An immersive and visual experience, this exhibition was the first major Chihuly show to be presented in Canada. Chihuly designed nine installations, which were installed in more than 11,000 square feet of exhibition space including The Sun and Ruby Pineapple Chandelier. The museum purchased Ruby Pineapple Chandelier for its permanent collection and the Montreal community is currently raising funds to keep The Sun.
The presentation at the Virginia Museum of Fine Arts was Chihuly’s third major U.S. museum exhibition in recent years. The James W. and Frances G. McGlothlin Wing provided a dramatic setting for the large scale installations and sculptures. The Red Reeds, installed in the Anne Cobb Gottwald reflecting pool, remain part of the museum’s permanent collection.
Chihuly: Through the Looking Glass was Chihuly’s first major exhibition in Boston and featured twelve site-specific installations. Lime Green Icicle Tower, which graced the Ruth and Carl J. Shapiro Family Courtyard, designed by Foster + Partners, was purchased by the museum and remains a focal point of the Museum’s soaring glass-enclosed atrium.
Chihuly at the de Young was an exploration of the groundbreaking artwork. From the Mille Fiori, a 56-foot garden of glass, to the Saffron Tower, a 30-foot neon sculpture, this exhibition challenged convention with a feast of bold color, dramatic forms and extraordinary composition. It was the first major exhibition in San Francisco and included eleven galleries of new and archival works.
Chihuly’s lifelong fascination for glasshouses developed into a series of exhibitions within botanical settings. His Garden Cycle began in 2001 at Garfield Park Conservatory in Chicago. Chihuly exhibited at the Royal Botanic Gardens, Kew, near London, in 2005, and at more than 10 beautiful gardens in the United States.
“The Jerusalem project started with lunch at my kitchen table with Izzika and Yaffa Gaon. They had visited Venice when I hung Chandeliers over the canals, and we all thought an installation project would be great for Israel. We discussed locations and the Citadel Tower of David Museum presented itself as an extraordinary location for such a project. When Izzika died shortly after, I flew to Jerusalem for his memorial service, and met Shosh Yaniv the museum director, and she gave me a tour of the Citadel. I was overwhelmed with the Citadel and Jerusalem, which I had visited once before in 1962. Shosh and I were determined to find a way to do this project in Izzika's memory.” –Chihuly
More than one million visitors saw Chihuly in the Light of Jerusalem 2000.
Chihuly realized his ambitious project Chihuly Over Venice in 1995 and 1996. He traveled with his team of glassblowers to glass factories in Finland, Ireland, Mexico and Italy. Along with local glass masters, Chihuly used this period as an opportunity to experiment and innovate creating a new vocabulary and forms. In September 1996, the Chandeliers from the international project were installed at 15 locations around Venice.
The Chihuly Sanctuary was composed to offer a place of respite and reflection for patients receiving treatment for cancer and their loved ones. This serene environment, called “absolutely breathtaking” by University of Nebraska Medical Center (UNMC) Chancellor Jeffrey P. Gold, serves as the cornerstone of the Fred & Pamela Buffet Cancer Center’s Healing Arts Program. Chihuly Sanctuary features 10 site-specific art installations and is located within the new 10-story Cancer Center building designed in the form of a Macchia, one of Chihuly’s signature series.
In June of 2015, Chihuly and his team worked with glassblowers at the Toyama City Institute of Glass Art to create Chihuly’s Niijima Floats. The work produced during this important glassblowing session at the Toyama City Institute of Glass Art was incorporated into the Glass Garden at the Toyama Glass Art Museum in Japan. Other artworks on view include Chandeliers, a Mille Fiori platform and a Persian Ceiling.
Opened May 21, 2012, Chihuly Garden and Glass provides a look at the inspiration and influences that inform the career of the artist and brings together many of the elements of his work, including Drawings, signature glass series, large architectural installations and his personal collections.
In 2002, the Oklahoma City Museum of Art inaugurated the Donald W. Reynolds Visual Arts Center with an exhibition by Chihuly. With public support, the museum purchased the exhibition in June of 2004 and commissioned the 55-foot Eleanor Blake Kirkpatrick Memorial Tower for the atrium.
The Chihuly Collection at the Morean Arts Center is a permanent collection featuring 18 installations spanning several of the artist’s most popular series. Highlights include the Ruby Red Icicle Chandelier, created specifically for this collection, and the Mille Fiori. This exhibition marks the first time Chihuly’s artwork has been displayed in a facility designed specifically to complement the artist’s immersive installations.
The Franklin Park Conservatory was the second botanical garden in the world to host an exhibition by Chihuly in 2003. A non-profit group, Friends of the Conservatory, worked together to purchase most of the pieces in the exhibition as a permanent collection for the Conservatory.
The Fine Arts Center’s Board of Trustees purchased a collection of artwork for the museum’s permanent collection after an exhibition of Chihuly’s work in 2005. These pieces were first presented to the public in an exhibition at the Fine Arts Center in 2007. The collection is on view in the Lane Family Gallery and includes the Orange Hornet Chandelier, a Macchia Forest and Persian Wall installations.
In 1987, Chihuly donated a permanent collection to the Tacoma Art Museum in memory of his father and brother. In 2006, Chihuly gifted and dedicated Ma Chihuly’s Floats, in honor of his mother, Viola, who had recently passed. Ma Chihuly’s Floats includes thirty-nine Niijima Floats placed in the museum’s inner courtyard.