As many folks celebrate Thanksgiving this week, I had an impulse to revisit Norman Rockwell’s iconic painting, Freedom From Want—and to consider Rockwell’s use of color.
Anyone who knows me, or who has been following this blog for any length of time, will be familiar with my interest in creating art glass installations for interfaith chapels and meditation rooms, largely in the realm of health care.
Sometimes there is a long delay between the time a piece is completed and when it is professionally photographed. So, I’m pleased to finally share this photo of the suspended art glass panels I created for the Lamar Institute of Technology (LIT) back in 2017.
If you’re looking for some fascinating inspiration (or distraction) today, check out this 2016 piece from Hyperallergic about what led to one of the first modern color systems.
As I noted in a recent post, I recently started a new “Themes and Variations” page on this website, where you can compare other such studies with their final installations. Here is a set of DNA inspired glass art studies developed for the ARIAD Pharmaceuticals complex in Cambridge, Massachusetts.
Yours truly (center) with architects Mitch Hirsch (L) and César Pelli (R) of Pelli Clarke Pelli, deep in a public art planning process.
Shortly after finishing my last post about the differences between gallery work and public art, I stumbled upon this scathing critique of the state of contemporary public art, with a particular focus on work created through “1% for Art” programs across the United States.
Lately I’ve been thinking about the many complexities of public art; how the creation of public art differs from private studio practice; and how many people don’t realize there’s any distinction between gallery work versus public art. Isn’t art just art, whether it’s exhibited in a gallery or the lobby of City Hall?
Please vote for my Temple Adath Israel installation for the 4th Annual CODAawards! (photo: Tom Crane)
It’s that time of year! The 4th Annual CODAawards will celebrate design projects that demonstrate the most successful integration of commissioned art into an interior, architectural, or public space – and once again, I’m honored to have a project in the “Top 100,” which means it’s eligible for one of two People’s Choice Awards, among other honors.