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rivalry developed with Robert Sowers, the dean of
American stained glass criticism, who argued that stained glass, from its origins, was first and foremost an architectural art. With articles like âStained Glass as a Non-Architectural Art,â and âGlass as a Free Art Form,â Kehlmann questioned this assumption. He focused attention on non-architectural stained glass being done by artists like himself who designed and fabricated independent panels during the 1970s and 1980s: Sanford Barnett, Casey Lewis,
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to the surreal atmosphere. A crossed-out triangle in one of the works âappears a casual enough gesture, but the assumption of nearly a thousand years of stained glass, that the nature of line is to delineate shape, is challenged by that childlike scrawl.â These
Compositions âquietly demolished more than a few of the restrictive preconceptions surrounding his media.â
315:. Other works of the â90s were inspired by the northern California coast with light from ripples and bubbles in the hand-blown glass evoking the surface of water, tide pools, and underwater shadows. They are âcharacterized by the sensual, measured quality of tender, vulnerable drawn lines in an uncertain planar space.â
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Kehlmann's mid-career sandblasted works encourage the viewer to enter the depth of the works together with the light. Within layered pieces of glass, or spaces between the glass and underlying drawing, lines and shadows mix with light. The inner-spaces create changing kinetic pattern and movement as
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His leaded âCompositionsâ are more akin to paintings or drawings than to traditional stained glass. They have been described as narratives at once âspontaneous, lyric, grotesque and humorous.â Biomorphic forms, quirky lines and childlike scribbles, at times derived from his son's crayon drawings, add
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After traveling in Japan and teaching at the Miasa Bunka center in Nagano City Japan in 1985, the influence of
Japanese esthetics and calligraphy emerges prominently in Kehlmann's work. His pieces of the 1990s and beyond have been called âquiet abstract meditationsâ making references to the Bible,
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In the mid-1980s
Kehlmann began using brass and copper etching on the surface of the glass, and charcoal drawings on board behind the glass, to express âfree-associative states of mind.â During a 1984 interview, the late art critic Clement Greenberg singled out Kehlmann's work as taking the âfirst
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In the late â70s
Kehlmann began using sandblast on sheets of hand-blown glass to make ânuanced monochromesâ which glow with inner-light trapped in their surfaces. Perhaps in response to his brother's untimely death in 1982, the exuberance of the early leaded compositions gives way to introspection
253:
After receiving his master's degree in
English Literature, Kehlmann traveled in Europe (1969â70) where he developed an interest in art. He used the tools of literary criticism to help his understanding: âFrom the start I felt there was little difference in the experience of reading a poem and that
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Part of a group of
California artists making leaded glass panels in the early 1970s, Kehlmann emerged as a key figure in the development of contemporary American stained glass. Formally trained in literary criticism he was self-taught as an artist. His leaded works, called âCompositions,â together
146:
is an artist and writer. He was an early spokesperson for evaluating glass art in the context of contemporary painting and sculpture. His glasswork has been exhibited worldwide and is the focus of numerous commentaries. Kehlmann's work can be found in museums and private collections in the United
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and larger abstract glass forms assume a graphic role. They cast shadows that lead the eye of the viewer back and forth between the glass surface and the drawing behind it. The expressive mixed-media collages, containing autobiographical snippets (museum and opera ticket stubs, entries from his
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my windows. What lies behind the compositions, aside from a source of light, has no relevance to my design.â Kehlmann rejected the medium's seductive colors and
Tiffany-like approach âplaguedâ by âsmall multi-colored pieces of glass,â insisting that the artist has âgreater controlâ with fewer
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As author and curator, Kehlmann became the unofficial theoretician for innovative, non-traditional work in stained glass. He praised
American artists who were forging technical and esthetic innovation while exploring glass as an âautonomousâ (as distinct from architectural) medium. A friendly
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and colored glass. Glass forms protrude from the background surface, whimsically frolicking with and redefining underlying blocks of color and lead scribbles. Explaining the absence of transparent glass in these works, he wrote: âI donât want people looking
172:, have been described as symbolic, subjective narratives, rendered in a âpainterly tradition.â As an art critic he was a theorist and spokesperson for the contemporary glass movement in the later part of the 20th century.
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fellowships for his work as both an artist and critic. He has written two books about glass, and articles and exhibition reviews by him have appeared in periodicals in the U.S. and abroad. Kehlmann has taught at the
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Kehlmann's âZen graffiti or
Americanized calligraphy,â a mix of bold charcoal gestures and anxious strokes, at times combines with broad areas of gold leaf in the style of the Japanese
525:. Kehlmann's interviews with the artists, which took place shortly before LibenskĂ˝'s death, movingly refer to works cast at the time the artist discovered he had terminal cancer.
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presents an overview of the medium focusing on different 20th Century trends, how they influenced one another, and how they were influenced by other media.
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1983: âSculptural Glass,â Tucson Museum of Art, Tucson, Arizona. âStations of the Crossâ a series of fourteen sandblasted glass panels exhibited (catalog).
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In his mosaics, as in the sandblasted works, Kehlmann superimposes glass over an underlying drawing. Irregular spaces between individually hand-cut
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In later writings Kehlmann follows in the footsteps of artist-critic Robert Sowers by developing a new contemporary stained glass aesthetic.
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1996: âRobert Kehlmann, Painting with Glass: A Retrospective,â Hearst Art Gallery, Saint Mary's College of California, Moraga, CA. (catalog).
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States, Europe and Asia. He has written books, articles, and exhibition reviews for publications in the U.S. and abroad. In 2014 the
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Robert Kehlmann, âStations of the Cross I: Christ Condemnedâ (1995), Saint Mary's College of California, Moraga, CA.
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Robert Kehlmann, âStations of the Cross I: Christ Condemnedâ (1995), Saint Mary's College of California, Moraga, CA.
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in 1997. Kehlmann has lived and worked in Berkeley California since 1963. His wife, Diana Tosto Kehlmann, is a
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Notes on Stained Glass Compositions, 26 February-28 March 1976, Richmond Art Center, Richmond, California.
532:, in 1981 Kehlmann founded a well-respected critical and technical journal that continues in publication.
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Robert Kehlmann, "Berkeley Venus" (1984), Musèe des Arts Decoratifs de la Ville de Lausanne, Switzerland.
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practitioner and a homeopath. Their son, Ephraim, is a digital media producer living in New York City.
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Robert Kehlmann, âComposition XXVIIIâ (1976), Museum fĂźr ZeitgenĂśssische Glasmalerei, Langen, Germany.
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Robert Kehlmann, âComposition XXVIIIâ (1976), Museum fĂźr ZeitgenĂśssische Glasmalerei, Langen, Germany.
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1111:, Rakow Research Library, The Corning Museum of Glass, Corning, NY. (Retrieved 24 January 2019)
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father's address cards, fragments of notated travel maps, etc.) are his most personal works.
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1985: âRobert Kehlmann, Neue Glasmalerei,â Galerie M, Kassel and Galerie L, Hamburg, Germany.
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1978: âRobert Kehlmann: Lead and Glass Drawings,â William Sawyer Gallery, San Francisco, CA.
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Robert Kehlmann, "Stations of the Cross XIV: Entombment" (1976), Corning Museum of Glass.
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1986: âRobert Kehlmann: New Works with Glass,â William Sawyer Gallery, San Francisco, CA.
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Robert Kehlmann, "Berlin Triptych: Checkpoint Charlie" (2003), Kehlmann Studio Archive.
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Robert Kehlmann, "Millennium ByĹbu" (1994), Lincoln Square Residential Lobby, New York.
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Robert Kehlmann, "Millennium ByĹbu" preliminary design (1992), Kehlmann Studio Archive.
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1993: âRobert Kehlmann: Drawings with Glass,â Dorothy Weiss Gallery, San Francisco, CA.
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1976: âRobert Kehlmann: Stained Glass Compositions,â Richmond Art Center, Richmond CA.
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Shawn Waggoner, âThe Content of Creation: The Work and Writings of Robert Kehlmann,â
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1982: âWorld Glass Now â82,â Hokkaido Museum of Modern Art, Sapporo, Japan (catalog)
1016:(catalog), The Museum of Contemporary Crafts of the American Crafts Council (1978).
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Robert Kehlmann, "Palais Royal V: Stage 1" (1982), Hokkaido Museum, Sapporo, Japan.
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Robert Kehlmann, "Composition XXXVIII" (1977), Museum of Arts and Design, New York.
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1982: âRobert Kehlmann: Works on Glass,â William Sawyer Gallery, San Francisco, CA.
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Robert Kehlmann, "Millennium ByĹbu IIâ (2000), Four Seasons Hotel, San Francisco.
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Robert Kehlmann, "Millennium ByĹbu IIâ (2000), Four Seasons Hotel, San Francisco.
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Robert Kehlmann, "Drake's Estero I" (1991), Museo del Vidria, Monterrey, Mexico.
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Robert Kehlmann, "Drake's Estero I" (1991), Museo del Vidria, Monterrey, Mexico.
936:, (1996) Hearst Art Gallery, Saint Maryâs College of California, Moraga, p.23.
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Robert Kehlmann, "Palimpsest III" (1992), Private Collection, Walnut Creek, CA.
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Robert Kehlmann, "Palimpsest III" (1992), Private Collection, Walnut Creek, CA.
978:, (1996) Hearst Art Gallery, Saint Maryâs College of California, Moraga, p.7.
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1978: âNew Stained Glass,â Museum of Contemporary Crafts, New York (catalog).
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Janet Koplos, âMoraga, Calif.: Robert Kehlmann at the Hearst Art Gallery,â
833:, (1996) Hearst Art Gallery, Saint Maryâs College of California, Moraga.
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Cate Gable, âIn Pursuit of Light: The Zen Graffiti of Robert Kehlmann,â
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The Inner Light: Sculpture by Stanislav LibenskĂ˝ and Jaroslava BrychtovĂĄ
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The Inner Light: Sculpture by Stanislav LibenskĂ˝ and Jaroslava BrychtovĂĄ
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Robert Kehlmann, "Pythagoras' Lament" (1992), Kehlmann Studio Archive.
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Robert Kehlmann, "Siren" (1987), Private Collection, Forest Hills, NY.
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Robert Kehlmann, âQuartetâ (1979) Private Collection, San Francisco.
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Robert Kehlmann, "Composition XXXI" (1976), Corning Museum of Glass.
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Robert Kehlmann, "Composition XXIX" (1976), Corning Museum of Glass.
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1988, 1990: âRobert Kehlmann,â Anne OâBrien Gallery, Washington, DC.
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Robert Kehlmann, âQuartetâ (1979) Private Collection, San Francisco.
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Robert Kehlmann, "Fort Wayne" (1992), Oakland Museum of California.
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1978 Art Critic's Fellowship Grant, National Endowment for the Arts
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Robert Kehlmann, "Family History" (2008), Kehlmann Studio Archive.
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1979: âNew Glass,â Corning Museum of Glass, Corning, NY (catalog).
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1977 Craftsmen's Fellowship Grant, National Endowment for the Arts
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1966 M.A., University of California Berkeley (English Literature)
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Lincoln Square Residential Lobby (111 W. 67th St.), New York City
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stepsâ toward âmajor artâ in âtwo-dimensional, pictorialâ glass.
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Robert Kehlmann, "Composition 55" (1979), Toledo Museum of Art.
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SĂźssmuth-Mitarbeiter-Stiftung Glas-Museum, Immenhausen, Germany
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Kehlmann's early âCompositionsâ are made with traditional lead
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Diana Loercher, âStained Glassânot for WindowsâNew Art Form,â
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Susanne K. Frantz, âRobert Kehlmann: Painting with Glass,â in
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MusĂŠe des Arts DĂŠcoratifs de la Ville de Lausanne, Switzerland
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Bank of America World Headquarters, San Francisco, California
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Buddhism, the natural landscape and Japanese calligraphy.
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110:, dual language text, Kyoto Shoin Ltd., Kyoto, Japan, 1992
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Robert Kehlmann, "Piano" (1994), Corning Museum of Glass.
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Robert Kehlmann, "Piano" (1994), Corning Museum of Glass.
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Matthew Kangas, âRobert Kehlmann: Aspects of Meaning,â
807:, Hokkaido Museum of Modern Art, Sapporo, Japan, p. 51.
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Johannes Schreiter, âGlasbilder von Robert Kehlmann,â
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International Alcorcon Museo dei Vidreo, Madrid, Spain
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Robert Kehlmann: Painting with Glass, A Retrospective
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Robert Kehlmann: Painting with Glass, A Retrospective
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Casey Lewis, âRobert Kehlmann: Richmond Art Center,â
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Lindsay Stamm Shapiro, âAmerican Stained Glass Now,â
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Robert Kehlmann: Painting with Glass, A Retrospective
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Rakow Research Library of The Corning Museum of Glass
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1994 Honorary Lifetime Membership, Glass Art Society
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1963 B.A., Antioch College, Ohio (English Literature)
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393:Leigh Yawkey Woodson Art Museum, Wausau, Wisconsin
151:acquired Kehlmann's studio and research archives.
509:Twentieth Century Stained Glass: a New Definition
212:. He has served on the board of directors of the
108:Twentieth Century Stained Glass: A New Definition
1125:American stained glass artists and manufacturers
116:, University of Washington Press, Seattle, 2002
932:William Warmus, âThe Stations of the Crossâ in
521:, analyzes the artistsâ work in the context of
794:, The Corning Museum of Glass, 1997, pp.34-35.
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390:International Glass Museum, Ebeltoft, Denmark
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504:, Richard Posner and Narcissus Quagliata.
210:Stanislav LibenskĂ˝ and Jaroslava BrychtovĂĄ
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958:âAn Interview with Clement Greenberg,
403:Museum fĂźr ZeitgenĂśssische Glasmalerei
417:Pilchuck School, Stanwood, Washington
362:Four Seasons Hotel, San Francisco, CA
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991:, Osaka, Japan (Vol. 1, No.7, Fall).
1031:Stained Glass, An Architectural Art
408:Museum of Arts and Design, New York
1033:, Universe Books, Inc. N.Y., 1965.
267:colors and fewer pieces of glass.
231:Berkeley Historical Plaque Project
227:Landmarkâs Preservation Commission
216:(1980â84, 1989â92) and edited the
168:with later mixed media pieces and
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1081:Slavic and East European Journal
420:Saint Mary's College, Moraga, CA
225:A former Chairman of Berkeley's
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424:Smithsonian American Art Museum
177:National Endowment for the Arts
987:âInterview: Robert Kehlmann,â
186:California College of the Arts
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1140:American contemporary artists
376:Hokkaido Museum of Modern Art
206:Rhode Island School of Design
1130:American mixed-media artists
816:Grace Glueck, âArt People,â
229:(1997-1999), he founded the
384:, Huntington, West Virginia
254:of looking at a painting.â
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1109:Robert Kehlmann Collection
1093:Glass Art Society Journal,
198:Victoria and Albert Museum
16:American artist and writer
1070:, January/February, 1993.
1002:Christian Science Monitor
960:Glass Art Society Journal
530:Glass Art Society Journal
340:Select Public Collections
294:The Stations of the Cross
219:Glass Art Society Journal
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905:, Vol.4, Number 1, 1976.
382:Huntington Museum of Art
202:Honolulu Academy of Arts
1135:Artists from California
803:David Revere McFadden,
357:Corning Museum of Glass
194:Corning Museum of Glass
1150:Antioch College alumni
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241:Leaded Glass Drawings
182:Pilchuck Glass School
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949:, No.64, Fall, 1966.
923:, Sept. 1996, p.117.
820:, February 10, 1978.
433:Toledo Museum of Art
367:Centro de Arte Vitro
1079:Deborah Garfinkle,
877:, 3/81, pp. 103-5).
805:World Glass Now â91
792:New Glass Review 18
790:Susanne K. Frantz,
440:Notable exhibitions
369:, Monterrey, Mexico
359:, Corning, New York
67:Artist, Art Critic
46:Brooklyn, New York
1043:Glass Art Magazine
818:The New York Times
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319:Mosaic and Collage
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175:Kehlmann received
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1014:New Stained Glass
1004:, March 8, 1978).
989:Stained Glass Art
892:, February, 1978.
855:, April/May 1993.
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528:As editor of the
405:, Langen, Germany
275:Sandblasted works
214:Glass Art Society
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502:Peter Mollica
499:
491:Art Criticism
490:
485:
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296:(1982-1995).
295:
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222:(1981-1984).
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1092:
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1080:
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1038:
1030:
1027:The Lost Art
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799:
791:
529:
527:
523:Czech Cubism
514:
513:
508:
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498:Paul Marioni
494:
414:, Oakland CA
330:
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22:
1145:1942 births
292:(1981) and
53:Nationality
1119:Categories
1095:1981â1982.
1055:Neues Glas
875:Neues Glas
773:References
1068:Glass Art
903:Glass Art
155:Biography
73:Education
57:American
333:tesserae
204:and the
1057:, 1/83.
536:Gallery
290:Tablets
264:through
170:mosaics
123:Website
200:, the
196:, the
192:, the
184:, the
87:Awards
947:Glass
313:byĹbu
103:Books
63:Field
259:came
43:1942
39:Born
1121::
967:^
910:^
838:^
781:^
500:,
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