Placeholder

Issue 107 | Summer

Editor's Letter

by Andrew Page

In the nearly three decadess in front of the furnace, William Morris explored a longing for the vital, feral, and ancient through highly personal, exotic totems that seemed made out of anything but glass. With unmatched technical virtuosity, Morris helped push American glassblowing beyond a fixation on shiny perfect vessels. He coaxed molten glass into forms that moer closely resembled bone, wood, antler or ceramic. Driven by an intense and idealized appreciation of bygone civilizations, Morris was part of a long and uniquely American tradition of celebrating the natural world through art. 

Hourglass

Glass blooms at the Corning Museum of Glass; environmental awareness on the rise among studios; glass takes center stage at the Newark Museum; Jacksonville University students complete major art commission; new books on Venetian glass secrets and Tiffany's unknown lamp designer. 

Reviews

Ron Demett at hgrp Gallery, New York; Corban Walker at PaceWildenstein, New York; Jon Clark and Angus Powers at the Philadelphia Art Alliance; Joseph Rossano at the Habatat Galleries, Chicago; Slovakian Glass at Leo Kaplan Modern, New York; and CCA faculty and student group show at tthe San Francisco Museum of Craft and Design. 

UrbanGlass News

Picetures from the 2007 UrbanGlass 30th Anniversary Auction and Glassblower's Ball.

Reflection

by Tina Oldknow

As artistic director of Pilchuck Glass School for 14 yeats, Pike Powers expanded its connection to the wider contemporary art world. 

Features

The Maximal Minimalist

by Richard Speer

In glass, as in ceramics, Jun Kaneko explores discrete ideas on an indiscreet scale.

Exit the Warrior

by James Yood

Contemplating a world without William Morris's boundary-breaking, anthropological homage to bygone civilizations. 

On Edge

by William Ganis

The best public works by Danny Lane maintain a "bastard craft" aesthetic that echoes his punk-inspired glass furniture of the 1980s. 

Via Venice

by Maria Porges

The exhibition "Viva Vetro! Glass Alive," on view at the Carnegie Museum of Art, presents an astute analysis of the give-and-take between the glass worlds of Italy and America. 

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.