BIO. & OBITUARY

Michael McCoy Glancy Sr. born Detroit, MI, USA, 1950 – 2020 (70 years old)


 

EDUCATION 1973 University of Denver, B.F.A. 1977 Rhode Island School of Design, B.F.A. 1980 Rhode Island School of Design, M.F.A.


AWARDS 1986 National Endowment for the Arts Grant, 1987 Massachusetts Council on the Arts Grant, 1990 Fellowship Grant: Centre International d’Art Contemporain, Château Beychevelle, Bordeaux & Paris, 1999 Massachusetts Council on the Arts Grant, 2001 UrbanGlass Outstanding Achievement in Glass Award, 2006 National Design Awards Lifetime Achievement Nominee, Cooper-Hewitt, National Design Museum, NY.


SELECTED EXHIBITIONS- SOLO  1979 Gallery One, Western Maryland University, Westminster, MD 1980 The Heller Gallery, New York 1981 Habatat Galleries, Detroit Heller Gallery, New York 1982 Heller Gallery, New York 1983 The Glass Gallery, Bethesda, MD Habatat Galleries, Detroit 1984 The Heller Gallery, New York The David Bernstein Gallery, Boston 1985 Habatat Galleries, Miami Habatat Galleries, Detroit 1986 The Heller Gallery, New York 1988 Habatat Galleries, Detroit Habatat Galleries, Miami 1989 Heller Gallery, New York 1990 Commission: “Golden Nucleic Fusion,”  61″h x 101″w x 40″d, S.L. Green – Lobby, 333 East 38th Street, NYC Fellowship Grant: Centre International d’Art Contemporain, Château Beychevelle, Bordeaux & Paris 1991Habatat Gallery, Boca Raton Galerie von Bartha, Basel, Switzerland 1992 Heller Gallery, New York 1993 Habatat Gallery, Boca Raton 1994 Galerie Von Bartha, Basel, Switzerland Fermi National Accelerator Laboratory, Wilson Hall Gallery “Michael Glancy – Sculpture: 1970–1994,” Lecture, (brochure; illustrated). 1995 Galerie von Bartha, Basel, Switzerland, November. 1997 Barry Friedman Ltd., New York, SOFA, Chicago, Habatat Galleries, Florida, solo presentation. 2000 Barry Friedman Ltd., New York, “Infinite Obsessions – The Art of Maurice Marinot (1921-1934) and Michael Glancy (1998-1999); November, 1999 – January, 2000. 2001 University of Michigan-Dearborn, Berkowitz Gallery, “Michael Glancy – mid career survey, 50 works: 1970-2000” Galerie von Bartha, Basel, Switzerland , May. 2004 Barry Friedman Ltd., “The Harmonic Chord,” New York, May. 2006 Barry Friedman Ltd., “Periotic Equilibrium,” New York, November. 2011 Barry Friedman Ltd., “Infinite Obsessions,” New York, May. 2013 SOFA Chicago, “Infinite Obsessions,” presented by Barry Friedman Ltd. – New York, November. 2017 Heller Gallery, “Squaring the Circle,” New York, April – May.


SELECTED EXHIBITIONS – GROUP 1980 Seraph Gallery, Washington, D.C., “6”. Museum of Art, Rhode Island School of Design, Providence, “M.F.A. Show.” The David Bernstein Gallery, Boston, “Contained.” 1980-83 The Corning Museum of Glass, Corning, “New Glass Review 1, 2, 3” (catalogue). 1980-89 Habatat Gallery, Detroit, “8th – 17th International Invitational.” 1981 DeCordova Museum, Lincoln, MA, “Glass Routes” (catalogue). American Craft Museum, New York. 1982 Hokkaido Museum of Modern Art, Sapporo, Japan, “World Glass Now “82” traveled to Daimaru Gallery in Tokyo and Otani Memorial Art Museum in Nishinomiya (catalogue). Huntington Galleries, Huntington, West Virginia, “New American Glass: Focus West Virginia” (catalogue). Morris Museum of Art and Sciences, Morristown, New Jersey, “American Glass Art: Evolution and Revolution” (catalogue). The Art Gallery of Western Australia, Perth, “International Directions in Glass Art” (catalogue), traveled throughout Australia. 1983-85 United States Embassy, Prague, Czechoslovakia, “Contemporary American Glass Sculpture” (catalogue). 1983 American Craft Museum II, New York, “Pattern” (catalogue). SM-Gallery, Frankfort, Germany, “Koln-Kunst & Antiquitatenmasse.” Tucson Museum of Art, Tucson, “Sculptural Glass” (catalogue), traveled to Owens-Illinois Art Center, Toledo and The Fine Arts Center, Tempe, Arizona. 1984 The Leigh Yawkey Woodson Art Museum, Wausau, Wisconsin, “Americans in Glass” (catalogue), traveled extensively through Europe in ’84 and ’85. The Arango Design Foundation, Miami, “Glass” (catalogue). Image South Gallery, Atlanta, “14 Artists: Glass” (catalogue). 1984/86-89 Yamaha Corporation, Hamamatsu, Japan, “Glass Now ’84” (catalogues), traveled extensively through Japan. 1985 Hokkaido Museum of Modern Art, Sapporo, Japan, “World Glass Now ’85” (catalogue), traveled to Tokyo, Shimonoseki, Gifu, and Osaka (86). Ella Sharp Museum and Habatat Galleries, Michigan, “Glass: State of the Art” (catalogue), Traveling exhibition. Musée des Beaux-Arts, Rouen, France, “American Glass Artists” (catalogue). 1986 The Oakland Museum, Oakland, “Contemporary American and European Glass from the Saxe Collection” (catalogue). 1986 Huntington Galleries, Huntington, West Virginia, “New American Glass Focus 2 West Virginia” (catalogue). The Newport Art Museum, Newport, “Today’s Artisans.” 1987 Sotheby’s New York, “The Object as Art-G.M.H.C. Benefit Auction” (catalogue). Center International de Recherche sur le Verre, Marseille, France, “Cahiers du CIRVA” (catalogue). Hunter Museum of Art, Chattanooga, “Group Show.” Detroit Institute of Art, Detroit, “From the Permanent Collection.” Hessisches Landsmuseum, Darmstadt, Germany, “Bildwerk in Glas” (catalogue). 1988 Hokkaido Museum of Modern Art, Sapporo Japan, “World Glass Now ’88” (catalogue), traveled to Shimonoseki, Tokyo, Gifu, and Osaka. Florida State University Gallery;, Tallahassee, “A Generation in Glass Sculpture” (catalogue). Habatat Galleries, Detroit, “New Art Forms: Navy Pier, Chicago.” 1989 Christie’s, New York, “Contemporary Ceramics and Glass” (catalogue). Christie’s, New York, “Masterworks of Contemporary Glass – New York Experimental Glass Workshop Benefit Auction” (catalogue). “The Spectacle of Chaos,” Chaos Foundation, Chicago (catalogue). 1992–94 “Glass:1962–1992,” The Morris Museum, national tour, (catalog, illustrated). 1993 “Clearly Art-Pilchuck’s Glass Legacy,” national tour, (catalog, illustrated). “CIRVA–le verre, Manieres de Faire,” Musee du Palis du Luxembourg,  French Ministry of Culture, Paris (catalog, illustrated). “The Rhode Island Connection–Glass Masters,”Newport Art Museum, Newport, Rhode Island (catalog illustrated). 1993 Hokkaido Museum of Modern Art, Sapporo, Japan, “World Glass Now ‘94” (catalog illustrated), traveling to Shiminoseki, Tokyo, Gifu, and Osaka. CIRVA–le verre, Manieres de Faire,” Seoul Art Center, Seoul, Korea:  April, May, June 1994. Meguro Museum of Art, Tokyo, Japan:  Oct, Nov, Dec. 1994 Ashoya Museum, Ashiya City, Hyogo Prefecture, Japan:  April, May 1995 “Vänersborg Glass Show,” Vänersborg, Sweden: May–September 1994 Workshop & Lecture, May 10–15, 1994. 1995 “Contemporary Crafts & the Saxe Collection,” Renwick Gallery of the National Museum of American Art—Smithsoniam Institution, Washington, D.C., Lecture: Renwick Grand Salon, January 22, 1995 “A Museum in the Making: The Gerard Cafesjian Collection,” Scottsdale Center for the Arts, Scottsdale, Arizona 1996 “Studio Glass in The Metropolitan Museum of Art,” The Metropolitan Museum of Art, New York, New York Basel Art Fair, Galerie von Bartha, Basel, Switzerland: June, 1996 “Glass Art – The Belkin Collection,” Huntington Museum of Art, Huntington, West Virginia: July-October, 1996 TEFAF, Galerie von Bartha, Basel, Switzerland: October, 1996 Invited Artist, “Venezia Aperto Vetro,” Palazzo Ducale, Venice, Italy: September-November, 1996 1997 “Masters of Contemporary Glass: Selections from the Glick Collection,” Indianapolis Museum of Art, Indianapolis, Indiana, September-November, 1997. “1997 Pilchuck Glass Exhibit,” Port of Seattle, Sea-Tac International Airport. The European Fine Art Federation (TEFAF) Exhibition, Basel, Switzerland, Galerie von Bartha: October. TEFAF, Galerie von Bartha, Basel, Switzerland: November, 1997 “Glass Today,”The Cleveland Museum of Art, Cleveland, Ohio, June 22-Sept.14,1997 : 120 pg. illustrated catalogue. “Glass Today by American Studio Artists,” Museum of Fine Arts, Boston, Aug. 13, 1997-January 11, 1998: illustrated catalogue, pgs. 30-31. 1998 “Luminous Form-an Invitational Glass Exhibition,” The Providence Art Club, Providence, RI, January 11-23:New England/Boston “Art Now-Gallery Guide,” cover story, illustrated, pg.5. “Corning Museum New Glass Review,” Corning Museum of Glass, Corning, NY SOFA, NYC, April, Barry Friedman Ltd. SOFA, Chicago, October, Barry Friedman, Ltd. “American Glass: Masters fo the Art,” Smithsonian Institution Traveling Exhibition Service, national tour, 1998-2000, exhibition catalogue by Lloyd Herman, 65pgs. illustrated, pgs.19-22. “A Passion for Glass,” The Aviva and Jack A. Robinson Studio Glass Collection, Detroit institute of Arts. “Glass”, Los Angeles County Museum of Art, Sherwood Gallery, Anderson Building of Contemporary Art, LA, CA TEFAF, Maastricht, The Netherlands, Galerie von Bartha, March. TEFAF, Basel, Galerie von Bartha: November. 1999     “Clearly Inspired – Contemporary Glass and Its Origins,” Tampa Museum of Art, 28 March – 6 June, 1999 + Fort Wayne Museum of Art, 11 September – 9 November, 1999, exhibition catalogue, Karen Chambers, illu.,pgs.61-64. “Faculty Biennial Exhibition,” Museum of Art, Rhode Island School of Design, Providence, 1 Oct. 1999- 2 Jan. 2000. “CULTURA” Art and Antiques Fair, Basel, Switzerland, 13 – 21 November, 1999, Galerie von Bartha, illustrated. 1999 TEFAF, Maastricht, The Netherlands, Galerie von Bartha, March. 2000 CULTURA, Art and Antiques Fair, Basel, Switzerland, Galerie von Bartha, illustrated. Contemporary Glass Sculpture, Musee de Design et d’Arts Appliques /Contemporains, Lausanne, Switzerland. Masterworks: 1900-2000, Christie’s New York, June, 2000. TEFAF, Maastricht, The Netherlands, Galerie von Bartha, March, illustrated. Taking Form in Glass – Contemporary Works from the Palley Collection, Lowe Art Museum, University of Miami 2001 Centennial Exhibition, Providence Art Club, Providence, Rhode Island, October, illustrated. 2002     Contemporary Directions, Carnegie Museum of Art & Toledo Museum of Art, 4-8/2002 & 11/2003-2/2004. Selected Exhibitions – Group – continued… 2002 Basel Art Fair, Galerie von Bartha, Basel, Switzerland, “Aventurine Cascade, 2002”, June. UrdanGlass @ 25, Steuben on Madison Avenue, NYC, November – January, 2003. Art of the 20th Century, Barry Friedman, The Park Avenue Armory, November. CULTURA, Art and Antiques Fair, Basel, Switzerland, Galerie von Bartha, October. Art Basel Miami Beach, Galerie von Bartha, Miami, December. Christie’s New York, Important 20th Century Decorative Arts and Tiffany: Innovations in American Design, Lot 131,Dec.10. 2003 Art Palm Beach, Barry Friedman, Palm Beach, Florida, January. Fire and Form, at the Norton Museum of Art, West Palm Beach, FLorida,January 25-March 23, illustrated. Faculty Biennial Exhibition, Rhode Island School of Design, Providence, Rhode Island Jan Erik Ritzman: Exploring the Swedish Tradition, Savannah College of Art and Design, Savannah, Georgia, illus. 2004     SOFA New York,  Barry Friedman, The Park Avenue Armory, June. Banner on Park Avenue & catalogue cover. Ministère de la Culture et de la Communication, “Culture Design,” Palas de la porte Dorée, Paris 2006 Gass-Material Matters, Los Angeles County Museum of Art, April-December, 2006, illustrated. Emergence:Early American Studio Glass & Its Influences 1964-1989, Barry Friedman, Ltd., June-July, NYC 2007 One of a kind: The Studio Movement, Metropolitan Museum of Art, New York, NY, 12/22/2006 – 9/3/2007. 2008 Studio Glass in Rhode Island–The Chihuly Years, Museum of Art Rhode Island School of Design, 09, 2008-1, 2009, illus. 2013 Top 10 at 10: Favorites from RAM’s Collection, Racine Art Museum, Racine, Wisconsin Salon: Art + Design, Park Avenue Armory, New York, NY, Bf, ltd., November 14-18.


PROFESSIONAL EXPERIENCE 1971 Faculty in Glass, Denver Free University, Denver. 1979 Glass Workshop, Western Maryland College, Westminster. 1982 Visiting Critic, Rochester Institute of Technology, Glass. Visiting Artist, Rhode Island School of Design, Glass. 1982-88,96,&2011 Faculty, Pilchuck Glass School, Seattle. 1982-2010 Associate Faculty, Rhode Island School of Design, Metals. 1983 Speaker, The Chrysler Museum, Norfolk. Speaker, The Detroit Institute of Arts, Detroit. 1984 Speaker, Corning Museum of Glass, Glass Art Society, Corning. Speaker, Early American Glass Club, Washington, D.C. Visiting Faculty, Appalachian Center, Smithville, TN. Visiting Artist, Ohio State University, Columbus, Glass. 1987 Invited Speaker/Workshop, Australian Association of Glass Artists, Melbourne, Australia. Ignited Artist/Workshop, CIRVA, Marseille, France. Sabbatical in Paris, February-July. 1988 Invited Artist/Speaker, Yamaha Corporation-Glass Now ’88, Osaka, Japan. 1995 Speaker, Renwick Gallery of the National Museum of American Art—Smithsoniam Institution, Washington, D.C., Lecture: Renwick Grand Salon, January 22, 1995. 2004 SOFA New York Lecture Series, Searching for the Harmonic Chord with Bill Warmus, Tiffany room, June. 2006 SOFA New York Lecture Series, Emergence:Early American Studio Glass & Its Influences 1964-1989, Barry Friedman. 2012 Invited Speaker, Victorian Electrotypes: Old Treasures, New Technology, The Metropolitan Museum of Art, “Electroforming in the Contemporary Studio: A Conversation” Michael Glancy and Ellenor M. Alcorn. Invited Speaker, A Scholars’ Day Workshop,Victorian Electrotypes: Old Treasures, New Technology, Monday, March 25, “Michael Glancy’s Infinite Obsession” – The Metropolitan Museum of Art, New York.


MUSEUM & PUBLIC COLLECTIONS Metropolitan Museum of Art, NYC, New York The Corning Museum of Glass, Corning, New York Carnegie Museum of Art, Pittsburgh, Pennsylvania Huntington Gallery of Art, Huntington, West Virginia Detroit Institute of Art, Detroit, Michigan Victoria and Albert Museum, London, England The Pilchuck Collection, Seattle, Washington The Art Gallery of Western Australia, Perth, Australia Essener Glasgalerie, Essen, West Germany National Museum of American History, Smithsonian Institution, Washington, DC Philadelphia Museum of Art, Philadelphia, Pennsylvania The High Museum, Atlanta, Georgia Musée des Arts Décoratifs, Palais du Louvre, Paris, France Fuller Collection, Seattle Sheraton Hotel, Seattle, Washington The Chrysler Museum, Norfolk, Virginia Ebeltoft Glass Museum, Denmark Museum of Art, Rhode Island School of Design, Providence, Rhode Island Hokkaido Museum of Modern Art, Sapporo, Japan Los Angeles County Museum of Art, Los Angeles, California French Ministry of Culture: Fond National d’Art Contemporain, Paris, France Toledo Museum of Art, Toledo, Ohio Musée de Design et dArts Appliques/Contemporains,  Lausanne, Switzerland The JB Speed Art Museum, Louisville, Kentucky UrbanGlass/N.Y. Exper Glass Workshop – Brooklyn, New York Indianapolis Museum of Art, Indianapolis, Indiana Scottsdale Center for the Arts, Scottsdale, Arizona Foundation Leschot, Bern, Switzerland University Art Museum & Institute for  Glass Studies, The University of Michigan-Dearborn, Michigan The Thoreau Institute and Walden Woods Project, Lincoln, Massachusetts Fine Arts Museums of San Francisco, San Francisco, California The Cleveland Museum of Art, Cleveland, Ohio Museum of Art and Design , New York City Charles A. Wustum Museum of Fine Arts, Racine, Wisconsin Musée de Design et d’Arts Appliqués  Contemporains, Lausanne, Switzerland Smithsonian American Art Museum, Renwick Gallery, Washington, DC Lowe Art Museum, University of Miami, Coral Gables, Florida Washington Art Consortium, Safeco Art Collection, Seattle, Washington Racine Art Museum, Racine, Wisconsin Musée des Beaux-Arts de Montréal, Montréal, Quebec, Canada The Museum of Fine Arts, Houston, Texas RISD Museum, Rhode Island School of Design, Providence, Rhode Island Ringling Museum of Art, Sarasota, Florida


PARTIAL BIBLIOGRAPHY 1976 Dreisbach, Fritz, “The RISD Issue,” Glass Art, vol. 4, No. 7 (pp. 7-28, illustrated). 1978 Reyntiens, Patric, “The Experience 1978,” Glass Studio, No. 6 (pp. 8-14, illustrated). 1980 Schultz, Cathy, “Master of Fine Arts Exhibition,” Art New England, vol. 1, No. 8 (p. 15). Talaba, Mark, “Glass Has Come a Long, Long Way,” Artcraft, August (pp. 26-29, illustrated). 1981 Hunter-Steibel, Penope, “An Old Medium Gets a New Look,” Art News, vol. 80, No. 6 (pp. 130-135) Shermeyer, Pam, “A Stream of Steel and Color,” The Detroit News, December 20 (p. 5H). 1982 Hollister, Paul, “Treasures for the Cabinet of Curiosities,” Neues Glas, January (p. 38-44, illustrated). Miro, Marsha, “Art Reviews 1981,” Detroit Free Press, January 3, (p. 8B). Hollister, Pau, “The Matrix Transformed,” American Craft, August (pp. 24-27, illustrated). Dinoto, Andrea, “New Masters of Glass,” Connoisseur, August (p. 22-24). 1983     Bernstein, Ruby, “Sculptural Glass at the Tucson Museum of Art,” American Art Glass Quarterly, Fall (pp. 68-79, illustrated). Krantz, Les, “Art Guide to New York Museums and Galleries,” The New York Art Review, Collier Books (p. 89). Sozanski, Edward, “Art,” The Providence Journal, May 21 (pp. 1W/5W, illustrated). 1983  Abatt, Corinne, “Americans Excell in Contemporary Glass,” The Eccentric, January 7, (p. 1C, illustrated). Colby, Jay, “A Sparkling Array of Glass,” The Detroit News, April 11, (pp. 1E/5E, illustrated). Miro, Marsha, “Contemporary Glass as a Fine Art Form,” Detroit Free Press, April 24 (p. 8C). 1984 Jepson, Barbara, “Glass: Hot New Medium,” Town and Country, January (p. 123-127, illustrated). Hollister, Pauo, “Elegant Glass Made by Masters,” The New York Times, December 13. 1985 Berkman, Sue, “Breaking Into Glass,” Esquire, February (pp. 13-14). “Art Glass: Clearly Hot,” The Robb Report, January (p. 44-54, illustrated). Merrill, Nancy O., “New Accession: Golden Triskelion,” The Chrysler Museum Bulletin, Vol. 15, No. 4 (illustrated). 1986 Freudenheim, “Vibrant Forms Created by Metal-Glass Melding,” The New York Times, Dec. 11. Soares, Liz, “A Magical Meeting of Metal and Glass,” Providence Sunday Journal Magazine, June 1 (pp. 16-17). 1986 Pantalone, John, “A Glass Act,” Newport This Week, May 1. 1987 Lee, Eun-Kyu, “Origin of Glass and its Plastic Technology,” The Design Magazine, Seoul, Korea, January (p. 71-78) DeGrace, Margaret, “This Month’s Cover, Cold Storage,” DAC News Magazine, April (pp.: cover, 4-5). 1988 Miro, Marsha, “Glancy’s Glass Works,” The Detroit Free Press, October 25 (pp. B1/B3, illustrated). Sano, Takako, “A Decade with Studio Glass,” Book published in Japan, June (illustrated). Colby, Joy H., “Glass Artist Shatters the Conventional,” The Detroit News, October 28 (p. 9D, illustrated). Sano, Takako, “Glass Now ’88” Honoho Geitsu Quarterly, No. 20, Tokyo (pp. 132-135, illustrated). 1989 Hammel, Lisa, “Shadow and Substance: The Glass of Michael Glancy,” Michael Glancy – June 1989 (illustrated). Takeuchi, Denji, “Michael Glancy” Honoho Geijitsu, No. 24, July 89, Tokyo (p. 131, illustrated). Vogue Decoration, Edition International, No. 20 (p. 32, illustrated). 1990 McTwigan, Michael, “Balancing Order & Chaos,” cover story, Glass Magazine, No. 42, NYC, (pp.: cover, 20-29, illustrated). 1991 Klein, Dan, “Michael Glancy-Interaction 1991,” Edition Gallerie von Bartha, Basel, Switzerland (illustrated). 1993 Palmer, Laurence, “Contemporary Glass,” Museum of Art, Fort Lauderdale (cover, p. 5, illustrated). Corning Museum of Glass, “New Glass Review-14” (illustrated). Sapolin, Donna, “Glass Consciousness,” Departures Publication, No. 20, April 93, (pp. 76–81, illustrated). de Bure, Gilles, “Toutes les Raisons de Voir Verre,” Mason Francaise, Oct/Nov 93 (pp. 33–68, illustrated). 1994 Borgwaed, Monica, “Gläserner Sommer,” Art Aurea, Germany, No. 3, 1994 (pp. 69–73, illust.) Kaneko, Kenzi, “Glass & Art” Publication, Tokyo, Japan, No. 8, 1995 (p.24, illust). Bevlin, Marjorie, Design through Discovery-6th edition; Elements and Principles, Harcourt Brace College Publishers, 1994, illust. 1995 Okuno Ken-ichi,”Glass & Art”Publication, Tokyo, Japan, No.11, 1995(p28, illust). Klein, Dan,”Reflections – A Miscellany of Thoughts from an Interview with Michael Glancy, Michael Glancy, Excerpts from a Conversation with Dale Chihuly,” Miklos von Bartha, “An Appreciation of the Artist and his Work,”  Dr. Erik Gottschalk, “Symmetry Breaking”, Constellations – an Alternative Galexy: Glass by Michael Glancy, ISBN 3-85895-954-5, Edition von Bartha, Basel, 1995 (208 pgs.,Illustrated). 1996 Adlin, Jane, “Studio Glass in The Metropolitan Museum of Art,” The Metropolitan Museum of Art, New York, Exhibition from April 8 through October 6, 1996, {pg. 3 & pg.11, illustrated}. 1997 “Beyond Vessels-Recent Glass Works by Michael Glancy,”Forward by Barry Friedman, “Beyond Vessels” by Alastair Duncan, Catalog to accompany exhibition at Barry Friedman Ltd., May 1, 1997- July 11, 1997(40 pgs.). “Masters of Contemporary Glass: Selections from the Glick Collection,” Indianapolis Museum of Art, Indianapolis, Indiana, September-November, 1997 “A New Modernism,” AD at Large, Architectural Digest Magazine, June, 1997 (p 32, illustrated). Hawley,Henry H.,“Glass Today,” The Cleveland Museum of Art, Cleveland, Ohio, June 22-Sept.14,1997,(pg.89,ill.) “Glass Today by American Studio Artists,” Museum of Fine Arts, Boston, Aug.12, 1997-Jan.11, 1998, (pgs.30-31,ill.) Littman, Brett, “Michael Glancy- Beyond Vessels: Recent Glass Works,” Glass, # 68, Fall, 1997, (pg. 58, ill.) 1998 “Luminous Form-an Invitational Glass Exhibition,” The Providence Art Club, Providence, RI, January 11-23:New England/Boston “Art Now-Gallery Guide,” cover story, (illustrated, pg.5). van Siclen, Bill,”Raising Glass to Artistic Heights,” Lifebeat, The Providence Journal-Bulletin, Jan.16, (E1&E8,ill). The Thoreau Institute, Lincoln, Massachusetts, Grand Opening Ceremonies, June 5, 1998, pg. 11. Herman, Lloyd,”American Glass: Masters fo the Art,” Smithsonian Institution Traveling Exhibition Service,national tour, 1998-2000, exhibition catalogue by Lloyd Herman, 65pgs. illustrated, pgs.19-22. “A Passion for Glass,” The Aviva and Jack A. Robinson Studio Glass Collection, Detroit Institute of Arts, illustrated. Keri G. Cohen, “Glass with Class,” Detroit Free Press, Monday, Oct. 12, 1998, illustrated, pg.1D. 1999 Timothy Anglin Burgard, “The Art of Craft”, Contemporary Works from the Saxe Collection, Fine Arts Museums of San Francisco, 270 pgs., illustrated, pg. 62. Jeffrey Hogrefe, “Art of Glass,” Art Diary, The New York Observer, June 14, 1999, illustrated, pg. 28. Chambers, Karen , and Oldknow, Tina, “Clearly Inspired – Contemporary Glass and Its Origins,” Tampa Museum of Art, 28 March – 6 June, 1999 + Fort Wayne Museum of Art, 11 September – 9 November, 1999, exhibition catalogue, 134 pgs.,illustrated., pgs. 61-64. CULTURA, “Crosstalk,” Crossair European Airline Magazine, November, 1999, illustrated, pg 57. 2000 Yelle, Richard Wilfred, “Glass Art – From UrbanGlass,” Schiffer Publishing Ltd., 2000: illustrated, pgs. 73-75. Musée de design et d’arts appliqués contemporains, “Expressions en Verre III,” acquisitions 1989-2000, Collection du Musée des arts décoratifs de la Ville de Lausanne, Switzerland, illustrated, pg. 54. “Taking Form in Glass – Contemporary Works from the Palley Collection,” Lowe Art Museum, University of Miami, illustrated, pg. 33. 2001 Blome, Prof. Dr. Peter: van de Heeg, Erik, “Michael Glancy,” Edition Galerie von Bartha, 40 pgs., illustrated. 2002 Nichols,S.+Taragin,D., “Contemporary Directions,”Carnegie Museum of Art & Toledo Museum of Art, ill. pgs.23-24. WELTKUNST, 72. Jahrgang, Number 10, Oktober , illustrated, cover: Veiled Akimbo, 2002; pgs. 1565-6. 2003 Yelle, Richard Wilfred, “International Glass Art ,”  Schiffer Publishing Ltd., 2003: illustrated, 121-123, title page, copyright page. 2004 SOFA New York, Seventh Regiment Armory, Park Avenue & 67th Street, banner on Park Avenue & catalogue cover. 2005 Redaelli, Alessandra, ARTE, 383, “Michael Glancy,” Editoriale Giorgio Mondadori, illustrated, pgs. 116-120. Museum of Art, Rhode Island School of Design, “Chazan’s Choice – Gifts of Contemporary Art,” illust. pg. 42. The Corning Museum of Glass, “25 Years of new Glass Review,” illustrated, pgs. 9, 28, 244. Museum of Art and Design, “Dual Vision – The Chazen Collection,” illustrated, pgs. 25, 161, 182. Lynn, Martha Drexler, “Sculpture, Glass, and American Museums,” illustrated, pgs. 70, 96, 105, 106. 2006 Fox, Howard N., Curator of Contemporary Art, Gass-Material Matters, Los Angeles County Museum of Art, April-December, 2006, illustrated, pgs. 12, 134-140. Warmus, William, New England Glass – The Quiet Revolution, UrbanGlass Art Quarterly, #104, illustrated, pgs.64-71. 2007 Glueck, Grace, Metropolitan Museum of Art, One of a Kind: The Studio Movement, New York Times, 1/12/07, B45. 2012 Where Guestbook New York 2012, Hotel Wales, Madison @ 93rd, MetMuseum Presentation, illustrated, pg. 66 2013 NetWorks Rhode Island 2013 – Michael Glancy Portrait, PBS-RI, Executive Producer, Joseph A. Chazan, M.D.; Richard Goulis, Producer Director – 8:30 minute video.


Official Obituary:

Michael McCoy Glancy, Pioneering Sculptor in Glass and Metal, Dies at 70

Written by: Catharine Snider & R. P. Glancy, 2020

Photo credit: Scott Lapham, 2013

michaelglancystudioportrait

Artist and fine art educator Michael McCoy Glancy died at his summer home in Harwich Port, Mass. on Saturday, August 29 after a hard-fought battle with lung cancer. He was 70.

 

Glancy is survived by his wife of 43 years, Robin Stengel Glancy of Rehoboth, Mass., his son, Michael McCoy Glancy, Jr. and his daughter-in-law, Elizabeth Little Glancy of Baltimore, Md., their two daughters (Michael’s beloved granddaughters) Ella and Mae, and his son Robin Peyton Glancy of Washington, D.C.

 

Born February 11, 1950 in Detroit, Mich., Glancy traveled a circuitous route to discover the world of studio glass.

 

As a business student at the University of Denver in the early 1970s, Glancy found respite taking art elective courses in ceramics and filmmaking. During a contentious meeting with the dean of the business school, the dean told Glancy that in order to complete his degree he would need to “shave his beard and cut his hair.” Glancy transferred to the art department after that meeting, earning a BFA in 1973.

 

While at the University of Denver, a chance encounter with a glassblowing “hot shop” in Santa Fe, N.M. kindled his attraction to the “smoke and fire” of working in glass. Soon after, Glancy built a hot shop of his own through the Denver Free University, offering classes as a self-taught instructor. While living in Colorado, Glancy first met glass artist Dale Chihuly at the Taos Pueblo in New Mexico, and Chihuly encouraged him to pursue a degree in glass at the Rhode Island School of Design (RISD) in Providence. Glancy completed his MFA at RISD under Chihuly’s mentorship in 1980, graduating with fellow glass sculptor Howard Ben Tre.

 

At RISD, Glancy pried open the door to a small, neglected laboratory room in the jewelry and metalsmithing department, ultimately resurrecting electroforming (the application of precious metals through an electrically conducted anode and cathode reaction) at the school. Electroforming became a signature feature of his artwork, and he taught the practice at RISD as adjunct faculty for nearly 40 years.

 

Glancy’s work as an artist working in deeply engraved and sand-blasted blown glass and electroformed copper, silver and gold – and later in cast bronze and stainless-steel – takes on a simultaneously cosmic quality while being grounded with a microscopic glimpse into the natural world. Tina Oldknow, former Curator of the Corning Museum of Glass in Corning, N.Y. wrote, “Michael Glancy’s work is aesthetic, it is scientific, and it might be considered as growing, literally by hand, from a near-molecular vision. Beginning with cell-like patterns and arcane notations jotted on paper, Michael‘s objects slowly acquire form and texture, shaped and revealed by cutting, sandblasting, and the application of copper. New forms are then made from existing forms, and the evolution continues.”

 

With a career as an exhibiting artist that spanned four decades, Glancy mounted exhibitions with numerous galleries worldwide, including long-standing representation by Barry Friedman Ltd. and the Heller Gallery in New York City, the Habatat Galleries in Royal Oak, Mich., Galerie von Bartha in Basel, Switzerland, and the Clara Scremini Gallery in Paris.

 

Glancy’s work appears in major museum collections in global cities, including the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, the Smithsonian American Art Museum Renwick Gallery, the Detroit Institute of Arts, the Los Angeles County Museum of Art, Musée des Arts Décoratifs Palais du Louvre, the Victoria and Albert Museum, and the Hokkaido Museum of Modern Art. His work also features prominently at the Corning Museum of Glass, the preeminent collection of studio glass in the Americas.

 

Multiple retrospective books and catalogs on his body of work have also been published, including “Michael Glancy: Infinite Obsessions.”

 

Glancy took great joy and inspiration in collaborating with the master craftspeople who helped his work evolve through innovation in design, material, and technique. His blown-glass forms were born through a career-long collaboration with master glassblower Jan-Erik Ritzman in the village of Transjö in the “glass kingdom” of southern Sweden, and the bronze and stainless-steel lost wax cast metal forms were poured at the storied Polich Tallix Fine Art Foundry (now UAP) in Rock Tavern, N.Y. Myles Baer, of Attleboro, Mass., Glancy’s current and longest serving studio assistant of more than two decades, has become one of the foremost engravers and polishers of glass through mastery of the German Kurt Merker diamond engraving lathe.

 

Despite a life of travel, discovery and collaboration, Glancy could be a recluse, choosing to work from a converted colonial barn on a wooded property in Rehoboth, Mass. throughout his career. An avid sailor of his wooden Beetle Cat “Moss,” a mercurial four-season gardener with Robin at their home that shared the property with his studio, and an admirer of a fine bourbon, Michael Glancy found his muse in the world and those around him.

 

Messages of condolence can be sent to the Glancy family through his website: michaelglancyglassworks.com/contact