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Issue 103 | Summer

Editor's Letter

by Andrew Page

Lino Tagliapietra began his glassblowing apprenticeship at the age of 11, long before there was a studio glass movement. It was 1946, the Second World War had just ended, and, though the islands of Venice had not yet been bombed, it was a time of soul-searching an economic privation throughout Italy. For the young Tagliapietra, the rigid, tradition-bound world of glass, where the highest level of technique had been preserved for centuries, must have been a refuge in an uncertain time.

Hourglass

Chihuly blooms at the New York Botanical Garden; exploring the definition of Studio Glass at the Bellevue Museum of Art; remembering Dr. Jerry Raphael; first lookat a new, lightweight hot shop; a competition for the next generation of glass artists; the second British Glass Biennale; Betty Woodman's glass chandelier; the face of the glass at the Alexander Tutsek-Siftung; the best new books. 

Reviews

Studio Glass pioneers at Barry Friedman, New York; Josiah McElheny at Andrea Rosen Gallery, New York; Dorothy Hafner at Holsten Galleries, Stockbridge, Massachussets; Tom Patti at Heller Gallery, New York; The Shirley Collection at the Seattle Art Museum; Gene Highstein at Baumgartner Gallery, New York.

UrbanGlass News

Erica Rosenfeld curates a show at the Robert Lehman Gallery; Jennifer Feinstein and Gün Keresteci join the UrbanGlass Board of Directors. 

Reflection

by Dan Klein

The work of Peter Dreiser (1936-2006) is well known to collectors and museum curators for the copper-wheel engravers's virtuosic skills and visual poetry. 

Features

What America Taught Lino

by Matthew Kangas

In his own words, the 72-year-old maestro reflects on the cultural two-way street that is Via Tagliapietra.

Sacred Light

by Jean-Pierre Greff

In the radical designs for windows in France's historic cathedrals, contemporary artists are revitalizing the art of stained glass. 

New England Glass

by William Warmus

Far from the exhuberant aesthetic of the West Coast scene, artists on the North Atlantic seaboard have been working within a deep narrative structure, staging a counter-movement that is the Quiet Revolution.

GLASS: The UrbanGlass Quarterly, a glossy art magazine published four times a year by UrbanGlass has provided a critical context to the most important artwork being done in the medium of glass for 35 years.