Toots Zynsky

TOOTS Zynsky

TOOTS Zynsky

DAVID RICHARD CONTEMPORARY

130 Lincoln Avenue, Suite D, Santa Fe, NM 87501 | p (505) 983-9555

www.DavidRichardContemporary.com | [email protected]

ISBN: 978-0-9834078-8-1

FRONT COVER:

RiscopeRta MiziMah (RediscoveRy), 2011

Glass -Filet-de-verre (Fused and thermo formed color glass threads)

11 1/2” x 10 7/8” x 10 3/8”

TITLE PAGE:

Installation Shot, David Richard Contemporary, Santa Fe, NM, August, 2011

BACK COVER:

spuntaRe (to dawn), 2011

Filet-de-verre (fused and thermo formed color glass threads)

9 1/2” x 19” x 10”

Published on the occasion of the Exhibition:

Toots Zynsky

August 3 – 28, 2011

David Richard Contemporary, Santa Fe, NM

Gallery Directors:

David Eichholtz

Richard Barger

Published by: David Richard Contemporary, LLC, Santa Fe, NM

All Rights reserved. No part of this publication may be reproduced in any form or by any means, electronic

or otherwise, without the express written permission of David Richard Contemporary, LLC.

Catalogue ©2011 David Richard Contemporary, LLC, Santa Fe, NM

Essay by Davira Taragin

Art ©2011 Toots Zynsky

Photos of Art ©Toots Zynsky

Photos of installation by Richard Barger ©2011 David Richard Contemporary, LLC

Design by: David Eichholtz and Richard Barger, Santa Fe, NM

2

Toots Zynsky: A Passion for Red By Davira S. Taragin

After more than thirty years, Toots Zynsky has brought her work full circle: what started initially as an exploration

of the power of red and black and then evolved into her signature, exquisite, multicolored glass thread vessels

has become since 2007 a dedicated investigation of the color red. The earlier exuberant compositions that

present a dialogue between vibrant colors and relatively symmetrical forms with subtly pinched rims have given

way to highly emotive, lyrical expressions that rely upon the union of scale, contorted form, and color.

Zynsky’s contribution to centuries-old traditions of glassmaking, particularly the technique she calls “filet-

de-verre” (glass thread), is well documented. Much has been written about how she moved from using time-

honored Venetian techniques of making cane and pulling glass thread—having two people with a glob of hot

glass attached to pontils move in opposite directions within a confined space until a long thin glass thread is

produced—to co-inventing and employing delicate computer-driven machinery to pull threads that are then hot-

formed in a kiln into a vessel.

In many ways, Zynsky’s approach to creating “filet-de-verre” vessels resembles that of a painter or a master

draftsman. She begins by laying tiers of glass threads on a flat, circular kiln board. In the earliest pieces the

threads were layered parallel to one another and then heated in a kiln and fused. Quickly transferred into a mold,

it slumped into a vessel form with no defined flat bottom. After 1992, Zynsky began to experiment with increased

scale by then slumping the completed vessel over a cone–shaped mold, producing taller vessels with distinctly

defined bottoms. In the later work, the outermost layers of threads often are placed at acute angles to the lower

layers to create a crosshatching effect on the exterior walls.

One final step of the process, developed in 1984 while Zynsky was briefly working in the Venini factory in Italy,

occurs when the artist dons special heat-resistant gloves to manipulate the walls of the vessel while it is still hot

and in the kiln. After 2005, as the forms became larger, the folds in the walls became more dramatic and daring—

an indication of the artist’s increased skill and confidence in manipulating the material. As a result, the dialogue

between interior and exterior that marks much of Zynsky’s earlier work is less pronounced and the undulating

exterior walls are the focal point of the compositions.

Within the wealth of literature devoted to Zynsky, the influences that have defined her aesthetic have not been

examined. Her passion for fiber has been discussed, particularly in reference to her pre-2005 work in which

the glass threads retain their individual identity despite being fused and slumped in a kiln. Yet, nothing has

been written about how the artist attributes her fascination with textiles to her grandmother, whom Zynsky

remembers knitting long, thin strands of yarn into sweaters or, as Zynsky says, “making line into three dimensional

structures.” Similarly, only recently have comparisons been drawn between Zynsky’s layering of glass threads in

series such as her “Exotic Birds” or “Tierra del Fuego” and the feather patterns of birds she routinely saw during

her childhood in northeastern Massachusetts. The marshlands adjacent to her family’s home had been one of the

regular haunts of the nineteenth-century ornithologist, naturalist, and painter John James Audubon because of

its extensive bird population.

Zynsky has often talked about her love for music. Recently, she recognized the critical role music plays in her

work: “Music and color are virtually inseparable to me, musical notes are colors to me and colors are musical

notes.” However, since childhood, dance has been equally important. Discouraged initially from pursuing a career

3

4in dance, she was attracted to glass after a chance visit to the new glass studio at the Rhode Island School

of Design. Walking into the glass shop, then headed by Dale Chihuly, she was immediately fascinated by the

students “moving constantly in what appeared to be spontaneous choreography” as they blew glass to the tune

of loud music that competed with the roaring furnaces. Zynsky still loves to dance: talking recently about her six-

month trip to Africa in late 1984, she warmly recollected dancing daily to the traditional music that she and her

colleagues were recording for the special project that had brought her to Ghana. Since returning to Rhode Island

in 1999, she has served as a trustee for the Festival Ballet Providence, a nationally recognized contemporary and

classical company.

The colors black and red, which Zynsky considers primal, were critical to her first experiments in 1979 when she

returned to working with glass following a six-year hiatus. However, when the pieces cracked due to chemical

incompatibility of the colored threads, she was forced to experiment with a wider palette. She never formally

studied color theory, but Zynsky learned a great deal during her travels in thirteen countries on five continents

from 1983 to 1999. While her sojourn in Ghana has often been cited as a major source of inspiration, she now

talks about the impact of her studies of paintings from every period of time in European, Japanese, American,

and South American collections. Memorable series such as “Exotic Birds”, “Tierra del Fuego”, “Chaos” and

“Serena” resulted. These consist of open-bodied vessels with brilliantly colored surfaces and walls that appear

only minimally manipulated. These series cemented Zynsky’s reputation in contemporary art as a leader among

the generation of Studio Glass artists who focused on color along with content.

By the millennium, subtle changes had begun to appear in Zynsky’s work. Compositions became softer and color

contrasts less dramatic thanks to the introduction of gold, amber, and colorless threads. However, beginning in

2005, Zynsky’s aesthetic was impacted by a series of life-altering events. First, a commission from the respected

Chicago collectors Natalie and Ben Heineman for “the biggest, most beautiful piece that Toots has ever made”

caused her to finally identify, after a multiyear search, a United States company that could create the large

spun stainless steel molds required for a body of work of significant proportions. Then, during trips to Greece

and Italy respectively in 2006 and 2007, she found herself mesmerized by the drapery of marble figures on the

Acropolis and the bronzes of Renaissance Florence, taking countless photographs that she revisited later in her

studio. Finally, Zynsky experienced firsthand the upheaval of caring for terminally ill family and close friends,

eventually only to lose them.

Initially traumatized by her personal situation, she received a private sponsorship that allowed her a year to focus

solely on developing a new body of work. Her immediate response was to explore red and black, augmenting

them at times with amber and gray. “Red and black are the same to me as white or no color because they’re so

powerful. They’re not pretty colors, like pink or green or blue. They are powerful colors, life and death colors.”

The resulting “Ombri” (Italian for “Shadows”) series, consisting of works ranging from approximately five to

twenty-two inches in height, deal with death, life, and new beginnings. Focusing on form as well as color, the

objects brim with raw emotion. Because their walls were so dramatically manipulated, they appear to gyrate, at

times resembling dancing figures. Zynsky later saw them as portraits of loss.

The works in this show, created since the artist relocated her studio earlier this year, reflect the next logical

progression. As in the “Ombri” series, form dominates, taking priority even over color. Folds in the walls are so

5masterfully handled that they resemble drapery more than ever before. Manipulation of the threads to create

subtle surface patterns and textures is now particularly sophisticated. In “Riscoperta Mizimah”, 2011, for example,

Zynsky has seemingly re-created the lustrous moiré effect seen in silk.

Although still focused on red, in this new body of work Zynsky no longer confines herself to a limited palette; in

addition to single-colored compositions are works with a varied, multihued scheme. The colors are sometimes

paler and more subtle, perhaps reflecting the inner peace that Zynsky is trying to regain. Seen in their entirety,

these works with their curvaceous, seemingly delicate walls resemble blooming flowers and represent some of

the most serene and lyrical statements of her career.

Zynsky has never been a chameleon, moving quickly from one aesthetic to another. Rather, she works with

deliberation, working slowly with color and form to bring an idea to masterful fruition. Only now is the impact of

her personal turmoil of the past few years emerging in Zynsky’s art. It will be carefully considered and acted upon,

then define the artist’s oeuvre for years to come.

Author’s note: This essay is based upon conversations with the artist, June and July 2011. See also “Masters of

Studio Glass: Toots Zynsky,” www.cmog.org, 2011 and “Meet the Artist: Toots Zynsky (transcription), www.cmog.

org, 2007.

azzittiRe (to hush), 2011


6 1/4” x 17 1/2” x 7”

RipRistino (Renewal), 2009


15 1/8” x 9 1/2” x 8 1/8”

6

7

dolcetta, 2011


7 1/4” x 15 3/8” x 7 1/4”

afoso ancoRa (sultRy again), 2011


6 3/4” x 16” x 8 1/8”

PREMURA (CARE, SOLICITUDE), 2011


14 3/4” x 13” x 7”

8

9

sRotolaRe (to unwind, unRoll), 2011


6 1/2” x 17 3/4” x 7 1/3”

RifioRiRe (to BlooM again), 2011


7 1/2” x 14” x 8”

coRvo (Rook), 2011


12 5/8” x 8 3/4” x 8”

10

11

alleaRsi (united, joined), 2011


4 1/4” x 15 3/4” x 5”

aMMicco (wink), 2011


5 1/8” x 9 1/2” x 6 1/4”

12

TOOTS ZYNSKY

Born: Boston, Massachusetts, U.S.A., March 25, 1951 B

Education:

1979 Rhode Island School of Design, Special Student Advanced Glass Program (Fall Semester).1973 Pilchuck Glass Center, Stanwood, Washington, Independent degree project video/glass/sculpture (August) B.F.A. Rhode Island School of Design, Providence, R.I.1971 Pilchuck Glass Center, Stanwood, Washington. Glassblowing Workshop (June thru August).1970 Haystack Mountain School of Crafts, Deere Isle, Maine. Glass-blowing Workshop (August).

Solo Exhibitions:

2011 The Corning Museum of Glass, Corning, NY, Masters of studio glass, toots zynsky David Richard Contemporary, Santa Fe, NM, toots zynsky. 2005 Notojima Glass Art Musem, Notojima-machi, Japan. toots zynsky. 2004 Shoha Museum of Sarutahiko Shrine, Ise, Japan. toots zynsky. 2003 Solo (x) 4. Barry Friedman Ltd., NY.2002 Museo Correr (Civici Musei Veneziani D’Arte e di Storia),Venice, Italy. toots zynsky. (Traveling Exhibition) Barry Friedman Ltd., NY, toots zynsky: Baiaderi. 2001 Glasmuseet Ebeltoft, Ebeltoft, Denmark, toots zynsky (Traveling Exhibition)2000 Barry Friedman Ltd., NY, toots zynsky: passeggero. 1999 Koganezaki Glass Museum, Shizuoka, Japan, toots zynsky and nakao yuko.1998 Barry Friedman Ltd., NY, toots zynsky: chaotic fusion. 1989 Stedelijk Museum, Amsterdam, The Netherlands, toots zynsky.

Group Exhibitions:

2010 The Norton Museum of Art, West Palm Beach, FL, Beyond the figure: abstract sculpture in the norton collection The Racine Art Museum Racine, Wisconsin a glass act: first Rate glass from RaM’s collection Montreal Museum of Fine Arts, Montreal (Quebec) Canada, the Body in glass: gift of the anna and joe Mendel collection to the Montreal Museum of fine arts Bellevue Arts Museum, Bellevue, WA, eyes for glass: the price collection2009 Corning Museum of Glass, Corning, NY voices of contemporary glass: the heineman collection Museum of Fine Arts, Houston, Texas pioneers of contemporary glass: highlights from the Barbara and dennis dubois collection The Patty and Jay Baker Naples Museum of Art, Naples, Florida, living with studio furniture:collection of Robert and carolyn springborn 2008 The Cooper-Hewitt Museum, National Design Museum, Smithsonian Institution, New York Rococo: the continuing curve 1730-2008 Houston Center for Contemporary Craft, Houston, Tx, hot glass, cool collections Cantor Arts Center at Stanford University, Stanford, CA, contemporary glass Museum of Art, Rhode Island School of Design, Providence, RI, studio glass in Rhode island: the chihuly years The Powerhouse Museum, Sydney, Australia, inspired! design across time, permanent exhibition of objects from the collection of the Powerhouse Museum Newport Art Museum, Newport, RI, U.S.A. networks 20082007 Montreal Museum of Fine Arts, Montreal, Canada, all for art! great private collections among us Carnegie Museum of Art, Pittsburgh, PA, USA, viva vetro! glass alive! venice and america, 1950-2006 The Newark Museum, Newark, NJ, U.S.A. the art of glass from galé to chihuly: highlights from the lowenbach collection The Museum of Design and Contemporary Applied Arts (mudac), Lausanne, Switzerland, contemporary glass art: a new vision of the mudac’s collection (Permanent exhibition) Farnsworth Art Museum, Rockland, ME, U.S.A., a gathering of contemporary glass2006 Glasmuseet Ebeltoft, Ebeltoft, Denmark twenty years on Angeles County Museum of Art, Los Angeles, CA, glass: Material Matters Steninge Slott Cultural Centre, Marsta, Sweden, steninge world exhibition of art glass Springfield Museum of Art, Springfield, Ohio, USA, Two Media/ two expressions; an exhibition of contemporary clay and glass

Seattle Asian Art Museum, Seattle, WA, U.S.A., a transparent legacy: studio glass gifted to the seattle art Museum from the collection of jon and Mary shirley The Brunnier Art Museum, Iowa State University, Ames, Iowa, USA, from craft to art: contemporary studio sculpture Worcester Center for Crafts, USA, new england glass: the Quiet force Worcester, MA, USA 2005 National Gallery of Australia, Canberra, Australia, transformations: the language of craft Musée Tomo, Tokyo, Japan, contemporary glass- light transfigured, from toyoma city collection Bellevue Arts Museum, Bellevue, Washington, USA, taking shape: pilchuck glass school in the ‘70s The RISD Museum of Art, Providence, RI, chazan’s choice: gifts of contemporary art to the Risd Museum The Arts and Science Center for Southeast Arkansas, Pine Bluff, AZ american studio glass: a survey of the Movement (traveling exhibition) Glasmuseet Ebeltoft, Ebeltoft, Denmark, exhibition of the permanent collection through american eyes: two centuries of american art from the huntington Museum of art (traveling exhibition) Louise Wells Cameron Art Museum, Wilmington, NC; Muskegon Museum of Art, Muskegon, MI; Krasl Art Center, St. Joseph, MI 2004 The Marxhausen Gallery of Art, Concordia University, Seward Nebraska, USA, studio glass international: selections from the esterling/wake collection The RISD Museum of Art, Providence, RI, Recent acquisitions in glass american studio glass: a survey of the Movement (traveling exhibition) Muscarelle Museum of Art, College of William and Mary, Williamsburg, VA; Bergstrom-Mahler Museum, Neenah, WI, Heckscher Museum of Art, Huntington, NY, International Museum of Art and Science, NcAllen, Tx, through american eyes: two centuries of american art from the huntington Museum of art (traveling exhibition) The Morris Museum, Morristown, NJ; Museum of Texas Tech University, Lubbock, Tx; The Taft Museum, Cincinnati, Ohio, Kogenezaki Glass Museum, Shizuoka, Japan, technique and expression ii: fusing and gluing2003 Norton Museum of Art, West Palm Beach, Florida, USA, fire and form: the art of contemporary glass The Huntington Museum of Art, Huntington, West Virginia, USA. through american eyes: two centuries of american art from the huntington Museum of art (traveling exhibition) Toledo Museum of Art, Toledo, OH USA, contemporary directions: glass from the Maxine and william Block collection (traveling exhibition) Kentucky Museum of Arts and Design (formerly Kentucky Art and Craft Foundation), Louisville, Kentucky, USA, glass vessel: an international invitational The World Craft Forum Kanazawa, Kanazawa, Japan, world competition of arts and crafts, kanazawa, special invitational exhibition “crafts now - -21 artists each from america, europe, and asia” american studio glass: a survey of the Movement (traveling exhibition) The William S. Fairfield Art Museum, Sturgeon Bay, WI, USA; Flint Institute of Arts, Flint, MI; The Haggin Museum, Stockton, CA,2002 The Gallery at Steuben, N.Y, N.Y., USA urbanglass @ 25- an anniversary exhibition Carnegie Museum of Art, Pittsburgh, PA, USA, contemporary directions: glass from the Maxine and william Block collection (traveling exhibition) The Philadelphia Museum of Art, Philadelphia, PA, USA, crafting a legacy Newport Art Museum, Newport, RI, USA, transparent illusions2001 Nordjllands Kunstmuseum, Aalborg, Denmark and Tonder Museum, Tonder, Denmark, flet, Braid Mingei International Museum, San Diego, CA, venini- glass and design in a world perspective Corning Museum of Glass, Corning, N.Y., late 20th century sculpture The Newark Museum, Newark, NJ, fire and light, 3000 years of glass artistry The Rockford Art Museum, Rockford, IL, contemporary glass from the permanent collection2000 Museum of Modern Art, open ends, MoMa2000, New York, NY, USA American Craft Museum, venetian glass: 20th century italian glass from the olnick spanu collection concurrent with Memories of Murano: american glass artists in venice, New York, NY, USA Museum of American Art, from westmoreland glass to contemporary glass, Greensburg, PA, USA Koganezaki Glass Museum, Shizuoka, Japan “vessels” the international exhibition of glass The Lowe Art Museum, University of Miami, Florida, USA, splendor in the glass: contemporary glass from the palley collection

Smithsonian Institution Traveling Exhibition (SITES), Civic Fine Arts Center, Sioux Falls, SD, 2000; Museum of Arts and Sciences, Georgia, 2000; George Walter Vincent Smith Art Museum, Springfield, MA, 1999; Huntsville Museum of Art, Huntsville, AL1999 Fine Arts Museum of San Francisco, M.H. de Young Memorial Museum, the art of craft: contemporary works from the saxe collection Singapore Art Museum, handmade: shifting paradigms, Singapore Global Art Glass, Borgholm Castle, Borgholm, Sweden1998 venezia aperto vetro, Italy 1997 Indianapolis Museum of Art, Masters of contemporary glass, selections from the glick collection, Indianapolis, IN, USA Tucson Museum of Art, ¡cálido!, Contemporary Warm Glass, Tucson, AZ, Museum of Fine Arts, Boston, glass today by american studio artists, Boston, MA, USA Cleveland Museum of Art, glass today: american studio glass from cleveland collections, Cleveland, OH, USA Museo del Vidrio, inaugural exhibition, Monterrey, Mexico Musée des Arts Décoratifs de la Ville de Lausanne, artistes verriers contemporains, Lausanne, Switzerland1996 venezia aperto vetro, Italy Musée National de Céramique, couleurs et transparence, chefs-d’ouvre du verre contemporain, Sèvres, France1995 Yamaha Corporation, glass now ’95, ’94, ’92,’ 91,’ 90,’ 89, & ’87 Tokyo, Japan1994 International Craft Exhibition, Lillehammer, Norway, Winter Olympics1993 White House, White House Craft Collection, Museum of American Art, Washington DC, USA Toledo Museum of Art, contemporary crafts and the saxe collection1992 Art Gallery of Western Australia, the second australian international crafts triennial, Perth Australia The Whatcom Museum of History and Art, clearly art - the pilchuck’s glass legacy, Bellingham, WA, USA Conseil Régional de Haute-Normandie, exposition internationale de verre contemporaine France1991 Erfurt, Germany, configura 1 - kunst in europa erfurt 91 Musée des Arts Décoratifs de Prague, “chefs d’oeuvres de la verrerie française du XiXe siècle à nos jours”, Czechoslovakia1990 Museum für Kunst und Gewerbe, gaste aus frankreich, Hamburg, Germany The National Gallery of Art, “Masterpieces of glass from the corning collection”, Washington, DC, USA The Hermitage, “Masterpieces of glass from the corning collection”, St. Petersberg, Russia1988 Traveling Museum Exhibition, vormen in glas, the Netherlands Hokkaido Museum of Modern Art, world glass now, Sapporo, Japan1986 American Craft Museum, poetry of the physical, New York, NY, USA Huntington Museum of Art, new american glass, focus 2 west virginia, Huntington, W. VA, USA Oakland Museum of Art, the saxe collection, Oakland, CA, USA1985 Hokkaido Museum of Art, world glass now, Sapporo, Japan Musée des Beaux Arts de Rouen, art du verre actualité international, France1984 Cheney-Cowles Museum, pilchuck glass, Spokane, WA, USA1983 The American Embassy, Special Exhibition of Contemporary American GLASS, Prague, Czechoslovakia 1982 Dimock Gallery, George Washington University, the fine art of private commissions, Washington, DC, USA Montclair Art Museum, new york experimental glass workshop exhibition, Montclair, NJ, USA1981 Leigh Yawkey Woodson Museum, americans in glass, Wausau, IL, USA Exhibition traveled to: The Cooper-Hewitt Museum, New York, NY; The Krannert Museum of Art, Illinois: (The Western Association of Art Museums) De Cordova and Dana Museum, glass Routes, Lincoln, MA, USA1980 Clayworks-Glassworks Gallery, sculptural glass, 10 new york city area artists, New York, NY, USA

Honors:

2009 American Craft Council College of Fellows2006 Rhode Island Pell Award for Excellence in the Arts1999 Innovation in a Glassworking Technique. UrbanGlass Annual Award, USA.1997 Die Bayerische Staatsregierung. Munich, Germany.1988 Rakow Commission, Corning Museum of Glass, USA.1986 National Endowment for the Arts, U.S.A.1984 Research Grant, Stichting Klankschap (Foundation), Amsterdam, The Netherlands. Music recording and research, Ghana: 1984-1985.1982 National Endowment for the Arts, Visual Artist Fellowship, USA. Pilchuck Glass Center, Stanwood, Washington. Artist-in- Residence:August.1981 New York State Council on the Arts, Artist-in-Residence Grant. In conjunction with the New York Experimental, Glass Workshop NY: 1981-1982.

International Museum and Public Collections:

Art Gallery of Western Australia, Perth, AustraliaArt Sonje Museum, Gyongju, KoreaBirmingham Museum of Art, Birmingham, AL, U.S.A.Boymans van Beuningen, Rotterdam, NetherlandsCarnegie Museum of Art, Pittsburgh, PA, U.S.A.Chrysler Museum of Art, Norfolk, VA, U.S.ACleveland Museum of Art, Cleveland, OH, U.S.A.The Contemporary Museum Honolulu, HI, U.S.A.Cooper-Hewitt Museum, New York, NY, U.S.A.Corning Museum of Glass, Corning, NY, U.S.A.Crocker Art Museum, Sacramento, CA U.S.A.Dayton Art Institute, Dayton, OH, U.S.A.de Young Fine Arts Museums of San Francisco, San Francisco, CADetroit Institute of Arts, Detroit, MI, U.S.A.Glasmuseum, Ebeltoft, DenmarkGlassammlung Ernsting, Coesfeld-Lette, GermanyHerbert F. Johnson Museum of Art, Cornell University, Ithaca, NYHokkaido Museum of Modern Art, Sapporo, Japan Hunter Museum of Art, Chatanooga, Tennessee, U.S.A.Huntington Museum of Art, Huntington, W.VA, U.S.A. Indianapolis Museum of Art, Indiana, U.S.A.J.B. Speed Museum, Louisville, KY, U.S.A.Kestner Museum, Hannover, GermanyKoganezaki Glass Museum, Koganezaki, JapanKunstammlungen der Veste-Coburg, Coburg, Berlin,Germany Kunstgewerbemu-seum Berlin, Stiftung Preussischer Kulturbesitz, GermanKurokabe Museum of Glass Art, Shiga JapanLeigh Yawkey Woodson Museum, Wausau, WI, U.S.A. Lowe Art Museum University of Miami, Miami, Florida, U.S.A.Mayo Foundation, Rochester, MN, U.S.A.Metropolitan Museum of Art, New York, NY, U.S.A.Milwaukee Art Museum, Milwaukee, WI, U.S.A.Mobile Museum of Art, Mobile, AL, U.S.A.Montreal Museum of Fine Arts, Montreal, CanadaMusée-Atelier du Verre de Sars Poteries, Sar Poteries, FranceMusée de Design et D’Arts Appliqués (mudac), Lausanne, Switzerland Musée des Arts Décoratifs du Louvre, Paris, FranceMusée des Arts Décoratifs de la Ville de Lausanne, SwitzerlandMusée du Verre et du Cristal de Meisenthal, FranceMusei Civici Veneziani, Museo Correr, Venice, ItalyMuseo Municipal de Arte en Vidrio de Alcorcon, Alcorcon, SpainMuseo del Vidrio, Monterrey, MexicoMuseum Bellerive, Zürich, SwitzerlandMuseum of Art, Rhode Island School of Design, Providence, R.I., U.S.A.Museum of Art, Washington State University, Pullman, WA, U.S.AMuseum of Arts and Design, New York, NY, U.S.A.Museum of Fine Arts, Houston, Texas, U.S.A.Museum of Fine Arts, Boston, Massachusetts, U.S.A.Museum of Modern Art, New York, NY, U.S.A.Museum fur Kunst und Gewerbe, Hamburg, Germany Muskegon Museum of Art, Muskegon, Michigan, U.S.A.National Gallery of Australia Parkes Canberra, AustraliaNational Gallery of Victoria, Victoria, AustraliaNational Museum of American Art (Smithsonian), Washington DCNederlandsche Bank NV (The Dutch Central Bank), Amsterdam, The NetherlandsNew Orleans Museum of Art, New Orleans, LA, U.S.A.Newark Museum, Newark, NJ, U.S.A. Newport Museum of Art, Newport, RI U.S.A.Nordenfjeldske Kunst Industrimuseum, Trondheim, Norway Norton Museum of Art, West Palm Beach, Florida, U.S.A.Notojima Glass Art Museum, Nanao City, Japan Philadelphia Museum of Art, PA, U.S.A.Powerhouse Museum, Museum of Applied Arts and Sciences, Sydney, Australia Prescott Collection of Pilchuck Glass of Pacific First Center, Seattle, WA, U.S.A.The Racine Art Museum, Racine, Wisconsin, U.S.A.Saint Louis Museum of Art, St. Louis, Missouri, U.S.A.Sarutahiko Jinjya Shoha Museum, Ise, JapanSeven Bridges Foundation, Greenwich, CT. USAShimonoseki City Art Museum, Shimonoseki, JapanStedelijk Museum, Amsterdam, NetherlandsTampa Museum of Art, Tampa, FL, U.S.A.The Toledo Museum of Art, Toledo, OH, U.S.A.Toyama City, JapanUniversity Hospitals, Beachwood OH, U.S.A.University of Iowa Healthcare, Iowa City, Iowa, U.S.AVictoria and Albert Museum, London, England The White House Collection, Washington DC, U.S.A. (now housed at the William J. Clinton Presidential Library, Little Rock, Arkansas, U.S.A)Wichita Art Museum, Wichita, Kansas, U.S.AWürth Museum, Künzelsau, GermanyYale University Art Gallery, New Haven, CT, U.S.A.Yokohama City Museum of Art, Yokohama City, Japan

13

DAVID RICHARD CONTEMPORARY

130 Lincoln Avenue, Suite D, Santa Fe, NM 87501 | p (505) 983-9555

www.DavidRichardContemporary.com | [email protected]

Toots Zynsky

Documents

Transcript of Toots Zynsky