Bullseye Studio

We are thrilled to see "The Soil You See" by Wendy Red Star in its new setting.

The sun rises on 𝘛𝘩𝘦 𝘚𝘰𝘪𝘭 𝘠𝘰𝘶 𝘚𝘦𝘦... casting its red shadow on the land while turning the Beartooth Mountains pink with alpenglow.
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𝘛𝘩𝘦 𝘚𝘰𝘪𝘭 𝘠𝘰𝘶 𝘚𝘦𝘦... by Wendy Red Star
Photo by James Florio

Great to see this installed, with light coming through it!

We are so excited about Jeffrey Gibson's upcoming exhibition as the sole artist representing the United States in the Venice Biennale! Great article in the New York Times with a behind-the-scenes look at the context and the making of some of the work. (The link is in PAM's post below.)

We are so pleased to have worked with Jeffrey on "They Come from Fire", Gibson's earlier installation at Portland Art Museum in 2022-2023. https://studio.bullseyeglass.com/projects/they-come-from-fire/

Note that the motif of the empty monument plinth showcasing community leaders in "They Come From Fire" will also be part of the new Biennale exhibition!

Congratulations to Jeffrey Gibson, and the co-commissioners of the exhibition Kathleen Ash-Milby (curator of Native American art at the Portland Art Museum), Abigail Winograd (independent curator); and Louis Grachos (director of SITE Santa Fe).

“I wanted to map out some moments in American history when there is this real promise of equality, liberty and justice and then think about what those terms mean.” –Jeffrey Gibson

🎉 Huge news! Today’s The New York Times explores Jeffrey Gibson’s history-making exhibition at the Venice Biennale. Preview the exhibition, behind-the-scenes studio shots, and learn about everything that led Gibson to this moment.

This year’s La Biennale di Venezia project is co-commissioned by PAM, SITE SANTA FE and curated by Kathleen Ash-Milby, PAM Curator of Native American Art and Abigail Winograd, independent curator.

Continue reading on the NYT → https://nyti.ms/3vRAFBi



[ID: Screenshot of New York Times article with portrait of Gibson in studio surrounded by vibrantly hued artworks overlaid by white text: Representing the U.S. and Critiquing It in a Psychedelic Rainbow; Jeffrey Gibson's history-making turn at the Venice Biennale brings the gay and Native American artist center stage with works of struggle and freedom.]

If you go to Newport, check out the signs at the Aquarium. They were fabricated at Bullseye Studio out of Bullseye Glass.

Thanks to KTVQ and Dianne Parker for this story about the destination for Wendy Red Star's monumental sculpture.

Tippet Rise in Fishtail new home for Wendy Red Star sculpture A very powerful piece of indigenous art is on display in Washington D.C., but it's making its way back to Montana for visitors to view at Tippet Rise Art Center near Fishtail.

Tippet Rise in Fishtail new home for Wendy Red Star sculpture A very powerful piece of indigenous art is on display in Washington D.C., but it's making its way back to Montana for visitors to view at Tippet Rise Art Center near Fishtail.

Bullseye Studio was honored to help artist Wendy Red Star create this monument, appearing on the National Mall until September 18.

Wendy Red Star's Kilnformed Glass Monument at the National Mall On the National Mall, roughly equidistant between the Washington Monument and the Lincoln Memorial, a new kilnformed glass artwork has taken its place in the national spotlight. See recent articles in the Washington Post (and...

We enthusiastically congratulate artist Jeffrey Gibson for being selected to represent the United States in the 2024 Venice Biennale, where he will have a solo exhibition. https://www.npr.org/2023/07/29/1190952604/jeffrey-gibson-indigenous-artist-venice-biennale See comments for a link to images of his installation "They Come From Fire" at the Portland Art Museum.

In a first, the U.S. picks an Indigenous artist for a solo show at the Venice Biennale The U.S. State Department selected Jeffrey Gibson to create an installation for the U.S. Pavilion at the prestigious international arts event.

James Carpenter Design Associates (JCDA)

Polychromatic Resonance Windows

The Polychromatic Resonance Windows for a meetinghouse development at 95 State St in Salt Lake City, UT, were designed by James Carpenter Design Associates (JCDA). Fabricated by Bullseye Studio, each of the 29 windows is composed of three kilnformed panels, achieving a final size of approximately 19” wide and a towering 29’ high. A special feature of the windows is the custom texture layers laminated to the color layers that harvest otherworldly lensing effects—effects especially pronounced with changing perspectives and lighting conditions. The windows fill the interior spaces with rich chromatic resonances.

“Like many of our projects, this work is an exploration of volumetric presence of light that allows for a richer and more complex interplay of color than would be possible within a single plane of glass. You might think of this as expanding the boundary condition between interior and exterior space. Is the window really just about view or is it more about creating and revealing the differences between interior and exterior space? Shouldn’t the ‘window’ in fact be more dynamic and animated, imparting a richer understanding of place or our experience of place? These are questions we always ask ourselves and they are questions which have repeatedly brought us to investigating conceptually different approaches to working with glass – giving it an agency to speak for itself.” – James Carpenter

See more images: https://studio.bullseyeglass.com/projects/polychromatic-resonance-windows/

16 years ago, Jun Kaneko created some very original work at Bullseye Studio. A failure of dams in an early kilncasting launched a great series of works investigating glass flow.

Originally trained as a painter in Japan, is a renowned artist celebrated for his large-scale sculpture. Since 1986 he has made Omaha, Nebraska his home and artistic base. Kaneko's sculptural forms connect through his manipulation of scale, color, and texture, creating abstract imagery across three-dimensional surfaces.

During a 2007 residency at Bullseye Studio, he ventured into the realm of glass art. Despite their apparent simplicity, many of these glass slabs are meticulously crafted using multiple hand cut, weighed, and cleaned strips of kilnformed glass. The arrangement of lines showcases technical skill and establishes a sense of rhythmic movement.

📍Modern and contemporary art galleries, floor 1 Mezzanine

Jun Kaneko (American, born Japan 1942), “Liquid Velocity 3,” 2007. Kilnformed glass; 73 1/4 × 69 x 8 1/8 in. Gift of Lani McGregor and Daniel W. Schwoerer, 2009.62 © Jun Kaneko

The Polychromatic Resonance Windows for a meetinghouse development at 95 State St in Salt Lake City, UT, were designed by James Carpenter Design Associates (JCDA). Fabricated by Bullseye Studio, each of the 29 windows is composed of three kilnformed panels, achieving a final size of approximately 19” wide and a towering 29’ high.

See more images at
https://studio.bullseyeglass.com/projects/polychromatic-resonance-windows/

Bullseye Studio in Western Art & Architecture

�Bullseye Studio was honored to have been featured in a recent Western Art and Architecture Magazine issue. The article, by Los Angeles-based writer Norman Kolpas, spotlights several of Bullseye Studio's latest projects and offers insights into its history, mission, and fabrication capabilities.

We invite you to read the article and reach out to us directly if it sparks any questions or ideas for collaboration.

https://westernartandarchitecture.com/december-2022-january-2023/artist-spotlight-bullseye-studio

Image:
They Come From Fire, a series of twelve kilnformed glass artwork panels by Jeffrey Gibson, before installation in the Schnitzer Sculpture Court at the Portland Art Museum (Portland, OR) as part of his exhibition by the same title. Glass fabrication by Bullseye Studio. With special thanks to Sikkema Jenkins & Co.

Bullseye Studio updated their address.