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The range of techniques featured in this issue--and the sophistication each artist has achieved in his or her individual approach, be it kiln-forming, blowing and hot-working, copper-wheel engraving, or painting on mirrored glass--makes the case that glass as a medium for contemporary art has achieved an astonishing level of maturity.
An artistic friendship celebrated in Paul Marioni and Susan Stinsmuehlen-Amend's Los Angeles exhibit; Dan Graham takes over the Metropolitan Museum's roof in a new collaborative installation; four emerging female artists exhibit work made during Pittsburgh Glass Center rsidencies; Danish artist wins the fourth Coburg Prize celebrating European glass art; Mel Douglas receives major Australian glass prize.
Laura Donefer at the Mary E. Black Gallery in Halifax, Nova Scotia; Lucy Lyon at LewAllen Galleries, Santa Fe; David Spriggs at Art Mur, Montreal; Jennifer Halvorson at the Carlsten Gallery at the University of Wisconsin, Stevens Point, Wisconsin; Norwood Viviano at Heller Gallery, New York; and Richard Jolley at the Knoxville Museum of Art, Knoxville, Tennessee.
Meet two of the artists working at the studios of this nonprofit art center in Brooklyn.
In Dispute with Glass Secessionism
Andy Paiko's elaborately worked objects intensify the visual glory of looking at glass and connect to an imagined era that diverges sharply from our own.
Four glass artists--Anne Brodie, David Ruth, April Surgent, and Emma Varga--find inspiration in the majesty and vulnerability of the Antarctic landscape.
Using mirrored glass as her canvas, Nicole Chesney creates abstract paintings activated by light and animated by the viewer's own visage.
The elder statesman of British glass art, Colin Reid has won an international following for works that translate the essence of the organic landscape into abstracted sculputral forms of remarkable purity.
