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hung out to dry
Linear Form Series
Ode to 911-”Loss of Intent”
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John Luebtow Applied Art
John Luebtow has consistently addressed a quadrum of fundamental sculptural issues throughout his career: line, form, space, and light. These are broad considerations, to be sure; to a certain extent, they are inherent to all visual art media. What is significant in Luebtow's fidelity to this set of issues is not only his tenacity in the unraveling of their mysterious laws, but also the extraordinarily wide range of approaches he has drawn to them. The mystery he pursues is the technical spiritual identify of his medium. He searches within the sovereign form of his subjects for the abstract evidence of the energetic rhythm of movement. At times this search may appear divergent and often bifurcated: one venue yielding images of bondage constraint and containment evoking a mixture of pleasure and pain; another emanating variations of surface patterns that are highly stylized, manipulating and controlling visual movement in and on the form, while defining the form within the glass. Yet another evolving through a progression of smaller Marquette sized pieces containing wave-like patterns of intricately bent glass presented in single and double free-standing metal encasements, come of which are hinged to allow the viewer to alter their relationships. Yet common in all are biomorphic shapes co-existing with hard geometries, different levels of translucence and controlled variations in the glass purity and surface rippling that consort to infuse the sculpture and wall constructions with visually complex layers and optical effects, fluidity, and a monumental scale regardless of size. The primary materials Luebtow uses are essentially industrial: glass integrated with metals from polished stainless steel and brass, to plama cut I-beams, to rusted steel pipes with unruly frayed knotted steel cable. The pieces represent an aggregation of exploration, but are all grounded in the generatrix of line searching to uncover and define form. His work challenges traditional concepts of space. Luebtow has developed innovative technical processes in glass-making, introducing and incorporating gesture and expressive qualities into impeccably finished sculptural components. He bends one-inch sheet glass--a signature technical ability which has garnered him the unparalleled esteem of his colleagues and international recognition.
1973-1976 University of California, Los Angeles, Master of fine Arts Degree, Media-Glass 1970 Zr. Maria Regina Coel language School, Vught, Netherlands, Certificate of Competency, Dutch 1967-1969 University of California, Los Angeles, Master of Arts Degree, Media-Ceramics 1964-1967 California Lutheran college, Thusand Oaks, CA, Bachelor of Arts Degree
Selected Commissions/collections:
His work has been commissioned by major public and private corporations including Hewlett-Packard (HP), ARCO (Atlantic Richfield), American Airlines, NESTLÉ (Carnation), and the Scripps Research Institute in La Jolla.
Group Exhibitions:
Los Angeles County Museum of Art (LACMA) includes the work of John Luebtow in the "Made in California 1900-2000" exhibition, October 22, 2000-February 25, 2001.
Art Glass Museum of Alcorcon, The Castle of San Jose de Valderas, ALCORCON (Madrid) October 1997

"CALIDO" Contemporary Warm Glass, Tucson Museum Of Art, Tucson, AZ April - June 1997
Detroit Institute of Arts, Detroit Michigan 1996
Los Angeles County Museum of Art, 1995, 1998, 1999.
One Man Show, Patricia Correai Gallery, Bergamont Station, Santa Monica, 1993, 1994, 1995, 1996, 1998, 2000
"25 Years - Glass As An Art Medium" Darmstadt Museum, West Germany, December 1987

"Glass Now 85", Yamaha Corporation, Tokyo, Japan. 1987, 1988, 1990, 1991, 1992, 1993, 1994, 1995
Kurland/Summers Gallery, Los Angeles, CA., March 1982, 1983, 1984, 1987, 1989, 1993
Cleveland Art Institute, Cleveland, Ohio; February 1981
Oakland Museum of Art, Oakland, CA; December 1979
Frederich S. Wight Gallery, U.C.L.A., Los Angeles, CA; 1976

Het Prinsenhof Museum, Delft, Netherlands, 1971
Artist's Statement:
Line expresses the movement and rhythm of energy, and through the extension of this line form is created.My PRIMARY SCULPTURAL CONCERNS are what I call linear form; THAT IS, THE INTEGRATION OF LINE WITH, ON, AND IN FORM. LINE AS FORM, FORM AS LINE, and the effect and interaction of line and form on each other. What I see and feel in glass are the essential internal and external qualities of the medium itself; how it reacts to line and form while being affected by space, light, color, movement, texture, etcetera. Its qualities are as life; not alone physical - external, but equally, if not more so, spiritual - internal. It is what is inside the glass. Those absorptive, reflective, refractive, transparent, depth-oriented qualities, that when made visual, communicate, through line and form, what I see and feel and what the medium is.The external simplicity becomes complex with internal examination, as the line and form intersect within the piece they become the piece. The medium can seduce the on - looker itself: the edges of the arcs draw the looker into the line, the form, with the movement of the on- looker, change occurs within the medium. The piece becomes the ambiance, envelope's that which it should not.
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