Issue 98 | Spring

Editor's Letter

by Andrew Page

The birth of the studio glass movement has a time and a place-- March 1962; Toledo, Ohio. It was during a weeklong workshop of at the Toledo Museum of Art that Harvey Littleton introduced the world to studio glassblowing. The eight-day session would redefine glass as not just an industrial or decorative art material, but as a medium rich with sculptural potential. 


Muranese glass at the Mint; reconstructing the Bakewell story; G.A.S. goes Down Under; the long wait for the Louisiana Art Works; remembering Rose Slivka


Australian Art at Global Art Venue; the Benaroya collection at the Seattle Art Museum; John Paul Robinson at Material Matters; John Lewis at Sandra Ainsley Gallery; Daniel Klayman at Habatat Chicago

UrbanGlass News

Fred Metz's furnaces; a look ahead to a star-studded Glassblowers Ball


MFA Exhibit at the Robert Lehman Gallery


Putting SOFA Chicago on the couch


Material Foundations

by Andrew Page

The Glass Workshop at the Canberra School of Art reflects Klaus Moje's deep respect for glass. 

8 Days in Toledo

by Martha Drexler Lynn

How a weeklong workshop gave birth to glass art in America

Born of Industry

by Keith Cummings

The first 100 years of glass education in stourbridge, England.

Saving Venice

by Paula Metallo

The struggles of the Albate Zanetti School of Glass mirror the challenges facing Venetian glass. 

Balancing Act

Ruth King and Katherine Gray debate teaching sculpture versus production.

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.