Studio glass


Studio glass
Glass ball made by Tyler Hopkins. Glass can be made transparent and flat, or into other shapes and colors as shown in this sphere from the Verrerie of Brehat in Brittany
A Human Oddity is a sculpture by David Reekie, 2001. This sculpture was produced using the lost wax casting technique.

Studio glass or glass sculpture is the modern use of glass as an artistic medium to produce sculptures or three-dimensional artworks. Specific approaches include working glass at room temperature cold working, stained glass, working glass in a torch flame (lampworking), glass beadmaking, glass casting, glass fusing, and, most notably, glass blowing. As a decorative and functional medium, glass was extensively developed in Egypt and Assyria, brought to the fore by the Romans (who spread glassblowing, invented by the Phoenicians), and includes among its greatest triumphs European cathedral stained glass windows. Great ateliers like Tiffany, Lalique, Daum, Gallé, the Corning schools in upper New York state, and Steuben Glass Works took glass art to the highest levels. Glass from Murano (also known as Venetian glass) is the result of hundreds of years of refinement and invention. Murano is still held as the birthplace of modern glass art.

The glass objects created are intended to make a sculptural or decorative statement. On the market, their prices may range from a few hundred to tens of thousands of dollars (US).

Before about the early 1960s, contemporary glass art had mostly been glass made for decorative use, usually by teams of factory workers, taking glass from furnaces with a thousand or more pounds of glass. This form of glass art, of which Tiffany and Steuben in the U.S.A., Gallé in France and Hoya Crystal in Japan, Royal Leerdam Crystal in The Netherlands and Orrefors and Kosta Boda in Sweden are perhaps the best known, grew out of the factory system in which all glass objects were hand or mold blown by teams of 4 or more men. The turn of the 19th Century was the height of the old art glass movement while the factory glass blowers were being replaced by mechanical bottle blowing and continuous window glass.

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Modern regional glass art

Australia

The early glass movement (studio glass) in Australia was spurred on by a visit to Australia by American artist Richard Marquis, who toured the country in the early seventies with a mobile studio assisted by Australian Nick Mount. Since that time Australian glass has gained worldwide recognition with Adelaide in South Australia, hosting the International Glass Art Society Conference in 2005 on only its third occasion outside of the U.S.A.

Belgium

Daniël Theys en Chris Miseur from the glass factory Theys & Miseur in Kortrijk-Dutsel, Belgium, which represent Belgian artistic glass work concerning the entire world.

China

In China, the making of glass arts date back to the Western Han Dynastry of the 3rd century BC. "Liuli" is the name of an ancient form of Chinese glassmaking. Today, Liuli Gongfang is Taiwan's only contemporary glass studio devoted to artistic Chinese glassware.

Italy

Nuptial bowl by Angelo Barovier, Museo del vetro, Murano

Glass blowing began in the Roman Empire, and Italy has refined the techniques of glass blowing ever since. Until the very recent explosion of glass shops in Seattle (USA), there were more on the Island of Murano (Italy) than anywhere else in world. The majority of the refined artistic techniques of glassblowing (e.g., incalmo, reticello, zanfirico, latticino) were developed there. Moreover, generations of blowers passed on their techniques to family members. Boys would begin working at the fornazi (actually "furnace"--called "the factory" in English).

Japan

Japanese glass art has a short history. The first independent glass studios were built by Saburo Funakoshi and Makoto Ito, and Shinzo Kotani in separate places. Yoshihiko Takahashi and Hiroshi Yamano show their works at galleries throughout the world and are arguably Japan's glass artists of note. Yoichi Ohira has worked with great success in Murano with Italian gaffers. The small Pacific island Niijima, administered by Tokyo. has a renowned glass art center, built and run by Osamu and Yumiko Noda, graduates of Illinois State University, where they studied with Joel Philip Myers. Every autumn, the Niijima International Glass Art Festival takes place inviting top international glass artists for demonstrations and seminars. Emerging glass artists, such as Yukako Kojima and Tomoe Shizumu, were featured at the 2007 Glass Art Society exhibition space at the Pittsburgh Glass Center. Kyohei Fujita was another noteworthy Japanese studio glass artist.

Mexico

Mexico was the first country in Latin America to have a glass factory in the early sixteenth century brought by the Spanish conquerors. Although traditional glass in Mexico has prevailed over modern glass art, since the 1970s there have been a List_of_glass_artists#Mexico that have given a place to that country in international glass art.

The Netherlands

Glass art in the Netherlands is mainly stimulated by the glass designing and glass blowing factory Royal Leerdam Crystal. Such notable designers as H.P. Berlage , Andries Copier and Willem Heesen (Master Glassblower as well) had a major influence on Dutch glass art. Later the studio glass movement, inspired by the American Harvey Littleton and the new Masterstudy Glass art at the Gerrit Rietveld Academy in Amsterdam led to a new generation of glass artists.

United Kingdom

Glass sculpture by Dale Chihuly at a 2005 exhibition in Kew Gardens, London, England. The piece is 13 feet (4 m) high

Notable centres of glass production in the UK have been St. Helens in Merseyside (the home of Pilkington Glass and the site on which lead crystal glass was first produced by George Ravenscroft), Stourbridge in the Midlands and Sunderland in the North East. Sunderland is now home to the National Glass Centre which houses a specialist glass art course. St. Helens boasts a similar establishment but without the educational body attached. Perthshire in Scotland was known internationally for its glass paperweights. It has always hosted the best glass artists working on small scales, but closed its factory in Crieff, Scotland in January 2002.

Glass artists in the UK have a variety of exhibitions. The Scottish Glass Society hosts a yearly exhibition for members, the Guild of Glass Engravers exhibit every two years and the British Glass Biennale, begun in 2004 is now opening its third show.

British Glass Art owes much to the long history of craft. The majority of its glass blowers who operate small studio furnaces produce aesthetically beautiful though primarily functional objects. Technical skill as a blower is given as much importance as the artistic intent. Other notable Glasshouse artists are Steven Newell, Catherine Hough, Annette Meech and of course Simon Moore.

There are a growing number of art glass studios in the UK. Many specialize in production glassware while others concentrate on one off or limited edition pieces. An Arts Council funded, non-profit making organisation, the Contemporary Glass Society, founded in 1976 as British Artists in Glass, exists to promote and support the work of glass artists in the UK.[1]

Other glass organisations in the UK are The Guild of Glass Engravers, the Scottish Glass Society and Cohesion. Cohesion is a different sort of entity to the other organisations in that it was specifically founded to promote and develop glass art as a commercial concern. It organises trade events in and around the UK and at the international level. Originally it focused only on artists based the north east of England but has since expanded its remit to cover the whole of the UK.

The Northlands Glass School was established in late 1990s in the far north of Scotland and offers residencies and masterclasses to arts students and established glass artists.

In November 2007 the glass sculpture Model for a Hotel was unveiled as an exhibit on the fourth plinth of Trafalgar Square, London.

United States

Glass sculpture by David Patchen from a show in San Francisco. The piece is 30" x 11" x 3" and comprises hundreds of murrine (patterned tiles of glass) and zanfirico cane (rods of woven colors).

The United States has had two phases of development in glass. The first, in the early and mid-1900s, started in the cities of Toledo, OH, and Corning, NY, where factories such as Fenton and Steuben were making both functional and artistic glass pieces. Toledo’s rich history in glass goes back to the turn of the century when Libbey Glass, Owens-Illinois and Johns Manville led the world in the manufacturing of glass products. Their reputations earned Toledo the title of the "Glass Capital of the World." These industry leaders, along with the Toledo Museum of Art, sponsored the first glass workshop in 1961. This workshop would lead to a new movement in American studio glass.

The Beginning of the American Studio Glass Movement

The second, and most prominent, phase in American glass began in 1962, when then-ceramics professor Harvey Littleton and chemist Dominick Labino began the contemporary glassblowing movement. The impetus for the movement consisted of their two workshops at the Toledo Museum of Art, during which they began experimenting with melting glass in a small furnace and creating blown glass art. Littleton and Labino were the first to make molten glass feasible for artists in private studios. Harvey Littleton extended his influence through his own important artistic contributions and through his teaching and training, including many of the most important contemporary glass artists, including Marvin Lipofsky, Sam Herman (Britain), Fritz Dreisbach and Dale Chihuly. [1] In 1964, Tom McGlauchlin started one of the first accredited glass programs at the University of Iowa, and Marvin Lipofsky founded the university-level glass program at the University of California at Berkeley. In 1964, Dr. Robert C. Fritz founded a university-level glass program at San Jose State University in San Jose, CA. As a graduate student at the University of Wisconsin-Madison under Harvey Littleton, Bill H. Boysen built the first glass studio at Penland School of Crafts, in Penland, NC, in 1965. After graduating in 1966, he started the graduate glass program at Southern Illinois University at Carbondale, Illinois. Dale Chihuly initiated the glass program at the Rhode Island School of Design in 1969. Tom McGlauchlin joined the Toledo Museum of Art as Professor and Director of Glass in conjunction with the University of Toledo's Art program in 1971.

American Glass Schools and Studios

The growth of studio art glass led to the formation of glass schools and art studios located across the country. The largest concentrations of glass artists are located in Seattle, Ohio, New York, Pennsylvania and New Jersey. San Francisco, Los Angeles/Orange County and Corning, NY, also have sizable concentrations of artists working in glass.

The Pilchuck Glass School near Seattle has become a mecca for glass artists from all over the world. Those who attend Pilchuck, either college students or established artists, have the opportunity to attend master classes and exchange skills and information in an environment dedicated solely to glass based arts.

The Pittsburgh Glass Center in Pittsburgh, PA, has residency programs for artists working in glass, as well as a facility for artists to make use of for their works. The Pittsburgh Glass Center offers classes to the public on glassblowing and many other forms of glass art. Philadelphia hosts a small array of glass studios for artists that use glass. Home to the National Liberty Museum (featuring all exhibits by international glass artists), Philadelphia hosts the non-profit P.I.P.E. program, with residencies for artists that use glass as well as metal, electroforming on glass, and bronze casting. The state of Pennsylvania has a long tradition of the production of industrial glass and its influence has quickly been absorbed by artists working in glass.

The Studio of The Corning Museum of Glass, established in 1996, is an internationally renowned teaching facility in Corning, NY. Classes and workshops are held for new and experienced glassworkers and artists. The Studio’s residency program brings artists from around the world to Corning for a month to work in The Studio facilities, where they can explore and develop new glassblowing techniques or expand on their current bodies of work. Artists working in The Studio have access to the collections of The Corning Museum of Glass, and benefit from the resources of the Rakow Research Library, whose holdings cover the art and history of glass and glassmaking.

Wheaton Arts and Cultural Center located in New Jersey, just below Glassboro, is a non-profit that hosts a fellowship program exclusively for artists working in glass.

The international studio glass movement

The international studio glass movement originated in America, spreading to Europe, the United Kingdom, Australia and Asia. The emphasis of this movement was on the artist as the designer and maker of one-of-a-kind objects. This movement enabled the sharing of technical knowledge and ideas among artists and designers that, in industry, would not be possible.[2]

With the dominance of Modernism in the arts, there was a broadening of artistic media throughout the 20th century. Indeed, glass was part of the curriculum at art schools such as the Bauhaus. Frank Lloyd Wright's produced glass windows considered by some as masterpieces not only of design, but of painterly composition as well. During the 1950s, studio ceramics and other craft media in the U.S. began to gain in popularity and importance, and American artists interested in glass looked for new paths outside industry.[2] Harvey Littleton, often referred to as the "Father of the Studio Glass Movement",[3] was inspired to develop studio glassblowing in America by the great glass being designed and made in Italy, Sweden and many other places, and by the pioneering work in ceramics of the California potter Peter Voulkos. Harvey Littleton and Dominick Labino held the now-famous glass workshop at the Toledo Museum of Art in 1962. The goal was to melt glass in a small furnace so individual artists could use glass as an art medium in a non-industrial setting. This was the workshop that would stimulate the studio art glass movement that spread around the world. Instead of the large, industrial settings of the past, a glass artist could now work with a small glass furnace in an individual setting and produce art from glass.

Creating art made from glass

There are many ways to create and decorate a piece of art from glass. Blown glass, where a glassblower works at a furnace full of molten glass using metal rods and hand tools to blow and shape almost any form of glass, is one of the older and more popular ways to work. Most large hollow pieces are made this way, and it allows the artist to be improvisational as they create their work as it is very hands on.

Another type is flame-worked glass, which uses torches and kilns in its production. The artist generally works at a bench using rods and tubes of glass, shaping with hand tools to create their work. Many forms can be achieved this way with little investment into money and space. Though the artist is somewhat limited in size, a greater level of detail can be achieved with this technique. The paperweights by Paul Stankard are good examples of the realism and level of detail that can be done with flameworking techniques.

Cast glass can be done at the furnace at the torch or in a kiln. generally the artist makes a mold out of refractory, sand, or plaster and silica which can be filled with either clear glass or colored or patterned glass, depending on the techniques and effects desired. Large scale sculpture is usually created this way.

Slumped glass and fused glass is similar to cast glass, but it is not done at as high of a temperature. Usually the glass is only heated enough to impress a shape or a texture onto the piece, or to stick several pieces of glass together without a glue.

With stained glass the artist cuts the glass into specific patterns to make their artwork which are stuck together using lead came and solder. They can also use hot techniques in a kiln to create texture, patterns, or change the overall shape of the glass.

Etched glass is created by dipping glass that has an acid resistant pattern applied to its surface into an acid solution. Also an artist can engrave it by hand using wheels. Sandblasting can create a similar effect.

Gallery

See also

Sources

  • The End William Warmus Glass Magazine Autumn 1995
  • Fire and Form by William Warmus Norton Museum of Art 2003 contains a detailed Chronological Bibliography
of Contemporary Glass compiled with assistance of Beth Hylen
  • Martha Drexler Lynn. American studio glass, 1960-1990. Manchester, VT: Hudson Hills, 2004.

References

External links


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