F R O M T H E S T A C K S
D a n D a i l e y :
D i r e c t i o n s
i n G l a s s
STO R Y BY
C h ristin e K a m in sk y
In an in te r v ie w th at a p p e ared in th e F eb ru -
a ry / M a rc h 1981 issu e o f A m e ric a n C ra ft,
co n d u c te d b y R o n a ld J. O n o ra to , an assis-
tan t p ro fe sso r o f art at th e U n iv e r s ity o f
R h o d e Isla n d , K in g s to n , g la ss a rtist D a n
D a ile y d eclared , “ I see m y w o r k as a kin d
o f g e n re , th at is, I react to th e w o r ld arou n d
m e, th e w o r ld th a t I s e e .” S in c e th a t tim e ,
D a ile y , w h o liv e s and w o r k s in K e n sin g to n ,
N H, has exp ressed his u n iq u e, o fte n p layfu l
v ie w s o f th e u n iv e rse th ro u g h eleg a n t v e s -
sels, fig u ra tiv e scu lp tu re , lig h tin g fix tu re s
and a v a r ie ty o f co m m issio n s.
A c t iv e in th e stu d io g la ss m o v e m e n t
fro m its e a rly y e a rs , D a ile y fo u n d e d th e
glass p ro g ram at th e M a ssa ch u setts C o lle g e
o f A r t, w h e r e h e ta u g h t fo r 35 y e a rs w h ile
sim u lta n e o u sly w o r k in g as an a rtist/ d e -
sig n er fo r several glass co m p an ies, in clu d in g
C rista lle rie D au n t, in F ra n ce , and S teu b en
G lass. H e r e c e n tly tran sitio n e d in to a n e w
relatio n sh ip w ith M a ssA rt fo r a series titled
M a te ria lism , in c o lla b o ra tio n w ith J o e
R a p o n e , a p ro fe sso r o f d esign at th e U n iv e r -
sity o f th e A r ts in P h ilad elp h ia. In fo u r p re -
se n ta tio n s a y e a r, w ith v id e o in te r v ie w s b y
R a p o n e , th e series lo o k s at six c o n te m p o -
ra ry artists id e n tifie d w ith th e stu d io c ra ft
m o v e m e n t—G a r r y K n o x B e n n e tt, W e n -
d ell C a s tle , D a le C h ih u ly , W illia m D a le y ,
A lb e r t P a le y and P a tti W a ra sh in a .
D a ile y c o n tin u e s h is co m m issio n e d
w o r k and re c e n tly c o m p le te d a c h an d elier
fo r a p riv a te y a c h t in S e a ttle .
A m o n g h is m a n y a w a rd s, D a ile y w a s
e le cte d a F e llo w o f th e A m e rican C ra ft
C o u n cil in 19 9 8 , h o n o re d in 2000 w ith the
L ib e n sk y A w a r d and in 2001 w ith th e M a s-
ters o f th e M e d iu m A w a r d b y th e Jam es
R e n w ic k A llia n c e . S h o w n in o v e r 300 e x h i-
b itio n s , in clu d in g a 19 8 7 re tr o s p e c tiv e
at th e R e n w ic k G a lle ry , h is w o r k is in m o re
th an 50 m u seu m and p u b lic c o lle ctio n s in -
te rn atio n a lly , as w e ll as sh o w n b y , am on g
o th e rs, S c o tt Jacob son G a lle ry , N e w Y o r k ,
H o lsten G a lle ries, S an ta F e , n m , and Im ago
G a lle rie s, P alm D e se rt, CA, w h e re several
o f his p ie ce s are n o w on v ie w . “ I co n sid er
D an to b e on e o f a h an d fu l o f co n te m p o ra ry
A m e ric a n g la ss a rtists w h o s e w o r k has
p u sh e d th e lim its o f w h a t is p o ssib le in h o t
g la ss,” n o tes K e n n H o lste n . “ H e has im -
p a cted th e en tire lan d scap e o f glass a rt.” +
T o v ie w th e e n tire A m e ric a n C ra ft a rticle,
v isit us at a m e rica n cra ftm a g .o rg .
“I see m y w ork as a k in d o f gen re
. ..
I read} to tloe w o rld arou n d me,
the w o rld th a t I see.
”—D a n D a iley
Located in Suite 200 of
1224 Marshall Street
NE
in Minneapolis is the
American Craft Council
library, one of the largest
collections in this country
of craft, art and design
books documenting the
studio craft movement
from the 1940s to the
present. The over 14,000
volumes include the
Council’s 68-year pub-
lishing history—all past
issues of
Craft Horizons
and American Craft.
We’d like to share some
of this amazing past with
you each issue as we dig
through the stacks.
072 amcrican craft oct/novio
