Dale Chihuly, Glass Forest #5, Chihuly Garden and Glass, Seattle (Washington), 2012, 2,1 x 8,5 x 4,9 m, Photo Scott M. Leen.

Dale Chihuly, Float Boat and Ikebana Boat, 2008, Photo Terry Rishel.

Dale Chihuly, New and Revisited Glass Installations Brought to Montreal

Dale Chihuly, The Sun, Legion of Honor, San Francisco, 2008, 4.9 x 4.9 x 4.3 m, Photo Terry Rishel.

Dale Chihuly, Ikebana Boat, 2011, 1.8 x 4.9 x 2.3 m, Photo Scott M. Leen.

Dale Chihuly, Mille Fiori, 2008, 2.9 x 17.1 x 3.7 m, Photo David Emery.

Dale Chihuly, Float Boat, Virginia Museum of Fine Arts, Richmond, 2012, 0.9 x 3.8 x 1.2 m, Photo Scott M. Leen.

Dale Chihuly, Persian Wall (detail), 2008, 4.5 x 15.2 m, San Francisco, de Young Museum, Photo Terry Rishel.

Dale Chihuly, Mille Fiori, 2008, 2.9 x 17.1 x 3.7 m, Photo David Emery.

Dale Chihuly, Turquoise Reeds, Virginia Museum of Fine Arts, Richmond, 2012, 3.3 m high, Photo Scott M. Leen.

Dale Chihuly, Macchia Forest (detail), Virginia Museum of Fine Arts, Richmond, 2012, Photo Scott M. Leen.

Dale Chihuly, Persian Ceiling (detail), Virginia Museum of Fine Arts, Richmond, 2012, 7.6 x 4.6 m, Photo Scott M. Leen.

Dale Chihuly, Mille Fiori, 2008, 2.9 x 17.1 x 3.7 m, Photo David Emery.


Montreal Museum of Fine Arts
1380 Sherbrooke Street West
Michal and Renata Hornstein Pavilion
June 8-October 20, 2013

“I’m obsessed with color — never saw one I didn’t like”

— Dale Chihuly

Montreal Museum of Fine Arts (MMFA) presents the artwork of the incomparable American artist Dale Chihuly. At the invitation of Nathalie Bondil, the Museum’s Director and Chief Curator, Chihuly has executed a stunning exhibition of glass sculptures specifically designed for the Museum’s interior architecture, with works that reveal this artist’s powerful creative vision. Born in 1941,

Chihuly is recognized worldwide for having revolutionized the Studio Glass movement, elevating glass, his favorite material, from the realm of craft to that of fine art. He has raised the art of blown glass to the level of large-scale sculpture and pioneered the use of this delicate material as a means of expression for environmental art. An immersive, astounding and grandiose visual experience, this exhibition, organized by the MMFA in partnership with the Chihuly Studio, is bound to amaze visitors.

“After organizing the exhibition Louis Comfort Tiffany: A Passion for Colour in 2009 and einstalling its outstanding collection of design and studio glass during the expansion of 2011, the MMFA is now exhibiting the fascinating and extraordinary installations of artist Dale Chihuly. No other artist has wrestled so mightily with glass: these works have to be seen to be believed”, says Nathalie Bondil.

Regarded as the Tiffany of our day, Chihuly has been exploring the plastic potential of blown glass for over 50 years. His spectacular monumental installations defy the apparent fragility of the material to transport us to a magical world. With fire, gravity, breath and centrifugal force, this accomplished master plays with colours, reflections and organic forms, using repetition, accumulation, layering arrangements of modular and singular elements to create unparalleled rhythms and visual effects. This show is an affirmation of how Chihuly liberates glass from its association with the decorative arts and turns it into an authentic medium of contemporary art expression.

“I am excited about my show at the Montreal Museum of Fine Arts, and delighted to be presenting my work in the wonderful galleries of the Michal and Renata Hornstein Pavilion” says Dale Chihuly.

A made-to-measure exhibition for Montreal Museum of Fine Arts An acknowledged master of site-specific installations, Chihuly measured the various galleries of the Michal and Renata Hornstein Pavilion to create a unique layout. It consists of nine immersive environments, four of them designed specifically for the Museum. Taking into account the pavilion’s architecture, Chihuly placed some of the pieces alone and others in groups along the galleries.

“A key figure in the realm of studio glass, Chihuly transcends the materiality of the medium by executing works that reveal a rich creative concept based on a wide-ranging vocabulary which derives from natural shapes and forms. These wondrous pieces are the result of perceptive explorations of colour, form, light and space” explains Diane Charbonneau, Curator of Design at MMFA.

1. Sun In the city’s public space on Sherbrooke Street, from the staircase at the entrance to the Michal and Renata Hornstein Pavilion, Chihuly summons us with a monumental work entitled Sun. This installation forms a round tower five-metres in diameter emitting rays composed of tendrils in primary colours — two shades of yellow — with elements of blue and red.

2. Turquoise Reeds In the Michal and Renata Hornstein Pavilion, the immersive tour begins with a vast idyllic forest of Turquoise Reeds, dozens of spear-shaped forms springing from the trunks of salvaged old growth western red cedar. This dramatic installation offers striking contrasts between the various colours, density and textures of the materials used.

3. Persian Ceiling Chihuly’s famous Persian Ceiling is one of his most popular works. It consists of various series works in a multitude of shapes, forms and vivid colours arranged in layers over plates of transparent glass. Note that you should perhaps lie down on the floor to fully appreciate its beauty.

4. The Chandeliers and the Towers Hanging or reaching for the sky, the series of Chandeliers and Towers with their bristling contours are achievements in formal terms, combining blown glass with steel frameworks each weighing several hundred kilograms. Four chandeliers and one tower are displayed in a single gallery.

Their configurations complement each other, resembling stalagmites and stalactites in caves. The “Chandeliers”, which first appeared in 1992, hark back to old-fashioned lighting but are quite different in scale. By the fact that they are not functional: they reflect light rather than emitting it, as in the Ruby Pineapple, which has been re-created especially for the Museum. “The idea of a tower”, says Chihuly in regard to these sculptures standing on the floor, “occurred to me as I looked at one of my chandeliers and pictured it upside down.”

5. The Boats The Boats, which look like horns of plenty, were added to Chihuly’s repertory of installations in 1995 when the artist and his team were in Finland making the chandeliers for the show Chihuly over Venice. One day, on an impulse, Chihuly threw some pieces of glass into the river and asked some local boys to retrieve them in their boats.

The artist now regularly presents old boats floating on pools of water in gardens or incorporates them into the environments he dreams up for museums, as he has done here the Fiori and Float Boats are placed side by side on the reflecting surface of a rostrum. The boats may contain flower stems and vines from the “Fiori” series or spheres with splashes of colour from the “Float” series. The latter were developed after Chihuly’s visit to the Niijima Glass Art Center on the island of that name south of Tokyo. Their spherical shape is an allusion to the glass floats formerly used by Japanese fishermen, some of which Chihuly found as a child on the beaches of Puget Sound, Washington.

6. Macchia Forest The “Macchia” (Italian for “spotted”) series launched in 1981 led Chihuly to work with the full range of the 300 colours that were available to him in the hotshop. Initially conceived as isolated pieces, the “Macchia” turned into the Macchia Forest: “I have always been interested in space above all. Even when I was making isolated pieces, a Cylinder or a Macchia, it was the space that interested me. I didn’t think about the object in itself, I wondered what it would look like in an installation.”

Assembled on slender steel pedestals and lit from above, the brilliantly coloured “Macchia” are brought to life by the light that shines on them and is reflected on the surrounding walls, producing an exquisite effect reminiscent of the “walls of light” of European stained-glass windows.

For Montreal, Chihuly has created four installations.

1. A Persian Colonnade executed especially for the Museum’s architecture At the invitation of Nathalie Bondil, Chihuly decided to adorn the peristyle colonnade at the head of the Hornstein pavilion’s majestic staircase. A truly immersive experience, this monumental Persian Colonnade takes us into the artist’s colorful world of flowers, juxtaposing discs in various shades of yellow, orange, blue and red arranged rhythmically on a wood framework.

Looking for a new formal approach, Chihuly started the Persian series in 1986 as a tribute to Venice and its Eastern influences: “I just like the name ‘Persian’. It sort of conjured up the Near East, Byzantium, the Far East, Venice — all the trades, smells, senses. It was an exotic name to me, so I just called them Persians”. Inspired by the Orient, the shapes of this series are notable for the technique used, that is, blown glass in a grooved mould and using glass threads to produce a herringbone pattern. The first pieces took their organic shape from the Seaforms and Baskets series. In the early 1990s Chihuly put the “Persians” into his installations. The shapes became asymmetrical roundels, in relief and various formats, which he arranged in a somewhat complex manner to create wall or ceiling installations.

2 – The Ruby Pineapple, a lost chandelier made anew for the MMFA In 1997, Chihuly was invited to the city of Vianne, France, to work hand in hand with the local factory’s team of glassblowers: “We worked for about ten days and towards the end, we realized that we had made one of my most remarkable chandeliers. First of all I looked at all the interesting moulds used in the workshop for making lampshades. After choosing a superb pineapple-shaped mold, I thought I would use it to create something I had never attempted in the thirty-five years of my career.” When the work was finished, all the pieces of glass were packed into two 12-metre square containers to be shipped to Seattle. Unfortunately, when the ship was hit by a storm in mid-Atlantic, one of the containers fell overboard, taking the work with it: “My superb pineapple-shaped chandelier was lost for ever. Fifteen years later, when I was preparing my exhibition for the Montreal Museum of Fine Arts, I decided that it would be the ideal opportunity to re-create the lost chandelier, the Red Pineapple”, says the artist.

3. Mille Fiori, created specifically for the MMFA Since early childhood, Chihuly has loved flowers, a passion he attributes to his mother’s delight in gardening and gardens. Proof of this passion is seen in his “Fiori” series, introduced in 2003, which have evolved with his many installations in the glasshouses of botanical gardens. The “Fiori” may be composed of many extravagant elements within a dense and dynamic composition combining several horizontal and vertical lines of force. The Museum’s Mille Fiori, mounted on an imposing low plinth, stands some two and a half metres high and may be viewed from numerous angles. It comprises elements suggesting shapes from nature – reeds, herons – as well as pieces from a number of series — “Towers”, “Floats” and “Persians”. With its arrangements of irregular shapes and sumptuous colours, this installation looks like an enchanted garden.

4. Glass Forest #6 First executed with James Carpenter in 1971 in bluish-white glass for the Museum of Contemporary Crafts (today the Museum of Arts and Design) in New York, the artist has been fascinated by this material and has made the most of its artist potential. Glass Forest #6 presents light sources and glass which are the basic elements of the works and environments Chihuly creates with neon. These fluorescent structures enable him to experiment with colour, scale and line in space.

Dozens of slumped spheres rear upwards like germinating seeds. The piece is made of blown white glass filled with argon gas and neon, which produces the shades of blue. The ethereal silhouettes looming up in the darkness create a breathtakingly eerie effect.

Dale Chihuly’s story Born in Tacoma in 1941, Chihuly studied interior design and architecture at the University of Washington, Seattle, where he developed an interest in various fields including founding and fusing glass. After graduating in 1965, he continued to experiment with glass in his basement workshop in his parents’ house, where he founded stained glass and blew it through a steel tube. The following year, he enrolled at the Université of Wisconsin in Madison, where he completed his training in glassblowing under Harvey Littleton. With his Master’s degree in sculpture, he enrolled at the Rhode Island School of Design (RISD) in Providence to explore the possibilities of creating environmental sculptures using neon, argon and blown glass. Armed with his experience in Providence and a second MFA, this time in ceramics, he travelled to Europe in 1968 through a Fulbright grant and became the first American glassblower to work in the Venini glass factory on the island of Murano in Venice. During this time he was introduced to coordinated teamwork, an approach he was later to adopt, as it was so well suited to the implementation of his brilliantly imaginative designs. He was also one of the founders of the Pilchuck Glass School in Stanwood, Washington, in 1971.

Since the mid-1980s Chihuly has worked in Seattle, where he set up Chihuly Studio and Chihuly Workshop. His pieces are executed with the help of his team: glassblowers, installation technicians, engineers, architects, electricians and project coordinators. This way of working satisfies his ongoing need to take risks, to think outside the box in order to completely change the “glass object”.

Chihuly is credited with revolutionizing the Studio Glass movement and elevating the perception of the glass medium from the realm of craft to fine art. He is renowned for his ambitious architectural installations around the world, in historic cities, museums and gardens. Chihuly’s work is included in more than 200 museum collections worldwide including the Metropolitan Museum of Art, the Smithsonian American Art Museum and the Corning Museum of Glass. Major exhibitions include Chihuly Over Venice (1995-96), Chihuly in the Light of Jerusalem (1999), Garden Cycle (2001–12), de Young Museum in San Francisco (2008), the Museum of Fine Arts, Boston (2011) and Virginia Museum of Fine Arts, Richmond (2012). Chihuly Garden and Glass opened at Seattle Center in 2012.

The first scholarly publication on Chihuly in French In the context of this exhibition, the MMFA will also be producing the first comprehensive publication in French on Chihuly’s work. With graphic design by the celebrated Quebec company Paprika, this monograph, edited by Diane Charbonneau, will be brought out by the Museum’s Publishing Department. Two versions, in English and in French, will be co-published and distributed internationally by Prestel/Del Monico Books, New York.

This 224-page art book will present an account of the artist’s career with about 200 illustrations of his series, his monumental site-specific installations for gardens and special projects like those in Venice, Jerusalem and a number of museums. Essays by specialists Thimothy Anglin Burgard (Ednah Root Curator of American Art, Fine Arts Museums of San Francisco, de Young), Gerald W. R. Ward (Katharine Lane Weems Senior Curator of American - Decorative Arts and Sculpture, Museum of Fine Arts, Boston) and Davira S. Taragin (Consultative Curator of Decorative Arts at David Owsley - Museum of Art, Ball State University) will throw light on the artist’s creative process, his work with his collaborators and his personality, as well as his role as a pioneer of the Studio Glass movement. The publication also features a preface by Nathalie Bondil and an introduction by Dale Chihuly.

Dale Chihuly, Persian Ceiling, de Young Museum, San Francisco, 2008, 4.6 x 8.5 m, Photo Teresa Nouri Rishel.

Dale Chihuly, Float Boat (detail), Virginia Museum of Fine Arts, Richmond, 2012, 0.9 x 3.8 x 1.2 m, Photo Scott M. Leen.

Dale Chihuly, Macchia Forest, 2012, Seattle, Chihuly Garden and Glass, Photo Terry Rishel.

Dale Chihuly, Macchia Forest, 2012, Seattle, Chihuly Garden and Glass, Photo Terry Rishel.


Dale Chihuly, Tabac Basket with Drawing Shards and Oxblood Body Wrap, 2008, 10 x 11 x 10", Photo by Teresa Nouri Rishel, © 2011 Chihuly Studio, all rights reserved.

Dale Chihuly's Wonderland of New and Revisited Glass Installations

Dale Chihuly, Lime Green Icicle Tower (detail), The Gallery at CityCenter, Las Vegas, Nevada, 2009, 15 x 7 x 7', Photo by Scott M. Leen.

Dale Chihuly, Persian Ceiling, de Young Museum, San Francisco, California, 2008, 15 x 28', Photo by Teresa Nouri Rishel, © 2011 Chihuly Studio, all rights reserved.

Dale Chihuly, Lime Green Icicle Tower (detail), The Gallery at CityCenter, Las Vegas, Nevada, 2009, 15 x 7 x 7', Photo by Scott M. Leen.

Dale Chihuly


Museum of Fine Arts, Boston
Avenue of the Arts
465 Huntington Avenue
Ann and Graham Gund Gallery
Ruth and Carl J. Shapiro Family Courtyard
Chihuly: Through the Looking Glass
April 10 through August 7, 2011

A magical wonderland to delight Alice herself unfolds in Chihuly: Through the Looking Glass which presents new and early works created over the last four decades by Dale Chihuly, one of the world’s foremost artists working in glass. Chihuly: Through the Looking Glass features 12 boldly hued installations. The exhibition is organized by the Museum of Fine Arts, Boston, in cooperation with Dale Chihuly.

"Dale Chihuly is an American original, a master artist and craftsman who brings a truly magical touch to the fragile, yet malleable medium of glass, and who embodies the message: art is for everyone," said Malcolm Rogers, Ann and Graham Gund Director of the MFA. "Visitors to the exhibition will be surprised and delighted by his dazzling installations, which create a kaleidoscopic world full of color and light. This exhibition gives us the wonderful opportunity to showcase the full range and grand scale of his art.

First Installation in the New Shapiro Family Courtyard The MFA continues the celebration of the recently opened Art of the Americas Wing and Shapiro Family Courtyard with Chihuly: Through the Looking Glass, showcasing the artwork of one of the most innovative and beloved American artists of our time. The show was conceived two years ago when the artist visited the Museum while the courtyard was still under construction, and marks the first time that exhibition-related works are on view in the courtyard. Chihuly: Through the Looking Glass was designed by Chihuly specifically for the Museum site. Works created in the Chihuly Studio hot shop in Seattle, incorporating thousands of individual pieces of hand-blown glass, have been sent to Boston in six 53-foot containers. The complex installation, which began March 14, continues for nearly three weeks. During this period, visitors to the MFA’s courtyard can enjoy watching the process of assembling two monumental glass artworks, as well as one large-scale installation in the adjacent landscaped area.

"I’m very excited about my upcoming show at the Museum of Fine Arts, Boston," said Chihuly, who further commented that he is "delighted to be working in the magnificent Norman Foster-designed building and looking forward to the opportunity to present my work in the newly opened Art of the Americas Wing and Shapiro Family Courtyard."

Works created specifically for Chihuly: Through the Looking Glass, such as the dramatic Lime Green Icicle Tower, transforms the Shapiro Family Courtyard. Measuring 42-feet high and weighing approximately 10,000 pounds, the sculpture’s 2,342 glass elements catch the light flooding into the glass-enclosed space. Also in the courtyard, adjacent to the historic interior Museum façade, is the newly created Boathouse Neon II— an expansive profusion of red, yellow, and orange, spanning 98 feet. Outside, along the courtyard’s glass walls, Amber Cattails extends the length of the northern-landscaped area as though planted in their natural environment.

"Perhaps the greatest artist in American glass since Louis Comfort Tiffany, Dale Chihuly is one of the central figures in the contemporary studio glass movement. This exhibition will give our visitors a look at his extraordinary career — the creation of enchanting environments that through the manipulation of light and color both delight the eye and challenge our perception of space," said Gerald W.R. Ward, the Katharine Lane Weems Senior Curator of American Decorative Arts and Sculpture, who organized the exhibition.

Nine Unique Installations in the New Gund Gallery The exhibition continues below the courtyard, where nine unique Chihuly installations (including both newly made and early works) are on view in the Gund Gallery for special exhibitions. Outside of the gallery, a glistening, 30’ long and 15’ tall Persian Wall composed of intricately detailed rondels — flower-like shapes in yellows, reds, and oranges — offers an enchanting welcome to visitors. Inside the gallery, Scarlet Icicle Chandelier, measuring 6’ high, sets the stage for the bold creations that lie beyond. Also on view is Ikebana Boat, a 17’-long, newly made composition featuring a weathered wooden rowboat filled with brightly colored, seemingly alien glass forms. Chihuly’s •Ikebana• series, which alludes to Japanese flower arrangements, is featured in a nearby room where colorful vessels hold inventive floral "stems." Also on view in the Venetian Room is an assortment of Venetians— fanciful blown glass sculptures originally conceived by Chihuly after seeing Venetian Art Deco glass. Chihuly Drawings seen in this space serve as complement and inspiration for the glass Venetian works. The nearby Northwest Room evokes the artist’s native Pacific Northwest environment and the Native American influence on his work. It features an assemblage of ethereal Baskets inspired by Native American baskets, trade blankets, and Tabac Baskets from the artist’s own extensive collection, a selection of which are on view in the exhibition.

Adjacent to this installation is a darkened space showcasing Mille Fiori (a thousand flowers), measuring 56-feet long and 9 1⁄2 feet high and presented on a 12-foot-wide raised platform. This breathtaking work of art is one of the artist’s largest installations, a combination of many of the colorful, inventive shapes found in Chihuly’s other creations — from exotic "Cattails" and tall "Reeds", to giant glass Niijima Floats and ribbon-like Herons— brilliantly colored in shades of yellow, red, lavender, green, orange, and blue. Persian Ceiling, a dazzling 28’ by 15’ array of vibrant and beautifully articulated shapes encased and suspended from the ceiling is featured in the adjacent gallery. This eruption of color continues in the Chandelier Room, featuring six dramatic Chandeliers hanging at different heights from the 16’ high Gund Gallery ceiling. Included are newly created works, the 12’-tall Silvered Chrysalis Tiered Chandelier and Iris Yellow Frog Foot Chandelier, as well as the spectacular Chiostro di Sant’Apollonia Chandelier and three other works: Palazzo di Loredana Balboni Chandelier, Orange Hornet and Eelgrass Chandelier, and Onyx and Caramel Chandelier.

The final exhibition space showcases luminescent Neodymium Reeds, a large-scale installation composed of birch logs and elegant glass Reeds in shades of lavender.

Dale Chihuly Since 1983, Dale Chihuly and Chihuly Studio have been based in Seattle, Washington. Working with a team at his Boathouse hot shop, Chihuly orchestrates his masterful creations. Chihuly’s team employs the Venetian glassmaking technique in which molten glass is shaped at the end of a blowpipe using traditional metal and wooden tools. Color is added to the hot glass that is often reheated and reshaped before being broken off the metal rod and cooled slowly in an oven.

Born in 1941 in Tacoma, Washington, Chihuly enrolled in college but left to study art in Florence and to travel to the Middle East. He received his BA in Interior Design from the University of Washington in 1965, when he became captivated by the process of glassblowing. Chihuly enrolled in the University of Wisconsin's hot glass program, the first of its kind in the United States, and established by Harvey K. Littleton, one of the founders of the studio glass movement. After receiving a degree there in sculpture, Chihuly entered the Rhode Island School of Design (RISD) in Providence, where he forged strong ties to New England. Influenced by an environment that fostered the blurring of boundaries separating the various arts, as early as 1967 Chihuly was using neon, argon, and blown glass forms to create room-sized installations. He received his M.F.A in 1968 (the artist established the glass program and taught for 11 years at RISD as well). Chihuly, teaching on both coasts, cofounded the legendary Pilchuck School in Stanwood, Washington, in 1971. By the mid-1970s, Chihuly was incorporating Native American imagery in his work, inspired by Navajo blankets such as those he viewed in the 1975 Museum of Fine Arts, Boston, exhibition, Navajo Blankets, 1850-1900.

Chihuly is best known for his multi-part blown compositions, which for years has involved a team of glassblowers, enabling him to work on a grand scale and to explore and experiment with color, design, and composition. Chihuly has created a number of extraordinary site-specific installations in various venues across the world, including installations above the canals of Venice. His lifelong affinity for glasshouses has grown into a series of exhibitions within botanical settings. His garden exhibitions began in 2001 at Garfield Park Conservatory in Chicago. Chihuly also exhibited at the Royal Botanic Gardens in Kew, near London, in 2005.

Dale Chihuly, Neodymium Reeds (detail), de Young Museum, San Francisco, California, 2008, Photo by Teresa Nouri Rishel.

Dale Chihuly, Chiostro di Sant'Apollonia Chandelier (detail), de Young Museum, San Francisco, California, 2008, 13 x 7 x 6-1⁄2’, Photo by Teresa Nouri Rishel, © 2011 Chihuly Studio, all rights reserved.

Dale Chihuly, Neodymium Reeds, de Young Museum, San Francisco, California, 2008, Photo by Teresa Nouri Rishel, © 2011 Chihuly Studio, all rights reserved.

Dale Chihuly, Neodymium Reeds, Photo by Teresa Nouri Rishel.

Dale Chihuly, New Work and Glass from the Archives

Dale Chihuly, Sun, (detail), Photo by Teresa Nouri Rishel.

Dale Chihuly, Black Basket, Photo by Scott Mitchell Leen.

Dale Chihuly, Float Boat, Photo by Teresa Nouri Rishel.


de Young
Golden Gate Park
50 Hagiwara
Tea Garden Drive
San Francisco
Chihuly at the de Young
June 14-September 28, 2008

Chihuly at the de Young includes 11 galleries of new and archival works representing the breadth and scope of the artist’s creative vision over the last four decades. This is Dale Chihuly's first major show in San Francisco.

A pioneer of the studio glass movement, Chihuly has transformed the form and function of glass, making the Pacific Northwest a vital region in the contemporary art scene. Chihuly has also contributed to the evolution of public art, creating memorable installations for both architectural and natural settings.

Prior to the opening at the de Young, Chihuly creates installations taking advantage of the spectacular settings and architecture of both the de Young and Legion of Honor Museums. These ambitious installations will offer a preview of Chihuly at the de Young, as they will debut in April and remain throughout the duration of the exhibition.

Saffron Tower — a 30-foot yellow neon sculpture will be installed in the Pool of Enchantment on the de Young’s east side.
Sun — a 15-foot radiant yellow orb will be installed at the Legion of Honor in the exterior Court of Honor.
Chandelier and Tower — two installations, ceiling-mounted Aquamarine Three-Tiered Chandelier and floor-mounted Sea Blue and Green Tower, will be installed in the Rodin sculpture galleries at the Legion of Honor.

de Young Exhibition
Chihuly at the de Young takes a comprehensive view of the artist’s dramatic, colorful, and textured works that generate instant international recognition. This exhibition represents all the creative periods of the artist’s career, from drawings to single vessels to architectural installations. Included in the exhibition:

Glass Forest #3 recreates one of Chihuly’s earliest installations. Comprised of white milk-glass and neon, the first version of this work was exhibited in New York at the Museum of Contemporary Crafts (now the Museum of Arts & Design), and has not been viewed in the U.S. since 1972.
Five Chandeliers will dramatically transform an entire gallery. Their titles suggest a feast of color and form, characteristic of one of Chihuly’s most celebrated series: Ruby Red, Turquoise Icicle, Orange Hornet and Eelgrass, Chiostro di Sant’ Apollonia, and Palazzo de Loredana Balboni.
• A 56-foot-long Mille Fiori garden of glass composed of bold forms in vibrant colors provides a powerful conclusion to the exhibition.
The Tabac Baskets will be displayed in the context of objects that have served as sources of inspiration to the artist.

Dale Chihuly is most frequently lauded for revolutionizing the studio glass movement by expanding its original premise of the solitary artist working in a studio environment to encompass the notion of collaborative teams and a division of labor within the creative process.

However, Chihuly's contribution extends well beyond the boundaries both of this movement and even the field of glass: his achievements have influenced contemporary art in general. Chihuly’s practice of using teams has led to the development of complex, multipart sculptures of dramatic beauty that place him in the leadership role of moving blown glass out of the confines of the small, precious object and into the realm of large-scale contemporary sculpture.

Chihuly at the de Young is organized by the Fine Arts Museums of San Francisco in cooperation with Dale Chihuly and is supported by the Koret Foundation and The Barkley Fund. The exhibition and installations are coordinated by Timothy Anglin Burgard, Ednah Root Curator-in-Charge of the American Art Department.

Dale Chihuly and team, Boathouse hotshop, Seattle, Washington, Photo by Russell Johnson.