Ron Desmett
resume
EDUCATION
1979
MFA, Sculpture, Carnegie Mellon University, Pittsburgh, PA
1971
BS, Art Education, University of Akron, Ohio
EXHIBITIONS
2012
2012
Seismic Shift, New Work by Ron Desmett, Kim Foster Gallery, New York City,
Transitions in Black and White, Fowler-Kellogg Art Center, Chautauqua ,NY
2011-12 Curious Harmony, Morgan Contemporary Glass Gallery, Pittsburgh, PA
Cycles and Symbols: Nature in Glass, Museum of American Glass,
WheatonArts, Millville, New Jersey
2010
A Decade and Change, Borelli Edwards Gallery, Pittsburgh, PA
2009
A Matter of Form, Cohen Gallery, Alfred, NY
Perestroika,(n) Restructuring: The Glass Sculpture of Kathleen Mulcahy, Ron
Desmett and Martin Prekop, Selby Gallery, Ringling College of Art and Design,
Sarasota, Fl
2008
New Glass Review, Corning Museum International Review, Corning, NY
2007
New Works, West Virginia University, Morgantown WV
Truth/Beauty Chautauqua Center for the Visual Arts, Chautauqua Institution, NY
hpgrp gallery, New York, NY
Project 4. Washington, D.C.
Celebrating Connections: Contemporary Glass by MidAtlantic
Artists, Museum of American Glass, Millville
New Jersey
GLASSIFIED James Gallery, Pittsburgh, PA
GLASSNOST Regina Gouger Miller Gallery, Carnegie Mellon University,
Pittsburgh, PA
2006
Truth/Beauty The Hodge Gallery, Pittsburgh Glass Center, Pittsburgh, PA
Savoir Arts Exhibition Nemacolin Woodlands Resort, Farmington, PA
2005
Well Hung : Chandeliers Revealed, Pittsburgh Glass Center, Pittsburgh, PA
2003
25th Anniversary Exhibition The Glass Gallery, Bethesda, MD
Artists Crossing Lines Pittsburgh Glass Center, Pittsburgh, PA
20/20 American Museum of Glass, Millville, NJ
2001
Artist Image Resource Foreland Street Gallery, Pittsburgh, PA
2000
Westmoreland Museum of Art, Greensburg, PA
1998
Recycling Art History
1999
Mendelson Gallery, Pittsburgh, PA
1997
Kean University, Union, NJ
1996
His+Hers+Ours Associated Artists of Pittsburgh Galleries, Pittsburgh, PA
Pittsburgh Center for the Arts, Pittsburgh, PA
ReVisions The Mansfield Art Center, Mansfield, OH
1995
Rosemont College, Philadelphia, PA
1994
The University of Akron, Akron, OH
1994
Pittsburgh Center for the Arts, Pittsburgh, PA
1993
Five Sculptors Ohio State University, Lima Campus, Lima, OH
1992
Current Trends (award) Huntington Museum of Art, HUNTINGTON, WV
1992
National Glass Invitational Concept Art Gallery, Pittsburgh, Pa
Works on Walls, Huntington Museum of Art, Huntington, WV
1989
The University Museum at Indiana University, Indiana, PA
1988
Spaces, Cleveland, OH
1983
New Glass Review, Corning Museum of Glass, Corning, NY
1981
American Art at Its Best, American Art Incorporated, Atlanta,GA
1979-92 Associated Artists of Pittsburgh, Carnegie Museum of Art, Pittsburgh, PA
AWARDS, GRANTS AND HONORS
2010
Glass Artist in Residence, Tacoma Museum Tacoma, WA
2009
Artist Fellowship, Pennsylvania Council on the Arts
2006
New Hazlett Theater, Allegheny Center, Pittsburgh, PA
AIA Pittsburgh Chapter Honor Award, Pittsburgh, PA
2002-2007 Board of Directors, Founder’s Chair, Pittsburgh Glass Center, Pittsburgh, PA
2001
Artist in Residence, Artist Image Resource, Pittsburgh, PA
1991
Masterworks Fellowship, Creative Glass Center of America, Millville, NJ
1990
Artist Fellowship Pennsylvania Council on the Arts
1988
Associated Artists of Pittsburgh, Annual Exhibition, Jurors’ Award
Carnegie Museum of Art, Pittsburgh, PA
1986
Associated Artists of Pittsburgh, Annual Exhibition, Jurors’ Award
Carnegie Museum of Art, Pittsburgh, PA
1985
Associated Artists of Pittsburgh, Annual Exhibition, Jurors’ Award
Carnegie Museum of Art, Pittsburgh, PA
1983
Artist Fellowship Pennsylvania Council on the Arts
Wabash College Purchase Award, Glass of ‘83
1981
Artist Fellowship Pennsylvania Council on the Arts
Associated Artists of Pittsburgh, Annual Exhibition, Sculpture Award
Carnegie Museum of Art, Pittsburgh, PA
UNIQUE PROFESSIONAL ENDEAVORS
2007 Set Design, Sound of A Voice, Philip Glass Opera, Pittsburgh Opera Theater,
Pittsburgh, PA
1991-01 Co Founder, The Pittsburgh Glass Center, Pittsburgh, PA
1991
Art Director, Public Arts Project, Carnegie, PA
SELECTED COMMISSIONS
2008
Duquesne University, Pittsburgh, PA
American Eagle Headquarters, Pittsburgh, PA
Air Products, Allentown, PA
2002
Public Art, City of Pittsburgh, Troy Hill, PA
2001
Pennsylvania Turnpike Commission Headquarters, Harrisburg, PA
1994
Port Authority Light Rail Transit Station, Pittsburgh, PA
1993
Governors Awards for Excellence, Harrisburg, PA
1991
Penn Center West, Pittsburgh, PA
SELECTED COLLECTIONS
Corning Museum of Glass, Corning, New York
Carnegie Museum of Art, Pittsburgh, PA
American Art Museum, Renwick Gallery, Smithsonian Institution, Washington, DC
Cleveland Museum of Art, Cleveland, OH
Westmoreland Museum of Art, Greensburg, PA
Wabash College, Crawfordsville, IN
University of Pittsburgh, Pittsburgh, PA
Peat Marwick, Pittsburgh, PA
Pittsburgh National Bank, Pittsburgh, PA
PUBLICATIONS
2010
A Decade and Change, Borelli Edwards Gallery, Pittsburgh, PA
Associated Artists of Pittsburgh, 100 Year Anniversary, Carnegie Museum,
Pittsburgh,
PA
2009
Kristina Olson, A Perestroika of Form, Perestroika (n) Restructuring: The Glass
Sculpture of Kathleen
Mulcahy, Ron Desmett and Martin Prekop, Selby
Gallery, Ringling College of Art and Design, Sarasota, Fl
2008
Susanne Frantz Glass Art Society Journal, Pittsburgh, PA
Ron Desmett Making Sense of Place, Glass Art Society Journal
Geoffey W. Melada, Together 24/7, Pittsburgh Magazine, February
Paul Krainak, GLASSNOST Exhibition Catalog Essay, Pittsburgh, PA
2007
Gallery Section, American Craft. June-July
John Altodorfer, Pittsburgh Glass, Carnegie Magazine. Summer
Kristina Olson, Truth/ Beauty Exhibition Review. Sculpture Magazine
Burkhardt Reiter, Opera Theater Deftly Fuses Elements in ‘Sound of Voice’,
Pittsburgh Post-Gazette. April 28
Mary Thomas, Glassnost CMU gallery represents enlightened ideas.
Pittsburgh Post-Gazette, June 27
Kurt Shaw, CMU exhibit brings ‘transparency’ to art. Pittsburgh Tribune
Review, June 17
Ron Todt, Exhibitions look through the ‘glass city’, Buffalo News, April 8
Mark Kanny, Opera Theater mixes eras, cultures in ‘Voice’…. Pittsburgh
Tribune Review. April 28
2006
Kurt Shaw, Glass artists celebrate return to studio. Pittsburgh Tribune-Review,
September 3
Gregory M Knepp, Glass Stations, Pittsburgh City Paper, July 19
Mary Thomas, Dreams are captured under glass in ‘Truth/Beauty….’
Pittsburgh Post-Gazette, May 24
Michael O’Sullivan, A Show Full of Ideas, Washington Post, January 13
2005
Barry Hannegan, Chandeliers Melt into Fresh and Fragile Shapes. December
21,
Best of Exhibitions, Top Ten. Pittsburgh Post Gazette. December 29
Honorable Mention, Best of Year, Pittsburgh Post Gazette, December 29
Mary Thomas, Region’s artists mount an excellent exhibition. Pittsburgh Post
Gazette, May 18
2003
Frantz, Susanne K. 20/20 Vision, Museum of American Glass at Wheaton
Village, NJ
2000
Graham Shearing, The Westmoreland Museum of American Art Launches a
Survey, Feb 20, 2000
Thomas, Mary. Historic, modern glassworks sparkle in show.... April 8
1996
Shearing, Graham. ‘His + Hers + ours’ a treat in a loft. Tribune
Review September
Mary Thomas, Mystery, eye catching images prevail in AAP Gallery
exhibit…. Pittsburgh Post Gazette, September 16
Mary Thomas, Local trio’s exhibit mixes playful, serious…. Pittsburgh Post
Gazette, April 18
1990
Bill Homisak, The Smashing Glass of Mulcahy, Desmett, Greensburg TribuneReview
A Review in Glass Magazine, Urban Glass Quarterly
URBAN GLASS QUARTERLY Summer 2007/ Issue 107 Review by John Drury
Ron Desmett "Lidded Trunk Vessels" hpgrp Gallery New York Feb 7- March 7,
2007
With the material's smooth, shiny surfaces and potential for pure, symmetrical
form, glassmaking can become a quest for perfection. But in Ron Desmett's
recent work it is the imperfection possible with glass that is glorified. Satin-black
finishes highlight lumpy forms and augment every dimple, fold, and crease in
these works, which resemble oversized truffles dragged forth from some dark
recess of the mind. These blown-glass works recall the tortured platters of
legendary ceramicist Peter Voulkos in a way each object is expressively textured
and overtly handled. Desmett's pieces are presented atop nearly identically
colored steel shelves supported by single arched legs. The blemished pitted, and
welded surfaces of the metal supports were well matched to the blown items,
echoing the monochrome glass and connecting the disparate works.In a world of
mass-produced, perfectly reproduced trinkets and objects, pumped out of
factories and informed by historical pastiche, Desmett's "Lidded Trunk Vessels"
are daring in their commitment to defiant singularity.
The expansion and deflation that led to the forms' creation was so evident in the
installation, it seemed almost possible to hear the forms breathing in and out.
Like some sort of misshappen moonshine jug, each form appeared stretched and
deflated like a balloon from last night's party. Desmett flirts with anti-form in these
organic creations, which mock functionality with their nearly useless stumps of
lids and faux handles. Desmett is not the first to work with non-functional vessels
(see the teapots of murrine master Richard Marquis), but here the colorization
couldn't be further from Marquis's extravagant technical processes and
kaleidoscopic color schemes.
Desmett's dark reliquaries speak to Everyman through sculptural forms that are
never crisp. Blown into hollowed cores of rotting tree trunks, these works echo
the process of their manufacture and yet also connect to green concerns and
recycling. In their dull sheen Desmett's forms resemble filthy black snow piles
next to the curb after the sidewalks have been cleared, turned iceberg-hard a
week after falling.
The snow, pocked by rain and etched by the warming sun, remain somehow
beautiful in a transient glacial state. Yet Desmett"s pieces have endured a trial by
fire and might better be compared to cooling lava beds buckling and heaving
forward as they are transformed under the pressure of their own weight.
Great art doesn't need to be pretty. Few would call Bosch's Garden of Earthly
Delights (c. 1504) beautiful in the traditional sense of the word, but few would
deny its status as a masterpiece. It is a breath of fresh air to encounter an artist,
particularly one who creates in glass, who marches to his own drummer. Ron
Desmett is certainly such an artist.