The fifty-six objects in the show attest to a range of techniques and philosophical approaches. Methods include casting, slump molding, blowing, assembling, and lampworking. Many of the objects present glass within unusual and unfamiliar contexts. Seattle-based artist Mary Van Cline prints dark photographic images of draped and masked models on thick slabs of glass. Walter Zimmerman's disturbing and sinister mixed-media sculpture of lampworked glass and industrial found objects was donated to the Renwick by glass artist Dale Chihuly, who is himself represented by five works.
Some objects suggest more common glass associations.
In its examination of glass production methods pushed to new levels of mastery, the exhibition presents a number of technical feats. Glittering in pale pink and green, its delicate surface contradicts its chunky form, while patterned cutouts suggest prefab concrete blocks. This exhibition highlights very deserving artists at their national craft museum, in addition to opening up an important dialogue about where the museum's permanent collection is now and where it's going. Future exhibitions in this proposed series would explore the Renwick's holdings in clay, metal, wood, and fiber. The exhibition is made possible in part by the Smithsonian's Special Exhibition Program.