In his back-page essay (Reflection, p. 60), contributing editor James Yood oberves that once artists find success in the so-called "glass world," a kind of artistic paralysis can set in. Whether it's worry about alienating collectors by moving too far from a winning formula, or pressure from gallery owners to produce new work in an established and recognizable style, this state of affairs is full of hazards.
Glass gets special attention at the 2009 Venice Biennale; the glass fashion show will return for the 2009 Glass Art Society conference; Martin Blank unveils an outdoor installation at the Museum of Glass in Tacoma, Washington; a prominent hotel offers its guests Chihuly-esque chandeliers instead of the real thing; Salem County Community College takes the wraps off a state-of-the-art new studio powered by landfill gas.
Brad Copping at XEXE Gallery, Toronto; Loren Sandvik at Acuna-Hansen Gallery, Los Angeles; Kait Rhoads at the Museum of Northwest Art, La Conner, Washington; Katherine Gray at Acuna-Hansen Gallery, Los Angeles; Steffen Dam at Heller Gallery, New York; Gregory Nangle at Silica Galleries, Philadelphia.
The 2009 UrbanGlass Gala: Auction • Awards • Glassblowers Ball
Can top artists working in glass shake off their stylistic stasis?
Every step a careful calculation, František Vízner grinds glass into objects that surpass machine perfection.
Perceptions are altered in the undersea world inhabited by Maria Grazia Rosin's sea forms.
Setting up its ultra-light portable studio known as GlassLab at design fairs and in design museum courtyards, the Corning Museum of Glass brings the hot glass experience to a new audience.
Vanessa Yanow blends flameworked glass with intensely worked fiber to question the nature and meaning of what was once called "women's work."
Backed by a new art dealer, Lucio Bubacco has taken Venetian flameworking to new heights of scale and complexity. Will it be enough to make him an art star?
