Editor's Letter

by Kate Hensler Fogarty

By 1999, Sylvie Vandenhoucke, a Belgian artist fornally trained in jewelry design, had achieved a certain success with her pate de verre vessels bound with metal membrane. But having mastered the technical challenges of building ever taller, larger works, she became disillusioned by the restraints of the vessel form and its many connotations. That year, the artist ceased producing works for exhibition, moved to London, and embarked on three-year peroid of experimentation with the pure medium of pate de verre, a process detailed in a fascinating profile in this issue by Andrea Truppin.

Hourglass

by Eve M. Kahn

The latest news, exhibitons, events, and books, and a special report from the Venice Biennale.

Reviews

Scott Chaseling's New York debut, up-and-coming Seattle artists Nancy Callan and Nadege Desgetenez, Joanne Ballard in Paris, and exhibitions in Chicago and Pittsburgh. 

UrbanGlass News

The Urbanites host their first event; UG's visiting artist program.

Reflection

by Eve M. Kahn

Many of the 20th century's iconic glassware designs were copied from the work of Leo Valentin Pantocsek, a little-known Hungarian inventor.

Making History: Josiah McElheny

by Douglas Maxwell

Van Eyck, Velazquez, Picasso: McElheny's recent investigations into meanings of mirrored glass place him-- deservedly-- in distinguished company.

American Beauty

by Christopher Mount

For years, Blenko has offered exhuberantly European-style tbaleware-- by way of West Virginia.

Sylvie Vandenhoucke: Cracking the Mold

by Andrea Truppin

The pate de verre artist ceased production for three years to experiment with pure material. Here are her groundbreaking results. 

Sustaining Stained Glass

GLASS and Judith Schaechter present seven artists who are making this age-old medium seem like the new "new thing."