Cover image for Chihuly projects
Chihuly projects
Chihuly, Dale, 1941-
Personal Author:
Publication Information:
New York ; London : Harry N. Abrams, 2000.
Physical Description:
1 volume : illustrations (chiefly color) ; 30 cm
Personal Subject:
Format :


Call Number
Material Type
Home Location
Item Holds
NK5198.C43 A4 2000 Adult Non-Fiction Non-Fiction Area-Oversize

On Order



Focuses on the glass artist's spectacular large-scale installations.

Reviews 2

Library Journal Review

Chihuly's large-scale glass installations are described by art critic Rose as "an incredibly generous and spectacular public art that can delight and amaze, transport and stimulate." The same can be said for the brightly colored full-page photographs of 33 projects from Chihuly's workshop that form the bulk of this book. Photographs of both finished installations and various stages in their creation, as well as written comments by Chihuly and members of his workshop, give readers a sense of how these works were created. Essays by Rose and Lanzone make references to so many artists and critics that they will not be meaningful to readers who do not already have wide knowledge of art, but most of the book can be enjoyed by general readers, though Donald Kuspit and Jack Cowart's Chihuly (Abrams, 1999. 2d ed.) provides a fuller overview of Chihuly's glass art.√ĄKathryn Wekselman, M.Ln., Cincinnati (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Choice Review

Discussing and displaying an artist-designed but team-created large blown glassware sculpture or object poses perplexities that go far beyond those presented by a painting or more traditional three-dimensional object. Created in a workshop, Dale Chihuly's projects eventually inhabit a specific environment (a city, pond, window, garden, museum space, etc.). "Challenge," one of the most frequently used words in the paragraph-length comments by the artist and his team members, usually refers to the site. Art historian Barbara Rose reviews the artist's life amid his most significant projects, while Dale Lanzone's essay on politics and trends in public art fits well with the fact that this volume concentrates on public installations rather than private residential commissions. The superb photography, systematizing, and annotation of outdoor public projects complement Donald B. Kuspit's Chihuly (1997; 2nd ed., 1999), a work more focused on interior settings, formalist critique, and factual supplements (lists, chronologies, etc.). Projects is recommended for all levels of readers. M. M. Doherty University of South Florida