{"id":492,"date":"2014-09-09T01:47:14","date_gmt":"2014-09-09T05:47:14","guid":{"rendered":"http:\/\/rickasinikadour.com\/main\/?p=492"},"modified":"2014-09-09T18:03:22","modified_gmt":"2014-09-09T22:03:22","slug":"paul-schwieders-glass-poems","status":"publish","type":"post","link":"http:\/\/rickasinikadour.com\/main\/writing\/paul-schwieders-glass-poems","title":{"rendered":"Paul Schwieder’s Glass Poems"},"content":{"rendered":"

\"copperbluenest-by-paul-schwieder\"<\/p>\n

Ric Kasini Kadour’s essay, “Paul Schwieder\u2019s Glass Poems”, is published in the catalog <\/em>Paul Schwieder which accompanies the August 16-October 31, 2014 exhibition \u201cStone. Glass. Wood.\u201d at the West Branch Gallery & Sculpture Park. In the essay, Kadour charts the history of the studio glass movement from its humble beginnings in a shed behind the Toledo Museum of Art<\/a>.<\/em><\/p>\n

\"Paul-Schwieder--Cover\"<\/p>\n

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Paul Schwieder\u2019s Glass Poems<\/h2>\n

By Ric Kasini Kadour<\/p>\n

Having a beautiful object is like owning a poem. A jumble of words are aesthetically, sometimes rhythmically, arranged to convey a meaning greater than its prosaic self, a gestalt. Art objects are similar in that they combine complex histories, a myriad of narratives, into single forms. One can reduce a piece of sculpture to its basic elements\u2014glass, stone, wood, etc.\u2014but in doing so, one misses the entire point of the object\u2019s existence: to show the viewer something greater than the sum of its parts; to expose the viewer to a greater, deeper meaning. This is what a poem does. This is how having beautiful objects is like owning a poem.<\/p><\/blockquote>\n

READ FULL ESSAY ONLINE<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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