Issue 112 | Fall

Editor's Letter

by Andrew Page

In the early years of the studio glass movement, it was the pure theater of glassblowing that took center stage at public demonstrations and in the universities where hot glass had caught the imagination at art departments. What could possibly be more exciting or vital than an artist literally breathing life into his or her sculptural piece? Other, more time-intensive techniques of working with glass, such as pate de verre, glass casting, fusing, or flameworking, took much longer to be accepted, or to find a wide following in the United States. 


The monumental glass sculpture that remains one of London's best kept secrets; a new wing to the Palley Collection; taking stock of the not-so-bright future for the chandelier; the perfume bottle that resembles a Tom Patti work; the best nee books.


Kazuo Kadonga at Samuel Freeman Gallery, Santa Monica, California; Tim Edwards at Wexler Gallery, Philadelphia; Sherry Markovitz at Bellvue Art Museum, Bellevue, Washington; Richard Remson at Daniel Kany Gallery, Portland, Maine; Tim Whiten at Olga Korper Gallery, Toronto; David Taborn at the Robert Lehman Gallery at Urban Glass, New York City; Group Exhibition at Butters Gallery Ltd. in Portland, Oregon; Acquaetta Williams at Tribes Gallery, New York City. 

UrbanGlass News

Architect announced for expanded and improved UrbanGlass. 


by John Drury

BYOB: Reconsidering the bottle as building material.


Special Traces

by William V. Ganis

Karen LaMonte dicusses her ghostly and erotic cast-glass dresses, her process, and how her work is evolving. 

Forensics of the Imagination

by Thierry de Beaumont

Sifting for clues to the forgotten past, Ana Thiel takes imprints from the landscape to give cast glass form to the contours of history. 

Freeze Frame

by Benjamin Lozovsky

The sharply contrasting styles and personalities of William Morris and Lino Tagliapietra come to light in two new documentaries. 


by Robin Rice

Is this most conservative of glass art forms poised for a breakthrough, or will the paperweight remain a prisoner of collectors' narrow tastes? A search for the radical orb that can move the field forward from its historic high-water marks. 


by Richard Speer

After decades of using glass as a medium to confront sociopolitical issues, is Clifford Rainey finally starting to mellow? 

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 more than 40 years.