972 Grand Prix in lighting, Barcelona Trade Fair, Barcelona, Spain 1996 Rakow Commission for Excellence in Glass Award, The Corning Museum of Glass, NY, USA 1996 UrbanGlass Award for Preservation of Glassblowing Techniques, NY, USA 1996/98 Venezia Aperto Vetro, Guest of Honour, invited guest, Venice, Italy 1997 Glass Art Society Lifetime Achievement Award, USA 1997 Urkunde Goldmedaille, Germany 1998 Libensky Award, Chateau Ste Michelle Vineyards and Winery and Pilchuck Glass School, WA, USA 2000 Humana Distinguished Professor, Centre College, Kentucky, USA 2001 Metal for Excellence in Craft Award, The Society of Arts and Crafts, Boston, MA, USA 2004 Honorary Doctor of Humane Letters, Centre College, KY, USA 2004 The President’s Distinguished Artist Award, University of The Arts, Philadelphia, PA, USA 2004 Artist as Hero Award, National Liberty Museum, Philadelphia, PA, USA 2004 Artist Visionaries! Lifetime Achievement Award, Museum of Arts & Design, NY, USA 2006 Distinguished Educator Award, James Renwick Alliance associated with the Renwick Gallery of the Smithsonian American Art Museum, Washington DC, USA 2007 Cristal Award, Museo del Vidrio, Monterrey, Mexico 2007 Foreign Honorary Member, American Academy of Arts and Sciences, Cambridge, MA, USA 2009 The IIC Lifetime Achievement Award, Istituto Italiano di Cultura, Los Angeles, CA, USA 2010 Master Teacher/Master Artist, Hite Art Institute, University of Louisville, KY, USA 2011 Master of Medium Award, James Renwick Alliance, Washington DC, USA 2011 Honorary Degree, Doctor of Fine Arts, Ohio State University, Columbus, OH, USA
Selected Museum Exhibitions and Collections Aperto Vetro, Venice, Italy Bellevue Art Museum, Bellevue, WA, USA Biennale di Venezia, Venice, Italy Carnegie Museum of Art, Pittsburgh, PA, USA Chrysler Museum of Art, Norfolk, VA, USA Columbia Museum, Columbia, OH, USA Columbus Museum of Art, Columbus, OH, USA Corning Museum of Glass, Corning, NY, USA Danish Royal Museum, Copenhagen, The Netherlands Dayton Art Institute, Dayton, OH, USA Detroit Institute of Arts, Detroit, MI, USA Fuller Museum of Art, Brockton, MA, USA Glasmuseum, Ebeltoft, Denmark Hokkaido Museum of Modern Art, Sapporo, Japan Hunter Art Museum, Chattanooga, TN, USA Jewish Museum, San Francisco, CA, USA Kestner Museum, Hannover, Germany Kitazawa Museum of Arts, Takane-cho, Japan M.H. de Young Memorial Museum, San Francisco, CA, USA Marianna Kistler Beach Museum of Art, New York, NY, USA Mary and Leigh Block Museum of Art, Chicago, IL, USA Metropolitan Museum of Art, New York, NY, USA Mint Museum of Craft and Design, Charlotte, NC, USA Montgomery Museum of Fine Arts, Montgomery, AL, USA Musée des Arts Décoratifs, Losanna, Switzerland Musée des Arts Décoratifs, Paris, France Museo del Vidrio, Monterrey, Mexico Museum of Art, Washington State University, Pullman, WA, USA Museum of Arts and Design, New York, NY, USA Museum Boymans, Rotterdam, The Netherlands The Museum of Fine Arts, Houston, TX, USA Museum of Glass, Tacoma, WA, USA Museum Het Paleis, The Haag, The Netherlands National Museum of Ceramic Art and Glass, Baltimore, MD, USA Norton Museum of Art, West Palm Beach, FL, USA Orlando Museum, Orlando, FL, USA Palazzo Franchetti, Venice, Italy Palazzo Grassi, Venice, Italy Palm Springs Art Museum, Palm Springs, CA, USA Racine Art Museum, Racine, WI, USA Renwick Gallery of the Smithsonian American Art Museum, Washington, DC, USA Scottsdale Museum of Contemporary Art, Scottsdale, AZ, USA Seattle Art Museum, Seattle, WA, USA Shanghai Museum of Glass, Shanghai, China Spencer Museum of Art, The University of Kansas, Lawrence, KS, USA Stanford University, Palo Alto, CA, USA Tokyo National Modern Art Museum, Tokyo, Japan Toledo Museum of Art, Toledo, OH, USA Toyama City Institute of Glass, Toyama, Japan Victoria and Albert Museum, London, UK
Selected Bibliography Mentasti, Rosa Barovier. “Lino Tagliapietra da Murano allo Studio Glass l opera 1954-2011” (February 2011). Biller, Steven. “Libretto in Glass,” Palm Spring Life (October 2009). Annas, Teresa. “The Glass Master,” The Virginian-Pilot (April 8, 2009). Dill, Michele Andrus. “Modern Maestro,” Alaska Airlines Magazine (June 2008). Kangas, Matthe. “Lino Tagliapietra: Birth of a Genius,” Neues Glas/New Glass (February 2008). Clemans, Gayle. “A True Maestro of Glass, with a Shred of Retrospective Reluctance,” Seattle Times (February 22-28, 2008). Waggoner, Shawn.“Lino Tagliapietra: The Maestro of Murano,” Glass Art (March/April 2008). Frantz, Susanne K. “Lino Tagliapietra in Retrospect: A Modern Renaissance in Italian Glass” (February 2008). Ricke, Helmut. “Tradition and Renewal: Venetian Ways and Lino Tagliapietra,” Lino Tagliapietra in Retrospect: A Modern Renaissance in Italian Glass (February 2008). Marioni, Dante. “Making a Goblet is a Language,” Lino Tagliapietra in Retrospect: A Modern Renaissance in Italian Glass (February 2008). Wagonfeld, Judy. “Ribbons of Capellini Pasta, A Fisherman’s Knots, The Olympic Mountains, An Elaborate Shoe-Lacing, Rippling Water,” Il Bianco e il Nero (February 2008). Artner, Alan. “Pretty Glass Sculpture May Confuse Some,” Chicago Tribune (August 31, 2007). Morgan, Robert C. “Lino Tagliapietra,” Significant Form (September 2006). Yood, James. “Lino Tagliapietra,” Materia e Poesia (June 2005). Yood, James. “The Art and Journey of Lino Tagliapietra,” Giving Life to Glass: The Art of Lino Tagliapietra October 2004). North, Bill. “Within and Without: Thoughts on Suspension and the Glass of Lino Tagliapietra,” Giving Life to Glass: The Art of Lino Tagliapietra (October 2004). Oldknow, Tina. “Italian Influences on American Glass,” La Danza Con Fuoco (October 2004). Nill, Annegreth T. “Conversation,” The Art of Lino Tagliapietra: Concerto in Glass (October 2003). Kangas, Matthew. “Lino Tagliapietra,” Glass: The Urban Glass Quarterly (Winter 2002). Litinsky, Laura. “Lino Tagliapietra: Still Motion,” Florida Design (December 2002). Heilenman, Diane. “Hot Glass Profile – Lino Tagliapietra,” Profitable Glass Quarterly (Fall 2001). Hackett, Regina. “Lino Tagliapietra,” ARTnews (Summer 2000). Powers, Pike. “An Interview with Lino Tagliapietra,” GAS News (May/June/July 2000). Eliens, Titus M. “Haags Gemeentemuseum/Museum Het Paleis: Meeting Between A. D. Copier and Lino Tagliapietra, Two Internationally Renowned Glass Artists,” This Side Up! [Valkenswaard, The Netherlands] (Summer 2000). Oldknow, Tina. “Conversation with Lino Tagliapietra,” Vetro [Murano] (April/June 1999). Wichert, Geoff. “Lino Tagliapietra,” Glass: The Urban Glass Quarterly (Winter 1999). Hajdamach, Charles R. “The Maestro of Venice,” Crafts (July/August 1998). Neumann, Nicolaus. “Die Kunst des langen Atems,” Merian (May 1998). Marquis, Richard. “Maestro Lino,” American Craft (December 1997/January 1998). Barovier, Marino, (Editor). Thomas S. Buchner and Susanne K. Franz, Tagliapietra: A Venetian Glass Maestro, Venice (1998). “Lino Tagliapietra: 1997 Lifetime Achievement Award,” The Glass Art Society Journal (1997) Zwingle, Erla. “More Than a Dream: Venice,” National Geographic (February 1995) Sarpellon, Giovanni. Lino Tagliapietra: Vetri Glass, Venice (1994). Mentasti, Rosa Barovier. Vetro Veneziano 1890-1990, Venice (1992). Frantz, Susanne K. Contemporary Glass: A World Survey from the Corning Museum of Glass, New York (1989).
L i na and Li no i n Mu rano.
We wish to thank Lina and Lino Tagliapietra for their passion for life and friendship. We would like to also extend our gratitude to Lino’s manager, Cecilia Chung, for her support and friendship over the years. Thank you to Martin and Eric Demaine, David Walters and James Yood for their contribution to this book.
Jim Schantz and Kim Saul Schantz Galleries Stockbridge, Massachusetts
www.schantzgalleries.com
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