MARVIN LIPOFSKY - Micaela
MARVIN LIPOFSKY - Micaela
MARVIN LIPOFSKY - Micaela
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<strong>MARVIN</strong> <strong>LIPOFSKY</strong>
A publication of Micaëla Gallery tim<br />
on the occasion of the exhibition:<br />
<strong>MARVIN</strong> <strong>LIPOFSKY</strong> Survey 1969 - 2009<br />
<strong>MARVIN</strong> <strong>LIPOFSKY</strong><br />
Survey 1969 - 2009<br />
September 1 - October 31, 2009<br />
Images copyright Marvin Lipofsky.<br />
Introductory text by Randall Miller, copyright Micaëla Gallery, LLC<br />
Marvin Lipofsky and the Mistress of the World, copyright Todd Levin<br />
Marvin Lipofsky: An Appreciation, copyright James Yood<br />
Photo credits: M. Lee Fatherree<br />
Many thanks to Jeanette Bokhour, Assistant Extraordinaire to Marvin Lipofsky, for<br />
her quiet comments, gentle guidance, invaluable support and ready wit;<br />
to Danielle Grant and Natalia Pudzisz, Assistants to Micaëla V. Van Zwoll;<br />
to Ashley Cownan, Shannon Geddes, Elizabeth Kuntze, Alyssa Morasco, and Esmar<br />
Sullivan, Interns at Micaëla Gallery, for their many contributions to this exhibition;<br />
and to George Lawson of George Lawson Gallery, San Francisco.<br />
Design and Layout: Micaëla V. Van Zwoll<br />
For inquiries or copies of this catalog, please contact Micaëla Gallery<br />
Micaëla Gallery<br />
49 Geary Street, No. 234, San Francisco, CA 94108 USA<br />
micaela.com info@micaela.com 415.551.8118<br />
cover image: L’viv Group 2001-2002 #2
<strong>MARVIN</strong> <strong>LIPOFSKY</strong><br />
Survey 1969 - 2009<br />
Marvin Lipofsky and the Mistress of the World<br />
by Todd Levin<br />
Marvin Lipofsky: An Appreciation<br />
by James Yood
Marvin Lipofsky working at the Blenko Glass Company, Milton, West Virginia, 1968
Marvin Lipofsky’s use of glass as a gestural artistic material helped to reinvent a centuries-old craft tradition<br />
as a Modernist art form. His sculptures crystallize a lifetime of travel and material investigation, as well<br />
as the sumptuous colors of the natural landscape, the visceral forms of the body, and the alchemical<br />
processes of manipulating blown glass. As an artist, educator, and inveterate traveler, Lipofsky has been<br />
an inspirational force throughout the international glass community for more than four decades.<br />
Nowhere has Lipfosky's influence been greater than in the San Francisco Bay Area. After earning his<br />
MS and MFA in 1964 from the University of Wisconsin at Madison under the tutelage of Harvey Littleton,<br />
Lipofsky initiated glass programs at the University of California at Berkeley in 1964 and at the California<br />
College of Arts and Crafts in Oakland in 1967 where he served as chair until 1987. Throughout decades<br />
of travel, Berkeley, California has been a consistent point of return for the artist, helping to establish the<br />
Bay Area as one of the preeminent centers of studio glass production.<br />
Marvin Lipofsky has created work and led workshops at Bezalel Academy of Arts and Design (Jerusalem,<br />
Israel), the Union of Bulgarian Artists (Sofia, Bulgaria), Haystack Mountain School of Crafts (Deer Isle,<br />
Maine), Pilchuck Glass School (Stanwood, Washington), Fratelli Toso (Venice, Italy), and The Gerrit<br />
Rietveld Academie (The Netherlands) where he was the first Visiting Artist Critic.<br />
His work can be found in over 90 collections worldwide, including the San Francisco Museum of Modern<br />
Art, M. H. de Young Memorial Museum (San Francisco, CA), the Oakland Museum of California (Oakland,<br />
CA), the Metropolitan Museum of Art (New York, NY), Hokkaido Museum of Modern Art (Sapporo, Japan),<br />
Detroit Institute of Art (Detroit, MI), Philadelphia Museum of Art (Philadelphia, PA), Carnegie Museum<br />
of Art (Pittsburgh, PA), Musée d’Art Contemporain (Skopje, Yugoslavia), Museum Für Kunsthandwek<br />
(Frankfurt, Germany), Umeleckoprumyslove Muzeum (Prague, Czech Republic), Auckland City Art Gallery<br />
(Auckland, New Zealand), All-Russia Decorative, Applied and Folk Art Museum (Moscow, Russia), and<br />
Renwick Gallery, National Museum of American Art, Smithsonian Institution (Washington, D.C.).<br />
Randall Miller<br />
Micaëla Gallery
“...It is Art which makes life, makes interest, makes importance...and I know no substitute whatever for the force<br />
and beauty of its process...”<br />
- Henry James<br />
Marvin Liposky and the Mistress of the World<br />
Pascal called the imagination “...the mistress of the world, the superb power, the enemy of reason...<br />
it disposes all things....it creates beauty, justice, and happiness.” If we accept Pascal’s premise - that<br />
the imagination is the power of the mind over things - then it stands to reason that the artistic nature of<br />
any idea depends upon the mind through which it passes, for ideas are not inherently artistic in and of<br />
themselves. The imagination of the artist is clear and keen, and its achievement lies in its attempt to<br />
bridge the abstract gap between fact and miracle. But of what real use is the imagination of the artist to<br />
us, the casual viewer?<br />
It is not to lead us out of the havoc that we find ourselves in the midst of everyday. Nor is the role of<br />
the artist and their imagination to comfort us while we are constantly barraged with an onslaught of<br />
information from myriad sources. I think that the function of the artist is to make their imagination ours,<br />
to gradually watch their imagination glitter in our mind. The role of the artist, in short, is to help us live<br />
our lives. The artist does this by creating a world to which we can turn to, again and again, so that we<br />
eventually are unable to conceive of our lives without the artist’s imagination and feeling. Art is one of the<br />
sacraments of life - the crucial interface between the imagination and reality, the thing that makes life a<br />
deeper and broader thing than what it might be without such insight.<br />
The artist discovers through their own imagination and feelings what they deem to be art. The artist then<br />
reveals the freedom of their imagination to us through the artwork they subsequently create, and that is<br />
the artist’s distinction - as our distinction as the viewer is to be the recipient of the artist’s imagination and<br />
feeling. But while this revelation - the actual artwork produced - may define to the artist what is art, it is<br />
not the invention of a definition of art. By this, I mean the art itself - the naked artwork - is the imagination<br />
and feeling of the artist revealing itself in the artwork they create.<br />
The artist’s imagination reflects reality, but more importantly, reality reflects the artist’s imagination. The<br />
artist’s imagination is constantly pressing up against the pressure of reality. The creation of an artwork<br />
releases this pressure as energy. This energy is the force capable of turning the substance of the artist’s<br />
imagination into subtlety, and creates a sympathetic resonance in our own reality by the sheer force of<br />
the artist’s will. If the philosopher’s world is:<br />
[the whole world + thought]<br />
Then the artist’s world is:<br />
[the whole world + imagination]
Marvin Lipofsky’s sculptures are not artworks about a specific philosophical position, or didactic critical<br />
stance. Lipofsky’s sculptures illuminate his own personal sense of the world. For the artist, this sense<br />
is immense and inexorable. If the artist strays too far from this sense, they are in danger of becoming<br />
artificial or didactic. While artifice or didacticism may be used skillfully, they are not essential things.<br />
Lipofsky’s artworks are about the enlargement of life, without pretense, beyond a desire for simplistic<br />
definitions. The inherent interest in his artworks is not in their meaning, but in that they illustrate the<br />
realization of his individual reality.<br />
In trying to comprehend what glitters in the space between Lipofsky’s artwork and the mind of the viewer,<br />
we gradually realize that the artist demands we participate within the sphere of his artwork’s influence,<br />
rather than merely understand it. The imagination becomes passive when it ceases to participate with,<br />
and only attempts to understand an artwork. When we simply understand an artwork, we hear the remote<br />
rumble of rhetoric. But when we participate with an artwork, we become intimate with an artist whom we<br />
may never meet, and the artist becomes intimate with us.<br />
Lipofsky’s artworks have a reality of their own in the the art world, as well as in the real world. The<br />
pressure we feel when we are in their midst is no longer the pressure of reality, since the imagination has<br />
created and accepted them. But something else in one’s imagination is moved. It is persistent, and it<br />
is this very persistence that moves us. It is the persistence of the artist, who for the past forty years has<br />
shared with us an emotional level of intensity that demands we look aggressively, and not passively. One<br />
gets an extraordinary effect from seeing things as they are, which is to say from looking aggressively.<br />
But to look at things aggressively, is not necessarily to see things as they are. It comes to this - that the<br />
structure of Lipofsky’s art is a part of the structure of his personal imagination, or, in effect, that his artwork<br />
and his imagination are one.<br />
We all live in the mind. And if we live in the mind, we live with the imagination. Art is the imagination of<br />
life, so intensely felt, that it has entered into, and become an integral part of us. But we can lose sight<br />
of this crucial force, until someone like Pascal, or Marvin Lipofsky, reminds us of it. The world about us<br />
would be bleak except for the world within us, and the work of Marvin Lipofsky bears witness to this fact.<br />
It is plain then, in this world of apathy and vanity, when we encounter artwork by Marvin Lipofsky, that we<br />
experience something that staggers and affects us. Lipofsky’s artwork does what art should do, namely,<br />
lead us to a fresh conception of the world.<br />
- Todd Levin
Marvin Lipofsky: An Appreciation<br />
I’m going to resist what is the almost universal impulse for writers to present Marvin Lipofsky as the<br />
inveterate globetrotter who ceaselessly crisscrosses the planet to create his work, as the ultimate road warrior<br />
who may have literally traveled more miles to act as a creative artist than any person in the history of human<br />
civilization. I’m going to avoid concentrating on his peripatetic nature not because it isn’t important, even<br />
a cursory leafing through this catalogue alerts you to the fact that this is a restless artist who doesn’t mind<br />
airports and has some form of wanderlust embedded in his being. Instead, I’m going to focus on something<br />
every bit as intriguing, and that is where each journey Lipofsky takes begins and ends, in California.<br />
Marvin Lipofsky is actually from my part of the country, born and raised outside Chicago, who studied<br />
glass with Harvey Littleton at the University of Wisconsin. He has lived in California, particularly in the Bay<br />
Area, for 45 years now, and whether it’s Kentucky or Bulgaria, China or Israel, it is to California that he<br />
returns with the work he fabricates while on the road, and it is in California that he grinds, cuts, polishes, and<br />
coaxes that material into art. It may be my distance from California that enhances this impression, but it is<br />
in Marvin Lipofsky’s work that I find aspects of its place in the American mind most clearly articulated. His<br />
sculptures exude a sense of organic effusiveness, a kind of celebration of surging life forces, an up-tempo<br />
churning of color and form that poetically offers the contexts of California, its curious conjunction of sun and<br />
sea, of mountain and desert, of dense urban matrix juxtaposed with suddenly vacant landforms. His work<br />
is free, often literally turning in on itself, and everywhere suggests a California where anything is possible,<br />
where his visionary imagination can find a physical metaphor in manipulating the oozing tactility of hot glass<br />
into an exuberant simulacrum of the processes of nature itself.<br />
Yes, to Lipofsky the fabrication of the core components of his sculpture in places such as Russia<br />
and Tacoma is crucial, it allows him to work intensively with other artists, tapping into the traditions and<br />
environments he encounters, rooting his work in the collegial and collaborative nature of glassblowing, and<br />
it offers him that special performative energy, akin to the happenings he experienced in Berkeley and San<br />
Francisco on his arrival in California in the 1960s. It’s a bit like musicians jamming, Lipofsky’s work around<br />
the world, that moment when individual artists begin to create as a group, separate personalities set aside<br />
in the sheer joy of working together. But it’s not the ephemera of jamming to Lipofsky, he and his colleagues<br />
in Japan or the Czech Republic know they are at work at the raw material of his subsequent sculpture, the
stakes are raised, what might have been a relaxed demonstration session gets heightened into something<br />
else, the residue of which is somehow retained in Lipofsky’s subsequent sculptures.<br />
And what sculptures! The greatest irony in the sculpture of Marvin Lipofsky is that we have in him<br />
one of the finest colorists anywhere in contemporary art, an artist with a hair-trigger sensitivity to hue and<br />
tone, to the evocative suggestive of just that color breathing next to just this color, the ebb and flow of tone<br />
coursing in and through his pieces, now subtle, then exhilatory, here restrained, there chaotic, first muted<br />
and sedate, then so frenzied and interwoven as to offer a completely self-contained universe. It’s stunning<br />
that this extraordinary empathy for color can exist in a sculptor. The special conjunction of form and color<br />
in his work, the way that colors move in real space, folding and unfolding in front of us, physically as well<br />
as visually cursive, is color made volumetric, almost a contradiction in terms, making its usual privileged<br />
location in the history of painting seem oddly flat. These are sculptures you dive into, turned to and fro,<br />
surrendering to their curvy sensuousness, following Lipofsky’s rivulets of form to unexpectedly poetic and<br />
poignant ends. It’s so, well, California, a celebration of sea and sky and land that for him required threedimensionality,<br />
like but unlike a shell pulled from the sea, like but unlike a deconstructed vessel or bowl, like<br />
but unlike a fantastic rock form or the hills east of the bay, organic and abstract, with rich interior and exterior<br />
lives.<br />
Marvin Lipofsky is not, of course, a California artist, he is an artist who lives in California. But place has<br />
a subtle way of impacting an artist’s vision, the things we see every day help construct how we understand<br />
the world. California is a lot of things, but it is certainly a place where the efforts to understand the nature/<br />
culture dichotomy is omnipresent. Lipofsky’s arrival there in the heyday of San Francisco in the 1960s, with<br />
its promise of a cultural revolution where anything seemed possible, and his innate sensitivity to nature and<br />
its core processes augmented by the California environment has given him a lot to think about, and a lot to<br />
celebrate. It’s an old witticism—“Wherever you go, there you are.” But it’s also just as true for wherever you<br />
stay.<br />
James Yood<br />
James Yood teaches art history at the School of the Art Institute of Chicago. He is a contributing editor to GLASS<br />
magazine and writes regularly for Artforum.
SCULPTURE
Marvin Lipofsky with blown sculptures and drawing at Pilchuck Glass School. 1984
California Loop Series #4<br />
Blown glass, paint, rayon flocking<br />
Dimensions: 10.5 x 14.5 x 8 in.<br />
Blown at University of California, Berkeley, California
Sussmuthglas 1980-81 #10<br />
Dimensions: 8 x 9.5 x 9.5 in.<br />
Blown at Sussmuthglas, Immenhausen, Germany
Marvin Lipofsky and Gianni Toso, working at the Venini Glass Factory, Murano, Italy, 1972.<br />
Fratelli-Toso Series: Split Piece 1976-1980<br />
Dimensions: 11 x 2 x 14 in.<br />
Blown at Fratelli-Toso, Murano, Italy<br />
with help from Gianni Toso
Marvin Lipofsky assisted by Carol Schreitmueller at<br />
California College of Arts and Crafts (CCA), Oakland, California, 1982.<br />
California Storm Series 1982 #4<br />
Dimensions: 11.5 x 13 x 11 in.<br />
Blown at California College of Arts and Crafts (CCA),<br />
Oakland, California<br />
with help from Carol Schreitmueller
Miasa Group 1987 #8<br />
Dimensions: 8 x 10.5 x 9 in.<br />
Blown at Miasa Bunka Center, Miasa, Japan<br />
with help from Makoto Ito, Yoshihiko Takahashi, Kenji Kato
Marvin Lipofsky, working at the Glass Studio in Otaru, Japan.<br />
Preparing wood forms for the mold, 1987<br />
Otaru Series 1987 #6<br />
Dimensions: 9 x 13 x 11 in.<br />
Blown at The Glass Studio in Otaru, Otaru, Hokkaido, Japan<br />
with help from Mitsunobu Sagawa.
Marvin Lipofsky working with Ivan on the<br />
Soviet Series. 1st International Blown Glass<br />
Symposium, L’vov Experimental Ceramico-<br />
Sculptural Factory, L!vov USSR, 1989<br />
Soviet Series 1989<br />
Dimensions: 14 x 16 x 11.5 in.<br />
Blown at L’vov Experimental<br />
Ceramico-Sculptural Factory, L’vov,<br />
USSR, with help from Ivan and Sasha.
Dieulefit Group Wall Piece 1990-1996 #1 (left) and #4 (right)<br />
Dimensions:<br />
13.5 x 10.5 x 7 in. (left)<br />
12 x 12.5 x 4 in. (right)<br />
Blown at Le Pontil Studio, Dieulefit, France<br />
with help from Claude Morin.
Marvin Lipofsky working with Joseph<br />
Rasocha at the International Glass<br />
Symposium IV, Crystalex Hantich Factory,<br />
Novy Bor, Czechoslovakia, 1991.<br />
IGS IV Czech Flowers 1991-1992 #2<br />
Dimensions: 9 x 19 x 11.5 in.<br />
Blown at Egermann-Exbor S.P.,<br />
Novy Bor, Czech Republic,<br />
with help from Josef Rasocha.
Marvin Lipofsky working with the team led by master glassblower Stefen Stefko at the<br />
International Glass Symposium IV, Crystalex Hantich Factory, Novy Bor, Czechoslovakia, 1991<br />
‘Glass Ambitions’ International Glass Symposium V,<br />
Series 1994 #2<br />
Dimensions: 11 x 17 x 15 in.<br />
Blown at Crystalex Hantich, Novy Bor, Czech Republic,<br />
with help from Stefen Stefko.
Marvin Lipofsky working with glass master Wong Cheung Yun at<br />
Dalian Factory, Shangdao, Dalian, China<br />
China Group II 1999-2000 #12<br />
Dimensions: 11.5 x 12.5 x 13 in.<br />
Blown at Shangdao Factory, Dalian, China<br />
with help from Wong Cheung Yun.
Kentucky Series 2000 #1<br />
Dimensions: 10 x 20 x 15.5 in.<br />
Blown at Centre College, Danville, Kentucky,<br />
with help from Steve Powell, Brooke, Paul, Brent and<br />
students.
Marvin Lipofsky working with Petr Novotny at<br />
International Glass Symposium 2000, Bild-Werk, Frauenau, Germany<br />
Frauenau Group 2000-2002 #4<br />
Dimensions: 14 x 20 x 18 in.<br />
Blown at International Glass Symposium 2000, Bild-Werk,<br />
Frauenau, Germany,<br />
with help from Petr Novotny.
L’viv Group 2001-2002 #2<br />
Dimensions: 8.5 x 18.5 x 18 in.<br />
Blown at L’viv Experimental Ceramico-Sculptural Factory,<br />
L’viv, Ukraine,<br />
with help from Ivan, Roman, and Taras.
Berkshires 2003-2004 #2<br />
Dimensions: 11 x 13.5 x 16 in.<br />
Blown at Fellerman-Raabe Studio, Sheffield,Massachusetts<br />
with help from Stephen Powell and team.
Chico Group II 2004-2005 #5<br />
Dimensions: 14 x 14.5 x 14 in.<br />
Blown at Cal State University, Chico, California,<br />
with help from Robert Herhusky and student team.
Marvin Lipofsky working as Artist in Residence<br />
Assisted by Alex Stisser,<br />
Benjamin Cobb and Darin Denison, at the<br />
Museum of Glass, Tacoma, Washington, 2007<br />
SF • Tacoma Group 2006-2007 #5<br />
Dimensions: 14.5 x 18 x 18 in.<br />
Blown at Museum of Glass, Tacoma,<br />
Washington,<br />
with help from Benjamin Cobb, Alex<br />
Stisser and Darin Denison.
<strong>MARVIN</strong> <strong>LIPOFSKY</strong><br />
DATE OF BIRTH September 1, 1938, Barrington, Illinois<br />
CURRENT RESIDENCE Berkeley, California<br />
EDUCATION<br />
1962 BFA, Industrial Design, University of Illinois, Urbana, Illinois<br />
1964 MS, Sculpture, University of Wisconsin, Madison, Wisconsin<br />
1964 MFA, Sculpture, University of Wisconsin, Madison, Wisconsin<br />
SELECTED COLLECTIONS<br />
Museum of Arts and Design (American Craft Museum; Museum of Contemporary Crafts), New York, New York<br />
Milwaukee Art Museum, Milwaukee, Wisconsin<br />
Oakland Museum of California (Oakland Art Museum), Oakland, California<br />
San Francisco Museum of Modern Art (San Francisco Museum of Art), San Francisco, California<br />
Musée d’Art Contemporain, Skopje, Yugoslavia<br />
Monte Vista High School, Danville, California<br />
Mills College, Oakland, California<br />
The Toledo Museum of Art, Toledo, Ohio<br />
National Museum of Glass, Leerdam, Netherlands<br />
Museum Boymans-Van Beuningen, Rotterdam, Netherlands<br />
Stedelijke Museum, Amsterdam, Netherlands<br />
Museum Bellerive, Zurich, Switzerland<br />
United States State Department (U.S.I.S.)<br />
Museum Für Kunsthandwek, Frankfurt, Germany<br />
Musée du Design et d’Arts Appliqués/Contemporains (Musée des Arts Decoratifs) Lausanne, Switzerland<br />
The National Museum of Modern Art, Kyoto, Japan<br />
Umeleckoprumyslove Muzeum, Prague, Czech Republic<br />
St. Louis Museum of Art, St. Louis, Missouri<br />
International Glass Museum, Ebeltoft, Denmark<br />
Auckland City Art Gallery, Auckland, New Zealand<br />
The Detroit Institute of Art, Detroit, Michigan<br />
Musée des Arts Décoratifs (Fonds National d’Art Contemporain) Paris, France<br />
Hokkaido Government Prefectury, Sapporo, Japan<br />
Philadelphia Museum of Art, Pennsylvania<br />
International Glass Symposium Collection, Crystalex, Novy Bor, Czech Republic, 1982 II; 1985 III; 1988 IV;<br />
1991 V; 1994 VI; 1997 VII; 2000 Crystalex, A.S./Lemberk Castle, Zsolnay Museum, Pecs, Hungary<br />
Indianapolis Museum of Art, Indianapolis, Indiana<br />
Los Angeles County Museum of Art, Los Angeles, California<br />
The National Museum, L’viv, Ukraine<br />
The Metropolitan Museum of Art, New York, New York<br />
Smålands Museum-Swedish Glass Museum, Växjö, Sweden<br />
The Alcorón City Museum of Glass Art, The Castle of San Jose de Valderas, Alcorón, Spain<br />
Renwick Gallery of the National Museum of American Art, Smithsonian Institution, Washington, D.C.
COLLECTIONS (continued)<br />
Cooper-Hewitt National Design Museum, Smithsonian Institution, New York, New York<br />
Museum of Applied Arts, Belgrade, Serbia, Yugoslavia<br />
Glass Art Collection, Mentzendorff House Museum, Riga, Latvia<br />
The di Rosa Preserve, Napa, California<br />
Museo del Vidrio, La Granja, Spain<br />
Museo del Vidrio, Monterrey, N.L. Mexico<br />
Skirball Cultural Center and Museum, Los Angeles, California<br />
Musée du Québec, Québec City, Québec, Canada<br />
Carnegie Museum of Art, Pittsburgh, Pennsylvania<br />
Tacoma Art Museum, Tacoma, Washington<br />
Museum of Fine Arts, Boston, Massachusetts<br />
Eretz Israel Museum, Glass Pavillion, Tel A’viv, Israel<br />
Montreal Museum of Fine Art, Montreal, Québec, Canada<br />
Museum Für Kunst und Gewerbe, Hamburg, Germany<br />
Kunstgewerbemuseum, Berlin, Germany<br />
National Gallery of Australia, Canberra ACT, Australia<br />
Corning Museum of Glass, Corning, New York<br />
Dorothy and George Saxe Collection, M.H. de Young Museum, San Francisco, California<br />
SELECTED AWARDS / HONORS<br />
1974 National Endowment for the Arts, Fellowship<br />
1976 National Endowment for the Arts, Fellowship<br />
1978 Purchase Award, Corning Museum of Glass, Americans in Glass, Leigh Yawkey Woodson Art<br />
Museum, Wausau, Wisconsin<br />
1983 Honorific Prize, Viconiter ’83 1st International Exhibit of Contemporary Glass, Valencia, Spain<br />
1985 “California Living Treasure,” Creative Arts League of Sacramento, Sacramento, California<br />
1986 Honorary Life Member, Glass Art Society, Annual Conference, Los Angeles, California<br />
1989 Distinguished Graduate Award for Outstanding Achievement in Art, Barrington High School,<br />
Barrington, Illinois<br />
1991 College of Fellows, The American Craft Council, New York, New York<br />
1996 Honorary member, Hungarian Glass Art Society<br />
1998 Trustee emeritus, American Crafts Council, New York, New York<br />
1999 Honorary Board, James Renwick Alliance, Washington, D.C.<br />
1999 International Arts Advisory Board, Friends of Bezalel, National Academy of Arts and Design,<br />
Jerusalem, Israel<br />
1999 Honorary Member, Dominik Bimann Society, Harrachov, Czech Republic<br />
2002 Honorary Award for Inspiration and Instigation of the Bay Area Glass Community, California Glass<br />
Exchange, San Jose, California<br />
2003 Master of the Medium Award, James Renwick Alliance, Washington, D.C.<br />
2005 Lifetime Achievement in Art Made from Glass, Art Alliance for Contemporary Glass, SOFA Chicago,<br />
Illinois<br />
2009 Honorary Lifetime Achievement Award, 39th Annual Glass Art Society Conference, Corning, New York
Micaëla Gallery<br />
49 Geary Street, No. 234<br />
San Francisco, CA 94108 USA<br />
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