Mary Van Cline



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Mary  Van Cline

Mary Van Cline

Mary Van Cline Biography

EDUCATION

1980-82     MFA sculpture-Massachusetts College of Art, Boston, MA

1976-77     MA sculpture-Texas Women’s University, Denton, TX

1971-76     BFA design/architecture-North Texas State University

PROFESSIONAL EXPERIENCE

2015-         Austin Art in Public Places, Pre-Qualified Artist Selection, Austin, Tx

2009           Washington State Arts Commission, Public Artist Roster

1999 -        Creative Glass Center, Wheaton, Board  Member

1993           Pilchuck School of Glass, Instructor

1990-93      James Renwick Alliance, Washington, D.C., Renwick Gallery Honorary Board

1990           Creative Glass Center, CGCA Fellows Selection Committee, Millville, NJ

1989           Penland School of Crafts, Instructor

1989           National Endowment for the Arts, Fellow Selection Committee Cultural Exchange Award

1988           University of Illinois, Champaign-Urbana, Lecturer

1986           Pratt School of Fine Arts, Seattle, Instructor

1985           Kent State University, Ohio, Instructor

1985           University of Ohio, Columbus, Instructor

1984           Sheridan College of Arts- Toronto, Canada, Instructor

1982           Rhode Island School of Design, Providence, RI, Instructor

1982           Boston University, Boston, Instructor

1980-82      Massachusetts College of Art, Boston, Instructor

 

AWARDS

1998           Grand Prize, Glass Kanazawa Museum 1998, Kanazawa, Japan

1993           United States Information Agency-awarded commission “Narrative Art in Clay and Glass”

                  (large photographic glass installation , inaugural display at Taft Museum in Cincinatti, Ohio,

                   then traveled to 14 venues in S.E. Asia)

1992            Morris Museum- awarded commission “Glass from Ancient Craft to Contemporary Art”

                   (large photographic glass installation exhibited)

1992           Washington State Arts Commission, Visual Arts Fellow

1990           Creative Glass Center of America, Wheaton Glass Industries-Masterworks Prize Fellow

1988           Glasmuseum,  Ebeltoft, Denmark- Kyohei Fujita Prize,  (inaugural museum opening, only

                   American of four International artists to be awarded)               

1987           NEA/Japan-US Friendship Commission-Cultural Exchange Award

                   (youngest to be awarded )

1986           Pilchuck Glass School, Scholarship

1985           New York State Arts Council- Artist Fellowship Award-NY Experimental Glass Workshop-

                   Artist in Residence

1984           Massachusetts Council on Arts and Humanities, Artist Fellowship Award

1983           Creative Glass Center, Wheaton, Inaugural Fellow(helped develop inaugural program to allow

                   artists into American glass factory)                                                                                                                       

1982           Capitol Glass Invitational, Washington, DC -Inaugural Award

1979           Penland School of Crafts, Scholarship

1978           City Arts Program, City of Dallas, CETA Program-  one year-Artist in Residence

 

SELECTED SOLO AND GROUP EXHIBITIONS

2009-2010 Renwick Gallery, Smithsonian American Art Museum

2013-1998 Imago Galleries, California

2007-2006  International Exhibition, Habatat Galleries, Michigan

2009-1987  International Exhibition, Habatat Galleries, Florida

2008           Hawk Gallery, Columbus, Ohio

2005           Block Museum of Art, Chicago, Illinois

2000-1998  Verriales, Biot, France

2013-1999  Leo Kaplan Modern Gallery, New York

1998           Prefectural Aichi Museum of Ceramics, Seto, Japan

1998           Monumental Sculpture, Bryan Ohno Gallery, Seattle

1998           Glass Kanazawa 98, Kanazawa Museum of Art, Japan

1997           Foster White Gallery, Seattle

1997-99      Calido, Tuscon Museum of Art

1997           Recent Glass, Union of Ideas, Milwaukee Art Museum

1996           Aperto Vetro Venezia, Museo Correr, Venice, Italy

1996           10 Years, Glasmuseum, Ebeltoft, Denmark

1995           Maurine Littleton Gallery, Washington, D.C

 

1993-96      United States Information Agency/Taft Museum “Narrative Art in Clay and Glass” 

                   Arts America, installation commission which traveled to 14 venues in S.E. Asia,

                   Inaugural Exhibit, The Taft Museum, Cincinnati, OH

1992           Contemporary Art Niki, “Out of the Fire”, Tokyo, Japan

1992           Morris Museum, Morristown, N.J. “Glass from Ancient Craft to Contemporary Art

1993           Bellevue Art Museum, WA, “Voices in Contemporary NW Sculpture

1984-93      Corning Museum of Glass, “New Glass Review 14,12,11,8,7,6,5

1990-91      Japan Glass Art Craft Association, “Glass ’90 in Japan”

1990           Galerie L. Hamburg, West Germany

1990           Nielson Gallery, Malmo, Sweden

1989           B.Z. Wagman, St. Louis

1988           World Glass Now ’88, Hokkaido Museum of Modern Art, Japan

1987           Glasmuseum, Ebeltoft, Denmark, Inaugural Exhibition

1987           Dorothy Weiss Gallery, San Fransisco

1986           Museum fur Gestaltung, Basel, Switzerland , New Glass from Japan and America

1986           Huntington Museum of Art, WV. “New American Glass, Focus 2”

1986           Galerie Gottschalk-Betz, Frankfurt, West Germany

1985           Glass National, Habatat Galleries, Florida

1985           Robert Kidd Gallery, Michigan

1984           National Glass Invitational, Heller Gallery, New York

1984           Capital Glass Invitational, Award Winner, Bethesda, MD

1983           Contemporary Crafts Gallery Invitational, Portland, Oregon

1983           Inaugural CGCA Fellows Exhibit, Snyderman Gallery, Philadelphia

1983           National Sculpture Symposium, Austin, Texas

1983           National Warm Glass Show, University of New Mexico

1982           Intros, Contemporary Artisans, San Fransisco, CA

1981           RISD, Woods Gerry Gallery, Rhode Island School of Design

1979           City Hall, Dallas, Texas

1978           Adelle M. Fine Arts, Dallas, Texas

1977           Allen Street Gallery, Dallas, Texas

1976           Stedman Art Gallery, NTSU, Denton, Texas

 

SELECTED MUSEUM COLLECTIONS

American Ambassador's Residence, Seoul, Korea

Smithsonian Institution, National Gallery of American Art and Renwick Gallery, Washington, DC

Philadelphia Museum of Art, Philadelphia, PA

Kodak Museum- Eastman Museum, Rochester, NY

Huntsville Museum of Art, Huntsville, Alabama

Kanazawa Design Institute, Kanazawa, Japan

Corning Museum of Glass, Corning, NY

La Verre de Biot Museum, Biot, France

Wustum Museum of Fine Arts, Racine, WI

Glasmuseum, Ebeltoft, Denmark

Wheaton American Glass Museum, Millville, NJ

Detroit Institute for the Arts, Detroit, Michigan 

Huntington Museum of Art, Huntington, WV

Hokkaido Museum of Modern Art, Hokkaido, Japan

Hunter Museum of Art, Chattanooga, Tennessee

Niijima Glass Art Museum, Niijima, Japan

Museum fur kunst und Gewerbe, Hamburg, Germany

Tacoma Art Museum, Tacoma, Wa

Lowe Art Museum, Florida

Mayor's Office, City of Seattle

 

 

 

 

Mary Van Cline Description

Mary Van Cline is best known for her pioneering cast sculpture using photosensitive glass. Her black and white photo images tell a narrative story about the passage of time and healing. In her fourth decade working in glass as a" photographic sculptor" frequently inventing glass fabrication techniques along the way, the scale of Van Cline’s work has increased substantially. By infusing her own photographic imagery into her installations, Van Cline builds a stage that reads like theater-in-the-round. Van Cline's inventive processes are a result of breaking the glass ceiling decades ago by reaching out to industries such as Kodak, DuPont, Schott North America and Corning. In addition to numerous awards, she was interviewed over several days for the National Archives of American Art, Smithsonian Institution Oral History Program, where you can listen to her recorded story.

Artist Statement

For Mary Van Cline, time is the riddle of human existence. It pushes one forward and leaves one behind. It exists beyond clocks, but humanity is constantly trying to measure it. Its boundaries can drive one to despair, its passage heal. For Van Cline, time has done both, and she has chronicled the changes through her sculpture, from her earliest work to her latest installations.

Van Cline's work is rich in symbols which work on many levels. The figures in her photos span the ages in their anonymity, while the very process of photography stops time altogether. The increasing spaciousness in her work calls for a participatory response from the viewer, a sense of time for healing.  It invites one in, to stop, to rest, to contemplate. But more than that, it asks us to look for changes in ourselves, to get out of our box and cross the lines of our imagination and to be, for a little while, in another space where time does not just stand still; time does not exist at all.

About

Van Cline's pioneering techniques in glass began at Massachusetts College of Art in 1978, where she received her MFA in glass sculpture with Dan Dailey. After completing her BFA degree in design and architecture at North Texas University in 1976, she was introduced to glass with Fritz Dreisbach at Penland School in 1977. While in graduate school in Boston, Van Cline began developing photo emulsions on glass, and experimenting with crushed glass in molds, creating sugar-like castings which she later used in her life-size “Ivory Figures” and “Inochi Series”. In 1983, Van Cline accepted an invitation to be one of the inaugural fellows at Wheaton Art's Creative Glass Center of America (CGCA), helping to develop the program and build the facilities. After receiving an award from the National Endowment for the Arts in 1986, she was the youngest artist to be given a Cultural Exchange Award from the Japan/US Friendship Commission. Van Cline later won the Grand Prize at the Glass Kanazawa Museum in Japan, being one of the few women awarded. "Cycles of the Relationship of Time" is an example of her travels in Japan. It is a cast glass bronze patina vessel which includes photosensitive glass prisms whose imagery was taken on the coast of Nijima Island, near the Nijima Glass Center in Japan.  Being well known for her large glass installations, Van Cline was commissioned by Arts America and the US Information Agency in 1993. Van Cline took a risk and over a year off from the gallery scene, whereby she invented a photographic process to complete "The Listening Point", a room size installation of architectural proportions which includes a large 5 x 6 ft. glass photograph that reflects into a large black glass pool. The installation opened at the Taft Museum in Cincinnati and later travelled to fourteen venues in Southeast Asia. In 2009 it was featured in “Staged Stories” at the Renwick Gallery, Smithsonian American Art Museum and included an additional reflecting pool of black glass with several 8 feet-long pate de verre ivory Ice Branches which are nested and stacked upon one another. While creating another installation for “Staged Stories” at the Renwick Gallery, Van Cline began working with DuPont using technology to infuse safety glass with photographic images. Following a large commission in Tel Aviv, Van Cline had begun searching for a way to display glass photographs outside in the intense Middle Eastern heat. The results were "The Healing Passages of Time" which incorporates two large transparent glass B&W photographs 5 x 10 feet within safety glass.

Travelling with her Hasselblad medium format film camera, Van Cline’s interest in photographing remote ruins and stark landscapes has taken her to several countries including Asia, Crete, Tunisia, Baja Mexico, and the Middle East. Her belief in a "beyond the studio" approach inspires interaction with other industries and allows her to invent new processes, something she has done since her earliest days in glass. "It keeps my artwork fresh and challenges the boundaries of my concepts. The digital age of imagery has forever changed the world, and I approach new techniques with one foot in the past and one foot through an open door to the future."

Note: In 2017, Van Cline began The Documenta Project. She turned to portraiture to photograph and capture the spirit and character of the unique quality of the people who enabled and contributed to the Studio Glass Movement. Van Cline is preserving these artists, collectors and dealers near life size images on film and high resolution digital files, along with a collection of archival portraits with the intention   of housing them within permanent museums in the public domain for the future. Thank you to the Documenta Project Founding Members Circle.

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