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.
