Issue 145 | WinterTweet
by Andrew Page
The sight of molten glass taking shape at the end of a pipe fills seats at demonstrations. Frozen in mid-melt, kiln-formed glass transfixes viewers at galleries. Its unique plasticity gives glass a powerful role as a record of transformation, an aspect with great metaphoric potential. The inspiring mutability of glass comes to mind when considering how the field of glass art and design is undergoing a period of profound change. Demographic shifts in the loyal collector base that sustained its growth for decades are reshuffling the economics and forcing innovation in galleries and artist studios. New technologies are competing with, if not displacing, hot glass studios as the showpieces of college and university art departments. And the steady march of globalization is finally encroaching on price points at the high end of design, putting long-standing glass houses in Europe under pressure.
The feature articles in this edition of GLASS, while spanning the globe, could be grouped under the heading of “a field in transition.”
In memoriam: Klaus Moje (1936–2016); Rui Sasaki wins Borowsky Prize; Silvia Levenson and Bruno Amadi awarded 2016 Glass in Venice prizes; Joyce J. Scott named 2016 MacArthur Fellow, receives the Glass Art Society’s Lifetime Achievement Award; Cappy Thompson discusses her new engraved work; Pilchuck destigmatizes pipemaking, exhibits top makers’ work in Seattle
Judith Schaechter at Claire Oliver Gallery, New York; Brad Copping at the Art Gallery of Peterborough in Peterborough, Ontario; Jerry Pethick at the Vancouver Art Gallery and Kamloops Art Gallery, British Columbia; Barbara Earl Thomas at Bainbridge Island Musem of Art in Bainbridge Island, Washington; Dale Chihuly at Schantz Galleries, Stockbridge, Massachusetts; Francesco Gennari at Galerie Stadtpark, Krems, Austria.
by Andrew Page
The late Klaus Moje championed disciplined technique, yet encouraged his students to break rules.
by Scott Benefield
Sculptor Bertil Vallien, whose career has balanced the dual roles of artist and designer within a factory system, is now an integral part of keeping Sweden's Kosta Boda afloat in an age of globalization.
by Bruno Andrus
How the Czechoslovakian Pavilion at Expo 67 changed the course of glass art in North America
by Victoria Josslin
In her art practice and role as Pilchuck’s artistic director, Tina Aufiero embraces new technologies and approaches in pursuit of pure expression.
Wither the Tide
by Ivana Jirasek
Is the high-water mark for Australian glass ahead or behind?