Editor's Letter

by Andrew Page

The founder of this publication, Richard Yelle, once told me that he started GLASS Quarterly (originally titled New Work) to foster "serious discourse" about glass as a medium for contemporary art. He did this for a very simple reason: in 1979, there was no place that regularly published thoughtful art criticism about the important work being done in glass. More than 25 years later, that same exact word, serious, has been used in the title of an exhibition that attempts to separate out meaningful work in glass from everything else.

Hourglass

Fiber-optic fantasy in Seattle; Pittsburgh's chandelier showcase; the deadly reflections of architectural glass; the best new books.

Reviews

Christina Bothwell at Habatat Galleries, Chicago; student work in Bolzano, Italy; Josiah McElhenny at MoMA; Kuma at Mike Weiss Gallery, New York; Flo Perkins at Addison Arts, Santa Fe; Jeffrey Sarmiento at Solomon Fine Arts, Seattle.

UrbanGlass News

Michael Crowder's solo MFA exhibition, Moshe Bursuker receives MCGG fellowship.

Reflection

by Andrew Page

Influenced by glassblower and professor Stephen Rolfe Powell, Louisville, Kentucky is becoming a regional glass center.

Who Takes Glass Seriously?

by Robert C. Morgan

A critic takes the measure of a provocatively titled group exhibition of work in glass by fine artists.

The Informalist

by Matthew Kangas

With unexpected shades of paint, free-flowing forms, and an organic earthiness, John de Wit brings the West Coast Funk movement into the next century.

Everything is Illuminated

by Katherine Gray

Art inhabits everyday spaces and animates a bold new museum in Kanazawa, Japan.

Surveying Glass

by Paula Metallo with Peter Van Kester

How do curators decide what work is included, and what is not, in definitive exhibitions of contemporary art made from glass?