Thursday, April 5, 2018

The Chihuly Collection in St. Pete


February 13, 2018
Located in the heart of St. Petersburg, the Morean Arts Center is made up of four separate attractions. The Chihuly Collection displays world-class glass art by  master glass sculptor, Dale Chihuly. Just across the street, the art in the Morean Galleries tends toward the modern and contemporary. Local artists are featured, and some of their art can be purchased in the shop. At the Glass Studio & Hot Shop behind the galleries,  you can watch glass being blown by resident artists.  Unusual glass art work is for sale in the glassware store. The final attraction, the Center for Clay, is all about pottery and is located in an old train station.



Morean Arts Center


Morean Galleries


Dale Chihuly is the most famous glass artist of our time. (The eye patch is a result of a car crash in 1976.) He is 76 years old (b. 1941) and gave up blowing his own glass several years ago, serving instead as the head of a creative team that includes glass blowers, installation experts and lighting designers, based at his Boathouse studio in Seattle. 

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. In fact, Chihuly deserves credit for establishing the blown glass form as an accepted vehicle for installation and environmental art beginning in the late twentieth century and continuing today.”



Sarah, Susan, Darlene, Marlene & Pauline at the entry to the Chihuly Collection


Gift Shop umbrellas


Gift shop art glass bowls


Marlene & Pauline in the gift shop  


Gift shop art glass - Tourquoise Flare


Flux 
The artwork of Shayna Leib, glass artist, is featured in  a small gallery preceding the Chihuly exhibits. Her inspiration comes from growing up by the Pacific Ocean on the central coast of California (FYI: The prices for her artwork were listed along with the art. They ranged from a one-panel piece, Flux,  for $32,000 to a more complicated piece, Biochroma V, for $92,000. Malvinas wasn’t for sale.) 


Shayna Leib -  Two Seas


Shayna Leib - Sunset over the Tundra


Biochroma V (Size: 30” x 62” x 8” )


Malvinas NFS


Macchia Forest

In another conservatory gallery, there is a series of nine multi-colored, flower-like forms placed on pedestals from 4 to 12 feet in height to create a “forest.”  Chihuly calls the wavy bowls “Macchia,” literally “spotted or splashed with color.” The “Macchia Forest” sculptures (2004)  use innovative techniques to layer many colors without allowing them to bleed together. 


Macchia Forest


Macchia Forest


Macchia Forest


Macchia Forest


Mille Fiori

From the Italian for a “thousand flowers,” components of the Mille Fiori series (2010) resemble glass vegetation, such as antherium, reeds, cattails, cacti and ferns. Combined, these installations create a magical glass garden, displayed on a raised oval black platform that has a mirror-like surface. The size of this “garden” is 10 ½ x 33 ½ x 10 ½ feet.


Mille Fiori


Mille Fiori


Mille Fiori


Mille Fiori


 Ruby Red Icicle Chandelier (2010)

His “chandelier” sculptures are Chihuly’s signature form.  They consist of  individually blown horns, spirals and other forms he calls feathers, stingers and goosenecks. 


Close-up of chandelier


Verdant Green Ikebana with Emerald Leaf  and 2 Stems (2002), 
 inspired by the traditional Japanese art of flower arrangement


Venetian series  - brilliantly-colored glasswork inspired by art deco Venetian glass from the 1920s and 30s


The 30-foot long Persian Ceiling (2008) has glass elements that cast color shadows  as you walk beneath it.


 Float Boat (2007)

Chihuly first started filling boats with blown glass objects in Finland in 1995. He was there for an exhibition when he noticed young boys filling their rowboats with glass pieces he'd been discarding into the river.


Persian Sunset Wall (2010)


Persian Sunset Wall  (25 feet long)


Azul de Medianoche Chandelier (Midnight Blue Chandelier) 2004 
  in front of the Drawing Wall (2009)



White Seaform Set (2010) with black lip-wraps look as if they are being swept to and fro underwater.


Carnival Chandelier (2009)


Scraggly glass shapes of the Blue Neon Tumbleweed (2009) illuminate the ceiling.


Entrance to Morean Arts Center


The Hotshop Glass Studio is a large, semi-outdoor workspace with a chain-link fence wall that allows natural ventilation.


Gift shop art glass


Sarah in gift shop


The Hot Shop

The forges are on one side of the room and seating for the audience is on the opposite side. The forge on the left heats the glass. The forge on the right (with an oven door handle) contains liquid clear glass. The technique “Hot Sculpting” is used when a solid metal rod gathers the molten glass from the furnace (on the right), and it is shaped with the use of special tools. 


Glass artist at work

An assistant gives a running commentary as the artist molds the glass. It was very interesting because we didn’t know what the artist was making. We watched the various steps of glassmaking, but the final product  was a surprise right up until the end of the demo. The “bubble” that the artist is working on has to be constantly heated in this oven (on the left) so that it can be molded into various shapes.


The “bubble” is at the end of the pole.


The artist is shaping the bubble.


The artist is “marbling” the bubble.
(Using a marble-topped surface to shape the bubble)


He is cutting the neck of the bubble. 
Then he grabbed the small end of the bubble with tongs and curled the glass outward. 


He is heating the bubble with a blow torch to keep the glass malleable.


The finished product was a striated conch shell.

Even though we watched every step of the process, seeing the final product was still a surprise--the artist worked with the molten glass in any number of ways, with different tools, and it seemed that he created something from nothing before our very eyes.


After the glassmaking demo, we had lunch at Trip’s, a very popular local diner.

Sunday, April 23, 2017

The Koreshan State Historic Site in Estero, Florida

The Koreshan State Historic Site is one of the most fascinating spots in Florida, and maybe even in the United States. The Koreshan Unity was a communal utopia formed by Dr. Cyrus Teed. The Koreshans followed Teed's beliefs, called Koreshanity.

Cyrus Teed, born in 1839, was a physician and alchemist turned religious leader and messiah. He had a mystical experience in which he saw a vision of a beautiful woman who revealed the secrets of the universe to him. He changed his name to “Koresh,” the Hebrew version of his name, “Cyrus,” meaning “shepherd or Messiah.”  The Koreshan Unity started in the 1870s in New York, where Teed started preaching his beliefs. 

 In the 19th century, urbanization, industrialization, population growth and immigration were taking place at a rapid pace. It was not surprising that some people gathered into one of the growing number of utopian communities established to escape from the surrounding chaos into a seemingly ideal society.

In 1893, around 250 believers followed Teed to Estero and constructed various buildings, including a print shop, where they published a newsletter; a power plant, where they generated their own electricity and even sold it to homes in the surrounding area; a bakery, where the “risin’ bread” was sold in the general store; a steam laundry; an Art Hall, where they put on plays and band concerts; a three-story community dining hall; the “Master’s House,” a home for Teed; and the Planetary Court. 

On December 22, 1908, Teed died. His followers, who believed in reincarnation, left him in a bathtub awaiting his second coming, which of course never occurred. After a peak at 250 residents in 1903–1908, the group went into decline after his death and disappeared in 1961, when the last four members deeded the land to the state.


 “KORESHAN UNITY SETTLEMENT”

“In 1893, the Koreshans, a religious sect founded by Dr. Cyrus R. Teed, moved here. Communal living and a belief that the universe existed on the inside of the earth were among the distinctive features of their doctrine.  Living celibate lives, the industrious Koreshans established a farm, nursery, and botanical garden. Their cultural activities included art and music. In 1961, the surviving members of the settlement presented their property to the state of Florida.”


Marlene at the beginning of the tour


Art Hall and Swamp Mahogany tree - 1905

The first Art Festival in Estero was held by the Koreshans in 1905 when they opened their newly built Art Hall, complete with a stage capable of seating their 28-piece orchestra. They had concerts, plays, and religious services for their 250 residents, and nearby homesteaders and neighbors also attended their concerts and plays.


Park Ranger Mike, our tour leader for the day


Bay Oaks visitors at the entrance to the Art Hall:
Karen, Marlene, Pauline, Carmen, Gail, Antoinette, & Kathy


Volunteer docent John with a model of the universe according to Koreshan beliefs

The Koreshans believed in the Hollow Earth theory; that is, the world in which we live is contained within a sphere, and we live on the INSIDE of the sphere, with centrifugal force holding us down, rather than gravity. And the sun is in the center of the sphere.


Marlene & Carmen admiring artwork in the Art Hall


Cypress Glade by Paul Sargent, a collectable artist and son of the Koreshan John Sargent


Carmen, Kathy & Karen ready for the presentation in the Art Hall


Map of New Jerusalem

Teed brought his followers to Estero, Florida, near Naples, in 1894 to build New Jerusalem for his new faith. He envisioned a utopian city of 10,000,000 people, with New Jerusalem as its capital. In 1891, Teed assumed the name Koresh, the Hebrew word for Cyrus, in honor of Cyrus the Great, King of Persia, who ended the 70-year captivity of the Jews in Babylonia and led them back to Jerusalem. 


Trip leader Danielle in the Art Hall with a landscape painting by Paul Sargent


Scientific proof that we live on the inside of the globe


Gail in the Art Hall 

Behind her is a display case with a telescope used by the Koreshans.



Original violin used in the Koreshan orchestra


The Grand Piano on the stage of the Art Hall, still used for recitals today


Marlene, Pauline & Antoinette standing in front of the Art Hall stage


Planetary Court

The day to day affairs of the settlement were governed by a council of women called "The Seven Sisters." The Seven Sisters lived in a common house called The Planetary Court. Women made up a large number of Teed’s followers because of  his belief in the equality of women, not a very popular belief at the time.  


Women of the Planetary Court


Bay Oaks group with the ranger in front of the Planetary Court


The Planetary Court building - 1904


A very bold, if slow-moving, gopher tortoise in the yard by the Planetary Court


Foyer of the Planetary Court


Campbell-Trebell Meeting Room in the Planetary Court


Berthaldine Sterling Boomer Room 

Each of the “Seven Sisters” had her own room, which opened to the outdoors.


Eleanor Castle Room


Henrietta Silverfriend Room


Evelyn Trickett Bubbett Room


Virginia Harmon Andrews Room


Stairs to the upper floor of the Planetary Court


Ella Graham Room


Rose Welton Gilbert Room

View from the cupola of the Planetary Court

Ordinarily, the ranger doesn’t take visitors up to the topmost point of the building, but he took us up.


Side view of the Planetary Court


Founder’s House - 1896



Cyrus Teed’s Sitting Room, circa 1905

This exhibit is a reproduction of Cyrus Teed’s Sitting Room. It was designed to resemble actual archival photos of the room. Other items were included to reflect Teed’s personality and interests. 



Founder’s House Sitting Room

The majority of the furnishings are from a permanent collection--actual pieces of furniture owned by Koreshan members. The curtains and some textiles are reproductions of the originals in photographs.


Stairs down to the Bamboo Landing on the Estero River

Photo of the Bamboo Landing - 1894

Before the Art Hall was built, the Koreshans performed at the Bamboo Landing by the Estero River, with the audience sitting in their boats. The Koreshans had several boats, some more than 50 feet long, as boats were the only practical means of travel to Fort Myers or to the world outside of Estero. There were no roads at this time. 


Gail, Kathy, Antoinette, Carmen, Karen, Marlene & Pauline on the Bamboo Landing


Estero River and Bamboo Landing



White Victorian Bridge leading to Monkey Puzzle Island, where the sunken gardens were located

“Monkey Puzzle” is a huge tree, about 70 feet tall. The Koreshans imported a wide range of plant species from across the world, including  Monkey Puzzle Trees;  a number of sausage trees, which are native to Africa; eucalyptus, mango and other fruit bearing trees; Japanese bamboo, originally from the Edison and Ford Winter Estates; and many different flowering trees and plants. Aside from providing a food source, the Koreshans’ deep interest in horticulture reflects Teed’s practice of using botanical remedies rather than strong drugs.


The Vesta Newcomb Cottage, circa 1920

In the 1940s, the house was moved from its original location to the Koreshan settlement, when Vesta moved into the cottage as her residence. Born in 1878, Vesta served the Koreshan community in many capacities. She was the personal maid to Victoria Gratia, née Annie Ordway, who Teed thought embodied the female version of God and was to be Teed’s successor. Vesta was also a  teacher of the Koreshan school children, helped run the dining room kitchen, worked in the sawmill and assisted in the laundry. 


Inside Vesta’s cottage

Vesta described the conditions when the Koreshans first arrived in Estero: “We pitched our tents and slept for ten months on the sometimes muddy ground…there were times when we went hungry.” Vesta added that, one winter, they survived solely on peanuts.  


Inside Vesta’s cottage

When asked whether or not she really believed that she lived inside the earth, Vesta replied, “I did until the boys landed on the moon. When that happened, I knew it couldn’t possibly be true.” Vesta passed away on April 5, 1974. (Neil Armstrong and Buzz Aldrin on the Apollo 11 spaceflight landed on the moon in 1969.)


Conrad Schlender Cottage, circa 1903

The architectural style of this cottage is “Florida Wood Frame Vernacular,” steeply pitched to shed rain quickly. The ceilings were open beam, allowing the summer heat to rise, and doors and windows were placed across from one another to allow for cross-ventilation. Conrad Schlender, one of the last Koreshans living within the settlement, lived in this cottage until his death in 1965.


Grave of Hedwig Michel, the last Koreshan

Hedwig Michel was the last Koreshan to live at the Koreshan settlement. She died in 1982 and is the only Koreshan buried on the grounds.


The machinery complex



Large Machine Shop - 1904

The structure was built to contain the steam power machinery that served the adjacent laundry.  The line shaft mounted in the ceiling provided power to the machinery.


Small Machine Shop - 1905

The workshop manufactured machine parts and kitchen items and provided timepiece and shoe repair services.



Electric Generator Building 

The electric generating equipment generated electricity to the buildings of the Settlement in the 1920s.


 Damkohler House - 1882

This cottage was the only structure on the property when Cyrus Teed arrived.  Gustav Damkohler was a German settler who donated the land on the Estero River to the Koreshan Unity for its settlement. When Teed arrived in 1894, he used this one-room cottage as his home base for his initial six-week stay in Estero.



Lunch at First Watch Restaurant 

After our tour, we went for lunch nearby at First Watch Restaurant. First Watch is located across from Coconut Point and specializes in breakfast and lunch dishes. Seated around the table are Pauline, Marlene, Becky, Antoinette, Karen, Carmen, Kathy, Danielle and Gail.