Internationally acclaimed artist Dale Chihuly's site-specific installations in the form of architectural commissions and exhibitions Forty years of Dale Chihuly's spectacular site-specific glass installations are captured in this large-format publication examining architectural commissions, temporary art installations, and museum exhibitions around the world. Chihuly's installations on walls, windows, ceilings, stairways, courtyards, and fountains are closely examined. Chihuly and Architecture explores entire rooms and galleries, glasshouses and castles, and travels from the canals of Venice to the Citadel in the Old City of Jerusalem, providing rare insight into Chihuly's inspiration and global footprint.

Chihuly is primarily an installation artist, suggests independent curator Sarah Bramser in her essay, Dale Chihuly: Spontaneity and Space, for Chihuly: Glass in Architecture. This lavishly illustrated book, published in conjunction with the artist's 1994 exhibition at the Kaohsing Museum of Fine Arts, documents many of Chihuly's temporary and permanent installation works, including Union Station in Tacoma. Full color photographs of the installations in process as well as completed are featured, giving the reader a fuller sense of Chihuly's creative process as he responds to architectural spaces.

Presented in its own box, this collection of thirty-two oversize postcards shows the development of Dale Chihuly's stunning architectural installations, from his earliest projects to more recent commissions.

Features the artist's glass sculptures from "The Garden Cycle" exhibition that were displayed in prominent conservatories and gardens around the world.

Every time I visited the Citadel, I would imagine what I could do to enhance its glory and bring attention to its soul, says artist Dale Chihuly of his recent project in Jerusalem. In July 1999, Chihuly's grandest and most ambitious undertaking opened at the Citadel, and will remain there for a year. Chihuly in the Light of Jerusalem 2000 serves as a focal point for the city's millennium celebration. This volume highlights 14 major installations commissioned by the Tower of David Museum of the History of Jerusalem. The exhibition is made up of more than 10,000 pieces of glass, blown in France, Japan, the Czech Republic, Finland, Israel, and the United States. Within the walls of the Citadel, Chihuly unexpectedly married ancient and modern forms, animating the stone architecture with glass. Mediterranean sunlight illuminates the Blue Tower, the red and yellow Spears, the Moon, and the Crystal Mountain. Chihuly has transformed the Citadel, once a defensive fortress, into a garden of colour and celebration. Commentary by William Warmus.

"Book documents Dale Chihuly's exhibition at the world-famous Salk Institute for Biological Studies on the occasion of its fiftieth anniversary (1960-2010)"--Jkt.

The first children’s book about Dale Chihuly, the world-renowned glass sculptor His crew calls him Maestro. Thousands of fans call him a magician. Over the past five decades, Dale Chihuly (b. 1941) has created some of the most innovative and popular works of art in museums and gardens around the world. Authors Jan Greenberg and Sandra Jordan met with Chihuly in his studio for exclusive interviews discussing his early life, his passion for glassblowing, and his dazzling works. Lavishly illustrated with Chihuly’s art and family photographs, this book discusses Chihuly’s workshop and his glassblowing technique. The book includes a step-by-step look at how blown glass is created, a list of places to see Chihuly’s artwork, endnotes, a bibliography, and an index.

"Chihuly's originality lies in his refusal to believe that there are fixed rules that must be adhered to," wrote the late Henry Geldzahler, former curator of contemporary art of New York's Metropolitan Museum, in his essay for this work. Accompanying the artist's traveling retrospective, the book documents 10 of Chihuly's rule breaking series from the Baskets, begun in the late 1970s, through the Pilchuck Stumps of 1992. Painter and art critic Walter Darby Bannard introduces the volume, which is more inclusive than a typical exhibition catalog, with a personal response to Chihuly and his glass. Seventy-five full-color reproductions and commentary on the individual series by the artist and noted authorities provide a visual and verbal overview of the artist's career. With listings of selected museum and public collections and permanent installations as well as an extensive bibliography, this book offers a definitive look at "Chihuly As of 1993," as Geldzahler titled his provocative essay in which he asserts that Chihuly "does go over the top at times."

Unconventional as always, Dale Chihuly's career survey at the Seattle Art Museum, 'Dale Chihuly Installations 1964-1992', was not a retrospective. Rather than simply gather individual works to trace the artist's development, Chihuly was invited to create a series of gallery-sized installations. The intent was to explore the relationship of object to space that has intrigued Chihuly since his undergraduate days as an interior design student at the University of Washington. Likewise, this is not a conventional exhibition catalogue. In curator Patterson Sims' essay, 'Scuola di Chihuly: Venezia and Seattle', he chronicles the artist's life and discusses the various series as well as the permanent and temporary installations Chihuly has created since 1964. Like the exhibition, Sims examines everything from the earliest environmental works -- hangings combining fiber and glass that Chihuly had done in his undergraduate weaving class -- to the latest -- stage sets for the Seattle Opera's 1993 production of 'Pelleas et Melisande'. This book with its informative commentary on the stages of the artist's development and archival photographs is an essential part of the Chihuly bibliography.