Glass Today: 21st-Century Innovations June 21–Sept. 21, 2014 New Britain Museum of American Art It was not until the second half of the 20th we mounted a major group exhibition of century, however, that glass production contemporary glass. I am grateful to the was freed from domestic consumption and Baekelands for their promised gift of glass became an end in itself with Harvey Littleton to the Museum and want to especially thank as the seminal figure leading the charge. In Joan for her participation as a consultant particular, Lino Tagliapietra, inheriting the in this enterprise and for the generous ancient Venetian love of glass, and Dale contribution toward our opening festivities. Chihuly, who has championed blown glass as a medium for installation art, exemplify the Jim Schantz and Kim Saul of the Schantz spirit of the new age. Since these trailblazers, Galleries, Doug and Katya Heller of the Heller glass programs and specialized schools have Gallery, and Claire Oliver of the Oliver Gallery emerged across the country and around the have unsparingly loaned key works from world, and today, every imaginable method their stable of artists, and Jim has written a Introduction & Acknowledgements of production is freely employed. Glass now most insightful essay for this publication. Since Douglas Hyland, Director knows no limits. Such artists as Beth Lipman, 1999, several of the Museum’s trustees have whose commission Aspects of (American) embarked on collecting glass and I want to Life is being unveiled in conjunction with the acknowledge the cooperation and support of opening of this exhibition, have produced glass Sharon and Hank Martin, Kathryn and Thomas The 21st century heralds another golden age created, traded, and prized as never before. The first manufacture of glass in the United installations that push the boundaries of scale, Cox, and Melinda and Paul Sullivan. I am in the history of glass. Innovative glass artists Alexandria in Egypt was most noted for glass States occurred in Jamestown in 1608. Over complexity, and conceptual underpinnings. grateful to the artists who have loaned work have flourished in a way that would have been innovation and quality of manufacturing the centuries, we have experienced periods Stephen Knapp, too, works in large scale, to the show directly and to Marian and Russell inconceivable a few generations past. Glass by the year 1000 C.E. Another period of in which glass became a highly sought-after using glass and light in ways that are delightfully Burke and Judy and Herbert Silver, who have Today: 21st-Century Innovations showcases florescence coincided with the construction material. In the 19th century, Louis Comfort intriguing. These two artists and all the others allowed us to display examples from their the work of 66 internationally renowned men of stained glass windows for the glorious Tiffany (1848–1933) revived the manufacture in this show have harnessed the inherent collections. Most of all, I am thankful to Anna and women whose creative instincts and Medieval cathedrals of Europe. of glass in a way he thought corresponded to Lino Tagliapietra (b. 1934), Angel Tear, 2011, Blown glass, possibilities of glass in ways unimaginable Rogulina, who has served as curator of Glass mastery of the medium are astonishing. the ancient Romans, and his own production 33¾ x 22 x 5½ in., Collection of Sharon and Henry Martin 100 years ago. Today: 21st-Century Innovations. Her wise Venice emerged as a major hub of world of stained glass windows, lamps and glass selection of artists and individual works has The first glass objects, namely obsidian weapons, trade, noted for its luxury goods and by the vessels achieved world-wide distinction. I urge you to participate in the numerous I am especially grateful to Joan and Frederick been key to the success of the exhibition. were developed in Eastern Mesopotamia Crusades, became the foremost European educational programs presented by the Baekeland, who long ago began to collect and the Nile Valley of Egypt in approximately center for glass production. In 1291, glass In the 20th century, manufacturers such Museum in conjunction with the exhibition, contemporary glass and who have been staunch Special funding has been provided by the 3,500 B.C.E. In about 1500 B.C.E., the first glass blowers transferred their headquarters to as the Steuben Company employed leading as you will find them as rewarding as studying champions of the many artists working in this Art Alliance for Contemporary Glass, the vessels were crafted in glass melting furnaces, the island of Murano, and from there, the craftsmen who made signed bowls, individual works on display in the gallery. medium. This is the second exhibition inspired Bailey Family Fund for Special Exhibitions, but it was not until the 1st century B.C.E. that innovative techniques and superb craftsmanship candlesticks, and other utilitarian objects. While by them. Earlier, in 1998, the Museum exhibited and the Kathryn Cox Endowment Fund for the Syrians invented the blow pipe and thus of their glass vessels spread throughout primarily functional, they were also appreciated Dale Chihuly’s Seaforms which drew record Special Exhibitions. revolutionized the glass manufacturing process. Europe and around the world. for their elegance and aesthetic appeal. crowds to the Museum, and a decade later, Throughout the Roman Empire, glass was origin to the present in his essay. The momentum Narrative and Symbol of first generation pioneers can be seen in the impeccable, sinuous vessels and panel of Lino Glass as metaphor and mechanism for Tagliapietra, the multi-colored, baroque fantasies storytelling is further explored in Narrative and of Dale Chihuly and the elegant, unforced, Symbol, a section that diverges into multiple organic forms of Marvin Lipofsky. Color sources of inspiration, from current events to relationships, experiments in form, and the study cultural, historic and philosophical concerns. of shadow and reflection continue to fascinate The works range from Dan Dailey’s joyful and and attract artists to glass. To quote Linda exuberant Impudents and his lyrical Sunsetting, MacNeil, whose sculptural jewelry exemplifies Fabricated Music Series to the contemplative delicately complex wearable art: “Glass is a and socially-engaged sculpture of Jill Reynolds. demanding medium for an artist . . . yet, it The spectrum of processes and specific types also provides the creative freedom to imagine of glass used is broad, with artists’ choices Contemporary Glass: An Art on Fire and create forms that can be made with no driven by the concept they are hoping to Anna Rogulina, Assistant Curator other material.” It is not surprising, then, that convey. In Sibylle Peretti’s Dew II, which depicts the largest thematic section of the exhibition is a sleeping child entwined with natural dedicated to Form and Color. While the vessel elements, the image seems to be melting or It is impossible to talk about glass without The transformative, complex and versatile 66 exhibiting artists. Admittedly, it is beyond remains a departure point for numerous morphing, its dream-like quality enhanced by running into a series of dichotomies—one nature of glass, its paradoxes and the traditions the scope of this essay to address all of the works, including Sidney Hutter’s Red Yellow the lack of sharp contours and the encaustic might even say contradictions—that characterize that inextricably link it to the past, perpetuate works on view, just as it is beyond the scope & Blue Vase with Gold Special Effect Pigment, appearance of glass. By painting slumped this material. Tina Oldknow, Senior Curator at the allure of glass as a medium for of any single exhibition to capture the totality Dante Marioni’s Black and Red Reticello Leaf, glass, Carmen Spera achieves the illusion of the Corning Museum of Glass and the contemporary art. Glass Today: 21st-Century of a concept, movement, period, or in this case, Benjamin Moore’s Exterior Fold Trio-Opaline other materials—paper, metal, cardboard and preeminent scholar of contemporary glass and Innovations is an exhibition that poses the potentialities of a medium. By celebrating and Stephen Rolfe Powell’s Sassy Frazzled plastic—to create trompe l’oeil sculptures of its origins, crystallizes them when she writes: questions: what can contemporary glass look the recent work of enduring artists in the field, Flirt, practicality and function are deliberately common objects in his studio. Material like and how do its forms communicate ideas as well as some of its newest contributors, transformation also occurs in the work of Throughout history, people have suspected denied in favor of formal concerns and the Mark Reigelman II (b. 1983), 5¢ STEP LADDER, 2014, Glass, situated in the present? Rather than proposing the hope is to have assembled an exhibition that glass is magic. How else can a material be viewer’s perceptual process. Through abstraction, Amber Cowan and Mark Reigelman II, who wood, epoxy, 92 x 25 x 56 in., Courtesy of Heller Gallery; 5¢ SHOVEL, 2014, Glass, wood, metal, epoxy, 60 x 10 x 7 in., explained that imitates other materials but cannot a set of definitive bounds or conclusions, the that presents a vibrant cross-section of the recycle and find new meaning in discarded glass. artists like Jon Kuhn, Christopher Ries, Toland Courtesy of Heller Gallery itself be imitated? That is five times stronger than works on display, which range from sculptures multifaceted world of contemporary glass. Sand, Steven Weinberg and John Kiley exploit steel, yet can be broken by the human voice? That and installations to painting and video, open the spatial and optic allure of glass. The work Transparent glass, associated with the idea of “an ideal form, the essence of an object.” is invoked by heating sand and ash and then be- up the vast spectrum of technical, aesthetic revelation, grants a penetrating, “beyond the Situated in the Benton Gallery, her installation witched into an infinite array of colors? That is hot Form and Color of these artists and others in this section, and conceptual possibilities. surface” perspective within the works of Bertil is in direct dialogue with Thomas Hart Benton’s liquid and frozen solid, transparent and opaque, The realm of nonfunctional, nonfigurative glass detached from concrete, identifiable references, common and exalted?1 becomes a reflection on personal experience, Vallien, José Chardiet, and Eric Hilton. Beth Lipman, (1889–1975) incomparable mural cycle, The Arts The exhibition is organized thematically around sculpture has flourished and diversified since memory, spirituality and ideals of beauty and whose Aspects of (American) Life was of Life in America, which celebrates folk art 1. Karen S. Chambers and Tina Oldknow, Clearly Inspired: Contemporary loose connective threads woven through the the birth of the Studio Glass Movement in the commissioned especially for this exhibition, is and cultural interests of the common man as a Glass and its Origins (Rohnert Park: Pomegranate Communications, 1960s—a lineage that Jim Schantz traces from the sublime. 1999), pg. 13. sheer diversity of motivations of each of the drawn to transparency as a way to communicate means of reinforcing the resilience of the human spirit. Appropriating objects and symbols from windows in a secular role to address the between the mysteriousness and magnificence Debora Moore, demonstrate that glass lends jars belong to his personal “cabinet of curiosities” the murals—a deck of cards, mandolin, rifle, ongoing battle between our temptations, our of nature and the human body. itself well to illusionistic depictions of nature. and speak to the universal longing to navigate pistol, liquor bottles and various other vessels— aspirations, and our will. the profound complexity of nature through Lipman creates a dense, three-dimensional Subtle color gradations, rich textures, and order. The fiery, luminous world within Andrew still-life. A makeshift pulpit supports the vertical Reclining Drapery Impression by Karen LaMonte, Nature and Landscape curvilinear forms coalesce in the work of Erdos’s Cheerfully Rooting through Ruby Red procession of objects, ultimately fading into a with its sumptuous folds of fabric enveloping Nature and Landscape directly addresses the Shayna Leib to explore nature’s patterns and Detritus steps further into fantasy to say wistful willow tree, applied as delicate “wallpaper” an absent female figure, also touches on long-standing love affair between nature and forces such as wind and currents. In Laminar, something about our present and future. His made of hundreds of glass fragments. Rather enduring themes within the history of art. glass. Glass is ideally suited for expressing the she manipulates cane glass into tendrils that silverized, futuristic cyber-creatures, set within than weaving a concrete narrative, the Exquisitely draped and haunting, her work is rhythm of the natural world because it can sway to evoke the movement of water. a disorienting box of two-way mirrors, composition presents a dramatic rise and fall reminiscent of classical sculptures of antiquity take on a myriad of different appearances. Another vast seascape emerges in Josh connote elements of absurdity and dystopia. that might echo the cycles of challenges and yet starkly contemporary in its treatment of Artists such as Toots Zynsky, Ethan Stern, Richard Simpson’s Megaplanet. Encased within a triumphs within the human experience. Vacant beauty and desire juxtaposed against a sense Hornby, Peter Greenwood, Anja Isphording, K. massive, luminous, transparent sphere, layers and hollowed from the context of their use and of loss and mortality. Furthermore, the artist William LeQuier, and Peter Bremers zoom in and of cane, gold leaf, chips of colored glass, and In Light of Technology owners, the objects within can be construed explains that “the attraction to draped flesh, out of biological and topographic forms as powdered glass resolve into an intricate and Innovation inspiration for their abstracted works. Others, as by products of various forms of diversion, draped earth, alludes to this seductive quality tapestry of terrestrial and underwater elements An apt description of glass is that it is “both including Mundy Hepburn, Raven Skyriver, and consumption, or aspirations. Reaching toward of nature,” suggesting a compelling connection footed in both reality and imagination. Stunningly everywhere and nowhere in most people’s lives.”2 a placard “GE[t] NEXT [t]o G[o]D,” quoted from beautiful, his Megaplanet encourages us to Utilitarian glass we rely on for containment, for the Arts of the South panel, the objects appreciate our planet and its diverse ecosystems seeing, for communication, or for demarcation raise questions about the place of material on both a macro and micro level. of space nearly dissolves beyond our senses. possessions and prosperity in the quest Yet, when glass is aestheticized, it takes on a toward spirituality and transcendence. Glass as a means to study and understand uniquely sensual quality, disarming the viewer nature is evident in the work of Luke Jerram into moments of exalted aesthetic experience. While Aspects of (American) Life is completely and Steffen Dam. Jerram’s Glass Microbiology Glassmaking has often been described as devoid of human presence, the figure makes series stands on the threshold of art and “theatrical,”3 but it can be said that the viewing frequent appearances elsewhere in the science by making microscopic viruses tangible process is also filled with the drama and crescendo exhibition, including the work of Thomas and raising awareness of the global impact of of discovery as expectations of what glass can Scoon, Ivana Šrámková, Martin Blank, Judith diseases such as avian flu. Reminiscent of look like and what it can convey are shattered. Schaechter and Karen LaMonte. Schaechter’s preserved specimens commonly found in natural painterly stained glass window, The Battle of history museums and laboratories, Dam’s The sensory appeal of glass can be explained Carnival and Lent, locks a total of 96 figures Eight Jars also turn toward the preservation in part by its unique relationship with light— in a struggle between virtue and vice. Andrew Erdos (b. 1985), Cheerfully Rooting through Ruby and analysis of nature. However, his approach namely the ability to transmit, refract, and amplify, Originally installed in the Eastern State Red Detritus, detail below, 2013, Mouth blown silverized glass, sheds the objective lens of scientific inquiry in two way mirror, colored crystal, LED lights, 66 x 42 x 27 in., Penitentiary historic site, the work recasts the favor of a subjective view of the world as he 2. Laura Burkhalter, Transparencies: Contemporary Art and a History Courtesy of Claire Oliver Gallery of Glass (Des Moines: Des Moines Art Center, 2013), pg. 13. theological connotations of gothic cathedral Steffen Dam (b. 1961), Eight Jars, 2008, Glass, 24½ x 15½ x 10½ in., Collection of Marian and Russell Burke sees it. Believable, yet wholly fictive, his specimen 3. William Warmus, Contemporary Glass: Chihuly and Beyond (New Britain: New Britain Museum of American Art, 2008), pg. 5 or transform it. In his lightpainting, Done for Three Volumes is a tour-de-force of his the Night, Stephen Knapp harnesses white monumental, geometric sculpture built in light as a medium with which to “paint.” The sections from the ground up. Norwood complex visual intensity of the composition is Viviano also looks to 3D printing to realize achieved by passing light strategically through his vision in the series Mining Industries: dichroic glass to separate it into pure color as topographically accurate aerial views of building blocks of expression. Light is also the cities captured across time and layered subject of Sydney Cash’s Kemosabe. Cast chronologically downward to demonstrate through glass panels with reflective silver and urban evolution, growth, and decline in relation copper imagery, light resolves into an intricate to industry. Within the work of these artists geometric drawing of reflection and shadow and others in this exhibition, innovation is that is at once clearly present yet immaterial. driven by the desire to express ideas visually In addition to radiating and scattering light, in ways they have not been expressed before. Luke Jerram’s Chandelier No. 2 (Solar Flare) draws light inward, relying on its energy to This exhibition seeks to capture the enduring power the dozens of glass radiometers that spirit of experimentation, innovation, and delicately flicker when struck by light waves. ambition that has characterized contemporary Thérèse Lahaie’s VAJRA-Ocean is another glass since the founding of the Studio Glass kinetic sculpture that intrinsically relies on light. Movement under the leadership of Harvey Gradually moving scrims interact with light and Littleton (1922–2013). Today, fifty years later, glass to produce a calming, swaying motion contemporary glass has established a presence of flowing waves that delight the eye and within countless academic departments, enchant the mind. Nicole Chesney’s Altum and entered prominent collections worldwide, and Josepha Gasch-Muche’s 20.04.08 treat industrial exhausted the “art vs. craft” debate (comically and LCD glass respectively in surprising ways referenced in Dan Spitzer’s Dustup Chandelier). to achieve an ever-changing interplay As a field, it has become increasingly between light, materiality, and the viewer. multidisciplinary and accessible to artists looking to incorporate glass within their When it comes to shifting expectations and practice of sculpture, installation, video, or breaking boundaries, technology can be an performance art. Today, glass no longer has important ally. Dan Clayman’s works, for anything to prove but everything to promise. example, are rooted in challenging the scale limitations of cast glass with the help of rapid prototyping to design and produce his models. from top: Luke Jerram (b. 1974), Chandelier No. 2 (Solar Flare), 2012, Glass and mixed media, 72 x 42 x 42 in., Courtesy of Heller Gallery; Norwood Viviano (b. 1972), Mining Industries: Microsoft Corporation Headquarters, 2014, Rapid prototyped pattern kilncast glass and fabricated steel, 35¼ x 19¼ x 12¼ in., Courtesy of Heller Gallery Judith Schaechter (b. 1971), The Battle of Carnival and Lent, 2012, Stained glass, 56 x 56 in., Courtesy of Claire Oliver Gallery The Beginning of American about experimentation and collaboration in the act of glass making. Harvey Littleton Studio Glass would go on to teach some of the most The idea of glass as art was broadened by important contemporary glass artists, such the Arts and Crafts Movement in England and as David Huchthausen and Christopher Ries, Art Nouveau in France in the late 19th century. who also graduated from the program. Both The aesthetic potential of glass was pushed Huchthausen and Ries are today among the by Louis Comfort Tiffany (1848–1933) in the most important artists using cold-working United States and Émile Gallé (1846–1904) in techniques to produce their glass sculpture. France. Still, works in glass were primarily produced in a commercial setting. In the 1950s In the late 1960s, Marvin Lipofsky founded the and 1960s, notable artists like Alexander Calder glass program at the University of California, (1898–1976), Alberto Giacometti (1901–1966), Berkeley and at the California College of Arts The Emergence of the Glass Movement and Pablo Picasso (1881–1973) were invited to and Crafts (CCAC), which he headed for two Jim Schantz, Director, Schantz Galleries create designs for the venerable Venini factory; decades. Lipofsky was one of the first American however, the artistic design process was glass artists to travel to Czechoslovakia, where separated from the glassmaking itself. The a studio glass movement had arisen in the 1950s. There are moments in our lives, there are homage to the spirit of experimentation in contributed to its growth. Through the history development of glass as an art medium, where This would prove to be the first of many of moments in a day, when we seem to see the medium of glass, celebrating the of the Studio Glass Movement, one discovers the art was produced in a studio instead of a Lipofsky’s exchanges with artists and glass beyond the usual. Such are the moments American Studio Glass Movement as well as that the associations that have made glass factory, began in the United States just over studios throughout the world. His work has of our greatest happiness. Such are the the international influence and exchange from so vital can be traced back to those who 50 years ago when University of Wisconsin, largely focused on the exploration of organic moments of our greatest wisdom. If one Italy, Australia, the Czech Republic, Denmark brought glass to the forefront as an art Madison professor Harvey Littleton (1922– form in a free, gestural approach. In 1969, Dale could but recall his vision by some sort of and Sweden. Europe has long had a glass form—artists who formed the glass programs 2013) and chemist Dominick Labino (1910–1987) Chihuly initiated the glass program at Rhode sign. It was in this hope that arts were invented. tradition. In Italy there is Venini and Barovier; in at colleges and universities throughout the conducted workshops at the Toledo Museum Island School of Design, (RISD), and Bill Boysen Sign-posts on the way to what may be. France there is Daum; in Sweden, Kosta Boda, U.S., as well as schools focused specifically of Art’s School of Design. Littleton and Labino later built the first glass studio at the Penland Sign-posts toward greater knowledge. and in Ireland, Waterford. But since the latter in the medium of glass like the Pilchuck Glass were the first to demonstrate that molten School of Crafts in North Carolina. half of the 20th century, the United States has School near Seattle, the Pittsburgh Glass glass is feasible for artists to create using a Dale Chihuly (b. 1941), Silvered Venetian with Saturn Orange -Robert Henri, The Art Spirit been at the forefront of glass as a fine art. Center, The Studio of The Corning Museum small scale furnace. The artist and the glass Flowers, 2009, Blown glass, 43 x 16 x 12 in., Courtesy of The Studio Glass Movement spread quickly of Glass and the Wheaton Arts and Cultural The Influence of Chihuly Schantz Galleries, Stockbridge, MA technician could be one and the same. Littleton In the early part of the 20th century, from America to Europe and the United Center in Millville, NJ. Today, through these and went on to create the first glass program at In 1968, Dale Chihuly was awarded a Fulbright the factory. It profoundly affected Chihuly’s Robert Henri (1865–1929) helped define the Kingdom, Australia, and more recently, Asia. many other educational programs, the glass the University of Wisconsin. Among the first grant to study glassblowing at the Venini ideas about glassblowing. In 1969, Chihuly American vision of freedom, spontaneity and It is distinguished not only by freedom and community continues to flourish. students in his Master’s program were Marvin factory on the island of Murano in Venice. traveled to Germany to meet Erwin Eisch, experimentation in art. Glass Today: experimentation with the medium, but by Lipofsky, Dale Chihuly, and Bill Boysen, and it Chihuly was the first American glassblower to whose family had a glass factory in Frauenau. 21st-Century Innovations at the New Britain open sharing of technical knowledge and was here that these artists would first learn have the opportunity to study the masters of Eisch was also encouraging experimentation Museum of American Art pays significant ideas among artists—both of which have with glass among the artisans. Chihuly continued around the world. The effect of Venetian Born in 1934 on the renowned glassblowing Other great European influences on on to Prague to meet Stanislav Libenský glassblowing techniques on American studio island of Murano, Italy, Tagliapietra began his contemporary glass come from the Czech (1921–2002) and Jaroslava Brychtová, who glass enabled glass artists to expand their apprenticeship at age 11 with Muranese master Republic (formerly Czechoslovakia) and Sweden. were leading an artistic movement in glass in technical vocabularies and, combined with Archimede Seguso from whom Tagliapietra The artist Stanislav Libenský had a profound communist Czechoslovakia. new and experimental approaches, led to the achieved the status of Maestro Vetraio by the effect on generations of artists through his redefinition of glass as an artistic medium. age of 21. For over 42 years, Lino worked in teaching at the Academy of Applied Arts. At RISD, Chihuly befriended another artist, Italo various for-profit Murano factories including Vladimira Klumparova was born in the Czech Scanga, (1932–2001) an Italian-born multi-media Benjamin Moore was introduced to glass at Vetreria Galliano Ferro, Venini & Co., and finally Republic in 1954 and began her studies at artist with whom he subsequently collaborated the California College of Arts and Crafts while as the Artistic and Technical the Specialized Glassmaking High School in on many projects. Chihuly’s early students at studying under Marvin Lipofsky. In 1974 he Director of Effetre RISD included James Carpenter and Toots Zynsky. became Dale Chihuly’s first assistant and in later International (1976–1989). These artists went on to join Chihuly at the new years was Pilchuck Glass School’s Creative and Tagliapietra has exhibited in summer program called Pilchuck, in the hills of Educational director. After receiving his MFA at museums around the globe, Stanwood, Washington. Chihuly had imagined Rhode Island School of Design, Moore began receiving countless honors, a school in the woods of his native Pacific an apprenticeship at the Venini factory in Murano and helping to create a Northwest that could be devoted to glass. It with Maestro Checco Ongaro. In the summer new renaissance in studio was at Pilchuck that the momentum of Seattle’s of 1978, Moore invited Ongaro to teach a two glassmaking. Defying glass movement really began, and where the Marvin Lipofsky (b. 1938), Chico Group II 2004-5 #4 (Sea Grass), week workshop at Pilchuck Glass School. The criticism from the community European artists Chihuly had met in the late 2004–5, Blown glass, 13 x 14 x 13 in., Courtesy of Schantz Galleries, following year Ongaro recommended his brother- back home, Tagliapietra Stockbridge, MA 1960s, such as Eisch, Libenský, and Brychtová, in-law, Lino Tagliapietra, an equally accomplished never stopped openly sharing would become major contributors to its began with a free-form and expressionistic maestro. Tagliapietra believed that if glassmaking his knowledge. But the educational program. Forty years later, Pilchuck approach, by the late 1970s this was no longer at its highest level were to survive, it must giving was not a one-way Glass School is considered an international sufficient to drive the field forward. American expand beyond the island of Murano. street; Tagliapietra benefited center for training and new ideas in glass. Studio glassmaking had reached a crossroads, equally from the young and one by one, artists followed Chihuly and Richard Marquis (b. 1945), Dustpan, 2011, Hot slab glass construction, At age 45, Lino Tagliapietra made his first trip to artists he taught and with 15 x 11 x 3 in., Collection of John and Bette Cohen Dale Chihuly and Marvin Lipofsky continued to Lipofsky’s lead to study abroad and seek the Seattle and on to Pilchuck during the summer whom he collaborated. After play seminal roles in raising awareness expertise of Swedish, Czechoslovakian, and 1969, he received a year-long Fulbright of 1979. Tagliapietra generously shared what years of factory production of studio glass throughout the world and especially Italian glassmakers in order to better Scholarship to study the making of art glass at he knew with artists in the United States and work, Tagliapietra came successfully took glassblowing in experimental harness the technical capabilities of glass in the the Venini Glass factory in Murano, Italy and subsequently throughout the world. During his face-to-face with new ways and innovative directions. Focusing on the service of artistic expression. was among the first Americans to work in a more than 30 years of teaching, he has instilled of regarding the material Venetian glass factory. His modern glass execution of artistic ideas in glass, they searched a demand for excellence, a work ethic, and and with individuals who creations tend towards the humorous, and often for ways to go beyond glass’s traditional The European Influence a love of the medium that has changed and considered it a medium associations with functionality by exploring incorporate other materials. Marquis has had elevated the glass art movement forever. for art. They were blowing an extraordinary influence on the development 5 5 sculptural forms. While American studio glass Richard Marquis studied both ceramics and Tagliapietra’s career is defined by a dedication glass for the sheer joy and Vladimira Klumpar (b. 1954), Origami in Topaz, 2009, Cast glass, 19 /8 x 19 /8 x 9¼ in., glass at the University of California, Berkeley. In of contemporary studio glass in America and to workmanship, innovation, and collaboration. challenge of it. Courtesy of Schantz Galleries, Stockbridge, MA Železný Brod. She completed her studies Paul Marioni, and Benjamin Moore and studied Swedish design Lino Tagliapietra throughout the past 20 years. nearly a decade later at the Academy under Benjamin Moore. at Kosta Boda. Powell founded the glass program at Centre Libensky’s tutorship. Libenský and his Dan Dailey became College in Danville and has been instrumental collaborator, Jaroslava Brychtová, brought Chihuly’s first graduate In the early 1990s, Preston Singletary’s in developing a wide range of blown glass new technical advances in casting. student at Rhode artistic style turned from mastering European applications employing Italian cane techniques. Klumparova has continued Libenský’s Island School of decorative forms to connecting with his Native José Chardiet currently operates his studio in legacy of creating formalist, monumental cast Design. Along with American roots (both his great-grandparents Colorado. He has continued to experiment glass sculpture. In addition to Libenský and other students, Dailey were full-blooded Tlingit). He discovered that with a variety of processes in combination Brychtova, Bertil Vallien, from Sweden, has assisted in building the glass as an artistic medium which he could with blown glass. Chardiet received his training been a major force in the medium of cast RISD glass studio and connect with his family, society, and cultural at Kent State University in the glass program glass. Throughout the 1960s and 1970s, began to develop roots. Today his work embodies both his led by Henry Halem. Vallien developed groundbreaking methods concepts for ancestry with contemporary sculptural concerns. for sand casting in glass and has been a illuminated sculpture. John Kiley grew up in Seattle and began his principal designer for Orrfors Kosta Boda. In 1972, Dailey received professional career at the age of 19 at the Cast Glass Another European who greatly affected a Fulbright Fellowship Glass Eye Studio. During his early 20s, he had American glass is Eric Hilton. After finishing and was invited by the opportunity to work in Finland, Ireland, Daniel Clayman’s cast glass sculpture combines his studies at Edinburgh College of Art in Ludovico Diaz di Dan Dailey (b. 1947), Sunsetting, Fabricating Music Series, 2009, Blown and hot-formed glass, Peter Bremers (b. 1957), Traveling VIII, 2013, Cast glass, 26 x 26 x Mexico, and Italy as part of the Chihuly Over the formalism of the Czech tradition with new sandblasted and acid polished; nickel plated, patinated, bronze framework, 37½ x 54 x 7 in., 4 in., Collection of Dr. Stephanie Beling technologies in casting methods. Clayman Scotland, he eventually moved to the United Santillana, the director Courtesy of the artist and Schantz Galleries, Stockbridge, MA Venice team. He was a principal member of was a student of the glass program at Rhode States in the early 1970s to teach at the glass and owner of the the past 25 years. Royal was the first Artist in Lino Tagliapietra’s team until 2011 when he Blown Glass Island School of Design and has been at the program at Alfred University. He was a Venini Factory in Murano, to work as an Residence at the Waterford Crystal Factory in became the Glass Director at the Schack Art forefront of utilizing three dimensional printing designer at Steuben Glass for over 30 years. independent artist/designer. This industrial As a major center for hot glass, there have Waterford, Ireland in 1998 and 1999. Artist Center in Everett, Washington. to create his sculpture. Latchezar Boyadjiev Hilton helped redefine the cut and cast experience became a model for Dailey’s been many important artists emerging from Debora Moore also developed her unique was born in Bulgaria and is also a graduate of glass art form. work in several glass factories later in his Seattle. Beginning in 1979, Dante Marioni spent approach and technique while at Pilchuck Beyond Seattle, there are regions of glass the prestigious program at the Academy of career. In 1973, Dailey founded the glass summers at Pilchuck Glass School where his Glass School. By combining her innovative making in the U.S. including Ashville, North Applied Arts in Prague with Stanislav Libenský. program at the Massachusetts College of Art father Paul taught. Marioni learned his glassblowing approaches with traditional glassblowing, her Carolina and Corning, N.Y. where artists operate Other Early Contributors Peter Bremers, a graduate of the University of and Design in Boston. skills from Lino Tagliapietra, Benjamin Moore, wall reliefs and installations have helped define their independent studios. Richard Jolley’s home Fine Arts in the Netherlands, has been greatly The exhibition at the New Britain Museum of and Richard Marquis. His work integrates blown sculptural glass installations. Martin Blank and studio is in his native Tennessee. His work influenced by Czech contemporary glass and American Art bears witness to Tagliapietra, The influence of the first generation of the classical Greek and Italian form with modernism. graduated from Rhode Island School of represents the expressive glass sculpting is at the forefront of casting and cutting glass Chihuly, and Lipofsky not only as pioneers Studio Glass Movement has gained a great Although Marioni grew up in Mill Valley, Design, worked for Dale Chihuly for 11 years, techniques that grew out of the Penland to create sculptural forms. Thomas Scoon of the Studio Glass Movement in the United deal of momentum throughout the past four California and Seattle, he has embraced the and was instrumental in working on Chihuly School, led by artist Richard Ritter, a combines cast glass and stone to create his States but as pioneers who have influenced decades. The advances that have been made traditions of Italian glassblowing from his Over Venice. Blank also trained at Pilchuck descendant of North Carolina artist Harvey unique and monumental, sculptural work. He is generations of artists working with glass. with the glass medium are represented in this mentor Lino Tagliapietra. Richard Royal, also Glass School and subsequently developed his Littleton. Recently, Jolley has made major a graduate of the program at Massachusetts Other early contributors to the Studio Glass exhibition in three primary areas of approach: from Seattle, has been a faculty member own methods for sculpting monumental forms advances with large-scale sculpture that College of Art and Design and has taught at Movement and the Pilchuck program include Blown Glass, Cast Glass, and Cold Working of Pilchuck Glass School. He has pushed the in blown glass. Preston Singletary studied employs both glass and steel. Kentucky artist Pilchuck Glass School. Dan Dailey, Richard Marquis, Dante Marioni, (Cut and Laminated). limits of large scale blown glass sculpture for at Pilchuck Glass School as an assistant for Stephen Rolfe Powell has worked closely with Giles Bettison (b. 1966) Daniel Clayman (b. 1957) Impudents, 2011 Cut and Laminated Glass Billet 08 #6, 2008 Three Volumes, 2012 Blown glass, sandblasted and acid For more than 30 years, Jon Kuhn and Sidney Murrine blown glass Cast glass, 96 x 96 x 72 in. polished; fabricated, patinated, Hutter have been pioneers in the field of cut construction, 10 x 12 x 1¾ in. Courtesy of the artist and Schantz nickel and gold-plated bronze; pâte and laminated techniques. Both artists have Collection of Marian and Russell Galleries, Stockbridge, MA de verre and vitrolite glass details, Burke 15 x 11 x 10 in. Process Mapping Number One, 2014 made great advances with laminating complex Collection of Marian and Russell Collagraph on paper, 30 x 21 in. forms to create intricate patterns of refracted Martin Blank (b. 1962) Burke Courtesy of the artist light. This synthesis of art and engineering Thirsting, 2011 Impudents, 2011 Hot sculpted glass, Process Mapping Number Two, 2014 grew out of the technical advances made in Pen and ink on paper, 23 x 21½ in. 60 x 25 x 18 in. Collagraph on paper, 25 x 20 in. Eric Hilton (b. 1937) the 1970s and 1980s. Kuhn originally studied Collection of Marian and Russell Collection of Marion Rich Courtesy of the artist Search for Life, pictured above, 2013 ceramic art and received his MFA from Virginia Burke Process Mapping Number Three, Optical crystal (copper wheel Commonwealth University. His early work Mary Beth Bliss (b. 1952) and Peter 2014 Steffen Dam (b. 1961) engraved, sandblasted, sagged, incorporated the use of organic glass forms Vanderlaan (b. 1950) Collagraph on paper, 20 x 25 in. Eight Jars, 2008 cut and polished) on stained Untitled, 2001 before he developed his intricate geometric Courtesy of the artist Glass, 24½ x 15½ x 10½ in. maple base, 8¾ x 12 x 12 in. approach to sculpture. Hutter was a graduate Glass, 14¼ x 5¾ x 5½ in. Collection of Marian and Russell Courtesy of Schantz Galleries, Collection of Frederick and Joan Stockbridge, MA of Illinois State’s glass program and also José Chardiet (b. 1954) Burke Baekeland Silver Horn #2, 2012 Massachusetts College of Art and Design, led Solid hot sculpted glass with silver Andrew Erdos (b. 1985) Richard Hornby (b. 1965) by Dan Dailey. Another artist using cut and Peter Bremers (b. 1957) electroplating, 18½ x 6 x 4 in. Cheerfully Rooting through Ruby Butterfly Red, 2001 laminated glass techniques is Linda MacNeil. Traveling VIII, 2013 Collection of Dr. Herbert and Red Detritus, 2013 Glass, 15¼ x 7 x 12 in. Her work employs innovative approaches to the Cast glass, 26 x 26 x 4 in. Judith Silver Mouth blown silverized glass, Collection of Frederick and Joan Collection of Dr. Stephanie Beling two way mirror, colored crystal, Baekeland wearable art form while drawing upon historical Jon Kuhn (b. 1949), Clear to Blue Pendulum Cluster, 2007, Sidney Hutter (b. 1954), Red Yellow & Blue Vase with Gold Nicole Chesney (b. 1971) LED lights, 66 x 42 x 27 in. references. Also notable in laminated work Constructed glass sculpture, 20–24 in. (glass height), Special Effect Pigment, 2014, Cut, ground and polished Krystal Latchezar Boyadjiev (b. 1959) Altum, picture follows, 2014 Courtesy of Claire Oliver Gallery David Huchthausen (b. 1951) Courtesy of the artist and Schantz Galleries, Stockbridge, MA Klear plate glass and pigment, 16 x 9¼ x 9¼ in., Courtesy of Kiss, 2011 are New England artists K. William LeQuier and Oil painting on acid-etched and Collision of Matter, 2013 Eclipse, 2011 the artist and Schantz Galleries, Stockbridge, MA Cast glass, 16 x 13 x 3½ in. Martin Rosol. LeQuier, a graduate of Southern mirrored glass, 44 x 60 x 1 in. HD time based media, 36 seconds Cut, laminated and polished glass, Courtesy of Schantz Connecticut State University, began his career 21st century. This drive to develop the medium Courtesy of Gallery NAGA Amber Cowan (b. 1981) Courtesy of Claire Oliver Gallery 13 x 13 x 13 in. The Tradition Continues Galleries, Stockbridge, MA Courtesy of Schantz with blown glass. He eventually developed technically and artistically has spawned a Rosette in Milk and Ivory, pictured With the addition of the next generation of movement united by artists who have a above, 2013 Josepha Gasch-Muche (b. 1944) Galleries, Stockbridge, MA intricate cold-working methods to create his Nancy Callan (b. 1964) emerging artists such as Nancy Callan, Preston Flameworked, pressed and sheet 20.04.08, 2009 delicate cut pieces using industrial plate glass. strong connection to the material and to the Smokey Quartz Top, 2009 Sidney Hutter (b. 1954) glass and mixed media, Glass and wood panel, 25½ x Singletary, Ethan Stern, and David Walters, sharing of ideas. We see a lineage within the Blown and carved glass, Martin Rosol came to the United States in 1988 34 x 32 x 4½ in. 25½ x 3 in. Red Yellow & Blue Vase with Gold Glass Today: 21st-Century Innovations at the movement which can be traced to those 11 x 12 x 19 in. to pursue his career as a sculptor, a path Courtesy of Heller Gallery Courtesy of Heller Gallery Special Effect Pigment, 2014 New Britain Museum of American Art celebrates who brought the medium to the forefront. It Collection of Henry and Sharon Cut, ground and polished Krystal unavailable to him in communist Czechoslovakia. Peter Greenwood (b. 1960) the evolution of contemporary glass by Martin Dan Dailey (b. 1947) Klear plate glass and pigment He has led the way in perfecting cut and has been a remarkable journey thus far and Caribbean Blue & Black, 2014 Sunsetting, Fabricating Music 16 x 9¼ x 9¼ in. several generations. Certainly there are other we look forward to seeing where it will bring Blown glass, 16 x 9½ x 5 in. laminated methods to redefine sculptural Sydney Cash (b. 1941) Dale Chihuly (b. 1941) Series, 2009 Courtesy of the artist and Schantz important and talented artists that could be the art form. We thank these artists for their New Britain Museum of American approaches to the glass medium. Kemosabe, picture follows, 2012 Silvered Venetian with Saturn Blown and hot-formed glass, Galleries, Stockbridge, MA Art, Gift of the artist, 2014.41 included with this group. The glass art contribution, their energy, and their dedication Mirror, etched glass and hardware, Orange Flowers, 2009 sandblasted and acid polished; movement continues to push forward with 65 x 44 x 5 in. (image); 93 x 55 in. Blown glass, 43 x 16 x 12 in. Anja Isphording (b. 1964) to the fascinating material that unites them. nickel plated, patinated, bronze Mundy Hepburn (b. 1955) innovation and new ideas as we enter the (painted background) Courtesy of Schantz Galleries, framework, 37½ x 54 x 7 in. #127, 2009 Lady’s Slipper, 2014 1 Courtesy of the artist Stockbridge, MA Glass, 15 /8 x 12 x 11 in. Courtesy of the artist and Schantz Glass, 18½ x 4 x 5 in. Courtesy of Heller Gallery Galleries, Stockbridge, MA Courtesy of David and Lisa Casey Luke Jerram (b. 1974) Stephen Knapp (b. 1947) painted steel armature, Benjamin Moore (b. 1952) James Randolph (b. 1954) Toland Sand (b. 1949) Preston Singletary (b. 1963) Ethan Stern (b. 1978) Bertil Vallien (b. 1938) Steven Weinberg (b. 1954) Chandelier No. 2 (Solar Done for the Night, 2008 24½ x 16½ x 2¼ in. and Louis Mueller (b. 1943) Strange Embrace, 2001 Roundabout Blues, 2014 Red Goose, picture follows, Aqua Crest, 2012 Janus MOG IX-12, 2012 Green Rings Blue Lattice #2, 3 Flare), 2012 Lightpainting (light, glass, Courtesy of Schantz Old Abstraction, New View, Glass, 22¾ x 7 /8 x 7¼ in. Assembled and coldworked 2013 Blown and carved glass, 24 Cast and cut glass, 68½ x 2012 Glass and mixed media, 72 stainless steel), 16 ft. x 12 ft. Galleries, Stockbridge, MA 2009 Collection of Frederick and glass, 16 x 16 x 15 in. Blown and sand carved x 9 in. (panel 1); 21 x 12 in. 7¾ x 5¼ in. Cast glass, 7¼ x 7¼ x 7¼ in. x 42 x 42 in. x 10 in. Mirror, black powdered Joan Baekeland Courtesy of the artist glass, 21½ x 7½ x 4½ in. (panel 2); 24 x 15 in. (panel 3) Courtesy of Schantz Courtesy of Schantz Courtesy of Heller Gallery Courtesy of the artist Beth Lipman (b. 1971) coated bronze frame, Courtesy of Schantz Collection of Jim Schantz Galleries, Stockbridge, MA Galleries, Stockbridge, MA Aspects of (American) Life, blown glass, 22 x 22 x Mark Reigelman II (b. 1983) Judith Schaechter (b. 1971) Galleries, Stockbridge, MA and Kim Saul Avian Flu 2/5, 2013 Jon Kuhn (b. 1949) 2013 3½ in. 5¢ STEP LADDER, 2014 The Battle of Carnival and Norwood Viviano (b. 1972) Glass, 8½ x 11½ x 8½ in. Changing Light (Rung), 2011 Clear to Blue Pendulum Cast and mouth blown Courtesy of the artist Glass, wood, epoxy, 92 x Lent, 2012 Mining Industries: Seattle Courtesy of Heller Gallery Blown and wheel cut glass, Cluster, 2007 glass, 115 x 80 x 60 in. and Schantz Galleries, 25 x 56 in. Stained glass, 56 x 56 in. City Center, 2013 12 x 13 x 3 in. Constructed glass sculpture, New Britain Museum of Stockbridge, MA Courtesy of Heller Gallery Courtesy of Claire Oliver Rapid prototyped pattern Richard Jolley (b. 1952) Courtesy of Schantz 20–24 in. (glass height) American Art, Gallery kilncast glass and fabricated Suspended in Dreams #10, Untitled B 87-13 (Brooch Galleries, Stockbridge, MA Courtesy of the artist and Charles F. Smith Fund, 2014.65 Debora Moore (b. 1960) Jill Reynolds (b. 1956) steel, 37½ x 12½ x 10 in. 2013 Series), 2013 Schantz Galleries, Pink Lady Slipper— GRAVITY, 2008–2010 Thomas Scoon (b. 1961) Courtesy of Heller Gallery Blown glass, 20 x 17 x 11 in. Polished black, ivory, and Lino Tagliapietra (b. 1934) Stockbridge, MA Marvin Lipofsky (b. 1938) Gigantica II, picture follows, Flameworked glass, stone, One in One, 2014 Courtesy of Schantz blue vitrolite glass; acid Dinosaur, 2005 Mining Industries: Microsoft Chico Group II 2004-5 #4 2012 12 x 18 x 18 in. Cast glass and granite, 57 x Galleries, Stockbridge, MA polished clear mirrored Blown glass, 51 x 16¼ x Corporation Headquarters, Thérèse Lahaie (b. 1958) (Sea Grass), 2004–5 Blown glass, 22 x 16 x 10 in. Courtesy of the artist 14 x 24 in. glass, 3 x 1½ x ¾ in. 8¾ in. 2014 VAJRA-Ocean, 2011 Blown glass, 13 x 14 x 13 in. Courtesy of Schantz Courtesy of the artist and Courtesy of the artist HAPPY MEAL, picture Courtesy of Schantz Rapid prototyped pattern Glass, scoured mirror, cam Courtesy of Schantz Galleries, Stockbridge, MA Schantz Galleries, follows, 2010 Galleries, Stockbridge, MA kilncast glass and fabricated shaft, vinyl membrane, Galleries, Stockbridge, MA Stockbridge, MA Dante Marioni (b. 1964) Flameworked glass, steel, 35¼ x 19¼ x 12¼ in. LEDs and low RPM motor, Fenice, 2011 Toots Zynsky (b. 1951) Black and Red Reticello asphaltum, latex tubing, Reflection, 2013 Courtesy of Heller Gallery 18 x 30¼ x 6¼ in. Carmen Lozar (b. 1975) Blown glass, 14¾ x 43¾ x Abbraccio, pictured above, Leaf, 2009 altered labware, 9 x 5 x 3 in. Cast glass and granite, 58 x Courtesy of Heller Gallery Bonnie and Clyde, 2008 Raven Skyriver (b. 1982) 5¼ in. 2010 Blown glass, 28½ x 10 x Courtesy of the artist Martin Rosol (b. 1956) 15 x 25 in. David Walters (b. 1968) Cast glass, 4½ x 9½ x 3 in. Salmon, 2009 Courtesy of Schantz “Filet-de-verre” (Fused and 2½ in. de Soleil, 2006 Courtesy of the artist Calami-Tea or Love Me, Karen LaMonte (b. 1967) Collection of Marian and Glass, 10 x 36 in. Galleries, Stockbridge, MA thermo-formed color glass Collection of Kathryn and Cut and polished glass, 15 x and Schantz Galleries, Hate Me, picture follows, Reclining Drapery Russell Burke Collection of Marian and threads) Thomas R. Cox, III 15 x 3½ in. Stockbridge, MA Angel Tear, 2011 2009 Impression, 2006 Russell Burke 13 x 11 x 10¼ in. 3 1 Courtesy of Schantz Blown glass, 33¾ x 22 x Blown and handpainted Cast glass, 61 /8 x 18 /8 x Linda MacNeil (b. 1954) Collection of Marian and Richard Marquis (b. 1945) Galleries, Stockbridge, MA Josh Simpson (b. 1949) 5½ in. glass, 37 x 9 x 10 in. 22 in. Mesh Necklace (119), 2009 Dan Spitzer (b. 1964) Russell Burke Dustpan, 2011 Megaplanet, 2006 Collection of Henry and Collection of Jim Schantz Collection of Marian and Glass, cut & carved, Dustup Chandelier, 2005 Russell Burke Hot slab glass construction, Richard Royal (b. 1952) Fused murrine, furnace- Sharon Martin and Kim Saul Front cover (from left): Daniel polished, 24k gold plated Blown glass and steel, Clayman (b. 1957), Three Volumes, John Kiley (b. 1973) 15 x 11 x 3 in. Expanding Violet Cube, 2013 worked, applied filigrana cane, Collection of Marian and 66 x 48 x 48 in. Makah, ca. 2007 2012, Cast glass, 96 x 96 x 72 in., Intersected Vertical Overlap, Shayna Leib (b. 1975) Collection of John and Blown glass with adhesive, drawing, applied decoration, Russell Burke Courtesy of the artist Blown glass, 25 x 11¾ x Courtesy of the artist and Schantz pictured above, 2011 Laminar, 2007 Bette Cohen 22 x 22 x 24 in. applied gold foils, and Galleries, Stockbridge, MA; Karen Sibylle Peretti (b. 1964) 6½ in. Blown, carved and polished Glass with aluminum frame, Neck Collar 23-13, picture Courtesy of the artist dichroic glass strips, 13¾ LaMonte (b. 1967), Reclining Drapery Carmen Spera (b. 1951) 3 Dew II, 2013 and Schantz Galleries, Collection of Henry and Impression, 2006, Cast glass, 61 /8 glass, 25 x 12 x 12 in. 14 x 28 x 5 in. follows, 2013 Benjamin Moore (b. 1952) (diameter) x 13½ in. 1 Kiln formed glass and Tools of the Trade: Clipboard Sharon Martin x 18 /8 x 22 in., Collection of Marian Courtesy of Schantz Collection of Melinda and Acid polished clear, blue Exterior Fold Trio—Opaline, Stockbridge, MA Courtesy of the artist mixed media, 36 x 38 x ½ in. with Open Scissors, 2013 and Russell Burke. ©2006, Karen Galleries, Stockbridge, MA Paul Sullivan transparent glass, chartreuse 2012 Nudo di Donna, 2013 LaMonte. Photo Credit: Martin Polak. Courtesy of Heller Gallery Blue New Mexico Platter, Glass, 7¼ x 14½ x 11 in. and yellow transparent Blown glass, tall: 23½ x 8½ Christopher Ries (b. 1952) Brian Russell (b. 1961) Fused glass, 39¾ x 59 x 2005 Courtesy of Heller Gallery Back Cover (from left): Lino Vladimira Klumpar (b. 1954) K. William LeQuier (b. 1953) mirrored glass, polished in. (diameter); mid: 12½ x Harp, picture follows, 2007 Flutterby, 2010 ½ in. Stephen Rolf Powell (b. 1951) Hand blown dark amethyst Tagliapietra (b. 1934), Fenice, 2011, Origami in Topaz, 2009 Curl No. 6, 2013 yellow, black and ivory 11½ in. (diameter); short: 9 x Optical glass (cut, ground, Cast glass and forged Courtesy of Schantz Blown glass, 14¾ x 43¾ x 5¼ in., 5 5 Sassy Frazzled Flirt, 2013 glass with reactive silver Ivana Šrámková (b. 1960) Cast glass, 19 /8 x 19 /8 x Laminated plate glass, vitrolite glass, gold plated, 12 in. (diameter) polished and etched), 20¾ aluminum, 83 × 36 × 22 in. Galleries, Stockbridge, MA Courtesy of Schantz Galleries, sandblast and diamond Blown glass, 6½ x 29¾ x New Britain Museum of decoration and crimson lip Introvert, 2011 Stockbridge, MA; Stephen Knapp 9¼ in. 4¼ x 3¾ in. (pendant); Courtesy of the artist and x 12½ x 6½ in. 5 29¾ in. wrap, 30½ (diameter) 2¼ in. Cast glass, 74¾ x 21 /8 x (b. 1947), Done for the Night, 2008, Courtesy of Schantz wheel carved; laminated, 5½ in. (collar diameter) Schantz Galleries, Courtesy of Schantz American Art, Museum Courtesy of Schantz Courtesy of the artist 7 7/ in. Lightpainting (light, glass, stainless Galleries, Stockbridge, MA polished and acid etched Courtesy of the artist Stockbridge, MA Galleries, Stockbridge, MA Purchase, 2014.21 8 Galleries, Stockbridge, MA Courtesy of Heller Gallery steel), 16 ft. x 12 ft. x 10 in., black glass base with a Courtesy of the artist New Britain Museum of American Art