Judi Harvest

Il Gazzettino: Judi Harvest, A Fusion of Glass and Nature

The creations of the American artist at Palazzo Tiepolo Passi

Original article

- Enzo Di Martino, Venezia

Il GazzettinoJudi Harvest, one of the most fascinating and original American artists, has spent the last thirty years in a creative oscillation between Venice and New York, her two urban reference points, apart from Miami, her birthplace. Her work in glass takes inspiration from both places, however, in contrast to the impressive architectural styles that characterize those cities, it focuses on nature and its problems.

In Murano, Judi Harvest discovered the extraordinary expressive potential of glass and has created, over the past twenty years, significant works of art. Beginning with an incredible Rhinoceros as part of the multimedia installation called “Rhinoscimento” which was shown at Spazio Proietto during the 2001 Venice Biennale. Following this, beginning in 2003, her large glass sculpture “Buddha /Fragmented Peace,” was installed for a long time at Calle Vallaresso, in front of the Capitaneria di Porto San Marco, and is now in an important private collection in Russia. In this same space, from 2005, the artist had for a long period installed another impressive piece also in Murano glass titled “Full Moon, Luna Piena,” and the year after, she created “Venetian Satellite” which was shown at the entrance of the historical Caffè Florian in Piazza San Marco.

This is but a short list documenting the artist’s fondness for working in Murano glass. A preference which, along with the apiary she created in the garden of the Murano glass factory where she works, led her to create “Propagation, Bees, + Seeds,” a group of works of both tiny and grand dimensions, completely in glass, which are being shown until November at Palazzo Tiepolo Passi, near Casa Goldoni. Together these works form an ecological exhibition that displays the artist’s concerns for the future of the bees and seeds. These elements are realized with great expertise and precision in Murano glass, a material that aptly signifies resistance to the passage of time.

Last Updated on Monday, 19 June 2017 22:47

Hits: 117

CASA VOGUE

October, 1990 page 237

JUDITH'S SEASONS

Carpets of rose petals and dried leaves with the colors of autumn, summer memories of the cactus figs of Panarea, mark the passing of the seasons in the studio/residence in Venice of the American artist Judith Harvest, who for the past three years lived on the lagoon, letting the leaves and flowers enter the windows carried by the wind from the nearby garden. Now she has returned to New York having discovered Spring, Fall and Winter, for she, born in the Chinese Year of the Rabbit, growing up in Miami, knew only the eternal Summer. "Furniture, candles, fabrics and interiors play an important role in my work. For the moment I live and work in a single space, the line of demarcation is very thin (sometimes invisible) between what is art and what is not. I feel that art is something we must live with because there is no difference between art and life Carrying nature inside the house signifies the cancellation of spatial differences between what is inside and outside, creating a garden of wonderland with objects harvested here and there, often painted with leaves of gold, composing an atmosphere sparkling and seductive.

back to Press

Last Updated on Wednesday, 18 December 2013 23:06

Hits: 930

IL GAZZETTINO

Wednesday, August 10, 2005 L'ARTE

SAN MARCO at the pier of Calle Vallaresso

The "Full Moon" in glass by the American Judi Harvest

For the occasion of the 2003 Biennale, she realized a huge Buddha in colored Murano glass which has been placed at the San Marco vaporetto stop and has been there for several months, creating an amazing installation which attracted the attention of the entire city. Also this year, the American artist, Judi Harvest -who is, to tell the truth, nearly Venetian by adoption- has expressed her strong presence at the same time as the big international village fair of art. She has created an enormous "Full Moon", also executed in a Murano furnace, that is made up of more than 2000 blown glass spheres, this time in tender, pale colors, like the moon. Appearing like a more than 2 meters sphere, made of 28 segments which progressively illuminate with a computer system resulting in a "Full Moon" every 5 minutes. Like Buddha in 2003, which not by chance had the title Fragmented Peace, the fragmented peace that the world is living in at this moment, also "Full Moon" has a strongly symbolic connotation. Naturally, this is a work made of art, realized therefore with evident aesthetics, which appears in between the real sculpture and what is usually defined as "installation". But by the declaration of Harvest herself, is to understand that this moon is also an instrument to connect us to one another, and in the end, all of us to the spirit of the universe. This intention was also addressed in the lucid, critic's presentation text by Barbara Rose. But with all of the evidence, ultimately, the "Full Moon" by Judi Harvest occupies urban space in a harmonious and significant manner. Manifesting in every way, a plastic and visual event, which until now was inexistent, and which involves passer-bys in reflection and emotion.

Enzo Di Martino



back to Press

Last Updated on Wednesday, 18 December 2013 23:01

Hits: 921

CULTURE & SPECTACLES IL GAZZETTINO

Wednesday, August 1, 2001

The languages of art At the Arsenale, Judi Harvest exhibits "Rhinoscimento"

Venice

A complex, intriguing and multimedia exhibition that symbolizes infinitely a kind of secret diary of reference with Italy which the American, Judi Harvest has cultivated for many years. With a semantical deformation, she has titled the exhibition "Rhinoscimento", putting at the center of her work, a symbolic figure of a rhinoceros, endowing the strength of -renaissance". The exhibition installation curated with Barbara Rose in Spazio Proietto at the Arsenale, on until September 30, presents diverse types of work which confirm not only the talent, but also the naturalness with which Judi Harvest uses the languages of art. The rhinoceros, time after time, once a small wind up toy, a real giant one filmed at the Miami Zoo, a splendid Murano glass one, a giant photographic one, or her small variation of the famous painting by Pietro Long.,hi, from 1751. Therefore, the protagonist of this exhibition, which -glues" a long and active video, declares overall, two references to the environment: "The Coral Tree" an old dried tree, painted by Harvest in Panarea; the other is the dramatic fire of La Fenice in Venice. the city where Harvest visited for the first time in 1973, and has revisited for long periods. Chris-crossing things in a zig-zagging reflective line, touching at the same moment, the tragedy and the play, the representation, inside and out of historical documentation, while evoking the time and restlessness of the contemporary. Utilizing this operation with ease, through numerous mediums from painting to sculpture, video and photography. Declaring for certain verses, a "narrative" intention trusting essentially, that overall only visual emotions, affirms the American artist, "can sensitively restore the joy and the pain." Considering 'finally, this exhibition by Judi Harvest, aside from an idea made expressively for Venice, shapes a good look at i unique "grand work", united and formally coherent for the diverse languages used, which deciares explicitly the motives other existence and the reasons for her manifestation.

Enzo Di Martino

back to Press

Last Updated on Wednesday, 18 December 2013 23:04

Hits: 961

KULT MAGAZINE INTERVIEW

KULT MAGAZINE INTERVIEW, November 2006 By Viviana Bucarelli FOR THE BIENNALE, NEW YORK ARTIST JUDI HARVEST PRESENTS A SUGGESTIVE INSTALLATION AT GAFFE FLORIAN

If email is the best invention since the wheel, then the opinion is largely diffused. The day when the computer is blocked. access to the Internet creates problems or you lose your cell phone, the world seems to be collapsing on top of you. But for Judi Harvest, New York painter, sculptor and photographer, selected for her installation in Caffe Florian for The Biennale of Architecture 2006, this is just a starting point for her piece, Venetian Satellite. This is her story from her studio in Chelsea

What incited you to realize an installation in the Gaffe where Goldoni, Lord Byron and Casanova spent entire afternoons? I have been in love with Venice since 1973, when I first studied in Italy and to realize a work in Caffe Florian is a huge honor for me. It is a place where intellectuals met for centuries, where the Siennale was born and where the first daily newspapers were circulated during that era. It has been my dream to create a dialogue between this ambiance and my work which incorporates the idea of contemporary communication while looking towards the future. This work represents homage to both. The forms of contemporary communication are indispensable, but cultivating social rapport and contact between people face to face is a richness I believe we should not lose.

Let's talk about this installation. What is the central theme? The central theme is a large chandelier which is inspired by Telstar, the first communication satellite, "responsible" for direct TV, cell phones, the Internet and a lot of the technology we find indispensable in our lives. It is also a symbol of the push of man towards knowledge and discovery of other worlds and investigation of the cosmos. Also around the Caffe are sculptures of Martians and collages on the walls and tables. The principle elements, the Satellite chandelier and sculptures are realized in Murano glass, an ancient technique that remains intact in our time.

How was this collaboration born with the Biennale? The other artists that proceeded you we recall Gaetano Pesce, Fabrizzio Plessi and Mimmo RoteIla... Every year the Gaffe, contemporaneously with the Biennale of Art and that of Architecture invites an artist to exhibit. Daniela Gaddo Vedaldi and the curator Stefano Stipitivich were familiar with my work, beginning with my sculpture of a Buddha which was exhibited in Venice in 2003 along with my solo shows in Venice. I submitted this idea two years earlier and was selected this year. How was the idea of your Buddha conceived? It was the result of the need to express the state of my soul after September 11. The day before, five years ago. I had just returned to New York from Venice. Days later, I found myself in my studio which was then on Lafayette Street, not far from the World Trade Center, I lived very close to the site and had to leave._ it was really traumatizing. The Buddha was a result of my search for inner peace. Initially I realized small models and in the end, I felt the need to create a sculpture of grand dimensions in glass, an exceptional material which is fragile by nature. What is the genesis of Full Moon, which is still on exhibit at San Marco? The Moon is a very important symbol for me, a friendly presence which you find in any part of the world. It is realized in Murano glass, This process of working involves water, fire and sand, the elements which are the foundation of nature.

Are you fascinated with alchemy? Yes, a lot. Artists, beginning with the origins of history, have always been alchemists in some way, the colors, the powders, the minerals, the magic of chemistry and the diverse states of materials. Murano for me is the most magical place that exists.


back to Press

Last Updated on Wednesday, 18 December 2013 22:57

Hits: 964

© 2017 Judi Harvest

Top Desktop version