Artist of the day: October 2024

Emily Furr (1978) is a New York based visual artist. Furr draws upon Precisionism, Surrealism, and Pop Art to make work that feels both timeless and profoundly timely. Her work examines human attempts to control the uncontrollable, producing disorienting images which insert intimately terrestrial objects into galactic star-scapes. Engaging themes of industrialism, transformation, and the cosmic void, Furr’s work speaks to the fragility of human exploits in comparison with the vastness of the universe.

Furr received her MFA from Hunter College, NY in 2018. Her work is in the permanent collection of the Orange County Museum of Art (Costa Mesa, CA) and the Denver Art Museum (Denver, CO). She has recently exhibited at 12.26 Gallery (Dallas, TX and Los Angeles, CA), Sargent’s Daughters (New York, NY and Los Angeles, CA), Rebecca Camacho (San Francisco, CA), Office Baroque (Antwerp, Belgium), O’Flaherty’s (New York, NY), Galerie Hussenot (New York, NY), amongst others; as well as being featured on the cover of New American Paintings’ 25th Anniversary Edition. She was an artist in residence at the Watermill Center (Watermill, NY) in 2019. In 2021, a solo exhibition of Furr’s work was presented at the SCAD Museum, Savannah, GA, curated by Ariella Wolens, assistant curator of SCAD exhibitions. Furr presented a solo booth of new works with Sargent’s Daughters at the Armory Show in 2022.

Her work has been reviewed in Artnet, Artforum, Hyperallergic, Burnaway, The New York Times, Time Out New York, amongst others. Furr is represented by Sargent’s Daughters. Her recent solo exhibition at Sargent’s Daughters Los Angeles, “Bombshell,” marked her debut Los Angeles presentation and her fourth solo exhibition with the gallery.

© 2024. All content on this blog is protected by international copyright laws All images are copyrighted © by Emily Furr or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only

Ms. Emily Furr

Tip 2 Tip, 2018

Shear Dear, 2018

She Ready, 2018

Same Vein, 2018

Rise and Grind, 2018

Other Lode, 2018

Hole Glory, 2018

Double Barrel, 2018

Deep Orbit, 2018

Burst Bond, 2018

Star Tap, 2019

Rake Take, 2019

Belt Melt 3, 2019

Thirst Trap, 2020

The Big Sky, 2020

Prostitution Universelle Revisited, 2020

Might Delete Later, 2020

LOL Nothing Matters, 2020

Endless Nut 1, 2020

Divorce Becomes Her, 2020

Clear Cut Shot, 2020

Follow where my mind goes, 2021

Galaxy Press, 2021

Moon Grinder - Yellow, 2021

Apollo 69, 2022

Conquer the Stars, 2022

Pierced Ruby, 2022

Barrel Insert, 2023

Extra Strength, 2023

Mechanical Crush, 2023

Jaroslava Brychtová (1924 – 2020) was Czech contemporary artist. Her works are included in many major modern art collections, such as the Metropolitan Museum of Art and the Victoria & Albert Museum.

Jaroslava Brychtová started experimenting with glass in the 1940s. Trained in sculpture, Brychtová began her career by working with her father, Jaroslav Brychta, who cofounded the Železný Brod Glass School in 1920. Brychtová led the architectural glass department at the school starting in 1950. She met her collaborator and future husband, Stanislav Libenský, in 1954, when he became Železný Brod’s director. Together, Brychtová and Libenský experimented with casting techniques, developing a method that allowed them to produce the monumental sculptural and architectural works for which they are known.

With their technique, the two artists worked at translating abstract concepts into glass, such as their notion of the fourth dimension, which they create with light. Their artistic approach is influenced by early 20th-century Czech Cubism and metaphysical philosophy. Of all Czech artists working in glass, Libenský and Brychtová have been the most influential worldwide. The revolutionary nature of their work was first appreciated by American and European studio glass artists at Expo 67 in Montreal, where they exhibited several important large-scale sculptures. In the 1970s, when American artists were just beginning to realize the sculptural potential of glass, Czech artists like Libenský and Brychtová were already way ahead of them, but their work was not seen. It was not until the 1980s that their status as pioneers in the field of glass sculpture became internationally recognized.

Brychtová was awarded by the University of Sunderland in 1999 and the Rhode Island School of Design in 2000. Jaroslava Brychtová, was presented with a Lifetime Achievement Award from Urbanglass in Brooklyn, New York, and the Glass Art Society in 1997 and 1996, respectively. She won the Bavarian State Prize and gold medal at the Internationale Handwerksmesse in Munich, Germany, in 1995 and 1967, and received Gold Medal awards from Internationales Kunsthandwerk in Stuttgart, Germany, in 1969 and at the VIII Bienal de São Paulo, Brazil, in 1965. Brychtová was presented with the Rakow Award for Excellence in Glass from the Corning Museum of Glass in 1984, and the 1958 Grand Prize at Expo 58 in Brussels, Belgium

© 2024. All content on this blog is protected by international copyright laws All images are copyrighted © by Jaroslava Brychtová or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only