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Biography
Born: San Francisco California 1950
Studied glassblowing at California College of Arts and Crafts under
Marvin Lipofsky and Sam Herman 1969 – 1970
Toured American glass factories and schools 1971
Glassblowing instructor, University of California Extension 1973
Glass Art Society conference participant Madison, WI 1977, Tucson, AZ 1983, Los Angeles, CA 1986, and Corning, NY 1992.
President, Maslach Art Glass, A Corporation founded 1971
Member - Board of Directors, Craft Emergency Relief Fund 1999-2003
Member - Board of Trustees, American Crafts Council 1986 – 1992
Member - Board of Directors, Glass Art Society 1984 – 1986
Curriculum Vitae
COMMISSIONS
KITSAP COUNTY PUBLIC ADMINISTRATION BUILDING, Port Orchard, WA. October 2006. “Kitsap Boat” 14’ cast glass boat with handprint inclusions.14.5’ x 12”h x 13
BAINBRIDGE ISLAND PUBLIC LIBRARY. Bainbridge Island, WA. July 1997. Suspended glass ceiling sculpture in the atrium of the new library addition. 16ft. x 2ft. Completed in partnership with artist Gayle Bard.
NESTLE CORPORATION. Glendale, CA. September 1993. Dichroic sculpture for the corporate board room. 12”h x 10”w x 42”l.
EMERALD SHAPERY CENTER / PAN PACIFIC HOTEL. San Diego, CA. November 1992. Outdoor glass sculpture “ The Signal”. 9ft. x 9ft.
SOUTHERN CALIFORNIA GAS. Los Angeles, CA. January 1992. Dichroic flame sculpture for company headquarters. 19”h x 8”w x 7”l.
RIVERWOOD BUILDING. Atlanta, GA. March 1990. Two glass sculptures each 36”h x 15”w x 15”l. A Portman / Barry Architects project.
NORTHERN TRUST BANK. Phoenix, AZ. January 1990. Glass sculpture “The Precipice”. 28”h x 12”w x 12”l.
CITY OF SAN FRANCISCO MARKET STREET RENOVATION PROJECT. San Francisco, CA 1976. 2,900 pressed glass lighting tiles.
CHANDELIER SERIES FOR THE HOTEL UTAH. Salt Lake City, UT 1975. A total of 13 chandeliers comprised of 7,000 elements and over 23,000 pounds of glass.
MUSEUM COLLECTIONS
ARIZONA STATE UNIVERSITY ART MUSEUM. Collection. Tempe, AZ 1990.
DAVID JACOB CHODORKOFF COLLECTION. Gift to the Detroit Institute of Arts. Detroit, MI 1991.
AMERICAN CRAFT MUSEUM. Collection. New York, NY 1987, 1988.
CHRYSLER MUSEUM. Collection. Norfolk, VA 1986.
OAKLAND MUSEUM OF ART. Collection. Oakland, CA 1986, 1987.
HIGH MUSEUM OF ART. Collection. Atlanta, GA 1986.
CORNING MUSEUM OF GLASS. Collection. Corning, NY 1983, 1986.
SMITHSONIAN INSTITUTE. Collection. Washington, DC.
MUSEUM EXHIBITIONS
5 CONTEMPORARY MASTERS: Society for Contemporary Craft, Pittsburgh, PA
June –September 2008
CHEERS! A MAD COLLECTION OF GOBLETS: Museum of Arts and Design, New York, NY November 2007-April 2008
CCA: A LEGACY IN STUDIO GLASS HONORING THE 100TH ANNIVERSAY OF THE CALIFORNIA COLLEGE OF THE ARTS: San Francisco Museum of Craft and Design, San Francisco, CA January 2007
COLD FUSION. Prefectural Aichi Museum of Ceramics, Seto, Japan. 1998
L’CHAIM: A KIDDISH CUP INVITATIONAL. Jewish Museum of San Francisco, San Francisco, CA. October, 1997.
LIGHT INTERPRETATIONS. Jewish Museum of San Francisco, San Francisco, CA. November 1995.
COLLECTIVE BRILLIANCE: CONTEMPORARY GLASS. Albany Museum of Art, Albany, GA. January – May 1994.
MORE THAN ONE: CONTEMPORARY STUDIO PRODUCTION. American Craft Museum, New York, NY. August – November 1992.
STUDIO GLASS: SELECTIONS FROM THE DAVID J. CHODORKOFF COLLECTION. Detroit Institute of Arts, Detroit, MI. April – June 1991.
ART THAT WORKS: THE DECORATIVE ARTS OF THE EIGHTIES, CRAFTED IN AMERICA. Tour 1990 – 1993. Mint Museum of Art, Charlotte, NC. Huntsville Museum of Art, Huntsville, AL. Albany Institute of History and Art, Albany, NY. Minnesota Museum of Art, St. Paul, MN. Philbrook Museum of Art, Tulsa, OK. Birmingham Museum of Art, Birmingham, AL. DeCordova and Dana Museum, Lincoln, MA. Dayton Art Institute, Dayton, OH. Arkansas Art Center, Little Rock, AR. Hunter Museum of Art, Chatanooga, TN. Portland Art Museum, Portland, ME. Lowe Art Museum, Coral Gables, FL. Columbus Museum of Art, Columbus, GA.
CRAFT TODAY USA: EUROPEAN TOUR 1989 – 1993. Musee des Arts Decoratifs, Paris, France. Taidetollisuumuseoi, Helsinki, Finland. Museum fur Kunsthandwerk, Frankfurt, Germany. Zacheta Gallery, Warsaw, Poland. Moscow, USSR. Zurich, Switzerland. Stockholm, Sweden. Ataturk Cultural Center, Ankatar, Turkey. Veletrani Palace of the National Gallery, Prague, Czechoslovakia. Brussels, Belgium. Milan, Italy. East Berlin, Germany.
CRAFT TODAY: POETRY OF THE PHYSICAL. American Craft Museum, New York, NY 1986. Denver Art Museum, Denver, CO 1987. Laguna Art Museum, Laguna Beach, CA 1987. Milwaukee Art Museum, Milwaukee, WI 1988. J. B. Speed Art Museum, Louisville, KY 1988. Virginia Museum of Fine Arts, Richmond, VA 1988.
SCULPTURAL GLASS. Tucson Museum of Art. Juried Invitational Exhibition. Tucson, Arizona 1983.
AWARDS AND HONORS
The Denji Takeiuchi Prize: “ The International Exhibition of Glass, Kanazawa ’90 ”.
Kanazawa, Japan. One of 12 prize winners from 385 juried entries, for sculptural piece, “More Dangers No. 1”. October 1990.
Prize winner: “Essence of the Nineties: Celebrating the Art and Design of Perfume Bottles ” perfume bottle competition sponsored by St. Louis Glass, Indol, Preface, and Bloomingdale’s, June 1990.
Grand Prize Winner: “A Glass For Wine ” goblet competition sponsored by Baccarat Crystal and Taittinger Champagne, 1988. Purchase award: American Craft Museum.
Merit Award: “ Feet of Glass ”. The Art Glass Alliance of Maryland, 1985.
Statement
My work explores the human condition and brittle nature of our lives. I am concerned with the process of damage and repair. I have chosen glass figurative work to provoke a visual response, a visceral relationship. We accept the manifestation of a human form and relate to it. I keep my work around me in my studio and sense the presence of these incomplete figures. In time, the sculpture is accepted, grows familiar and gains humanity. The glance over the shoulder, the sudden glimpse, allows a moment in which the work reflects ourselves.
I am drawn to forms that exist as a result of purpose. The human body, the bowl and the boat take shape from the result of use, of efficiency, of grace. I involve myself, as an artist, with the representation and evolution of these forms.
Sculpture exists in space beyond words- our memories and responses are invoked by the validity of forms that involve us, delight us, and touch our humanity.
Every artist must define their intentions, the requirements of their art. I intend to make art that contains life, contains purpose, portrays grace, necessitates the uniqueness of glass and is of human scale- large enough to provoke a visceral response.
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