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Issue 110 | Spring

Editor's Letter

by Andrew Page

In the mid-1960s, American universities were overflowing with a record number of baby boomer students. Administrators and faculty eager to embrace unconventional ways of doing things began competing with one another to start glassblowing programs. At the time, just about the only way to find a glassblowing professor was to hire one of Harvey Littleton's graduate students at the University of Wisconsin, Madison. These young glassblowing professors, some of whom had themselves just graduated, rolled up their sleeves and, with their students, hand-built the glass studios that sprung up around the nation. 

Hourglass

In a public project for an elevated New York subway platform, Hong Kong-born artist Eugenie Tung explores New Yorkers' everyday rituals using fused glass; Patricia Watkinson retires from Pilchuck; The Glass Eye takes a closer look at kinetic sculpture; Jose Chardiet is featured in luxury car ad campaign. 

Reviews

Bertil Vallien at Heller Gallery, New York; Jeremy Lepisto at D & A Gallery, Studio City, California; Toots Zynsky at Barry Friedman, Ltd., New York; ancient glass at the Getty Villa in Pacific Palisades, California; Mark Zirpel at Society for Contemporary Craft, Pittsburgh; Lou Lynn at the Evergreen Cultural Center, Coquitlam, British Columbia

UrbanGlass News

UrbanGlass selects the 2008-2009 Visiting Artist Fellows; the 2008 M.F.A. exhibition opens at the Robert Lehman Gallery. 

Reflection

by William Ganis

What sets apart those who escape the term "glass artist"?

Features

Master of the Matrix

by Dan Tranberg

Brent Kee Young's skillfully engineered, painstakingly flame-worked Pyrex sculptures evoke the recognizable in haunting, ghost-like forms that invite introspection and contemplation. 

Stolen Moments

by John Drury

The consummate rule breaker, Therman Statom's chaotic working process is a celebration of improvisation and a testament to his unique style of collaboration. 

Upper Glass

by Jutta-Annette Page

The complicated history of non-precious jewelry.

Roots Revisited

Before the Glass Art Society and the Pilchuck Glass School existed, Marvin Lipovsky organized the Great California Glass Symposium, where the nascent Glass Studio movement coalesced. A look back on 19 years of artistic exchange in pictures. 

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.