Glass Sheds Light On the New Year!

In honor of the regulations that phase out incandescent light bulbs starting in 2014, photographer Pete & Alison Duvall had a cast glass light fixture for their home in Silver Spring, MD. 
In 2007, President George W. Bush signed into law an energy bill that placed stringent efficiency requirements on ordinary incandescent bulbs in an attempt to have them completely eliminated by 2014. The law phased out 100-watt and 75-watt incandescent bulbs in 2013.

As artists that depend on light and its transmission, the photographers worked with artist Erwin Timmers to get every kind of light bulb they could referenced in their ceiling mounted glass artwork. 

Cast glass lightbulbs


Inspired by a commissioned ceiling mounted artwork that Michael Janis did in 2007 for a Washington, DC collector. The couple that commissioned the work had limited space in their apartment, and felt that the creating an artwork piece mounted on the that diffused light would be a crossover of art and function. In the earlier suspended artwork panel, faces look down from a textured surface. 
Pete Duvall noted that the light source for the new artwork piece is from energy efficient LED bulbs.

Original cast glass panel by Michael Janis – Photo by Pete Duvall.

Intowner Reviews Tate’s Sleepwalker @ American University Museum

The July issue of The InTowner features review by Tony Harvey

The InTowner 

Review of Tim Tate / Pete Duvall / Richard Schellenberg collaborative exhibition at American University Museum Pg 8, July, 2013

by Anthony Harvey

Washington’s studio glass art star Tim Tate continues to astonish museum goers with the quality and beauty of his innovative and increasingly complex glass art. Tate is now adding another level of challenge to his work through his recent collaborations with video and conceptual artists and photographers Pete Duvall and Richard Schellenberg. The rich results of this collaboration are on display in a current exhibition at the Katzen Arts Center.

Entitled “TimTate: Sleepwalker,” the show opens with Tate’s knockout 2012 Dada’s (or the Astronaut’s) Dream , a bouquet of electronic, video facial body-part flowers — primarily two inquiring eyes — irregularly arranged on a small steel post. He then moves immediately into his collaborative works with Duval and Schellenberg.

First up is a triptych of images titled: “I Was Not In My Right Mind”, which presents three characters performing hypothetical pieces that reconstruct scenes from Carol Reed’s famous film noir melodrama, The Third Man. Set in allied occupied Vienna at the end of World War II, Tate and a second actor play the parts of Harry Lime (Orson Wells in the film) and Holly Martins (originally Joseph Cotton). The film’s romantic interest, Anna Schmidt, played by Alida Valli, is the mystery presence. Wells and Cotton as marionettes are cleverly portrayed in Tate’s triptych as a pair of song and dance men, both  performing with canes — a riff no doubt on the running through dark streets and underground sewers that both do in the original film — with Schmidt, who has lost her lover Lime through the action of Martins, serving as the character in the triptych who plays the role of silence.

Tate’s “rosebud” is a thrown white ball first bouncing from right to left in the third panel, which uses the iconic Ferris wheel image of the film’s Viennese amusement park for its background, then through the second panel with its concluding film sequence of Schmidt walking down a tree-lined alleé, and finally to the first of the three triptych panels with our song and dance pair of Martins and Lime, whose jerky, puppets-on-a-string body movements are hilarious. The second panel also operates independently of the first and third, with Tate (as Lime) holding and intently viewing a pocket watch, seeming to time Schmidt’s long walk — or perhaps concerned about the timing of their respective flights from war-torn Vienna. As puzzling as it is engaging!

Black and white stills of objects in the triptych (and there must be a black rotary dial telephone somewhere in the triptych background’s flowing narrative) together with a pair of video boxes containing works called Portal of Light and Portal of Darkness provide further supporting context to the marvelous title work of the show —Sleepwalker. 

Joseph Cornell immediately came to mind as I began absorbing the lush visuals of this work. Cornell, an influential early filmmaker as well as the creator of extraordinary aesthetically infused art boxes, once asserted that until we are able to record our dreams, motion picture film will have to suffice. Tate would add video and electronic to Cornell’s medium, and Sleepwalker is a mesmerizing example of what can be artistically accomplished with existing media. Comprising a large rectangular screen on which a video of an attractive young woman with a glorious head of flowing hair is shown shifting her head from side to side as she sleeps and no doubt dreams with the physicality of a sleepwalker. Flanking her video are six smaller, oval screens, three hanging on either of the two side walls, each of which seems to play across the room against its opposite number. The farthest two appear to deal with gender — a somewhat abstract frontal view of a female form; across the way is a rear view of a more realistically depicted male nude. The middle two posit an amusement park’s Ferris wheel — urban pleasure — against the innocence of a foliage covered suburban house while the closest pair juxtapose a hand that is writing and then erasing on a blackboard the words, “I see how far I’ve wandered” with a mouth that is softly speaking into a rotary dial telephone receiver. Equally soft orchestral music lulls one into a relaxed state, music with which to fall asleep and yet to dream!

Two other videos complete the collaborative portion of Tate’s photographic/performance/electronic show. The first is of a boy’s dream of flying on Superman’s shoulders until the boy falls dead on the floor and Superman discovers that it is the boy’s energy and drive that allows him to fly — and the subsequent consequences of the boy describing his dream to his mother. The second involves a young woman throwing dice — perhaps a play on Mallarme’s famous 19th century poem “A Throw of the Dice Never Will Abolish Chance”. In this video, the number of dice is eventually increased to that of a Niagara of falling dice — to apparently no avail.My last encounter in the show took me to Tate’s glass and mixed-media work, specifically to a viewing of two of his terrific glass reliquaries. Both dramatically advance Tate’s multi-media creativity by incorporating miniature TV monitors playing poignant video narratives as the centerpieces of each of the reliquaries’ glass enclosed found, cast, and sculpted objects. The first of these, Dreams of a Lost Love Found, is especially engaging, with its character of a nude, sleeping boy depicted with a second figure — an apparition — rising from his bed and walking into the background only to return to the boy in the bed as a nude woman.

For the full newspaper pdf article – click HERE starting Pg 8.

photo by Pete Duvall

Tim Tate: Sleepwalkercontinues through August 11th.

American University Museum/Katzen Center

4400 Mass. Ave.

Tue.-Sun., 11am-4pm; Mon., closed

202-885-1300 •

WAKEUP! "Sleepwalker" opens at Katzen Arts Center

This Saturday at the Katzen Arts Center is the official opening of the show “Sleepwalker” featuring work and collaborations by Tim Tate, Richard A. Schellenberg and Pete Duvall. 

This exhibit is the result of many years in the making. The show is made up mostly of video components (featuring spectacular collaborations with Pete Duvall and Richard Schellenberg), with a few integrated sculptural objects. Come join in a walk through the mind of a Sleepwalker. Opening is Saturday evening, June 15th, from 6 to 9pm.

Tim Tate: Sleepwalker

The American University Museum at the Katzen Arts Center,

June 15 – August 11, 2013

4400 Massachusetts Ave,  NW

Washington, DC 20016 

Tim Tate at Katzen Arts Center

Still from “I Was Not In My Right Mind”

Tim Tate: Sleepwalker

Video show at American University’s Katzen Arts Center – June 15 to Aug 15, 2013 featuring collaborations with Pete Duvall and  Richard A. Schellenberg.

Tim Tate is Washington’s best known contemporary glass artist, but his latest work has moved toward video installations. Rich in symbol, metaphor, movement, and mystery, videos, like dreams, enable us to participate in another reality and, through that participation, to be transformed. Hidden within is the latent content which will give the viewer an understanding of what is happening in the mind of a dreamer. For the Katzen project, Tim is working with collaborators Pete Duvall and Richard Schellenberg (both of whom he met through Artomatic).

Pete Duvall

Additional Events: Gallery Talk: Sleep Walker with artist Tim Tate August 10, 4 pm. 
The American University Museum is open from Tuesday-Sunday, 11 a.m. – 4 p.m. The Museum will be closed on July 4 in honor of Independence Day.

Richard Schellenberg

American University Museum Admission is free 202-885-1300 
AU Katzen Arts Center
4400 Massachusetts Ave NW
Washington, DC 20016

Art Extravaganza Artomatic 2012 Opens!


Artomatic is a month-long art festival in the Washington, DC area that is “by artists, for everyone.” It is an unjuried arts show that  features 10 floors of art by more than 1,000 artists. The artists have taken over a building in Crystal City (right at the Crystal City metro stop – yellow line). The diversity of artwork and performances attract the broadest range of people, providing a forum to come together and illustrate the energy, vitality and strength of the arts in the community.

DC area artists take over 10 floors of Arlington, VA office building 
No matter what kind of creative events you like, you will find something for you at Artomatic – visual arts, music, performance, film, fashion, and more. There will be workshops, tours, art seminars and other events held there all month long. 

Artists have been working to transform the mundane into into an arts space that is choc-a-bloc with treats that require discovery.

No matter what kind of creative events you like, you will find something for you at Artomatic. Sean Hennessy’s mixed media artwork combines glass, concrete and LED  lighting. Sean is on Level 9
From the chaos of art – a moment of sublime.
Tim Tate and Pete Duvall’s video installation on  Level 10.
This (free to the public) show mandates that you visit more than once – there is simply too much to see and do in one visit. 

 Artomatic 2012

May 18 – June 23

1851 S Bell St.

Arlington, VA 22202

Duvall & Tate At Taubman Museum

>The Waking Dreams of Magdalena Moliere

Friday, June 3, 2011Sunday, August 14, 2011

For years, Tim Tate has established himself as a glass artist, and one whose work seems to draw more from tattoo art and the science lab than from the history of blown and cast objects. Over the last three years, Tim has attracted critical attention for his group of sculptures that look incorporate the new media – specifically video. His intimate glass reliquaries would each contain a tiny video screen with a short looped film segment. Lately, these films have become for Tim works in their own right, with exhibitions at the prestigious Art Basel art fair in Switzerland, as well as in Art Basel Miami.
For the Taubman Museum project, Tim collaborated with photographer Pete Duvall to create his most ambitious video work to date. Six projections will include pieces continuing his interest in dreamers and sleepwalkers.

Taubman Museum

110 Salem Avenue SE
Roanoke, VA 24011

The Waking Dreams of Magdalena Moliere

Friday, June 3 thru Sunday, August 14, 2011

American Craft on Tim Tate & Marc Petrovic Collaborations


Sins Under Glass
The April/May issue of American Craft magazine has an 8 page review of Tim Tate & Marc Petrovic‘s collaborative work.

Tim Tate & Marc Petrovic
photo by Pete Duvall/Anything Photographic

The article, written by American Craft‘s Senior Editor, Julie Hanus; with photos by Pete Duvall of Anything Photographic, talks of “Connectivity and collaboration” and the ways they are molding our lives. The author profiles in-depth their two recent joint works
Apothecarium Moderne and Seven Deadly Sins, and how, within the two works, Marc and Tim are model­­ing one vision of the interconnected future of art: genuine collaboration.

Above: Two works from the Seven Deadly Sins series.

Shattered found pottery lends sculptural interest to
Wrath. For the finial, Marc made a tiny maple rolling pin on a lathe. Visually, I like the look of Envy a lot,” says Marc. They designed the piece around the video concept: a creepy eye, peering through a keyhole. Each piece is loaded with detail. The green finial that sits atop Envy, for example, is a cast-glass likeness of Michael Janis, a tongue-in-cheek poke at an artist with whom Tim shares workspace at the Washington Glass School (…or is it?). The tiny gate is Marc’s handiwork – a rare opportunity to exercise a long-ago minor in metals, he says. His wife, artist Kari Russell-Pool (with whom Marc also has collaborated), lent a hand with the grass.

Above: “Vanity” from the Seven Deadly Sins series
blown and cast glass, camera and audio soundwave electronics, found objects

In Vanity, a small video screen displays the image of all who approach. Peek into this technological mirror and a recorded voice gushes, “You look wonderful. Have you lost weight? You look younger every time I see you.”
Drawing in viewers to interact with the work is, arguably, the pièce de résistance of their collaborative process – the sharing of a work that transforms everyone who sees it into an active participant.

For the entire article – click HERE (or check out your newsstands!)
Email for Pete Duvall:

Photo Emulsion Transfer Class Photos


Alison & Pete Duvall’s class in polaroid – type emulsion transfer process was a big hit in the fall class sessions. The workshop on photographic imagery transfer had everyone in the class integrating their imagery onto glass – here are some photos of the class.

Pete & Alison’s daughter Zoe was the teaching assistant – shown here manipulating the emulsion from the backing.
All photos by Anything Photographic.

This class is part of the winter session as well – click HERE for more info.