Dale and Doug Anderson are celebrated figures in the world of contemporary glass art, known for their extraordinary contributions as collectors and patrons of the craft. The Andersons have spent decades curating one of the most comprehensive and influential collections of studio glass, with an emphasis on showcasing the artistry and innovation of glassmakers from the 20th and 21st centuries. Their passion for glass art began in the 1980s—Dale met gallerist Doug Heller in the '70s and became enamored by the glass in his gallery—and quickly grew into a lifelong pursuit to preserve, support, and elevate the field. Reflecting on their journey, Doug remarked in a 2005 interview with curator Tina Oldknow, "We never intended to become collectors. One piece turned into a second, and then suddenly it was something much larger."
"Collecting is not just about ownership; it’s about fostering relationships with artists and sharing their vision with the world." - Dale Anderson
The Andersons collect a diverse range of art, from Northwest Coast tribal art to contemporary photography, but are particularly recognized for their commitment to the Studio Glass Movement, a pivotal moment in art history that redefined glass as a medium for creative expression rather than mere functionality. Their collection includes works by iconic glass artists such as Dale Chihuly, Lino Tagliapietra, Harvey Littleton, and William Morris, among countless others. Speaking about their affinity for the movement, Dale has noted, “What drew us in was the energy and innovation—it felt like being part of something transformative.” Beyond amassing an impressive array of works, the Andersons have actively supported emerging and established artists through philanthropy, commissioning new works, and organizing exhibitions that bring glass art to wider audiences, in addition to developing close friendships with many artists (Chihuly, Toots Zynsky, and Flora Mace and Joey Kirkpatrick, to name but a few).
Their dedication has made a lasting impact on the art world...to date, Doug has donated more than 1,200 works from their collections to 14 museums in the United States and London.
Their dedication has made a lasting impact on the art world, with pieces from their collection featured in prominent museums, galleries, and cultural institutions; to date, Doug has donated more than 1,200 works from their collections to 14 museums in the United States and London. As Dale eloquently expressed, “Collecting is not just about ownership; it’s about fostering relationships with artists and sharing their vision with the world.” Dale and Doug Anderson’s legacy lies not only in the remarkable works of art they have collected but also in their unwavering advocacy for the importance of glass as a fine art form. Their efforts have helped cement glassmaking as an integral part of contemporary art, inspiring future generations of artists, collectors, and enthusiasts alike.
Sources:
Oral history interview with Dale and Doug Anderson, Archives of American Art
I'm an artist, a designer, a craftsman, interior designer, half-architect. There's no one name that fits me very well.
Dale Chihuly
Dale Chihuly b. 1941
American glass sculptor and entrepreneur Dale Chihuly is among the most well-regarded glass artists of the 20th and 21st Century.
Dale Chihuly’s academic career began at the University of Washington where he earned a BA in Interior Design in 1965. He then went on to attend the University of Wisconsin-Madison, where he studied under Harvey Littleton, founder of the first formal glass program in the United States. He graduated in 1967 with a Master of Science in Sculpture before moving on to the Rhode Island School of Design (RISD) where he received a Master of Fine Arts in Sculpture in 1968. He would later return to RISD to establish a glass program and teach for many years.
After earning his third degree, Chihuly sojourned in Venice where he worked in the factory of Paolo Venini, a key architect of the 20th century design aesthetic and one of the leading producers of mid-century Murano glass. It was in Venini’s studio on the island of Murano that Chihuly first witnessed the team approach to blowing glass, a practice that would become an integral part of his work in the years to come. Though he returned to the United States to teach, Chihuly continued to travel the world to meet and learn from like-minded artists.
In 1976, Chihuly was involved in an auto accident that resulted in the loss of his left eye, greatly limiting his sense of visual depth. Chihuly’s ability to create was further impaired by a bodysurfing accident in 1979 that left him unable to hold the glassblowing pipe. The injuries sustained in these two incidents forced Chihuly to hire others to assist. In a 2006 interview Chihuly explained, "Once I stepped back, I liked the view." This new perspective allowed Chihuly to anticipate problems sooner and work more efficiently. Additionally, working with a team of master glassblowers enabled Chihuly’s studio to produce glass art on a scale and quantity that would be inconceivable for a single artist working alone.
Though Chihuly has worked in multiple mediums including charcoal, acrylic, and graphite, it is his large and vibrantly colored glass sculptures and installations for which he is best known. These include his “Seafoam Series,” of thin, wavy translucent glass forms sporting bold bands and splashes of color, his “Ikebana Series” of naturally inspired ‘glass flowers,’ and his series of massive and stunningly intricate chandeliers.
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