Seeing Into It: Messages in Glass

This catalog is published in conjunction with the Craft in America Center exhibition "Seeing Into It: Messages in Glass", highlighting work by Paul Marioni and Susan Stinsmuehlen-Amend (March 22 - July 28, 2014).

This catalog is published in conjunction with the Craft in America Center exhibition "Seeing Into It: Messages in Glass", highlighting work by Paul Marioni and Susan Stinsmuehlen-Amend (March 22 - July 28, 2014).


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IN GLASS<br />



gossip<br />

Paul Marioni, 2011

all it takes<br />

Paul Marioni, 1974



IN GLASS<br />











THEY WAN<br />

- MA - M<br />



by Emily Zaiden<br />

A chance encounter at a gather<strong>in</strong>g<br />

of glassmakers <strong>in</strong> the late 1970s<br />

brought Paul Marioni and Susan<br />

St<strong>in</strong>smuehlen-Amend together<br />

for the first time. The exact<br />

circumstances rema<strong>in</strong> fuzzy but<br />

regardless of the specifics, their<br />

k<strong>in</strong>ship was <strong>in</strong>evitable. In the<br />

thirty-six years that have passed<br />

s<strong>in</strong>ce that <strong>in</strong>itial encounter,<br />

Marioni and St<strong>in</strong>smuehlen-<br />

Amend have cont<strong>in</strong>ually <strong>in</strong>spired<br />

each other as colleagues and<br />

friends and <strong>in</strong>tersected at pivotal<br />

moments <strong>in</strong> their careers. What<br />

b<strong>in</strong>ds their work together, aside<br />

from their mutual admiration<br />

for one another, is the nurtur<strong>in</strong>g<br />

of glass as an expressive medium.<br />

This exhibition is a selective<br />

retrospective of Marioni and<br />

St<strong>in</strong>smuehlen-Amend’s most<br />

mean<strong>in</strong>gful and characteristic<br />

works, spann<strong>in</strong>g the 1970s to<br />

the present. <strong>It</strong> is a glimpse at<br />

where they started, where they<br />

have gone, and where their work<br />

is head<strong>in</strong>g today. They share a<br />

common belief that anyth<strong>in</strong>g<br />

is possible and a will<strong>in</strong>gness to<br />

experiment freely as they manifest<br />

their visions. The <strong>in</strong>tent of<br />

this exhibition is to spotlight the<br />

range of processes that they have<br />

expanded, their <strong>in</strong>novative use<br />

of figurative imagery, and the<br />

way they have translated thoughts,<br />

experiences and emotions <strong>in</strong>to<br />





7<br />

LEAVE<br />

G IN IN MY<br />

WHAT<br />

THAT<br />

AN N SEE<br />

WHAT<br />

ANT."<br />

- - MARIONI<br />

glass. Throughout time, glass<br />

has been used to form vessels,<br />

w<strong>in</strong>dows and lenses. Marioni and<br />

St<strong>in</strong>smuehlen-Amend <strong>in</strong>terpret<br />

these functions metaphorically,<br />

turn<strong>in</strong>g to glass <strong>in</strong> their art for<br />

its ability to conta<strong>in</strong>, convey,<br />

frame and illum<strong>in</strong>ate messages<br />

and mean<strong>in</strong>g <strong>in</strong> a way that<br />

no other material can.<br />

When they first met,<br />

St<strong>in</strong>smuehlen-Amend was<br />

already aware of Marioni’s work<br />

and his limitless potential to<br />

re<strong>in</strong>vent leaded glass. Dale<br />

Chihuly had asked Marioni to<br />

teach at the fledgl<strong>in</strong>g Pilchuck<br />

<strong>Glass</strong> School <strong>in</strong> Wash<strong>in</strong>gton<br />

several years prior and Marioni<br />

had established himself as an<br />

outspoken non-conformist. Like<br />

many of the studio glass pioneers,<br />

Marioni was self-taught.<br />

After complet<strong>in</strong>g an English<br />

"I PLAY WITH<br />






and philosophy degree <strong>in</strong> 1967<br />

at the University of C<strong>in</strong>c<strong>in</strong>nati,<br />

he moved to the West Coast and<br />

started mak<strong>in</strong>g films and <strong>in</strong>stallation<br />

art before turn<strong>in</strong>g to<br />

sta<strong>in</strong>ed glass. Marioni was drawn<br />

to glass because he felt that it had<br />

the power to elucidate his ideas<br />

visually and symbolically. He<br />

first became known for creat<strong>in</strong>g<br />

pa<strong>in</strong>terly, content-rich panels<br />

that dealt with existential and<br />

politically charged subject matter.<br />

He was dedicated to push<strong>in</strong>g<br />

glass out of the aesthetics-centric<br />

shadow of the Arts and Crafts<br />

movement that had passed<br />

numerous decades before.<br />

St<strong>in</strong>smuehlen-Amend studied<br />

pa<strong>in</strong>t<strong>in</strong>g and draw<strong>in</strong>g before<br />

go<strong>in</strong>g on to run a successful<br />

Aust<strong>in</strong> architectural glass<br />

bus<strong>in</strong>ess start<strong>in</strong>g <strong>in</strong> 1973.<br />

After meet<strong>in</strong>g Marioni at the

8<br />

conference, St<strong>in</strong>smuehlen-<br />

Amend tracked Marioni down<br />

and <strong>in</strong>vited him to speak at her<br />

studio. Energized by what<br />

Marioni was do<strong>in</strong>g with glass,<br />

fearlessly tak<strong>in</strong>g it to new levels<br />

of complexity and irreverently<br />

thumb<strong>in</strong>g his nose at stylistic<br />

trends, St<strong>in</strong>smuehlen-Amend<br />

decided to take the plunge and<br />

explore her artistic voice more<br />

profoundly. Marioni <strong>in</strong> turn<br />

selected her to T.A. for him at<br />

Pilchuck <strong>in</strong> 1980 and a world of<br />

possibilities opened up to her.<br />

Marioni was a teacher and<br />

mentor who recognized<br />

St<strong>in</strong>smuehlen-Amend’s<br />

potential, and he generously<br />

helped her enter <strong>in</strong>to the <strong>in</strong>ner<br />

sanctum of lead<strong>in</strong>g artists at<br />

Pilchuck, where she swiftly<br />

found her place. Her work<br />

made such a mark that she was<br />

asked to come back and teach<br />

on her own the next year. Like<br />

Marioni, teach<strong>in</strong>g came naturally<br />

to her and it became an important<br />

component of her career.<br />






From the beg<strong>in</strong>n<strong>in</strong>g, although<br />

St<strong>in</strong>smuehlen-Amend entered<br />

the scene several years after<br />

Marioni, both artists created<br />

work that challenged exist<strong>in</strong>g<br />

modes and provided a channel<br />

for personal expression. While<br />

the emphasis <strong>in</strong> studio glass was<br />

on color and abstract form, they<br />

focused on concept. They saw<br />

the potential of the material to<br />

extend far beyond its physical<br />

characteristics. <strong>Glass</strong> had the<br />

power to stimulate the m<strong>in</strong>d as<br />

well as the eye. In their hands, it<br />

became a reflection of their lives.<br />

Punk to the core, St<strong>in</strong>smuehlen-<br />

Amend shook up the glass world<br />

with her fragmented X series. In<br />

these pieces, which she started<br />

creat<strong>in</strong>g around 1978, she<br />

melded together a pastiche of<br />

colors and textures <strong>in</strong> a way that<br />

was utterly post-modern. These<br />

were garish, chaotic and powerful<br />

works. They were meant to hang<br />

on walls and be treated <strong>in</strong> the






N CONCEPT.<br />

hexaplex<br />

Susan St<strong>in</strong>smuehlen-Amend, 1978-79<br />

the conversationalist<br />

Paul Marioni, 1974

10<br />

garden of eden/paradise i<br />

Susan St<strong>in</strong>smuehlen-Amend, 2004<br />

same way that pa<strong>in</strong>t<strong>in</strong>gs were<br />

presumed to be art. The X was a<br />

symbol of how St<strong>in</strong>smuehlen-<br />

Amend wished to slash through<br />

the old, more staid ways of<br />

approach<strong>in</strong>g glass. The series<br />

was St<strong>in</strong>smuehlen-Amend’s<br />

declaration of the same<br />

radical values that Marioni<br />

put forth <strong>in</strong> his early <strong>in</strong>stallation,<br />

Let Tiffany Die (pg 21).<br />

St<strong>in</strong>smuehlen-Amend concentrated<br />

on bold, experimental<br />

pieces that defied idealized<br />

standards of beauty, taste, form<br />

and pattern <strong>in</strong> this early period.<br />

She felt free to make glass that<br />

was not bogged down by be<strong>in</strong>g<br />

merely pretty, a move which had<br />

visual outcomes but also fem<strong>in</strong>ist<br />

implications, especially com<strong>in</strong>g<br />

from one of few women work<strong>in</strong>g<br />

<strong>in</strong> studio glass at the time. She<br />

crossed over the various methods<br />

of manipulat<strong>in</strong>g glass and<br />

<strong>in</strong>corporated other media <strong>in</strong>to<br />

her assemblage-like pieces, us<strong>in</strong>g<br />

scraps of everyday material to<br />

give them texture and depth.<br />

Deconstruction and juxtaposition<br />

became formal elements <strong>in</strong><br />

St<strong>in</strong>smuehlen-Amend’s work<br />

early on and they have cont<strong>in</strong>ued,<br />

although shifted, over time.<br />

These <strong>in</strong>itial pieces consisted of<br />

shards and shattered parts that<br />

she assembled together to build<br />

the Xs. Then, <strong>in</strong> the late 1990s,

11<br />

with the death of her mother<br />

and birth of a son, the structure<br />

of her work moved towards<br />

rectil<strong>in</strong>earity, with diptychs and<br />

triptychs of contrasted figures<br />

and patterns. She broke her<br />

compositions down <strong>in</strong>to split<br />

segments that were meant to<br />

be absorbed together despite<br />

be<strong>in</strong>g separated <strong>in</strong>to <strong>in</strong>dividual<br />

panels. Recently she has begun<br />

to sandwich the <strong>in</strong>dividual glass<br />

planes of images on top of one<br />

another, giv<strong>in</strong>g them multidimensionality.<br />

In these layered<br />

wall panels the viewer is meant<br />

to see <strong>in</strong>to the depth of the piece<br />

but not through it, as would be<br />

the case if these panes were act<strong>in</strong>g<br />

as traditional w<strong>in</strong>dows or screens.<br />

The desire to convey ideas<br />

drives Paul Marioni and Susan<br />

St<strong>in</strong>smuehlen-Amend today,<br />

and it has set them apart<br />

from their peers s<strong>in</strong>ce the<br />

1970s. As Marioni put it,<br />

“Art is a form of<br />

communication.<br />

I make it as a form<br />

of expression.”<br />

Tongues form the scaly sk<strong>in</strong> of<br />

Marioni’s elegantly restra<strong>in</strong>ed<br />

portrait of Gossip (pg 3). Spirits<br />

Lift<strong>in</strong>g, with a light reference to<br />

the iconic float<strong>in</strong>g lips of Man<br />

Ray’s lover, holds Marioni’s<br />

personal catharsis after a breakup.<br />

A Man’s Chair (pg 46) by<br />

St<strong>in</strong>smuehlen-Amend possesses<br />

spirits lift<strong>in</strong>g<br />

Paul Marioni, 2008

12<br />

black jaguar<br />

Paul Marioni, 1987<br />

the rage that surged <strong>in</strong> a dysfunctional<br />

home. Moments <strong>in</strong> time<br />

and the feel<strong>in</strong>gs that come with<br />

them are encapsulated <strong>in</strong> glass.<br />

or pa<strong>in</strong>t, which meld together<br />

to create the piece, and flat<br />

or dimensional forms, would<br />

dom<strong>in</strong>ate her future efforts.<br />

Sensuality appears throughout,<br />

sometimes overtly and other<br />

times with more subtlety.<br />

Marioni has never shied away<br />

from eroticism, not<strong>in</strong>g its essentiality<br />

to the human experience.<br />

Some of his works are outright<br />

racy while others are veiled <strong>in</strong><br />

ambiguity and <strong>in</strong>nuendo. For<br />

St<strong>in</strong>smuehlen-Amend, sexuality<br />

is <strong>in</strong>tertw<strong>in</strong>ed with identity<br />

politics and fem<strong>in</strong>ist viewpo<strong>in</strong>ts.<br />

In Who’s the Lead, Rex, (pg 27) two<br />

phallic shapes take the stage, and<br />

she played out a multi-faceted<br />

dialogue <strong>in</strong>volv<strong>in</strong>g gender<br />


dynamics and whether glass<br />

AND<br />

Sensations and experiences,<br />

whether they take place <strong>in</strong> reality<br />

or <strong>in</strong> dreams, provide endless<br />

content to both artists. Among<br />

the various themes that emerge<br />

<strong>in</strong> their work, consciousness and<br />

psychic awareness are launch<strong>in</strong>g<br />

po<strong>in</strong>ts for each, although they<br />

take two very different routes<br />

that have equally unique results.<br />

Marioni is fueled by a desire to<br />

explore the creative power of the<br />

unconscious m<strong>in</strong>d. He often<br />

depicts figures and forms that<br />

come directly from dreams and<br />

the depths of his imag<strong>in</strong>ation.<br />

Halluc<strong>in</strong>atory visions and<br />







13<br />


primordial nightmarish creatures<br />

are embodied <strong>in</strong> blown vessels<br />

and flat panels that he spikes with<br />

Surrealist wit. Skeletons, hollow<br />

faces with beady eyes, and po<strong>in</strong>tyeared<br />

beasts play leads <strong>in</strong> Marioni’s<br />

poetic cast of characters.<br />

St<strong>in</strong>smuehlen-Amend <strong>in</strong>stead<br />

makes reality her muse. Especially<br />

<strong>in</strong> her recent works, she<br />

peels through the layers that<br />

come together to compose her<br />

daily existence and the imagery<br />

that weaves through her m<strong>in</strong>d<br />

as she goes about her bus<strong>in</strong>ess.<br />

She contemplates scribbles and<br />

doodles and asks whether or not<br />

these offhand sketches <strong>in</strong>advertently<br />

divulge <strong>in</strong>ner thoughts and<br />

the subconscious identity. Always<br />

will<strong>in</strong>g to reveal herself <strong>in</strong> her<br />

work, her Calendar series gives us<br />

“a look <strong>in</strong>to her bra<strong>in</strong>,” and the<br />

multitude of ideas and demands<br />

operat<strong>in</strong>g <strong>in</strong> her life <strong>in</strong> any<br />

s<strong>in</strong>gle <strong>in</strong>stant. Mental images are<br />

broken down <strong>in</strong>to <strong>in</strong>dividual glass<br />

sheets and then overlaid to create<br />

multi-dimensional pa<strong>in</strong>t<strong>in</strong>gs.<br />

Her process of assign<strong>in</strong>g imagery<br />

to the panels is often plotted<br />

digitally as a start<strong>in</strong>g po<strong>in</strong>t, and it<br />

is, <strong>in</strong> her own words, “a dyslexic<br />

nightmare.” These notes expose<br />

grocery nude to-do<br />

(calendar girl)<br />

Susan St<strong>in</strong>smuehlen-Amend, 2013

14<br />

yew<br />

Paul Marioni, 2003<br />

the complex stratum of life.<br />

Scrawled messages w<strong>in</strong>d up juxtaposed<br />

next to records of lifechang<strong>in</strong>g<br />

moments: her mother’s<br />

chemo, for <strong>in</strong>stance (pg 33).<br />

Everyth<strong>in</strong>g from the pivotal<br />

to the mundane is jumbled<br />

together on a daily basis. In<br />

her take, womanhood is the<br />

constant pil<strong>in</strong>g-on of demands<br />

and the obligation to<br />

multi-task responsibilities.<br />

Although she rarely works <strong>in</strong><br />

three-dimensional sculptural<br />

glass, start<strong>in</strong>g <strong>in</strong> 2006<br />

St<strong>in</strong>smuehlen-Amend created<br />

a series of clean<strong>in</strong>g products<br />

and cosmetic bottles conta<strong>in</strong><strong>in</strong>g<br />

pa<strong>in</strong>ted imagery that floats<br />

with<strong>in</strong> (pg 47). Thoughts drift<br />

as one cleans and the m<strong>in</strong>d is<br />

free to wander as one takes care<br />

of the tedious chores that fill<br />

the day. St<strong>in</strong>smuehlen-Amend<br />

filled these conta<strong>in</strong>ers with<br />

glimpses <strong>in</strong>to the subconscious<br />

psyche. The trivialized tasks that<br />

take up so much of our time<br />

have more significance than we<br />

realize. In addition, she makes<br />

the po<strong>in</strong>t that the everyday,<br />

overlooked objects surround<strong>in</strong>g<br />

us can provide the clearest<br />

<strong>in</strong>sights <strong>in</strong>to who we are.<br />

Marioni also re<strong>in</strong>vents the<br />

traditional function of glass<br />

as a conta<strong>in</strong>er. Rather than<br />

stor<strong>in</strong>g liquid or other substances,<br />

Marioni’s blown vessels<br />

gather and collect light to be<br />

held <strong>in</strong>side, which then<br />

illum<strong>in</strong>ates his imagery.

15<br />

In his words, he chose the<br />

material because,<br />

mediums are as entw<strong>in</strong>ed with the<br />

mastery of immaterial forces.<br />


“<strong>Glass</strong> eats light.<br />

<strong>It</strong>’s unique, noth<strong>in</strong>g<br />

can capture light and<br />

hold it with<strong>in</strong>, even<br />

if it’s transmitted<br />

through…that br<strong>in</strong>gs<br />

the glass to life.”<br />

<strong>It</strong> is understandable that Marioni<br />

talks about work<strong>in</strong>g glass as be<strong>in</strong>g<br />

addictive, consider<strong>in</strong>g it gives the<br />

artist a mystical ability to harness<br />

and manipulate the <strong>in</strong>tangible,<br />

and to figuratively awaken<br />

<strong>in</strong>animate objects. Few other<br />

There is wizardry to the processes<br />

that Marioni has orig<strong>in</strong>ated over<br />

the decades. A cast glass course<br />

<strong>in</strong> 1987 with Jaroslava Brychtová<br />

and Stanislav Libenský gave him a<br />

greater understand<strong>in</strong>g of sculpture,<br />

light, volume and space that<br />

prompted him to start mak<strong>in</strong>g<br />

k<strong>in</strong>etic Rockers a few years later.<br />

For his Yew, a k<strong>in</strong>etic mask form<br />

that he cast us<strong>in</strong>g a clipp<strong>in</strong>g<br />

of the sacred, cancer-cur<strong>in</strong>g<br />

tree, the clear glass face is a play<br />

on words <strong>in</strong>stilled with a trace<br />

of that tree’s mysterious spirit.<br />

caption title<br />

Lorem ipsum dolor sit amet,<br />

consetetur sadipsc<strong>in</strong>g elit

16<br />

mean mounta<strong>in</strong><br />

Paul Marioni, 2012<br />

luxury glass (sugar bowl)<br />

Susan St<strong>in</strong>smuehlen-Amend, 2013<br />

Arguably, his k<strong>in</strong>etic sculptures<br />

are the most extraord<strong>in</strong>ary<br />

objects that he has devised.<br />

Challeng<strong>in</strong>g the idea that glass<br />

should not move because of its<br />

fragility and rigidity, Marioni<br />

makes his Rockers with the notion<br />

of “putt<strong>in</strong>g life <strong>in</strong>to a stationary<br />

object.” When Marioni describes<br />

how he makes and views them,<br />

they are undeniably animated<br />

with a form of higher power.<br />

They grab light and hold enough<br />

energy to self-sufficiently rock<br />

for as much as ten m<strong>in</strong>utes or<br />

more, purr<strong>in</strong>g, chatter<strong>in</strong>g<br />

or sputter<strong>in</strong>g all the while.<br />

He creates his rock<strong>in</strong>g pieces<br />

to have the capacity to susta<strong>in</strong>

17<br />


momentum over time, and<br />

carefully listens to the way that<br />

they “speak through sound.”<br />

These Rockers do not emerge from<br />

Marioni’s hands spontaneously.<br />

Part of what drives Marioni is<br />

the rewards he f<strong>in</strong>ds <strong>in</strong> putt<strong>in</strong>g<br />

his vision <strong>in</strong>to reality, despite<br />

the trial and error that it often<br />

entails to get to the f<strong>in</strong>al product.<br />

He calculates and perfects the<br />

eng<strong>in</strong>eer<strong>in</strong>g of these complex<br />

pieces <strong>in</strong> terms of how they<br />

operate, their structural design<br />

and their center of gravity,<br />

often mak<strong>in</strong>g several versions<br />

of a piece until he gets it right.<br />

They are multi-sensory works<br />

<strong>in</strong> the most <strong>in</strong>novative of ways.<br />

<strong>Glass</strong> objects are often locked<br />

away as fragile treasures to never<br />

be touched. In Luxury <strong>Glass</strong>,<br />

St<strong>in</strong>smuehlen-Amend br<strong>in</strong>gs<br />

glass to life <strong>in</strong> her own way by<br />

form<strong>in</strong>g an alien-like creature<br />

out of a cut glass design that<br />

caught her eye. This portrait fits<br />

comfortably alongside Marioni’s<br />

crew of monstrous be<strong>in</strong>gs,<br />

<strong>in</strong>clud<strong>in</strong>g Mean Mounta<strong>in</strong> and<br />

the mysterious Ghost (pg 24).<br />

Decoration and surface pattern<br />

have value to St<strong>in</strong>smuehlen-<br />

Amend and she sees them as<br />

hav<strong>in</strong>g importance that lies<br />

deeper than the exterior. From<br />

the beg<strong>in</strong>n<strong>in</strong>g, she questioned<br />

the modernist dismissal of value<br />

<strong>in</strong> ornamentation.

18<br />

the visitor<br />

Paul Marioni, 1984<br />

MARION<br />

When St<strong>in</strong>smuehlen-Amend<br />

applies pattern <strong>in</strong> her work as<br />


a<br />

background or overlay, it l<strong>in</strong>ks<br />

the piece to history and personal<br />

memories, and provides another<br />


dimension of associations.<br />

Over the years, the two artists<br />

have taught at the top schools <strong>in</strong><br />


the country, <strong>in</strong>clud<strong>in</strong>g Penland<br />

School of Crafts, California<br />

College of the Arts and Rhode<br />

Island School of Design.<br />


They have been honored with Marioni and St<strong>in</strong>smuehlenresidencies<br />

<strong>in</strong> the U.S. and Amend look at glass from a<br />

abroad; most notably, they were perspective unfettered by<br />

CONVEN<br />

selected as Hauberg Fellows at convention. They have never<br />

Pilchuck <strong>in</strong> 2001 and aga<strong>in</strong> <strong>in</strong> worried about follow<strong>in</strong>g fashion.<br />

2012. Their work is significant Lamentably, that read<strong>in</strong>ess to<br />

to public and private collections explore new directions has also<br />

across the country and they have contributed to push<strong>in</strong>g their<br />

shaped numerous civic spaces work <strong>in</strong>to the outer fr<strong>in</strong>ge of the<br />

with their contributions. art conversation and limit<strong>in</strong>g its<br />

ability to receive the recognition<br />

that it deserves. Their works have<br />

not fit easily <strong>in</strong>to the categories<br />

of the artistic dialogue dur<strong>in</strong>g<br />

the late twentieth century. As<br />

such, their contributions have<br />

been skipped over all too often,<br />

despite their hav<strong>in</strong>g carried glass<br />

beyond the exist<strong>in</strong>g hierarchies<br />

and <strong>in</strong>to the broader realm of<br />

the art world. These two rulebreakers<br />

have boldly taken the<br />

road less traveled and they will<br />

cont<strong>in</strong>ue to push glass <strong>in</strong>to<br />

new territories of expression.

19<br />


IONI AND<br />

-AMEND<br />

SS S FROM<br />


ERED BY BY<br />






by Geoff Wichert<br />

Paul Marioni was already an<br />

accomplished <strong>in</strong>dependent<br />

filmmaker when he discovered<br />

the American sta<strong>in</strong>ed glass<br />

movement that briefly, <strong>in</strong> the<br />

1970s, seemed poised to br<strong>in</strong>g<br />

about a revolution <strong>in</strong> glass art.<br />

He rose quickly among studio<br />

glass celebrities who were<br />

build<strong>in</strong>g an audience for<br />

their art through what they<br />

called ‘the road show.’ Logg<strong>in</strong>g<br />

endless miles <strong>in</strong> a series of rebuilt<br />

Porsches, he showed his work <strong>in</strong><br />

lively, often controversial slide<br />

lectures, then taught workshops<br />

where his celebrated <strong>in</strong>ventions<br />

—po<strong>in</strong>tedly labeled ‘cheap<br />

tricks’—<strong>in</strong>spired glass crafters<br />

to throw out the manual and<br />

f<strong>in</strong>d more personal approaches<br />

to art. By the time sta<strong>in</strong>ed glass<br />

lost its vogue he had moved on,<br />

add<strong>in</strong>g first blown glass, then<br />

"YOU PU P<br />

architectural <strong>in</strong>stallations, and<br />

eventually kiln-form<strong>in</strong>g sculpture<br />

and pa<strong>in</strong>t<strong>in</strong>g to his range<br />

of skills. He cont<strong>in</strong>ues to break<br />

TOGETH<br />

new ground across this spectrum.<br />

Lucky enough to be present<br />

at the <strong>in</strong>vention of a new art,<br />

TWO THIN<br />

when there were no rules and<br />

everyth<strong>in</strong>g was yet to be done, he<br />

found no canon, little history,<br />

and few preconceived THAT<br />

ideas. Forty<br />

HAVE NN<br />

years later, a genu<strong>in</strong>e understand<strong>in</strong>g<br />

of studio glass beg<strong>in</strong>s<br />

with know<strong>in</strong>g what he achieved.<br />

BEEN PU P<br />



21<br />


U PUT<br />

THER<br />

HINGS<br />

E NOT<br />

N PUT<br />

FORE.<br />

ORLD<br />

GED. ""<br />

There is no ‘typical’ Marioni<br />

artwork; his range of subjects and<br />

techniques cont<strong>in</strong>ues to evolve.<br />

The <strong>in</strong>imitable, frequently erotic<br />

images that appeared <strong>in</strong> his early<br />

pictorial panels became as notorious<br />

as the claims he made from<br />

the lectern for marijuana as a<br />

boost to creativity. More iconoclastic<br />

than either, though, was<br />

his scorn for the lead l<strong>in</strong>e, which<br />

tied him to a past he excoriated<br />

<strong>in</strong> Let Tiffany Die, an <strong>in</strong>stallation<br />

where shards of glass littered the<br />

floor, while over them lead strips<br />

that might have jo<strong>in</strong>ed them<br />

dangled from a clothes l<strong>in</strong>e, as if<br />

hung out to dry. As befits anyth<strong>in</strong>g<br />

genu<strong>in</strong>ely new, he and his<br />

work were often misunderstood.<br />

Alongside the contemporary<br />

gamut of art-historical pastiches,<br />

his Magritte-<strong>in</strong>flected puzzles<br />

were misperceived as knockoffs<br />

of Surrealism. Even his most<br />

characteristic trope, the <strong>in</strong>ventive<br />

use of non-traditional materials<br />

and techniques, was popularly<br />

misread as an effort to make<br />

more conv<strong>in</strong>c<strong>in</strong>g representations.<br />

<strong>It</strong> probably owed more to<br />

Assemblage, the magic synthesis<br />

of sculpture and <strong>in</strong>stallation that<br />

had taken root on the West Coast<br />

a decade earlier. Determ<strong>in</strong>ed to<br />

break down the false dist<strong>in</strong>ction<br />

that opposed the artificiality of<br />

art to the reality it aped—but<br />

which was also a social construct<br />

—he filled his illum<strong>in</strong>ated<br />

let tiffany die<br />

Paul Marioni, c. 1975<br />


22 parables and paradoxes with<br />

salvaged automobile headlights<br />

and prosthetic glass eyes. Optical<br />

lenses scavenged from Edmund<br />

Scientific become the hair<br />

and eyes of Dali, while <strong>in</strong> The<br />

Conversationalist (pg 9), his<br />

actual eyeglasses recall his<br />

participation. Such works<br />

were not meant to be realistic;<br />

they were meant to be real.<br />

Almost forty when he began to<br />

blow glass, with no early tra<strong>in</strong><strong>in</strong>g<br />

<strong>in</strong> its demand<strong>in</strong>g craft, he might<br />

have settled for direct<strong>in</strong>g teams of<br />

artisans <strong>in</strong> execut<strong>in</strong>g his plans.<br />

Instead he asserted the importance<br />

of surface articulation<br />

over ornamental construction,<br />

thus keep<strong>in</strong>g his own hands on<br />

evermore sophisticated objects,<br />

each unique, even when they<br />

constitute loose variations on an<br />

idea, and each of which, hollow<br />

or solid, is a vessel conta<strong>in</strong><strong>in</strong>g a<br />

metaphysical l<strong>in</strong>k meant to<br />

locate and encounter deep-set<br />

thoughts and feel<strong>in</strong>gs.<br />

look<strong>in</strong>g back<br />

Paul Marioni, 2001<br />

Drawn to hot glass by its spontaneous<br />

results, he found his task<br />

<strong>in</strong>verted. Where the traditionally<br />

spiritual medium of sta<strong>in</strong>ed<br />

glass had lacked materiality,<br />

blown glass was a utilitarian,<br />

design-oriented process already<br />

situated <strong>in</strong> the mundane world.<br />

What it lacked was metaphorical<br />

content, which he would <strong>in</strong>sert—<br />

literally—<strong>in</strong>to its surface.<br />

Marioni’s voracious curiosity<br />

feeds a worldwide awareness that<br />

<strong>in</strong>forms and <strong>in</strong>spires his work.<br />

When the legendary aerialist<br />

Karl Wallenda fell <strong>in</strong> 1978, his

23<br />

death <strong>in</strong>spired The Fallen Hero.<br />

Although it took shape <strong>in</strong> a<br />

dream, Premonition, its earth<br />

convulsed by volcanoes and<br />

spew<strong>in</strong>g up serpents, follows years<br />

of environmental degradation.<br />

Not one to deny a compell<strong>in</strong>g<br />

visual its allegorical potential, he<br />

alchemically converts life and art<br />

<strong>in</strong>to social and political criticism,<br />

then back aga<strong>in</strong> <strong>in</strong>to art and life.<br />

A playful, determ<strong>in</strong>ed provocateur,<br />

he remakes every medium<br />

he touches, <strong>in</strong>clud<strong>in</strong>g some, like<br />

his pictorial Terrazzo floors,<br />

where he has ventured virtually<br />

alone. In one, those who visit a<br />

government office encounter a<br />

bird’s nest, with eggs they must<br />

choose to walk over or around.<br />

Paradoxically, he holds no brief<br />

for glass, yet the material draws<br />

the premonition<br />

Paul Marioni, 1981<br />

fallen hero<br />

Paul Marioni, 1978<br />


24<br />

ghost<br />

Paul Marioni, 2001

25<br />


him on. Bend<strong>in</strong>g, reflect<strong>in</strong>g,<br />

captur<strong>in</strong>g and emitt<strong>in</strong>g light,<br />

it more than compensates for<br />

its obst<strong>in</strong>ate nature. Cast glass<br />

resembles semi-precious stone <strong>in</strong><br />

Lick<strong>in</strong>’, while a diaphanous, blown<br />

Ghost capitalizes on its ectoplasmic<br />

<strong>in</strong>substantiality. An eloquent<br />

medium for the dreams and<br />

ecstatic states that br<strong>in</strong>g unconscious<br />

material to awareness, it<br />

locates timeless themes <strong>in</strong> signs<br />

drawn from the outer reaches of<br />

popular culture: tattoos, skulls,<br />

totems, hearts, masks, disguises<br />

meant to trick the gatekeepers.<br />

He explores the late-Modern<br />

disjunction between expressive<br />

form and content, creat<strong>in</strong>g<br />

works that make us laugh and<br />

shiver at the same time. Perhaps<br />

his most subversive achievements<br />

are his k<strong>in</strong>etic sculptures, the<br />

Rockers, which violate sanctions so<br />

deeply <strong>in</strong>gra<strong>in</strong>ed they operate<br />

without conscious consent. <strong>Glass</strong><br />

is always both precious and dangerous,<br />

rarely to be played with,<br />

yet Marioni urges us to take out<br />

our deepest feel<strong>in</strong>gs, encoded <strong>in</strong><br />

art, and do just that: play with<br />

them, until they become familiar<br />

enough for us to view directly.<br />

Few artists ever reach the level of<br />

hyper-creativity where Marioni<br />

began, where he still works today:<br />

where content, familiar or not,<br />

calls forth radically new media to<br />

conta<strong>in</strong> it. Those who do usually<br />

f<strong>in</strong>d their work more readily<br />

appreciated by specialists—<strong>in</strong><br />

particular, by other artists—than<br />

by laymen. Indeed, most of what<br />

eventually did revolutionize<br />

glass art has scarcely touched the<br />

general public. Had that been<br />

different, though, Marioni’s<br />

path would not have changed. He<br />

has always made exactly what he<br />

wants to make. His uncanny understand<strong>in</strong>g<br />

of art and unshakeable<br />

self-confidence allow him to<br />

bridge the gap between eccentric<br />

and exceptional. The th<strong>in</strong>gs<br />

he makes are extraord<strong>in</strong>ary,<br />

and have changed the world.<br />

lick<strong>in</strong>’<br />

Paul Marioni, c. 2005

X IS FOR<br />







by Annie Buckley<br />

xt<strong>in</strong>xion<br />

Susan St<strong>in</strong>smuehlen-Amend, 1980-81<br />

who’s the lead, rex<br />

Susan St<strong>in</strong>smuehlen-Amend, 1989<br />

After por<strong>in</strong>g over a stack of<br />

exhibition catalogues and<br />

magaz<strong>in</strong>e articles on the work of<br />

Susan St<strong>in</strong>smuehlen-Amend,<br />

it is difficult to ignore that<br />

nearly all of these publications<br />

perta<strong>in</strong> to glass. While<br />

St<strong>in</strong>smuehlen-Amend’s history<br />

with that medium is def<strong>in</strong>itely<br />

important, such specificity raises<br />

the question: Why has the artist’s<br />

work been so pigeonholed? Not<br />

only has she worked with pa<strong>in</strong>t,<br />

metal, wire, and a variety of<br />

other materials s<strong>in</strong>ce the 1970s,<br />

Susan is also an artist for whom<br />

ideas are tantamount to media,<br />

and at times even more <strong>in</strong>tegral.<br />

So it is confound<strong>in</strong>g that her<br />

work has been viewed so consistently<br />

through the lens—permit<br />

the obvious pun—of glass.<br />

Beg<strong>in</strong>n<strong>in</strong>g <strong>in</strong> the 1960s, technological<br />

<strong>in</strong>novations made<br />

it possible to work glass <strong>in</strong> the<br />

studio rather than <strong>in</strong> factories.<br />

This change <strong>in</strong> practice energized<br />

a small but strong community<br />

of artists to transform the way<br />

<strong>in</strong> which glass could be used <strong>in</strong><br />

art. As this shift got underway,<br />

St<strong>in</strong>smuehlen-Amend was still<br />

<strong>in</strong> college, study<strong>in</strong>g pa<strong>in</strong>t<strong>in</strong>g.<br />

In the early 1970s, fresh out of<br />

the University of Texas, Aust<strong>in</strong>,<br />

St<strong>in</strong>smuehlen-Amend settled <strong>in</strong><br />

Texas. Soon afterwards, a neighbor<br />

<strong>in</strong>vited her to be a partner<br />

<strong>in</strong> his new bus<strong>in</strong>ess, Renaissance<br />

<strong>Glass</strong>. St<strong>in</strong>smuehlen-Amend<br />

put her art background to work<br />

design<strong>in</strong>g commercial pieces<br />

while simultaneously turn<strong>in</strong>g<br />

the bus<strong>in</strong>ess <strong>in</strong>to an energetic<br />

hub for glass art, <strong>in</strong>vit<strong>in</strong>g artists<br />

from around the country to<br />

lecture and share their work.<br />

She spent long days tend<strong>in</strong>g<br />

to the bus<strong>in</strong>ess, and even<strong>in</strong>gs<br />

experiment<strong>in</strong>g with the material<br />

and ideas <strong>in</strong> her studio, creat<strong>in</strong>g<br />

a playful body of work couched

27<br />


as much <strong>in</strong> that era’s material<br />

<strong>in</strong>novations as it is <strong>in</strong> the art<br />

and culture of the time— and<br />

then she would go danc<strong>in</strong>g.<br />

This was the seventies, the decade<br />

when the radical changes of the<br />

sixties began to f<strong>in</strong>d their way<br />

<strong>in</strong>to ma<strong>in</strong>stream American life<br />

and culture, and St<strong>in</strong>smuehlen-<br />

Amend took the newfound freedoms<br />

ga<strong>in</strong>ed from the Women’s<br />

Rights movement to heart <strong>in</strong><br />

her life choices and <strong>in</strong> her<br />

art. Brush<strong>in</strong>g aside traditional<br />

expectations for the stay-at-home<br />

wife, she was a partner <strong>in</strong> a thriv<strong>in</strong>g<br />

bus<strong>in</strong>ess, a mother, and an<br />

exhibit<strong>in</strong>g artist at a young age.<br />

<strong>It</strong> was dur<strong>in</strong>g this time that<br />

St<strong>in</strong>smuehlen-Amend began to<br />

fuse her studies <strong>in</strong> pa<strong>in</strong>t<strong>in</strong>g, her<br />

new experience with glass, and<br />

her particular worldview to create<br />

the dimensional collage pieces of<br />

the X series. These wildly colorful

28<br />

weight<br />

Susan St<strong>in</strong>smuehlen-Amend, 1993<br />

fusions of found glass, lead, and<br />

sundry domestic items, <strong>in</strong>clud<strong>in</strong>g<br />

nail polish, glitter, and wire, each<br />

employ an ‘X’ motif as structural<br />

and visual ground. X is for<br />

xylophone, the ABC books told<br />

us, but it is also for end<strong>in</strong>gs<br />

and erasure and those dizzy<br />

knocked-out cartoon eyes darkly<br />

suggest<strong>in</strong>g violence, <strong>in</strong>ebriation,<br />

and ecstasy <strong>in</strong> various comb<strong>in</strong>ations.<br />

At once playful and challeng<strong>in</strong>g,<br />

these X works channel<br />

the radical spirit of fem<strong>in</strong>ist<br />

artists of the sixties and seventies.<br />

St<strong>in</strong>smuehlen-Amend’s adventurous<br />

early work attacked many<br />

of the typical ideas associated<br />

with glass as a material—that it<br />

be transparent, beautiful, pure,<br />

polished, and generally pleas<strong>in</strong>g—an<br />

impulse that rema<strong>in</strong>ed<br />

a thread <strong>in</strong> much of her work.<br />

In these early, busy years,<br />

Susan pioneered many of the<br />

approaches to glass <strong>in</strong> wide use<br />

today <strong>in</strong>clud<strong>in</strong>g non-traditional,<br />

unfired pa<strong>in</strong>t<strong>in</strong>g on glass, mix<strong>in</strong>g<br />

glass with other media, and<br />

present<strong>in</strong>g pa<strong>in</strong>ted, decorated<br />

glass on the wall <strong>in</strong> reflected<br />

light. However, rather than<br />

settle <strong>in</strong>to a style, as she might<br />

have with a successful bus<strong>in</strong>ess<br />

and career, she cont<strong>in</strong>ued to<br />

experiment. By the middle of the<br />

decade she had left the Xs beh<strong>in</strong>d,<br />

as well as her bus<strong>in</strong>ess partnership<br />

and, before long, Texas.<br />

St<strong>in</strong>smuehlen-Amend’s ongo<strong>in</strong>g<br />

visual vocabulary is equally<br />

humorous and <strong>in</strong>cisive. The<br />

wild and witty mélange of jarr<strong>in</strong>g<br />

colors, shapes, and textures <strong>in</strong><br />

Tower of Multiple Nonfunctions, for

29<br />


example, draws on the disjunctive<br />

palette and construction of the<br />

X works but with <strong>in</strong>creased layers<br />

and complexity. She began to<br />

<strong>in</strong>tegrate imagery and symbols <strong>in</strong><br />

what she refers to as narrative<br />

poetic works. In Chernobyl Cocktail,<br />

a brown bird flies away, seem<strong>in</strong>gly<br />

lost, from a rusty brown flame<br />

atop a structure; if that bird had<br />

eyes, they would surely be Xs.<br />

In 1988, St<strong>in</strong>smuehlen-Amend<br />

moved to Los Angeles. She<br />

quickly applied her energy and<br />

experience with commercial<br />

projects to civic renovation,<br />

jo<strong>in</strong><strong>in</strong>g the Community Redevelopment<br />

Agency’s Hollywood<br />

Cultural Plan Committee and<br />

be<strong>in</strong>g named lead artist on the<br />

Hollywood Boulevard Streetscape<br />

Team. In the studio, the<br />

tower of multiple nonfunctions<br />

Susan St<strong>in</strong>smuehlen-Amend, 1985<br />

chernobyl cocktail<br />

Susan St<strong>in</strong>smuehlen-Amend, 1986

THE PROG<br />

30<br />

HER<br />

EXP<br />



gender issues embedded <strong>in</strong><br />

St<strong>in</strong>smuehlen-Amend’s work<br />

s<strong>in</strong>ce those first attacks on<br />

convention <strong>in</strong> the X series shifted<br />

from suggestion to prom<strong>in</strong>ence.<br />

Her use of multiple patterns<br />

posited aga<strong>in</strong>st one another,<br />

<strong>in</strong>tegration of domestic<br />

materials, and the <strong>in</strong>sertion<br />

of her own life experiences<br />

resonated with the progressive<br />

and experimental work of<br />

fem<strong>in</strong>ist artists of the era.<br />

Works such as Weight and Buoy (pg<br />

40), take the form of a uterus.<br />

Like Hannah Wilke and Carolee<br />

Schneemann, St<strong>in</strong>smuehlen-<br />

Amend’s approach to the female<br />

body came from experience,<br />

and posed a counterpo<strong>in</strong>t to<br />

centuries of images of women<br />

<strong>in</strong> art created by men. Infused<br />

with humor, pathos, and irony,<br />

Str<strong>in</strong>g of Boobs, (not <strong>in</strong>cluded <strong>in</strong><br />

this exhibition), is a l<strong>in</strong>e of clear<br />

glass orbs with nipples that was<br />

constructed by a team of male<br />

fabricators at Pilchuck under<br />

St<strong>in</strong>smuehlen-Amend’s<br />

direction. In this piece,<br />

St<strong>in</strong>smuehlen-Amend fluidly<br />

moved between maker and<br />

facilitator, play<strong>in</strong>g aga<strong>in</strong>st<br />

stereotype of both materials<br />

and gender roles <strong>in</strong> art.<br />

In Common Vessels (pg 47),<br />

St<strong>in</strong>smuehlen-Amend addressed<br />

glass’s relationship with functionality,<br />

cast<strong>in</strong>g household items,<br />

associated with women’s work,<br />

<strong>in</strong> glass and layer<strong>in</strong>g <strong>in</strong> pa<strong>in</strong>ted<br />

imagery. Her <strong>in</strong>terest <strong>in</strong> the<br />

day-to-day, specifically <strong>in</strong> its<br />

relationship to the unconscious<br />

m<strong>in</strong>d, fuelled Calendar Notations<br />

(pg 33), a provocative series<br />

of layered pa<strong>in</strong>t<strong>in</strong>gs on glass.<br />

Enlarg<strong>in</strong>g fragments from calendars,<br />

notebooks, and doodles<br />

(<strong>in</strong>clud<strong>in</strong>g a picture drawn by her<br />

son as a child <strong>in</strong> Happy Face) on<br />

glass, St<strong>in</strong>smuehlen-Amend fused<br />

WORK OF<br />









happy face<br />

Susan St<strong>in</strong>smuehlen-Amend, 2001<br />


32<br />

t.g.i.f./april,<br />

calendar notations<br />

Susan St<strong>in</strong>smuehlen-Amend, 2005<br />

these with pattern <strong>in</strong> layered<br />

pa<strong>in</strong>t<strong>in</strong>gs. T.G.I.F. is a clear glass<br />

panel with layers of handwritten<br />

script, some of it crossed<br />

through, and a figure of a boy<br />

with a crown. The ephemeral<br />

nature of the orig<strong>in</strong>al text is<br />

made solid <strong>in</strong> glass, yet rema<strong>in</strong>s<br />

apparent <strong>in</strong> the shadows that<br />

the pa<strong>in</strong>ted script casts on the<br />

wall. This process of pa<strong>in</strong>t<strong>in</strong>g<br />

found imagery with notes,<br />

calendars, or shopp<strong>in</strong>g lists<br />

raised the m<strong>in</strong>utiae of daily life<br />

to a level of prom<strong>in</strong>ence and<br />

focused attention on the<br />

unconsidered, the fleet<strong>in</strong>g<br />

and the left-beh<strong>in</strong>d.<br />

Her most recent work cont<strong>in</strong>ues<br />

to address ideas and processes<br />

developed throughout her<br />

career. Man View II (pg 49), is<br />

excit<strong>in</strong>g <strong>in</strong> its suggestion of a new<br />

direction and is also one of the<br />

most visually complex pieces to<br />

date. Multiple layers of imagery<br />

<strong>in</strong>clude anatomical, cartoon,<br />

and photographic views of the<br />

male body. The comb<strong>in</strong>ation of<br />

different k<strong>in</strong>ds of images, as well<br />

the prob<strong>in</strong>g of social and cultural<br />

iconography, call to m<strong>in</strong>d the<br />

tapestry-like pa<strong>in</strong>t<strong>in</strong>gs of Los<br />

Angeles-based artist Carole<br />

Caroompas. St<strong>in</strong>smuehlen-<br />

Amend’s roots as a pa<strong>in</strong>ter are<br />

apparent throughout her work, as<br />

is her long history with glass. But<br />

overall, it is the way she employs<br />

these and other materials, and<br />

their various psychosocial and<br />

cultural murmur<strong>in</strong>gs, that<br />

makes her art—<strong>in</strong> every media<br />

she uses—so deeply compell<strong>in</strong>g.

33<br />


IN THEIR<br />

OWN WORDS:<br />




St<strong>in</strong>smuehlen-Amend: Okay,<br />

so Paul, how do you remember<br />

first know<strong>in</strong>g that I existed<br />

on the planet, how did that<br />

happen <strong>in</strong> your m<strong>in</strong>d?<br />

Marioni: Boy, I can’t remember<br />

back that far, that<br />

was <strong>in</strong> the 70s. Didn’t we<br />

meet <strong>in</strong> ’78 or someth<strong>in</strong>g?<br />

S-A: Like at some conference,<br />

like at Portcon or someth<strong>in</strong>g?<br />

M: Where was Portcon?<br />

S-A: Portcon was <strong>in</strong> Dallas.<br />

There was one <strong>in</strong> Dallas.<br />

M: That’s probably where we<br />

met. They did a workshop<br />

<strong>in</strong> your studio <strong>in</strong> Aust<strong>in</strong>. In<br />

about ’78 or ’79. We might<br />

have met before that, but I<br />

don’t remember where.<br />

S-A: Right…I was read<strong>in</strong>g glass<br />

magaz<strong>in</strong>es, and I was read<strong>in</strong>g<br />

about people like you and I was<br />

like, well, that’s be<strong>in</strong>g done <strong>in</strong><br />

glass, with leaded glass no less,<br />

and I was call<strong>in</strong>g up people and<br />

ask<strong>in</strong>g them to come down to<br />

Aust<strong>in</strong>. I just didn’t remember<br />

if I had called you or if we had<br />

met at one of those glass conferences…what<br />

is it like, thirtyseven<br />

years ago, or someth<strong>in</strong>g?<br />

M: <strong>It</strong> would be <strong>in</strong> the late 70s<br />

so yeah, about thirty-six years<br />

ago…I don’t look back like that.<br />

I’m more concerned with the<br />

future than I am with the past.<br />

S-A: I’m a little bit like that<br />

too. I don’t like to th<strong>in</strong>k of<br />

the past and k<strong>in</strong>d of sh<strong>in</strong>e it<br />

up. Maybe that’s one of the<br />

reasons that we are—one of the<br />

pluses <strong>in</strong> our relationship.<br />

M: Yeah.<br />

S-A: But I did <strong>in</strong>vite you to come<br />

and teach a workshop <strong>in</strong> Aust<strong>in</strong>.<br />

You stayed at my house, correct?

35<br />


splash, dash, dots, & dels<br />

Susan St<strong>in</strong>smuehlen-Amend, 1985<br />

x oohaha<br />

Paul Marioni, c. 1980



I I WA W<br />

YOUR STU<br />

36 M: I th<strong>in</strong>k so.<br />

S-A: I <strong>in</strong>vited you down, you<br />

came, and then after you saw<br />

my work, which was the beg<strong>in</strong>n<strong>in</strong>g<br />

of the Xs, you asked me<br />

to be your T.A. at Pilchuck.<br />

And why did you do that?<br />

M: I was impressed!<br />

You were talented.<br />

S-A: You didn’t th<strong>in</strong>k<br />

those pieces were ugly?<br />

M: Not at all, no! I thought they<br />

were great. They’re still some<br />

of my favorite of your work.<br />

S-A: You know it’s funny<br />

that work got me notoriety<br />

but nobody ever bought<br />

any of those pieces.<br />

M: Yeah, well that’s not<br />

unusual either.<br />

S-A: Anyway…You liked my<br />

work…Everybody around me<br />

didn’t know what to th<strong>in</strong>k about<br />

what I was do<strong>in</strong>g. And then you<br />

asked me to Pilchuck, which<br />

I barely even had<br />

I<br />

heard<br />

I of.<br />


And I stayed with you <strong>in</strong> Seattle<br />

and I couldn’t believe all this<br />

work, and your work and the<br />

OH MY<br />


jalapeno girl<br />

Susan St<strong>in</strong>smuehlen-Amend, 1986-87

37<br />


OUGHT<br />

MY Y GOD<br />

HING IS IS<br />

E WHEN<br />

WAS IN IN<br />

STUDIO.<br />


studio. I just thought, oh my<br />

god, anyth<strong>in</strong>g is possible when I was<br />

<strong>in</strong> your studio. And you were<br />

so supportive. And then we<br />

went to Pilchuck and I was your<br />

T.A. except that you did what<br />

you did and I did what I did; I<br />

don’t know what the class did.<br />

You used to give these great talks,<br />

slideshows called ‘The Good,<br />

The Bad and The Ugly.’ And<br />

people would send you slides<br />

from all over the world [that] you<br />

just put <strong>in</strong> a big old slideshow.<br />

So it was really important that<br />

you were spread<strong>in</strong>g out the visual<br />

<strong>in</strong>formation to the world about<br />

what can be done with glass.<br />

M: Yeah, we were try<strong>in</strong>g to<br />

make someth<strong>in</strong>g happen.<br />

S-A: And what was your th<strong>in</strong>g<br />

about the flat glass part of it?<br />

Who was it you studied with<br />

<strong>in</strong> Northern California?<br />

M: Judy North. At the time she<br />

was Judy Raffael, married to the<br />

pa<strong>in</strong>ter Joseph Raffael. She had<br />

taught at Benn<strong>in</strong>gton; she was<br />

try<strong>in</strong>g to do someth<strong>in</strong>g with flat<br />

glass but not gett<strong>in</strong>g anywhere…<br />

and she moved out to Northern<br />

California when she married<br />

Joseph…We had this connection<br />

before we met [because they had<br />

seen each others’ work]. But she<br />

got me <strong>in</strong>terested <strong>in</strong> glass. I was<br />

mak<strong>in</strong>g movies, at the time.<br />

S-A: So when you first<br />

went to Pilchuck were you<br />

teach<strong>in</strong>g flat glass?<br />

M: Yeah. I met Chihuly a couple<br />

of years before. He had come to<br />

Oakland to do a workshop with<br />

Marv<strong>in</strong> [Lipofsky] at California<br />

College of Arts and Crafts.<br />

And Chihuly and I immediately<br />

latched onto each other. In<br />

fact, he was supposed to give a<br />

lecture and he and I went out<br />

for a walk ‘cause we had started<br />

talk<strong>in</strong>g to each other. We walked<br />

and we got back forty-five<br />

m<strong>in</strong>utes late, and Marv<strong>in</strong> was

the queen<br />

Paul Marioni, 1993<br />

the glassblowers<br />

Paul Marioni, 1995<br />

really pissed. Dale and I were<br />

<strong>in</strong>stant friends. Dale had just<br />

started Pilchuck the year before,<br />

so then he asked me to come<br />

out. And basically that whole<br />

summer was just rich for me.<br />

S-A: But were you orig<strong>in</strong>ally<br />

a spokesperson for ‘flat glass,’<br />

which is what it was called at<br />

that time?<br />

M: Well, actually it wasn’t.<br />

I adopted the term because it<br />

was a derogatory term from<br />

glassblowers, and I liked it so I<br />

took it on. Prior to that I would<br />

say I didn’t do sta<strong>in</strong>ed glass, I<br />

did ‘strange glass.’ I never did<br />

anyth<strong>in</strong>g traditional. That was the<br />

beauty of Judy Raffael—she let me<br />

come out to her studio for five<br />

days, taught me how to cut glass,<br />

how to cut the lead and solder,<br />

and then she said, “go home<br />

and do whatever you want to do.<br />

Get out of here and don’t come<br />

back.” And I had no preconceived<br />

notions about what should<br />

be done. So I started mak<strong>in</strong>g<br />

wall pieces and sculptural pieces<br />

and weird imagery and lam<strong>in</strong>at<strong>in</strong>g<br />

photographs ‘cause I had no<br />

idea what had been done or what<br />

I was supposed to do. And they<br />

asked me to teach at CCAC. So<br />

I started blow<strong>in</strong>g glass but then<br />

Dale wanted me to <strong>in</strong>troduce flat<br />

glass to Pilchuck, back when it was<br />

two tables around the hot shop.<br />

S-A: I was not tra<strong>in</strong>ed <strong>in</strong> sta<strong>in</strong>ed<br />

glass or glass at all. You were not<br />

either. You found out what you<br />

found out on your own, correct?<br />

M: Yeah, that’s right. To me,<br />

you were an artist. You were not<br />

a glass artist. You were an artist.<br />

That’s what <strong>in</strong>terested me about<br />

you. You’re a vivacious personality<br />

and extraord<strong>in</strong>arily talented<br />

and smart. And beautiful.<br />

S-A: Woohoo!<br />

M: And you were do<strong>in</strong>g someth<strong>in</strong>g<br />

excit<strong>in</strong>g. And at Pilchuck,<br />

you were a hit. They asked<br />

you to teach there before you<br />

even f<strong>in</strong>ished be<strong>in</strong>g a T.A.<br />

S-A: That’s the other th<strong>in</strong>g<br />

we were talk<strong>in</strong>g about, that<br />

you and I seem to be sort<br />

of natural teachers. I didn’t<br />

set out to be a teacher and I<br />

don’t know if you did but—<br />

I I WOU<br />

I I DID<br />


I I DID 'ST<br />

GLASS.' I<br />

M: Def<strong>in</strong>itely not. For me it<br />

was payback time. After all<br />

DID<br />

the<br />

ANY<br />

teachers I would have liked<br />

to throttle. Once they asked<br />

me to teach, it was revenge.<br />

TRADIT<br />

S-A: To the benefit of your<br />

students. <strong>It</strong> just seems like we<br />

just became natural friends and<br />

we naturally respected what each<br />

other was do<strong>in</strong>g. I th<strong>in</strong>k you<br />

<strong>in</strong>spired me…I would say more<br />

about the approach, which is like,<br />

fearless, most of the time…<br />

I always felt better know<strong>in</strong>g you<br />

were there and I always was <strong>in</strong>spired<br />

by the way you would come<br />

up with—one year you’re teach<strong>in</strong>g<br />

flat glass, the next year you’re<br />

teach<strong>in</strong>g cast glass and mak<strong>in</strong>g<br />

these <strong>in</strong>credible molds to press<br />

and it seemed like you were always<br />

com<strong>in</strong>g up with new ways of<br />

deal<strong>in</strong>g with these old processes.<br />

M: We were fast friends, no<br />

question about that, a mutual<br />

admiration society…So sometimes<br />

it was cast glass, sometimes<br />

pa<strong>in</strong>t<strong>in</strong>g, sometimes lam<strong>in</strong>at<strong>in</strong>g

OULD SAY<br />


DIDN'T DO<br />

ED D GLASS,<br />

'STRANGE<br />

S.' I I NEVER<br />




40<br />

buoy<br />

Susan St<strong>in</strong>smuehlen-Amend, 1993

41<br />

photographs; it was all these<br />

different ways of do<strong>in</strong>g it.<br />

I had to f<strong>in</strong>d a way to put my<br />

vision <strong>in</strong>to reality, same as<br />

you. You were glu<strong>in</strong>g stuff on<br />

the lead l<strong>in</strong>es and pa<strong>in</strong>t<strong>in</strong>g<br />

stuff on the lead l<strong>in</strong>es and<br />

lam<strong>in</strong>at<strong>in</strong>g and you were<br />

break<strong>in</strong>g all the barriers, too.<br />

S-A: We were both at the<br />

Hauberg [Fellowship] together<br />

and that seemed right. And<br />

then we both were <strong>in</strong> Scotland<br />

together. Other people have seen<br />

us as natural or good together.<br />

That wasn’t someth<strong>in</strong>g that we<br />

planned. I th<strong>in</strong>k others have<br />

recognized us for the same<br />

th<strong>in</strong>g you just said, of break<strong>in</strong>g<br />

the rules or mov<strong>in</strong>g out of the<br />

predictable notions about where<br />

you would go with the material.<br />

M: Birds of a feather.<br />

S-A: Birds of a feather,<br />

there you go.<br />

S-A: We might talk about when<br />

we were pa<strong>in</strong>t<strong>in</strong>g <strong>in</strong> the room<br />

together at the last Hauberg, and<br />

you were pa<strong>in</strong>t<strong>in</strong>g Mean Man<br />

and Mad Mounta<strong>in</strong>. <strong>It</strong> was just<br />

astound<strong>in</strong>g to me that they<br />

were so simple and you were<br />

pil<strong>in</strong>g on this pa<strong>in</strong>t with such<br />

urgency…I do get <strong>in</strong>spired by<br />

watch<strong>in</strong>g you or see<strong>in</strong>g what you<br />

come up with and imag<strong>in</strong><strong>in</strong>g<br />

where the ideas came from.<br />

That still seems like a big mystery<br />

space for me about your work,<br />

although I th<strong>in</strong>k we both have<br />

an attachment to Surrealism.<br />

M: Figurative. We both like to<br />

work figurative…We’re driven<br />

by passion. And that’s a good<br />

th<strong>in</strong>g. Passion drives people to<br />

do what they’re do<strong>in</strong>g, whether<br />

it’s mass murder or pa<strong>in</strong>t<strong>in</strong>g,<br />

you know. Passion’s a good<br />

th<strong>in</strong>g. Many people don’t<br />

have it. They just have drama.<br />

Drama is a dead end street.<br />

S-A: Sometimes I feel like I<br />

don’t know what I want to<br />

make next, and then I say,<br />

oh, you don’t feel passionate about this.<br />

<strong>It</strong> gets tricky sometimes <strong>in</strong> terms<br />

of com<strong>in</strong>g up with the idea.<br />

fermat’s last theorem<br />

Paul Marioni, 1998

42<br />

[Do you see yourselves as rebels?]<br />

M: I’m a saboteur. Not so much<br />

rebel. I’m <strong>in</strong>terested <strong>in</strong> what I<br />

can learn, and that usually means<br />

explor<strong>in</strong>g new territory. But<br />

provocateur is probably a better<br />

word. I had a lifelong quest to<br />

learn, which means, of course…<br />

if you’re a provocateur you’re<br />

try<strong>in</strong>g to go to some place you<br />

haven’t been before. I say you<br />

could live three lifetimes of a<br />

hundred years and not know<br />

everyth<strong>in</strong>g there is to know about<br />

glass, because glass has a m<strong>in</strong>d of<br />

its own. And it’s extraord<strong>in</strong>arily<br />

demand<strong>in</strong>g material. <strong>It</strong>’s fragile<br />

and, particularly hot glass,<br />

unpredictable. Blow<strong>in</strong>g glass,<br />

which I never really did much,<br />

is extraord<strong>in</strong>arily demand<strong>in</strong>g.<br />

You have to be there 100%<br />

mentally and physically; you have<br />

a hangover or a fight with your<br />

frida<br />

Paul Marioni, 1992<br />

partner, you’re not go<strong>in</strong>g to be<br />

very good at blow<strong>in</strong>g glass. <strong>It</strong><br />

requires such <strong>in</strong>tense focus. To<br />

me, it’s addict<strong>in</strong>g that it requires<br />

that focus. I want to cont<strong>in</strong>ue to<br />

learn the rest of my life. In fact,<br />

right now, I feel a little stagnant<br />

so I’m go<strong>in</strong>g to start a new life.<br />

<strong>It</strong> might be a life of crime.<br />

S-A: I don’t th<strong>in</strong>k that’s one of<br />

the craft categories. Or maybe it<br />

is! The craft of crime…You’ve<br />

always taken me to a place that<br />

I don’t recognize, or don’t<br />

know. So that <strong>in</strong>trigues me,<br />

to try to wrap my head around<br />

your work. I f<strong>in</strong>d it mystify<strong>in</strong>g<br />

and provocative and <strong>in</strong>spir<strong>in</strong>g,<br />

so that’s always been good…<br />

Rebel? I th<strong>in</strong>k that I may operate<br />

a little more spontaneously <strong>in</strong><br />

terms of not tak<strong>in</strong>g the time to<br />

learn more, and just take action,<br />

which I lament sometimes, but…


M: I do th<strong>in</strong>k your work is more<br />

spontaneous than m<strong>in</strong>e. I usually<br />

have a clear vision of what<br />

I want to make before I start.<br />

Sometimes I make changes as I’m<br />

go<strong>in</strong>g along, but I th<strong>in</strong>k you’re<br />

more spontaneous than I am.<br />

the someth<strong>in</strong>g or other society<br />

Paul Marioni, 2005<br />

S-A: Yeah, it’d be hard to say.<br />

I’ve been plott<strong>in</strong>g th<strong>in</strong>gs out<br />

pretty well. But then if they don’t<br />

work or they don’t look good I’m<br />

pretty spontaneous <strong>in</strong> mak<strong>in</strong>g<br />

changes. But I th<strong>in</strong>k I was more<br />

spontaneous <strong>in</strong> the early days.<br />

M: Yeah. I th<strong>in</strong>k the new multilayered<br />

imagery is really good…<br />

you’re always good with color.

44<br />

barren would<br />

Paul Marioni and Susan St<strong>in</strong>smuehlen-<br />

Amend collaboration, 1982<br />

S-A: Thanks, thanks. Is there<br />

anyth<strong>in</strong>g else? We just like each<br />

other and just <strong>in</strong>spire each other.<br />

M: Mutual <strong>in</strong>spiration society.<br />

[Can you discuss sexuality<br />

<strong>in</strong> your work?]<br />

M: Well, sometimes I address<br />

it…I address human sexuality<br />

because…after the AIDs epidemic,<br />

I lost a lot of friends,<br />

hav<strong>in</strong>g lived <strong>in</strong> the Bay Area for<br />

eighteen years. Our sexuality is<br />

a big part of our existence…I try<br />

and make the work about our<br />

sexuality humorous so people<br />

can come back to realiz<strong>in</strong>g it’s<br />

so important and pleasurable as<br />

part of our whole existence. <strong>It</strong><br />

k<strong>in</strong>d of goes back to recogniz<strong>in</strong>g<br />

it, not mourn<strong>in</strong>g our sexuality.<br />

S-A: I’ve dealt with sexuality<br />

<strong>in</strong> my work, off and on all<br />

through it. And sometimes I<br />


I I COULD A<br />



like the ambiguous nature of<br />

not know<strong>in</strong>g what it is, that<br />

it could be someth<strong>in</strong>g sexual,<br />

REALLY<br />

but you could just go to that<br />

place. The more mean<strong>in</strong>g that<br />

I can elicit from the work I do<br />

the better. Be<strong>in</strong>g a woman and<br />

sexuality has been part of the<br />

work forever. How much do you<br />

rely on your subconscious, or<br />

unconscious? I th<strong>in</strong>k some of<br />

that <strong>in</strong>formation comes from<br />

that area, from that territory<br />

of dream<strong>in</strong>g or imag<strong>in</strong><strong>in</strong>g.<br />

M: Early <strong>in</strong> my work a lot of<br />

it came from dreams. I still<br />

have quite weird dreams…<br />

the dreams never really make<br />

much sense. I never really try<br />

to analyze them. The strange<br />

th<strong>in</strong>g is that I never have nightmares.<br />

I haven’t had a nightmare<br />

<strong>in</strong> probably forty years.

45<br />

AM M STATE<br />


S AND HOW<br />


LLY LY WERE.<br />

-MARIONI<br />

S-A: That means you’re<br />

really open-m<strong>in</strong>ded.<br />

M: No, it means—around 1970<br />

we did a lot of dream study work.<br />

A group of us got together years<br />

before it was a th<strong>in</strong>g…but once a<br />

month we would hire a speaker,<br />

whether it was a Hopi shaman<br />

or a psychologist, whatever, a<br />

Freudian, a Jungian. <strong>It</strong> was a<br />

mixed group, all art people, but<br />

not all artists. Everyone else was<br />

<strong>in</strong>terested <strong>in</strong> <strong>in</strong>terpret<strong>in</strong>g their<br />

dreams and I wasn’t because to<br />

me, dreams are just misfir<strong>in</strong>g<br />

neurons. I’m not <strong>in</strong>terested <strong>in</strong><br />

<strong>in</strong>terpret<strong>in</strong>g them. <strong>It</strong>’s like if you<br />

dropped one of your pieces and<br />

it broke, you likely would have<br />

a dream about break<strong>in</strong>g glass. <strong>It</strong><br />

doesn’t mean that you’re anxietyridden<br />

or whatever: you broke<br />

a piece that day so you dreamed<br />

about break<strong>in</strong>g glass that night.<br />

I wasn’t <strong>in</strong>terested <strong>in</strong> be<strong>in</strong>g a<br />

Jungian or a Freudian. I was<br />

<strong>in</strong>terested <strong>in</strong> what I could see.<br />

One of the th<strong>in</strong>gs that particularly<br />

<strong>in</strong>terested me was gett<strong>in</strong>g<br />

over my fears because I had a<br />

number of fears when I was<br />

young. And <strong>in</strong> a dream state I<br />

could address my fears and how<br />

groundless they really were. <strong>It</strong><br />

did a lot for my self-confidence.<br />

<strong>It</strong>’s one of the reasons I started<br />

teach<strong>in</strong>g and started speak<strong>in</strong>g<br />

<strong>in</strong> public. And so dreams were<br />

important <strong>in</strong> my early work,<br />

<strong>in</strong> the imagery. I used a dream<br />

<strong>in</strong> my work as a way of express<strong>in</strong>g<br />

an emotion. And still do.<br />

S-A: We both were do<strong>in</strong>g leaded<br />

glass when we first met, before<br />

and after. Why did you evolve out<br />

of do<strong>in</strong>g the leaded glass panel?<br />

M: Uhh. You’re not go<strong>in</strong>g to<br />

like this! For years I thought that<br />

sta<strong>in</strong>ed glass was be<strong>in</strong>g reborn.<br />

But around 1984, I realized<br />

it was still bor<strong>in</strong>g. I couldn’t<br />

sell it, so I stopped do<strong>in</strong>g it.<br />


46<br />

a man’s chair<br />

Susan St<strong>in</strong>smuehlen-Amend, 2003<br />

S-A: I was do<strong>in</strong>g these panels<br />

that were leaded glass on the<br />

wall, ‘cause I thought maybe<br />

if I put it on the wall it will<br />

be considered more as art.<br />

But I was still us<strong>in</strong>g the lead<br />

l<strong>in</strong>es and putt<strong>in</strong>g these th<strong>in</strong>gs<br />

together, and I th<strong>in</strong>k about<br />

that same time, I also went, I<br />

th<strong>in</strong>k this is ridiculous for me to be<br />

us<strong>in</strong>g lead l<strong>in</strong>es —I don’t know<br />

what it is about that process!<br />

M: I still love the process, I see<br />

enormous potential, but I haven’t<br />

made a leaded glass w<strong>in</strong>dow s<strong>in</strong>ce<br />

about ‘85, I th<strong>in</strong>k, was the last<br />

one. I actually remade one last<br />

year for Dante, a very early one.<br />

I had the orig<strong>in</strong>al draw<strong>in</strong>g…it was<br />

Mt. Tamalpais blow<strong>in</strong>g a smoke<br />

r<strong>in</strong>g. Mt. Tamalapais has like a<br />

sleep<strong>in</strong>g woman, and out of the<br />

top blows a smoke r<strong>in</strong>g <strong>in</strong> the sky.<br />

I remade it but actually I cut all<br />

the glass and leaded it and then<br />

I had to pay Ed Koury to solder<br />

it. I hadn’t done one s<strong>in</strong>ce about<br />

’85 and I wanted it done right, so<br />

I paid Ed to f<strong>in</strong>ish it for me after<br />

I cut all the glass and the lead.<br />

S-A: I’m teach<strong>in</strong>g at RISD and<br />

typically they <strong>in</strong>troduce people<br />

to everyth<strong>in</strong>g and leaded or<br />

copper foil glass is on the list,<br />

and I’m really hav<strong>in</strong>g trouble<br />

com<strong>in</strong>g up with an assignment<br />

for that process.<br />

M: <strong>It</strong>’s limit<strong>in</strong>g. <strong>It</strong>’s a limit<strong>in</strong>g<br />

process! I used to take fake lead<br />

l<strong>in</strong>es and run a lead l<strong>in</strong>e out <strong>in</strong><br />

the middle of a shape and glue it<br />

on, because you can’t cut halfway<br />

through a piece of glass, you’ve<br />

got to connect every l<strong>in</strong>e. <strong>It</strong>’s<br />

very limit<strong>in</strong>g <strong>in</strong> the design.

47<br />


common vessels/spray bottle<br />

Susan St<strong>in</strong>smuehlen-Amend, 2006

48<br />

I f<strong>in</strong>d pa<strong>in</strong>t<strong>in</strong>g on glass does away<br />

with all those limitations…[and]<br />

limitations of color. You want<br />

red but you want a real cherry<br />

red but all they’ve got is tomato<br />

red and so you use it because<br />

it’s red but it’s not exactly the<br />

red you want. And your design’s<br />

limited by the lead l<strong>in</strong>es.<br />

And pa<strong>in</strong>t<strong>in</strong>g on glass opens<br />

up all of those parameters.<br />

But like I said, I always saw you<br />

as an artist, not a glass artist.<br />

You’re an artist. You use glass<br />

sometimes. A lot of people,<br />

because of their popularity<br />

<strong>in</strong> glass, they brand themselves<br />

as glass artists. I never did<br />

because I’ve made movies and<br />

worked <strong>in</strong> plastic and wood,<br />

performances pieces and<br />



AND THEY<br />





everyth<strong>in</strong>g. I always thought of<br />

myself as an artist, just that I’m<br />


known for the work I make out<br />

of glass. Doesn’t make me a glass<br />

artist. <strong>It</strong>’s like Marcel Duchamp.<br />

People worked with glass and<br />

they weren’t glass artists. They<br />

used glass when it fit their idea.<br />

[We are look<strong>in</strong>g forward to<br />

the show.]<br />

M: We’ll have fun and we’ll<br />

accomplish someth<strong>in</strong>g. That’s<br />

as good as it gets. Doesn’t get any<br />

better than that. We will enjoy it.<br />

S-A: Yes we will!<br />

*This conversation took place via<br />

Skype on November 30, 2013<br />

and was transcribed by Alexandra<br />

Romanoff and edited for clarity.<br />


49<br />

man view ii<br />

Susan St<strong>in</strong>smuehlen-Amend, 2013<br />

susan st<strong>in</strong>smuehlen-amend<br />

and paul marioni<br />

teach<strong>in</strong>g at North Lands Creative<br />

<strong>Glass</strong> <strong>in</strong> Scotland, 2012

50<br />



*Unless noted,<br />

loans and photos are<br />

courtesy of the artists.<br />

paul<br />

marioni<br />

Black Jaguar, 1987, pa<strong>in</strong>ted and<br />

blown glass, 14 x 8 x 5, Russell<br />

Johnson photograph (pg 13)<br />

Fallen Hero, 1978, pa<strong>in</strong>ted<br />

and blown glass, 9 x 5 x 5,<br />

Collection of the artist, Roger<br />

Schreiber photograph (pg 23)<br />

Fermat’s Last Theorem, 1998,<br />

enamel fired on glass, 26 x 26,<br />

Russell Johnson photograph<br />

(pg 40)<br />

Frida, 1992, pa<strong>in</strong>ted and blown<br />

glass, 21 x 7 x 7, Collection of<br />

Susan St<strong>in</strong>smuehlen-Amend,<br />

Russell Johnson photograph<br />

(pg 43)<br />

Ghost, 2001, k<strong>in</strong>etic blown and<br />

frosted glass, 19 x 10 x 6, Russell<br />

Johnson photograph (pg 24)<br />

The <strong>Glass</strong>blowers, 1995, enamel<br />

fired on glass, 24 x 24, Russell<br />

Johnson photograph (pg 39)<br />

Gossip, 2011, enamel fired on<br />

glass, 27 x 24, Courtesy of<br />

William Traver Gallery, Seattle,<br />

Wash<strong>in</strong>gton, Russell Johnson<br />

photograph (pg 3)<br />

Lick<strong>in</strong>’, c. 2005, k<strong>in</strong>etic cast<br />

glass, 16 x 10 x 4, Collection of<br />

Susan Ste<strong>in</strong>hauser and Daniel<br />

Greenberg, Russell Johnson<br />

photograph (pg 25)<br />

Look<strong>in</strong>g Back, 2001, enamel fired<br />

on glass, 23 x 25, Russell<br />

Johnson photograph (pg 22)<br />

Mad Man, 2012, enamel fired on<br />

glass, 25 x 19, Russell Johnson<br />

photograph (pg 54)<br />

Mean Mounta<strong>in</strong>, 2012, enamel<br />

fired on glass, 25 x 22, Russell<br />

Johnson photograph (pg 16)<br />

The Queen, 1993, pa<strong>in</strong>ted and<br />

blown glass, 16 x 9 x 9, Russell<br />

Johnson photograph (pg 39)<br />

The Someth<strong>in</strong>g or Other Society,<br />

2005, pa<strong>in</strong>ted and blown glass,<br />

10 x 7 x 7, Russell Johnson<br />

photograph (pg 43)<br />

Spirits Lift<strong>in</strong>g, 2008, pa<strong>in</strong>ted and<br />

blown glass, 11 x 12 x 3, Russell<br />

Johnson photograph (pg 11)<br />

The Visitor, 1984, pa<strong>in</strong>ted and<br />

blown glass, 9 x 6 x 6, Roger<br />

Schreiber photograph (pg 19)<br />

X Oohaha, c. 1980, pa<strong>in</strong>ted and<br />

blown glass, 8 x 5 x 5, Collection<br />

of Susan St<strong>in</strong>smuehlen-Amend,<br />

Russell Johnson photograph<br />

(pg 35)<br />

Yew, 2003, k<strong>in</strong>etic cast glass,<br />

21 x 14.5 x 5.5, Collection of<br />

Susan Ste<strong>in</strong>hauser and Daniel<br />

Greenberg, Russell Johnson<br />

photograph (pg 15)<br />

Photos on pg 4, 9, 23<br />

Russell Johnson photograph

51<br />


Hexaplex, 1978-79, handblown<br />

and rolled glass, ead, z<strong>in</strong>c, pa<strong>in</strong>t,<br />

glitter, 36.5 x 28.5, Will van<br />

Overbeek photograph(pg 9)<br />

susan<br />

st<strong>in</strong>smuehlen-amend<br />

A Man’s Chair, 2003, enamel<br />

fired on glass, mixed media<br />

on wood panels, 24 x 32, Tom<br />

Kelley photograph (pg 46)<br />

Buoy, 1993, blown glass,<br />

knotted tw<strong>in</strong>e, brass, fabric,<br />

7 x 12 x 3.5, Collection of Anne<br />

Cohen Ruderman, Richard<br />

Todd photograph (pg 40)<br />

Chernobyl Cocktail, 1986, pa<strong>in</strong>ted<br />

and fused glass, model<strong>in</strong>g<br />

paste, metals, wood, 38 x 35,<br />

Collection of Susan Ste<strong>in</strong>hauser<br />

and Daniel Greenberg, Lone Star<br />

Silver Studio photograph (pg 29)<br />

Common Vessels/Spray Bottle, 2006,<br />

off hand sculpted solid glass,<br />

pa<strong>in</strong>ted pickups, 16 x 7 x 5<br />

(pg 47)<br />

Garden of Eden/Paradise I, 2004,<br />

enamel fired on glass, found<br />

metal, mixed media on wood<br />

panels, 24 x 24, Kim Stephenson<br />

photograph (pg 10)<br />

Grocery Nude To-Do (Calendar<br />

Girl), 2013, enamel fired on<br />

glass, 32 x 21 (pg 13)<br />

Happy Face, 2001, fired enamel<br />

and decals on glass, mixed<br />

media on wood panel, 16 x 24,<br />

Collection of Jo Lauria, Tom<br />

Kelley photograph (pg 31)<br />

Jalapeno Girl, 1986-87, off hand<br />

sculpted solid glass, 17 x 7 x 3<br />

(pg 36)<br />

Luxury <strong>Glass</strong> (Sugar Bowl), 2013,<br />

enamel fired on glass, mirror,<br />

metal frame, 20 x 29 (pg 16-17)<br />

Man View II, 2013, fired enamel<br />

and photo decals on glass, wood<br />

and metal support,32 x 21 x 1.5<br />

(pg 49)<br />

T.G.I.F./April, Calendar Notations,<br />

2005, enamel fired on glass,<br />

wood support, 30 x 19 x 4<br />

(pg 33)<br />

Tower of Multiple Nonfunctions, 1985,<br />

glass, pa<strong>in</strong>t, model<strong>in</strong>g paste,<br />

jewels, brass, copper, z<strong>in</strong>c, lead,<br />

wood, 38 x 17, Lone Star Silver<br />

Studio photograph (pg 29)<br />

Weight, 1993, blown glass, knotted<br />

tw<strong>in</strong>e, brass, fabric, 17 x 12 x 3.5,<br />

Richard Todd photograph<br />

(pg 28)<br />

Who’s the Lead, Rex, 1989, glass,<br />

wood, pa<strong>in</strong>t, hard foam,<br />

46 x 42 x 6, Collection of<br />

Susan Ste<strong>in</strong>hauser and Daniel<br />

Greenberg, Rob Brown<br />

photograph (pg 27)<br />

Xt<strong>in</strong>xion, 1980-81, etched,<br />

pa<strong>in</strong>ted and hot-worked glass,<br />

lam<strong>in</strong>ated fabrics and plastic,<br />

found plastic, copper, brass,<br />

steel, z<strong>in</strong>c, wire, 50 x 30, Will<br />

van Overbeek photograph<br />

(pg 27)

52<br />

ACKNOWL-<br />


This show came about because we<br />

wanted to celebrate the visionary<br />

work of these two artists.<br />

Without the will<strong>in</strong>gness,<br />

flexibility and dedication of<br />

Paul Marioni and Susan<br />

St<strong>in</strong>smuehlen-Amend,<br />

content aside, this exhibition<br />

and catalog would not have<br />

been possible. They assisted<br />

<strong>in</strong> <strong>in</strong>numerable ways from<br />

<strong>in</strong>ception through fruition<br />

and hav<strong>in</strong>g their passionate<br />

<strong>in</strong>volvement brought<br />

the project to life.<br />

Familial ties lead Richard<br />

Amend to lend his impeccable<br />

eye and gifted hand to the<br />

exhibition design. His<br />

resourcefulness and<br />

<strong>in</strong>herent understand<strong>in</strong>g<br />

of the objects was <strong>in</strong>valuable.<br />

John Maeda was able to<br />

capture the essence of the<br />

objects and translate that spirit<br />

<strong>in</strong>to the design of the catalog.<br />

With grace and total efficiency,<br />

Denise Kang provided the<br />

organizational skills and attention<br />

to detail that were essential<br />

to produc<strong>in</strong>g every aspect of<br />

the exhibition and catalog.<br />

Alexandra Romanoff and Judy<br />

H<strong>in</strong>g provided precise and<br />

<strong>in</strong>sightful editorial assistance<br />

to the text. Beverly Feldman<br />

creatively helped generate publicity<br />

and <strong>in</strong>terest <strong>in</strong> the exhibition.<br />

We are deeply grateful to Jo<br />

Lauria, who graciously worked to<br />

create and moderate a program<br />

<strong>in</strong> conjunction with the show.

53<br />


Patricia Bischetti, Rosey Guthrie<br />

and the staff at Freehand, Terry<br />

de Castro, Madison Metro, Mary<br />

Oligny, Ruth Oglesby, and<br />

Argenta Walther were critical to<br />

this endeavor on every level.<br />

In addition, Craft <strong>in</strong> America<br />

wishes to thank the follow<strong>in</strong>g<br />

<strong>in</strong>dividuals and organizations<br />

for their generous support of<br />

the exhibition and catalog;<br />

Anonymous, <strong>Glass</strong> Alliance of<br />

Los Angeles, Daniel Greenberg<br />

and Susan Ste<strong>in</strong>hauser, and<br />

Gloria and Sonny Kamm.<br />

We would also like to thank<br />

Daniel Greenberg and Susan<br />

Ste<strong>in</strong>hauser, Jo Lauria and<br />

Anne Cohen Ruderman for<br />

lend<strong>in</strong>g artwork to the show.<br />

emily zaiden<br />

Craft <strong>in</strong> America<br />

Center Director<br />

carol sauvion<br />

Craft <strong>in</strong> America<br />

Executive Director

mad man<br />

Paul Marioni, 2012

COPYRIGHT © 2014<br />


ISBN: 978-0-615-96305-1

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