Every year, Habitat Gallery in Pontiac (in one of the hippest, most exclusive renovated industrial spaces in the area) hosts an exhibition featuring the work of some of the most 'renowned' glass creators from around the world. In addition to finding the most outrageous work, (and quite honestly some of the most hideous) watching the patrons scramble for their checkbooks provided to be quite amusing. I find it curious to witness individuals paying thousands for work that is 'pretty, shiny, glitzy and glowing', having minimal conceptual validity otherwise. My opinion may be different if I witnessed great craftsmanship or skill. I grew tired of seeing the same Dale Chihuly blown forms, none too complex. I call it eye candy, and for the prices he feels he has the right to command, I am seriously contemplating a change in my media preference. In all facetiousness, of course.

There are exceptions. I found the sculptural work of Herb Babcock to be incredible... well crafted and exemplifying a mastery of materials. There is a defiance of gravity inherent in the work. I was awestruck by the size of the components, the way he is able to manage balancing the massive chunks of steel, rock and cast glass atop of one another at one small, flawless joint. There is a respectable grandeur in the pieces. Beyond a few memorable facets, the memory of the (far too large to take in) show remains one consistent blur in my mind. I do not envision myself returning to get another glance.

The remaining galleries within the complex that adhered to the glass theme seemed to be struggling with the same dilemma. There is a redundancy in the way in which the individuals manipulate the material. I saw the same blown or cast forms throughout; mediocre at best.

Cranbrook's NETWORK gallery (also within the same complex) provides the individual with a meatier, more sophisticated art palate something to chew on. In the current exhibit 'The Clarity of Seduction', students and graduates from Cranbrook's Academy of Art showcase their concentration with an exceptional use of 'non-glass' materials. There is a range of concept and media, from the use of video to rubber. I particularly enjoyed the stereo-lithography pieces featured in the exhibit. The technique amazes me. The sculptural pieces are initiated by formatting a design into a CAD system; a complex piece of equipment renders the work in a three dimensional format. The results are beautiful, elegant and precise. Other highlights were Andrea Rosenberger's monofilament scrim hanging in the front window and Helen Quinn's petroleum 'gel' globules adhered to the interior window. The show seemed to hold ones attention beyond an immediate 'ohh and ahh', and from the attendance and the attention at the opening reception, I would assume several would be in agreement.

         Jet