SUMMER 2006

City Watch
• Summer 2006
Art and Antiques
St. Louis: Dale Chihuly. Blown glass, R Duane Reed Gallery, 314.862.2333, through July 29.


Glass Art • Summer 2006
KETC
KETC Channel 9 features Glass Art Society that visited the St. Louis area June 2006 as well as the glass artists represented by the Duane Reed Gallery.

Review: Dale Chihuly • May 18, 2006
by Amy Helms
River Front Times

Like the glass, I am only half full: Would you like a side of Chihuly with your tapas? Until recently you may have thought Chihuly was a type of soft, Mexican Cheese, or perhaps a Peruvian mountain goat, but ny now you've surely heard of Dale Chihuly, the premier glass artist whose works have taken over the Missouri Botanical Garden and the Duane Reed Gallery. Part of the Chihuly experience includes a luxurious pairing of the visual and the savory today from 1 to 3 pm. You can feast your eyes on Chihuly sculptures - and feast your stomach on samples of tapas prepared by chef Mike Johnson of BARcelona. Do the albondigas or paella go best with Chihuly? That's for you to decide. The event is free and so is admission to the gallery, where the exhibit runs through Saturday, July 29.

A Marriage of Art and Nature• May 5, 2006
by Dorothy Weiner
Ladue News
St. Louis and are in for a real treat at the Botanical Garden. The just-opened Dale Chihuly Installation there pairs glass art with the art of MOther Nature, and the effect is breathtaking. The colorful, amorphous pieces are scattered throughout the79-acre park, with additional works hidden among the dense foliage of the Climatron and the Temperate House... The Chihuly Studio's collaboration with botanical gardens began in 2001, at Chicago's Garfield Park Conservatory, which approached the artist. It was a 'win-win' proposal, he explain: The garden increased attendance, and the artist generated interest in (and sales of) his work. The St. Louis garden installation is Chihuly's eighth, and it coincides with an impressive show at the Duane Reed Gallery in Clayton, the exclusive representative of his work in the area. (continued)

APRIL 2006

Glass in the Garden
• April 30, 2006
By David Bonetti
St. Louis Post-Dispatch

French Situationist philosopher Guy Debord was prophetic. We live in a society of the spectacle. If you need proof, look at the Las Vegas strip, New York's Times Square, Disney theme parks here and abroad, Franco Zefferelli's opera productions, "American Idol" and the new Busch Stadium, just for starters. Serious art and architecture are not immune to the spectacular. The success of Christo and Jeanne-Claude's "wrapped" interventions, Richard Serra's torqued ellipses and spirals, Frank Gehry's museums and concert halls and Dale Chihuly's glass extravaganzas is directly proportional to the quality of spectacle they offer.

Spectacle is largely immune from criticism: It blows you away or it doesn't. And Chihuly's new installation at the Missouri Botanical Garden is, like most of his recent work, spectacular. It aims to astonish the viewer, and it largely succeeds. What's surprising is how subtle it is at the same time. The greater part of the installation is in the Garden's Climatron, a geodesic dome housing tropical plants that dates to 1960. There is a ton of Chihuly's glass installed in the glass-clad Climatron, but it doesn't compete with the trees and flowering plants that make their permanent home there. The glass is placed sensitively in communion with the plants. Often you don't even notice the pieces on your first pass through. When you do see them, it is with a sense of discovery.
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Chihuly in his own words • April 28, 2006
By David Bonetti
St. Louis Post-Dispatch

I spoke with Dale Chihuly upstairs at the Boathouse, downstairs in the Hot Shop as he maneuvered among three groups of visitors and in his car, as we drove from the Boathouse to a second facility he maintains in another Seattle neighborhood. He was talkative and generous. His ideas flowed, from current projects to architecture, the nature of art versus craft, and his favorite city: Chicago. (continue)



Chihuly Marries Glass and Gardens • April 16, 2006
By David Bonetti
St. Louis Post-Dispatch

IN TWO WEEKS, the Missouri Botanical Garden will host an installation of glass works by Dale Chihuly that promises to be spectacular. Chihuly, the foremost glass artist in the world, is extremely prolific. His work is shown internationally and is part of the permanent collections of more than 200 museums, including the St. Louis Art Museum.

Since 2001, the Seattle artist has been exploring the aesthetic conjunction between his glass and botanical gardens. Only a few have preceded the Missouri Botanical Garden as a site for his work, among them the Royal Botanical Gardens at Kew outside London. Few artists dominate a city the way Chihuly dominates Seattle. From the Pilchuck Glass School, which he co-founded in 1971 about 60 miles north of the city, to Tacoma, Wash., about 30 miles south, Chihuly has left his mark on the region. Two of his enormous gold "Chandelier" pieces hang at each end of the blocklong foyer of Benaroya Hall, home to the Seattle Symphony Orchestra. At night, they glow with an aristocratic beauty you'd associate more with an Old World concert hall than with one in a former roughneck outback, where the economy was based on fishing and forestry before aerospace and high-tech turned it into a boom (or bust) town.
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The Art of Living
• July 1, 2005
By Julia Johnson
St. Louis Business Journal

The art of living
From fine wine to fine art, Dennis Jones and Duane Reed enjoy the finer things

...Meanwhile, Duane Reed has filled his 5,000-square-foot, "Romanesque" style home in the Central West End with a different kind of art, ranging from original paintings to hundreds of small ceramic pieces. There is so much in his personal collection, Reed said he has "no idea what it's all worth."

Reed owns art galleries in St. Louis and New York that bear his name, but said he shops for art all over. I really get into trouble in Seattle, New York, Santa Fe and Miami," he said. Reed said he enjoys American art, but he relishes work by foreign artists as well. He purchases conceptual art in the Netherlands and works by glass masters when traveling in Italy. Reed said being a professional dealer helps feed his collecting habit, and vice versa. "Doors tend to open to a dealer that don't necessarily open to a collector," he said, so it's easy for him to buy for himself while shopping for his gallery. Sometimes, he even uses his reputation as a personal collector to encourage people to buy in the gallery.

"Sometimes I'm so enthused about a particular show, but the collectors at the show aren't," he said. "So I intentionally buy some of the work for myself. Then I find that later, the collectors start wanting it." Reed said he shares his passion by lending pieces from his personal collection to institutions such as the Racine Art Museum in Wisconsin, the Museum of Arts and Design in New York and the Mint Museum in Charlotte, N.C. "If I receive a request from a museum, I'll probably lend them a piece. I feel like I need to." Reed said his galleries work regularly with recognized artists such as Dale Chihuly and William Morris, but he is equally dedicated topromoting up-and-coming talent such as Curt Lacross of Michigan. "Curt does odd, lifelike human figures made of ceramic and resin," he said. "His 'The Kiss,' a torso figure, is mounted on the wall in the front hall of my home. It's so disturbing, it scares people."

One of his favorite "art spaces" at home is the guest room, where he keeps about 400 pieces of ceramic religious statuary, from 5 inches tall to life-size. "They are all faced so they're staring at you. It's a scary room." Reed spent less than $1,000 for the first piece of art he ever collected, a small oil painting that he still owns. Now, he owns pieces that would bring five figures or more. "I have a William Morris glass work, 'Suspended Artifact,' that I originally bought on payments some time ago," he said. "You can't find these now. It'd probably be valued at about $50,000 by this time. I just sold another one in the gallery for $150,000." (for full story)


Eastman's art captures Cuba, Marlboro Man on film • June 10, 2005
by Richard Desloge
St. Louis Business Journal

When Michael Eastman started taking pictures in the 1970s, he was happy to get $5 a shot from Apartment Living. That local publication long since faded away, and Eastman went on to photograph advertising icons such as the Marlboro Man and spreads for Jack Daniel's Tennessee Whiskey. On one end of the third-floor hall at his home hang his last five covers from Time magazine. His commercial services, if he's available, now run into the low five figures a day.

The 58-year-old photographer is recognized locally for collaborating with author and retired Washington University Professor William Gass. The two are neighbors and have worked together on 18 projects, with more projects in the pipeline. Eastman's subjects range from Forest Park to Midwestern storefronts, European architecture or Cuban life. His work appears in about 15 galleries around the country and is part of collections at the Metropolitan Museum of Art in New York, the San Diego Museum of Contemporary Photography and the Saint Louis Art Museum. The R. Duane Reed Gallery in Clayton recently extended a show of his work through the end of June.

Two of your more recent fine art projects are on Cuba and horses. Can you tell me how those projects developed? Cuba is in the vein of what I've been doing for 33 years. The work is about the architecture and a sense of human presence. Cuba was frozen in time when Fidel Castro took over. This was an opportunity to visit a world that hadn't changed in 50 years. It has always been a dream of mine to go to Cuba. I made three visits in all -- '99, 2000 and 2002. For the Cuban work, I used only the 4-by-5 camera, the one where you put the cloth over the head. I don't use Polaroids. I don't want to see anything until I am back and have the film developed. I keep working this way and never quite know how I am doing, so it forces me to keep trying to do better. (continued)





 

4729 McPherson Ave.
St. Louis, MO 63108
314.361.4100 - 314.361.4102 fax
info@duanereedgallery.com
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