Widely regarded as one of the leading contemporary artists of the late twentieth century, Dale Chihuly has spent his career pushing the boundaries of glass, his primary medium. For nearly six decades, he has experimented with bold color, innovative techniques, and organic forms to create vibrant works that inspire the viewer. Dale Chihuly: The Oklahoma Collection features five decades of the artist’s sculptures and works on paper from the Museum’s permanent collection, one of the largest public collections of Chihuly artwork in the world. The exhibition highlights Chihuly’s innovations and contributions to the studio glass movement, touches on his artistic process, and features a wide array of the artist’s work, from his Baskets and Seaforms to large-scale installations like Oklahoma Persian Ceiling and Ikebana Boat.
ABOUT DALE CHIHULY AND CHIHULY STUDIO
Dale Chihuly is an American artist noted for revolutionizing the studio glass movement and elevating perceptions of the medium. Known for its bold colors and eccentric forms, Chihuly’s work is included in more than 200 museum collections and has been exhibited in fine art institutions, historic cities, and gardens worldwide. Chihuly utilizes a variety of media to realize his creative vision, including glass, paint, charcoal, neon, ice, and Polyvitro. Located in Seattle, Washington, Chihuly Studio supports the artist’s vision and unyielding creativity, which has spanned more than five decades.
ABOUT OKCMOA’S CHIHULY COLLECTION
Dale Chihuly: An Inaugural Exhibition opened on March 16, 2002, in honor of the opening of the Museum’s new downtown home. The exhibition was so popular that in 2004, the Museum purchased the Chihuly glass collection with extensive support from the community. Over 500 donors supported the Chihuly acquisition campaign. OKCMOA’s collection is now one of the largest public collections of Chihuly artwork in the world.
Credit: Dale Chihuly, Macchia, Oklahoma City Museum of Art, installed 2002 © 2025 Chihuly Studio. All rights reserved. Photograph by Nathaniel Willson.
