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The Coming Museum of Glass Newglass Review 23

The Coming Museum of Glass Newglass Review 23

The Coming Museum of NewGlass Review 23

The Corning, 2002 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made between der Voraussetzung ausgewahlt, dass sie zwi- October 1, 2000, and October 1, 2001. schen dem 1. Oktober 2000 und dem 1. Okto- ber 2001 entworfen und gefertig wurden.

For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass please contact: Rew'ewkonnen angefordert werden bei: The Corning Museum of Glass Buying Office One Museum Way Corning, New York 14830-2253 Telephone: (607) 974-6821 Fax: (607) 974-7365 E-mail: [email protected]

To Our Readers An unsere Leser Since 1985, New Glass Review has been printed by Seit 1985 wird New Glass Review von der Ritterbach Ritterbach Verlag GmbH in Frechen, . This Verlag GmbH in Frechen, Deutschland, gedruckt. Dieser firm also publishes NEUES GLAS/NEW GLASS, a Verlag veroffentlicht seit 1980 auBerdem NEUES GLAS/ quarterly magazine devoted to contemporary glass- NEW GLASS, eine zweisprachige (deutsch/englisch), making. vierteljahrlich erscheinende Zeitschrift, die iiber zeitge- New Glass Review is published annually as part of the nossische Glaskunst weltweit berichtet. April/June issue of NEUES GLAS/NEW GLASS. It is Die New Glass Review wird jedes Jahr als Teil der Mai- also available as an offprint. Both of these publications, ausgabe von NEUES GLAS/NEW GLASS veroffentlicht. as well as subscriptions to New Glass Review, are avail­ Sie ist aber auch als Sonderdruck erhaltlich. Diese able from the Buying Office of The Corning Museum of beiden Publikationen sind ebenso wie Abonnements fur Glass (see address above). die New Glass Review im Verkaufsburo des Corning The other three issues of NEUES GLAS/NEW GLASS Museums of Glass (siehe oben stehende Adresse) er­ that are published yearly may be ordered by writing to haltlich. NEUES GLAS/NEW GLASS, Ritterbach Verlag GmbH, Die ubrigen drei Ausgaben von NEUES GLAS/NEW Rudolf-Diesel-Strasse 5-7, D-50226 Frechen, Germany. GLASS, die jedes Jahr veroffentlicht werden, oder Abon­ Readers wishing to subscribe to NEUES GLAS/NEW nements konnen uber NEUES GLAS/NEW GLASS, GLASS should also write to that address. Ritterbach Verlag GmbH, Rudolf-Diesel-StraBe 5-7, Readers in the can order subscriptions D-50226 Frechen, Germany, Tel. +49 2234 1866-17, and single copies of NEUES GLAS/NEW GLASS by Fax +49 2234 186690, e-mail [email protected] contacting the American Sales Department of German (auch einzeln) bestellt werden. Language Publications Inc., 153 South Dean Street, Lesern in den USA empfiehlt es sich, Abonnements Englewood, NJ 07631, USA, phone: (201) 871-1010, oder Einzelausgaben uber das amerikanische Vertriebs- fax: (201) 871-0870, e-mail: [email protected]. biiro des Verlages in New Jersey zu bestellen: Publications, Inc. 153 South Dean Street, Englewood, NJ 07631, USA, Tel. +10 2018 71-1010, Fax +10 201871-0870, e-mail [email protected]

All rights reserved, 2002 Alle Rechte vorbehalten, 2002 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253

Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland

Standard Book Number 0-i 1-153-X ISSN: 0275-469X

Library of Congress Number Aufgefiihrt im Katalog der Library of Congress 81-641214 unter der Nummer 81 -641214 Table of Contents/lnhalt

Page/Seite Artists and Objects/Kunstler/innen und Objekte 4 Jury Statements/Statements der Jury 26 Jurors' Choice/Die Wahl der Juroren 36 Bibliography/Bibliografie 44 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 80 1. Galia Amsel 2. Bennett Battaile Artists and Objects* 52a Hopton Road 18230 Southwest Wheeler SW16 2EN, Court , U.K. Aloha, Oregon 97007 Aperture 5 "Hope" Flamenco Kunstler und Objekte* Cast glass Flameworked glass Gegossenes Glas Lampengearbeitetes Glas * Descriptive information has been provided by the entrants. H. 70 cm, W. 17 cm, D. 8.5 cm H. 53 cm, W. 97 cm, D. 76 cm * Die Objektbeschreibungen sind von den Teilnehmerinnen und PA, TO PA, PP, JW Teilnehmern geliefert worden. 3. Veronika Beckh Gernheim 12 D-32469 Petershagen, Germany Source Blown glass, hot-worked, cut, sandblasted, polished, assembled Geblasenes Glas, heiR be- arbeitet, geschliffen, sand- gestrahlt, poliert, montiert Diam. 23 cm PA, TO, PP, JW 4. Frances Binnington Bradford Campbell Gallery 251 Post Street, Fifth Floor , 94108 Annie Get Your Gun Verre eglomise, gilded, assembled Verre eglomise, vergoldet, montiert H. 38 cm, W. 34 cm, D. 18 cm TO, PP, JW 5. Gabriella Bisetto 68B High Street, Kensington , South 5068 Australia Distend Blown glass, hand-scratched Geblasenes Glas, handge- schnitten H. 48 cm, W. 19 cm, D. 19 cm TO, PP Lene Bodker 9. Bob Budd Strandvejen 16C I Bury Meadow, Cottles Lane, 2100 Copenhagen, Denmark Woodbury Opus Exeter, Devon EX5 1EE, Blown and England, U.K. Geblasenes und geschliffenes Suspended Clouds, Tacchi Glas Morris Arts Centre, Taunton, H. 47 cm, W. 14 cm, D. 11 cm UK JW Photographic images printed and fired on glass; stainless Christina Bothwell steel 148 Karns Road Auf Glas gedruckte und einge- Stillwater, 17878 brannte Fotografien; rostfreier Toy Stahl Cast glass; pit-fired raku clay, H. 130 cm, W. 900 cm, , iron wheels D. 50 cm Gegossenes Glas; grubenge- PA, PP brannte Rakukeramik, Eisen- rader 10. Devin Burgess H. 33 cm, W. 38 cm, D. 15 cm Providence, Rhode Island TO, PP, JW Duck Cast glass; , 8. Latchezar Boyadjiev found objects 1565 Vendola Drive, #12 Gegossenes Glas; Mixed San Rafael, California 94903 Media, Fundstucke . WmBmm Comfort H. 240 cm, W. 45 cm, Cast glass, ground, polished, D. 45 cm acid-etched PP,JW Gegossenes Glas, geschliffen, poliert, sauregeatzt H. 72 cm, W. 58 cm, D. 16 cm PA 11. Chelsie Bush 13. Chatt Richmond, Vermont , Overheated Flab Bag Sand-cast glass; neon, Glass seed 305 V-8 Chevy motor Kleine Glasperlen In Sand gegossenes Glas; H. 20 cm, W. 25.5 cm, Neon, 305 V-8 Chevy Motor D. 20 cm H. 130 cm, W. 120 cm, PP D. 110 cm PA, TO, PP, JW 14. Nicole Chesney Chappell Gallery 12. Robin Cass 526 West 26th Street, Level 9 Rochester, New York New York, New York 10001 Traveler VI That Which Is Dreamt Fused, slumped, blown, , , oil paint and enameled glass; metal Glasscheibe, Spiegel, Olfarbe Verschmolzenes, abgesenktes, H. 77 cm, W. 50 cm, D. 4 cm geblasenes und emailliertes PA, TO, PP Glas; Metall H. 32 m, W. 86 cm 15. Daniel Clayman PA, TO 9 Newman Avenue Rumford, Rhode Island 02916 Tinge Cast glass Gegossenes Glas H. 249 cm, W. 56 cm, D. 25 cm PA, TO, JW 16. Benjamin W. Cobb 19. Brad Copping 2 Sycamore Street 645 Jack Lake Road Newport, Rhode Island 02840 Apsley, KOL 1AO, Remnants Canada Blown glass, assembled Untitled 1 (black canoe) Geblasenes Glas, montiert Blown glass, acid-etched; H. 46 cm, W. 33 cm, D. 33 cm oil stain, wood, PA, TO, PP Geblasenes Glas, sauregeatzt; Olflecken, Holz, Papier 17. Brian Coleman H. 175 cm, W. 28 cm, 1085 Hazel Dell Road D. 20 cm Watsonville, California 95076 TO, JW Entwined 20. Rhian Mair Davies Glass tubing, ribbon burner, krypton, phosphorescence, Tegfan, Beulah electricity N. C. Emlyn, Ceredigion SA38 Glasrohren, Brenner, Krypton, 9QE, Wales, U.K. Phosphoreszenz, Elektrizitat Relative, Relatives (detail/ H. 23 cm, W. 120 cm, D. 23 cm Detail) TO, JW Kiln-cast and hot-worked glass Ofengegossenes und heif3 18. Elizabeth M. Coleman bearbeitetes Glas 39 West Starr Avenue, #6 Largest/grofBte: H. 15 cm, Columbus, Ohio 43201 W. 10 cm, D. 12 cm Corn-Fed JW Cast lead crystal; , seed corn Gegossenes Bleikristall; Porzellan, Saatmais H. 18 cm, W. 7.5 cm, D. 7 cm JW 21. Nadege Desgenetez If an atom was enlarged to the 3700 Southwest Donovan size of this sphere, all the Seattle, Washington 98126 components, the nucleus and the electrons, would still be Chaussette invisible. If the sphere was Blown glass (incalmo) enlarged to the size of down­ Geblasenes Glas (incalmo) town Providence, then the H. 83 cm, W. 29 cm, D. 23 cm nucleus would be the size of a TO, PP, JW small pebble and the electrons 22. Peter Drobny would be tiny grains of sand. The rest of the space would be 211 Chemung Street empty. Corning, New York 14830 Pulled and formed glass cane; River slumped plexiglass, copper Plate glass, fabricated wood wire Glasscheibe, bearbeitetes Holz Gezogene und geformte Glas- H. 30 cm, W. 370 cm, rohre; abgesenktes Plexiglas, L. 550 cm Kupferdraht PA, PP, JW Diam. 182.8 cm PA, TO 23. Timothy Edwards 40 Regent Street 25. Emi Fujiwara Kensington, South Australia C-201 Famille Heights 5068, Australia 2-1 Aza-tsujishige, Ohira-cho Focus #3 Okazaki, Aichi 444-0007, Blown glass, wheel-cut Geblasenes Glas, radgraviert Untitled H. 33 cm, W. 28 cm, D. 6.5 cm Mold-blown glass, cut, PA, PP assembled Formgeblasenes Glas, 24. Adrianne Evans geschliffen, montiert 51 Lancaster Street H. 155 cm, W. 40 cm, Providence, Rhode Island D. 20 cm 21 02906 PA, TO

m m laafiKp 26. Debra Grundy 29. Johannes Hewel 12 Commercial Road Rot am See, Germany Louth, Lincolnshire LN11 7AB, Trinity Nine England, U.K. Antique glass, etched, painted Antikglas, geatzt, bemalt Kiln-cast glass H. 40.3 cm, W. 31 cm Ofengegossenes Glas PA, TO, JW H. 15 cm, W. 7.3 cm, D. 7.3 cm TO, JW 30. Laura Heyworth Duizendschoonstraat 12HS 27. Jens Gussek 1031 BG , Hoher Weg 17 The 06120 Halle, Germany Softly, Softly Ocean Flameworked glass; metal Blown and sand-cast glass Lampengearbeitetes Glas; Geblasenes und sandgegos- Metall senes Glas H. 40 cm, W. 41 cm, D. 15 cm H. 13 cm, W. 122 cm, D. 42 cm PA, TO PA, TO, PP, JW 28. Yukie Hagihara 666-6 Tokumaru-machi Matto-shi, Ishikawa 924-0804, Japan Mela Blown glass, kiln-cast, sandblasted, laminated Geblasenes Glas, ofengegos- sen, sandgestrahlt, laminiert Each/jedes: H. 34 cm, W. 11 cm, D. 11 cm TO, PP 31. Klaus U. Hilsbecher Glass Slipper (Ugly Blister) WupperstraRe 45 Cast lead crystal: Easter egg D-40219 Dusseldorf, Germany foil, nickel-plated bronze Gegossenes Bleikristall: Oster- Einsicht eierfolie, vernickelte Bronze Kiln-cast and , H. 51 cm, W. 33 cm, D. 72 cm assembled TO, JW Ofengegossenes und gravier- tes Glas, montiert 34. Charlotte Hughes H. 180 cm, W. 58 cm, D. 46 cm 30 High Street TO, PP Weedon, Northants NN7 4QD, 32. Deborah Holloway England, U.K. 7 Northfield Circus Definitely or Probably Edinburgh EH8 7PY, Blown glass; fabric, Scotland, U.K. Geblasenes Glas; Stoff, Knopfe Largest/groRte: H. 42 cm, Untitled (detail/Detail) W. 20 cm, D. 20 cm Blown lead crystal TO, PP, JW Geblasenes Bleikristall H. 56 cm, W. 36 cm, D. 36 cm 35. Kazumi Ikemoto TO, PP Kawasaki, Japan 33. Timothy Horn Scene 0103 The Glass Workshop, Blown glass; enamels School of Art Geblasenes Glas; Email ACT 2601 Canberra, Australia H. 27 cm, W. 26 cm, D. 26 cm TO 36. Ada Isensee Stejlepladsen (Fishing Nets Buoch, Germany Hung to Dry) Blown glass, slumped; leaded Landscape 2001 panels, metal Geblasenes Glas, abgesenkt; Farbglas verbleite Tafeln, Metall H. 59 cm, W. 38.5 cm, Each panel/jede Tafel: D. 1.6 cm H. 190 cm, W. 45 cm, TO, PP D. 30 cm 37. Mika Iwamoto PA, PP 1-17-5 Futago 39. Jessica Jane Julius Karatsu, Saga 847-0861, 417 South 16th Street Japan , Pennsylvania A Flow (I-III) 19146 Kiln-cast glass Untitled Ofengegossenes Glas Hot-worked glass Largest/groBte: H. 10.5 cm, Heif3 bearbeitetes Glas W. 35 cm, D. 7 cm H. 91 cm, W. 121 cm, PA, JW D. 110 cm 38. Maibritt Jonsson and JW Pete Hunner 40. Elizabeth Kelly Melstedvej 47 18 Fraser Street, Woodville DK-3760 Gudhjem, Bornholm, South Denmark 5011 Adelaide, South Australia, Australia Fish Forms Blown glass, ground Geblasenes Glas, geschliffen H. 25 cm, W. 29 cm, D. 7 cm 38 PA, TO

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t* *£ V 41. Janet Kelman 43. Reico Kitagawa 1205 East Lincoln Kanazawa, Japan Royal Oak, Michigan 48067 Tomarigi Cobalt Anemone Blown and slumped glass; Carved, sandblasted, and paint, steel slumped glass Geblasenes und abgesenktes GemeifBeltes, sandgestrahltes Glas; Farbe, Stahl und abgesenktes Glas H. 26 cm, W. 86 cm, D. 11 cm H. 7.6 cm, W. 58.4 cm, TO, PP, JW D. 58.4 cm PA 44. Alex Krentzin Royal Oak, Michigan 42. Ray King Nuts for Reading 835 North Third Street Hot-worked glass; found Philadelphia, Pennsylvania objects 19123 Heif3 bearbeitetes Glas; Vertus Fundstucke ; stainless H. 18 cm, W. 20 cm, D. 15 cm mm steel PP Laminiertes Glas; rostfreier 41 Stahl 45. Karen LaMonte H. 914.4 cm, W. 502.9 cm, P.O. Box 6468 D. 91.4 cm New York, New York 10128 PA Dress 6 Cast glass Gegossenes Glas H. 130 cm, W. 43 cm, D. 61 cm PA, TO, PP

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43 12 46. Chuck Lopez Pillow 908 25th Avenue, #2 Glass rods, stainless steel wire Seattle, Washington 98122 Glasstabe, rostfreier Stahldraht H. 17 cm, W. 47 cm, D. 47 cm Two PA, TO Blown glass Geblasenes Glas 49, Brian Malley H. 92 cm, W. 46 cm, D. 23 cm Providence, Rhode Island TO, PP Perfect Reception 47. Laszlo Lukacsi Luminous tube Budapest, Hungary Leuchtrohren H. 5 cm, W. 120 cm, D. 60 cm Blue Fan PA, TO, PP, JW , mirror, cut, laminated, acid-etched 50. Ryo Manabe Floatglas, Spiegel, geschliffen, 167 Orms Street, #3 laminiert, sauregeatzt Providence, Rhode Island H. 50 cm 02908 TO The Shattered World We Live 48. Uta Majmudar In MozartstraBe 27 Sheet glass, sandblasted D-42781 Haan, Germany Glasplatte, sandgestrahlt 48 H. 160 cm, W. 100 cm, D. 1 cm TO, PP 51. Water Table 4136 Meridian Avenue North Slumped glass; iron Seattle, Washington 98103 Abgesenktes Glas; Eisen H. 22 cm, W. 43 cm, D. 30 cm Ghost PA, TO, PP Blown glass, enameled Geblasenes Glas, emailliert 54. Sharon McJannet H. 73.7 cm, W. 33 cm, 31 Main Street D. 12.7 cm Dundonald, Ayrshire KA2 9HH, PA, TO, PP Scotland, U.K. 52. Koichi Matsufuji An Inkling 3-3-2 Yaemizo Flameworked glass; pins, Saga-shi, Saga-ken 849-0935, printed and embossed paper Japan Lampengearbeitetes Glas; Anstecknadeln, bedrucktes Clowns und gepragtes Papier Kiln-cast glass; pigment, H. 15 cm, W. 40 cm, D. 100 cm painted steel, artificial turf TO, JW Ofengegossenes Glas; Pigment, bemalter Stahl, 55. James McLeod Kunstrasen 152 Requa Road H. 22 cm, W. 31 cm, D. 31 cm Piedmont, California 94611 JW Oracles 53. Mie Matsuyama Blown glass; deer gut, leather 66, Shiokusa-cho Geblasenes Glas; Hirsch- Seto-city, Aichi 489-0895, innereien, Leder Japan H. 500 cm, W. 280 cm, D. 300 cm PA, TO, PP, JW

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. IPIBI 56. Charlotte Meyer Seeds v lliM Jenkins Johnson Gallery Flameworked murrine, cold- if 464 Sutter Street worked, fused, slumped San Francisco, California Lampengearbeitete Murrine, 94108 kaltbearbeitet, verschmolzen, abgesenkt Papertears H. 18 cm, W. 18 cm, D. 2.5 cm Kiln-cast lead crystal; steel PA, TO, JW Ofengegossenes Bleikristall; Stahl 59. Benjamin Moore and H. 80 cm, W. 180 cm, D. 12 cm Louis Mueller PP, JW 1213 South King Street 57. Eva Milinkovic Seattle, Washington 98144 , Canada Cloud Installation Blown glass; metal Fractal (Blue) Geblasenes Glas; Metall Blown glass, engraved, sand­ H. 1 m, W. 2 m, L. 6 m blasted TO, PP Geblasenes Glas, graviert, sandgestrahlt 60. Eva Moosbrugger H. 32 cm, W. 35 cm, D. 37 cm Rikatschwende 26 PA, TO, PP A-6850 Dornbirn, 58. Milissa Montini Three Women Morgan Contemporary Glass Blown glass (sommerso), cold- Gallery worked 5833 Ellsworth Avenue Geblasenes Glas {Sommerso), , Pennsylvania 15232 kalt bearbeitet Largest/grofBte: H. 23 cm, W. 25 cm, D. 13 cm PA, PP, JW

gfgSjg 61. Chiaki Nagaoka 64. Hiroki Niimi Tokyo, Japan 16-32 Kozaka-cho Untitled Toyota-shi, Aichi-ken 471-0035, Kiln-cast glass; metal Japan Ofengegossenes Glas; Metall Work I H. 60 cm, W. 40 cm, D. 1.5 cm Cast glass, slumped, PP, JW laminated Gegossenes Glas, abgesenkt, 62. Barbara Nanning laminiert W. G. Plein 21-22 H. 50 cm, W. 200 cm, D. 45 cm 1054 RA Amsterdam, PA The Netherlands 65. Miho Ogai Blue Panels Cabinet Fused glass Columbus, Ohio Verschmolzenes Glas Hana-bi () H. 158.5 cm, W. 129.3 cm, Blown glass; steel, wire, fabric D. 35.6 cm Geblasenes Glas; Stahl, Draht, PA, TO, PP, JW Stoff H. 500 cm, W. 750 cm, 63. Stacey Neff D. 1.05 m 1701A Lena Street PA, TO Santa Fe, New Mexico 87505 Seascrit IV Blown glass; graphite Geblasenes Glas; Graphit H. 182.8 cm, W. 91.4 cm, D. 25.4 cm TO, JW

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IBMl 66. Yumi Oguchi 69. Tom Pearman 16-1 Wo, Utatsu-machi 11 Mentmore Terrace Kanazawa-shi, Ishikawa London E8 3PN, England, U.K. 920-0832, Japan London Print Pod Fagade (detail/Detail) Pate de verre Fused enamels on glass, Pate de verre screen-printed H. 15 cm, W. 77 cm, D. 22 cm Verschmolzenes Email auf PA, JW Glas, Siebdruck H. 65 cm, W. 145 cm 67. Kyoko Ohtsuka PA, PP, JW 4-5-25-303 Ohtsugaoka, Shonan-machi 70. Marc Petrovic Higashikatsushika-gun 2 View Street Chiba 277-0921, Japan Centerbrook, Connecticut Current (nagare) 06409 Pate de verre Ways and Means Pate de verre Blown and hot-worked glass; H. 16 cm, W. 36 cm, D. 13 cm painted background, dyed TO, JW wood oars Geblasenes und heiB bearbei- 68. Yasuko Omori tetes Glas; bemalter Hinter- 1-3-26 Kanazu-cho Harumiya grund, gefarbte Holzruder Sakai-gun, Fukui-ken H. 41 cm, W. 38 cm, D. 12 cm 919-0632, Japan JW Collection Blown glass Geblasenes Glas H. 9 cm, W. 40 cm, D. 37 cm JW

si 71. Asya Reznikov 74. Ulrike Rumpenhorst and 302 Metropolitan Avenue, #4F Vaida Andrasiunaite , New York 11211 WunsdorferstraBe 33 The Thinker D-15755 Topchin, Germany Cast glass; stainless steel, Stained Glass Installation, motor, sensor, mixed media Achenbach Clinic Gegossenes Glas; rostfreier Glass, sandblasted silk- Stahl, Motor, Sensor, Mixed screening, airbrushed, paint Media Glas, sandgestrahlter Sieb- H. 63.5 cm, W. 17.8 cm, druck, Airbrush, Farbe D. 10 cm Large window/groBes Fenster: PA, TO, JW H. 210 cm, W. 444 cm PA, TO, PP 72. Kait Rhoads P.O. Box 134 75. Alt Setzer Alfred Station, New York 14803 Staatl. Akademie fur Bildende Trachea Kunste Glass, rubber, polyurethane, Am Weissenhof 1 wood D-70171 Stuttgart, Germany Glas, Gummi, Polyurethane, Three Spheres in a Glass Holz Column H. 155 cm, W. 57 cm, D. 57 cm Three spherical forms TO, JW scratched in stacked glass plates 73. Aaron Lance Robinson Drei kugelformige Formen in Adelaide, Australia aufeinander gestapelte Glas- Bug Lights scheiben geschnitten Blown glass; battery-powered H. 174 cm, W. 38 cm, D. 38 cm LED, aluminum PA, PP Geblasenes Glas; batterie- betriebene LED, Aluminium H. 8 cm, W. 24 cm, D. 27 cm PA, TO 76. Rick Shelley 79. Ruth Spaak 2000 Mount Royal Terrace The Yellow House Baltimore, Maryland 21217 91 Evesham Road Map of the Ancient and Medi­ Stratford-upon-Avon, eval World (detail/Detail) Warwickshire CV37 9BE, Glass England, U.K. Glasmosaik Chain Link H. 274 cm, W. 365.7 cm, Kiln-cast glass; plastic, silicon D. 5 cm Ofengegossenes Glas; Plastik, PP Silikon H. 41 cm, W. 32 cm, D. 10 cm 77. Miyuki Shinkai PA, PP, JW Vancouver, Canada 80. Maria Sparre-Petersen Islet Installation Blown glass; fabric, wire Randersgade 29, 1MF Geblasenes Glas; Stoff, Draht 2100 Copenhagen, Denmark H. 310 cm, W. 1 m, D. 870 cm Image (detail/Detail) TO, PP, JW Blown and mirrorized glass Geblasenes und verspiegeltes 78. Naomi Shioya Glas 1430-5 Tokuda Satomimura Largest/grofBtes: Diam. 20 cm Kujigun, Ibaraki 311-0502, PA, TO, JW Japan Threatening to Storm Cast glass, cold-worked Gegossenes Glas, kalt bear- beitet H. 66 cm, W. 40 cm, D. 14 cm P4, TO

77 80 81. Susan Stinsmuehlen- Mit Nylon zusammengebun- Amend dene Champagnerflaschen, 291 Avenida Del Recreo die 2.000 Botschaften ent- Ojai, California 93023 halten H. 3 m, W. 7 m Compassion Landscape PA, TO, PP, JW Kiln-fired enamels on glass; drawing and painting on wood 84. Kuniko Takegawa panels 188-21 Oyabu-cho Ofengebranntes Email auf Hikone, Shiga Pref. 522-0053, Glas; Zeichnung und Malerei Japan auf Holztafeln H. 60 cm, W. 80 cm, D. 2.5 cm Swimming Catfish TO, PP Flameworked glass Lampengearbeitetes Glas 82. Erika Tada H. 15 cm, W. 17 cm, D. 27 cm 201 East Seventh TO, PP Hastings, Nebraska 68901 85. Kazushige Takenaga World of Rabbit Tokyo, Japan Pate de verre Pate de verre Silence H. 30 cm, W. 30 cm, D. 24 cm Blown glass TO Geblasenes Glas H. 58 cm, W. 40 cm, D. 40 cm 83. Kazue Taguchi PA, TO Barcelona, The Path to Hope Champagne bottles tied with nylon enclosing 2,000 mes­ sages 86. Ayane Takeuchi Bird on a Shelf 2514-2 Kanaya, Kanaya-cho Laminated, cast, optical, Dahl, Haibara-gun, Shizuoka-ken Ultrolite, drawn, float, dichroic, 428-0022, Japan and rare earth glasses Laminiertes, gegossenes, Quiet Noise optisches, Dahl und Ultrolite- Blown and flameworked glass; Glas, gezogen, Float-Dichroid- wood, assembled und seltenes Erdglas Geblasenes und lampengear- H. 48 cm, W. 56 cm, D. 28 cm beitetes Glas; Holz, montiert PA, TO H. 12 cm, W. 58 cm, D. 11.5 cm 89. LotteThorsoe TO, JW Fjelstedveg 10 87. Yoshimi Taniguchi DK-9550 Manager, Denmark 5076-17 Minamihotaka, Twigs Toyoshina machi Blown glass, sandblasted, Minamiazumigun, Nagano polished Pref. 399-8201, Japan Geblasenes Glas, sand- gestrahlt, poliert Stance H. 22 cm, W. 4 cm, D. 4 cm Blown glass, sandblasted; wire PA, TO Geblasenes Glas, sand- gestrahlt; Draht 90. Valeri Timofeev H. 220 cm, W. 110 cm, East Stroudsburg, D. 420 cm Pennsylvania PA, TO, PP, JW Glass 88. Michael Estes Taylor Plique-a-jour, enamel 41 French Road Plique-a-jour, Email Rochester, New York 14618 H. 11 cm, W. 9 cm, D. 9 cm TO, JW •611^1

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90 91. Elmarie van der Merwe Genealogical Trees 3 Neethlingshof, P.O. Box 67 Pulled glass Vlottenburg Gezogenes Glas 7604 Stellenbosch, Western Longest: H. 40 cm, W. 10 cm, Cape, South Africa D. 10 cm TO Writing I Hot-worked glass 94. Sylvie Vandenhoucke HeifB bearbeitetes Glas London, England, U.K. H. 1 m, W. 80 cm, D. 4 mm TO, JW Plimsoll Line Metal coated 92. Bert Van Ransbeeck Metalluberzogene Glasfaser Pastoriestraat 29 H. 310 cm, W. 206 cm, 2550 Waarloos, D. 25 cm PA, PP Mailbox Slumped float glass 95. Christopher Watts Abgesenktes Floatglas 5 Herbert Street, #3 H. 110 cm, W. 38 cm, D. 32 cm Salem, 01970 PA, PP Light's Fingerprint -1 Was 93. Lieve Van Stappen Here Koning Albertlaan 75 56 hot-worked glass canes; B-9000 Ghent, Belgium steel, wood, boulder 56 heiG bearbeitete Glas- rohren; Stahl, Holz, Felsblock H. 1 m, W. 2.5 m, D. 80 cm PA, TO, PP 96. Lia Welsing 99. Shohei Yasuda Aquamarynhof 16 Kanayama-so No. 101 4817 HK Breda, 1448 Kajigaya, Miyamae The Netherlands Kawasaki, Kanagawa Landscape 216-0034, Japan Slumped glass Yasudama Abgesenktes Glas Kiln-cast glass H. 49 cm, W. 40 cm, D. 16 cm Ofengegossenes Glas PA, TO H. 45 cm, W. 45 cm, D. 45 cm TO, JW 97. Teruo 1-4-14 Tachebana Sumeda-Ku 100. Harumi Yukutake Tokyo 131-0043, Japan 6796 Kureha, #2-202 Toyama, Toyama 930-0138, Blown glass, cut, sandblasted, Japan polished Untitled Geblasenes Glas, geschliffen, Plate glass, mirror, cold- sandgestrahlt, poliert worked H. 13 cm, W. 12 cm, D. 12 cm Glasscheibe, Spiegel, kalt PA bearbeitet H. 7 cm, W. 90 cm, D. 90 cm 98. Koichiro Yamamoto TO, JW 22 Gubyon Avenue London SE24 ODX, England, U.K. Tea Set 2 Cast and polished glass Gegossenes und poliertes Glas H. 17.5 cm, W. 21 cm, D. 7.7 cm PA

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V. • v. • ; . Countries Represented/Vertretene Lander

Australia Kitagawa, Reico Burgess, Devin Bisetto, Gabriella Matsufuji, Koichi Bush, Chelsie Edwards, Timothy Matsuyama, Mie Cass, Robin Horn, Timothy Nagaoka, Chiaki Chatt, David Kelly, Elizabeth Niimi, Hiroki Chesney, Nicole Robinson, Aaron Lance Oguchi, Yumi Clayman, Daniel Ohtsuka, Kyoko Cobb, Benjamin W. Omori, Yasuko Coleman, Brian Austria Shioya, Naomi Coleman, Elizabeth M. Moosbrugger, Eva Takegawa, Kuniko Desgenetez, Nadege Takenaga, Kazushige Drobny, Peter Takeuchi, Ayane Evans, Adrianne Belgium Taniguchi, Yoshimi Julius, Jessica Jane Van Ransbeeck, Bert Yamada, Teruo Kelman, Janet Van Stappen, Lieve Yasuda, Shohei King, Ray Yukutake, Harumi Krentzin, Alex LaMonte, Karen Canada Lopez, Chuck Copping, Brad The Netherlands Malley, Brian Milinkovic, Eva Heyworth, Laura Manabe, Ryo Shinkai, Miyuki Nanning, Barbara Marioni, Paul Welsing, Lia McLeod, James Meyer, Charlotte Denmark Montini, Milissa Bodker, Lene South Africa Moore, Benjamin and Louis Mueller (59) Jonsson, Maibritt and Pete Hunner (38) van der Merwe, Elmarie Neff, Stacey Sparre-Petersen, Maria Ogai, Miho Thorsoe, Lotte Petrovic, Marc Spain Reznikov, Asya Taguchi, Kazue Rhoads, Kait Germany Shelley, Rick Beckh, Veronika Stinsmuehlen-Amend, Susan Gussek, Jens United Kingdom Tada, Erika Hewel, Johannes Amsel, Galia Taylor, Michael Estes Hilsbecher, Klaus U. Budd, Bob Timofeev, Valeri Isensee, Ada Davies, Rhian Mair Watts, Christopher Majmudar, Uta Grundy, Debra Rumpenhorst, Ulrike and Vaida Andrasiunaite Holloway, Deborah (74) Hughes, Charlotte Setzer, Alt McJannet, Sharon Pearman, Tom Spaak, Ruth Hungary Vandenhoucke, Sylvie Lukacsi, Laszlo Yamamoto, Koichiro

Japan United States Fujiwara, Emi Battaile, Bennett Hagihara, Yukie Binnington, Frances Ikemoto, Kazumi Bothwell, Christina Iwamoto, Mika Boyadjiev, Latchezar Correction

The photographs that accompanied two of the entries in the "Artists Aufgrund eines Versehens beim Druck sind zwei Fotos aus dem Be- and Objects" section of New Glass Review 22 (2001) were published in­ reich „Kunstler und Objekte" der New Glass Review 22 (2001) falsch correctly. These two entries are reprinted below, with the photographs veroffentlicht worden. Diese zwei Einreichungen werden unten noch in the proper position. einmal vollstandig abgebildet, wobei die Objekte dieses Mai korrekt ausgerichtet sind.

1 2

1. Eraldo Mauro 2. Gerhard Ribka Cannaregio 1812 Rugenerstrasse 4 30121 , Italy D-63075 Offenbach am Main, Slide-Grey Germany Fused glass The Drummer Verschmolzenes Glas Kiln-cast glass; mixed media H. 50 cm, W. 50 cm, D. 2 cm Ofengegossenes Glas; Mixed Media TO H. 28 cm, W. 14 cm, D. 8 cm KE Jury Statements

hen I was asked to serve as a juror for New Glass Review, I ls ich gebeten wurde, als Juror fur die New Glass Review zur Verfu- Waccepted with mixed feelings. I was happy to be part of something Agung zu stehen, nahm ich mit gemischten Gefuhlen an. Ich war I have valued over the years as a source of information on what is glucklich, an etwas teilzuhaben, das ich uber Jahre hinweg als Informa- happening in the glass world. However, I was sorry to learn that Tom tionsquelle geschatzt habe fur alle Ereignisse in der Glaswelt. Es tat mir Buechner would not be participating this year. It was Tom who, as presi­ jedoch leid, dass Tom Buechner dieses Jahr nicht teilnehmen wurde. dent of Steuben, had invited me to Corning in 1978 as designer and Tom war es, der mich 1978 in seiner Funktion als President von Steu­ artist in residence for the company, and it was his vision and energy in ben, als Designer und Artist-in-Residence fur die Gesellschaft nach his additional role as president of The Corning Museum of Glass that Corning eingeladen hatte. Es war seine Vision und Energie in seiner zu- initiated New Glass Review the following year. satzlichen Rolle als President des Corning Museum of Glass, die die Studio glass has been marked by extraordinary growth and popularity New Glass Review im folgenden Jahr ins Leben rief. in the last two decades. I was very gratified to see Tom's enormous Studioglas hat in den letzten zwanzig Jahren auBerordentlichen contribution to the field duly recognized by the Society, which Zuwachs und Popularitat erfahren. Ich sah mit Genugtuung, dass Toms presented him with its Lifetime Achievement Award at the society's enormer Beitrag von der Glass Art Society gebuhrend anerkannt wurde, 2001 conference in Corning. Needless to say, Tom's presence on the indem sie ihm ihren Lifetime Achievement Award auf der Konferenz der New Glass Review jury, as well as his broad experience and his in­ Gesellschaft 2001 in Corning uberreichte. Es erubrigt sich zu sagen, formed perspective, was greatly missed. dass Toms Anwesenheit, seine breit gefacherte Erfahrung und sein gut This year, we made our selections from 2,242 slides. I found the unterrichteter, klarer Blick in der Jury der New Glass Review sehr fehlte. process to be remarkably effective and extremely thorough. Over the Dieses Jahr trafen wir unsere Auswahl aus 2.242 Dias. Ich fand den course of two days, the efficiency of the Museum's team in flawlessly Prozess bemerkenswert effektiv und auBerst grundlich. Uber zwei Tage running the slide projectors and collating the images produced an hinweg schuf das tuchtige Museumsteam eine sehr angenehme Atmo- extremely comfortable atmosphere for the judging. There was adequate sphare fur die Bewertung, indem sie die Diaprojektoren einwandfrei time for discussion and debate. betrieben und die Bilder zusammenstellten. Es gab ausreichend Zeit fur I was also pleased to see that the competition still attracts entries Diskussionen und Debatten. from all over the world. There were submissions from 38 countries. It Ich war auch erfreut daruber, dass der Wettbewerb immer noch Be- should be encouraging for all entrants to know that their work can be werbungen aus aller Welt anzieht. Es gab Einsendungen aus 38 Lan- selected by one vote alone; there does not need to be a consensus dern. Es sollte alle Bewerber ermutigen, dass ihre Arbeit allein durch among the jurors. This allows for the inclusion of a wide range of view­ eine Stimme ausgewahlt werden kann, es muss kein Konsens unter points and cultural backgrounds in the selections. den Juroren bestehen. Das erlaubt es, ein grofBes Angebot von ver- A large number of the entries came from emerging and individual schiedenartigen Standpunkten und kulturellen Hintergrunden bei der artists, with much of the work falling into the broad category of non­ Auswahl einzubeziehen. functional sculptural pieces. Here is where the personal preferences of Eine grofBe Anzahl der Einsendungen kam von aufstrebenden, ein- each juror, as well as any knowledge of the artist or the technique used zelnen Kunstlern, viele Arbeiten davon fielen in die breite Kategorie to fabricate the work, help to provide a clearer interpretation of the nicht-funktionale Skulpturen. Hier helfen die personlichen Praferenzen image viewed on the screen. In such a limited viewing environment, jedes Juroren und auch jegliches Wissen uber den Kunstler Oder die much rests on the quality of the slide. eingesetzte Technik, um eine klarere Auswertung des projizierten Bildes Defining what constitutes "new" has been debated many times in zu erhalten. In einem derart begrenzten Sichtungsumfeld hangt viel von previous years. It seems to me that each group of jurors deals with the der Diaqualitat ab. problem by somehow arriving at a consensus at that particular point in Was das „Neue" ausmacht, ist in den vorausgehenden Jahren oft time. I think the issue of "new" appears to be all the more sensitive erortert worden. Es scheint mir, dass sich jede Gruppe von Juroren mit because we are all too often focused on a material and not on its dem Problem auseinander setzt, indem sie zu einem bestimmten Zeit- service or use in a larger frame of reference. punkt irgendwie zu einem Konsens gelangt. Ich denke, die Frage des In terms of content, I looked for imagination, ingenuity, and the ability „Neuen" erscheint umso heikler, da wir uns alle zu oft auf ein Material to manipulate the glass in a convincing way so as to evoke a particular konzentrieren und nicht auf seine Funktion oder Verwendung in einem "" from the medium. I was particularly drawn to works that ex­ grofBeren Zusammenhang. plored light through the qualities of surface and transparency. Asya In Bezug auf den Inhalt suchte ich nach Vorstellungskraft, Einfalls- Reznikov, Kazushige Takenaga, Emi Fujiwara, and Karen LaMonte reichtum und der Fahigkeit, das Glas uberzeugend zu behandeln, um created pieces inspired by different aspects of the human figure. The dem Medium eine bestimmte Magie zu entlocken. Ich war besonders abstract pieces by Daniel Clayman, Galia Amsel, and Hiroki Niimi dis­ von Arbeiten angezogen, die das Licht durch die Beschaffenheit von play an enigmatic monumentality through the use of light. Oberflache und Transparenz erkundeten. Asya Reznikov, Kazushige In general, I was disappointed not to see more examples of glass Takenaga, Emi Fujiwara und Karen LaMonte schufen Stucke, die durch design by individuals or companies. Mailbox by Bert Van Ransbeeck verschiedene Aspekte der menschlichen Figur inspiriert waren. Die was innovative, as was Bug Lights by Aaron Lance Robinson. The abstrakten Arbeiten von Daniel Clayman, Galia Amsel und Hiroki Niimi slumped glass "water" table by Mie Matsuyama may pose some prac­ zeigen eine ratselhafte Monumentalitat durch den Einsatz von Licht. tical issues, but I nevertheless enjoyed the direction and the idea. Insgesamt war ich enttauscht, nicht mehr Beispiele fur Glasdesign The seven slides that appealed to all of the jurors went beyond von Einzelpersonen oder Firmen zu sehen. „Mailbox" von Bert Van individual preferences of style and technique. Barbara Nanning's cabi­ Ransbeeck war innovativ, ebenso wie „Bug Lights" von Aaron Lance net was admired by all. In the work of Yoshimi Taniguchi and James Robinson. Der „Wasser"-Tisch aus abgesenktem Glas von Mie Mat­ McLeod, we responded to the extreme fragility yet substantial scale of suyama konnte einige praktische Fragen aufwerfen, aber nichts- the translucent glass forms and the relationship and choreography of destotrotz gefiel mir die Richtung und die Idee. the forms in space. The remaining four slides in this group were of Die sieben Dias, die bei alien Jurymitgliedern Anklang fanden, gingen conceptual ideas, but their titles and the idiosyncratic nature of the work uber individuelle Praferenzen in Stil und Technik hinaus. Barbara - as in Brian Malley's Perfect Reception - caught our imagination and Nannings Schrankchen wurde von alien bewundert. In der Arbeit von amused us. Yoshimi Taniguchi und James McLeod sprachen wir auf die extreme Although I was saddened by the fact that there were not more sub­ Zerbrechlichkeit, trotz des massiven Formats der transparenten Glas- missions by established artists, the opportunity for jurors to select a formen und auf die Beziehung und die Choreografie der Formen im number of contemporary or historical works from outside the competi- Raum an. Die ubrigen vier Dias dieser Gruppe zeigten konzeptionelle tion goes some way toward correcting this imbalance. The examples I Ideen, aber ihre Titel und die personliche Eigenart der Arbeit - wie in have selected for the "Jurors' Choice" section of New Glass Review Brian Malley's ..Perfect Reception" - beschaftigte unsere Fantasie und illustrate a personal fascination with the ways in which glass is defined amusierte uns. by light. The qualities of surface, reflection, transparency, and trans- Obwohl ich die Tatsache bedauerte, dass es nicht mehr Bewerbun- lucency provide an endless source of inspiration. gen von etablierten Kunstlern gab, hatten die Juroren die Moglichkeit, I always look forward to seeing the latest work by Frantisek Vizner. eine Anzahl zeitgenossischer oder historischer Werke auBerhalb des To me, he is a master of translucency. With his work, which has a time­ Wettbewerbs auszuwahlen und damit dieses Ungleichgewicht etwas zu less and serene quality, I don't have to think of the word "new." Vizner korrigieren. Die Beispiele, die ich fur den Bereich „Jurorenauswahl" der has developed a personal classicism. Changes that appear in his work New Glass Review ausgesucht habe, illustrieren eine personliche over time are small by some standards, but they are nevertheless Faszination dafur, wie Glas durch Licht definiert wird. Die Beschaffen- convincing, significant, and absolutely appropriate. heit von Oberflache, Reflexion, Transparenz und Lichtdurchlassigkeit The exhibition of from the Olnick-Spanu Collection, bieten eine unendliche Inspirationsquelle. which appeared at the American Museum in at the Ich freue mich immer darauf, die neuesten Arbeiten von Frantisek beginning of 2001, was particularly interesting because so much con­ Vizner zu sehen. Fur mich ist er der Meister der Lichtdurchlassigkeit. temporary work has clearly been inspired by the original pieces that Bei seinem Werk, das eine zeitlose und heiter-gelassene Qualitat were presented in this show. The way in which the translucent glass besitzt, muss ich nicht an das Wort „neu" denken. Vizner hat einen holds the light, combined with a unique sensitivity to surface, attracted personlichen Klassizismus entwickelt. Veranderungen, die in seiner me to Carlo Scarpa's works, which were designed in the 1940s. I be­ Arbeit uber die Zeit hinweg auftreten, sind nach manchen MaBstaben lieve that these same qualities were demonstrated in the New Glass geringfugig, aber nichtsdestotrotz uberzeugend, von Bedeutung und Review entries mentioned above. absolut passend. However, the glass that really caught my interest this year was in the Die Ausstellung mit Venezianischem Glas aus der Olnick-Spanu field of . It is a shame that New Glass Review has a very Sammlung Anfang 2001 im Museum in New York war limited representation in this important area, since rapid changes are besonders interessant, weil so viele zeitgenossische Werke ganz klar occurring in the physical capabilities of glass and the ways in which it is durch die Originale inspiriert sind, die in dieser Schau prasentiert wur- being employed in buildings. Thanks to improved structural perfor­ den. Die Art, in der das durchscheinende Glas das Licht halt, in Kombi- mance through new laminating techniques and surface coatings, and to nation mit einem einzigartigen Empfindungsvermogen fur die Ober­ the enhanced levels of detail made possible by computer flache, fesselte mich an Carlo Scarpas Arbeiten, die in den Vierziger modeling, the old, familiar modular glass curtain wall is disappearing. It Jahren des vorigen Jahrhunderts entworfen wurden. Ich glaube, dass is being replaced by a more organic, interactive skin that is being used sich dieselben Qualitaten in den oben erwahnten Eingangen der New in exciting new applications, and it is providing a new language in Glass Review zeigten. contemporary architecture. Das Glas, das in diesem Jahr wirklich mein Interesse weckte, fand Norman Foster's striking addition to the in London, sich jedoch im Bereich der Architektur. Es ist eine Schande, dass with its enormous glass dome, opened to the public in 2001. It is a great dieses wichtige Gebiet bei der New Glass Review nur sehr begrenzt example of the new direction in . The University of reprasentiert ist, da sich die physischen Fahigkeiten von Glas und die Pennsylvania's Modular VII Chiller Plant in Philadelphia, designed by Art, wie es in Gebauden verwendet wird, rasch verandern. Dank der Leers Weinzapfel Associates, received an Honor Award in 2001 from verbesserten strukturellen Leistung durch neue Laminattechniken, the American Institute of Architects. This stunning glass and metal Oberflachenbeschichtungen und dem verbesserten Niveau dertechni- "" articulates the architecture of a building that is purely techni­ schen Details, die durch Computermodellierung moglich gemacht wird, cal in function. verschwindet der altvertraute modulare Glasvorhang. Er wird durch eine Jamie Carpenter's beautifully engineered "lens" ceiling, one of the organischere, interaktive Haut ersetzt, die in aufregenden neuen An- main features in Richard Meier's Phoenix courthouse, is of particular wendungen ihren Einsatz findet und eine neue Sprache in der zeit- interest. Carpenter's Lichthof facade and for the German Foreign genossischen Architektur ermoglicht. Ministry Building in Berlin (Mueller Riemann, architects) also demon­ Norman Fosters bemerkenswerter Anbau an das British Museum in strate his unique ability to manipulate light with glass, to see into and London mit seiner enormen Glaskuppel wurde 2001 der Offentlichkeit through the material, and to move around it. In this sense, the qualities zuganglich gemacht. Es ist ein groBartiges Beispiel fur die neue Rich- of light in glass are not restricted by scale. The same qualities of light tung bei architektonischem Glas. Die Modular VII Chiller Plant der that intrigue the viewer looking at a glass vessel or sculpture can be Universitat von Pennsylvania in Philadelphia, die von Leers Weinzapfel enjoyed on an architectural scale, but the experience is taken to a Associates entworfen wurde, erhielt 2001 einen Ehrenpreis des Ameri­ whole new level when the viewer is actually inside the glass. can Institute of Architects. Diese phanomenale „Skulptur" aus Glas und Metall artikuliert die Architektur eines Gebaudes, das in seiner Funktion Peter Aldridge (PA) rein technisch ist. Vice President and Creative Director Jamie Carpenters wunderschon konstruierte „Linsen"-Decke, eines Steuben der Hauptmerkmale in Richard Meiers Phoenix Gerichtsgebaude, ist Corning, New York besonders interessant. Carpenters Lichthof-Fassade und -dach fur das Gebaude des deutschen AuBenministeriums in Berlin (Architekten Muller Riemann) demonstriert ebenfalls seine einzigartige Fahigkeit, das Licht mit Glas zu manipulieren, in das Material hinein und hindurch zu sehen, und sich darum herum zu bewegen. In diesem Sinne sind die Qualitaten des Lichts im Glas nicht durch den MaBstab beschrankt. Dieselben Qualitaten des Lichts, die den Betrachter eines GlasgefaBes oder einer Glasskulptur fesseln konnen, erfreuen auf einer architek- tonischen Ebene, aber die Erfahrung wird auf ein ganz neues Niveau gehoben, wenn der Betrachter sich tatsachlich innerhalb des Glases befindet.

Peter Aldridge (PA) Vizeprasident und Kreativdirektor Steuben Corning, New York monumental event has taken place in the world of New Glass n der Welt der New Glass Review ist etwas Gewaltiges passiert. Nach A Review. After 25 years, our esteemed colleague and champion of 25 Jahren verlieB unser geschatzter Kollege und Meister des Studio- studio glass, Thomas Buechner, has stepped away from the jurors' glases, Thomas Buechner, die Jurorenrunde. In den letzten Jahren hat table. In past years, Tom has described the Studio Glass movement as Tom die Studioglasbewegung als Baum beschrieben. Vom Wachstum a tree. The growth of this tree, which took root in 1962, has been chron­ dieses Baums, der 1962 Wurzeln schlug, berichteten Tom und die zahl- icled by Tom and the countless jurors who have participated in New losen Juroren, die sich an der New Glass Review seit 1976 beteiligten. Glass Review since 1976. And now, like a gardener who recognizes Nun, wie ein Gartner, der erkennt, dass eine Pflanze Wurzeln geschla- that a plant has become established, Tom is confident that his nurturing gen hat, ist Tom zuversichtlich, dass seine Pflege und Aufmerksamkeit and attention are no longer required. His departure is symptomatic of nicht mehr langer erforderlich sind. Sein Weggang ist ein Anzeichen fur the great shift that has taken place in studio glass over the last 10 die grof3e Veranderung, die im Studioglas seit mehr als zehn Jahren years. There is no more "movement"; that is no longer necessary. Glass stattfindet. Es ist keine „Bewegung" mehr, das ist nicht mehr notwendig. has become firmly and irrevocably entrenched as a medium for contem­ Glas ist als Medium der zeitgenossischen Kunst fest und unwiderruflich porary art. There is no more danger, as there was in the 1950s, of the verwurzelt. Es besteht keine Gefahr mehr, wie in den 1950er Jahren, craft of glassworking fading quietly into oblivion. Glass is here to stay, dass das Glashandwerk leise in Vergessenheit geraten konnte. Glas and its roots are deep and wide. bleibt hier, seine Wurzeln sind tief und ausgedehnt. In reviewing Tom's essays written over the last couple of decades, I Als ich Toms Essays durchsah, die er in den letzten beiden Jahrzehn- notice that certain points are raised repeatedly. The most pressing have ten geschrieben hat, stellte ich fest, dass gewisse Punkte immer wieder to do with the idea of New Glass Review itself: what does it accomplish, vorgebracht wurden. Der vordringlichste hatte mit der Vorstellung der how is "new" defined, what are the criteria for selection, and does the New Glass Review selbst zu tun: was leistet sie, wie ist „neu" definiert, Review represent what is going on in glass? I think the best definition of welche Kriterien fur die Auswahl gibt es, reprasentiert die Review, was New Glass Review was the opening sentence of Tom's essay in New im Glas passiert? Meiner Meinung nach war die beste Definition der Glass Review 5 (1984) - the first essay that he composed. He wrote, New Glass Review der Einleitungssatz von Toms Abhandlung in der "The New Glass Review is a selection made by four judges on the basis New Glass Review 5 (1984) - dem ersten Aufsatz, den er verfasste. Er of their individual notions of quality and originality and, to a minor ex­ schrieb, „Die New Glass Review ist eine Auswahl von vier Sachkundi- tent, history." Tom concluded his essay with the observation, "Every­ gen, auf der Basis ihrer individuellen Vorstellung von Qualitat und thing depends on what is submitted; in the final analysis, New Glass Originalitat und, in geringerem Umfang, Geschichte." Tom schloss Review can be no better than the best we are privileged to review." seinen Essay mit der Beobachtung „Alles hangt von den Vorlagen ab, These words still ring true. die New Glass Review kann nicht besser sein als das Beste, was wir In New Glass Review 12 (1991), Tom wrote: "The Review is about besichtigen diirfen." Diese Worte klingen immer noch wahr. what's new, not what's best. We have been absolutely consistent in this In der New Glass Review 12 (1991) schrieb Tom: „Die Review han- approach, yet the 'chosen 100' are still viewed as a summary of the delt von dem was neu, nicht von dem was das beste ist. Wir sind mit year's activities and as a sort of honor roll. They are neither.... The dieser Vorgehensweise vollkommen einverstanden gewesen, obwohl Review is not, and cannot be, a survey or a summary." This is further die ,ausgewahlten 100' noch immer als eine Zusammenfassung der clarified in New Glass Review 14 (1993): "[The Review] ... is not an jahrlichen Aktivitaten und eine Art ehrenvolle Auswahl gelten. Sie sind awards document; it is a historical record of the art of glassmaking in es aber nicht... Die Review ist und kann keine Ubersicht oder Zusam­ our time.... The selection is a relative and highly subjective process - menfassung sein." Das wird in der New Glass Review 14 (1993) noch relative to the particular submissions surveyed, and subjective because genauer formuliert. „[Die Review] ... ist keine Dokumentation von of the experience and personal preferences of the individual jurors." Preisen; sie ist eine historische Sammlung uber die Kunst Glas zu Finally, the essential nature of New Glass Review was pinpointed in the machen in unserer Zeit. ... Die Auswahl ist ein relativer und hochst opening sentence of Tom's essay last year: "This is a piece about taste." subjektiver ProzefB - relativ in Bezug auf die Einsendungen, die zur New Glass Review has become an institution of its own, albeit an Auswahl stehen, und subjektiv wegen der Erfahrung und personlichen unusual and individualistic one, and it is indeed a subjective experience. Praferenzen der einzelnen Juroren." Schlussendlich wurde der Wesens- This is O.K. Art is subjective, and history is subjective; objectivity is not kern der New Glass Review im Einleitungssatz von Toms Essay im really an option here. This point of view can be extended to the concept letzten Jahr auf den Punkt gebracht: „Es ist eine Geschmachssache". of what is "new." "New" has the following definitions in Webster's New Die New Glass Review entwickelte sich zu einer eigenen, wenn auch World Dictionary, "a) never existing before; appearing, thought of, ungewohniichen und individualistischen Institution, und ist tatsachlich developed, made, produced for the first time; b) existing before, but eine subjektive Erfahrung. Das ist in Ordnung. Kunst ist subjektiv, und known or discovered for the first time; c) recently observed." So what is Geschichte ist subjektiv, Objektivitat ist hier keine wirkliche Option. new, too, is subjective. I have laid aside my small concerns about what Dieser Gesichtspunkt kann auf die Vorstellung davon ausgeweitet New Glass Review may accomplish or mean, and the criteria for selec­ werden, was „neu" ist. „Neu" hat in Websters New World Dictionary tion. The Review will always reflect the personal taste of its jurors folgende Definitionen: „a) bisher noch nicht existent, zum ersten Mai (somewhat like a curated exhibition), and the taste and talent of the erschienen, erdacht, entwickelt, gemacht, produziert; b) schon existent, artists who offer their work for consideration. My real responsibility is to aber zum ersten Mai erkannt oder entdeckt; c) unlangst beobachtet." invite jurors whose selections we may all explore and learn from - and Somit ist das Neue ebenfalls subjektiv. Ich habe meine geringfugigen enjoy the wonderful treat of looking with a different pair of eyes. Instead Sorgen daruber, was die New Glass Review leisten oder bedeuten of focusing on "why" a particular object is chosen, we might wonder konnte, und die Auswahlkriterien abgelegt. Die Review wird immer den about the person who chose it, and consider the rich dynamics of object personlichen Geschmack ihrer Juroren widerspiegeln (in etwa wie bei and viewer. The wild card will remain which artists choose to come to einer kuratierten Ausstellung), und den Geschmack und das Talent der the party. Kunstler, die ihr Werk zur Begutachtung stellen. Meine tatsachliche Tom, who will be missed for his humor, leadership, crankiness, Verantwortung besteht darin, Juroren einzuladen, deren Auswahl wir sincerity, passion, intellect, experience, and idiosyncratic selections, will alle erkunden und von der wir lernen konnen - und den wundervollen not be gone forever from New Glass Review. He has promised to come Hochgenuss erleben, etwas mit anderen Augen zu betrachten. Anstatt back as a visiting juror. For the foreseeable future, the structure of the sich darauf zu konzentrieren, „warum" ein bestimmtes Objekt gewahlt New Glass Review jury will consist of one standing juror (myself) and wurde, konnten wir uber die Person nachdenken, die es ausgewahlt three, rather than two, invited jurors. One of these jurors will be regional hat, und uns die reichhaltige Dynamik zwischen Objekt und Betrachter because context, to me, is an important part of the identity of New ansehen. Die groBe Unbekannte wird weiter sein, welche Kunstler Glass Review. I thank Tom for kindly guiding us through the procedures dabei sein wollen. for New Glass Review this year, which went smoothly (thanks to Review Tom, dessen Humor, Fuhrung, Verschrobenheit, Aufrichtigkeit, Lei- organizer Violet Wilson) despite a persistent feeling of loss. denschaft, Intellekt, Erfahrung und eigentumliche Auswahl fehlen wird, wird die New Glass Review nicht fur immer verlassen. Er hat verspro- chen, als Gastjuror wiederzukommen. In Zukunft wird die Struktur der Last year, I thought I was overly generous with my choices. This year, New Glass Review-Jury voraussichtlich aus einem standigem Juror I shamelessly put my initials on even more work. Clearly, I have not (mir) und eher drei als zwei geladenen Juroren bestehen. Einer dieser learned restraint, but I have enjoyed working, and looking, with different Juroren wird aus der Region sein, da der Kontext fur mich ein wichtiger juries. In 2000, we had an artist (Tom Buechner), two curators (Jane Bestandteil der Identitat der New Glass Review ist. Ich danke Tom Adlin and me), and a gallery owner (Kate Elliott). In 2001, I was the only dafur, dass er uns so gut durch die Prozedur der diesjahrigen New curator among artists. I chose Peter Aldridge to be our first regional Glass Review gefuhrt hat, die sehr glatt ablief (dank der Review-Organi- juror (replacing Tom), and Pike Powers and Jack Wax, who are not only satorin Violet Wilson), trotz eines standigen Verlustgefuhls. influential artists and teachers (hard to do), but who are popular, too. Letztes Jahr dachte ich schon, uberaus groBzugig mit meiner Aus- (Artists who submit to New Glass Review are asked to suggest potential wahl zu sein. Dieses Jahr habe ich meine Initialen schamlos an noch jurors, and over the last few years, Jack and Pike have been repeatedly mehr Arbeiten angebracht. Offensichtlich habe ich Beschrankung nicht requested.) In New Glass Review, there is always one piece (or maybe gelernt, aber ich habe es genossen, mit verschiedenen Jurys zu arbei­ two or three) that leaves a lasting impression on me. The jurors also ten und zu sichten. Im Jahr 2000 hatten wir einen Kunstler (Tom Buech­ leave a lasting impression, and our brief meeting of minds is as impor­ ner) zwei Kuratorinnen (Jane Adlin und ich) und eine Galeristin (Kate tant to the process of New Glass Review as the artists who submit their Elliott). 2001 war ich die einzige Kuratorin unter Kunstlern. Ich habe works for consideration. New Glass Review is not about grading, but Peter Aldridge als unseren ersten regionalen Juroren ausgewahlt (als about discussion and the objects that inspire it. Ersatz fur Tom), und Pike Powers und Jack Wax, die nicht nur einfluss- I respond to glass for a variety of reasons, and as I see more work, reiche Kunstler und Lehrer sind (was schwer zu leisten ist), sondern more reasons make themselves apparent. I am drawn to some objects auch popular. (Kunstler, die an der New Glass Review teilnahmen, because of their unself-conscious and loving attention to material. sollten potenzielle Juroren vorschlagen, und wahrend der letzten Jahre Harumi Yukutake's untitled sculpture exploits the beauty, mystery, and wurden Jack und Pike wiederholt gewunscht). In der New Glass Review depth of glass, as does Veronika Beckh's shining Source. The chanc- gibt es immer ein Stuck (oder vielleicht auch zwei Oder drei), das einen iness of some blown glass shapes, the frozen impossibility of them, is bleibenden Eindruck bei mir hinterlasst. Die Juroren hinterlassen eben- exemplified by Gabriella Bisetto's Distend; I am also attracted to the ripe falls einen bleibenden Eindruck, und unser kurzes geistiges Zusam- fullness of that vessel form, which makes me appreciate (anew) all mentreffen ist ebenso wichtig fur den Prozess der New Glass Review vessels. Mixing materials can also be aesthetically satisfying for its wie die Kunstler, die ihre Arbeiten der Beurteilung unterziehen. Bei der sensuousness (James McLeod's luscious Oracles and the heightened New Glass Review geht es nicht um Einstufung, das Notenerteilen, transparency of Charlotte Hughes's Definitely or Probably Vases) or its sondern um die Diskussion und die Objekte, die sie anregen. wit (Chelsie Bush's Overheated and Miyuki Shinkai's Islet Installation). Ich reagiere auf Glas aus einer Vielfalt von Grunden, und je mehr And then there are the pieces I appreciate for their technical finesse, Arbeiten ich sehe, umso mehr Grunde werden ersichtlich. Manche such as Karen LaMonte's Dress 6 and Milissa Montini's Seeds. These Objekte Ziehen mich durch ihre unbefangene und liebevolle Aufmerk- objects are accomplished, not only in technique, but also in concept and samkeit fur das Material an. Harumi Yukutakes unbetitelte Skulptur design. (Technique is not cheap, but it is also not enough.) To this schopft die Schonheit, das Geheimnis und die Tiefe von Glas aus, general category, I add glass that moves, or kinetic objects. Aaron genauso wie Veronika Beckhs strahlende „Source". Die Zufalligkeit Lance Robinson's Bug Lights is as charming as Asya Reznikov's The mancher geblasenen Glasformen, ihre gefrorene Unmoglichkeit ist in Thinker is challenging (what is going on here?). Peter Drobny made a Gabriella Bisettos „Distend" veranschaulicht; ebenso zieht mich die temporary boat out of a piece of jumbo plate glass (the largest in the ausgereifte Fulle dieser GefaBform an, die mich erneut alle GefaBe ) and called it River Window. This project was created for the schatzen lasst. Materialmix kann ebenso asthetisch befriedigend sein in 2001 Glass Art Society conference, and it made for a great event. seiner Sinnlichkeit (James McLeods satte „Oracles" und die verstarkte Stylishness, in general, attracts me, and I think that Brian Malley's Transparenz von Charlotte Hughes' „Definitely or Probably Vases") oder Perfect Reception is the ultimate style statement. Benjamin Moore and in seinem Witz (Chelsie Bushs „Overheated" und Miyuki Shinkais „lslet Louis Mueller have devised an elegant ceiling treatment with their Cloud Installation"). Installation, and Barbara Nanning's (Blue Panels Cabinet) is Dann gibt es Stucke, die ich fur ihre technische Finesse schatze, wie something I would like to live with. A caveat here, however, is the Karen LaMontes „Dress 6" und Milissa Montinis „Seeds". Diese Objekte trickiness of stylish presentation. Since the inception of New Glass sind vollendet, nicht nur in der Technik, sondern auch in Konzept und Review, jurors have commented on how important the quality of slides Design. (Technik ist nicht einfach, aber auch nicht genug). Zu dieser is. I hope that all the artists who are reading this essay take note of this: allgemeinen Kategorie zahle ich auch Glas, das sich bewegt, oder kine- photography can make or break your work, so you must consider tische Objekte. Aaron Lance Robinsons „Bug Lights" ist genauso char- investing (money or time) in it. An instructive example of this is Eva mant wie Asya Reznikovs „The Thinker" herausfordernd ist (was geht Milinkovic's Fractal (Blue). I am entranced by this image, but I am not da vor sich?). Peter Drobny hat ein provisorisches Boot aus einem riesi- exactly sure of what I am looking at. I am responding to the incredible gen Stuck Flachglas (dem groBten, das die Industrie herstellt) gefertigt photograph, to the power of the photographed image, as well as to the und es „River Window" genannt. Dieses Projekt wurde 2001 fur die object. Glass Art Society Conference geschaffen und war ein groBes Ereignis. I am most influenced by work that is metaphorical, poetic, and high- Eleganz zieht mich im Allgemeinen an, und ich denke, dass Brian concept - I admit to it. I think Tom was referring to this predilection Malleys „Perfect Reception" die ultimative Stilaussage ist. Benjamin when he wrote, in New Glass Review 21 (2000), that he rejected "things Moore und Louis Mueller haben mit ihrer „Cloud Installation" eine that must be profound ... glass in the , glass in battered rooms ... elegante Deckenlosung gefunden, und Barbara Nannings Mobelstuck collections of glass bits cleverly disguised as rust. Curatorial jurors („Blue Panels Cabinet") ist etwas, mit dem ich leben mochte. Eine thrive in this genre." Too true. Having acknowledged this, let me now Warnung gilt hier jedoch der Kompliziertheit einer stilvollen Presenta­ enthuse about Paul Marioni's Ghost, basically a blown form of simple tion. Seit den Anfangen der New Glass Review haben Juroren kom- outline with an intriguing title. But it is more than this, just as Lieve Van mentiert, wie wichtig die Diaqualitat ist. Ich hoffe, dass alle Kunstler, die Stappen's Genealogical Trees 3 is more than flameworked tree branch­ diese Abhandlung lesen, hiervon Notiz nehmen: Die Fotografie kann es. Van Stappen's trees are part of a project about war (specifically, Eure Arbeit stutzen oder zerstoren, deshalb musst Ihr daran denken, ). The glass branches are spiritual, ghostly prostheses for hier (Geld oder Zeit) zu investieren. Ein lehrreiches Beispiel ist Eva the traumatized tree trunks that have survived battle (like people, trees Milinkovics „Fractal (Blue)". Ich bin uberwaltigt von diesem Bild, aber ich are wounded and often die in war). Van Stappen's healing of these weiB nicht genau, was ich ansehe. Ich spreche auf diese unglaubliche trees works as a form of sympathetic magic: as the landscape is healed, Fotografie, auf die Kraft des fotografierten Bildes ebenso an wie auf das so are its people. Marioni's Ghost also alerts us to the presence of Objekt. more than one world - the spirit world - and how, like the spirit, glass is Am meisten beeinflussen mich Arbeiten, die metaphorisch und material and immaterial. Finally, there are such happy, sincere, and poetisch sind und ein hoch entwickeltes Konzept besitzen - das gebe optimistic works as Jens Gussek's Ocean and Kazue Taguchi's The ich zu. Tom bezieht sich wohl auf diese Vorliebe, wenn er in der New Path to Hope. These are poems that work in small and large formats; Glass Review 21 (2000) schreibt, dass er Dinge zuriickweist, „die tief they are evocative and therapeutic. The pathos of Gussek's toylike boat sein mussen ... Glas in den Waldern, Glas in abgenutzten Raumen ... towing a half-sphere of blue is riveting. Taguchi's bottles, each contain­ Sammlungen von Glasstucken, die geschickt als Rost getarnt sind. ing a message, convey the feeling of potential more by being tied to­ Kuratoren in der Jury bluhen in diesem Genre auf." Nur zu wahr. Da ich gether than by being allowed to float away. Illustrating the concept that das anerkannt habe, lassen Sie mich nun von Paul Marionis „Ghost" "the whole is worth more than the sum of its parts," these two pieces schwarmen, im Grunde eine geblasene Form mit einer einfachen Sil­ encourage us to think big, physically and metaphorically. houette und einem fesselnden Titel. Aber es ist mehr als das, genauso wie Lieve Van Stappens „Genealogical Trees 3" mehr als lampengear- beitete Baumaste sind. Van Stappens Baume gehoren zu einem Projekt uber Krieg (speziell dem 1. Weltkrieg) Die Glaszweige sind spirituelle, The "Jurors' Choice" section of New Glass Review is a pet project of gespenstische Prothesen fur die traumatisierten Baumstamme, die die mine, and I enjoy seeing what the other jurors have chosen. Two ob­ Schlacht uberlebt haben (wie Menschen werden Baume im Krieg oft jects, in particular, impressed me: Perejaume's Postaler (chosen by verletzt und getotet). Van Stappens Heilung dieser Baume fungiert als Jack Wax) and Pilchuck Totem Pole by John Hagen, Preston Singletary, eine Form mitfuhlender Magie: wenn die Landschaft geheilt ist, sind es and others (chosen by Pike Powers). Postaler is a mental opener. auch die Menschen. Marionis „Ghost" ruft uns ebenfalls das Vorhanden- I love the way Perejaume has used simple, low-tech means to alter our sein von mehr als einer Welt ins Gedachtnis - die spirituelle Welt - und perception in a big way. No fancy gadgets here - and it is stunning. dass Glas, ebenso wie der Geist, materiell und immateriell ist. SchlieB- Pilchuck Totem Pole is a beautiful and heartfelt tribute to three individ­ lich gibt es solch heitere, aufrichtige und optimistische Arbeiten wie uals who championed studio glass in the Pacific Northwest and sub­ Jens Gusseks „Ocean" und Kazue Taguchis „The Path to Hope". Das sequently influenced the movement around the world. They are the sind Gedichte, die in kleinen sowie groBen Formaten funktionieren; sie founders of the : and the Seattle art sind sinntrachtig und therapeutisch. Der Pathos von Gusseks spiel- patrons Anne Gould Hauberg and John Hauberg. Pilchuck Totem Pole zeugartigem Boot, das eine blaue Halbkugel im Schlepptau hat, ist addresses the context of Pilchuck, marrying the rich, indigenous herit­ fesselnd. Taguchis Flaschen, von denen jede eine Botschaft enthalt, age of that New World land with a glass tradition that claims an equally vermitteln das Gefuhl von Kraft mehr dadurch, dass sie aneinander ge- long and resplendent Old World past. I also enjoyed Peter Aldridge's bunden sind, als dadurch, dass sie davonschwimmen konnten. Indem choices that cluster around the thoughtful theme of glass, transparency, diese zwei Stucke die Vorstellung veranschaulichen, dass „das Ganze and translucency, which echoes his personal interest in the material. mehr ist, als die Summe seiner Teile", ermutigen sie uns, in groBen Two of my personal choices for this section were eliminated, since Dimensionen zu denken, physisch wie metaphorisch. they appear among the 100 "Artists and Objects." These were Karen Der Bereich „Juroren-Auswahl" der New Glass Review ist eins mei- LaMonte's monumental cast dresses (and her amazing exhibition of ner Lieblingsprojekte, und ich genieBe es zu sehen, was die anderen these at Heller Gallery in New York City) and Lieve Van Stappen's Juroren ausgesucht haben. Zwei Objekte beeindruckten mich beson- Genealogical Trees project. However, I offer instead the remarkable ders: Perejaumes „Postaler" (gewahlt von Jack Wax) und „Pilchuck architectural projects and installations of Jean-Michel Othoniel, Josiah Totem Pole" von John Hagen, Preston Singletary und anderen (ausge­ McElheny, and Eve Andree Laramee. sucht von Pike Powers). „Postaler" ist ein geistiger Turoffner. Ich mag Othoniel's subway station for the Metro left me breathless in the die Art, wie Perejaume einfache, technisch reduzierte Mittel verwendet whimsical audacity of its blown, chandelier-style format. (We need more hat, um unsere Wahrnehmung in groBem Stil zu verandern. Keine glass architecture like this.) Josiah McElheny's The Metal Party was a modischen Kniffe hier- und es ist phanomenal. „Pilchuck Totem Pole" two-part multimedia performance/installation that happened simulta­ ist ein wunderschoner und tief empfundener Tribut an drei Individuen, neously in San Francisco and Brooklyn. Using reflective, metallic, Mylar die Studioglas im Nordwesten am Pazifik verfochten haben und spater costumes, as well as mirrored glass, , transparent glass, die Bewegung in der ganzen Welt beeinflusst haben. Es sind die Grun- aluminum, galvanized steel, and music, McElheny reconstructed a der der Pilchuck Glass School: Dale Chihuly und die Kunstmazene aus historic party held at the Bauhaus in Dessau, Germany, on February 9, Seattle, Anne Gould Hauberg und John Hauberg. „Pilchuck Totem Pole" 1929. The partygoer/viewer, wearing one of McElheny's metallic widmet sich dem Kontext von Pilchuck, indem er das reiche, einheimi- jackets, entered an environment that included 1,200 mirrored glass sche Erbe dieses Landes der Neuen Welt mit einer Glastradition, die globes, 100 lamps with 1920s light bulbs, a metallic floor, changing eine gleichermaBen und wiedererstrahlte Vergangenheit in der area, bar, and photo booth. Music was created for dancing and listening Alten Welt fur sich in Anspruch nimmt, vermahlt. Mir haben auch Peter from what it is thought the Bauhaus band played in 1929. (We need Aldrigdes Wahlen gefallen, die sich um das nachdenkliche Glasthema, more parties like this.) Laramee's Apparatus for the Distillation of Vague Transparenz und Durchsichtigkeit, sammeln, die sein personliches Intuitions is an ambitious and poetic project that uses the arcane con­ Interesse am Material widerspiegeln. structs of alchemy to examine issues of art and science. Her pseudo- Zwei meiner personlichen Wahlen fur diesen Bereich schieden aus, scientific laboratory is a repository for intangible concepts. It is an als sie unter den hundert „Artists and Objects" erschienen. Das waren observation chamber in which abstract feelings and emotions, such as Karen LaMontes imposante gegossene Kleider (und ihre erstaunliche delusion, devotion, and faith, are prodded and poked. (We need more Ausstellung in der Heller Gallery in New York City) und Lieve Van science like this.) Stappens ..Genealogical Trees"-Projekt. Jedenfalls bot ich stattdessen For exhibitions, I want to recognize the prodigious work of Einar and die bemerkenswerten Architektur-Projekte und -Installationen von Jean- Jamex de la Torre, those masters of the "Mesomodern," of Mexican- Michel Othoniel, Josiah McElheny und Eve Andree Laramee an. American syncretism and shamanism; and Preston Singletary, whose Othoniels U-Bahn-Station fur die Pariser Metro lieB in der wunder- Clan House Installation at William Traver Gallery signaled (along with lichen Kuhnheit ihrer geblasenen, leuchterartigen Form meinen Atem Pilchuck Totem Pole) a significant shift in his development as an artist. stocken. (Wir brauchen mehr Glasarchitektur wie diese). Josiah I applaud the way that Singletary, a glassblower, has used his art to McElhenys „The Metal Party" war eine zweiteilige Multimedia-Perfor- reconnect with his Tlingit heritage while, at the same time, introducing mance/-lnstallation, die gleichzeitig in San Francisco und Brooklyn glass into an art-filled community and culture that will use it in novel and stattfand. In dem er reflektierende, metallische Mylar-Kostume ver- unexpected ways. Finally, glass has gained a new ally in , a wandte, ebenso wie verspiegeltes Glas, uberfangenes Glas, transpa- ceramist who was recruited by Bullseye Glass (ever the innovators) to rentes Glas, Aluminium, galvanisierten Stahl und Musik, rekonstruierte experiment with their material. Kaneko's exhibition at Bullseye was McElheny eine historische Party, die im Bauhaus in Dessau in Deutsch- gorgeously and fearlessly original, demonstrating once again that glass land am 9. Februar 1929 stattfand. Die Partyganger/Betrachter trugen is far from exhausting its artistic potential. eine von McElhenys metallischen Jacken und betraten eine Umgebung, die 1.200 verspiegelte Glaskugeln einschloss, 100 Lampen mit 1920er Tina Oldknow (TO) Gluhbirnen, einen metallischen Boden, einen Umkleidebereich, Bar und Curator of Modern Glass eine Fotokabine. Musik, wie man sie sich von der Bauhaus-Band 1929 The Corning Museum of Glass vorstellte, wurde zum Tanzen und Anhoren erschaffen. (Wir brauchen mehr Parties wie diese). Laramees „Apparatus for the Distillation of Vague Intuitions" ist ein ambitioniertes und poetisches Projekt, das die geheimnisvollen Konstrukte der Alchimie benutzt, um Themen von Kunst und Wissenschaft zu untersuchen. Ihr pseudo-wissenschaftliches Labor ist eine Quelle immaterieller Ideen. Es ist ein Beobachtungsraum, in dem abstrakte Stimmungen und Emotionen, wie Verblendung, Hin- gabe und Zuversicht angestoBen werden (Wir brauchen mehr Wissen­ schaft wie diese). Bei den Ausstellungen mochte ich das groBartige Werk von Einar und Jamex de la Torre anerkennen, den Meistern des „Mesomodern", mit mexikanisch-amerikanischem Synkretismus und Schamanismus, und Preston Singletary, dessen „Clan House Installation" in der William Traver Gallery (zusammen mit „Pilchuck Totem Pole") eine bedeutsame Veranderung in seiner Entwicklung als Kunstler signalisiert. Ich lobe die Art, mit der Singletary, ein Glasblaser, seine Kunst mit seinem Tlingit- Erbe wiederverbunden hat, wahrend zur selben Zeit Glas in eine kunst- erfullte Gemeinschaft und Kultur eingefuhrt wird, die es in neuartiger und unerwarteter Weise nutzen wird. Letztendlich hat Glas in Jun Kaneko einen neuen Verbundeten gefunden, einem Keramiker, der von Bullseye-Glas (immer noch Neuerer) angeworben wurde, mit ihrem Material zu experimentieren. Kanekos Ausstellung bei Bullseye war groBartig und unerschrocken originell, indem sie einmal mehr zeigte, dass Glas noch weit davon entfernt ist, sein kunstlerisches Pozenzial ausgeschopft zu haben.

Tina Oldknow (TO) Kuratorin fur modernes Glas The Corning Museum of Glass

iewing the work of many artists continues to be one of the highlights as Werk vieler Kunstler genau zu betrachten, ist immer noch einer Vof my job as artistic director of the Pilchuck Glass School, and so I Dder Hohepunkte meiner Arbeit als kunstlerische Leiterin der Pil­ would like to thank The Corning Museum of Glass for the opportunity to chuck Glass School, daher mochte ich dem Corning Museum of Glass serve as a juror for the 23rd New Glass Review. The experience was danken, dass es mich als Jurorin fur die 23. New Glass Review berufen surprisingly pleasant, and it was rewarding to see the quality and virtu­ hat. Es war eine uberraschend angenehme Erfahrung, und es hat sich osity represented by the 800-plus applicants. From the range of individ­ gelohnt, die Qualitat und Virtuositat der mehr als 800 Bewerber zu se- ual expression within the entries, it is evident that the meaning of glass hen. Die Bandbreite des individuellen Ausdrucks bei den Bewerbungen art has become almost as broad as that of sculpture or of art itself. The zeigt klar, dass die Bedeutung von Glaskunst genauso weitreichend wie works favorably revealed that glass as an art medium covers die der Bildhauerei Oder der Kunst selbst geworden ist. Die Arbeiten from architecture, with interior and exterior applications, to installations, lieBen gut erkennen, dass Glas als ein kunstlerisches Medium die Skala conceptually based work, painting, public sculpture, and media. They von Architektur im Innen- und AuBenbereich bis hin zu Installationen, also demonstrated numerous styles, including minimalism, pop, kitsch, Konzeptarbeiten, Malerei, offentlicher Skulptur und Medien abdeckt. and kinetics. AuBerdem zeigten sie zahlreiche Stilarten, einschlieBlich Minimalismus, It is not difficult to see why artists and critics, for lack of a better Pop, Kitsch und Kinetik. expression, adhere to the general term "Studio Glass movement." The Es ist unschwer ersichtlich, wieso Kunstler und Kritiker, aufgrund field has greatly expanded, perhaps because, for the last quarter- eines fehlenden besseren Ausdrucks, an dem allgemeinen Begriff century, the movement marched forward in the critics' peripheral vision. „Studio Glas-Bewegung" festhalten. Der Bereich hat sich sehr erweitert, This enabled glass to flourish as the wonder child of the art market, and vielleicht, weil die Bewegung im letzten Vierteljahrhundert in den Rand- to rapidly sprawl into an arena of limitless creative disciplines. It is bereich der Kritikersicht vorgedrungen ist. Das ermoglichte dem Glas, fortunate that glass is developing a stronghold in the art world at large wie ein Wunderkind des Kunstmarktes zu gedeihen und sich rasch in during a period of stretchy pluralism, bypassing many potentially restric­ der Arena der grenzenlosen kreativen Disziplinen auszubreiten. Es ist tive historical classifications. I wonder how much the glass movement ein , dass Glas wahrend einer Zeit des dehnbaren Pluralismus' in will have to mature in order to outgrow this convenient media-related der gesamten Kunstwelt ein Bollwerk errichtete, indem es viele mog- term. Regardless, the works in the competition showed a healthy diver­ licherweise einschrankende historische Klassifizierungen umgeht. Ich sity of talent. frage mich, wieweit die Glasbewegung noch reifen muss, um uber The first run-through of the jurying process revealed that glass is diesen konventionellen, auf das Material bezogenen Terminus hinaus- definitely chameleonlike in its ability to cover the scope of many artistic zuwachsen. Ungeachtet dessen zeigen die Arbeiten im Wettbewerb applications, from architecture to jewelry. Anticipating this, I had pre­ eine gesunde Vielfalt an Talent. viously outlined three primary criteria for determining my selections Der erste Durchlauf bei der Jurierung zeigte, dass Glas wirklich in among the different categories. seemed to need to be at the seiner Fahigkeit, das Spektrum vielfaltiger kunstlerischer Anwendungen forefront, balancing original uses of the material with a new treatment of von Architektur bis Schmuck abzudecken, chamaleonartig ist. Dies traditional approaches. Second, I favored the formal concern of how vorausgesetzt, habe ich vorher drei Hauptkriterien umrissen, um meine well the artist's understanding of the material's unique qualities support­ Auswahl in den verschiedenen Kategorien zu bestimmen. Innovation ed his/her processes, and vice versa. Glass is special. It is optical, schien an erster Stelle stehen zu mussen, wobei sie die den originellen transparent, solid, brittle, brilliant, fragile, and potentially dangerous. Einsatz des Materials gegen eine neue Behandlung der traditionellen The artist's choice of form and process had to be in concert with these Annaherung auszubalancieren hat. Zweitens favorisierte ich einen defining characteristics. Third, I looked for work that was self-referential, formalen Ansatz, bei dem es darum ging, wie gut der Kunstler es ver- reinforcing a sense of presence that mute, nonobjective forms can standen hat, die einzigartigen Qualitaten des Werkstoffes fur seine Oder have. It's a kinesthetic thing. In representational pieces, I looked for ihre Arbeitsgange einzusetzen und umgekehrt. Glas ist etwas Besonde- work that offered an informed and original voice on its subject matter, res. Es ist optisch, transparent, fest, bruchig, glanzend, zerbrechlich, whether the source was historical, cultural, perceptual, or comical. The und potenziell gefahrlich. Die Wahl des Kunstlers bei Form und Prozess bigger challenge was determining whether to judge the quality of works mussen mit diesen bestimmenden Charakteristiken im Einklang stehen. against the larger genres of art or simply to compare the works them­ Drittens habe ich nach Arbeiten gesucht, die selbstreferentiell sind, die selves. ein Gefuhl von Prasenz verstarken, die stumme, nichtgegenstandliche Most of the entries were vessels. It was mind-boggling to see the Formen haben konnen. Es ist etwas Kinasthetisches. Bei reprasenta- geometrically expanded numbers of talented glassblowers regerminat- tiven Stucken suchte ich nach Arbeiten, die einen informierten und ing exquisite traditional designs, and of glass casters who molded their originellen Ausdruck zu ihren Themen boten, ob nun durch Geschichte, works based on vessel forms. In the first round, many hopefuls emu­ Kultur, Wahrnehmung Oder Komik. Die groBere Herausforderung war lated traditional vessels, but fewer exhibited innovative forms, colors, or es, festzulegen, ob die Qualitat der Arbeiten gegenuber groBeren decorations that stood out against the ocean of vessels made in glass. Kunstgenres zu beurteilen oder die Arbeiten einfach miteinander zu One simply bold and succinct vessel was Gabriella Bisetto's Distend, a vergleichen seien. soft, pregnant tuber of a form, blown to within an inch of popping. Die meisten Einsendungen waren GefaBe. Es lie(3 einen stutzen, die Conversely, Eva Moosbrugger's Three Women consisted of inverted zunehmende Zahl talentierter Glasblaser zu sehen, die exquisites tradi- blown vessels with contrasting interiors, strange textures, and protru­ tionelles Design wiederaufkeimen lassen, und die der GlasgieBer, die sions like belly buttons or scars that were smugly self-contained. I ihre Arbeiten auf der Grundlage von GefaBformen fertigten. In der ers- appreciated Charlotte Hughes's wry incorporation of fabric skirts re­ ten Runde gab es viele hoffnungsvolle, junge Kunstler, die traditionellen sembling paper lanterns into her vases, a not-so-waterproof solution for GefaBen nacheiferten, aber wenige stellten innovative Formen, Farben such classic forms - hence her title, Definitely or Probably Vases. My und Dekorationen vor, die sich aus dem Meer der GlasgefaBe abhoben. favorite vessel, for its clever play on scale, was a cobalt bowl attached Ein einzelnes kuhnes und pragnantes GefaB war Gabriella Bisettos by a cord to a lumpy cobalt sand-cast steamship, made by Jens Gus- „Distend", eine weiche, voile, schwellende Form, die fast bis zum Plat- sek. It won the hearts of us all when we heard that the title was Ocean. zen geblasen wurde. Im Gegensatz dazu besteht Eva Moosbruggers There were numerous entries in the broad category of sculpture, so I „Three Women", aus umgekehrten geblasenen GefafBen mit kontrastie- divided them into groups: freestanding and site-specific installations. rendem Innendekor, fremdartigen Texturen und Vorwolbungen wie Freestanding pieces ranged from large, minimal forms to goofy figur­ Nabeln oder Narben, die selbstgefallig in sich geschlossen waren. Ich ines. One sculpture by Alf Setzer was made of plate glass that was schatzte Charlotte Hughes schrage Verbindung von Stoffrocken, die an scratched and stacked in such a way as to expose an internal image of Papierlaternen erinnerten, in ihren Vasen - eine nicht sehr wasserfeste bubblelike spheres rising through a column of water. I chose it because Losung fur diese klassischen Formen - daher ihr Titel, ..Definitely or of its scale and its antagonistic relation to its corporate setting. Other Probably Vases". Mein LieblingsgefaB war, wegen seines raffinierten of note for kinesthetic and tactile qualities were James Spiels mit Proportionen, eine kobaltblaue Schale von Jens Gussek, die McLeod's Oracles; Chelsie Bush's Overheated, made of cast red glass, durch eine Kordel an einem klobigen, kobaltblauen, sandgegossenen neon, and a Chevy engine; Karen LaMonte's sexy Dress 6\ and the Dampfschiff befestigt war. Sie gewann unsere Herzen, als wir horten, austere yet ominously mute-looking form by Paul Marioni, aptly called dass der Titel „Ocean" war. Ghost. The transparency of glass lends itself well to biomorphism, and Es gab zahlreiche Einsendungen in der breiten Kategorie der Skulp- we saw a lot of pods here. In this group, I found Veronika Beckh's work tur, daher teilte ich sie in Gruppen ein: freistehende und standortbezo- to be particularly mysterious and compelling. I was also fascinated with gene Installationen. Freistehende Arbeiten reichten von grofBen, mini- David Chatt's repulsively cute beaded pink pustule called Flab Bag. malistischen Formen bis zu idiotischen Figurchen. Eine Skulptur von Alf Also of note was Bennett Battaile's natural-looking Flamenco, which Setzer war aus gekratzten Glasscheiben, die so geschichtet waren, takes flameworking into a new realm. dass sich ein inneres Bild von blasenartigen Spharen zeigte, die durch For site-specific work, I have to commend Christopher Watts and Lia eine Wassersaule aufstiegen. Ich wahlte sie wegen ihres Formats und Welsing for undertaking the difficult challenge of making glass installa­ ihrer widerstreitenden Beziehung zu ihrem Umfeld. Andere Skulpturen, tions in natural settings. My favorite was Kazue Taguchi's The Path to die wegen ihrer kinasthetischen und taktilen Qualitat zu erwahnen sind, Hope. She amassed 2,000 champagne bottles, each with a message waren James McLeods „Oracles", Chelsie Bushs ..Overheated" aus inside, into seven separate islands that floated along on a large body of rotem, gegossenem Glas, Neon und einem Chevy-Motor, Karen La- water. It was an ambitious and sensuous project, invoking many poetic Montes sexy „Dress 6" und die strenge und unheilvoll stumme Form allusions to the sea. In this category, I included most of the stained von Paul Marioni, passenderweise „Ghost" genannt. Die Transparenz glass that was installed in architectural settings. The most innovative von Glas eignet sich fur Biomorphismus, und wir sahen viele Schoten work here was Bob Budd's Suspended Clouds because of its original hier. In dieser Gruppe fand ich Veronika Beckhs Arbeit besonders rigging and visual simplicity. Tom Pearman's design for a London-based geheimnisvoll und gewinnend. Ebenso war ich fasziniert von David print studio, which was silkscreened and fired onto the glass facade, Chatts abstofBend suBlich mit Perlen verzierter rosa Pustel, genannt was graphically bold, well executed, and refreshingly simple. „Flab Bag". Zu erwahnen war auch Bennett Battailes naturlich aus- As a component in furniture, the glass works that stood out were Mie sehender „Flamenco", der die Lampenarbeit wieder auf ein neues Matsuyama's clever Water Table, reservoirs for flowers slumped into a Niveau bringt. Bei standortbezogenen Werken muss ich Christopher tabletop, and Bert Van Ransbeeck's unusual Mailbox. The piece that Watts und Lia Welsing dafur loben, dass sie die schwierige Herausfor­ stood apart conceptually from the abovementioned categories was the derung annehmen, Glasinstallationen in natiirlicher Umgebung aufzu- unclassifiable floating plate glass installation River Window, executed stellen. Mein Favorit war Kazue Taguchis „The Path to Hope". Sie by Peter Drobny for the 2001 conference of the Glass Art Society. How­ haufte 2000 Champagnerflaschen an, jede mit einer Botschaft darin, in ever, my overall favorite piece, which captured a slice of Americana and sieben einzelnen Inseln, die auf einer groBen Wassermasse dahintrie- encompassed the most categories - site-specific installation, architec­ ben. In dieser Kategorie schloss ich die meisten der Buntglasarbeiten ture, sculpture, furniture, lighting, and design - was Brian Malley's ein, die in ein architektonisches Umfeld eingebaut waren. Das innovati- Perfect Reception. vste Werk hier war Bob Budds „Suspended Clouds" wegen seiner After the review, we visited the Corning Museum's newest wing, the originellen Verspannung und visuellen Schlichtheit. Tom Pearmans Glass Innovation Center, which traces the technological evolution of Entwurf fur ein Printstudio in London mit einem eingebrannten Sieb- glass and illustrates the modern world's absolute reliance on this mate­ druck auf der Glasfassade, war graphisch kuhn, gut ausgefuhrt und rial. From its beginning, glass has been key to expanding our vision of erfrischend einfach. the world: from molecular microscopy to galactic-scale telescopy, from Bei den Mobeln ragten Mie Matsuyamas raffinierter „Water Table" mirror reflections to the camera lens, from electric lighting to digital hervor, mit abgesenkten Reservoiren fur Blumen in der Tischplatte, und communications, from thermal insulation to electronic conductivity, and Bert Van Ransbeecks ungewohnliche „Mailbox". Das Stuck, das kon- from food preservation to nuclear waste encapsulation - with all the zeptionell auBerhalb der oben genannten Kategorien stand, war die fiber optic connections of communication in between. Our present nicht einzuordnende schwimmende Flachglasinstallation „River Win­ reality would not exist without glass. The entire New Glass Review proc­ dow", die von Peter Drobny fur die Konferenz der Glass Art Society ess could not happen without the transporting of images from camera to 2001 ausgefuhrt wurde. Mein absoluter Favorit aber war Brian Malley's slide projector, which is also dependent upon the use of glass. „Perfect Reception", der ein Stuck Americana einfing und die meisten For me, this process emphasized that, as diverse as the Studio Glass Kategorien mit einschloss - standortbezogene Installation, Architektur, movement has become, there remain omissions in New Glass Review. Skulptur, Mobel, Beleuchtung und Design. Nach dem Sichten besuch- Where are the audible pieces? The scientific pieces? The digital pieces? ten wir den neuesten Flugel des Corning Museums, das Glass Innova­ The media information age pieces? Is the gap growing between what is tion Center, das der technologischen Entwicklung von Glas nachspurt happening in the new millennium, with its outrageous technology, and und die Abhangigkeit der Modernen Welt von diesem Material illustriert. what is happening in the glass movement? Or do artists self-edit their Von Anfang an ist Glas der Schlussel gewesen, unsere Sicht der Welt work based on preconceived notions of what is an acceptable "look" for zu erweitern: von der Molekular-Mikroskopie zu Teleskopen in galakti- the New Glass Review, based on previous publications? Or is it that the schen AusmaBen, von Spiegelreflexen zu Kameralinsen, von elektri- slide image cannot be representational^ just to less conventional schem Licht zu digitaler Kommunikation, von Warmeisolierung zu works? If outstanding technical have not yet been revealed elektronischer Leitfahigkeit und von Lebensmittelkonservierung zum in glass art, then the potential of glass as an art material remains largely Einschluss von nuklearem Abfall - mit all den Glasfaserverbindungen untapped. This is an exciting situation for artists and an open invitation der Kommunikation dazwischen. Unsere gegenwartige Realitat wurde for adventuresome innovators. ohne Glas nicht existieren. Der ganze New Glass Review-Prozess Jurying the 2001 New Glass Review competition was an enjoyable konnte nicht stattfinden ohne den Transport der Bilder von der Kamera process, thanks to Tina Oldknow, the staff of The Corning Museum of zum Diaprojektor, der ebenfalls von der Glasnutzung abhangig ist. Glass, and especially the co-jurors. I regretted not having the oppor­ Fur mich betont dieser Prozess, dass, so divers die Studio Glas- tunity to work as a juror with Thomas Buechner, the Museum's founding Bewegung geworden ist, Lucken in der New Glass Review bleiben. Wo director. I have admired his keen observations and wit throughout his sind die akustischen Arbeiten? Die wissenschaftlichen? Die digitalen? years of providing statements for the Review. However, I am very Die Stucke des Medien-lnformationszeitalters? Wachst die Kluft zwi- grateful for Tom's welcome and introduction at the beginning of the schen dem, was im neuen Jahrtausend mit seiner unerhorten Technolo- review process, during which he encouraged us to make unabashed gie, und dem, was in der Glasbewegung passiert? Oder editieren personal aesthetic choices rather than attempting to objectify or, worse, Kunstler Arbeiten, die auf vorgefassten Ideen basieren, was ein akzep- feign objectivity. Thus, it may be awkward to explain the heterogeneity tabler „look" fur die New Glas Review ist, auf der Grundlage fruherer of our selections beyond the fact that glass readily captures our idiosyn­ Veroffentlichungen? Wenn sich hervorragende technische Innovationen cratic passion and imagination. noch nicht in der Glaskunst gezeigt haben, dann bleibt das Potenzial von Glas als kunstlerischem Material weitgehend unerschlossen. Dies Pike Powers (PP) ist eine aufregende Situation fur Kunstler und eine offene Einladung fur Artistic Director abenteuerlustige Innovatoren. Pilchuck Glass School Den New Glass Review-Wettbewerb 2001 zu jurieren, war ein erfreu- Stanwood, Washington licher Prozess, dank Tina Oldknow, der Mitarbeiter des Corning Mu­ seum of Glass und besonders der Mitjuroren. Ich bedauere es, nicht mit Thomas Buechner, dem Grunderdirektor des Museums, als Jurorin arbeiten zu konnen. Ich habe seine scharfen Beobachtungen und seinen Witz bewundert, mit dem er uber die Jahre hinweg Statements fur die Review lieferte. Jedenfalls bin ich sehr dankbar fur Toms Will- kommen und seine Einfuhrung zu Beginn des Sichtungsprozesses, wahrend dem er uns ermutigte, unerschrocken eine personliche asthe- tische Wahl zu treffen, statt zu versuchen zu objektivieren oder, noch schlimmer, Objektivitat vorzugeben. Von daher konnte es schwierig sein, die Heterogenitat unserer Auswahl zu erklaren, uber die Tatsache hinaus, dass Glas bereits unsere eigene Leidenschaft und Vorstellungs- kraft einfangt.

Pike Powers (PP) Kunstlerische Leiterin Pilchuck Glass School Stanwood, Washington

am of two (or three) minds about this whole thing. I am truly encour­ ch habe zwei (oder drei) Ansichten in dieser Angelegenheit. Die fan- Iaged by the fantastic geographical range of entries submitted to New tastische geografische Bandbreite der Eingange bei der New Glass Glass Review 23. But then there are the perpetual problems of slide Review 23 haben mich wirklich ermutigt. Aber dann sind da die fort- quality (interesting work illustrated in bad slides, and regular work show­ wahrenden Probleme mit der Diaqualitat (interessante Arbeiten auf cased in phenomenal slides) and the compromise that is necessary to schlechten und durchschnittliche Arbeiten prasentiert auf phanomena- cull 100 images from all the entries. The big question for me in my role len Dias) und der notwendige Kompromiss, um hundert Bilder aus alien as a juror (which is an ongoing personal dilemma) is: What am I expect­ Einsendungen auszusuchen. Die groBe Frage fur mich (ein standiges ing of glass in the hands of contemporary makers? For example, should personliches Dilemma) in meiner Rolle als Juror ist: Was erwarte ich "issues" - the loss of civil liberties "for our own good," the impact of von Glas in den Handen zeitgenossischer Gestalter? Zum Beispiel, soli- globalization, genetically engineered food/lives, and the continued ten „Problemstellungen" - der Verlust burgerlicher Freiheiten „zu unse- ecological destruction of our ("W" has declared war, after all!) - rem eigenen Besten", die Auswirkung der Globalisierung, gentechnisch appear in this venue at all? None of this was reflected in the images we veranderte Lebensmittel/Lebewesen und die fortschreitende okologi- viewed in Corning. And what of the introspection so common in the sche Zerstorung unseres Planeten („W" erklarte schlieRlich den Krieg!) works of artists using other materials, the angst of personal relation­ - auf diesem Schauplatz uberhaupt erscheinen? Nichts davon wurde in ships, the heights and depths of the emotional train crashes that many den Bildern, die wir in Corning sahen, reflektiert. Und was ist mit der ub- of us experience each day? Do I ask too much in thinking that any con­ lichen Innenschau, wie in den Werken von Kunstlern, die mit anderen tributors might be concerned enough about what it feels like to be alive Materialien arbeiten, der Angst vor personlichen Beziehungen, die at this moment (joys as well as personal terrors) that they might express Hohen und Tiefen der emotionalen Einbruche, die viele von uns jeden or explore this subject using glass? Glass is a transformational material. Tag erfahren? Verlange ich zu viel, wenn ich denke, dass jeder Teilneh- It can embody the full range of the physical and ethereal worlds. It can mer sich ausreichend damit befassen sollte, wie es sich anfuhlt, in die- make manifest (and tangible) that which would otherwise not be "appar­ ser Zeit zu leben (mit Freude genauso wie personlichen Angsten), dass ent." er dieses Thema mit Glas ausdrucken oder untersuchen konnte? Glas I'll attempt to find words to build a bridge between the slide images ist ein wandelbares Material. Es kann die voile Bandbreite der physi- and my observations. However, there often seems to be a gulf, a void, schen und geistigen Welten darstellen. Es kann offenkundig machen an uncrossable chasm between looking at stuff and talking about it. (und fassbar), was andernfalls nicht „sichtbar" ist. Sentences, paragraphs, and printed symbols are all collected together Ich versuche Worte zu finden, um eine Brucke zwischen den Diabil- to convey "image" and to represent it by proxy. What does it all imply? It dern und meinen Beobachtungen zu schlagen. Es scheint aber oft eine is taken for granted that a juror's statement will have the power to cope unuberbruckbare Kluft zu geben zwischen dem Betrachten von Dingen somehow with art and its mysteries. Art has better things to do than und dem Daruberreden. Satze, Paragraphen und gedruckte Symbole delineate images in words. There is a depth of beauty in words, yet also werden gesammelt, um ein „Bild" zu ubermitteln und es stellvertretend an inherent arrogance. Art makes a deep impression on us, so the idea darzustellen. Was schlieGt das alles mit ein? Es wird fur selbstverstand- that it might have no "meaning" is unbearable for many people. It is part lich gehalten, dass die Aussage eines Juroren die Macht hat, irgendwie of human nature to want to make all things understandable, and to think mit Kunst und ihren Geheimnissen fertig zu werden. Kunst hat Besse- that we can actually find out what the "meaning" is in our lives. Lan­ res zu tun, als Bilder in Worte zu fassen. Worte besitzen eine tiefe guage embraces meaning, so we must work to find words to connect Schonheit, aber auch eine ihnen eigene Arroganz. Kunst macht einen experience with expression. The art and the description don't necessar­ tiefen Eindruck auf uns, so dass der Gedanke, sie hatte keine „Bedeu- ily share meaning, but they could - and our wider world of associations tung", fur viele Leute unertraglich ist. Es ist ein Teil der menschlichen encourages them to do so. I would feel more comfortable with words Natur, alle Dinge verstehen zu wollen, und zu denken, dass wir tatsach- about art if they shared less the meaning and more the relics of art - lich herausfinden konnten, was der Sinn unseres Leben ist. Sprache the impact craters of the aftermath of its exposure, the visual "tunes" schlief3t Bedeutung mit ein, so dass wir daran arbeiten mussen, Worte that get stuck in your head. Art can shrivel under the pressure of words. zu finden, um der Erfahrung Ausdruck zu verleihen. The beauty of the Blaschkas' at Harvard (objects not Kunst und Beschreibung teilen nicht notwendigerweise Bedeutung, made to be art at all) suffocates when it is reduced to verbal analysis. aber sie konnen es - und unsere umfangreichere Welt der Assoziatio- Art is punished by the boundaries of words such as "pragmatic," "syn­ nen ermutigt sie dazu. Ich wurde mich mit Worten uber Kunst wohler tax," and "metaphor." In the end, what can words tell us about art? fuhlen, wenn sie weniger die Bedeutung als vielmehr die Relikte der Indeed, they can tell us only something about the rational mind's flawed Kunst teilten - die Einschlagkrater, der Nachwirkung ihrer Enthullung, apprehension of it. die visuellen „Melodien", die einem im Kopf bleiben. Kunst kann unter At times, art is terrifyingly simple, something the inquiring intellectual dem Druck der Worte schrumpfen. Die Schonheit der Glasblumen der has a hard time dealing with. Its effects can be profound and lasting, but Blaschkas in Harvard (Objekte, die uberhaupt nicht als Kunst erschaffen its processes render the word "meaning" meaningless. At other times, wurden) erstickt, wenn sie auf eine verbale Analyse reduziert wird. art actually bypasses reason. It attacks us directly and unthinkingly, like Kunst wird durch die Begrenzungen solcher Worte wie „pragmatisch", an ache in a shoulder muscle, the first taste of good coffee in the morn­ „Syntax" und „Metapher" ubel zugerichtet. Was konnen uns Worte ing, or the smell of freshly mowed grass. Yet beyond sensuous response, letztlich uber Kunst sagen? Tatsachlich teilen sie uns nur etwas uber art can be profoundly mood-effecting. But do these moods need to be das fehlerhafte Erfassen von Kunst durch den rationalen Verstand mit. arranged into subject and predicate? declared that "art is Manchmal ist Kunst schrecklich einfach, etwas, mit dem der fragende too specific to be expressed in words." In the end, art is illiterate. Its Intellektuelle schwer zurechtkommt. Ihre Auswirkungen konnen tiefge- illiteracy ought to be worn proudly, like a medal. Words can parallel art, hend und anhaltend sein, aber ihre Prozesse lassen das Wort bedeu­ and perhaps refer to it best by achieving a parallel beauty or a parallel tung" bedeutungslos werden. Ein anderes Mai umgeht Kunst den Ver­ immediacy. But words can never replace art's shining, specific self. stand tatsachlich. Sie uberfallt uns direkt und gedankenlos, wie ein How, then, is glass specifically used as a form of expression in New Schmerz in der Schultermuskulatur, der erste Schluck guten Kaffees am Glass Review 23? It is used as visual poetry in Jens Gussek's Ocean Morgen oder der Geruch frisch gemahten Grases. Noch jenseits sinn- and Marc Petrovic's Ways and Means. In James McLeod's Oracles and licher Reaktion, kann Kunst tiefe Stimmungen erzeugen. Aber mussen Kazue Taguchi's The Path to Hope, it is used to form images that make diese Stimmungen in Subjekt und Pradikat eingeteilt werden? Mendels­ me stop, inhale, and pause. (Ms. Taguchi's entries were all so engaging sohn erklarte, dass „Kunst zu spezifisch ist, um in Worten ausgedruckt that the jurors found it most difficult to choose just one!) I am given zu werden". Letztlich ist Kunst analphabetisch. Ihren Analphabetismus something to share with these pieces - no lessons, perhaps, just a sollte sie stolz vor sich hertragen, wie eine Auszeichnung. Worte kon­ dialogue, and a sense that here is another someone seeking. I found nen die Kunst begleiten und vielleicht auf sie verweisen, indem sie eine Tomarigi by Reico Kitagawa to be a simple yet disturbingly eloquent and parallele Schonheit oder Unmittelbarkeit schaffen. Aber Worte konnen strongly evocative image (not an easy thing to do in any material). niemals das strahlende, eigene Wesen der Kunst ersetzen. Charlotte Meyer's Papertears, Frances Binnington's Annie Get Your Wie also ist Glas in New Glass Review 23 als Ausdrucksform spezi­ Gun, and Ayane Takeuchi's Quiet Noise are images that use the visual fisch eingesetzt? Als visuelles Gedicht in Jens Gusseks „Ocean" und equivalent of glass's vocal range in sincerely sensitive and potently Marc Petrovics „Ways and Means". Als Bilder, die mich innehalten, effective ways. einatmen und pausieren lassen, bei James Mc Leods „Oracles" und Speaking more to the "design mode" of glass's possibilities, I'd single Kazue Taguchis „The Path to Hope" (Frau Taguchis Einsendungen out with glee the simple beauty of Yumi Oguchi's Pod and Eva Moos- waren alle so einnehmend, dass die Juroren sich schwer damit taten, brugger's Three Women. There is real strength in the authority and nur eine auszuwahlen!) Es wurde mir etwas gegeben, das ich mit "rightness" in the use of glass in Blue Panels Cabinet by Barbara Nan- diesen Stucken teilte - keine Lektionen vielleicht, nur einen Dialog, und ning. Finally, as the crazy image that has stayed in my head since I das Gefuhl, dass hier noch jemand auf der Suche ist. Ich fand in „Toma- viewed all of the entries in Corning, I have to mention Brian Malley's rigi" von Reico Kitagawa ein einfaches, aber beunruhigend vielsagen- Perfect Reception. This image jumped off the screen. It uses light, form, des und stark sinntrachtiges Bildnis (keine leichte Sache, in welchem and, most important, context to create something that becomes a Material auch immer). Charlotte Meyers „Papertears", Frances Binning- remarkable manifestation and a sign of our ability to laugh at ourselves. tons „Annie Get Your Gun" und Ayane Takeuchis „Quiet Noise" sind In the end, New Glass Review does not take the pulse of the art Bildnisse, die das visuelle Aquivalent zum akustischen Spektrum von world, nor does it always showcase cutting-edge design. But it is a real Glas in wirklich empfindsamer und sehr effektvoller Art und Weise testament to a lot of individual lives spent exploring the myriad possibili­ nutzen. ties in the truly singular state of matter that is glass. I want to thank all Um mehr auf die Designmoglichkeiten von Glas zu sprechen zu of the entrants for their participation, and I can only express my hope kommen, hebe ich mit Freude die schlichte Schonheit von Yumi Ogu- that the breadth and depth of entries continue to expand. In that expan­ chis „Pod" und Eva Moosbruggers „Three Women" hervor. Es liegt eine sion, we might have more work from architects, from lighting designers, wirkliche Starke in der Autoritat und „Richtigkeit", wie Glas in „Blue and from all of the world's visual artists who play with light, illusion, and Panels Cabinet" von Barbara Nanning eingesetzt wird. SchlieBlich, da space - that whole world of smoke and that holds so much das verruckte Bild mir im Kopf blieb, seit ich alle Eingange in Corning possibility for stumbling upon insight. gesichtet hatte, muss ich Brian Malleys „Perfect Reception" erwahnen. Dieses Bild sprang ins Auge. Es verwendet Licht, Form und vor allem Jack Wax (JW) Kontext, um etwas zu erschaffen, das eine bemerkenswerte AuBerung Associate Professor und ein Zeichen ist fur unsere Fahigkeit, uber uns selbst zu lachen. State University Letztlich misst die New Glass Review nicht den Puis der Kunstwelt, Normal, Illinois noch zeigt sie immer einschneidendes Design. Aber sie ist ein echtes Zeugnis fur viele individuelle Leben, die damit verbracht werden, die unzahligen Moglichkeiten der wahrhaft einzigartigen Materie Glas aus- zuloten. Ich mochte alien Bewerbern fur ihre Teilnahme danken und kann nur meiner Hoffnung Ausdruck verleihen, dass sich die Bandbreite und Tiefgrundigkeit der Eingange weiterhin ausdehnt. In dieser Erweite- rung konnten wir mehr Arbeiten von Architekten, Lichtdesignern und bildenden Kunstlern aus aller Welt haben, die mit Licht, Illusion und Raum spielen - diese ganze Welt von Rauch und Spiegeln, die so viele Moglichkeiten bereithalt, zufallig auf Einsicht zu stoBen.

Jack Wax (JW) Professor Illinois State University Normal, Illinois

Note Schlussbemerkung

n 2001, more than 6,000 copies of the New Glass Review 23 prospec­ 001 sind mehr als 6000 Einladungen fur die New Glass Review 23 tus were mailed. Each entrant could submit a maximum of three slides. 2versandt worden. Jeder Teilnehmer konnte bis zu drei Dias einrei- A total of 824 individuals and companies representing 38 countries sub­ chen. Insgesamt schickten 824 Einzelpersonen und Firmen aus 38 Lan- mitted 2,242 slides. The 100 objects illustrated in this Review were se­ dern 2242 Dias. Die 100 Arbeiten, die in dieser fiew'ewabgebildet sind, lected by four jurors, whose initials follow the descriptions of the objects wurden von vier Juroren ausgewahlt, deren Initialen den ausgesuchten they chose. Objekten beigefugt sind. All slides submitted to New Glass Review are retained in the Rakow Alle fur die New Glass Review eingereichten Dias werden in der Research Library of The Corning Museum of Glass, where they may be Rakow-Bibliothek des Corning Museums of Glass gesammelt, wo sie viewed by the public. Copies of slides published in any of the past der Offentlichkeit zur Ansicht zuganglich sind. Kopien von Dias, die in Reviews may be purchased by special order from the Museum's Buying den vergangenen Reviews erschienen sind, konnen durch Sonder- Office. Copies of New Glass Review 3 (1982), 19 (1998) and 22 (2001), bestellung bei der Verkaufsabteilung des Museums erworben werden. are still available from the Buying Office, which can also supply all back Ausgaben der New Glass Review 3 (1982), 19 (1998) und 22 (2001) issues of the Review in black-and-white microfiche. sind noch lieferbar. Alle alten Ausgaben der Review konnen auch auf The Corning Museum of Glass would like to thank all of the artists SchwarzweiB-Mikrofiche geliefert werden. and designers who submitted their slides to New Glass Review for con­ Das Corning Museum of Glass mochte sich bei alien Kunstlern und sideration. Special thanks are due to those who made this publication Designern bedanken, die ihre Dias zum Wettbewerb eingereicht haben. possible: Peter Bambo-Kocze, Mary Chervenak, Brandy Harold, Kevin Besonderer Dank gilt jenen, die diese Ausgabe ermoglicht haben: Peter Kurdylo, Richard Price, Amber Pruden, Joan Romano, Jacolyn Saun­ Bambo-Kocze, Mary Chervenak, Brandy Harold, Kevin Kurdylo, Richard ders, and Violet Wilson. Price, Amber Pruden, Joan Romano, Jacolyn Saunders und Violet Wilson. Jurors' Choice

This section of New Glass Re view allows jurors to pick up to 10 Dieser Teil der New Glass Review erlaubt es den Juroren, bis zu 10 examples of work in glass, either recent or historical, that impressed Arbeiten von entweder zeitgenossischem oder historischem Glas aus- them during the year. While the jurors' main responsibility is to review zuwahlen, die sie im Laufe des Jahres beeindruckt haben. Wahrend es and make selections from submitted slides, the additional choices allow die Hauptaufgabe der Juroren ist, die eingereichten Dias durchzusehen them the freedom to show whatever glass is currently of particular und eine Auswahl zu treffen, gestattet ihnen die zusatzliche Wahl die interest to them. In this way, New Glass Review can incorporate sculp­ Freiheit, das aus Glas zu zeigen, was im Moment fur sie von besonde- ture, vessels, installations, design, exhibitions, and architecture that rem Interesse ist. Auf diese Weise konnen in die New Glass Review might never be submitted to the annual competition. Skulpturen, GefafBe, Installationen, Design, Ausstellungen und Architek- One of the goals of New Glass Review is to present the widest tur aufgenommen werden, die gar nicht fur den jahrlichen Wettbewerb possible range of art (and architecture and design) using glass. It is our eingereicht worden sind. hope that "Jurors' Choice" will add significantly to our knowledge of the Eines der Ziele der New Glass Review ist es, das grofBtmogliche diversity of work being made with this inspiring material. Spektrum von Kunst (und Architektur und Design), bei der Glas verwen- det wird, zu zeigen. Wir hoffen, dass die „Wahl der Juroren" Entschei- dendes zu unserem Wissen uber die Vielfalt der Arbeiten beitragen kann, die aus diesem inspirierenden Material gemacht sind.

Selections/Ausgewahlte Arbeiten

Peter Aldridge (PA) Pike Powers (PP) Foster and Partners Brian Bolden Bert Frijns John Hagen and others James Carpenter Design Associates Stuart Keeler Leers Weinzapfel Associates Won Joo Park Carlo Scarpa Timothy Ringsmuth Frantisek Vizner Mark Zirpel

Tina Oldknow (TO) Jack Wax (JW) Einar and Jamex de la Torre Ann Hamilton Jun Kaneko Perejaume Eve Andree Laramee Michael Rogers Josiah McElheny Jean-Michel Othoniel Preston Singletary Brian Bolden, United States Installation, 2001 Detail of work in progress during the Emerging Artist in Residency Program, Pilchuck Glass School, Stanwood, Washington Cast glass prisms, enameled photographic images of binary code Detail einer noch unfertigen Arbeit wahrend des Emerging Artist in Residency Program, Pilchuck Glass School, Stanwood, Washington Gegossene Glasprismen, emaillierte Photos eines binaren Codes PP

Einar and Jamex de la Torre, Mexico/United States Gallery Olmec (detail) from "Einar & Jamex de la Torre: Anachronistas" Exhibition at Grand Arts, Kansas City, Missouri, May 4 - June 16, 2001 Photo: Courtesy Snyderman Gallery, Philadelphia Ausstellung an der Grand Arts, Kansas City, Missouri, 4. Mai-16. Juni 2001 TO

Foster and Partners Renovation of The Great Court, British Museum, London, England, completed in 2000 Renovierung des Great Court, British Museum, London, England, fertiggestellt im Jahr 2000 Photo: Nigel Young/Foster and Partners PA The Great Court is the largest covered courtyard in . Der Great Court ist der groBte uberdachte Hof Europas.

Bert Frijns, The Netherlands Balance, 1996 Blown and acid-polished glass Geblasenes und saurepoliertes Glas H. 70 cm, D. 113 cm PA John Hagen, Greg Horner, Wayne Price, Preston Singletary, David Svenson, and Clifford Thomas, United States With the assistance of Steve Brown, Irma Brown, Joe David, Bill Lynch, Marvin Oliver, and "The Wood and Glass Totem Pole" class at Pilchuck Glass School, Stanwood, Washington Pilchuck Totem Pole, 2001 (daytime and nighttime views/ Ansichten bei Tag und bei Nacht) Cedar, glass, neon, paint; concrete base Zedernholz, Glas, Neon, Farbe; Betonsockel H. 6.35 m, D. 76.2 cm Photo: Russell Johnson, courtesy Pilchuck Glass School PP

Ann Hamilton, United States abc, 1999 (still from video/Videostandbild) Photo: Courtesy Sean Kelly Gallery, New York JW

James Carpenter Design Associates, United States Lens Ceiling, Courthouse, Phoenix, Arizona, 1996 D. 30.5 m PA The lens ceiling is a convex form of textured glass intersecting a horizontal plane of colorless glass. Die Decke aus Linsen ist eine konvexe Form, die eine horizontale Ebene aus farblosem Glas durchkreuzt. James Carpenter Design Associates, United States Lichthof Facade and Roof, German Foreign Ministry, Berlin, Germany, completed in 1997 Lichthof Fassade und Dach, Deutsches Auf3enministerium, Berlin, Deutschland, 1997 fertiggestellt PA

Jun Kaneko, Japan/United States Sticks (Yellow), Slabs, and Sticks (Red) (detail) from "Jun Kaneko: Glass" Exhibition at The Bullseye Connection Gallery, Portland, Oregon, May 19-June 30, 2001 Ausstellung in der Bullseye Connection Gallery, Portland, Oregon, 19. Mai-30. Juni 2001 Photo: Russell Johnson, courtesy The Bullseye Connection Gallery TO

Stuart Keeler, United States Palette, 2001 Cast Bullseye glass Gegossenes Bullseye-Glas L. about 127 cm PP

Eve Andree Laramee, United States Apparatus for the Distillation of Vague Intuitions, 1994-2000 From "Unnatural Science," installation at the Massachusetts Museum of Contemporary Art, North Adams, Massachusetts, June 3, 2000 - April 15, 2001 Blown and etched laboratory glass; steel, copper, saltwater, flowers, vinyl tubing, hardware Aus „Unnatural Science," Installation im Massachusetts Museum of Contemporary Art, North Adams, Massachusetts, 3. Juni - 15. April 2001 Geblasenes und geatztes Laborglas; Stahl, Kupfer, Salzwasser, Blumen, Vinylrohren, Haushaltswaren Photo: Arthur Evans TO Leers Weinzapfel Associates, United States Modular VII Chiller Plant, University of Pennsylvania, Philadelphia, Pennsylvania, completed in 2000 (nighttime view/Nachtansicht) Photo: Peter Aaron/Esto PA

Josiah McElheny, United States The Metal Party—Reconstructing a Party Held at the Bauhaus in Dessau on February 9, 1929, 2001 Two-part participatory performance/installation at The Yerba Buena Center for the Arts, San Francisco, California (November 16, 2001 - January 27, 2002) and the Public Art Fund, Brooklyn, New York (November 29, 2001 - January 13, 2002) Reflective and metallic Mylar costumes, mirrored glass, cased glass, transparent glass, aluminum, galvanized steel, music Zweiteilige Teilnehmerperformance/lnstallation am Yerba Buena Center for the Arts, San Francisco, California (16. November 2001 - 27. Januar 2002) und dem Public Art Fund, Brooklyn, New York (29. November 2001 -13. Januar 2002) Reflektierende und metallische Mylar-Kostume, verspiegeltes Glas, verkleidetes Glas, transparentes Glas, Aluminium, galvanisierter Stahl, Musik Photo: Dennis Cowley, courtesy Public Art Fund, New York TO

Jean-Michel Othoniel, Metro Entrance, Station Palais Royale-Musee du , Paris, France, 2000 Blown and assembled glass; steel Geblasenes und montiertes Glas; Stahl Photo: Jean Frangois Mauboussin TO

Won Joo Park, Korea Park Bench, 2001 Cut, laminated, and assembled glass Geschliffenes, laminiertes und montiertes Glas L. 152.4 cm PP Perejaume, Spain Postaler, 1991 Postcard rack, mirror Postkartenstander, Spiegel H. about 183 cm JW

Perejaume, Spain Untitled, 1984 Plate glass Glasscheiben JW

Timothy Ringsmuth, United States Anticipation, 2000 Mirror, photograph, sandblasted text Spiegel, Photo, sandgestrahlter Text L. 426.7 cm PP

Michael Rogers, United States Beehive for Molly Bloom, 2001 Blown and engraved glass; beeswax Geblasenes und graviertes Glas; Bienenwachs H. 52 cm, D. 28 cm Photo: Bette Beemsterboer JW Carlo Scarpa "Battuti" Vases, designed for Venini, , 1940 Olnick-Spanu Collection, New York, New York 2' J Blown and cut glass | Geblasenes und geschliffenes Glas • H. (largest) 41.3 cm Photo: Luca Vignelli PA

Preston Singletary, United States "Clan House Installation" Exhibition at William Traver Gallery, Seattle, Washington, June 8 - July 1, 2001 Ausstellung in der William Traver Gallery, Seattle, Washington, 8. Juni-1. Juli 2001 Photo: Russell Johnson, courtesy William Traver Gallery TO

Frantisek Vizner, Blue Vase, 1978 The Corning Museum of Glass, 79.3.9 Kiln-cast, cut, and sandblasted glass Ofengegossenes, geschliffenes und sandgestrahltes Glas H. 17.5 cm PA

Mark Zirpel, United States Elliptical Inquiries, 2000 Slumped Bullseye glass Abgesenktes Bullseye-Glas H. 76.2 cm PP Jurors for the New Glass Review Competitions*

Representatives of The Corning Museum of Glass who have served 1990: , artist, Seattle, Washington; Michael W. Monroe, as jurors for the New Glass Review competitions are Thomas S. Buech- curator in charge, of the National Museum of American ner (1980-2001), William Warmus (1980-1984), Susanne K. Frantz Art, , Washington, D.C. (1986-1998), and Tina Oldknow (2001-2002). Visiting jurors are: 1991: Bruce Chao, artist, head of the Glass Department, Rhode Island School of Design, Providence, Rhode Island; Janet Kardon, director, American Craft Museum, New York, New York.

1992: Douglas Heller, director, Heller Gallery, New York, New York; Elmerina and Paul Parkman, collectors, craft historians, Kensington, 1977: Paul Smith, director, Museum of Contemporary of the Maryland. American Crafts Council, New York, New York. 1993: Erwin and Gretel Eisch, artists, Frauenau, Germany; Paul J. 1978: Paul Smith, director, Museum of Contemporary Crafts of the Smith, director emeritus, American Craft Museum, New York, New York. American Crafts Council, New York, New York. 1994: , artist, Philadelphia, Pennsylvania; Yoriko 1979: James Carpenter, artist, New York, New York; Paul Smith, Mizuta, associate curator, Hokkaido , Sapporo, director, Museum of Contemporary Crafts of the American Crafts Coun­ Japan. cil, New York, New York. 1995: Donald Kuspit, critic, professor of art history and philosophy, 1980: Dan Dailey, artist, head of the Glass Department, Massachusetts State University of New York, Stony Brook, New York. College of Art, , Massachusetts; J. Stewart Johnson, curator, Department of Architecture and Design, The Museum of Modern Art, 1996: Arthur C. Danto, art critic and Johnsonian Professor Emeritus of New York, New York. Philosophy at Columbia University, New York, New York; , artist, Amsterdam, the Netherlands. 1981: Andrew Magdanz, artist, assistant professor, Rochester Institute of Technology, Rochester, New York; William S. Lieberman, chairman, 1997: , artist, New York, New York; Geoffrey Edwards, Department of Twentieth-Century Art, The Metropolitan Museum of Art, curator of international sculpture and glass, National Gallery of Victoria, New York, New York. , Australia.

1982: Dale Chihuly, artist in residence, Rhode Island School of Design, 1998: , artist and glassblower, Murano, Italy; David R. Providence, Rhode Island; Henry Geldzahler, curator, commissioner of McFadden, chief curator, American Craft Museum, New York, New cultural affairs of the City of New York, New York. York.

1983: Robert Kehlmann, artist, critic, and editor of The Glass Art 1999: Lois Moran, editor and publisher, American Craft, New York, Society Journal, Berkeley, California; Clement Greenberg, critic, New New York; Dana Zamecnfkova, artist, , . York, New York. 2000: Mary Douglas, curator, Mint Museum of Craft + Design, Char­ 1984: Susan Stinsmuehlen, artist, Austin, ; Ronald D. Abram- lotte, North Carolina; Derek Ostergard, associate director and founding son, collector, Washington, D.C. dean, The Bard Graduate Center for Studies in the , New York, New York; Michael E. Taylor, professor, College of Imaging 1985: Thomas Patti, artist, Plainfield, Massachusetts; David Revere Arts and Sciences, Rochester Institute of Technology, Rochester, New McFadden, curator, Cooper-Hewitt Museum, New York, New York; York. Helmut Ricke, curator, Kunstmuseum Dusseldorf, Germany. 2001: Jane Adlin, curatorial assistant, modern art, The Metropolitan 1986: Bertil Vallien, artist, Kosta Boda Glassworks, Afors, Sweden; Museum of Art, New York, New York; Kate Elliott, director, Elliott Brown Abram Lerner, founding director, Hirshhorn Museum and Sculpture Gallery, Seattle, Washington. Garden, Smithsonian Institution, Washington, D.C. 2002: Peter Aldridge, vice president and creative director, Steuben, 1987: Stanislav Libensky, artist, former professor, Academy of Applied Corning, New York; Pike Powers, artistic director, Pilchuck Glass Arts, Prague, Czechoslovakia; Lloyd E. Herman, independent curator, School, Stanwood, Washington; Jack Wax, associate professor, Illinois founding director of the Renwick Gallery of the National Museum of State University, Normal, Illinois. American Art, Smithsonian Institution, Washington, D.C.

1988: , artist, professor of , Alfred University, * Jurors are listed according to the years in which the competitions were held and Alfred, New York; Jean-Luc Olivie, curator, Centre du Verre, Musee the results of those competitions were published. In each case, the glass des Arts Decoratifs, Paris, France. selected by the jurors was made one year earlier. * Die Juroren sind nach den Jahren aufgefuhrt, in denen der Wettbewerb statt- 1989: , artist, Freeland, Washington; Timo Sarpa- fand und die Ergebnisse veroffentlicht wurden. In jedem Fall wurde das von den neva, artist, littala Glassworks, Nuutajarvi, Finland. Juroren ausgewahlte Glas im Laufe des vorherigen Jahres gefertigt. Bibliography OF RECENTLY PUBLISHED ARTICLES AND BOOKS ON GLASS Bibliographie KURZLICH VEROFFENTLICHTER ARTIKEL UND BUCHER UBER GLAS

This list includes publications added to the Rakow Library of The Cor­ Diese Liste enthalt Veroffentlichungen, die seit der Bibliographie in der ning Museum of Glass since the bibliography for New Glass Review 22. New Glass Review 22 der Rakow-Bibliothek des Corning Museums of Glass hinzugefugt worden sind. Contemporary Glass (after 1945) Flat Glass (after 1945), including Architectural, Mosaic, Painted, Zeitgenossisches Glas (nach 1945) and Stained Glass Flachglas (nach 1945), einschlieBlich architekturbezogenes Glas, Technology (after 1945) Glasmosaik, Glasmalerei und Farbglas Films and Videotapes Technologie (nach 1945) Filme und Videobander Only substantive book reviews are listed; they may be found under the author of the work reviewed. Nur bedeutende Buchkritiken sind aufgefuhrt. Sie sind unter dem Autor des rezensierten Werkes zu finden. The following periodicals are recommended for comprehensive cover­ age of contemporary glassmaking: Die folgenden Zeitschriften werden fur einen umfassenden Uberblick uber die zeitgenossische Glasgestaltung empfohlen: Glass (UrbanGlass, Brooklyn, New York) Glass Art Magazine Glass (Urban Glass, Brooklyn, New York) Glass Art Society Journal Glass Art Magazine Neues Glas/New Glass (Germany) Glass Art Society Journal La Revue de la Ceramique et du Verre (France) Neues Glas/New Glass (Bundesrepublik Deutschland) Stained Glass Quarterly La Revue de la Ceramique et du Verre (Frankreich) Stained Glass Quarterly Before 1982, this bibliography appeared annually in the Journal of Glass Studies, also published by The Corning Museum of Glass. Vor 1982 erschien diese Bibliographie jahrlich im Journal of Glass Studies, das ebenfalls vom Corning Museum of Glass herausgegeben wurde. Entries beginning with a cardinal or ordinal number, expressed either as a numeral or spelled out, will be found after the alphabetical entries, ar­ Titel, die mit einer Kardinal- oder Ordinalzahl anfangen und die als Zahl ranged numerically. oder als Wort ausgedruckt sind, werden nach den alphabetischen Ein- tragen zahlenmaGig geordnet. Exhibition catalogs, formerly listed under the name of the city in which each exhibition was held, are now listed in the following manner: Ausstellungskataloge, die fruher unter dem Namen der Stadt, in der die Ausstellung stattgefunden hat, gefuhrt wurden, finden sich jetzt nach 1. Under the name of the author (person or organization). folgendem Schema geordnet: 2. Under the name of the city in which the exhibition was held (when the author's name is not provided). 1. Unter dem Namen des Autors (der Person oder Organisation) 3. Under the title (when neither the author's name nor the city 2. Unter dem Namen der Stadt, in der die Ausstellung stattgefun­ name is provided). den hat (sofern der Name des Autors nicht zur Verfugung steht) 3. Unter dem Titel (sofern der Name des Autors oder der Stadt nicht zur Verfugung steht).

CONTEMPORARY GLASS (after 1945)/ZEITGENOSSISCHES GLAS (nach 1945)

1 Anonymous. 6 Aktuel Dansk glaskunst. 11 "At the Crossroads of Art, History, and "2000 Honorary Lifetime Member: Ginny Ruff- Kobenhavn [Denmark]: Museumsbygningen Technology." ner." Kunstauktioner, 1999, 62 pp, ill. In Danish with Glass Art, v. 16, no. 6, Sept./Oct. 2001, p. 20+. The Glass Art Society Journal, 2000, pp. some English translation. Glass Art Society conference in Corning, New 54-59, ill. Exhibition catalog. York.

2 "2000 Lifetime Achievement Award: 7 "Allestimenti/lnstallations: Ingo Maurer 12 "Ateliers de creation, et sa Klaus Moje." spazio Krizia." grande region s'affirment = Studios and Work­ The Glass Art Society Journal, 2000, pp. Domus, no. 837, May 2001, pp. 146-147, ill. shops: The Greater Montreal Area Makes Its 46-53, ill. In Italian and English. Mark." Includes neon chandelier. Glass Gazette, v. 3, no. 45, Aug. 2001, pp. 3 "40 Years and Growing." 27-28, ill. In French and English. The Caithness Report, v. 25, no. 1, Spring Two new studios open. 2001, p. 2+. 8 "Arduino Bacci the Maestro." Brief history of . Glass Style, v. 4, no. 2, July 2001, pp. 120-121, ill. 13 "Aus einer inneren Kraft: Rudi Gritsch = 4 5 ans deja...: Talents d'aujourd'hui et de Brief look at the 's life and art. From an Inner Strength: Rudi Gritsch." demain. Glashaus/Glasshouse, no. 1, 2001, pp. 11-13, [Vannes-le-Chatel: CERFAV, n.d.] [24] pp., ill. ill. In German and English. 9 Art of Glass: Spring/Summer 1999. Text in French, Italian, and English. Interview with the artist. [S.I.: s.n.], 1999, [8] pp., ill. Essays by Yan Zoritchak, Silvano Tagliapietra, Exhibition of works by Stephen Antonakos, and Dan Klein. Glass works of 20 artists from 14 Awards of the First International Islamic Dale Chihuly, , and Therman CERFAV. Artisans-At-Work Festival: LOK VIRSA-IRCICA Statom. Craft Awards, Islamabad, 1994. 5 Abyssal Impression: Jaromir Rybak Istanbul: Organization of the Islamic Confer­ 2000: Jaromir Rybak's New Series of 2000. 10 "The Art of Judy Pfaff." ence, Research Centre for Islamic History, Art Taipei, Taiwan: Grand Crystal Museum, 2000, Art Scene (Elvehjem Museum of Art), v. 18, and Culture, 1999, 123 pp. 16 pp., ill. In Chinese and English. no. 2, July-Dec. 2001, p. 3, ill. Two Afghan artists win prizes for their colored Exhibition catalog. Includes glass. glass works, p. 6. 15 " Dreams 2001 29 "Colin Reid: Mixed Media." 43 Danske studieglasvaerksteder og glas- Bead & , no. 45, Oct. 2001, pp. 20-22+, Verre & Creation, no. 23, June 2001, p. 3, ill. kunstnere. ill. English summary, p. 16. Ebeltoft: Glasmuseets Venner og Glasmuseet, Winners of magazine's second juried competi­ Exhibition preview. 1999, ill. tion include makers of glass beads. 30 Collectible Ceramics and Glass from 44 "David Huchthausen: Recent Sculpture." 16 Bodyspace. Those Fabulous '50s: A Special Report from Common Ground: Glass, Spring 2001, p. 5, ill. Baltimore, MD: The Baltimore Museum of Art, Kovels on Antiques and Collectibles. Exhibition at William Traver Gallery, Seattle. 2001, [8] pp., ill. [Beachwood, OH: Kovels Books, 2001?], 23 Exhibition catalog includes Josiah McElheny's pp., i". 45 "Debbie Tarsitano: Flamework Objects of "Untitled (White)." Includes glasses from Murano, Scandinavia, Desire." and the United States. The Journal of Antiques and Collectibles, v. 2, 17 "Borek Sipek." no. 8, Oct. 2001, p. 51, ill. This Side Up! (Valkenswaard, the Nether­ 31 Container: Philip Tsiaras. lands), no. 12, Winter 2000, pp. 18-19, ill. Venezia: Schola dell'Arte dei Tiraoro e Batti- 46 Donald Lipski: A Brief History of Twine. Brief profile of the artist. oro, 79 pp., ill. In Italian and English. Madison, Wl: Madison Art Center, 2000, Exhibition catalog. 104 pp., ill. 18 Borek Sipek: MM Collection: Sketches & Exhibition catalog. Prototypes. 32 Contemporary Glass from France. Includes glass sculptures by the artist. [Switzerland: L.H.O.O.Q.], 2000, [60] pp., ill. Ebeltoft, Denmark: Glasmuseum, 2000, 54 pp., Collection of sketches and glass by Borek ill. In Danish, English, and French. 47 "Elvira Hickert." Sipek. Showcases the work of nineteen glass artists, Vidrio, no. 2, June-August 1999, pp. 19-26, including Yan Ziritchak, Gilles Chabrier, ill. In Spanish and English. 19 "Brian Hirst: Textures virtuelles." Bernard Dejonghe, and Matei Negreanu. Mexican-born glass artist. Verre & Creation, no. 23, June 2001, pp. 2-3, 33 "The Contemporary Glass Gallery." ill. English summary, p. 16. 48 "Emerging Artists." The Journal of Antiques and Collectibles, v. 2, Exhibition preview. The Glass Art Society Journal, 2000, no. 2, April 2001, p. 38, ill. pp. 76-80, ill. Charles Savoie creates fagon de Venise glass 20 "Caithness Glass: Celebrating 40 Years Includes comments by Michael Krumrine, works. of and 25 Years of Collecting." David Medina, Shaelene Murray, and Ruth Collectors News, v. 41, no. 12, April 2001, pp. Shortt. 6-7, ill. 34 "The Contemporary Glass Gallery. The Secret Life of Plants: The Pate de Verre of Hi- 49 Eraldo Mauro: Dia / presentazione / Pre­ guchi." 21 "The Glass and Diatreta of Barry sentations Paolo Maurensig. The Journal of Antiques and Collectibles, v. 2, Sautner." Venezia: Arsenale Editrice, 1999, [34] pp., ill. no. 9, Nov. 2001, p. 44, ill. The Journal of Antiques and Collectibles, v. 2, In Italian and English. no. 3, May 2001, pp. 59-60, ill. Exhibition catalog. 35 "Contemporary Showcase: The Latest Creations from Today's Paperweight Artists." 22 Canberra Glass. Annual Bulletin of the Paperweight Collectors 50 "Espace Verre: Un centre de creation = [Canberra, Australia: Beaver Galleries, 1996], Association Inc., 2001, pp. 89-93, ill. Where Creation Takes Shape." [22] pp., ill. Glass Gazette, v. 3, no. 45, Aug. 2001, Exhibition of works by faculty and graduates pp. 18-22, ill. In French and English. 36 "The Corning Gallery Opens New Exhibit of the Canberra School of Art Glass Work­ - Immaterial/Material." shop. Features the work of Australian and Glass Art, v. 16, no. 4, May/June 2001, 51 "Esposizione a misura d'uomo." Japanese artists Helen Aitken-Kuhnen, Clau­ pp. 36-37, ill. Casastile, v. 28, nos. 281-282, Aug./Sept. dia Borella, Jane Bruce, Stephen Procter, 2001, p. 30, ill. Kirstie Rea, Takeshi Sano, Youko Sano, and Exhibition includes works by Matteo Thun and Itzell Tazzyman. 37 "Country-Style Green Glass." Glass Style, v. 4, no. 2, July 2001, pp. Roberto Pezzetta. 148-153, ill. 23 "'Carpe Diem': Lieve Van Stappen alia Traditional Tuscan glass blends in with modern 52 "Der Exklusivitat gewidmet: Marieux Galleria San Nicolo." tastes. Master Glass Makers." Vetro (Centro Studio Vetro, Murano), v. 4, GFF, Zeitschrift fur Glas, Fenster, Fassade, no. 11, April-June 2001, p. 59, ill. In Italian 38 "Creative Glass Center of America Glass- no. 1, Jan. 2001, pp. 56-57, ill. and English. talk: Fellows Begin New Six-Week Session." Brief profile of the Dutch firm. Exhibition preview. The Journal: A Newsletter for Friends of Wheaton Village, v. 25 [24], no. 3, Fall/Winter 53 "Exposition Bertil Vallien." 24 Ceramics & Glass: New Work by Alan 2001, p. 4, ill. Table & Cadeau, no. 443, April 2001, p. 4, ill. Caiger-Smith and Peter Layton. Brief profile of two contemporary artists, Beth Twenty-three recent sculptures on display at Cambridge, England, U.K.: Fitzwilliam Lipman and Walter Zimmerman. monastery of Clairvaux. Museum, 2001. Exhibition catalog. 39 "Cristal/verre: Verre-a-porter." 54 "Expositions: Une Approche spirituelle - Table & Cadeau, no. 443, April 2001, p. 20+, ill. Exposition du prix de la Fondation Jutta Cuny 25 Chihuly: April 5 to May 5, 2001. Series of reports on the state of the European dedie aux femmes artistes verriers." [New York: Marlborough Gallery, Inc.], 2001, glass industry. La Revue de la Ce rami que et du Verre, 63 pp., ill. no. 116, Jan./Feb. 2001, p. 57, ill. Exhibition held at the Marlborough Gallery, 40 "Cristalleries d'Arques: Premier produc- Exhibition review. New York, April 5-May 5, 2001. teur mondial." Offrir International, no. 360, Feb. 1999, pp. 55 "Featured Galleries/Featured Artists." 26 Chihuly at the V&A. 96-98, ill. Common Ground: Glass (Newsletter of the Seattle, WA: Portland Press, London, 2001, Brief profile of the company. International Guild of Glass Artists), Summer 149 pp., ill. 2001, p. 11, ill. 41 "Dale Chihuly: Seaforms." Anna Skibska at Seattle Art Museum; Victor 27 Chihuly Marlborough. Antiques and The Arts Weekly, v. 34, no. 24, Chiarizia exhibition in . [S.I.]: [s.n.], 2001,91 pp., ill. June 15, 2001, p. 11, ill. Exhibition catalog. Sculptures and drawings exhibited at Spring­ 56 "Featured Glass Studio: Epiphany Stu­ field (Massachusetts). dio and Gallery." 28 Colin Reid: Glass Noviembre 2000. Common Ground: Glass (Newsletter of the Madrid: Ayuntamiento de Alcorcon Concejalia 42 Dana Zamecnfkova. International Guild of Glass Artists), Fall 2000, de Cultura, Deportes y Participation Ciudadan, [New York: Heller Gallery, 2000], 1 v. (un­ p. 1+, ill. 2000, 39 pp., ill. In Spanish and English. paged) + 1 CD, ill. Studio in Pontiac, Michigan, run by April Wag­ Exhibition review. Exhibition catalog. ner and Jason Ruff. 57 Finlandia: Vanguardia en vidrio. 70 Glasruten: En guide til glaskunst i Ebel­ 84 Huvudsaken: Kring en svit glasarbeten [San lldefonso, Spain]: Fundacion Centro Na- toft. av Bertil Vallien = A Matter of Head: Concern­ cional del Vidrio, Real Fabrica de Cristales de Ebeltoft: , [2001?], 8 pp., ing a Suite of Glass Sculptures by Bertil Val- La Granja, [2000], 143 pp., ill. ill. lien. Exhibition catalog of glass by Finnish artists. Glass studios in Ebeltoft. Borgholm [Sweden]: Kamras & Kamras, 1997, [98] pp., ill. In Swedish and English. 58 Formless, but Not without Form: Loretta 71 "Glass Art Society Presents Annual Yang Hui-Shan. Awards to Ginny Ruffner and Klaus Moje at 85 "IGS (International Glass Symposium): [Taipei, Taiwan]: Yang, Chang & Newwork- the 30th Annual G.A.S. Conference." Le Rendez-vous des artistes verriers du shop Co. Ltd., 2001, [46] pp., ill. British Society of Scientific Glassblowers monde entier." Exhibition catalog. Journal, v. 38, no. 4, Oct. 2000, pp. 145-147, Offrir International, no. 379, Jan. 2001, ill. pp. 48-53, ill. 59 Franz X. Holler: Glas-Objekte 1990-2000. Report on the symposium in Novy Bor [Munchen, Germany: Anderland Verlag, 2001], 72 "Glass Artist Richard Meitner to Show at [67] pp., ill. In German and English. Barry Friedman Ltd." 86 "L'infanzia di Silvia Levenson = The Includes biographical information and lists of Antiques and The Arts Weekly, v. 34, no. 38, Childhood of Silvia Levenson." awards, exhibitions, and works in public col­ Sept. 21, 2001, p. 44, ill. Vetro (Centro Studio Vetro, Murano), no. 7, lections and catalog. April-June 2000, p. 61, ill. In Italian and 73 Glass: Floris Meydam. English. Leerdam [The Netherlands]: Uitgeverij Glas- 60 Frederic Morin + Salome: "Verre en werk, 1999, 119 pp., ill. In Dutch, English, and forme." 87 "Insight: Glass - Artist to Artist...." German. [Montelimar, France: Plein-Cintre, SNC], 2001, The Crafts Report, v. 27, no. 298, Feb. 2001, Contains a curriculum vitae of the artist. Illus­ 32 pp., ill. pp. 14-17, ill. trates the artist's Unica series of blown glass. Glass sculpture using pate-de-verre tech­ Marketing advice by Avery H. Anderson, Jan nique. Scanlin, and others. 74 The Glass Guide. New York, NY: New York Experimental Glass 61 "From Sculptural Studio Glass to Keen Workshop, 1989, ill. 88 "Interview with an Artist: Melanie Rowe." Master Encounter in the Smeltery." International directory of galleries and muse­ Glass (British Columbia Glass Arts Associa­ Message from Mats, v. 12, no. 1, 2001, ums with an emphasis on contemporary tion), v. 13, no. 1, June 2001, pp. 3-4. pp. 10-11, ill. glass. Studio glass artist Klas-Goran Tinback returns 89 "Iradj Moini: Zwischen Kunst und Mode." to Maleras. 75 "Glass House." Schmuck Magazin, no. 6, Dec. 2000/Jan. Glass, no. 83, Summer 2001, pp. 56-57, ill. 2001, pp. 80-85, ill. 62 "La Galena de Artistas: Maria Grazia designer creates an apartment for a Glass in jewelry. Rosin." glass collection. Revista del Vidrio Piano, no. 66, May 2001, 90 Iwata Rury. pp. 10-11, ill. 76 "Glass Sculpture Exhibit to Open in Co­ Tokyo: Shiseido Corporate Culture Depart­ Exhibition preview. lumbus." ment, 1996, [15] pp., ill. In Japanese and Antiques and The Arts Weekly, v. 34, no. 39, English. 63 "La Galeria de Artistas: Meeli Koiva." Sept. 28, 2001, p. 88. Exhibition catalog. Revista del Vidrio Piano, no. 67, July 2001, Works by at the Columbus pp. 10-11, ill. Museum of Art. 91 James ScanIon. Profile of the artist. Kinsale, Ireland: Gandon Editions, 2000, 77 "'Glassweekend '01 47 pp., ill. 64 "La Galeria de Artistas: Mensajes en vi­ Glass Art, v. 16, no. 5, July/Aug. 2001, Features stained glass, stone sculpture, and drio." pp. 24-25, ill. mixed media. Revista del Vidrio Piano, no. 64, /April Preview of international symposium and ex­ 2001, pp. 8-9, ill. hibition. 92 James Watkins. Edward Leibovitz. [S.I.: s.n., 199-?], 8 pp., ill. Text in English and 78 "Glasveredlerpreis 2000." French. 65 "La Galeria de Artistas: Rene Culler - La Glas + Rahmen, v. 51, no. 11, Nov. 2000, Essay by Ronald J. Onorato. poetisa del vidrio." pp. 65-68, ill. Contains a list of exhibitions. Revista del Vidrio Piano, no. 61, Sept. 2000, Prizes to Anne Hein, Renate Belz, Wolfgang Klee, and Nabo Gass. pp. 10-11, ill. 93 Jan Kotik: Texty/Texte 1939-1991. Praze, Czech Republic: Vydala Narodni Gale- 79 Gluckaufova Marie. 66 "Galleria Elena Lee: Artisti emergenti = rie v Praze, 1992, 55 pp., ill. In Czech and [Praha, Czechoslovakia: s.n.], 2000, [13] pp., German. Emerging Artists." ill. In English and Czech. Vetro (Centro Studio Vetro, Murano), v. 4, Sponsored by Novy Bor and Nadace no. 11, April-June 2001, p. 57, ill. In Italian . 94 Jan Zoricak = Yan Zoritchak: Cesty and English. kvetov = Voyages des fleurs = Journeys of Canadian gallery focuses on "new talents." 80 "Groninger Museum: Hell and Heaven." Flowers. Bratislava, Czech Republic: Peter Popelka, This Side Up!, no. 14, Summer 2001, 1994, [52] pp., ill. In Czech, French, and 67 "Gerard Delafosse: Aux frontieres du pp. 22-23, ill. English. reel." Previews of glass exhibitions. Verre & Creation, no. 23, June 2001, p. 2, ill. Exhibition catalog. English summary, p. 16. 81 Gunnel Sahlin & Kosta Boda. Artist's paintings on and under glass. Stockholm: Tag Publishing, 2000, 175 pp., ill. 95 "Javier Vidal Montilla: Simbiosis de tec- With a curriculum vitae of the artist. nica y arte." 68 Glas 2001 Ebeltoft: 19. Maj-9. Septem­ Revista del Vidrio Piano, no. 63, Feb. 2001, ber. 82 Hot Glass Cold Glass: Monica Guggis- pp. 10-11, ill. [S.I.]: Forlaget Cider Press, 2001, 40 pp., ill. berg & Philip Baldwin, Switzerland. Profile of the artist. Exhibition catalog of glass by Danish artists. Tel-Aviv, : Eretz , 2001, [84] pp., ill. In English and Hebrew. 96 "Jurors' Choice." 69 Glas aktuell: Lothar Gobel, Hartmann Exhibition catalog. New Glass Review, v. 22, 2001, pp. 35-40, ill. Greb, Susanne Precht, Ulrich Precht, Angela Includes illustrations and brief descriptions of Willeke: Ausstellung im Stadtischen Museum 83 "Howard Ben Tre: Interior/Exterior." works in glass, either recent or historical. Gottingen 18. Marz-29. April 2001. Antiques and The Arts Weekly, v. 34, no. 5, Gottingen: Stadtisches Museum Gottingen, Feb. 2, 2001, p. 17. 97 "Kimiake y Shinichi Higuchi." 2001, 35 pp., ill. Exhibition of the artist's work at the Orange Cuadernos del Vidrio, no. 2, Oct. 2000, Exhibition catalog. County Museum. pp. 34-35, ill. 98 "Kvinnlighet i glas och neon." 113 "Mieke Groot: Surface Tension." 127 Norwegian Contemporary Glass. Skona Hem, no. 10, 2000, p. 40, ill. Antiques and The Arts Weekly, v. 34, no. 38, [Oslo: Royal Norwegian Ministry of Foreign Brief report on works by Helena Gibson in Sept. 21, 2001, p. 84, ill. Affairs, 2000], 27 pp., ill. Stockholm exhibition. Exhibition preview. Exhibition catalog.

99 Laura de Santillana, Works. 114 Minori: Fulfillment in Life. 128 Nouvel Objet IV. Milano: Musei Civici Veneziani, 2001, 115 pp., Kelowna, BC, Canada: Alternator Gallery, Berkeley, CA: , [1999-2001], ill. In English and Italian. 1999, [9] pp., ill. [6] pp., ill. In English and Korean. Essays by Janet Koplos, Attilia Dorigato, and Exhibition catalog of works by Miyuki Shinkai. Glass sculptures by Marvin Lipofsky. Tina Oldknow. 115 MM Transglass. hu: Contemporary Hun­ 129 "Nuovi vetri di Sottsass = New Glass by 100 "Leonardo Mosso: Strutture di luce = garian Glass Art Exhibition. Ettore Sottsass." Structures of Light." Madrid: Hungarian Glass Art Society, 2000, Domus, no. 837, May 2001, p. 41, ill. In Italian Abitare, no. 405, April 2001, pp. 228-235+, ill. 14 pp., ill. and English. In Italian and English. Exhibition by 12 contemporary Hungarian Glass attempts to re-create "the delicate, Fluorescent light installations. glass artists held at Museo Municipal de Arte fleeting qualities of watercolour in glass." en Vidrio, Madrid, from Oct. 17 to Oct. 28, 101 "Licht - Dialog." 2000. 130 "Objects for Use: Handmade by Design." Glasforum, no. 5, 2001, pp. 11-15, ill. Craftviews (American Craft Museum), Fall Installation by Daniel Buren in Bregenz gal­ 116 "Modern Trends and Designs of the 2001, p. 1, ill. lery. Portuguese Glass Industry." Preview of exhibition that includes glass. Glass Styles, v. 4, no. 1, Jan. 2001, pp. 88-93, 102 "Lino Tagliapietra." ill. 131 "Painting with Light." Common Ground: Glass (Newsletter of the The Bullseye Bulletin (Bullseye Glass Co., International Guild of Glass Artists), Spring Portland, OR), Spring 2001, p. 3, ill. 2001, p. 5, ill. 117 "Murano Glass in NYC." Exhibition of works by Tagliapietra and his Glass Industry, v. 81, no. 12 [13], Dec. 2000, friends. pp. 27-28, ill. 132 "Paperweight Passions." Exhibition review. Reflections (Caithness Glass Paperweight Collectors Society), no. 19, Winter 2000, 103 Lino Tagliapietra. pp. 4-5, ill. Ebeltoft, Denmark: Glasmuseum, 1996, 118 "Musee de design et d'arts appliques contemporains/mu.dac." Three paperweight designers (Alastair Mac­ 80 pp., ill. In Danish, English, Japanese, and intosh, Helen MacDonald, and Colin Terris) Italian. This Side Up!, no. 14, Summer 2001, pp. 15-17, ill. discuss their favorite designs. 104 "The Living Arts Centre." Lausanne museum features collection of con­ 133 "Le Passe reemploye: Wolfgang Sko- Glass Gazette, v. 3[5], no. 44, April 2001, temporary glass sculptures. luda." p. 11, ill. Le Bijoutier(Revue Frangaise des Bijoutiers Toronto-area center includes glass studio. 119 Nanny Still. Horlogers), no. 692, June/July 2001, [Helsinki, Finland: Amos Andersonin taide- pp. 18-19, ill. museo, 2001], 132 pp., ill. In Finnish, Swedish 105 Marvin Lipofsky: Kentucky Series. Jewelry exhibition. [Stockbridge, MA: Holsten Galleries, 2001], and English. [8] pp., ill. Exhibition catalog. 134 "Peter Raos: The Craft of Fine Glass Art." 106 "Masters and the Secrets of Decoration." 120 "Naoko's Mesmerizing Dialogue." The Journal of Antiques and Collectibles, v. 2, Glass Style, v. 4, no. 2, July 2001, pp. Glass, v. 13, no. 3, Oct. 2001, p. 4, ill. no. 5, July 2001, p. 55, ill. 128-135, ill. Brief profile and exhibition review. glass artist. Two glass decorators and their techniques. 121 Narrative Overlay: John Brekke. 135 Philippa Beveridge: Glass. 107 " - Designer and Crafts­ [S.I.]: John & Dawn Brekke, [2000], 40 pp., ill. [S.I.: s.n., 2000?], [56] leaves, ill. man." Includes blown and etched glass works. Catalog. Message from Mats, v. 1, no. 1, June 1990, p. 7, ill. 122 "A New Glass Center in Pittsburgh." 136 "Portfolio: Junichiro Baba." Glass Shards (Newsletter of the National 108 Maud Cotter. American Craft, v. 61, no. 4, Aug./Sept. 2001, American Glass Club), Fall 2001, p. 1, ill. p. 86, ill. Oysterhaven, Kinsale, Ireland: Gandon Edi­ Pittsburgh Glass Center opens facility to offer tions, 1998, 47 pp., ill. Brief profile includes illustration of cast glass all levels of glass art . sculpture The Memory of Shadows, 2000. 109 "Las mejores caras del vidrio." 123 "New Territory for Art Glass." Revista del Vidrio Piano, no. 66, May 2001, 137 "Portfolio: Rik Allen." International America, v. 3, no. 3, pp. 152-154, ill. American Craft, v. 61, no. 3, June/July 2001, July 2001, p. 23, ill. Triennial exhibition in Liege features glass art p. 76, ill. Glass by Schlanser Design Studio. made between 1998 and 2000. Includes photograph of Samurai (2001).

110 "Member Profile: William Ledbetter." 124 "News: Aperto Vetro." 138 "Primary Colors." GAS News (Glass Art Society), v. 12, no. 6, Abitare, no. 399, Oct. 2000, pp. 85-86, ill. In Glass Art, v. 16, no. 6, Sept./Oct. 2001, Nov./Dec. 2001, p. 5, ill. Italian and English. pp. 60-61, ill. Review of exhibition at Museo Correr, Venice. Group exhibition at Elliott Brown Gallery, 111 Mezinarodni Sklarska Symposia = Seattle. International Glass Symposiums 1982-2000, 125 "News: Nuovo aeroporto di San Fran­ Novy Bor. cisco." 139 "Recent Acquisitions, a Selection: Czech Republic: [s.n.], 2001. Text in Czech Abitare, no. 404, March 2001, pp. 40+, ill. In 1999-2000. Twentieth Century." and English. Italian and English. The Metropolitan Museum of Art Bulletin, v. Exhibition catalog. "Ship-style sculptures in dichroic glass" by 58, no. 2, Fall 2000, p. 70, ill. James Carpenter. 112 "Michele Burato, Isabelle Poilprez: 140 Rene Roubicek, Liberated Glass = Nuovi modi di pensare il vetro = New Ways of 126 "Night Moon": Wayland H. Cato III, Rene Roubicheku, Kaikihd tareta garasu ten. Conceiving Glass in Murano." Glass Engraver. Kamomura, Japan: Koganezaki Glass Muse­ Vetro (Centro Studio Vetro, Murano), no. 7, [Greensboro, NC: John Harden Associates, um, 2000, 55 pp., ill. In Japanese and English. April-June 2000, p. 29, ill. In Italian and 1980], ill. Catalog for a traveling exhibition held Nov. 11, English. The artist's technique of stone wheel engrav­ 2000, to March 22, 2001, at the Koganezaki Brief review of gallery exhibition in Murano. ing. Glass Museum, Kamomura. 141 Residence en duo: Eva Engstrom & 155 Silvio Vigliaturo: Glass ... and I. 169 "Trafalgar Trading Company." Camilla Caster. Venezia: Marsilio, 2000, 95 pp., ill. In Italian Gifts & Decorative Accessories, v. 102, no. 10, Sars-Poteries, France: Musee-Atelier du Verre, and English. Oct. 2001, p. 118, ill. 2000, 30 pp., ill. In French and English. Exhibition catalog. 170 Uveg az epiteszetben = Glass in Archi­ 142 "Richard Ritter: Scholar, Teacher, Glass 156 Simone Cenedese: Forma e cromatis- tecture. Artist." mo del vetro = Form and Chromaticism of Pecs, Hungary: Magyar Uvegmuveszeti Tar- The Journal of Antiques and Collectibles, v. 2, Glass. sasag, 2001, 131 pp., ill. Glass installation no. 4, June 2001, p. 42, ill. Murano, Italy: Linea Vetro Murano, 2000, and stained glass works. 62 pp., ill. In Italian and English. 143 "Rick Ayotte: The Art of the Paper­ Glassware and glass sculpture. weight." 171 Vetrorganismi: Maria Grazia Rosin. The Journal of Antiques and Collectibles, v. 2, 157 "Spigoitondi: Nuovi vetri di Lino Taglia­ [S.I.: Comune di Cortina d'Ampezzo Assesso- no. 7, Sept. 2001, p. 63, ill. pietra = New Glass by Lino Tagliapietra." rato alia Cultura, 2001], 50 pp., ill. In Italian Vetro (Centro Studio Vetro, Murano), v. 4, and English. no. 10, Jan.-March 2001, p. 61, ill. In Italian Catalog of an exhibition held July 1-31, 2001, 144 "Rodenstock Glasinnovationspreis 2000 and English. at the Gallerica Civica in Cortina d'Ampezzo, verliehen." Italy. Glass sculptural objects and chandeliers Glaswelt, v. 54, no. 1, Jan. 2001, p. 6. by Rosin, assisted by Pino Signoretto and Prize awarded to Horst Stauber. 158 "Spigoitondi: Round Shapes." Showcase, v. 12, no. 31, Jan. 2001, Silvano Signoretto. pp. 54-55, ill. In Italian and English. 145 Bert Frijns: Purely Glass. Review of Venice exhibition by Lino Taglia­ Tel Aviv, Israel: Eretz Israel Museum, 1998, 172 Vladimir Klein. pietra. xvii, 43 pp., ill. Text in English and Hebrew. Senov [Czech Republic]: Glass Museum Ka- Exhibition catalog. menicky, 2000, [18] pp., ill. In English and 159 "Stained Glass Wall Pays Tribute to Czech. Linda McCartney." Glass works by the Czech artist. 146 "SAC Awards International Artist for the Home Lighting & Accessories, v. 83, no. 8, First Time." Aug. 2000, p. 62, ill. The Crafts Report, v. 27, no. 298, Feb. 2001, 's The Glass WallaX The Corning 173 "Vladimir Klein - Design - Sklo." p. 5, ill. Museum of Glass. Sklar a Keramik, v. 51, no. 5, May 2001, Society of Arts and Crafts' Medal for Excel­ p. 124, ill. lence in Craft Award to Lino Tagliapietra. Profile of the artist. 160 "St'Art 2001." Glashaus/Glasshouse, no. 2, 2001, p. 12. In 147 "Sars-Poteries: Anne Vanlatum Stands German and English. 174 Vyssi Odborna Skola sklarska, Strednf Up for Glass." Report on glass at the Art Fair. Prumyslova Skola Sklarska Novy Bor. Ateliers d'Art, no. 34, July/Aug. 2001, Novy Bor: Strednf Prumyslova Skola Sklarska, pp. 35-36, ill. 161 "Steuben Creates 71/2 Foot Crystal 2000, [105] pp., ill. In Czech, German, and Interview with curator. Sculpture." English. Glass Machinery Plants & Accessories, v. 13, Glass objects dating from 1885 to 2000 in rec­ 148 "Sars-Poteries: L'Atelier 2001." no. 1, Jan./Feb. 2000, p. 38. ognition of the 130th anniversary of the glass Verre & Creation, no. 23, June 2001, p. 5, ill. Sculpture "themed to 's 'Symphony school at Novy Bor. English summary, p. 16. No. 5' ... is the largest and most complex New glass workshop opens. work of art Steuben has ever created." 175 "The International Glass Workshop." 149 "Scoops on Scopes." 162 "Steuben Holds Design Competition." Neues Glas/New Glass, no. 4, 2000, p. 19, ill. The Brewster Society News Scope, v. 16, Glass International, v. 24, no. 2, March/April In German and English. no. 3, Fall 2001, pp. 4-5, ill. 2001, p. 4. New kaleidoscope designs. In conjunction with Glass Art Society confer­ ence in Corning, New York. 176 "Wedstrijd buitenobjecten kasteel Horn." 150 Sculpture in Glass: Eva Moosbrugger. Glasbulletin, Vereniging van Vrienden van [Austria: Eva Moosbrugger?], 1999, 87 pp., ill. 163 Strano ma vetro: Maria Grazia Rosin. Modern Glas, v. 15, no. 1, 2001, pp. 3-4, ill. In English and German. Cinisello Balsamo (Milano): Silvana, 2000, Castle setting for glass exhibition. 71 pp., ill. In English and Italian. 151 "Seattle's Recent Earthquake Leaves Exhibition catalog. 177 "Weru: 2. Glaskunstpreis verliehen." Glass in Pieces." Glaswelt, v. 54, no. 1, Jan. 2001, p. 6, ill. USGIass, Metal and , v. 36, no. 3, 164 Cash: Introspective, Retrospec­ Prize awarded to Gunter Joachimsthaler; spe­ March 2001, p. 27. tive. cial prizes to Albrecht Greiner-Mai, Wiebke "Estimated millions of dollars worth of art New York: Yeshiva University Museum, 2001, Vogt, and Eduard Deubzer. glass from galleries, shops, hotels and con­ 2 vv., ill. vention centers was shattered during the Volume 1 text and v. 2 primarly illustrations. quake." Exhibition catalog. 178 "When a Product Is More Important Than the Price." Tableware International America, v. 3, no. 3, 152 Seeds of Change: Neil Wilkin. 165 Tapiserie a sklenene objekty. July 2001, pp. 34-35, ill. Leerdam [Netherlands]: Uitgeverij Glaswerk, Karlovy Vary, Czech Republic: Vydala Galerie, "aiming to take its collections to a wider 2001, 155 pp., ill. "In this series: Neil Wilkin 1990, [25] pp., ill. audience." Solo" - Colophon. Includes a curriculum vitae Exhibition held April 14-May 27, 1990. of the artist. 166 "To Feed the Soul." 179 "William Purser." 153 "Seguso Viro: Building on the Past, Forbes, v. 89, no. 3, Feb. 1, 1962, p. 5, ill. Glass Line, v. 15, no. 1, June/July 2001, p. 12, Focused on the Future." ill. Glass Style, v. 4, no. 2, July 2001, 167 Tom Patti - Glass: A Spatial Boundary. pp. 204-207, ill. Large and Small Works, 1981-2001. 180 Women Designers in the USA, 1900- Overview of the Venetian glassmaking com­ New York: Heller Gallery, 2001, ill. 2000: Diversity and Difference. pany. Exhibition catalog. New Haven, Conn.: Yale UP, 2000, 462 pp., ill. Bead necklace by Joyce Scott (p. 220); glass­ 154 Silvia Levenson: correre ai ripari = Run 168 Tomasz Urbanowicz: Szklany ware designed by Eva Lisa Saarinen Swanson for Shelter. wszechswiat. (pp. 275-277), Freda (pp. 279-280), Milan, Italy: Silvana Editoriale, 2001, [8] pp., Wroclaw: Galeria Szkta i Ceramiki, 2001, Frances Higgins (pp. 285-286), and Judy ill. In Italian and English. [14] pp., ill. In Polish and English. McKie (pp. 299-300); leaded stained glass by Exhibition catalog. Exhibition catalog. Marion Mahony (p. 306). 181 "Yoichi Ohira Receives Rakow Commis­ 193 Andreani, Carole. 206 Augustijn, Piet. sion." "Michele Perozeni: Des roses d'eau gelee." "The Meaning of a Work Lies within the Work Journal of Glass Studies, v. 43, 2001, La Revue de la Ceramique et du Verre, Itself: Bert van Loo Surveys New Ways of pp. 187-189, ill. no. 118, May/June 2001, pp. 16-18, ill. Glass." New work to be added to the collection of the Portrait of the artist. This Side Up!, no. 13, Spring 2001, pp. 18-19, Corning Museum of Glass. ill. 194 Andreani, Carole. New works by Amsterdam artist. 182 Aberdeen Art Gallery. "Serge Mansau: Cristal." Glass, Light, Sound: A Celebration of Con­ La Revue de la Ceramique et du Verre, 207 Augustijn, Piet. temporary Glass. no. 118, May/June 2001, p. 55, ill. "Menno Jonker." [Aberdeen, Scotland: Aberdeen Art Gallery, Exhibition review. Glasbulletin, Vereniging van Vrienden van 2000], [11] pp., ill. Modern Glas, v. 15, no. 3, 2001, pp. 36-37, ill. Exhibition catalog. 195 Andreani, Carole. Profile of the artist. "St'art 2001: Place a la sculpture de verre." 183 Abrink, Pernilla. La Revue de la Ceramique et du Verre, 208 Augustijn, Piet. "Glasets hogborg." no. 118, May/June 2001, p. 54, ill. "Richard Price, kunstenaar en glasblazer." Form, v. 96, no. 5 (731), 2000, pp. 50-55, ill. Exhibition review. Glasbulletin, Vereniging van Vrienden van English summary. Modern Glas, v. 15, no. 2, 2001, pp. 16-19, ill. Profile of Asa Brandt and her glass studio in 196 Armani, Giorgio. Exhibition preview. Torshalla. "Collector's Choice." Sotheby's Preview, May 2001, p. 30, ill. 209 Augustijn, Piet. 184 Adams, Dan. Ritsue Mishima receives first Giorgio Armani "Simsa Cho." "Kevin O'Grady: Master of Color & Form." Contemporary Design Award for her works in Glasbulletin, Vereniging van Vrienden van Bead & Button, no. 42, April 2001, pp. 56-59, glass; see also p. [12]. Modern Glas, v. 15, no. 3, 2001, pp. 30-31, ill. ill. Profile of the artist. Maker of glass beads. 197 Amy, Philip. "The Night Life of Laura Willits." 210 Augustijn, Piet. 185 Adams, Erica H. , v. 4, no. 3, April/May 2001, "Tsjechisch en Slowaaks glas: Van architecto- "Naomi Shioya and Osamu Noda." pp. 16-18, ill. nisch materiaal tot optisch geslepen monu- Glass (UrbanGlass Art Quarterly), no. 82, Artist uses loomwoven beads to create noc­ mentale vormen." Spring 2001, p. 58, ill. turnal landscapes. Glasbulletin, Vereniging van Vrienden van Exhibition review. Modern Glas, v. 15, no. 1, 2001, pp. 23-29, ill. 198 Athineos, Doris. Contemporary Czech glass sculpture in Dutch "Touch of Glass." galleries. 186 Adams, Erica H. Traditional Home, v. 12, no. 4, Sept. 2001, "Thinking Through G.P.S. for a Floating p. 24+, ill. 211 Ayroles, Veronique. World." Profile of Seattle glass artist Sonja Blomdahl. "Acquisitions: Paris. Musee des Arts Decora- This Side Up!, no. 15, Autumn 2001, tifs." pp. 26-27, ill. Revue du Louvre, v. 50, no. 5, Dec. 2000, Glass works at the 49th Venice Biennale. 199 Attiwill, Suzie. "Talking Glass: An Interview with Geoffrey Ed­ pp. 99-100, ill. wards." Works by Frangois Decorchemont (1957), 187 Adlerova, Alena. Craft (Craft Victoria), v. 30, no. 239, 2000, Alain and Marisa Begou (1998), Esuko Nishi "Stala expozice atelieroveho skla." pp. 15-18, ill. (1998), and Antoine Leperlier (1999). Atelier, no. 2, Jan. 25, 2001, p. 16, ill. English summary, p. 15. 200 Aubrey, Kirsteen. 212 Baas, Friedrich-Karl. Report on permanent exhibition of Czech "Lightworks: The Works of Elizabeth Swin­ "Drucken mit Glas." glass at the Vychodoceske Muzeum in Pardu­ burne." Glashaus/Glasshouse, no. 3, 2001, p. 19, ill. bice. Glass Network (Contemporary Glass Society, In German and English. U.K.), March 2001, p. 3. Glass printing. 188 Adlers, Christina. Exhibition report. "Dansk glasindustri." 213 Baas, Friedrich-Karl. Form (The Swedish Design Magazine), v. 97, 201 Augustijn, Piet. "Glas 2000: Glaskunst in Deutschland zur no. 3(735), 2001, pp. 93-94, ill. "Barbara Nanning." Jahrtausendwende." Review of exhibition featuring Danish glass Glasbulletin, Vereniging van Vrienden van Glas, no. 24, 2000, pp. 1-180, ill. design. Modern Glas, v. 15, no. 3, 2001, pp. 40-41, ill. Recent glass works in exhibition at Glas- Profile of the artist. museum Immenhausen, 2000. 189 Alfano, Nancy. "Trabucco Studio: 21st Century Dynasty." 202 Augustijn, Piet. 214 Baldwin, Carol. Annual Bulletin of the Paperweight Collectors "Barbara Nanning: Beweginen in glas en kera- "The Flame On." Association Inc., 2001, pp. 94-98, ill. miek." Glass Craftsman, no. 166, June/July 2001, Works by Victor Trabucco and his sons Jon Glasbulletin, Vereniging van Vrienden van pp. 73-76, ill. and David. Modern Glas, v. 14, no. 4, 2000, pp. 11-14, ill. Paul Stankard. Profile of the artist. 190 Anderson, Esther. 215 Baldwin, Carol. "Mermaids Tears ... Jewelry from the Sea." 203 Augustijn, Piet. "Unmasking Paul Stankard's Work." Jewelry Crafts, April 2001, pp. 40-41+, ill. "Caroline Prisse." Glass Art, v. 16, no. 5, July/Aug. 2001, Artist Trish Tinsley makes jewelry using beach Glasbulletin, Vereniging van Vrienden van pp. 36-39, ill. glass. Modern Glas, v. 15, no. 3, 2001, pp. 46-47, ill. Small cast glass enameled and -leafed Profile of the artist. masks in artist's paperweights. 191 Anderson, Kathie Jackson. "A House Built for Craft." 204 Augustijn, Piet. 216 Ballay, Ute. American Style, v. 7, no. 4, Summer 2001, "Effie Halkidis: Laat culturele achtergronden in "Murano Glass in Munich." pp. 62-71, ill. haar werk toe." Antique Trader, v. 45, no. 32, Aug. 8, 2001, Home of collectors Don and Cynthia Hoskins Glasbulletin, Vereniging van Vrienden van p. 34, ill. features contemporary glass. Modern Glas, v. 15, no. 2, 2001, pp. 21-23, ill. Glass by Italian designers sold at auction. Profile of the artist. 192 Andreani, Carole. 217 Banas, Barbara. "Gerard Delafosse: Le Verre, comme element 205 Augustijn, Piet. Jak szkto kruche. du passage." "Jelena Popadic." Wroctawiu: Akademia Sztuk Pieknych we La Revue de la Ceramique et du Verre, Glasbulletin, Vereniging van Vrienden van Wroctawiu, 2001, 34 pp., ill. In Polish and no. 120, Sept./Oct. 2001, p. 53, ill. Modern Glas, v. 15, no. 3, 2001, pp. 44-45, ill. English. Exhibition review. Profile of the artist. Exhibition catalog of glass by Polish artists. 218 Barmine, Olga. 231 Berndt, Louise. 243 Boyce, Roger. "Outsiders in Venice." "Seguendo la giusta linea = Following the "Through a Glass Darkly: Christopher Glass (Urban Glass Art Quarterly), no. 84, Fall Right Line: Monica Guggisberg and Philip Wilmarth." 2001, pp. 44-49, ill. Baldwin." Art New England, v. 22, no. 4, June/July 2001, Brief profiles of Leslie Anne Genninger, Mas­ Vetro (Centro Studio Vetro, Murano), v. 4, pp. 22-23, ill. simo Nordio, Marie Brandolini, Ludovico de no. 10, Jan.-March 2001, pp. 12-17, ill. In Artist's freestanding sculptures. Luigi, Yoichi Ohira, and Amber Hauch. Italian and English. 244 Braggiotti Gallery. 219 Barovier Mentasti, Rosa. 232 Biggar, Ed. Gareth Noel Williams. La Ragnatela: La Galleria dei 99. "Traveling Light 2000." [Amsterdam: Braggiotti Gallery, 1998], [8] pp., [S.I.: N O S Editore, 2000], 128 pp., ill. In Sign Builder Illustrated, no. 68, Dec. 2000, ill. Italian and English. pp. 96-99, ill. Includes figures with glass heads. Exhibition Traveling show of neon art pieces contained catalog. 220 Barr, Sheldon. in carry-on suitcases. "Dolphins and Dragons." 245 Braunova, Helena. Vetri (Italian Glass News), v. 7, no. 2, Spring 233 Blauensteiner, Charlotte. "2nd International Symposium of Engraved 2001, pp. 7-8, ill. "Schatzhauser: About the Glass Collector Dr. Glass: Kamenicky Senov, Czech Republic, Exotic animal pieces made by Murano glass­ Alfred Dittrich." 13-19 Sept. 1999." houses. Neues Glas/New Glass, no. 1, 2001, pp. Craft Arts International, no. 49, 2000, 12-19, ill. In German and English. pp. 95-96, ill. 221 Bayliss, Arlon. Portrait of Austrian collector of contemporary Brief review of symposium. "U.S. Glass Factory Design since 1950: An Czech glass. Overview." 246 Brennan, Mark. 234 Block, Mark. The Glass Art Society Journal, 2000, "Lights on the Horizon." "Collectible Contemporary Marbles: Sym­ pp. 95-98, ill. Craft Arts International, no. 51, 2001, phony of Color." The Journal of Antiques and Collectibles, v. 1, pp. 62-66, ill. 222 Beaumont, Thierry de. Australian glass artist Tricia Allen. "Fabienne Picaud: Verre et metal, libres con- no. 12, Feb. 2001, pp. 11-13, ill. traintes." 235 Block, Mark P. 247 Brouwer, Gerard. La Revue de la Ceramique et du Verre, "Peter Bremers." no. 118, May/June 2001, pp. 52-53, ill. Contemporary Marbles and Related Art Glass. Atglen, PA: Schiffer, 2001, 256 pp., ill. Glasbulletin, Vereniging van Vrienden van Portrait of the artist. Modern Glas, v. 15, no. 3, 2001, pp. 28-29, ill. Profile of the artist. 223 Beaumont, Thierry de. 236 Boisgibault, Frangoise. "Le Jardin de verre." "Le Verre sous toutes ses formes (1995— 248 Brouwer, Gerard. Verre, v. 7, no. 1, Feb. 2001, p. 61, ill. English 2000)." "Sabine Lintzen." summary. L'Estampille/L'Objet d'Art, no. 357, April 2001, Glasbulletin, Vereniging van Vrienden van Garden without soil uses paving and feeding p. 22, ill. Modern Glas, v. 15, no. 3, 2001, pp. 38-39, ill. capsules made of glass. Exhibition of French industrial glass. Profile of the artist. 237 Bookhardt, D. Eric. 224 Beaumont, Thierry de. "Reviews: New Orleans." "Jean-Pierre Umbdenstock: Sous le signe du 249 Brouwer, Gerard. Art Magazine, v. 25, no. 3, May/June verre." "Sunny van Zijst." La Revue de la Ceramique et du Verre, 2001, p. 40, ill. Glasbulletin, Vereniging van Vrienden van Exhibition of works by Stephen Paul Day. no. 117, March/April 2001, pp. 31-33, ill. Modern Glas, v. 15, no. 3, 2001, pp. 54-55, ill. Profile of the artist. 238 Boothe, Anna. 225 Beaumont, Thierry de. "Public Access Studios: Glass Axis, Hot Soup, "Tete de verre." 250 Brouwer, Gerard. Pittsburgh Glass Center, Public Glass, Urban Verre, v. 6, no. 6, Dec. 2000, pp. 50-52, ill. "Winnie Teschmacher." Glass." English summary, p. 50. Glasbulletin, Vereniging van Vrienden van The Glass Art Society Journal, 2000, pp. Glass sculptures by Czeslaw Zuber. Modern Glas, v. 15, no. 3, 2001, pp. 48-49, ill. 107-112, ill. Profile of the artist. Panel discussion. 226 Beaumont, Thierry de. 251 Brown, Charlotte Vestal. "Verriales 2001, createurs en series." 239 Borgward, Monica. "Tools of a Vanishing Trade: Rick Beck." Verre, v. 7, no. 3, July 2001, pp. 58-59, ill. "Isgard Moje-Wohlgemuth." Neues Glas/New Glass, no. 3, Fall 2001, English summary, p. 58. Glashaus/Glasshouse, no. 3, 2001, pp. 4-5, ill. pp. 20-27, ill. In German and English. Glass artists meet to discuss the future of In German and English. Report on the artist and his glass sculptures. contemporary glass. Profile of the artist.

227 Benefield, Scott. 240 Borgward, Monica. 252 Brubach, Holly. ": Blown Glass." "Theodor G. Sellner: Guardians of the Peace." "Salone del Mobile: Milan's International GAS News (Glass Art Society), v. 12, no. 2, Neues Glas/New Glass, no. 2, 2001, Furniture Fair Celebrates Its 40th Year." March/April 2001, p. 8, ill. pp. 42-46, ill. In German and English. Architectural Digest, v. 58, no. 10, Oct. 2001, Book review. Glasmuseum Frauenau presents a retro­ p. 128+, ill. spective of the artist's works. Includes Venetian glass works by Massimo 228 Benefield, Scott. Micheluzzi. "Workshop on San Servolo." 241 Bormioli, Costantino. GAS News (Glass Art Society), v. 12, no. 6, "II Giullare e la Bella." 253 Brunton, John. Nov./Dec. 2001, p. 5, ill. Alte Vitrie, v. 12 [13], no. 1, [2000], pp. 8-9, ill. "Massimo Nordio: Guardare Venezia dal buco Review of a Centro Studio Vetro workshop. English summary. della serratura = A Glass Artist Looking at Work donated by Silvio Vigliaturo to the Venice through a Keyhole." 229 Bensard, Eva. Museo del Vetro in Altare. Vetro (Centro Studio Vetro, Murano), v. 4, "Les Reves de cristal de ." no. 10, Jan.-March 2001, pp. 27-29, ill. In L'Objet d'Art, no. 361, Sept. 2001, p. 8, ill. 242 Bova, Aldo. Italian and English. Exhibition of Baccarat glass. "La scuola vetraria di Vannes Le Chatel = The Interview with the artist. Glass School at Vannes Le Chatel." 230 Benson, John. Vetro (Centro Studio Vetro, Murano), v. 4, 254 Bruycker, Tania de. "Singular Sculptures." no. 10, Jan.-March 2001, pp. 58-59, ill. In "Artist's Portret [Portrait]: Philip Baldwin, Antique Dealer and Collectors Guide, v. 54, Italian and English. Monica Guggisberg." no. 11, June 2001, p. 59, ill. Exhibition features work by graduates of This Side Up! (Valkenswaard, the Nether­ Furniture and objects by Danny Lane. French glass school. lands), no. 12, Winter 2000, pp. 10-11, ill. 255 Bruyker, Tania de. 267 Byrd, Cathy. 279 Chihuly, Dale. "Storming Talent: Angela Jarman. The Un­ "Photo Opportunities." Chihuly's Pendletons: And Their Influence on canny, Social Responsibility and Scientific Art & Antiques, v. 23, no. 11, Nov. 2000, His Work. Uneasiness in Glass." pp. 84-91, ill. Seattle, WA: Portland Press, 2000, 253 pp., ill. This Side Up!, no. 15, Autumn 2001, Article on Elton John includes mention of his Includes cylinders from 1975 through 1995. pp. 18-19, ill. collection of contemporary glass. Profile of the artist. 280 Coatts, Margot. 268 Byrd, Joan Falconer. "Guild of Glass Engravers." 256 Bryan Ohno Gallery. "Rick Beck." Crafts, no. 168, Jan./Feb. 2001, p. 56, ill. Monumental Sculpture. American Craft, v. 61, no. 1, Feb./March 2001, Exhibition review. Seattle, WA: Bryan Ohno Gallery, [1998], [20] pp. 98-99, ill. pp., ill. Review of exhibition in Greensboro, North 281 Coirier, Lise. Catalog of an exhibition of works by Dale Carolina. "Val Saint-Lambert: Het kristal krijgt een Chihuly, Alessandro Diaz de Santillana, Maria nieuwe adem = Val Saint-Lambert: Crystal Lugossy, Ginny Ruffner, Italo Scanga, and Gets a New Lease of Life." Mary Van Cline, held at the Bryan Ohno Gal­ 269 Caba, Randy. Kwintessens (Vlaams Instituut voor het Zelf- lery, Seattle, Washington, June 13-August 1, "Neon Art, Part Two: The Rest of the Story." standig Ondernemen), v. 10, no. 3, July/Aug./ 1998. Sign Builder Illustrated, no. 68, Dec. 2000, Sept. 2001, pp. 38-39, ill. In Dutch and p. 34+, ill. English. 257 Burght, Angela van der. Past and future of the company. "And the Seventh Day She Rested." 270 Cameron, Kristi. This Side Up!, no. 14, Summer 2001, "Serendipity by Design." 282 Collischan, Judy. pp. 30-31, ill. Metropolis, Dec. 2000, pp. 84-89+, ill. "." Exhibition features works by Anna Skibska. Profile of Finnish designer Stefan Lindfors. Glass (Urban Glass Art Quarterly), no. 83, Summer 2001, p. 58, ill. 258 Burght, Angela van der. Exhibition review. 271 Canziani, Alfonso. "The Empowerment of Imagination." "Le mappe cosmiche di Patrizia Merendi = This Side Up!, no. 13, Spring 2001, 283 Collischan, Judy. Cosmic Maps by Patrizia Merendi." pp. 30-31+. "Dale Chihuly." Vetro (Centra Studio Vetro, Murano), v. 4, Reflections on the art of glass. Glass (Urban Glass Art Quarterly), no. 83, no. 10, Jan.-March 2001, p. 63, ill. In Italian Summer 2001, p. 62, ill. and English. 259 Burght, Angela van der. Exhibition review. "The Empowerment of Imagination: Part 1." This Side Up! (Valkenswaard, the Nether­ 272 Carpenter, Ed. 284 Collischan, Judy. lands), no. 12, Winter 2000, p. 20+. Ed Carpenter: Breath of Light. "Glass America 2001 Discourse on glass art. Milano: L'Arca, 2000, 100 pp., ill. Glass (Urban Glass Art Quarterly), no. 84, Fall Artist specializes in large-scale public glass 2001, p. 59, ill. 260 Burght, Angela van der. installations ranging from architectural sculp­ Exhibition review. "Fire-Born Modelling and Sculpturing: The Art ture to infrastructure design. of Creating Three-Dimensional Forms." 285 Conway, Judith. This Side Up!, no. 13, Spring 2001, pp. 4-9, ill. 273 Carpenter, James. "The Crafts Collection 2001: A Biannual Ex­ Includes works by several glass artists. "The Structure of Transparency." hibition." The Glass Art Society Journal, 2000, Glass Craftsman, no. 166, June/July 2001, 261 Burght, Angela van der. pp. 12-18, ill. pp. 22-25, ill. "Glas in de kunst, de kunst van glas: Een ode aan de kunstenaar." 286 Cooke, Glenn R. Glasbulletin, Vereniging van Vrienden van 274 Chaikin, Andrew. "The RFC Glass Prize 2000." Modern Glas, v. 15, no. 3, 2001, pp. 2-6, ill. Josh Simpson: Glass Artist. Craft Arts International, no. 51, 2001, Review of glass conferences. Madison, Wl: Guild Pub., 2001, 126 pp., ill. pp. 96-98, ill. Sixth prize for Australian contemporary glass. 262 Burght, Angela van der. 275 Chambers, Karen S. "The History of the International Master Class­ "A Dynasty Built on Glass." 287 Cotter, Maud. es." AmericanStyle, v. 7, no. 3, Spring 2001, "Of Things Gathered and Things Missing." This Side Up!, no. 15, Autumn 2001, p. 21+, ill. pp. 64-71, ill. The Glass Society of Ireland Newsletter, Profile of Lotton Art Glass in Crete, Illinois. no. 26, April 2001, pp. 13-14, ill. 263 Burght, Angela van der. Lecture by the artist. "Manifestatie glas in historisch licht in Horn." 276 Chambers, Karen S. Glasbulletin, Vereniging van Vrienden van "La fortuna degli irlandesi = The Luck of the 288 Cotton, Diane. Modern Glas, v. 15, no. 2, 2001, pp. 24-27, ill. Irish." "High Point's New Accessories Mart." Exhibition preview. Vetro (Centra Studio Vetro, Murano), v. 4, Home Lighting & Accessories, v. 82, no. 9, no. 10, Jan.-March 2001, pp. 40-45, ill. In Sept. 1999, p. 108+, ill. 264 Burght, Angela van der. Italian and English. Frank Lloyd Wright reproductions; blown 'The Technique of ." Waterford Crystal International Glass Work­ lamps by Czech masters. This Side Up!, no. 15, Autumn 2001, pp. 5-9, shop. ill. 289 Courtney, Giselle. "Borosilicate Flameworking." 265 Burght, Angela van der. 277 Chambers, Karen S. The Glass Art Society Journal, 2000, p. 105, ill. "De Wereld van glas en de glaswereld trans- Immaterial / Material: The Visual Experience Artist's demonstration. paranter maken = Increasing Transparency in of Transparency. the World of Glass and the Glass World." [New York: Steuben, 2001], [4] pp. 290 Cowie, B. Jane. Kwintessens (Vlaams Instituut voor het Zelf- Participating artists: Carl Haerer, David Hucht- "Ausglass." standig Ondernemen), v. 10, no. 3, July/Aug./ hausen, Scott Reynolds, Paul Seide, Fran Glashaus/Glasshouse, no. 2, 2001, p. 8, ill. In Sept. 2001, pp. 47-48, ill. In Dutch and Siegel, Robin Stanaway, Michael Taylor. German and English. Exhibition at the Corning Gallery at Steuben. English. Melbourne conference, January 2001. Past and future of glass art in the Nether­ lands. 278 Chambers, Karen S. 291 Cowie, B. Jane. "L'opera mobile di Carole Pilon = Carole "Transit' - An Exhibition at the South Austra­ 266 Buxton, Pamela. Pilon's Moving Work." lian School of Art." "Walking through Glass." Vetro (Centra Studio Vetro, Murano), v. 4, Glashaus/Glasshouse, no. 3, 2001, p. 14, ill. Crafts, no. 172, Sept./Oct. 2001, p. 21, ill. no. 10, Jan.-March 2001, pp. 8-9, ill. In Italian In German and English. Works by Juliana Stoney in Stourbridge ex­ and English. Exhibition "shows the diversity of practices" in hibition. Work of Canadian artist. the school. 292 Crafts Council (Great Britain) 304 Devienne, Elisabeth. 316 Eliens, Titus M. It's Transparent!: Glass from the Crafts Coun­ "Adela Pusztaszeri, architecte de la lumiere." "De relativiteit van een successtory." cil Collection, 1990-97. La Revue de la Ceramique et du Verre, Glasbulletin, Vereniging van Vrienden van [London: Crafts Council, 1997], [11] pp., ill. no. 119, July/Aug. 2001, p. 60, ill. Modern Glas, v. 15, no. 3, 2001, pp. 18-21, ill. Features the work of Margaret Alston, Beatriz Exhibition review. Fifty years of glass in the Netherlands. Castro, Tessa Clegg, Anna Dickinson, Ray Flavell, Clare Henshaw, Keiko Mukaide, David 305 Devienne, Elisabeth. 317 Ennes, Pierre. Prytherch, Pauline Solven, Christopher Wil­ "Un ete tout en nuances a la Carlin Gallery a "Empreintes de memoire: Les Sculptures en liams, Emma Woffenden, and Rachael Wood­ Paris." verre d'Antoine Leperlier." man. La Revue de la Ceramique et du Verre, L'Estampille/L'Objet d'Art, no. 353, Dec. 2000, Exhibition catalog. no. 120, Sept./Oct. 2001, p. 55, ill. pp. 58-67, ill. Exhibition includes glass by Marianne Buus. 293 Craig, Brock. 318 Ernould-Gandouet, Marielle. "Review: Morna Tudor - Inner Worlds." "Bertil Vallien, un verrier suedois a Dijon." Glass Gazette (Glass Art Association of 306 Diamonstein, Barbaralee. La Revue de la Ceramique et du Verre, Canada), v. 3, no. 43, Feb. 2001, pp. 13-14. Inside the Art World: Conversations with Bar­ baralee Diamonstein. no. 119, July/Aug. 2001, p. 62, ill. Exhibition at Vancouver, British Columbia, Exhibition review. gallery includes ceramics and glass. New York: Rizzoli, 1994, 277 pp., ill. Interviews with figures in the contemporary 294 Craig, Brock. art world. A conversation with Dale Chihuly 319 Ernould-Gandouet, Marielle. "Review: Naoko Takenouchi - Nest." (pp. 26-33). "Richard Fauguet: Le Verre detourne." Glass Gazette (Glass Art Association of La Revue de la Ceramique et du Verre, Canada), v. 3, no. 43, Feb. 2001, pp. 20-21, ill. no. 117, March/April 2001, p. 60, ill. 307 Dietman, Erik. Exhibition review. Exhibition features "blown amphorae ... with For fulla glas. sandblasted imagery." Stockholm: Nationalmuseum, 1999. Exhibition catalog of works by Erik Dietman. 320 Ernould-Gandouet, Marielle. 295 Craig, Brock. "Thierry Baudry: Un Monde mouvant." "Reviews of Recent Exhibitions." La Revue de la Ceramique et du Verre, Glasswire (Glass Art Association of Canada), 308 Dodi, Emily. no. 115, Nov./Dec. 2000, pp. 42-43, ill. no. 3, Dec. 2000, pp. 2-7, ill. "A Weighty Subject." English summary. Works by Naoko Takenouchi, Morna Tudor. Collector's Mart, v. 25, no. 3, June 2001, Profile of the artist. pp. 52-54, ill. "Paperweights are enjoying a ." 296 Craig, Brock. 321 Ernould-Gandouet, Marielle. "Striking, Enigmatic Imagery." "Le Verre en France, 1995-2000: Des crea- Glass (British Columbia Glass Arts Associa­ 309 Donefer, Laura. teurs aux industriels." tion), v. 12, no. 4, Jan. 2001, p. 6, ill. "Alfred Engerer: Not Just an Urban !" La Revue de la Ceramique et du Verre, Review of Vancouver exhibition by Morna Glass Gazette, v. 3[5], no. 44, April 2001, no. 117, March/April 2001, pp. 56-57, ill. Tudor. pp. 4-7, ill. Exhibition. Profile of the artist. 297 Craig, Brock. 322 Faas, Gerhard. "Stunning, Nostalgic Goodbye." 310 Drabeck, Bernard A. "Intelligentes Konzept mit glasklarem Design." Glass (British Columbia Glass Arts Associa­ "Simpson, Van Cort, and 'Music of the P und G (Porzellan und Glas), no. 10, Oct. tion), v. 12, no. 3, Oct. 2000, pp. 5-6, ill. Spheres.'" 2001, p. 65, ill. Review of Vancouver exhibition by Naoko Annual Bulletin of the Paperweight Collectors Takenouchi. Association Inc., 2001, pp. 80-88, ill. 323 Faas, Gerhard. Brass and glass re-creation of the solar sys­ "Markantes Design fur Anspruchsvolle." 298 Crawford, Gail. tem by glass artist Josh Simpson and L. Erik P und G (Porzellan und Glas), no. 10, Oct. "Turning Points." Van Cort, master craftsman in metal. 2001, pp. 22-23, ill. Ontario Craft, v. 26, no. 1, Summer 2001, Designer glass kitchenware. pp. 8-10, ill. Report on impact of grants on craft careers 311 Dreiser, Peter. includes glass artists Laura Donefer and Toan "A Fifty Years' Love Affair with Glass." 324 Fadat, Manuel. Klein. The Guild of Glass Engravers Newsletter, "Artists' Portret: Yan Zoritchak." Summer 2001, pp. 6-13, ill. This Side Up!, no. 15, Autumn 2001, Engraver presents lecture at Art Workers' pp. 10-12, ill. 299 Croze, Nani. Guild, London. "Bush Glass." This Side Up!, no. 13, Spring 2001, pp. 2-3, ill. 325 Fadat, Manuel. Profile of Kitengela Glass, near Nairobi, Kenya. 312 Drury, John. "Vingt ans de verre contemporain: La Galerie "Hot Arc." Place des Arts a Montpellier." La Revue de la Ceramique et du Verre, 300 Culler, Rene. The Glass Art Society Journal, 2000, p. 101, ill. no. 119, July/Aug. 2001, pp. 44-45, ill. "Sketches of Spain." Artists' demonstration. Exhibition preview. Glass (Urban Glass Art Quarterly), no. 83, Summer 2001, pp. 54-55, ill. 313 Duits, Thimo te. Report on Barcelona Glass Conference. 326 Fadat, Manuel. "Nederlands kunstenaarsglas: Vanuit museaal "Yan Zoritchak: Le Messager de I'espace." perspectief." 301 Cygelman, Adele. La Revue de la Ceramique et du Verre, Glasbulletin, Vereniging van Vrienden van no. 116, Jan./Feb. 2001, pp. 34-36, ill. "Blenko and Serendipity." Modern Glas, v. 15, no. 3, 2001, pp. 11-14, ill. Echoes, no. 36, May 2001, pp. 46-51+, ill. Recent glass by Dutch artists. 327 Farnady, Dez. 302 De Forrest, Michael Jean. "The Art of Dale Chihuly: Reaching the Glass Bottle Cutting. 314 , Vlastimil. Industry Worldwide." New York: Galahad Books, 1973, 125 pp., ill. "Remeslo a umeni ve skle - Novy Bor 2000." USGIass, Metal and Glazing, v. 36, no. 7, July Discusses cutting tools and techniques, ad- Sklara Keramik, nos. 1-2, 2001, p. 17, ill. 2001, p. 14, ill. hesives, locating materials, and cleaning tech­ Exhibition report. niques. 328 Farnady, Dez. 315 Eddins, Elizabeth. "Too Close for Comfort: Seattle's Recent 303 Delafaille, John. "Marriage of Minds." Earthquake Was Personal." "Innovation & Diversity - 75 Years of Swedish Views (Rhode Island School of Design), Fall USGIass, Metal and Glazing, v. 36, no. 3, Glass." 2000, pp. 14-19, ill. March 2001, p. 10, ill. The Glass Cone, no. 56, Spring 2001, p. 5. Includes profile of glass artists Dan Dailey and Art glass shops in Seattle sustained great Review of exhibition at Broadfield House. Linda MacNeil, pp. 14-15. losses in earthquake of February 28, 2001. 329 , Rupert. 341 Fiorentini Roncuzzi, Isotta. 353 Frost, James A. Japanese Studio Crafts: Tradition and the Mosaico: scuole, ateliers, vetrerie: Ravenna "A Bridge to the Future." Avant-garde. incontra San Pietroburgo. Glass (Monthly Journal of the European Glass Philadelphia, PA: University of Pennsylvania Ravenna [Italy]: Longo, 1994, 188 pp., ill. Industry), v. 78, no. 2, March 2001, pp. 71-72, Press, 1995, 192 pp., ill. Includes training opportunities for mosaicists, ill. information on workshops producing glass Report on the 30th annual Glass Art Society 330 Favermann, Mark. tesserae, and brief presentations by mosaic conference. ": Gateway to Our Modern Age." artists at an annual international congress. The Journal of Antiques and Collectibles, v. 1, 354 Frost, James A. no. 12, Feb. 2001, pp. 24-27, ill. 342 Fitzpatrick, Kirsten. " of Perception." Includes glass. "At the Edge: Australische Glaskunst/Austra- Glass (Monthly Journal of the European Glass lian Glass Art." Industry), v. 77, no. 10, Nov. 2000, 331 Favermann, Mark. Craft Arts International, no. 49, 2000, pp. 341-342, ill. "Enigmatic Boundaries: The Art and Design of pp. 90-93, ill. Highlights from Contemporary Glass Society's Maya Lin." Review of traveling exhibition showing in Bris­ conference in St. . Art New England, v. 22, no. 3, April/May 2001, bane, Sydney, and Munich. pp. 8-10, ill. 355 Fruscella, Fabiana. Includes illustrations of two works incorpo­ 343 Fjaerestad, Siv B. "Non solo Murano. Fragili magie made in rating glass. "Megan Tidmarsh, Trudy Kroef: Recent Works." USA." N.Z.S.A.G. Newsletter (New Zealand Society Antiquariato, no. 246, Oct. 2001, p. 137, ill. 332 Ferguson, Mark. of Artists in Glass), June 2001, p. 4, ill. Auction review of works by American artists "Short Maneuvers." Exhibition review. Dale Chihuly, Marvin Lipofsky, and Concetta The Glass Art Society Journal, 2000, p. 104, ill. Mason. Artist's demonstration. 344 Flamm, Hans-Jurgen. 356 Gaillard, Claire. "Zeitlos: Designklassiker von Wagenfeld auf "Serge Mansau: Detournement de cristal." 333 Filipiak, Kristina. der ISA in Stuttgart." Verre, v. 7, no. 2, May 2001, p. 72, ill. "Fashionably Glassed." Sammler Journal, v. 30, no. 4, April 2001, Preview of Paris exhibition. American Style, v. 8, no. 1, Fall 2001, p. 28, ill. pp. 18-21, ill. Glass Show at Glass Art Society con­ ference. 357 Galeria Szkta i Ceramiki. 345 Fletcher, Stephanie. Szkto miodych 2000. [exhibition] "Emerging Artist: Taylor Lominick." 334 Filipiak, Kristina. Wroclaw: Academia Sztuk Pieknych we Art and Antiques, v. 24, no. 8, Sept. 2001, Wroctawiu, [2000], [35] pp., ill. In Polish and "Linus Was Right." p. 68+, ill. American Style, v. 8, no. 1, Fall 2001, p. 22, ill. English. Artist uses glass to construct three-dimen­ Exhibiton catalog of glass by Polish artists. More than 2,000 glass pumpkins arranged in sional puzzles. Palo Alto, California, sculpture garden. 358 Galeria Szkta i Ceramiki. 346 Fong, Helen. Szkto miodych '95: Wystawa Prac Stu- 335 Filipiak, Kristina. "Australien: The Resource Finance Coopera­ denckich 6X-31 X 1995 r. "Master of the House." tion Price [sic] 2000." [S.I.: s.n., 1995], [14] pp., ill. American Style, v. 7, no. 4, Summer 2001, Neues Glas/New Glass, no. 1, 2001, Exhibition catalog of glass by Polish artists. p. 28, ill. pp. 28-35, ill. In German and English. Lino Tagliapietra receives 2001 Medal for Prize for glass artists in Australia and New 359 Galerie Internationale du Verre. Excellence in Craft Award from Society of Arts Zealand awarded to Richard Whiteley and Verriaies 2001: New Series. and Crafts. Richard Morrel. Biot, France: Serge Lechaczynski/Galerie Internationale du Verre, 2001, 72 pp., ill. 336 Filipiak, Kristina. 347 Fox, Henry. Exhibition catalog of works by 28 artists. "Quake Report: Shook Up, Not Too Shattered." "Clearly Inspired: The Jubilee Exhibition of the American Style, v. 7, no. 4, Summer 2001, Guild of Glass Engravers." 360 Galerie Place des Arts. p. 29. Glass Circle News, no. 85, Dec. 2000, p. 14. Yan Zoritchak: Messagers de I'espace. Seattle glassmakers report on damage from Exhibition review. Montpellier, France: Galerie Place des Arts, February 28 earthquake. 2000, [6] pp., ill. Catalog for an exhibition held at the Galerie 337 Filler, Martin. 348 Frabel, Hans Godo. "Clowns at the Lamp." Place des Arts, Montpellier, France, 2000- Building Organic Form: Architecture, Ce­ 2001. ramics, Glass, and Metal in the 1940s and The Glass Art Society Journal, 2000, 1950s. pp. 105-106, ill. Artist's demonstration. 361 Galerie Place des Arts. New York: of Art in associa­ Zoritchak Yan: Verre I'espace. tion with Harry N. Abrams, 2001, pp. 122-161, Montpellier, France: Galerie Place des Arts, 349 Frankham, Noel. ill. [1995?], [18] pp., ill. "Student Work 2000-01: Issues and Direc­ Glass works by Alvar Aalto, Eva Lisa (Pipsan) Catalog for an exhibition held at the Galerie tions in Australian Art & Design Schools." Saarinen Swanson, Maurice Heaton, and Place des Arts, Montpellier, France. Michael and Frances Higgins (pp. 157-159). Craft Arts International, no. 52, 2001, pp. 79-87, ill. 362 Galleria Rossella Junck. Includes glass works. 338 Finessi, Beppe. Isabelle Poilprez: Nautilus. "II vetro progettato." Venice: Galleria Rossella Junck, 2000, [20] pp., Abitare, no. 402, Jan. 2001, pp. 116-121+, ill. 350 Frantz, Susanne K. ill. In Italian and English. In Italian and English. "Brychtova and Libensky: Milestones." Exhibition catalog. Report on "Aperto Vetro 2000" exhibition at Glass (Urban Glass Art Quarterly), no. 82, the Museo Correr, Venice. Spring 2001, pp. 36-41, ill. 363 Garnier-Ghys, Martine. "La Sculpture au Quebec = Sculptural Glass 339 Finn-Conway, Judith. 351 Frantz, Susanne K. in Quebec." "Presenting Your Work: Take a Stand, Show "Novy Bor Conference Report." Glass Gazette (Glass Art Association of Your Efforts!" Glass (Urban Glass Art Quarterly), no. 82, Canada), v. 3, no. 45, Aug. 2001, pp. 8-11, ill. Glass Craftsman, no. 168, Oct./Nov. 2001, Spring 2001, pp. 48-51, ill. In French and English. pp. 6-11, ill. Seventh International Glass Symposium, 2000. Includes brief profiles of six "glass sculptors."

340 Finnerty, Bernadette. 352 Friedman, Jane. 364 Gasc, Sophie Guerin. "Changes on the Horizon." "Making Magic." "Henri Guerin: Vitraux recents pour des mai- The Crafts Report, v. 27, no. 306, Oct. 2001, American Style, v. 7, no. 4, Summer 2001, sons particulieres." p. 12+, ill. pp. 80-87, ill. La Revue de la Ceramique et du Verre, Williamsburg, Massachusetts, craft school has Glass artist Tom Patti "explores the relation­ no. 119, July/Aug. 2001, p. 60, ill. new state-of-the-art glass studio. ship of art to science and technology." Exhibition review. 365 Georgina Fantoni. 376 Glasmuseum (Immenhausen, Ger­ 388 Grenon, Ariane. Glass Art: 2001. many). "Verre, le plein et le vide." [London: Georgina Fantoni, 2001], 56 pp., ill. Recycling-Glas und Alt-Metall: Glaskunst- La Revue de la Ceramique et du Verre, Collection of glass works. objekte von Nani Croze und ihrem Team aus no. 120, Sept./Oct. 2001, p. 54, ill. den Kite ngel a Glass Studios in Nairobi/Afrika Exhibition review of works by glass sculptor 366 Giacon, Michela. und Metallskulpturen von Heinz Ullrich aus Raymond Martinez. "Antonio Dei Rossi: Vetro da indossare = . [Immenhausen: Glasmuseum, 2000], 44 pp., ill. Glass a porter." 389 Gritsch, Rudi. Vetro (Centro Studio Vetro, Murano), v. 4, Glass works by Nani Croze, using recycled glass. "Fritz Prehal: Glasbildhauer beseelter Formen no. 11, April-June 2001, pp. 54-55, ill. In = A Glass Sculptor of Animated Shapes." Italian and English. Glashaus/Glasshouse, no. 3, 2001, p. 15, ill. Exhibit presents glass clothing. 377 Glowen, Ron. In German and English. "Richard Marquis at Elliott Brown Gallery." Profile of the artist. 367 Gibbs, Peter. Artweek, v. 32, nos. 7/8, July/Aug. 2001, "Hoglund Art Glass." p. 27, ill. Craft Arts International, no. 50, 2000, Exhibition review. 390 Gropp, Jacqui. pp. 47-53, ill. "The Fluency of Glass: An Interview with Profile of artists Ola Hoglund and Marie Sim- 378 Golden, Cora. Klaus Moje." berg-Hoglund and their gallery in Sydney. "Chihuly's Desert Rose." Craft, v. 30, no. 239, 2000, pp. 10-12, ill. Echoes, no. 35, Feb. 2001, pp. 70-77, ill. The artist's home in Palm Springs. 368 Gill, Brinda. 391 Gubetta, Silvana. "Rosalind Pereira's Handknotted Jewelry." "Novy Bor: II settimo Simposio Internazionale 379 Goldfarb, Alan. Beadwork, v. 4, no. 4, June/July 2001, sul Vetro = The Seventh International Glass "The Copavic Project: Guatemalan Glass- pp. 18-19, ill. Symposium." blowers in Corning." Indian artist makes jewelry with glass and Vetro (Centro Studio Vetro, Murano), v. 4, GAS News (Glass Art Society), v. 12, no. 1, metal beads. no. 10, Jan.-March 2001, pp. 47-51, ill. In Jan./Feb. 2001, p. 10, ill. Italian and English. Maya-Quiche Indians from cooperative glass 369 Ginneke, Vincent van. factory study historical tech­ "Have Glass, Will Travel." niques at The Studio of The Corning Museum Glasbulletin, Vereniging van Vrienden van 392 Gugenheim, Helene. of Glass. Modern Glas, v. 15, no. 3, 2001, pp. 7-10, ill. "Metiers d'art de Tunisie." Le Courrier des Metiers d'Art, no. 198, July/ 380 Goodman, Ben. Aug. 2001, pp. 10-13, ill. 370 Giordanetti, Carlo. "Across Canada - A Profile of Glass." Paris gallery presents exhibition of art from "Murano Glass in America." Fusion News Magazine (The Ontario Clay and Tunisia, including glass. Glass Styles, v. 4, no. 1, Jan. 2001, Glass Association), Spring 2001, p. 9. pp. 160-163, ill. An overview of the glass community in Canada. 393 Gura, Judith. 371 Glasmuseum Ebeltoft. "Design Notes: Getting Fancy." Art & Auction, v. 23, no. 7, July/Aug. 2001, ConGraduated 98: An Exhibition of Graduate 381 Gould, Kate. p. 51, ill. Work from England, Denmark, The Nether­ "Waxing Not Waning." Rising prices coincide with "explosion of great lands, Sweden, and Japan. Tableware International, v. 31, no. 5, June glass artists." Ebeltoft, Denmark: Glasmuseum, 1998, 55 pp., 2001, pp. 11-15, ill. ill. In English and Danish. Growing popularity of candles impacts sales The Young Glass competition's exhibition was of candleholders, some made of glass. 394 Gura, Judith. held November 7, 1998-January 17, 1999, at "Time for Change: Bold New Directions in the Glasmuseum, Ebeltoft, Denmark. 382 Green, Roger. Swedish Design." "Breathing Life into Glass." Echoes, no. 36, May 2001, pp. 52-57+, ill. 372 Glasmuseum Ebeltoft. The Ann Arbor News, April 3, 1999, Includes glass vases by Lena Bergstrom Religios glaskunst = Religious Motifs in Glass. pp. D1-D2, ill. (p. 56). Ebeltoft, Denmark: Glasmuseet, 2001, 24 pp., Profile of glass artist Frederick Birkhill. ill. In English and Danish. 395 Haase, Gisela. Catalog of an exhibition held at the Glas­ 383 Greenberg, Cara. "Kunstgewerbemuseum, 1999." museet, January 21, 2001-May 13, 2001, to "Glass Act." Jahrbuch der Staatlichen Kunstsammlungen celebrate the museum's 700-year jubilee in Art & Auction, v. 23, no. 5, May 2001, Dresden: Beitrage, Berichte 1998-1999, v. 27, 2001. pp. 178-193, ill. 1999, pp. 217-227, ill. Scandinavian glass "moving into the spot­ Acquisitions include works by Dale Chihuly 373 Glasmuseum Frauenau. light." Internationales Glassymposium 2000: Glas im and Colin Reid. Kontext. 384 Greenberg, Cara. Grafenau, Germany: Morsak-Verlag, 2000, "Glorious Glass: Murano at Mid-Century." 396 Habatat Galleries. 57 pp., ill. The Magazine, v. 3, no. 4, Winter 29th Annual International Glass Invitational: Features work of glass artists including Wil­ 2000-2001, pp. 26-29, ill. The Creative Process. liam Bernstein, Stephen Paul Day, Vladimir Pontiac, Ml: Habatat Galleries, 2001, 158 pp., Jelinek, Marvin Lipofsky, Michal Michat, Stef- 385 Grenon, Ariane. ill. fen Orlowski, Sybille Peretti, and Elizabeth "Biot: Le Verre International." Swinburne. Le Courrier des Metiers d'Art, no. 192, Sept./ Oct. 2000, pp. 24-25, ill. 397 Habatat Galleries. 374 Glasmuseum (Immenhausen, Ger­ Exhibition review. : Dale Chihuly many). Pontiac, Ml: Habatat Galleries, 2000, [18] pp., ill. Ich gehe dem Glas unter die Haut: Gravuren 386 Grenon, Ariane. Catalog of an exhibition held December 8, und Glasdrucke von Ursula Merker. "Createurs Industries: Line Reflexion sur le 2000-January 20, 2001, at Habatat Galleries, [Immenhausen: Glasmuseum, 2001], 32 pp., ill. verre." Pontiac, Michigan, on the occasion of the gal­ Exhibition of glass works by Ursula Merker. Le Courrier des Metiers d'Art, no. 196, March/ lery's 25th anniversary. April 2001, pp. 22-23, ill. 375 Glasmuseum (Immenhausen, Ger- Exhibition of industrial glass. many). 398 Haley, Lisa. Keramik und Glas: Michael Uffing und Fried- 387 Grenon, Ariane. "On Display: Ellen McGwire." rich Prehal. "Monica Guggisberg, Philip Baldwin: Le Verre Collector's Mart, v. 25, no. 5, Oct. 2001, p. 48, [Immenhausen: Glasmuseum, 1999], 32 pp., ill. fruite." ill. Exhibition catalog of glass works by Friedrich Le Courrier des Metiers d'Art, no. 196, March/ Egyptian glass ornament producer based in Prehal. April 2001, pp. 10-12, ill. California. 399 Hall, Sarah. 412 Henshaw, Clare. 424 Hlaves, Milan. "Wind's Eye Gallery: Featuring the Work of "Spontaneous ." "Opulentni slenena hostina Jaromira Rybaka." Lee Brady." The Guild of Glass Engravers Newsletter, Atelier, no. 9, May 3, 2001, p. 12, ill. English Glass Art, v. 15, no. 1, Nov./Dec. 1999, Autumn 2000, pp. 14-16, ill. summary, p. 15. pp. 42-43, ill. Text of speech given by the artist. Exhibition of works by Czech artist. Canadian glass artist. 413 Hibou, Juliette. 425 Hlaves, Milan. 400 Haneson, Christian. "Dale Chihuly, alchimiste du verre." "Rad ve skle llji Bilka." "Ake fangslas av glasets mojlighet." L'Estampille/L'Objet d'Art, no. 360, July/Aug. Atelier, no. 9, May 3, 2001, p. 12, ill. English Glas & Porslin, v. 70, no. 3, 2001, pp. 30-31, 2001, p. 14, ill. summary, p. 15. ill. Exhibition at London's Victoria and Albert New works by Czech artist. Ake Edvardsson and Bertil Vallien. Museum. 426 Hlaves, Milan. 401 Haneson, Christian. 414 Hice, Michael. "Sklarske sympozium: Novy Bor, Kulturni dum "Erika beror: Pa flera plan." "Hiroshi Yamano." Bohemia, VII. International Glass Symposium, Glas & Porslin, v. 70, no. 2, 2001, pp. 14-18, Glass (Urban Glass Art Quarterly), no. 84, Fall 1. 10.-15. 10." ill. 2001, p. 56, ill. Atelier, no. 23, Nov. 23, 2000, p. 4, ill. English Erika Lagerbielke. Exhibition review. summary, p. 15. 402 Haneson, Christian. 427 Hoffmann, Helmut. "Kjell Engman: Om sjatte sinnet, konsten och 415 Hinchliffe, Meredith. "Zwischen Licht und Dunkel." livet." "Collectors." GFF (Zeitschrift fur Glas, Fenster, Fassade), Glas och Porslin, v. 69 [70], no. 5, 2000, Object, no. 2, 2001, pp. 48-49, ill. Anonymous Canberra couple's collection in­ no. 7, July 2001, pp. 47-50, ill. pp. 20-22, ill. Exhibition of glass works by 17 artists. Profile of the designer. cludes glass vessels by Tom Rowney, Giles Bettison, and Ben Sewell. 403 Haneson, Christian. 428 Hoggard, Liz. "Broadfield House Glass Museum." "Margareta inspirerar med farg." 416 Hinchliffe, Meredith. Crafts, no. 171, July/Aug. 2001, pp. 20-23, ill. Glas & Porslin, v. 70, no. 3, 2001, pp. 20-23, "Glass of Giles Bettison." New acquisitions. ill. Craft Arts International, no. 49, 2000, Glassware designs by Margareta Hennix. pp. 28-33, ill. 429 Hoggard, Liz. 404 Haneson, Christian. "Double Act." 417 Hinchliffe, Meredith. Crafts, no. 171, July/Aug. 2001, p. 17, ill. "Olle Brozen." "Jessica Loughlin." Glas & Porslin, v. 70, no. 3, 2001, pp. 8-9, ill. New glass by Peter Layton in Cambridge, Vetro (Centro Studio Vetro, Murano), v. 4, England, U.K., exhibition. Designer at Kosta Boda. no. 11, April-June 2001, pp. 39-41, ill. In Italian and English. 405 Harawi, Sami. Profile of the artist. 430 Holkers, Marta. "Glass Art in SOFA New York 2000." "En profil tar plats: Erik Hoglund." Vetro (Centro Studio Vetro, Murano), no. 8, Antik & Auktion, no. 12, Dec. 2000, pp. 46-51, July-Sept. 2000, pp. 48-53, ill. In Italian and 418 Hinchliffe, Meredith. ill. English. "John Brekke: Rinnovamento narrativo = Nar­ rative Overlay." 431 Holkers, Marta. Vetro (Centro Studio Vetro, Murano), v. 4, 406 Hartmann, Antonin. "Glasjubileum i Afors: Det lilla bruket med de no. 10, Jan.-March 2001, pp. 31-33, ill. In "K prostorum sochy." stora namnen." Italian and English. Atelier, no. 3, Feb. 8, 2001, p. 12, ill. English Antik & Auktion, nos. 7/8, July/Aug. 2001, Profile of the artist. summary, p. 15. pp. 58-63, ill. Review of exhibition by Stanislav Libensky Glasshouse celebrates 125th anniversary; and Jaroslava Brychtova. 419 Hinchliffe, Meredith. work by various designers featured. "Primacy of Exploration." 407 Harvey, Kathleen S. Craft Arts International, no. 51, 2001, 432 Holler, Franz X. "Frio, frio ... caliente, caliente, caliente! = pp. 45-48, ill. "Selbstbehauptung und Innehalten = Self As­ Cold, Cold ... Hot, Hot, Hot!" British glass artist Jane Bruce. sertion and Pause." Vitrix, no. 1, Feb.-April 2001, p. 41, ill. In Glashaus/Glasshouse (Internationales Maga- Spanish and English. 420 Hinchliffe, Meredith. zin fur Studioglas), no. 1, 2001, pp. 18-19, ill. Glass sculpture by Luz Maria Shepard. "Richard Whiteley." In German and English. Craft Arts International, no. 50, 2000, Brief profile of Anja Isphording. 408 Harvey, Kathleen S. pp. 38-42, ill. "Instantes de luz = Instants of Light." 433 Holmes, Mimi. Vitrix, no. 1, Feb.-April 2001, p. 43, ill. In 421 Hinchliffe, Meredith. "A Dedicated Woman of Valor: Valorie Harlow." Spanish and English. "Scott Chaseling & Kirstie Rea." Beadwork, v. 4, no. 4, June/July 2001, Glass works by Elizabeth Heyns. Craft Arts International, no. 52, 2001, pp. 44-46, ill. pp. 56-60, ill. Bead-covered objects. 409 Hatton, Beth. Australian duo and "roll up" glassmaking pro­ "Craft Range to Celebrate Centenary of Fede­ cess that combines kiln forming and traditional 434 Honigman, Ana. ration." blowing techniques. Craft Arts International, no. 51, 2001, "Reviews: New York." pp. 108-109, ill. Art Papers Magazine, v. 25, no. 3, May/June Crafts products commissioned by the National 422 Hinchliffe, Meredith. 2001, pp. 44-45, ill. Gallery of Australia include glass. "Surface: Brian Hirst and Roslyn Kean See Includes Morning Piece by Yoko Ono. Through the Depths." 410 Hause, Katherine. Object, no. 1, 2001, pp. 84-85, ill. 435 Horacek, Radek. "Composed Light." Canberra exhibition of works by glass artist "Objevy a jistoty Stanislava Libenskeho." Schott Info, no. 96, Feb. 2001, pp. 28-29, ill. and printmaker. Atelier, no. 12, June 14, 2001, p. 6, ill. English Christopher Ries, artist in residence at Schott summary, p. 15. Glass Technologies. 423 Hinchliffe, Meredith. Drawings by the Czech glass artist in Brno ex­ "Anu Penttinen: La musica del vetro = The hibition. 411 Hayashi, Akiko. Music of Glass." Hikari no shizuku: Jewelry. Vetro (Centro Studio Vetro, Murano), no. 9, 436 Howarth, Brigid. [S.I.: Hayashi Akiko], 2000, 103 pp., ill. In Oct./Dec. 2000, pp. 36-38, ill. In Italian and "Glass for the Young." Japanese and English. English. Crafts, no. 170, May/June 2001, p. 19, ill. Glass jewelry collections. Glass works by Finnish artist. Glass by Anna Dickinson. 437 Hsinchu International Glass Art Festival. 449 Jekyll, Robert. 461 Kamras, Barbro. 1999 zhuqian guo ji bo li yi shu jie = Gl'art "Symbology 2000." "The VIDA Museum and Art Gallery." 1999 Hsinchu Int'l Glass Art Festival. Artists in Stained Glass Canada Bulletin, Feb. This Side Up!, no. 13, Spring 2001, p. 21, ill. [Taiwan]: Xinzhu shi li wen hua zhong xin, 2001, pp. 1-2, ill. New museum/art gallery on the island of 1999, ill. In Chinese and English. Review of exhibition by Canadian glass artists. Oland in Sweden. Includes glass from Italy, perfume bottles from around the world, and neon art. 450 Jirasek, Ivana. 462 Kangas, Matthew. "Warren Langley: Still the Enfant Terrible." "Larry Bergner." 438 Hulet, Dinah. Neues Glas/New Glass, no. 2, 2001, Glass (Urban Glass Art Quarterly), no. 83, "Portrait Murrine." pp. 22-29, ill. In German and English. Summer 2001, p. 59, ill. The Glass Art Society Journal, 2000, Australian glass artist uses "remote-source Exhibition review. pp. 68-69, ill. lighting technology" that "combines glass with water." 463 Kangas, Matthew. 439 Ingold, Gerard. "Massimo Micheluzzi." "Conference: 'Boules, presse-papiers, sul- Glass (Urban Glass Art Quarterly), no. 83, 451 Jodidio, Philip E. fures.'" Summer 2001, p. 60, ill. "Pablo Reinoso." Offrir International, no. 380, Feb. 2001, Exhibition review. Connaissance des Arts, no. 583, May 2001, pp. 55-59, ill. pp. 72-73, ill. Portrait of the sculptor and illus­ Conference focuses on the making of paper­ tration of recent work, The Last Chair. 464 Kangas, Matthew. weights during the last 50 years. "Metamorphosis: Glass Sculptures by Lynda Benglis." 440 Jackson, Lesley. 452 Johnson, Donald-Brian. Glass (Urban Glass Art Quarterly), no. 82, "Tapio Wirkkala - Eye, Hand and Thought." "Higgins: A Glass Act." Spring 2001, pp. 22-27, ill. Crafts, no. 170, May/June 2001, pp. 54-55, ill. Collectibles: Flea Market Finds, v. 9, no. 1, Review of exhibition at Museum of Art and Spring 2001, pp. 14-19+, ill. 465 Kangas, Matthew. Design, Helsinki. Fused glass from the 1950s. "Pilchuck Glass School Curators Mini-Session." Glass (Urban Glass Art Quarterly), no. 84, Fall 441 Jacquard, Max. 453 Jonasson, Mats. 2001, pp. 60-61. "A Gathering of Elements: The Plumbline Gal­ "How I Make My Animals." "Is glass the new photography?" lery, St. Ives." Message from Mats, v. 4, no. 2, Dec. 1993, This Side Up!, no. 13, Spring 2001, pp. 22-23, p. 3, ill. 466 Kangas, Matthew. ill. "The Pursuit of Beauty: Ginny Ruffner's Instal­ Gallery in Cornwall. lations." 454 Jonson, Lotta. Glass (Urban Glass Art Quarterly), no. 83, "Storre an Starck? = Stronger Than Starck?" Summer 2001, pp. 22-27, ill. 442 James, David. Form (The Swedish Design Magazine), v. 97, "Colin Reid." no. 3 (735), 2001, pp. 36-45, ill. In Swedish This Side Up!, no. 13, Spring 2001, pp. 10-11, and English. 467 Kangas, Matthew. ill. Profile of Karim Rashid includes glass (p. 44). "Reviews: Merrilee Moore." Portrait of the artist. Glass (Urban Glass Art Quarterly), no. 81, Winter 2000, p. 53, ill. 443 James, David. 455 Jonsson, Love. Exhibition in Kirkland, Washington. "Galerie Elena Lee: 25 ans de passion = "Konsthantverket 2001 = Crafts 2001 Form (The Swedish Design Magazine), v. 97, Twenty-five Years of Passion, Focus." 468 Kangas, Matthew. no. 3 (735), 2001, pp. 64-69, ill. In Swedish Glass Gazette (Glass Art Association of "Richard Klein." and English. Canada), v. 3, no. 45, Aug. 2001, pp. 30-33, Glass (Urban Glass Art Quarterly), no. 84, Fall Interview with young craftspeople in Sweden ill. In French and English. 2001, p. 57, ill. illustrated with glass from Storsjohyttan in Exhibition review. Ostersund. 444 James, David. "Hands On with Czech Cast Glass." 469 Kangas, Matthew. This Side Up! (Valkenswaard, the Nether­ 456 Joselit, David. "Robert Willson, Image-Maker." lands), no. 12, Winter 2000, pp. 4-9, ill. "Planet Paik." Glass (Urban Glass Art Quarterly), no. 81, Includes information on galleries and museums Art in America, v. 88, no. 6, June 2000, Winter 2000, pp. 18-21, ill. in the Czech Republic that display Czech pp. 72-76+, ill. glass. Nam June Paik. 470 Keenan, Georgina. "The Studio of The Corning Museum of Glass!' 445 James, David. 457 Jouvenaz-Broekman, Riekje. American Craft, v. 61, no. 4, Aug./Sept. 2001, "Passion for Canadian Art Glass: Galerie "De techniek van kralenwerk." p. 12+, ill. Elena Lee, Montreal Celebrates 25 Years." Glasbulletin, Vereniging van Vrienden van Glassmaking facility marks fifth birthday, ex­ This Side Up!, no. 15, Autumn 2001, Modern Glas, v. 15, no. 2, 2001, pp. 9-15, ill. pands as part of Museum renovation. pp. 22-23, ill. Glass art including beads. 471 Kehlmann, Robert. 446 Jansen-Schulz, Renee. 458 Julius, Corinne. "Glass/Prague." "Van ruwe brokken glas naar verstilde bewe- "American Beauties." American Craft, v. 61, no. 4, Aug./Sept. 2001, ging." Crafts, no. 171, July/Aug. 2001, pp. 30-33, ill. pp. 68-71, ill. Glasbulletin, Vereniging van Vrienden van Dale Chihuly's first solo exhibition in the United Two exhibitions present works by Libensky Modern Glas, v. 15, no. 1, 2001, p. 34, ill. Kingdom on display at Victoria and Albert Mu­ and Brychtova, 10 other artists working in the Glass studio of Felicitas Engels. seum. Czech Republic.

447 Jay, Hilary. 472 Kelly, Dermot. "Rising Design Stars." 459 Junck, Rossella. "Trio." Art & Antiques, v. 24, no. 4, April 2001, "Scuola di arte vetraria." N.Z.S.A.G. Newsletter (New Zealand Society pp. 59-67, ill. Arte Incontro in Libreria, v. 11, no. 32, Sept- of Artists in Glass), June 2001, p. 5, ill. Includes Karim Rashid and his designs in lead Dec. 2000, p. 11, ill. Review of exhibition of works by Layla Walter, crystal, pp. 62-63. Vannes-le-Chatel, France. Jo Nuttall, and Lyndsay Patterson.

448 Jecklin, Mary Jean. 460 Kalthoffs, Norbert. 473 Kerr, Deborah. "The Nature of Glass." "Glas Spirit Japan." "Meld: New Glass." Collector Editions, v. 29, no. 2, March/April Neues Glas/New Glass, no. 1, 2001, N.Z.S.A.G. Newsletter (New Zealand Society 2001, pp. 56-58, ill. pp. 42-47, ill. In German and English. of Artists in Glass), June 2001, p. 3. Profile of Mats Jonasson. Glass schools in Tokyo and Toyama, Japan. Exhibition review. 474 Kerr, Sally. 486 Koiva-Vallo, Meeli. 498 Lahr, Norene. "Keiko Mukaide: Miegakari - Between Seen "Light, Glass, and Fibre Optics Add a New "Shared Studio Spaces Are a Blast." and Unseen." Dimension to Architectural Forms." Glass Craftsman, no. 163, Dec. 2000/Jan. Crafts, no. 173, Nov./Dec. 2001, p. 54, ill. Glass Processing Days Web Site: http://www. 2001, pp. 11-15, ill. Exhibition review. glassfiles.com/'ibrary/library.html?subcat_id=37 Profiles the Torpedo Factory in Alexandria, June 18-21 2001, pp. 185-188, ill. Virginia; artists include Harriet Schultz, George Churchill, Cynthia Corio-Poli, and Eric 475 Kervin, James. Markow. The Wild and Wonderful World of Sharon 487 Koivisto, Kaisa. "Kolme tarinaa lasista: Suomalainen lasimuo- Peters and Her Silly Sculptural Shapes. 499 Lajoix, Anne. toilu, 1946-1957." Livermore, CA: GlassWear Studios, 2001, "Marcoville ou le reve en verre." Lasitutkimuksia, v. 13, 2001, pp. 7-303, ill. 32 pp., ill. La Revue de la Ceramique et du Verre, English summary, pp. 295-303. . no. 117, March/April 2001, p. 59, ill. Finnish glass design. Exhibition review. 476 Kester, Peter van. "Bert Frijns: The Glass Is Half Full." 488 Kolehmainen, Aila. 500 Lally, Janice. Glass (Urban Glass Art Quarterly), no. 83, "And the Designer Created a Woman of "Elizabeth Kelly: Points of Saturation." Summer 2001, pp. 46-53, ill. Glass. ..." Craft Arts International, no. 52, 2001, Latest work of Dutch glass artist. Form Function Finland, no. 82, 2001, pp. 97-98, ill. pp. 26-29, ill. Exhibition review. Nanny Still. 477 King, Gerry. 501 Langhamer, Antonin. "2001, A Glass Odyssey: 12th Biennial Aus- "Jaroslav Vymazal - Sklarsky Design." glass Conference, Melbourne." 489 Korach, Alice. Sklara Keramik, v. 51, no. 5, May 2001, Craft Arts International, no. 50, 2000, p. 96, ill. "String Quartet." pp. 121-122, ill. Review of conference. Bead & Button, no. 44, Aug. 2001, pp. 54-60, Profile of the artist. ill. Artists harmonize glass and metal to create 502 Langhamer, Antonin. 478 King, Gerry. jewelry. "Karel Wunsch - Sklo z let 1990-2000." "Anzac: Australia/New Zealand Art-Glass Sklara Keramik, v. 51, no. 3, March 2001, Compatibility." 490 Kovel, Ralph. pp. 54-55, ill. Craft Arts International, no. 49, 2000, Exhibition in Novy Bor. pp. 67-71, ill. "Know Your Antiques: Murano Glass." Review of Melbourne exhibition. Renninger's Antique Guide, v. 27, no. 10, May 21-June 3, 2001, p. 4, ill. 503 Langhamer, Antonin. Includes "Occhi" (Eyes) vase designed by "Mezniky ve vyvoji ceskeho atelieroveho skla." 479 King, Gerry. Tobia Scarpa. Sklara Keramik, nos. 1-2, 2001, pp. 14-16, ill. "Crystal Ball Gazing." Exhibition report. Craft Arts International, no. 50, 2000, 491 Kroucharska, Margarita. pp. 106-109, ill. 504 Langhamer, Antonin. "Neon Art: Le nuove frontiere del design." Profile of the Jam Factory Glass Workshop in "Profesor Stanislav Libensky Osmdesatilety." Neon Light & Sign, no. 97, July/Aug. 2001, Adelaide, Australia. Sklara Keramik, v. 51, no. 3, March 2001, pp. 46-53, ill. pp. 69-70, ill. Salone Internazionale del Mobile features dis­ 480 King, Gerry. play of neon art. 505 Langhamer, Antonin. "'Fusion: Contemporary Glass.'" "Sklenene plastiky Vladimira Kleina." Craft Arts International, no. 50, 2000, 492 Kroucharska, Margarita. Sklara Keramik, v. 50, nos. 11-12, Nov./Dec. pp. 94-96, ill. "Neon Art: Tatuaggi luminosi." 2000, pp. 344-345, ill. Review of Melbourne exhibition. Neon Light & Sign, no. 95, March/April 2001, Glass artist Vladimir Klein. pp. 50-57, ill. 506 Lapinne, Christian. 481 Klein, Dan. Interview with Robert Gligorov. "De opleidingen: Van techniek tot concept en "Dante Marioni." omgekeerd = Training from Technique to Con­ Neues Glas/New Glass, no. 3, Fall 2001, 493 Kroucharska, Margarita. cept and Vice Versa." pp. 28-35, ill. In German and English. "Neon Art: Volumi dipinti in citta." Kwintessens (Vlaams Instituut voor het Zelf- Artist's "enthusiasm for blowing glass the Neon Light & Sign, no. 96, May/June 2001, standig Ondernemen), v. 10, no. 3, July/Aug./ Venetian way knows no bounds." pp. 42-50, ill. Sept. 2001, pp. 40-44, ill. In Dutch and Interview with neon artist Keith Sonnier. English. 482 Klingsman, Walter. Issues regarding training in glass art in Bel­ "Kjell Engman: An Innovator in Mythic Mode." 494 Kroucharska, Margarita. gium. Craft Arts International, no. 51, 2001, "Neon per intrattenere." pp. 36-39, ill. Neon Light & Sign, no. 94, Jan./Feb. 2001, 507 Lauren, Uta. Profile of Swedish glass artist. pp. 36-42, ill. "Nordic Glass: Glass without Boundaries." Interview with neon artist Giuseppe Dondoni. Neues Glas/New Glass, no. 3, Fall 2001, pp. 36-45, ill. In German and English. 483 Klotz, Uta. Exhibition is "the most comprehensive and "Dale Chihuly at the V&A." 495 Krumrine, Michael. complete show of modern glass art of the Neues Glas/New Glass, no. 3, Fall 2001, "Mark Kobasz." Nordic and Baltic countries to date." pp. 12-19, ill. In German and English. Glass (Urban Glass Art Quarterly), no. 82, Interview with Jennifer Opie, curator for glass Spring 2001, p. 56, ill. 508 Le Gouic, Jean-Claude. and ceramics at the V&A, about the artist and Exhibition review. "Daphne Corregan: Entre contenants et con- an exhibition of his works. tenus." La Revue de la Ceramique et du Verre, 496 Krupenia, Deborah. no. 120, Sept./Oct. 2001, pp. 44-47, ill. Eng­ 484 Klotz, Uta. "Valerie Hector." lish summary, p. 47. "IGS 2000: Novy Bor." American Craft, v. 61, no. 2, April/May 2001, Includes work in pate de verre. Neues Glas/New Glass, no. 4, 2000, pp. 62-67, ill. pp. 46-47, ill. In German and English. Artist makes beaded jewelry designs. Report on symposium. 509 Leach, Mark Richard. Richard Jolley. 497 Kwon, Miwon. Charlotte, NC: Mint Museum of Art, 1997, [20] 485 Klotz, Uta. "Reviews: Josiah McElheny at the Isabella pp., ill. "The Universe of Ginny Ruffner." Stewart Gardner Museum, Boston." Catalog of an exhibition held Jan. 11-Mar. 16, Neues Glas/New Glass, no. 4, 2000, Documents, no. 15, Spring/Summer 1999, 1997, at the Mint Museum of Art, Charlotte, pp. 12-18, ill. In German and English. pp. 55-59, ill. North Carolina. 510 Leier, Ray. 523 Liu, Robert K. 536 Malcolm, Louise. Contemporary Glass: Color, Light & Form. "Contemporary Glass Jewelry: A Continuing "Inspired Stringing." Madison, Wl: GUILD Publishing, 2001, Tradition." Bead & Button, no. 45, Oct. 2001, pp. 54-56, 128 pp., ill. Ornament, v. 24, no. 3, Spring 2001, ill. Survey of the work of late 20th-century glass pp. 40-45, ill. Profile of bead artist John Kuenneth. artists. Report on "renaissance in glass beadmaking." 537 Malis, Elizabeth Levy. 524 Liu, Robert K. 511 Leigh, Bobbie. "The Way We Were...Artists." "Olive Glass: Lark Dalton and Corrie Haight." "Art Gallery for Glass: A Palm Beach Pent­ Niche, v. 12, no. 1, Winter 2000, pp. 138-149, Ornament, v. 24, no. 2, Winter 2000, house Is Home to a Veritable 'Who's Who' of ill. pp. 50-55, ill. 20th-century Studio Art Glass." Includes glassmakers Stephen Fellerman, Art & Antiques, v. 23, no. 8, Sept. 2000, Steven Lundberg, Rick and Janet Nicholson, pp. 80-85, ill. 525 Lockau, Kevin. Loretta Eby, Jeff Jackson, Nina Paladino, "Coyote's Tale." Michael Hansen, Stuart Abelman, and Roger 512 Leighton, John. Glass Gazette, v. 3[5], no. 44, April 2001, Vines. "Blowpipe for Hire." pp. 18-19, ill. The Glass Art Society Journal, 2000, Profile of artist Sheila Mahut. pp. 73-75, ill. 538 Manfredi, Elisabetta. Panel discussion. 526 Lockwood, Howard. "Dale Chihuly a Gerusalemme." "The Merletto Series of Archimede Seguso." Alte Vitrie, v. 12 [13], no. 1, [2000], pp. 16-17, Vetri (Italian Glass News), v. 7, no. 2, Spring ill. English summary. 513 Lewis, Janie N. 2001, pp. 5-6, ill. Report on Chihuly's "Light of " ex­ "Contemporary Harmony." hibit. Art & Antiques, v. 24, no. 5, May 2001, pp. 88-95, ill. 527 Lovelace, Joyce. Sonnenblick collection of modern art glass. "The Museum of Fine Arts, ." 539 Mannings-Cox, Gill. American Craft, v. 61, no. 4, Aug./Sept. 2001, "Reflections and Brilliant Shadows." pp. 30-33, ill. 514 Lewis, Julia. The Guild of Glass Engravers Newsletter, Museum celebrates recent decorative arts Autumn 2000, pp. 8-11, ill. " Surprise." holdings in a series of major exhibitions. , v. 72, no. 7, May [June] 2001, Review of annual Guild of Glass Engravers pp. 318-323, ill. exhibition. 528 Lovelace, Joyce. Bank building features illuminated glass and "Speed Art Museum, Louisville, Kentucky." stainless steel sculpture. American Craft, v. 61, no. 2, April/May 2001, 540 Marshall-Jones, Muriel. pp. 44-45, ill. "Graal?" 515 Liang, Quincy. Private collection of contemporary glass finds Collect It!, no. 40, Oct. 2000, p. 12, ill. "Tiffany Products Shine in Wall Lamps." "comfortable home in Kentucky's oldest and Jonathan Harris and his techniques in cameo Taiwan Lighting, no. 62, Nov. 2000, pp. 28-30, largest art museum." and Graal work. ill. 529 Lunn, Brian. 541 Marshall-Jones, Muriel. 516 Liedel, Karl Heinz. "Lyle Blomquist: New Growth in Glass." "Jonathan Harris Update." "Tradition im Kunsthandwerk: Glashaus Ittig in Glass Gazette (Glass Art Association of Collect It!, no. 45, March 2001, p. 35, ill. Wertheim." Canada), v. 3, no. 43, Feb. 2001, pp. 4-6, ill. Artist works with cameo and Graal glass. Glaswelt, v. 54, no. 2, Feb. 2001, p. 88, ill. Karlheinz and Hans Joachim Ittig. 530 Luyssaert, Bie. "Villa Eksternest." 542 Marshall-Jones, Muriel. 517 Litell, Richard. Kwintessens (Vlaams Instituut voor het Zelf- "Okra: A Celebration of Glass." "Monica Backstrom: Elegance in Glass." standig Ondernemen), v. 10, no. 3, July/Aug./ Collect It!, no. 39, Sept. 2000, pp. 14-15, ill. Glass (Urban Glass Art Quarterly), no. 83, Sept. 2001, pp. 18-19, ill. In Dutch and Summer 2001, pp. 28-33, ill. English. 543 Martel, Jean-Paul. Profile of Swedish designer, including the Review of exhibition in West Flanders. "Histoire et profil de I'atelier de verre de I'Uni- debut of her glass jewelry. 531 Lynggaard, Finn. versite du Quebec a Trois-Rivieres." "Kyohei Fujita fylder 80." Glass Gazette (Glass Art Association of 518 Littman, Brett. Canada), v. 3, no. 45, Aug. 2001, pp. 23-26, "Allan McCollum." Glasposten, no. 4, Dec. 2000, pp. 8-9, ill. Glass artist turns 80. ill. In French and English. Glass (Urban Glass Art Quarterly), no. 82, Overview of the workshop. Spring 2001, p. 57, ill. Exhibition review. 532 Lynggaard, Finn. Kyohei Fujita: The Man and His Work. 544 Martin, Alberto Duque. Copenhagen, Denmark: Borgens Forlag, 519 Littman, Brett. "Luciano Vistosi." 2000, 154 pp., ill. In English and Japanese. "Ausglass 2001: An American Perspective." Cuadernos del Vidrio (Fundacion Centro Na- Craft Arts International, no. 52, 2001, cional del Vidrio, Real Fabrica de Cristales de pp. 91-93, ill. 533 Maet, Frank. La Granja, Escuela del Vidrio), no. 2, Oct. "Kunstwerken over glas = Works of Art about 2000, pp. 32-33, ill. Glass." 520 Littman, Brett. Kwintessens (Vlaams Instituut voor het Zelf- "Landscapes: Jessica Loughlin." standig Ondernemen), v. 10, no. 3, July/Aug./ 545 Marx-Saunders Gallery. Glass (Urban Glass Art Quarterly), no. 83, Sept. 2001, p. 17, ill. In Dutch and English. Jon Kuhn: Journey to the Core. Summer 2001, pp. 34-39, ill. Two Belgian visual artists who work in glass. [Chicago: Marx-Saunders Gallery, 2001], Australian glass artist. [8] pp., ill. Exhibition held November 16-December 5, 534 Maiden, Emma. 2001, at the Marx-Saunders Gallery, Chicago, 521 Littman, Brett. "Tessa Clegg." Illinois. "Reviews: Maya Lin." Crafts, no. 170, May/June 2001, pp. 57-58, ill. Exhibition catalog. Glass (Urban Glass Art Quarterly), no. 81, Review of London exhibition. Winter 2000, p. 51, ill. New York City exhibition. 535 Makovsky, Paul. 546 Marx-Saunders Gallery. "The Light Gymnastic: Henk Stallinga and the Keke Cribbs, Alicia Lomne: Glimmerings. 522 Littman, Brett. Contortions He Went Through to Create His [Chicago: Marx-Saunders Gallery, 2001], "Sugahara for the Masses." Lumalasch Lamp." [12] pp., ill. Glass (Urban Glass Art Quarterly), no. 81, Metropolis, Dec. 2000, p. 110, ill. Exhibition held June 8-July 10, 2001, at the Winter 2000, pp. 42-47, ill. "Hanging lamp made from two intertwined Marx-Saunders Gallery, Chicago, Illinois. Profile of the Japanese glass company. circular glass light tubes." Exhibition catalog. 547 Marx-Saunders Gallery. 558 McLean, Barbara. 570 Mitchell, James R. Lisabeth Sterling: Lucid Dreams. "Bruce St. John Maher: Gifted Artist, Mentor, "Sharing the Weight - A Visit with Glassmaker [Chicago: Marx-Saunders Gallery, 2000], [11] and Friend." Jennings Bonnell." PP., HI. Beadwork, v. 4, no. 4, June/July 2001, Goldenseal, Winter 1999, pp. 48-55, ill. Catalog of an exhibition held February 16- pp. 32-34, ill. March 20, 2001, at the Marx-Saunders Gallery Minnesota artist uses beads to create intricate in Chicago, Illinois. landscapes. 571 Moravska galerie v Brne. Uzite umeni 60. let: Ze sbirek Moravske gale­ rie v Brne: Sklo, keramika, sperky, medaile, 548 Marx-Saunders Gallery. 559 McLeod, Keith A. textil, nabytek, fotografie. Sidney Hutter. Boyle, James R. [Brno]: Moravska galerie v Brne, [1997], Chicago: Marx-Saunders Gallery Ltd., [2001], "Unusual for Household Use." 183 pp., ill. Introduction also in English and [8] pp., ill. Antique Showcase, v. 36, no. 8, June 2001, German. Catalog of an exhibition held September 7- pp. 33-35, ill. Includes objects by contemporary Czech October 2, 2001, at the Marx-Saunders Gal­ Includes glass bell with Wedgwood medallion glass artists. lery, Chicago, Illinois. of the queen in celebration of the 1977 Jubilee.

549 Maurine Littleton Gallery. 560 Meihuizen, Job. 572 Moretti, Dario. . "Nationaal Glasmuseum Leerdam." "Far parlare i materiali = Making Materials Washington, DC: Maurine Littleton Gallery, Glasbulletin, Vereniging van Vrienden van Speak." [2000], [20] pp., ill. Modern Glas, v. 15, no. 3, 2001, pp. 15-17, ill. Ottagono, v. 35, no. 140, Oct./Nov. 2000, Catalog of an exhibition held November 21- A curator's perspective on the collection. pp. 120-121, ill. In Italian and English. December 15, 2000, at the Maurine Littleton Designs by Theo Williams include glass. Gallery, Washington, D.C. 561 Meister, Helga. Sculptures in metal and glass. "Glaskunstlervereinigung NRW: Like the Musi­ 573 Moretti, Dario. cian in the Group." "Vetro, scultura, design = Glass, Sculpture 550 Maurine Littleton Gallery. Neues Glas/New Glass, no. 2, 2001, and Design." William Morris. pp. 30-37, ill. In German and English. Ottagono, no. 143, April/May 2001, Washington, DC: Maurine Littleton Gallery, Exhibition at the Deutsches Glasmalerei- pp. 98-101, ill. [1993], [8] pp., ill. Catalog of an exhibition held Museum Linnich presents works by 18 artists. November 21-December 31,1993, at the New glass by industrial designer Simona Madonna. Maurine Littleton Gallery, Washington, D.C. 562 Mentasti, Rosa Barovier. Includes a list of selected collections of the "Massimo Micheluzzi: Evocation de Venise." artist's work. La Revue de la Ceramique et du Verre, 574 Morgan, Anne Barclay. no. 117, March/April 2001, pp. 26-27, ill. In "Otto Rigan: Glass and Stone." 551 McCaffrey, Fergus. French and English. Sculpture, v. 20, no. 3, April 2001, pp. 12-13, "Hitoshi Nomura: Harnessing the Sun." Profile of Venetian glass artist and antiqua­ ill. Sculpture, v. 20, no. 4, May 2001, pp. 40-45, rian. Artist's abstract works combine various stones ill. with glass. Includes photograph of glass sculpture, The 563 Menz, Christopher. Genesis out of the Vacuum. "International Craft Triennale." Object Magazine, no. 4, 2000, pp. 18-20, ill. 575 Morgan, Robert C. 552 McClanahan, G. W. Exhibition includes works by glass artists. "Heart of Glass." "Modern ." Glass (Urban Glass Art Quarterly), no. 83, The Printy: News for Paperweight Collectors, Summer 2001, p. 61, ill. v. 7, no. 1, June 1999, pp. [1-2], ill. 564 Merker, Gemot H. Exhibition review. "Corning leuchtet = Corning Shines." Glashaus/Glasshouse, no. 3, 2001, pp. 18-19, 553 McClanahan, G. W. ill. In German and English. "Notes and Selected Biographical Information: 576 Morgan, Robert C. The Corning Museum of Glass and the 2001 [Paperweight Makers, A-Z]." "Reviews: Corban Walker." Glass Art Society conference. The Printy: [News for Paperweight Collectors], Glass (Urban Glass Art Quarterly), no. 81, continuing series, v. 1, no. 1, Jan. 1993 - v. 6, Winter 2000, p. 54, ill. no. 3, July 1998. 565 Merker, Gemot H. Exhibition in New York City. Historical and contemporary producers of "Glas traumen - denken - machen, Glasfach- paperweights. schule Zwiesel." Glashaus/Glasshouse, no. 2, 2001, p. 10, ill. 577 Mount, Christopher. "Utility and Beauty: Modern Scandinavian 554 McDaniel, Lynda. In German and English. Report on Zwiesel Glass College. Glass." "Naturally Inclined." The Glass Art Society Journal, 2000, American Style, v. 8, no. 1, Fall 2001, pp. 86-90, ill. pp. 90-93, ill. 566 Merker, Gemot H. Production glass from Finland and Sweden. Glass artists "taking their cues from the world "Roll Up, Klaus." around them." Glashaus/Glasshouse, no. 2, 2001, pp. 6-7, ill. In German and English. 578 Muller, Frans. 555 McElhinney, Jim. Profile of Klaus Moje. "Inside the Monastery." "Centra Studio Vetro: Working towards a Stained Glass, v. 96, no. 1, Spring 2001, Livelier Tradition." 567 Metallo, Paula. pp. 20-21, ill. Glass (Urban Glass Art Quarterly), no. 84, Fall "Piergiorgio Tempesti: A Life in Glass." Fused glass sculpture made for renovated 2001, pp. 22-29, ill. Glass (Urban Glass Art Quarterly), no. 84, Fall monastery in Langenboom, the Netherlands. Includes new glass by Claudio Tiozzo, Cesare 2001, pp. 30-37, ill. Toffolo, and Davide Salvadore. Interview with the Venetian glass artist. 579 Muller, Verena E. "Zwei Glaskunstler im Waadtland: Monica 568 Minisci, Angelo. 556 McGregor, Lani. Guggisberg und Philip Baldwin." "Silvio Vigliaturo e TEsprit du verre': La mate­ "How Do You Follow a 36 Foot Wall of Glass?" Textilarbeit und Werken, v. 83, no. 3, 2000, ria e la sua complementarita." The Bullseye Bulletin (Bullseye Glass Co., pp. 8-9, ill. Alte Vitrie, v. 12 [13], no. 1, [2000], pp. 10-11, Portland, OR), Spring 2001, p. 4, ill. Brief profile of the glass artists. Brief interview with Narcissus Quagliata. ill. English summary. Profile of the artist. 557 McLaren, Graham M. 580 Naumann, Francis M. "Paula Andrews - Refer to Process 'Contain­ 569 Miro, Marsha. "Marcel & Maria." ment.'" "Clifford Rainey." Art in America, v. 89, no. 4, April 2001, Glass Network (Contemporary Glass Society, Glass (Urban Glass Art Quarterly), no. 82, pp. 99-111+, ill. U.K.), March 2001, pp. 1-2, ill. Spring 2001, p. 55, ill. Discusses meaning of Large Glass by Marcel Exhibition report. Exhibition review. Duchamp. 581 Neville, Beth. 592 Olsson, Lillemor. 605 Pepall, Rosalind. "Regional Reviews: Providence Art Club/Pro­ "Fynda fina former!" "Landmark Inauguration: Decorative Arts and vidence." Antik & Auktion, suppl. to nos. 7/8, July/Aug. Design at the Montreal Museum of Fine Arts." Art New England, v. 22, no. 5, Aug./Sept. 2001, pp. 4-6+, ill. Bulletin (Canadian Society of Decorative Arts 2001, pp. 39-40, ill. Brief profiles of Mona Morales-Schildt, Sven = Cercle Canadien des Arts Decoratifs), v. 19, Glass sculpture by Steven Weinberg. Palmqvist, William Stenberg, Astrid Gate, nos. 1/2, Spring 2001, pp. 3-5, ill. Bengt Edenfalk, and Paul Kedelv. Includes glass designs by Tapio Wirkkala, Timo Sarpaneva, and Ettore Sottsass. 582 Nicoloff, Ortrud. 593 Ommen, Kasper van. "Sensuel et voluptueux." "Lucienne Bloch." Form Forum, no. 1, 2001, p. 7, ill. 606 Perreault, John. Glasbulletin, Vereniging van Vrienden van Exhibition of glass by Jean-Claude Novaro. "Critics and Curators Look at Glass." Modern Glas, v. 14, no. 4, 2000, p. 29, ill. The Glass Art Society Journal, 2000, Brief profile of the artist. pp. 30-36, ill. 583 Noda, Osamu. Includes comments by Arthur C. Danto, Kim "II Glass Art Center di Niijima = Niijima Glass 594 Oosterlinck, Christian. Levin, and Robert Storr. Art Center." "Glas in Vlaanderen." Vetro (Centro Studio Vetro, Murano), no. 9, Glasbulletin, Vereniging van Vrienden van 607 Perreault, John. Oct./Dec. 2000, pp. 26-33, ill. In Italian and Modern Glas, v. 15, no. 3, 2001, pp. 22-25, ill. "The Murano Mystique." English. Recent works by glass artists. Glass (Urban Glass Art Quarterly), no. 81, Glass workshops and demonstrations at the Winter 2000, pp. 30-35, ill. Center. 595 Oosterlinck, Christian. "Het licht tussen de bomen = Light among the Trees." 608 Perreault, John. 584 Nordstrom, Olof. Kwintessens (Vlaams Instituut voor het "Reviews: Stephen Antonakos - Proscenium, "Svenska glasbruk och hyttor vid millenium- Zelfstandig Ondernemen), v. 10, no. 2, April/ a Neon Installation." skiftet 2000." May/June 2001, pp. 14-19, ill. In Dutch and Glass (Urban Glass Art Quarterly), no. 81, Glasteknisk Tidskrift, v. 55, no. 3, 2000, English. Winter 2000, p. 50, ill. pp. 80-85, ill. English summary. Garden lighting includes series of glass sculp­ Installation in Purchase, New York. Describes contemporary trends in studio glass tures. in Sweden. 609 Perreault, John. 596 Opie, Jennifer. "Sculptors Look at Glass." 585 [Norrkopings Stadmuseum] "Danny Lane." The Glass Art Society Journal, 2000, Glasklart: Konst- och bruksglas. Vormen uit Vuur, no. 149, 1993, pp. 32-39, ill. pp. 19-23, ill. [Norrkoping, Sweden: Norrkopings Stad­ Includes comments by Magdalena Campos- museum, n.d., 1994], ill. 597 Opie, Jennifer Hawkins. Pons, Alan Glovsky, and Dennis Oppenheim. Exhibition, April 24 - August 18, 1994, of the "Dale Chihuly au Victoria & Albert Museum." work of contemporary glass artists, including La Revue de la Ceramique et du Verre, 610 Perry, Carol J. Wilke Adolfsson, Paul Bartron, Asa Brandt, no. 119, July/Aug. 2001, pp. 48-49, ill. In "Glam Glassware." and others. French and English. Mass Bay Antiques (The New England Guide Report on the artist's first exhibition in the to Antiques and Collectibles), v. 20, no. 7, United Kingdom. Nov. 2000, p. 4, ill. 586 Novakova, Katerina. Signed, gold-leaf tableware from the 1950s. "Petr Vogel - Sperky." 598 Osborne, Margot. Atelier, no. 8, April 19, 2001, p. 12, ill. English "GlassState 2001, SA." summary, p. 15. 611 Peterson, Dave. Craft Arts International, no. 52, 2001, Jewelry includes glass. "An Interview with James Whitehurst." pp. 93-95, ill. Glowing Report (Vaseline Glass Collectors Survey exhibition of new studio glass in South Inc.), v. 3, no. 5, July 2001, p. 1+, ill. 587 Nyman, Hannele. Australia. Glassmaker uses vaseline cullet. "Camilla Moberg: A Designer between Art and 599 Palata, Oldrich. Utility." 612 Pickett, Christina. Form Function Finland, no. 82, 2001, "Frantisek Vizner." "Betwixt the Intangible and the Tangible: A Atelier, no. 22, Nov. 9, 2000, p. 5. ill. English pp. 30-32, ill. Reflection on Tanya Lyons' Solo Show." Profile of the artist. summary, p. 15. Glass Gazette, v. 3[5], no. 44, April 2001, Review of Prague exhibition. pp. 13-14, ill. 588 Oboussier, Claire. Exhibition review. 600 Palm, Magnus. "Vong Phaophanit: In the Shadow of Words." "Gast i glasriket." Art AsiaPacific, no. 29, 2001, pp. 42-47, ill. Skona Hem, no. 7, July 2001, pp. 114-117+, 613 Pina, Leslie A. Artist creates series of sculpted neon Laotian ill. Blenko Cool '50s & '60s Glass. words. Glassmakers in Smaland, including Mats Atglen, PA: Schiffer, 2000, 206 pp., ill. Jonasson and . A Schiffer book for collectors. 589 Oldknow, Tina. "Dale Chihuly, Maestro americano = Dale 601 Pattani, Shittal. 614 Pleasanton, Tai. Chihuly, American Maestro." "British Anarchy: Creative Vision." "Content Content Content: What Is That Vetro (Centro Studio Vetro, Murano), no. 7, The Glass Art Society Journal, 2000, Really?" April-June 2000, pp. 10-17, ill. In Italian and pp. 70-72, ill. This Side Up!, no. 15, Autumn 2001, English. pp. 24-25, ill. 602 Pavey, Ruth. 2001 G.A.S. conference and student exhibition. "Helen Maurer." 590 Oldknow, Tina. Crafts, no. 171, July/Aug. 2001, pp. 58, ill. Dante Marioni: Blown Glass. 615 Pogue, Aaron. Exhibition review. "New Exhibition Explores How Married Cou­ New York: Hudson Hills Press, 2000, 156 pp., ples Find Passion for Art and Each Other." ill. 603 Pavey, Ruth. The Crafts Report, v. 27, no. 299, March 2001, Lists selected public collections, exhibitions, "Light Phantastic Glass Show." pp. 6-7, ill. awards, and teaching experience. Crafts, no. 168, Jan./Feb. 2001, pp. 57-58, ill. Features the work of nine married couples Exhibition review. working in glass: John Littleton and Kate 591 Olivarez, Jennifer Komar. Vogel, Rick and Valerie Beck, Kate and Billy "Explore Space, Time, and Sculpture." 604 Penaz, Frantisek. Bernstein, Mary Beth Bliss and Peter Vander- Arts (Magazine of The Minneapolis Institute of "A Jewel in the Crown of Czech Glassmaking." laan, Shari and David , Elaine and Di- Arts), v. 24, no. 6, July/Aug. 2001, pp. 8-9, ill. Glass Machinery Plants & Accessories, v. 13, mitri Michaelides, Richard Jolley and Tommie Exhibition of glass sculpture by Howard Ben no. 4, July/Aug. 2000, pp. 96-99, ill. Rush, Pike Powers and Scott Benefield, and Tre. Glass jewelry makers. Robert Spielholz and Kathleen Hargrave. 616 Pollak, Ellen. 630 Prowse-Fainmel, Carolyn. 642 Ricke, Helmut. "From the States: Kana Tanaka - Beyond the "My Personal Odyssey into the World of Glass "Helga Reay-Young." Familiar." Haute Couture." Neues Glas/New Glass, no. 4, 2000, Women in the Arts, v. 18, no. 4, Holiday 2000, Fusion Magazine (The Ontario Clay & Glass pp. 28-33, ill. In German and English. pp. 20-21, ill. Association), v. 25, no. 3, Fall 2001, pp. 18-19, Interview with the artist. ill. 617 Poole, Alan. Glass fashion show at 2001 Glass Art Society 643 Ricke, Helmut. "The Guild Jubilee Exhibition." conference. "Helmut Hentrich." The Guild of Glass Engravers Newsletter, Glashaus/Glasshouse, no. 2, 2001, p. 13. In Autumn 2000, pp. 5-8, ill. 631 Quagliata, Narcissus. German and English. Review of London exhibition. "Painting with Light." Obituary. The Glass Art Society Journal, 2000, pp. 64-67, ill. 618 Porcelli, Joe. 644 Ricke, Helmut. Two recent projects by the artist. "Wayland Cato, Glass Engraver: Doing What "Jutta Cuny-Franz Memorial Award 2001." Comes Naturally." Neues Glas/New Glass, no. 3, Fall 2001, Glass Craftsman, no. 164, Feb./March 2001, 632 R. Duane Reed Gallery. pp. 69-92, ill. In German and English. pp. 12-15, ill. Marvin Lipofsky. Report, biographies of artists honored with [St. Louis, MO: R. Duane Reed Gallery, 1999], awards and diplomas, and photographs and [10] pp., ill. descriptions of selected entries. 619 Posner, Helaine. Glass sculptures by Marvin Lipofsky. Kiki Smith. Boston, MA: Bulfinch, 1998, 198 pp., ill. 645 Ricke, Helmut. 633 Raatikainen, Outi. "Karin Hubert." "Sophisticated Steel and Light in Glass." Neues Glas/New Glass, no. 1, 2001, 620 Powers, Alan. Form Function Finland, nos. 3-4, 2000, pp. 20-27, ill. In German and English. "Obituary: Laurence Whistler." pp. 8-9, ill. Interview with the artist. Crafts, no. 169, March/April 2001, pp. 66-67, Harri Koskinen, littala Glassworks designer, ill. wins Young Designer of the Year award. 646 Ricke, Helmut. "Zugriff: Glaskunstlerinnen heute = Spirited 621 Powley, Tammy. 634 Rabe, Annina. Approach: Women Glass Artists Today." "A Glass Artist's Paradise." "Formen finns i Finland." Neues Glas/New Glass, no. 4, 2000, Jewelry Crafts, Oct. 2001, pp. 20-21+, ill. Skona Hem, no. 12, 2000, pp. 172-173+, ill. pp. 20-27, ill. In German and English. Profile of bead artist D. D. Hess. Includes glass designs by Kaj Franck, Tapio Exhibition of Jutta Cuny-Franz Award winners Wirkkala, and Stefan Lindfors. at Kunstmuseum Dusseldorf. 622 Preijde-Meijer, Mieke. "Aan de Amsterdamse grachten ... Glasgale- 647 Ricke, Helmut. 635 Radcliffe, Allan. rie Kuhler." Zugriff: Glaskunstlerinnen heute = Spirited "Champagne Days at Caithness Glass." Glasbulletin, Vereniging van Vrienden van Approach: Women Glass Artists Today. Tableware International, v. 31, no. 4, May Modern Glas, v. 15, no. 1, 2001, pp. 20-22, ill. Dusseldorf, Germany: Kunstmuseum Dussel­ 2001, pp. 26-27, ill. dorf: Jutta Cuny-Franz Foundation, 2000, Company profile. 623 Preijde, Mieke. 119 pp., ill. In English and German. "Arnout Visser." Current work of contemporary 636 Rapaport, Brooke Kamin. Glasbulletin, Vereniging van Vrienden van who have won the Jutta Cuny-Franz Foun­ Vital Forms: American Art and Design in the Modern Glas, v. 15, no. 3, 2001, pp. 52-53, ill. dation award. , 1940-1960. Profile of the artist. New York: Brooklyn Museum of Art in associa­ 648 Robinson, Michael. tion with Harry N. Abrams, 2001, 256 pp., ill. "Guild of Glass Engravers Jubilee Exhibition." 624 Preijde, Mieke. Published on the occasion of an exhibition The Glass Society of Ireland Newsletter, "Jens Pfeifer." held at the Brooklyn Museum of Art, New no. 25, Jan. 2001, pp. 4-6, ill. Glasbulletin, Vereniging van Vrienden van York, and four other institutions between Review of London exhibition. Modern Glas, v. 15, no. 3, 2001, pp. 42-43, ill. Oct. 12, 2001, and June 29, 2003. Profile of the artist. 649 Robinson, Michael. 637 Raverty, Dennis. "A Personal Touch." 625 Preijde, Mieke. "Reviews: Tony Oursler." Crafts, no. 171, July/Aug. 2001, pp. 51-52, ill. "Lisa Gherardi." New Art Examiner, v. 28, nos. 8/9, May/June Review of exhibition at National Glass Centre, Glasbulletin, Vereniging van Vrienden van 2001, p. 100, ill. . Modern Glas, v. 15, no. 3, 2001, pp. 34-35, ill. Exhibition includes neon and glass. Profile of the artist. 650 Robinson, Rebecca. 638 Reed, Karen. "The Art of Craft." 626 Princenthal, Nancy. "R. Bruce Laughlin: A Master at His Craft." Art & Antiques, v. 23, no. 11, Nov. 2000, "Keke Cribbs." Glass Craftsman, no. 164, Feb./March 2001, pp. 110-115, ill. American Craft, v. 61, no. 1, Feb./March 2001, pp. 58-59, ill. Collectors George and Dorothy Saxe. pp. 102-103, ill. Review of New York gallery exhibition. 639 Reich, Isabella. 651 Romanelli, Marco. "Jun Kaneko: Freeways and Cul-de-sacs." "Ceramica e vetro: Martin Szekely, Pierre 627 Prokop, Diane. Object, no. 3, 2001, pp. 49-56, ill. Charpin, Jasper Morrison." "Passing the Torch." Profile of the glass artist. Abitare, no. 399, Oct. 2000, pp. 179-185, ill. Journal, v. 55, no. 7, Oct. 2001, In Italian and English. pp. 24-29, ill. 640 Reich, Isabella. Glass by Martin Szekely in Paris exhibition. Bead maker James Smircich. "Tactile Art." Object, no. 3, 2001, pp. 25-32, ill. 652 Romanelli, Marco. 628 Prowse-Fainmel, Carolyn. Exhibition in Sydney, Australia, includes neon "'Spigoitondi': Lino Tagliapietra." "Marc Petrovic." work by Lisa Anderson. Abitare, no. 402, Jan. 2001, pp. 122-125, ill. Fusion News Magazine (The Ontario Clay and In Italian and English. Glass Association), Spring 2001, p. 7, ill. 641 Reid, Colin. "Interglass Symposium: Novy Bor, September 653 Rous, Jan. 629 Prowse-Fainmel, Carolyn. 2000." "Sama voda." "Marc Petrovic: International Creator." Glass Network (Contemporary Glass Society, Atelier, no. 13, June 28, 2001, p. 4, ill. English Glass Gazette, v. 3[5], no. 44, April 2001, U.K.), March 2001, p. 3. summary, p. 15. p. 16, ill. Profile of the artist. Report on the symposium. Czech glass artist Jana Voldrichova. 654 Roussel, Lucy. 666 Save, Colette. 678 Schack von Wittenau, Clementine. "Sheridan Glass Graduates of 2001 "Interview: Jean-Luc Blais." "Jack Ink and His Painting on Glass." Fusion Magazine (The Ontario Clay & Glass Verre, v. 7, no. 1, Feb. 2001, pp. 54-55, ill. Neues Glas/New Glass, no. 2, 2001, Association), v. 25, no. 2, Spring 2001, Tableware designer. pp. 38-41, ill. In German and English. pp. 12-13, ill. Recent works. 667 Save, Colette. 655 Rowe, Keith. "Isabelle Poilprez: Souffleur a Murano." 679 Scharhag, Silke. "African Glass Safari: 'Bush Glass 2000', Verre, v. 7, no. 2, May 2001, pp. 76-77, ill. "Light in Tubes." Kitengela Glass, Kenya, March, 2000." English summary, p. 76. Schott Info, no. 97, May 2001, pp. 24-25, ill. Craft Arts International, no. 50, 2000, Profile of the artist. Glass tubing from Schott used in art works. pp. 116-117, ill. 680 Scharhag, Silke. Profile of the studio. 668 Save, Colette. "A Rainbow within Glass: Art from Broken "Lausanne: Histoire d'une collection de verre Glass." 656 Rusinol, Eduard. contemporain." Schott Info, no. 95, Oct. 2000, pp. 28-29, ill. "Miscelanea: En el birllo del vidrio." La Revue de la Ceramique et du Verre, Artist Hermann Schroeder. Vitrea, no. 12, Dec. 2000, pp. 68-69, ill. no. 115, Nov./Dec. 2000, pp. 30-33, ill. English summary. Profile of glass artist Gerd Kruft. 681 Scharkey, Shannon. Profile of the glass collection at the Musee de "The Role of Biblical Art in a Modern World." Design et d'Arts Appliques Contemporains in Glass Digest, v. 79, no. 11, Nov. 15, 2000, 657 Rusinol, Eduard. Lausanne. "Miscelanea: Frank O. Gehry en Berlin." pp. 56-58+, ill. Vitrea, no. 13, Feb. 2001, p. 54, ill. New York exhibition includes glass sculptures Glass sculpture by Nikolas Weinstein for a 669 Save, Colette. and stained glass with biblical themes. Berlin bank designed by in the "Lieve van Stappen." late 1990s. Verre & Creation, no. 21, December 2000, 682 Scheel, K. M. p. 4, ill. English summary, p. 8. "Portfolio: Vancouver's New Glass Gallery on the Block." 658 Sareld, Louise. Glass Gazette (Glass Art Association of "Vatten for natten." 670 Save, Colette. Canada), v. 3, no. 43, Feb. 2001, pp. 18-19, ill. Skona Hem, no. 2, Feb. 2001, pp. 56-57, ill. "Nanny Still." Gallery features glass and art. Glass carafes by Konstantin Grcic, Ingegerd Verre & Creation, no. 22, March 2001, p. 4, ill. Raman, and Anne Nilsson. English summary, p. 8. Designer produces "25 pieces inspired by the 683 Schmolders, Wolfgang. mythology of her Nordic childhood." "Bernard Dejonghe, Grenzganger = Crossing 659 Sarpellon, Giovanni. Borders." "Ercole Barovier: Mezzo secolo di vetro mura- 671 Save, Colette. Glashaus/Glasshouse, no. 3, 2001, pp. 8-9, ill. nese = Fifty Years of Glass on Murano." "Sculpture de verre: Les Femmes menent le In German and English. Vetro (Centro Studio Vetro, Murano), v. 4, jeu." Artist's works in German exhibition. no. 11, April-June 2001, pp. 26-31, ill. In Verre, v. 6, no. 6, Dec. 2000, pp. 48-49, ill. Italian and English. English summary, p. 48. 684 Schmolders, Wolfgang. Profile of the Barovier family. Exhibition of contemporary glass sculptures. "Das Individuum als Weltburger = The Individ­ ual as World Citizen: Ursula Merker." 660 Sasa, Fumio. Glashaus/Glasshouse, no. 3, 2001, pp. 10-11, 672 Save, Colette. Garasu sanka = A Glass Song. ill. In German and English. "St'art: Changement dans la continuite." [Tokyo]: [Hoya Crystal Co.], 2001, 214 pp., ill. Artist's and prints on display in Verre & Creation, no. 22, March 2001, p. 2, ill. Text in Japanese. Immenhausen. English summary, p. 8. Hoya crystal and glasses designed by Fumio Report on St'art 2001, contemporary art fair, Sasa. 685 Schmolders, Wolfgang. which included glass works. "Jutta Cuny-Franz Memorial Award zum Ach- ten." 661 Save, Colette. 673 Save, Colette. Glashaus/Glasshouse, no. 2, 2001, pp. 1-2, ill. "Anne-Lise Riond Sibony: Tete a tete." "Symposium en Lorraine: Le Talent, a I'assaut In German and English. La Revue de la Ceramique et du Verre, des cristalleries." no. 117, March/April 2001, pp. 44-45, ill. La Revue de la Ceramique et du Verre, 686 Schmolders, Wolfgang. Artist uses glass to paint three-dimensional no. 116, Jan./Feb. 2001, pp. 52-53, ill. English "Die mannliche Seele des Glases = The Mas­ portraits. summary. culine Soul of Glass." Report on symposium. Glashaus/Glasshouse, no. 1, 2001, pp. 6-7, ill. 662 Save, Colette. In German and English. "Antonio Cagianelli: Le Temps des vagues = 674 Save, Colette. Internationales Magazin fur StudioglasProfile The Age of Waves." "Verre monumental: Le Verre prend I'air - Le of Theodor G. Sellner. Verre (Institut du Verre, Paris), v. 6, no. 5, Oct. Jardin secret de Michel Martens." 2000, pp. 50-51, ill. English summary. Verre (Institut du Verre, Paris), v. 6, no. 4, 687 Schmolders, Wolfgang. Sept. 2000, pp. 58-59, ill. "Zugriff zwischen Erinnerung und Utopie = 663 Save, Colette. Approach between Recollection and Utopia." "Escale a Murano: Les Chemins discrets de la 675 Save, Colette. Glashaus/Glasshouse (Internationales Maga­ ill. creation." "Verre monumental: L'Elegante transparence zin fur Studioglas), no. 1, 2001, pp. 20-21, Verre, v. 7, no. 2, May 2001, pp. 73-75, ill. de Renato Santarossa." In German and English. Review of exhibition featuring works by 14 English summary, p. 73. Verre (Institut du Verre, Paris), v. 6, no. 4, winners of the Jutta Cuny-Franz Award. and Anfora glass workshops in Sept. 2000, p. 61, ill. Murano. 688 Schrijvers, Dirk. 676 Save, Colette. "Edward Leibovitz: De vierde dimensie." 664 Save, Colette. "Verre monumental: Les Vaisseaux de lumiere Glasbulletin, Vereniging van Vrienden van "Giampaolo Amoruso: Les Couleurs de I'ame." de Gaetano Pesce." Modern Glas, v. 15, no. 2, 2001, pp. 28-29, ill. Verre & Creation, no. 22, March 2001, pp. 2-3, Verre (Institut du Verre, Paris), v. 6, no. 4, Exhibition preview. ill. English summary, p. 8. Sept. 2000, p. 60, ill. Portrait of the artist. 689 Schrijvers, Dirk. 677 Scarfi, Silvia. "Glas in het Museum van Hedendaagse 665 Save, Colette. "Federica Marangoni's Grand Metaphor." Kunst." "Hubert Crevoisier: Cocons & Co." Glass (Urban Glass Art Quarterly), no. 84, Fall Glasbulletin, Vereniging van Vrienden van La Revue de la Ceramique et du Verre, 2001, pp. 38-43, ill. Modern Glas, v. 14, no. 4, 2000, pp. 20-22, ill. no. 116, Jan./Feb. 2001, pp. 26-29, ill. English "An avant-gardist short-circuits preconceptions Review of exhibition featuring works by Tony summary. about Italian glass." Cragg and Wim Delvoye. 690 Schrijvers, Dirk. 703 Shulman, Frank. 715 Soleau, Antje. "Koen Vanderstukken." "The Barbarico Series of Ercole Barovier." "Glas-Professur fur Ingrid Conrad-Lindig = Glasbulletin, Vereniging van Vrienden van Vetri (Italian Glass News), v. 7, no. 2, Spring Glass Professorship for Ingrid Conrad-Lindig." Modern Glas, v. 15, no. 3, 2001, pp. 50-51, ill. 2001, pp. 3-4, ill. Glashaus/Glasshouse (Internationales Maga- Profile of the artist. zin fur Studioglas), no. 1, 2001, pp. 24-25, ill. 704 Siegel, Roslyn. In German and English. 691 Schrijvers, Dirk. "New Glass." "Sandra De Clerck." House & Garden Decorating Guide, Fall 1979, 716 Soleau, Antje. Glasbulletin, Vereniging van Vrienden van pp. 80-81+, ill. "Helga Reay-Young: Der Mensch und die Na- Modern Glas, v. 15, no. 3, 2001, pp. 32-33, ill. Sculpture that "explores pure form and color." tur = Helga Reay-Young: Man and Nature." Profile of the artist. Glashaus/Glasshouse (Internationales Maga- 705 Signoretti, Laura. zin fur Studioglas), no. 1, 2001, pp. 8-10, ill. 692 Schrijvers, Dirk. "Magie di luce. Fragili, trasparenti, colorate." In German and English. "Wouter Bolangier." Antiquariato, no. 246, Oct. 2001, p. 141+, ill. Glasbulletin, Vereniging van Vrienden van Works from the Olnick Spanu collection ex­ 717 Sottsass, Ettore. Modern Glas, v. 15, no. 3, 2001, pp. 26-27, ill. hibited in Milan. Profile of the artist. Sottsass: Glass Works. Stuttgart, Germany: Arnoldsche, 1998, 155 pp., 706 Simpson, Richard V. ill. 693 Schroeder, Kathie. "Jim Donofrio, Paperweight Artist: His Art and "Des fleurs en fil et perles: A French Tradition." Philosophy." The Bead Museum Quarterly (Glendale, AZ), Antiques & Collecting Magazine, v. 106, no. 8, 718 Spitzer, Nina. "Blowing Glass with Class." v. 10, no. 2, June 2000, p. 5, ill. Oct. 2001, pp. 45-50, ill. Glass Craftsman, no. 166, June/July 2001, 694 Schurenberg, Achim. pp. 54-59, ill. 707 Sisson, Barbara. "Yasuhiko Tsuchida." Glass studio transformed into a classroom. "Paperweights by John Gentile." Vetro (Centro Studio Vetro, Murano), no. 8, The Antique Trader Weekly Annual of Articles July-Sept. 2000, p. 57, ill. In Italian and on Antiques, v. 6, 1977, pp. 223-225, ill. 719 Spitzer, Nina. English. Includes moon landing and Harbor com­ "Rattlesnakes and Paperweights: Sara Creek- Profile of the artist. memorative paperweights. more Glass, Inc." Glass Craftsman, no. 162, Oct./Nov. 2000, 695 Schwartz, Meredith. pp. 10-12, ill. "The New Award." 708 Skinner, Tina. Profile of glass artists Sara Creekmore and Gifts & Decorative Accessories, v. 101, no. 7, Lighting 2000: A Guide to the Best in Contem­ David Durham. July 2000, pp. 44-45, ill. porary Lighting Design. Crystal trophy designed by Matthew S. Carter Atglen, PA: Schiffer, 2000, 112 pp., ill. 720 Stadus, Pam. of Blenko Glass for Merchandising Achieve­ Features electric lamps in a variety of catego­ "Fusion: Contemporary Glass." ment Awards. ries: Old World, retro/nostalgic, exotic, whim­ sical, fantasy and romance, futuristic. Craft (Craft Victoria), v. 30, no. 239, 2000, pp. 22-23, ill. 696 Searle, Jack. Exhibition review. "Smaland Saga." 709 Smets, Francis. Glass in Scotland (The Newsletter of the "Esoterisch Glas = Esoteric Glass." Scottish Glass Society), no. 71, Spring 2001, Kwintessens (Vlaams Instituut voor het Zelf- 721 Stappen, Lieve van. pp. 9-15, ill. standig Ondernemen), v. 10, no. 3, July/Aug./ Empty Eyes. Tour of Swedish glassworks. Sept. 2001, pp. 20-22, ill. In Dutch and [Belgium]: Lieve Van Stappen Editions, 1999, English. 61 pp., ill. Review of works by Ingrid Arts, Pierre Exhibition catalog. 697 Seguso, Francesca. Declerck, and Sylvie Vandenhoucke. "Archimede Seguso: La grande figura del maestro muranese nei ricordi della nipote." 722 Staudt, . Alte Vitrie, v. 12 [13], no. 1, [2000], pp. 35-36, 710 Smith, Paul J. "Gerard Thomassen: Ontwerper van glas- ill. English summary. Objects for Use: Handmade by Design. objecten." New York: Harry N. Abrams, 2001, 336 pp., ill. Glasbulletin, Vereniging van Vrienden van 698 Seince, Frangoise. Candlesticks (pp. 40-41, 162-163); glass Modern Glas, v. 14, no. 4, 2000, pp. 27-28, ill. "Sylvie Belanger, la passion du verre coule." objects for food and dining (pp. 120-129, Brief profile of the designer. Le Courrier des Metiers d'Art, no. 193, Nov. 152-153, and 174-175); lamps (pp. 246- 249); and , tops (p. 308). 2000, p. 31, ill. 723 Stavis, Amy. Exhibition review. "Katherine De Sousa." 711 Soderman, Alee. Tableware Today, v. 6, no. 4, June/July 2001, Beauty and the Bevel. 699 Selbert, Pamela. pp. 56-59+, ill. Palo Alto, CA: Valee Studios, 1988, 80 pp., ill. "Body in Motion." Glass designer. Lapidary Journal, v. 55, no. 2, May 2001, New designs for popular bevel clusters. pp. 34-37, ill. Profile of beadmaker Stevi Belle. 712 Soderstrom, Ebba. 724 Steinglass, Matt. "Den stillsamme perfektionisten." "Invisible Hand." Metropolis, v. 19, no. 6, Feb./March 2000, 700 Setlik, Jin. Skona Hem, no. 6, June 2001, p. 46, ill. Glass by Konstantin Grcic. pp. 92-95+, ill. "Marian Karel: Dialogue with Space." Designs by Konstantin Grcic. Neues Glas/New Glass, no. 2, 2001, pp. 14-21, ill. In German and English. 713 Softie, Tanja. Works by the Czech glass artist. "Reviews: Havana." 725 Stern, Suzanne B. Art Papers Magazine, v. 25, no. 3, May/June "Pate-de-verre." 701 Shave, Chris. 2001, p. 56, ill. Glass on Metal, v. 19, no. 5, Dec. 2000, "Man-Made Geode." Includes Botellas al Mar by Cuban artist Car­ p. 118+, ill. The Glass Art Society Journal, 2000, los Alberto Estevez Carasa. Artist discusses her work; illustrations on front pp. 106-107, ill. and back covers. Artist's demonstration. 714 Soleau, Antje. "Elvira : Kraft der Farbe und der Frau = 726 Sternberg, llene. 702 Shen, Ben. The Power of Colour and Woman." "Beads & Kisses, Kate Fowle." "Chandelier Makers Seek Survival in Mainland Glashaus/Glasshouse, no. 3, 2001, pp. 12-13, Lapidary Journal, v. 55, no. 7, Oct. 2001, China." ill. In German and English. pp. 36-39+, ill. Taiwan Lighting, no. 62, Nov. 2000, pp. 31-32, Artist glass sculptures that explore Lampworker experiments with new surface ill. the theme of women. treatments. 727 Stickel, Florian. 738 Tidmarsh, Megan. 749 Tosi, Andrea. "Sandguss = Sand-Casting." "440°: An Exhibition of Cast Glass." "Vetro in movimento: La sensualita narrativa Glashaus/Glasshouse (Internationales Maga- N.Z.S.A.G. Newsletter (New Zealand Society di Lucio Bubacco = Glass in Movement: The zin fur Studioglas), no. 1, 2001, pp. 26-27, ill. of Artists in Glass), June 2001, p. 11, ill. Narrative Senuslity [sic] of Lucio Bubacco." In German and English. Exhibition review. Vetro (Centra Studio Vetro, Murano), v. 4, Brief profile of Nina and Stephen Thorpe. no. 11, April-June 2001, pp. 10-15, ill. In 739 Tognon, Caterina. Italian and English. 728 Stone, Graham. "Hotspot: Galleria d'Arte & Divetro." Interview with the artist. "International Glass Scene: Aspects of Studio This Side Up! (Valkenswaard, the Nether­ Glass in Australia (Part One)." lands), no. 12, Winter 2000, pp. 30-32, ill. 750 Tosi, Andrea. Common Ground: Glass (Newsletter of the In­ Profile of the galleries in Bergamo and Venice. "Vittorio Ferro." ternational Guild of Glass Artists Inc.), Winter Vetro (Centra Studio Vetro, Murano), no. 7, 2001, p. 1+, ill. 740 Tognon, Paola. April-June 2000, pp. 46-49, ill. In Italian and "Capelli di vetro = Glass Hair." English. Vetro (Centra Studio Vetro, Murano), v. 4, 729 Sudjic, Deyan. no. 11, April-June 2001, pp. 18-22, ill. In "Marfa, Texas: II sogno di Judd e Flavin = Italian and English. 751 Toso Fei, Alberto. Marfa, Texas: Judd and Flavin's Dream." Toots Zynsky. "Alia ricerca del tempo perduto = A la recher­ Domus, no. 832, Dec. 2000, pp. 114-125, ill. che du temps perdu." In Italian and English. 741 Tognon, Paola. Vetro (Centra Studio Vetro, Murano), v. 4, Dan Flavin installation features slanting walls "Roubicek Roubickova." no. 11, April-June 2001, pp. 44-47, ill. In and fluorescent light. Vetro (Centra Studio Vetro, Murano), v. 4, Italian and English. no. 11, April-June 2001, p. 53, ill. In Italian "A conversation with Silvano Tagliapietra 730 Suhonen, Pekka. and English. about Murano, its future and glass." "Tapio Wirkkala." Brief profiles of Rene Roubicek and Miluse Form Function Finland, nos. 3-4, 2000, Roubickova. 752 Toso Fei, Alberto. pp. 51-82, ill. "L'arte da toccare: II vetro cammeo di Michele Includes "Respect for Man and Nature: Tapio 742 Tognon, Paola. Rinaldo = A Touching Art: by Wirkkala and His Work," which was first pub­ "Stanislav Libensky, Jaroslava Brychtova: Di Michele Rinaldo." lished in the 1981 catalog of an exhibition at giorno e di notte = Day and Night." Vetro (Centra Studio Vetro, Murano), v. 4, the Finnish Glass Museum in Riihimaki. Vetro (Centra Studio Vetro, Murano), no. 8, no. 11, April-June 2001, pp. 34-36, ill. In July-Sept. 2000, pp. 18-23, ill. In Italian and Italian and English. 731 Summers, Ruth T. English. "Art Dealers in the Hot Seat." 753 Toso Fei, Alberto. The Glass Art Society Journal, 2000, 743 Tokyo Garasu Kogei Kenkyujo. "Egidio Costantini: La fucina degli artisti." pp. 37-44, ill. Glass works 2001: Tokyo Glass Art Institute Vetro (Centra Studio Vetro, Murano), no. 7, Includes comments by Douglas Heller, Carole Graduation Exhibition. April-June 2000, pp. 30-35, ill. In Italian and Hochman, Bonita Marx, and Lani McGregor. Tokyo: Tokyo Glass Art Institute, 2001, 63 pp., English. ill. In Japanese and English. Catalog of the Tokyo Glass Art Institute gra­ 732 Tagliapietra, Silvano. duation exhibition, held Feb. 23-Mar. 4, 2001. 754 Toso Fei, Alberto. "La Plateforme Verriere di Vannes-Le Chatel: "La forza di 'fragili' idee = The Strength of Fra­ Una vera fucina di idee che sanno trasfor- 744 . gile Ideas." marsi in forme suggestive." The Enduring Legacy: A Pictorial History of Vetro (Centra Studio Vetro, Murano), no. 8, CeramicAntica, v. 10, no. 11, Dec. 2000, July-Sept. 2000, pp. 54-55, ill. In Italian and pp. 6-10, ill. The Toledo Museum of Art. Toledo, Ohio: Toledo Museum of Art, 2001, English. Venice exhibition of works from the French Review of Murano exhibition. glass school. 48 pp., photos. The Studio Glass movement at the museum (p. 38). 755 Toso Fei, Alberto. 733 Takeda, Atsushi. "Labirinti di luce: Anna Skibska - attraversan- "Glass Is Alive: Rene Roubicek's Concept of 745 Tosi, Andrea. do il confine con un filo = Labyrinths of Light: Glass." "Amber Hauch: Un'artista americana in laguna Anna Skibska - Crossing the Borderline with Neues Glas/New Glass, no. 4, 2000, = An American Artist in Venice." a Thread." pp. 34-39, ill. In German and English. Vetro (Centra Studio Vetro, Murano), no. 8, Vetro (Centra Studio Vetro, Murano), no. 9, July-Sept. 2000, pp. 31-33, ill. In Italian and Oct./Dec. 2000, pp. 60-61, ill. In Italian and 734 Tanguy, Sarah. English. English. "Believe I've Been Sanctified: A Conversation Artist working with Pino Signoretto. Glass installation at William Traver Gallery. with Joyce Scott." Sculpture, v. 19, no. 10, Dec. 2000, pp. 32-39, 746 Tosi, Andrea. 756 Toso Fei, Alberto. ill. "Cesare Toffolo: L'universo dei 'piccoli uomini' "Loredano Rosin: Pensiero e gioia a tre di- = A Universe of 'Little Men."' mensioni = Thoughts and Joy in Three Dimen­ 735 Tarsitano, Debbie. Vetro (Centra Studio Vetro, Murano), no. 9, sions." "Creating Your Personal Style." Oct.-Dec. 2000, pp. 8-13, ill. In Italian and Vetro (Centra Studio Vetro, Murano), no. 8, Glass Art, v. 16, no. 3, March/April 2001, English. July-Sept. 2000, pp. 8-15, ill. In Italian and p. 40+, ill. Glassmaking demonstration at Pilchuck Glass English. Advice to glass artists. School. 747 Tosi, Andrea. 757 Toso Fei, Alberto. 736 Taylor, Michael. "Checco Ongaro e Mario Grasso: Le 'mani' "Marvin Lipofsky: Un 'muranese' in California "Artists Working in Marinha Grande Glass della rivoluzione di Venini = The 'Hands' That = A 'Muranese' in California." Companies." Made Venini's Revolution." Vetro (Centra Studio Vetro, Murano), no. 9, Vidro (Boletim Trimestral da Associagao Por- Vetro (Centra Studio Vetro, Murano), v. 4, Oct./Dec. 2000, pp. 16-23, ill. In Italian and tuguesa do Vidro), no. 1, Autumn 2000, p. 6, ill. no. 10, Jan.-March 2001, pp. 21-25, ill. In English. Report on project involving artists Richard Italian and English. Artist working with Gianni Toso at the Venini Meitner, Hiroshi Yamano, Jiri Suhajek, and factory. Michael Taylor. 748 Tosi, Andrea. "II legno in vetro = Wood and Glass." 758 Toso Fei, Alberto. 737 Tebbel, Cyndi. Vetro (Centra Studio Vetro, Murano), no. 8, Marvin Lipofsky: Un "muranese" in California "From Personal to Public." July-Sept. 2000, pp. 58-59, ill. In Italian and = A "Muranese" in California. Craft Arts International, no. 50, 2000, English. [Murano (Venezia), Italy: Centra Studio Vetro, pp. 97-99, ill. Designs by wood artist Livio De Marchi cre­ 2000], 8 pp., ill. In Italian and English. Profile of flameworking artist Giselle Courtney. ated in glass by Pino Signoretto. Article previously published in "Vetro" n.9/2001. 759 Toso Fei, Alberto. 770 Waggoner, Shawn. 782 Warmus, William. "L'orto di vetro: A Palo Alto le zucche del Bagi "Fairytales, Mysteries and Dreamscapes: Lez- "Fakes!" = The Glass Pumpkin Patch: The BAGI lie Levitt's Glass Beads." Glass (Urban Glass Art Quarterly), no. 84, Fall Pumpkins in Palo Alto." Glass Art, v. 16, no. 2, Jan./Feb. 2001, pp. 2001, pp. 50-53, ill. Vetro (Centro Studio Vetro, Murano), no. 9, 14-16+, ill. Forgeries "becoming an issue" in contem­ Oct./Dec. 2000, p. 55, ill. In Italian and Canadian glass beadmaker. porary glass. English. Installation by Bay Area Glass Institute artists. 771 Waggoner, Shawn. 783 Warmus, William. "The Great Glass Pumpkin Patch: An Art "Steuben Forever." Glass (Urban Glass Art Quarterly), no. 81, 760 Toso Fei, Alberto. Installation by the Bay Area Glass Institute." Winter 2000, pp. 36-41, ill. "San Nicolo: Festa di fede e fuoco = Festival Glass Art, v. 15, no. 2, Jan./Feb. 2000, of Faith and Fire." pp. 4-6, ill. 784 Warmus, William. Vetro (Centro Studio Vetro, Murano), no. 9, "Vizner's Vision." Oct./Dec. 2000, p. 52, ill. In Italian and 772 Waggoner, Shawn. Glass (Urban Glass Art Quarterly), no. 82, English. "Kaleidoscopes: Symmetry in Motion." Spring 2001, pp. 42-47, ill. Murano celebrates the annual feast of "San Glass Art, v. 15, no. 2, Jan./Feb. 2000, Nicolo," the patron saint of glass masters. pp. 46-52, ill. Exhibition at the Museum of Northern Arizona, 785 Warren, Emma. Flagstaff. "Creative Breath: An Exhibition of Work by 761 Tsuchida, Ruriko. Joye Colbeck." "Iwao Matsushima: I colori del Sol Levante = 773 Waggoner, Shawn. Cameo, no. 28, Winter 2000, p. 3, ill. The Colors of the Rising Sun." "Keke Cribbs: Journeys through the Emotional The Friends of Broadfield House Glass Vetro (Centro Studio Vetro, Murano), no. 7, Adventure of Life." Museum. April-June 2000, pp. 38-43, ill. In Italian and Glass Art, v. 16, no. 2, Jan./Feb. 2001, English. pp. 4-8+, ill. 786 Watkins, Eileen. Artist tells "stories of far-away places and "The Sky's the Limit... Starting from the Ground Up." 762 Ullrich, Polly. exotic characters in a mosaic glass technique." Glass Craftsman, no. 168, Oct./Nov. 2001, "Lucio Bubacco." pp. 12-15, ill. New Art Examiner, v. 28, no. 7, April 2001, 774 Waggoner, Shawn. Karen and Geoffrey Caldwell build miniature pp. 52-53, ill. "Mysteries of Human Experience: Richard glass skyscrapers. Exhibition review. Jolley's Glass." Glass Art, v. 16, no. 6, Sept./Oct. 2001, pp. 6-10, ill. 787 Wax, Jack. 763 Valentine, John. "Gathering Smoke and Such." "'America the Beautiful Series Plates.'" 775 Waggoner, Shawn. The Glass Art Society Journal, 2000, Sunshine State Carnival Glass Association, "Oregon Coast Festival of Glass and Millen­ pp. 100-101, ill. no. 12, March 2001, pp. 22-23, ill. nium Celebration: Artist Bryan Duncan's Y2K Artist's demonstration. Carnival glass series made from 1969 to 1975. Gift." 788 Webber, Dave. Glass Art, v. 15, no. 1, Nov./Dec. 1999, "A Profile of John Deacons." 764 Valoch, Jin. pp. 4-6, ill. Annual Bulletin of the Paperweight Collectors "Ambruz: Sklo zase jinak." Artist left 2,000 glass floats on Oregon beach Association Inc., 2001, pp. 74-79, ill. Atelier, no. 13, June 28, 2001, p. 5, ill. English as part of 1999-2000 festival. Profile of British paperweight maker. summary, p. 15. Works by sculptor Jan Ambruz feature pre­ 776 Waggoner, Shawn. 789 Weber-Stober, Christianne. fabricated glass elements. "Teamwork, Technology and Scale: Milon "Schmuck im ethnologischen Kontext." Townsend's Body Language Series." Kunsthandwerk & Design, no. 2, March/April Glass Art, v. 16, no. 4, May/June 2001, 765 Varax, Anne-Sophie de. 2001, pp. 4-11, ill. pp. 48-52+, ill. "La Passion de la creation." Jewelry by Martina Dempf. Offrir International, no. 384, Sept 2001, Interview with the artist. pp. 100-101, ill. 790 Weiss, Ruth Palombo. Brief profile of glass designer Odile Casset. 777 Waggoner, Shawn. "An Artist Dresses Up Her Painted Lady." "The World According to Grebe." American Style, v. 8, no. 1, Fall 2001, Glass Art, v. 16, no. 3, March/April 2001, pp. 72-81, ill. 766 Vedrenne, Elisabeth. pp. 16-18+, ill. Glass artist Laney Oxman. "De verre et de cristal." Robin Grebe. L'CEil, no. 523, Feb. 2001, pp. 80-87, ill. 791 Weiss, Ruth Palombo. Exhibition of glass work by French designers. 778 Walgrave, Jan. "Conducting a Symphony in Glass." "Sars-Poteries, parel van de glastronomie = American Style, v. 7, no. 4, Summer 2001, 767 Vetrocq, Marcia E. Sars-Poteries, Jewel of Glasstronomy." pp. 34-36+, ill. "Biennale Babylon." Kwintessens (Vlaams Instituut voor het Profile of the Glass Gallery (Bethesda, Mary­ Art in America, v. 89, no. 9, Sept. 2001, Zelfstandig Ondernemen),v. 10, no. 3, 2001, land) and its founder, Sally Hansen. pp. 104-115, ill. pp. 45-46, ill. In Dutch and English. Includes illustration of Javier Perez's installa­ Short history of Sars-Poteries as a museum/ 792 Wheaton, Hazel L. tion A Piece of Crystalized Sky (2001), which studio of glass art. "Landing in Bead Heaven." includes 12,000 handblown glass elements. Lapidary Journal, v. 55, no. 7, Oct. 2001, 779 Wallace, Lori. pp. 44-45, ill. "Dennis Oppenheim." 2001 Gathering for the Society of Glass Bead- 768 Wachter, Helmut. Sculpture, v. 20, no. 3, April 2001, pp. 14-15, makers. "Weru-Glaskunstpreis: Bereits zum zweiten ill. mal wurden in der Rudersberger Weru-Zen- Artist's whimsical sculpture includes fiberglass. 793 Wichert, Geoff. trale Glaskunstler ausgezeichnet." "Herbstliche Paradiese = Waiting for the Fall." Gias + Rahmen, v. 51, no. 11, Nov. 2000, 780 Warmus, William. Glashaus/Glasshouse (Internationales Maga- p. 48, ill. Chihuly, the Explorer. zin fur Studioglas), no. 1, 2001, pp. 4-5, ill. In Prize awarded to Gunter Joachimsthaler; Chicago: Expressions of Culture, Inc., 1999, German and English. special prizes to Albrecht Greiner-Mai, Wiebke pp. 28-31, ill. Brief profiles of Ginny Ruffner, Jay Musler, Vogt, and Eduard Deubzer. Katja Fritzsche, and Robert Carlson. 781 Warmus, William. 769 Waggoner, Shawn. The Essential Dale Chihuly. 794 Wichert, Geoff. "Breaking the Rules: Jim Donofrio's Paper­ New York: Harry N. Abrams, 2000, 112 pp., ill. "Jun Kaneko." weights." A biographical sketch of the artist, including Glass (Urban Glass Art Quarterly), no. 84, Fall Glass Art, v. 16, no. 5, July/Aug. 2001, information on some of his most well known 2001, p. 58, ill. pp. 40-42+, ill. works. Exhibition review. 795 Wichert, Geoff. 801 Wilde, David. 807 Wood, Tim. "Schlaufuchs Mary Fox = Sly as Mary Fox." "Contemporary Stained Glass in France." "The Sensuous Art of Glass Blowing." Glashaus/Glasshouse, no. 2, 2001, pp. 4-5, ill. Artists in Stained Glass Canada Bulletin, Feb. Cape Cod & The Islands Antiques & Collec­ In German and English. 2001, pp. 4-6, ill. tibles, v. 3, no. 3, Aug. 1987, pp. 16-17, ill. Glass sculptures. Profile of Chatham Glass studio/gallery. 802 Wilde, David. 796 Wichert, Geoff. "Symboloqy 2000: Millennial Initiatives in 808 Yalcinkaya, Yilmaz. "Steven Weinberg's Buoys." Glass." "Turkish Glassmaking." Craft Arts International, no. 52, 2001, Glass Gazette, v. 3[5], no. 44, April 2001, p. 22. This Side Up!, no. 14, Summer 2001, pp. 2-4, pp. 27-31, ill. Exhibition at Canadian Clay and Glass Gallery. ill. Profile of the artist, with recent works. Includes brief profiles of Turkish glass artists. 803 Wills, Rebekah. 797 Wichert, Geoffrey. "Designs in Crystal." 809 Yood, James. "Josiah McElheny Could Use a Few Good Jewelry Crafts, Dec. 2001, pp. 12-13, ill. "Jim Dine." Enemies...." Profile of designer Regina Payne. Glass (Urban Glass Art Quarterly), no. 82, Neues Glas/New Glass, no. 4, 2000, Spring 2001, p. 54, ill. pp. 40-45, ill. In German and English. 804 Wilson, Ian. Exhibition review. "Four Approaches to Glass." 798 Wichert, Geoffrey. 810 Yood, James. "Steven Weinberg: At Anchor in Bohemian Crafts, no. 171, July/Aug. 2001, pp. 55-56, ill. Exhibition review. "Reviews: Lucy Lyon - Solitude and Society." Harbors." Glass (Urban Glass Art Quarterly), no. 81, Glass (Urban Glass Art Quarterly), no. 82, Winter 2000, p. 52, ill. Spring 2001, pp. 28-33, ill. 805 Wimmer, Iris. "Ecstatic Colors." New York City exhibition. 799 Wickman, Kerstin. Jewelry Magazine, no. 5, Oct./Nov. 2001, "Tapio Wirkkala: Motsatsernas man = A Man pp. 76-77, ill. 811 Yood, James. "Stephen Rolfe Powell." of Contradictions." Michael Stockel creates jewelry from glass. American Craft, v. 61, no. 3, June/July 2001, Form (The Swedish Design Magazine), no. 1, pp. 66-69, ill. 2001, pp. 64-73, ill. In Swedish and English. 806 Winnepennickx, Annemie. "Getekend: L'Anverre voor Zanotta = Marked: Profile of the artist. 800 Wiederspohn, Anja. L'Anverre for Zanotta." "Surreal Dream Worlds." Kwintessens (Vlaams Instituut voor het Zelf- Jewelry Magazine, no. 5, Oct./Nov. 2001, standig Ondernemen), v. 10, no. 3, July/Aug./ pp. 38-40, ill. Sept. 2001, pp. 36-37, ill. In Dutch and English. Profile of glass artist Dale Chihuly. design company.

FLAT GLASS (after 1945), including Architectural, Mosaic, Painted, and Stained Glass FLACHGLAS (nach 1945), einschliefBlich architekturbezogenes Glas, Mosaikglas, Glasmalerei und Buntglas

812 Anonymous. 817 "Black Shell." 823 "Especial sistemas de acristalamiento "American Institute of Architects 2001 Honor Form Function Finland, no. 81, 2001, de silicona estructural." Awards." pp. 24-29, ill. Revista del Vidrio Piano, no. 62, Oct./Nov. Architectural Record, v. 189, no. 5, May 2001, Helsinki office building features laminated 2000, pp. 76-78+, ill. pp. 97-99+, ill. glass curtain walls. Architectural glass. Winners include Boston's Hyde Park Branch Library, which features a glass-enclosed wing 818 "Chorfenster fur Kemberg." (p. 107); Seattle's Benaroya Hall, with steel 824 "'Glas ist eine transparente Leinwand' = Glashaus/Glasshouse, no. 2, 2001, p. 2. In 'Glass Is a Transparent Canvas.'" and glass facades (p. 121); Shanghai's Jin German and English. Mao Tower, whose large-scale interiors are Glashaus/Glasshouse (Internationales Maga- Six stained glass windows made by Gunter zin fur Studioglas), no. 1, 2001, pp. 14-15, ill. mostly glass and steel (p. 129); and other Grohs for church in Kemberg. projects incorporating glass. In German and English. Interview with artist Walter Maass. 819 Contemporary British Architects: Re­ 813 "Arte en vidrio: Elegancia en el bano." cent Projects from the Architecture Room of Revista del Vidrio Piano, no. 66, May 2001, the Royal Academy Summer Exhibition. 825 "Glaskunst Baukunst." pp. 72-88, ill. Munich: Prestel; New York: Neues Pub. Co., Kunst und Kirche, no. 4, 2000, pp. 202-271, fixtures made of glass. 1994, 181 pp., ill. ill. Introduction in German and English, pp. 202-203. Includes "theoretical introduction" by Hans 814 "Une avancee des Maitres Verriers 820 "Ed Carpenter." Gercke and discussion of churches incorpo­ frangais." Stained Glass, v. 96, no. 2, Summer 2001, rating "glass paintings." Verre, v. 7, no. 3, July 2001, pp. 66-67, ill. pp. 132-135, ill. Contemporary French stained glass. Profile of architectural glass artist. 826 Glass, Light & Space: New Proposals 815 "Awash with 'Float.'" 821 "Elisabeth Brenas Pech a Carcassonne for the Use of Glass in Architecture. Glass Circle News, no. 85, Dec. 2000, p. 2, ill. - Les Echos de la Chambre Syndicale Natio­ London: Crafts Council, [1998?], 64 pp., ill. Production and use of float glass in Great nal du Vitrail." Catalog of an exhibition shown at the Crafts Britain. Verre (Institut du Verre, Paris), v. 6, no. 4, Council Gallery and other British venues, Sept. 2000, p. 63, ill. October 1997-February 1999. 816 Bauen mit Glas: Tagung Baden-Baden, Brief profile of the stained glass artist. 1. und 2. Marz2000 VDI-Gesellschaft Bau- 827 "Great Dome, Great Court." technik. 822 "Erstmals Meisterprufung mit gefuster Abitare, no. 404, March 2001, pp. 158-165+, Diisseldorf: VDI-Vlg., 2000, 790 pp., ill. Glasgestaltung." ill. In Italian and English. Conference proceedings for using glass in GFF(Zeitschrift fur Glas, Fenster, Fassade), Great Court of British Museum features glass building construction. no. 4, April 2001, pp. 73-75, ill. and steel framework. 828 "Un Habillage verre en forme d'ellipse: 841 "PPG Industries Launches SunClean 854 Adams, Erica H. Les Halles de la Roche-sur-Yon." Self-Cleaning Glass." "Storming Talent: Post-Industrial Romantic, Verre Actualites, no. 172, Dec. 2000/Jan. Glass Digest, v. 80, no. 9, Sept. 15, 2001, Eric Starosielski." 2001, pp. 20-22, ill. p. 8+. This Side Up!, no. 14, Summer 2001, Glass covering over town's center. pp. 18-19, ill. 842 "Progettare con il vetro stratificato: Profile of the artist. 829 "IALD 2001 Awards: American Museum Premi DuPont Benedictus Awards = Design­ of Natural History, Rose Center for Earth and ing with Laminated Glass for the DuPont 855 Adriaensen, Ann. Space." Benedictus Awards." "Het taboe: Glas-in-lood = The Taboo of Lead­ Architectural Lighting, v. 16, no. 5, June/July Domus, no. 831, Nov. 2000, p. 28, ill. In Italian ed Glass." 2001, pp. 24-25, ill. and English. Kwintessens (Vlaams Instituut voor het Zelf- Award of excellence to "modern monument to Corporate building in Ingolstadt, Germany, standig Ondernemen), v. 10, no. 3, July/Aug./ the cosmos" that features a 36,000-square- and "an expressive transparent roof formed by Sept. 2001, pp. 12-13, ill. In Dutch and foot glass curtain wall. seventeen irregularly curved panels" designed English. by Eric Owen Moss for California concert hall. Controversy surrounding the usage of leaded 830 "In Memory of Odell Prather, glass. 1912-2001." 843 "Salle Sibelius, Lahti, Finlande." Stained Glass, v. 96, no. 3, Fall 2001, 856 Altmann, Lothar. L'Architecture d'Aujourd'hui, no. 332, Jan./ pp. 170-171. "Die neue Herz-Jesu-Kirche in Munchen-Neu- Feb. 2001, pp. 118-120, ill. Obituary of stained glass designer and hausen." Finnish concert hall features glass exterior. sculptor. Das Munster, v. 54, no. 1, 2001, pp. 58-60, ill. Munich church features glass wall that opens 831 James ScanIon. 844 Sculpter la lumiere: Le vitrail contempo- to the outside. Kinsale, Ireland: Gandon Editions, 2000, rain en Bretagne, 1945-2000. 47 pp., ill. [Saint-Vougay: Association pour I'Animation 857 Augustijn, Piet. Features stained glass, stone sculpture, and du Chateau de Kerjean, 1999], 95 pp., ill. "Stef Hagemeijer: Inhoud en vormgeving moe- mixed media. Stained glass works in Brittany, France. ten op elkaar aansluiten." Glasbulletin, Vereniging van Vrienden van 832 James Scanlon: Sneem. 845 "The SGAA Summer Conference: Modern Glas, v. 14, no. 4, 2000, pp. 15-18, ill. Dublin: Gandon Editions, 1995, 31 pp., ill. Seattle 2001." Profile of the stained glass artist. Stone sculptures include pieces of stained Stained Glass, v. 96, no. 3, Fall 2001, glass. pp. 188-191+, ill. 858 Beeh-Lustenberger, Suzanne. "Neue Lichtvisionen = New Light ." 833 Johannes Schreiter. Band 2, 1987-1997. Glashaus/Glasshouse (Internationales Maga- 846 "Sistemas de acristalamiento de gran- zin fur Studioglas), no. 1, 2001, pp. 16-17, ill. Darmstadt: Verlag Das Beispiel GmbH, 1997, des prestaciones: Oportunidades arquitectoni- 311 pp., ill. In German and English. cas para el siglo XXI." New trends in stained glass. Stained glass windows by the artist. Revista del Vidrio Piano, no. 62, Oct./Nov. 2000, pp. 152-154+, ill. 859 Bensard, Eva. 834 "Krueck & Sexton Combine Rockets Architectural glass. "A Blois, les vitraux de Jan Dibbets." and Rippling Forms in a Mixed-Use Tower." L'Estampille/L'Objet d'Art, no. 355, Feb. 2001, Architectural Record, v. 187, no. 12, Dec. 847 Stained Glass Windows of Distinction, p. 8, ill. 1999, pp. 122-126, ill. Collection One: Featuring McMow Art Glass Glass tower in downtown Chicago. Studio Designers. 860 Bock, Gordon. [Fort Lauderdale, FL]: Wardell Publications, "Lights in the Attic." 835 "Larry Zgoda Completes Stained Glass 2000, 78 pp., ill. Old-House Journal, v. 27, no. 4, July/Aug. for Marian Village Chapel." 1999, pp. 56-57, ill. Stained Glass, v. 96, no. 3, Fall 2001, . pp. 168-169, ill. 848 "Translucency in ." The Score (Spectrum Glass Company, Windows for new Catholic chapel south of 861 Bode, Peter M. Chicago. Woodinville, WA), March 15, 2001, pp. 1-2, ill. Includes brief discussion of works by David "Gerade Linien zum Lob Gottes." Ward and Lisa Vogt. Art (Das Kunstmagazin), no. 6, June 2001, 836 "Millennium Faith & Form/IFRAA Reli­ p. 125, ill. gious Art Award." Herz-Jesu-Kirche in Munich-Neuhausen Faith and Form, v. 34, no. 1, 2001, pp. 25-26, 849 Uveg az epfteszetben = Glass in Archi­ features glass facade. ill. tecture. Stained glass projects in Longview, Washing­ Pecs, Hungary: Magyar Uvegmuveszeti Tar- 862 Borocz, Zsuzsanna. ton, and Hayward, California, receive award. sasag, 2001, 131 pp., ill. "Mogelijkheden in de vlakglaskunst = The Fu­ Glass installation and stained glass works. ture of Flat Glass Art." 837 "News: Benedictus Award." Kwintessens (Vlaams Instituut voor het Zelf- Abitare, no. 403, Feb. 2001, p. 32, ill. In Italian 850 Le vetrate di Aligi Sassu: Maestro d'Eu- standig Ondernemen), v. 10, no. 3, July/Aug./ and English. ropa. Sept., 2001, pp. 14-16, ill. In Dutch and Recipients of the 2000 award. [S.I.]: Liliana Casiraghi, 1999, 127 pp., ill. English. Work of contemporary Italian stained glass The incorporation of laminated glass in Bel­ 838 "Obelisk in Coruna." artist Aligi Sassu. gium since the 1970s. Glasbulletin, Vereniging van Vrienden van Modern Glas, v. 15, no. 1, 2001, p. 3, ill. 851 "Winners of the 2001 DuPont Bene­ 863 Boschmann, Hella. Glass obelisk. dictus Awards for Innovation in Architectural "Mit der Kunst die Seele pflegen." Laminated Glass." Kunst und Kirche, no. 2, 2001, pp. 110-111, ill. 839 "PeaceHealth." Glass Magazine, v. 51, no. 7, July 2001, Miho Museum designed by I. M. Pei. Stained Glass, v. 96, no. 1, Spring 2001, pp. 44-46, ill. pp. 28-30, ill. 864 Britton, Margaret. St. John Millennium Cross, window made for "The Pearl of Portsmouth." entrance of St. John Medical Center, Long- 852 "Witraze 2000, Polski witraz wspoic- Stained Glass, v. 96, no. 2, Summer 2001, view, Washington. zesny: Wystawa sierpieh / wrzesieh 2000. pp. 140-143, ill. [S.I.: s.n., 2000], 32 pp., ill. Text in Polish & Stained glass by the author. 840 Philippa Beveridge: Glass. French, with English insert. [S.I.: s.n., [2000?], [56] leaves, ill. Exhibition of stained glass in . 865 Broady, Maurice. Catalog illustrates sculpture in glass and ar­ "Swansea Architectural Glass Conference chitectural glass projects, using techniques of 853 Ximo Roca vitrales civiles, vitrales relio- Report, 15-17 November." slumped and fused plate glass, cast glass, sos, restauracion de vitrales. Stained Glass (Newsletter of the British pate de verre, and leaded and acid-etched Alginet, Valencia: [s.n.], 1999, 1 computer Society of Master Glass Painters), no. 12, glass. disk, ill. Dec. 2000, p. 2. 866 Buci-Glucksmann, Christine. 878 Costa, Vanina. 890 Freeman-Jurney, Roberta H. Puissances du lieu. Sutures. "A Tale of Hurricanes and History: Combining Paris: Marval, 2000, pp. 64-75, ill. Paris: Marval, 2000, pp. 118-131, ill. a Blast and a Past." Stained glass windows by Daniel Buren, Ells­ Stained glass windows by Shirley Jaffe, Sam Glass Craftsman, no. 163, Dec. 2000/Jan. worth Kelly, Brice Marden, and Sarkis. Samore, Olivier Debre, and Genevieve Asse. 2001, pp. 40-42, ill. Profile of stained glass artist Scott Lewis. 867 Burght, Angela van der. 879 Cyr, Lisa L. 891 Friend, Paul. "Alle wegen leiden naar Rome." "Glass Action." "Designing Inspirational Stained Glass for Glasbulletin, Vereniging van Vrienden van I.D. (The International Design Magazine), Spiritual Spaces." Modern Glas, v. 15, no. 1, 2001, pp. 15-19, ill. v. 48, no. 2, April 2001, p. 15, ill. Stained Glass, v. 96, no. 3, Fall 2001, Survey of stained glass in Italy. Architectural glass artists create "corporate environments." pp. 199-203, ill. Installations for M'Kor Shalom sanctuary. 868 Burght, Angela van der. 880 Davidson, Adam. "The Glass House in Leerdam." "Glass Ceiling." 892 Gaillard, Claire. This Side Up! (Valkenswaard, the Nether­ Metropolis, v. 19, no. 6, Feb./March 2000, "Jacques Rougerie: L'Architecte, le verre et la lands), no. 12, Winter 2000, p. 21, ill. pp. 86-91+, ill. mer." Glass canopy for a subway entrance in Tokyo. Verre, v. 7, no. 3, July 2001, pp. 55-57, ill. 869 Burght, Angela van der. English summary, p. 55. "De techniek van glas-in-lood." 881 Delorme, Elisabeth. Architect says that glass is "the key of new ar­ Glasbulletin, Vereniging van Vrienden van Gaz de France, mecene des plus beaux chitecture because of its pureness and its Modern Glas, v. 15, no. 1, 2001, pp. 8-14, ill. vitraux. strong relation with light." Flat glass techniques. Paris: Marval, 2000, pp. 186-189, ill. Stained glass windows by Ladislas Kijno and 893 Garnier-Ghys, Martine. Gerard Lardeur. "L'Integration des arts a I'architecture et a 870 Burght, Angela van der. I'environment = The Integration of Art into "Zappi: Helder als glas en sterk als staal." 882 Devanney, Diane Summers. Architecture and the Environment." Glasbulletin, Vereniging van Vrienden van "Exhibition of Neon Art in a Philadelphia Glass Gazette (Glass Art Association of Modern Glas, v. 15, no. 1, 2001, pp. 30-32, ill. Canada), v. 3, no. 45, Aug. 2001, pp. 15-17, Glass roofing. Neighborhood." Sign Builder Illustrated, no. 75, Sept. 2001, ill. In French and English. p. 16, ill. Includes brief profiles of three glass artists. 871 Caba, Randy. 894 Garnier-Ghys, Martine. "Neon Roundtable: Tubes." 883 Devanney, Joseph J. "Le Vitrail contemporain = Contemporary Sign Builder Illustrated, no. 75, Sept. 2001, "Moving the Neon Trolley." p. 50+, ill. Sign Builder, no. 70, March 2001, pp. 142-145, Stained Glass." Glass Gazette (Glass Art Association of "Some states now require manufacturers to ill. Canada), v. 3, no. 45, Aug. 2001, pp. 12-14, label mercury-added products or to inform the Philadelphia restaurant erects neon sign. consumer in writing that the product contains ill. In French and English. Includes brief profiles of three stained glass a hazardous substance." 884 Downey, Claire. artists. "Licorne Stadium, Amiens, France." Architectural Record, v. 189, no. 8, Aug. 2001, 872 Casse, Michel. 895 Geran, Monica. pp. 112-115, ill. Noir etoile. "Gehry in Berlin." Soccer stadium's glass panels "protect fans Paris: Marval, 2000, pp. 144-155, ill. Interior Design, v. 72, no. 10, Aug. 2001, from strong winds while allowing sunlight to Stained glass windows by Marc Couturier, pp. 200-205, ill. shine into the stands." Hubert Duprat, and Philippe Favier. American architect's design of Berlin bank building features conference center topped 885 Ernould-Gandouet, Marielle. 873 Charbonneaux, Anne-Marie. and supported by glass reinforced with stain­ "Jan Dibbets: Lumieres sur la cathedrale de de lumiere: Vitraux d'artistes. less steel. Blois." Paris: Marval, 2000, 201 pp., ill. La Revue de la Ceramique et du Verre, 896 Geran, Monica. no. 118, May/June 2001, pp. 13-15, ill. "Heart of Glass." 874 Cichonski, Walt. Stained glass windows. Interior Design, v. 72, no. 4, April 2001, "A New Jewel for Philadelphia: Regional Per­ pp. 250-253, ill. forming Arts Center Features Innovative 886 Evans, Robin. "Veil of reflective glass" made for New York Glass Usage." "Anatomy of a Triptych." modeling agency. Glass Magazine (National Glass Association, Glass Craftsman, no. 165, April/May 2001, McLean, VA), v. 51, no. 2, Feb. 2001, pp. 11-13+, ill. 897 Golonu, Berin. pp. 61-63, ill. Artist describes the making of a commissioned "San Francisco International Airport." work. Sculpture, v. 20, no. 4, May 2001, pp. 76-78, 875 Coffman, Peter. ill. "To Tell Stories at St. John Lutheran Church, 887 Flood, Sandra. Boat-shaped reflectors edged with dichroic Dublin, Ohio." "Profiles: Governor General's Awards Laureate glass made by James Carpenter. Stained Glass, v. 96, no. 2, Summer 2001, Russell C. Goodman." pp. 122-127+, ill. Ontario Craft, v. 26, no. 1, Summer 2001, 898 Greff, Jean-Pierre. Stained glass windows by Sarah Hall. p. 14, ill. Le Vitrail au XXe siecle: Eclats et eclipses. Portrait of stained glass artist. Paris: Marval, 2000, pp. 30-63, ill. Stained glass windows by Jean-Pierre Ber- 876 Cohn, David. 888 Foucart, Bruno. trand, Frangois Rouan, and David Tremlett. "Coop Himmelblau's 'Crystal Cloud of Knowl­ "Art sacre et art vivant: Le XXe siecle des edge' Wins Competition for Science Museum cathedrales." 899 Grenon, Ariane. in Lyon, France." Connaissance des Arts, no. 585, July/Aug. "Dans la lumiere, de nouveaux vitraux." Architectural Record, v. 189, no. 5, May 2001, 2001, pp. 74-81, ill. Le Courrier des Metiers d'Art, no. 196, March/ p. 44, ill. Thoughts on the renewal of sacred art in the April 2001, pp. 36-37, ill. "Amorphous, cloudlike structure containing second half of the 20th century. Stained glass programs for cathedral in Blois exhibition spaces ... appears to float over an and church in Lognes. angled glass base." 889 Freeman-Jurney, Roberta H. "Glass and the Magic Kingdom: A Walking 900 Griotti, Oreste. 877 Cormack, Peter. Tour of the Art Glass in WDW." "L'armonia del disordine." "Westminster Window." Glass Craftsman, no. 166, June/July 2001, Neon Light e Sign, no. 96, May/June 2001, Crafts, no. 172, Sept./Oct. 2001, p. 22, ill. pp. 6-13+, ill. pp. 58-60, ill. Alan Younger's window in Henry Vll's Lady Stained glass installations at Walt Disney Euroluce 2001 in Milan presents innovations Chapel at Westminster Abbey. World. in lighting. 901 Griotti, Oreste. 913 Hall, Sarah. 925 Jekyll, Robert. "Neo-neon." "Swansea: Light Years Ahead." "Symbology 2000: Millennial Initiatives in Neon Light & Sign, no. 94, Jan./Feb. 2001, Glass Art, v. 16, no. 4, May/June 2001, Glass." pp. 44-46, ill. pp. 56-60+, ill. Ontario Craft, v. 26, no. 1, Summer 2001, Neon used to light landmarks in Milan. Review of glass program. p. 15, ill. Review of exhibition of works by Canadian 902 Gross, Richard. 914 Hall, Sarah. stained glass artists. "As Told by the Artist: A Look at the Work of "Wind's Eye Gallery: Featuring the Work of Albinas Elskus." Mark Thompson, AOCA." 926 Kalkerup, Martin. Stained Glass, v. 96, no. 1, Spring 2001, Glass Art, v. 16, no. 3, March/April 2001, "860-880 Lake Shore Drive Apartments." pp. 40-47, ill. pp. 44-45, ill. GlasMagasinet, v. 10, no. 1, March 2001, Based on lecture presented by the artist in Ontario artist creates work for a variety of pp. 14-15, ill. July 2000. architectural settings. Chicago building designed by Ludwig Mies van der Rohe. 903 Gross, Richard. 915 Hall, Sarah. "The Glass Landscape in the South Carolina "Wind's Eye Gallery: Featuring the Work of Sr. 927 Kalkerup, Martin. Aquarium." Nicole Oblinger." "Glastag over British Museum." Stained Glass, v. 96, no. 2, Summer 2001, Glass Art, v. 16, no. 6, Sept./Oct. 2001, GlasMagasinet, v. 10, no. 1, March 2001, pp. 113-116, ill. pp. 84-86, ill. p. 17, ill. Installation by Ellen Mandelbaum. Glass ceiling over The Queen Elizabeth II 916 Hall, Sarah. Great Court at London museum. 904 Grunseit, Marc. The Color of Light: Commissioning Stained "Architectural Fused Glass." Glass for a Church. Craft Arts International, no. 51, 2001, Chicago, IL: Liturgy Training, 1999, 101 pp., ill. 928 Kemp, Jim. pp. 110-111, ill. Architectural Detail: Wood, Glass, Metal, Tile, Two installations in Sydney. 917 Harvey, Kathleen S. Fiber. "Transparencia, arte y funcionalidad utilizando London: Quantum Books, 1987, 175 pp., ill. Stained and etched glass, pp. 70-100. 905 Gutmans, Susan. vidrio de seguridad = Transparency, Art and "Rem Koolhaas: A Prophet of Modern Archi­ Functionality Using ." tecture." Vitrix, no. 1, Feb.-April 2001, pp. 4-6, ill. In 929 Knaack, Ulrich. Glass Digest, v. 79, no. 11, Nov. 15, 2000, Spanish and English. Konstruktiver Glasbau 2: Neue Moglichkeiten pp. 52-55, ill. DuPont Benedictus Award. und Techniken. Examines the architect's use of laminated Koln: Rudolf Muller, 2000, 198 pp., ill. glass in various projects. 918 Harvey, Kathleen S. "Vitro grafia: Una tecnica moderna en manos capaces = Glass Applique: A Modern Techni­ 930 Krewinkel, Heinz W. 906 Hager, Wilhelm. que in Capable Hands." Glass Buildings: Material, Structure and "Steindl Glas auf dem Weg zum Vollsortimen- Vitrix, no. 1, Feb.-April 2001, pp. 38-40, ill. In Detail. ter." Spanish and English. Basel; Boston: Birkhauser, 1998, 155 pp., ill. GFF(Zeitschrift fur Glas, Fenster, Fassade), Bert Glauner. Details the architectural use of glass in a no. 4, April 2001, pp. 60-64, ill. variety of buildings. Profile of the firm. 919 Henderson, Justin. Workplaces and Workspaces: Office Designs 931 Kuzmickas, Daina. 907 Hall, Peter. That Work. "Two Projects by Simonas Gutauskas." "Spot On." Gloucester, MA: Rockport Publishers, 2000, Stained Glass, v. 96, no. 1, Spring 2001, Interiors, v. 160, no. 3, March 2001, pp. 76-79, 192 pp., ill. pp. 36-39, ill. ill. Contains numerous architectural designs Stained glass windows for churches in Firm uses glass in lighting hotels. using glass. and Lithuania.

908 Hall, Sarah. 920 Hogrefe, Jeffrey. "The Devil's in the Details." 932 Laganier, Vincent. "The Ascent of Glass." "James Turrell, ou comment percevoir ('archi­ Glass Gazette (Glass Art Association of Smithsonian, v. 32, no. 4, July 2001, Canada), v. 3, no. 43, Feb. 2001, pp. 10-12, ill. tecture autrement: Trichromie et virtualisa- pp. 80-88, ill. tion." Reprint of article that originally appeared in "Advances in production, energy efficiency Glass Art Magazine. L'Architecture d'Aujourd'hui, no. 331, Nov./ and methods of construction have enabled Dec. 2000, pp. 106-109, ill. glass to rise to new heights and assume un­ Turrell installed lighting to cause glass facade 909 Hall, Sarah. expected forms." on building in Leipzig to change colors. "Illuminations from the River of Light." Glass Art, v. 15, no. 1, Nov./Dec. 1999, 921 Holdman, Tom. 933 Lavigne, Emma. pp. 36-40, ill. "First Vision: Windows in the Palmyra Temple." "Le Vitrail contemporain dans les cathedra- "Non-denominational" glass wall mural by Stained Glass, v. 96, no. 2, Summer 2001, les." Sarah Hall for hospital chapel in Toronto. pp. 136-139, ill. Dossier de I'Art, no. 78H, July/Aug. 2001, 910 Hall, Sarah. pp. 110-117, ill. 922 Hurd, Peter. Contemporary stained glass windows. "Light, Shadow and Mystery - Notre Dame du "Scratch & Burn: Acid-Etched Architectural Haut a Ronchamp." Glass Offers a World of Options and Opportu­ Glass Art, v. 16, no. 6, Sept./Oct. 2001, nities." 934 Lawrence, C. Z. pp. 80-83, ill. USGIass, Metal and Glazing, v. 36, no. 3, "Angus's Ashes." March 2001, pp. 60-61, ill. Stained Glass, v. 96, no. 1, Spring 2001, 911 Hall, Sarah. pp. 54-58, ill. "Norbert Sattler: Portrait of a Craftsman." 923 Jaeger, Falk. The making of The Raising of Lazarus, the Glass Art, v. 16, no. 3, March/April 2001, "Spring Tide in Glass: Office Building artist's fifth window in the National Cathedral, pp. 48-52, ill. Revolutionizes Working World." Washington, D.C. Kulturchronik, no. 6, 2000, pp. 38-40, ill. 912 Hall, Sarah. Building features sweeping glass roof. 935 Lefaivre, Liane. "Shining and Living: Karlheinz Oswald's Re­ "Hans Hollein." markable New Cathedral Window." 924 Jay, Leslie. Architecture, v. 90, no. 5, May 2001, Glass Art, v. 15, no. 2, Jan./Feb. 2000, "Glass Acts: Commercial Art Glass." pp. 118-125, ill. pp. 18-20, ill. Traditional Building, v. 13, no. 6, Nov./Dec. Bank building in Lima, Peru, is "clad in a Glass mural for cathedral in Juigalpa, Nicara­ 2000, p. 170+, ill. titanium screen interwoven with multicolored gua. Glass dome. fiber-optic threads." 936 Linn, Charles. 948 Mornement, Adam. 960 Puglisi, Luigi Prestinenza. "A Restored, Relit Icon Returns the "A British Call Center with Space-Age Attitude." "Sotto il segno dei pesci." Power of Light to Downtown Syracuse." Architectural Record, v. 189, no. 6, June 2001, Domus, no. 835, March 2001, pp. 112-119, ill. Architectural Record, [v. 188], no. 11, [Nov.] pp. 79-80, ill. In Italian and English. 2000, pp. 204-206+, ill. Building features three-story, 340-foot glass Floor of restaurant in Rome is made of "metal Building includes lighted pilasters of molded atrium. and sandwiched glass, composed of three glass made by Steuben. sheets of glued glass the middle one of which is fractured to produce a snorkling effect." 949 Morse, Larry. 937 Lutz, R. Theodore. "Glass Handrails Create Openness." "The Nativity Window, Christ Church, Missis- Glass Digest, v. 80, no. 6, June 2001, 961 Ramazzini, Judy. sauga, Ontario." pp. 52-53, ill. "A Monument to Faith: St. Sava Cathedral's Stained Glass, v. 96, no. 3, Fall 2001, Glass railing systems installed in stores. Mosaics." pp. 216-217, ill. Glass Art, v. 16, no. 3, March/April 2001, pp. 6-9, ill. 950 Nobel, Philip. Milwaukee church "contains the most exten­ 938 MacKeith, Peter. "Rocky Mountain Resolution." sive ensemble of mosaic art in the country." "Sibelius Hall, Lahti, Finland." Architectural Digest, v. 58, no. 6, June 2001, Architectural Record, v. 189, no. 6 [7], June pp. 200-209, ill. [July] 2001, pp. 124-127, ill. 962 Rayborn, Dick. Colorado residence "is an unusual composi­ Concert hall described as a "wooden vessel "As Good as New: Protecting and Repairing tion of angular steel-and-glass pavilions." encased in glass." the Finish on Curtainwall, Windows and Store­ fronts." 951 Ogundehin, Michelle. USGIass, Metal and Glazing, v. 36, no. 3, 939 Mackey, Mary. March 2001, pp. 48-51, ill. "Architectural Glass Swansea 2000 Confer­ "Bonjour vitesse: Air France's Stylish New Ter­ ence." minal at Charles de Gaulle Airport Is a Breeze The Glass Society of Ireland Newsletter, to Navigate." 963 Reid, Stuart. no. 25, Jan. 2001, pp. 8-11, ill. Interiors, v. 161 [160], no. 2, Feb. 2001, "Small Wonders." pp. 50-53, ill. This Side Up!, no. 13, Spring 2001, pp. 15-17, Terminal features ribbed glass ceiling. ill. 940 Malle, LoTc. Review of 6th International Women's Contem­ Transparence et transcendance. porary Stained Glass Exhibition. Paris: Marval, 2000, pp. 180-183, ill. 952 Oxley, John. Stained glass windows by Charles Ross. Stained Glass in South Africa. 964 Ribettes, Jean-Michel. Rivonia, [South Africa]: William Waterman, De la theologie de la lumiere. 1994, 111 pp., ill. 941 , Henri, 1869-1954. Paris: Marval, 2000, pp. 94-117, ill. Introduces several contemporary artists. The Vence Chapel: The Archive of a Creation. Stained glass windows by Jean-Michel Albe- Milan, Italy: Skira Editore; Houston, TX: Menil rola, Robert Combas, Gerard Garouste, Mar­ Foundation, 1999, 472 pp., ill. 953 Patterson, Elizabeth A. tial Raysse, Georg Ettl, Pierre Buraglio, and Correspondence between Henri Matisse, "The Architecture of Glass Block." Jean-Pierre Pincemin. Marie-Alain Couturier, and Louis-Betrand Old-House Journal, v. 29, no. 1, Jan./Feb. Rayssiguier concerning the chapel, and de­ 2001, pp. 46-51, ill. 965 Ritchie, Ian. tailing the creation of its stained glass win­ The Biggest Glass Palace in the World. dows. London: Ellipsis, 1997, 96 pp., ill. 954 Pearson, Ian. The Neue Messe Central Hall in Leipzig. 942 Mclndoe, Graham. "'Window to the World - Colours of Day': The Figure of Christ on the West Window of St. "Quel che Gehry ha fatto e fara = What Gehry 966 Rousvoal, Gilles. Did Next." Anne's Church, Thurso." British Society of Scientific Glassblowers La Mise en lumiere. Domus, no. 837, May 2001, pp. 70-77, ill. In Paris: Marval, 2000, pp. 156-179, ill. Italian and English. Journal, v. 38, no. 4, Oct. 2000, pp. 153-159, ill. Stained glass windows by Gilles Rousvoal, Includes two Manhattan projects that "explore David Rabinowitch, Christophe Cuzin, Jean the potential of molded glass." Mauret, Jean-Dominique Fleury, Robert 955 Peeters, Vital. Morris, and Carole Benzaken. 943 Meppelink, Barry. Stained Glass. Marlborough: Crowood, 1999, 96 pp., ill. "The Cast Glass of Nathan Allan Glass Stu­ 967 Rusinol, Eduard. dios." "Miscelanea: Arte y ciencia." Stained Glass, v. 95, no. 4, Winter 2000, 956 Pepper, Andrew. Vitrea, no. 13, Feb. 2001, p. 58, ill. pp. 264-265, ill. "Building with Light: Holography, Glass and Architectural installation by the German artist Architecture." Helga Griffiths. 944 Michel, . This Side Up!, no. 15, Autumn 2001, pp. 2-4, "Una scatola arancione = The Orange Box." ill. 968 Ryan, Raymund. Domus, no. 835, March 2001, pp. 90-99, ill. In Glass and holographic wall in Bonn, Germany. "Fingal County Hall." Italian and English. Architectural Record, v. 189, no. 8, Aug. 2001, Renovation of concrete and glass theater in pp. 98-103, ill. 957 Pheline, Jean-Michel. Pont-Audemer, Normandy. Facade of Irish building features concave Projets de Luperz, Cathedrale de Nevers, glass arc. 1991-1993. 945 Miller, Sara B. Paris: Marval, 2000, pp. 140-143, ill. "Ken Phillips: The Accidental Artist." Stained glass windows by Markus Lupertz. 969 Sato, Taisei. Glass Craftsman, no. 163, Dec. 2000/Jan. The Techniques of Glass Painting. 2001, pp. 49-51, ill. Tokyo: Japan Publications, Inc., 1999, 140 pp., 958 Pickett, Christina. ill. 946 Miret, Ellen. " John Wilcox." Includes CMOG objects. "St. Aloysius, New Canaan, Connecticut." Fusion Magazine (The Ontario Clay & Glass Stained Glass, v. 96, no. 3, Fall 2001, Association), v. 25, no. 2, Spring 2001, 970 Save, Colette. pp. 212-214, ill. pp. 22-23, ill. "Eve Luszpinski: La Grisaille en couleurs." Verre, v. 7, no. 2, May 2001, pp. 78-79, ill. 947 Moreno, Fernando Baez-Villasenor. 959 Pollock, Naomi R. Profile of the stained glass artist. "Jose Antonio Rage: El espacio de la luz = "Mediatheque." The Space of Light." Architectural Record, v. 189, no. 5, May 2001, 971 Save, Colette. Vidrio, no. 4, April-June 2000, pp. 19-26, ill. pp. 190-201, ill. "Frangoise Gormand-Duval: Jeu d'espace." In Spanish and English. Building in Sendai, Japan, is "a 231,500- Verre, v. 7, no. 1, Feb. 2001, pp. 62-63, ill. Works by stained glass artist. square-foot glass box." Profile of the artist. 972 Save, Colette. 984 Swash, Caroline. 997 Wagner, David. "Jean-Louis Rousselet: La Lumiere, au coeur "Leifur Breidfjord." "Ed Carpenter, Architectural Artist." du verre." Neues Glas/New Glass, no. 1, 2001, This Side Up!, no. 14, Summer 2001, Verre (Institut du Verre, Paris), v. 6, no. 5, Oct. pp. 36-41, ill. In German and English. pp. 10-11, ill. 2000, pp. 52-53, ill. English summary. Glass panels by the Icelandic artist. Profile of the artist. Architectural stained and flat glass. 985 Taffera, Tara. 998 Wallis, Stephen. 973 Save, Colette. "Accepting the Challenge." "Santiago Calatrava: An Architect Spreads His "Verre et vitrail dans I'architecture contempo- USGIass, Metal & Glazing, v. 36, no. 7, July Wings." raine." 2001, pp. 60-63, ill. Art & Auction, v. 23, no. 5, May 2001, p. 50+, Verre, v. 7, no. 3, July 2001, pp. 68-69, ill. Winners of the 2001 Dupont Benedictus ill. Glass in contemporary architecture. Awards. "Series of light-filled concrete, glass-and-steel spaces" designed for expansion of Milwaukee 974 Schaefer, Ron. 986 Theobald, Mary Miley. Art Museum. The Symbolism and Beauty of Stained Glass "Whatever Happened to Benedict Arnold?" at Wisconsin Memorial Park. Colonial Williamsburg, v. 23, no. 2, Summer 999 Wardell, Randy A. (Randy Allan), Brookfield, Wl: Wisconsin Memorial Park, 2001, pp. 54-61, ill. 1954- [n.d.], 112 pp., ill. Includes illustration of modern window in St. Introduction to Stained Glass: A Teaching Windows designed by Conrad Pickel, Leo Mary's Battersea Church, England, where Manual. Cartwright, Erhard Stoettner, Gabriel Cart- Benedict Arnold is buried (p. 61). [Ft. Lauderdale, FL]: Wardell Publications, wright, and Johan Minten. 2000, 68 pp., ill. 987 Thill, Mary. "Art: A Religion in Itself." 975 Schmitz, Norbert M. Topia, v. 2, no. 4, Fall 1997, pp. 18-25, ill. 1000 Watkins, Eileen. "Ein Fenster als Interaktion." Profile of Jean-Jacques Duval, designer of "Galaxy Goes for the Gold." Kunst und Kirche, no. 2, 2001, pp. 118-119, ill. stained glass windows. Glass Craftsman, no. 167, Aug./Sept. 2001, Installation in der Johanneskirche, Dusseldorf. pp. 57-59, ill. 988 Trelcat, Sophie. Carved glass panel set into a huge black-slate 976 Seince, Frangoise. "Nouveau terminal d'aeroport, San Francisco, fireplace. "Handicap et metiers d'art." Californie." Le Courrier des Metiers d'Art, no. 197, May/ L'Architecture d'Aujourd'hui, no. 333, March/ 1001 Watkins, Eileen. June 2001, p. 28, ill. April 2001, pp. 22-24, ill. "Renner & Faust Say 'Yes' to Success." Prize recipients include glass artist Francisco Includes sculptures by James Carpenter. Glass Craftsman, no. 162, Oct./Nov. 2000, Flores. pp. 6-9, ill. 989 Tranche, Anne. Windows and partitions for restaurants in New 977 Seince, Frangoise. La Couleur est espace. York City. "Verre et architecture." Paris: Marval, 2000, pp. 92-93, ill. Le Courrier des Metiers d'Art, no. 198, July/ Stained glass window by Aurelie Nemours. 1002 Weathersby, William, Jr. Aug. 2001, pp. 32-36, ill. "Choreographed Illumination of a Rehearsal Reflections on colloquium held in Roanne. 990 Valldeperez, Pere. Center's Facade Creates Its Own Street El Vitral. Theater on Broadway." 978 Smith, Jeff G. Barcelona: Parramon, 1999, 160 pp., ill. Architectural Record, [v. 188], no. 11, [Nov.] "Lenses for Fargo...and Other Matters." Processes of making and restoring stained 2000, pp. 196-198+, ill. Stained Glass, v. 95, no. 4, Winter 2000, glass. "Dichroic glass-embedded screen manipulates pp. 283-287, ill. daylight," while computer-controlled colored An overview of artist Jeff Smith's recent work. 991 Vasiliu, Anca. lights shift over the glass during the night. Lumiere dans le creux du visible. 979 Stanton Harris, Martyn. Paris: Marval, pp. 76-91, ill. 1003 Weathersby, William, Jr. Practising Stained Glass Safely. Stained glass windows by Pierre Soulages "Pelli Conducts an Overture in Madison." Sheffield: Society of Glass Technology, 2000, and Aurelie Nemours. Architectural Record, v. 189, no. 5, May 2001, 48 pp., ill. p. 40, ill. 992 Vigo, Nanda. Performing arts complex in Madison, Wiscon­ "Nanda Vigo: Vetri e trasparenze = Glass and 980 Sudjic, Deyan. sin, to feature arrival rotunda topped by a Transparency." "La Berlino segreta di Gehry = Gehry's Berlin modern glass dome. Abitare, no. 406, May 2001, pp. 140-143+, ill. Secret." Domus, no. 839, July/Aug. 2001, pp. 88-97, In Italian and English. 1004 Weber-Hof, Claudine. Interview. ill. In Italian and English. "Spa Bad Elster, Bad Elster, Germany." Atrium of bank building "under a swirling, bil­ Architectural Record, v. 189, no. 8, Aug. 2001, 993 Vossing, Jurgen. lowing glass wave." pp. 108-111, ill. "Das himmlische Jerusalem." Architects "bring a 19th-century spa up to date Glas + Rahmen, v. 52, no. 7, July 2001, p. 20, with a series of colorful glass pavilions." 981 Sudjic, Deyan. ill. "II monumento nel museo = The Monument in Glass panel made by Carlo Dedy for St. Alber- the Museum." tus Magnus Church in Leverkusen, Germany. 1005 Weis, Helene. Domus, no. 834, Feb. 2001, pp. 36-53, ill. In "Iconography for Stained Glass: Conclusion - Italian and English. 994 Waggoner, Shawn. The Winners." New glass roof covers original courtyard at "Dan Fenton's Adventures in Light and Color." Stained Glass, v. 95, no. 4, Winter 2000, the British Museum. Glass Art, v. 16, no. 4, May/June 2001, pp. 302-305, ill. pp. 12-20, ill. Winning window designs for imaginary Saint 982 Sudjic, Deyan. Profile of the artist. Mary Magdalene Episcopal Church. "II vortice deH'informazione." Domus, no. 835, March 2001, pp. 36-59, ill. In 995 Waggoner, Shawn. 1006 Wichert, Geoff. Italian and English. "Reflections of a Western Land: Dana Bous- "The Double Helix: Braided Lives in Glass." Toyo Ito's Mediatheque in Sendai, Japan, is sard's Stained Glass." Stained Glass, v. 96, no. 2, Summer 2001, "a glassy building which avoids the creation of Glass Art, v. 16, no. 5, July/Aug. 2001, pp. 117-121, ill. a formal facade." pp. 6-9+, ill. Stained glass by Ann Troutner and Paul Includes recent commissions. Marioni. 983 Swash, Caroline. "Architectural Glass Swansea 2000." 996 Waggoner, Shawn. 1007 Wichert, Geoff. Stained Glass (Newsletter of the British So­ "Stepping Out: Mosaic Garden Stepping "Invisible Technique: The Stained Glass of ciety of Master Glass Painters), no. 13, March Stones." Dick Weiss." 2001, p. 3, ill. Glass Art, v. 15, no. 1, Nov./Dec. 1999, Stained Glass, v. 95, no. 4, Winter 2000, Report on the conference. pp. 46-48+, ill. pp. 279-282+, ill. 1008 Wichert, Geoff. 1012 Wilde, David. 1016 Zunino, Maria Giulia. "Roger Thomas an der Staffelei = at the Easel." "Symboloqy 2000: Millennial Initiatives in "II giardino d'inverno." Glashaus/Glasshouse, no. 3, 2001, pp. 6-8, Glass." Abitare, no. 403, Feb. 2001, pp. 80-83, ill. In ill. In German and English. Glass Craftsman, no. 165, April/May 2001, Italian and English. Glass paintings by the artist. pp. 6-10, ill. Glass cube links a villa and its garden. Exhibition of Canadian stained glass. 1009 Wilde, David. 1017 Zunino, Maria Giulia. "Artists in Stained Glass (AISG)." 1013 Wright, Jody. "Scatola trasparente." Glass Gazette, v. 3[5], no. 44, April 2001, p. 12. "Richard Millard's Symphony of Light and Abitare, no. 403, Feb. 2001, pp. 84-87, ill. In Brief history of the organization. Color." Italian and English. Glass Craftsman, no. 163, Dec. 2000/Jan. House contained in glass shell. 2001, pp. 6-10, ill. 1010 Wilde, David. "The Cathedral in Saint-Die-des-Vosges." 1014 Young, Butch. Stained Glass, v. 96, no. 1, Spring 2001, " a Niche in Glass." pp. 59-64, ill. Glass Digest, v. 80, no. 6, June 2001, Cathedral displays "mid-eighties style of pp. 62-65, ill. French stained glass." Decorative sandblasting.

1011 Wilde, David. 1015 Zunino, Maria Giulia. "L'Eglise de Saint-Joseph: Pontivy, France." "Casa con darsena." Stained Glass, v. 95, no. 4, Winter 2000, Abitare, no. 403, Feb. 2001, pp. 74-79, ill. In pp. 288-291, ill. Italian and English. Stained glass by Catherine Viollet, Patrick Glass facade of house extends into a double- Ramette, Gilles Rousvoal, and Sylvie Gaudin. height porch.

TECHNOLOGY after 1945 /TECHNOLOGIE nach 1945)

1018 Anonymous. 1025 "Cutting the Cost of Decorating Glass." 1034 "Glasstec 2000, prueba superada." Active Glass for Photonic Devices: Photo- Tableware International, v. 31, no. 4, May Revista del Vidrio Piano, no. 63, Dec. 2000/ induced Structures and Their Application. 2001, pp. 20-21, ill. Jan. 2001, p. 28, ill. Berlin; New York: Springer, 2001, 234 pp., ill. Techniques "for the large-scale decoration of Report on the exhibition. hot art glass products." 1019 Adhesives and Consolidants for Ce­ 1035 "Haze." ramics & Related Materials: 25th October 1026 Dynamic Aspects of Structural Change British Society of Scientific Glassblowers 1997. in Liquids and Glasses. Journal, v. 38, no. 4, Oct. 2000, pp. 148-150. S.I.: s.n., [1997?], [53] leaves, ill. New York, NY: New York Academy of Sci­ "Haze is the result of alkali leaching of matrix "Transcripts of lectures given at the Ceramics ences, 1986, 333 pp., ill. modifiers." and Glass Conservation Group oneday Con­ Results of a conference held in New York, ference held at the Regents Park Conference N.Y., on December 1-3, 1985, by the New 1036 "Hot Ware Handling Solution for Portu­ Centre." York Academy of Sciences. guese Glass Maker." Glass International, v. 24, no. 2, March/April 1027 Electrochemistry of Glasses and Glass 2001, p. 9, ill. 1020 "Alternative Uses for Crushed Glass Melts. Stainless steel/aramid cords used to handle Cullet." Berlin; New York: Springer, 2001, 451 pp., ill. hot glass safely. Kahch, v. 8, nos. 2/3, June-Sept. 2000, pp. 19-21. 1037 "How to Break Glass." All India Glass Manufacturers' Federation 1028 "Gerhard Finkenbeiner." Kahch (All India Glass Manufacturers' Feder­ molded glass products, alternative to stone Fusion, v. 48, no. 2, May 2001, pp. 40-41, ill. ation), v. 7, no. 3, Dec. 1999, pp. 8-10, ill. aggregate, plant-growth medium. "High quality precision glass scribing involves 1029 "A Glass Action Suite." a lot more than a well-made tungsten carbide Home Lighting & Accessories, v. 84, no. 8, 1021 Bauen mit Glas: Tagung Baden-Baden, scribing wheel." Aug. 2001, p. 84+, ill. 1. und 2. "Venetian glass artists are turning age-old Dusseldorf: VDI-Vlg., 2000, 790 pp., ill. techniques into striking contemporary lighting." 1038 "How to Make Glass Items on a Cot­ Conference proceedings for using glass in tage Scale." building construction. Kahch (All India Glass Manufacturers' Feder­ 1030 "Glass Bytes." ation), v. 8, nos. 2/3, June-Sept. 2000, p. 31. Glass Line, irregular series, v. 14, no. 5, Feb./ 1022 "Blowing Glass." March 2001 - v. 15, no. 4, Dec. 2001/Jan. 1039 "The Key Role of Glass Additives." Kahch (The Quarterly of the All India Glass 2002. Manufacturers' Federation), v. 7, no. 3, Dec. Kahch (All India Glass Manufacturers' Feder­ 1999, p. 23, ill. ation), v. 7, no. 3, Dec. 1999, p. 17. 1031 Glass Master. How to make a glass jug. [S.I.: s.n., 199-?], [12] pp., ill. 1040 Modelling, Moulding, & Casting: James Carpenter uses glass in architectural 24th-26th April 1998. 1023 "Clear Shield Solves Artistic Problem." applications. S.I.: s.n., [1998?], [43] leaves, ill. Glass Age & Window Construction, v. 44, "Transcripts of lectures given at the Ceramics no. 3, March 2001, p. 122, ill. 1032 "The Glass Revolution Might Have and Glass Conservation Group meeting held Protecting decorative glass works installed Arrived." at the Conservation Centre, Liverpool." out-of-. Glass Age & Window Construction, v. 44, no. 3, March 2001, p. 113. 1041 Modern Analytical Methods in Art and 1024 "The Commonality of Glass & Ceram­ introduces self-cleaning glass. Archaeology ics." New York: Wiley, 2000, 755 pp., ill. Glass Industry, v. 82, no. 1, Jan. 2001, 1033 "Glass Technology Live y el 'vidrio in- "X-ray Photoelectron Spectroscopy and Auger pp. 23-25, ill. teligente.'" Electron Spectroscopy in Art and Archae­ "Ceramics may offer unique solutions for glass Revista del Vidrio Piano, no. 63, Dec. 2000/ ology," by Giuseppe Spoto and Enrico Cili- problems." Jan. 2001, pp. 36-37, ill. berto, pp. 363-404; glass, pp. 377-378. 1042 "More Fused Glass Options Are Avail­ 1055 "Soldering Glass to Glass." 1068 Brebes, Larry. able to Manufacturers." Glass (Monthly Journal of the European Glass "Larry Brebes Corporate Art." Home Lighting & Accessories, v. 84, no. 8, Industry), v. 78, no. 1, Feb. 2001, p. 44. Glass Line, v. 15, no. 1, June/July 2001, Aug. 2001, p. 150, ill. Method to eliminate the toxicity of lead. pp. 1-2, ill. Working with glasses compatible for fusing. 1056 "Le Vitrail fagon Tiffany: Mode d'em- 1069 Brosnahan, Timothy. 1043 "The Mystery of the Crashing Curtain- ploi." "The Time Domain." Wall." Verre Actualites, no. 172, Dec. 2000/Jan. Signs of the Times, v. 223, no. 6, May 2001, Kanch (All India Glass Manufacturers' Feder­ 2001, pp. 26-27, ill. pp. 74-77, ill. ation), v. 7, no. 3, Dec. 1999, p. 25, ill. Technique for making Tiffany-style stained "New lighting opportunities for sign com­ Breakage of windows in Boston's John Han­ glass. panies." cock Tower traced to problem within the dual- pane insulating glass units. 1057 "What Are We Doing?" 1070 Bucek, Thomas. Mixed Batch, Autumn 1963, pp. 6-7+, ill. "Protection with True Rendition." 1044 "New Generation of Robots." glass rod for fuel heater. Schott Info, no. 96, Feb. 2001, pp. 20-21, ill. Glass Machinery Plants & Accessories, v. 14, Innovative safety glass to protect artwork at no. 2, March/April 2001, p. 63, ill. Albertina palace, . "Robots for the hollow glass industry." 1058 "Wood Windows: New Standards, New Looks. It's Amazing What You Can Do with 1071 Buckton, David. Glass Today!" 1045 "The New Philosophy of the Glass­ "'Necessity the Mother of Invention' in Early Architectural Record, v. 189, no. 10, Oct. works and Their Glassmasters." Medieval Enamel." 2001, pp. 191-195, ill. Glass Styles, v. 4, no. 1, Jan. 2001, pp. 88-93, Transactions of the Third Canadian Confer­ Advantages of new, high-technology window ill. ence of Medieval Art Historians, 1985, products. Restructuring of the glassmaking factories in pp. 1-6. Marinha Grande, Portugal. 1059 Anderson, Avery. 1072 Bulbena, Agusti. 1046 "The New Philosophy of the Marinha "The Hotline." "La rotura espontanea." Grande Glassworks." Common Ground: Glass (Newsletter of the Vitrea, no. 15, June 2001, pp. 71-76, ill. Glass Machinery Plants & Accessories, v. 14, International Guild of Glass Artists Inc.), con­ Glass inclusions. no. 2, March/April 2001, pp. 135-139, ill. tinuing series, Fall 2000-Winter 2001. Industry responds to market that "has shifted Addresses topics involving fusing, , and kiln-working techniques. 1073 Burgalassi, G. from industrial to domestic glass." "II restauro degli smalti: La soluzione di un caso." 1047 "The Nuts and Bolts of a Whimsical 1060 Bedogni, Daniele. OPD Restauro: Quaderni dell'Opificio delle Creation." "Technology Meets Tradition in New Tool for Pietre Dure e Laboratori di Restauro di Glass Line, v. 14, no. 4, Dec. 2000/Jan. 2001, Glass Blowers." Firenze, v. 2, 1987, pp. 107-110, ill. pp. 15-17+, ill. Glass Machinery Plants & Accessories, v. 12, Observing artist Nancy Nagel at work in her no. 6, Nov./Dec. 1999, pp. 121-123, ill. 1074 Burght, Angela van der. studio. "A machine which can assist in the traditional "Glass Fibers, Fiber Glass." art of mouth blowing without losing the artist's This Side Up!, no. 14, Summer 2001, pp. 5-9, 1048 "Optical Fibres: Characteristics, Per­ creative touch." ill. formance, Uses." Man-made glass fibers. Illuminotecnica, no. 477/478, Sept./Oct. 2000, 1061 Benefield, Scott. pp. 378-384, ill. "Canne Piatina." 1075 Burght, Angela van der. GAS News (Glass Art Society), v. 12, no. 1, "De techniek van het brandschilderen." 1049 "Optical Fibres: Characteristics, Per­ Jan./Feb. 2001, p. 21, ill. Glasbulletin, Vereniging van Vrienden van formance, Uses." Ribbon cane. Modern Glas, v. 14, no. 4, 2000, pp. 5-10, ill. Illuminotecnica, nos. 483/484, March/April Enamel techniques. 2001, pp. 470-476, ill. 1062 Biggar, Ed. "Neon Special Effects for Fun and Profit." 1076 Caba, Randy. 1050 "Pilkington Launches World's First Sign Builder Illustrated, no. 72, May 2001, "Euro Neon, Part Two." Self-Cleaning Glass." p. 34+, ill. Sign Builder Illustrated, no. 72, May 2001, USGIass, Metal & Glazing, v. 36, no. 8, Sept. Conversation with inventor of neon bubbles. p. 50+, ill. 2001, p. 61. Continuation of survey of ways neon is used Pyrolytic product uses two-part process to 1063 Birkhill, Frederick. in signage. clean glass. The Art of Flameworking. [S.I.: the author, 2001?], 53 leaves, ill. 1077 Caba, Randy. 1051 Problems and Solutions: 23rd-25th "Finding the Neon Light. Part One: The Ele­ April 1999. ments." 1064 Birkhill, Frederick. S.I.: s.n., [1999?], [68] leaves, ill. Sign Builder Illustrated, no. 76, Oct. 2001, The Art of Flameworking. "Transcripts of lectures given at the Ceramics pp. 45-47, ill. [S.I.: the author, 2000], 37 leaves: ill. and Glass Conservation Group meeting held Series traces history and rise of neon. [at] West Dean College, Chichester." 1065 Bormioli, Costantino. 1078 Caba, Randy. 1052 Shared Experiences: 17-19 May 1996. "Altare riaccende il 'fornacino.'" "Findinq the Neon Liqht, Part Two: The In­ S.I.: s.n., [1996?], 85 leaves, ill. Alte Vitrie, v. 12 [13], no. 1, [2000], pp. 4-7, ill. sights." "Transcripts of lectures given at the Ceramics English summary. Sign Builder Illustrated, no. IT, Nov. 2001, and Glass Conservation Group meeting held New furnace to be built for museum and p. 44+, ill. at West Dean College, West Dean, West Sus­ glassmaking school in Altare. sex." 1079 Caba, Randy. 1066 Braat, Steven. "The Layman's Science of Tube Processing." 1053 "Sign Builder lllustrated's Fifth Annual '"Ik zie liever het glazuur dan mijn eigen verf.'" Sign Builder Illustrated, no. 70, March 2001, Neon School Survey." Vormen uit Vuur, no. 149, 1993, pp. 45-49, ill. p. 50+, ill. Sign Builder Illustrated, no. 68, Dec. 2000, Work of ceramics, glass, and stone restorer Neon. pp. 65-68+, ill. Isabelle Garachon at the Rijksmuseum. 1080 Caba, Randy. 1054 Skyscrapers: The New Millennium. 1067 Bray, Charles. "Looking for Tubebender Right." Prestel; Chicago: Art Institute of Chicago, Ceramics and Glass: A Basic Technology. Sign Builder Illustrated, no. 70 [69], Feb. 2001, 2000, 144 pp., ill. Sheffield, England, U.K.: Society of Glass p. 52+, ill. Using glass in skyscrapers. Technology, 2000, 276 pp., ill. Bending glass for neon signs. 1081 Caba, Randy. 1093 Conway, Judith. 1105 Dobbins, Norm. "Neon Roundtable: The Ribbon Burner "Kiln Forming Glass: An Intro to Glass Slump­ "How to Etch Glass Gifts - Profitably." Review." ing." Glass Art, v. 15, no. 1, Nov./Dec. 1999, Sign Builder Illustrated, no. 73, June/July Glass Craftsman, no. 162, Oct./Nov. 2000, pp. 10-12+, ill. 2001, p. 48+, ill. pp. 30-31+, ill. 1106 Dobbins, Norm. 1082 Caba, Randy. 1094 Conway, Judith. "How to Set Up an Abrasive "Neon Roundtable: Troubleshooting Basic "Kiln Forming Glass: Molds - How to Find Shop." Bends." Them, Buy Them, Make Them and Use Them!" A&E (The Magazine for Awards & Engraving Sign Builder Illustrated, no. 74, Aug. 2001, Glass Craftsman, no. 163, Dec. 2000/Jan. Professionals), v. 13, no. 12, Feb. 2001, pp. 49-50, ill. 2001, pp. 18-21, ill. pp. 92-95+, ill.

1095 Corning Glass Works. 1107 Dobbins, Norm. 1083 Caba, Randy. This Is Glass. "Make Your Own Photo Resist for Glass "Questions & Answers." Corning, NY: Corning Glass Works, 1962, Etching." Sign Builder Illustrated, no. 76, Oct. 2001, 69 pp., ill. Glass Art, v. 15, no. 2, Jan./Feb. 2000, p. 98, ill. pp. 34-38, ill. "What technology do you think will replace neon?" 1096 Custis, Amy. "Carving Your Own Niche: Solder as Art." 1108 Doble, Jim. Glass Craftsman, no. 162, Oct./Nov. 2000, "Elemental Design and Glass Percussion." 1084 Caba, Randy. pp. 13-15+, ill. Glass Music World, Fall/Winter 2000, p. 1+, ill. "Self-Training, Part Four: Tube Processing Techniques and instructions for lantern proj­ Glass xylophones named the "Aquarion" and and Lighting." ect. "Fountain" by their inventor. Sign Builder Illustrated, no. 68, Dec. 2000, p. 52+, ill. 1097 Czechowski, Tim. 1109 Dolcini, L. "Making It Unique with Slumped Glass." "La Stauroteca di Cosenza." 1085 Carey, Margret. Glass Digest, v. 80, no. 8, Aug. 15, 2001, OPD Restauro: Quaderni dell'Opificio delle Potential Hazards in Caring for Ethnographic pp. 44-46, ill. Pietre Dure e Laboratori di Restauro di Beadwork. Custom applications for unusual technique. Firenze, v. 3, 1988, pp. 127-152, ill. London: Archetype Publications Ltd., 2001, Cross with smalti. pp. 103-112, ill. 1098 Daily, Marty. "Choosing the Right Kiln." 1110 Donathan, Alethia. 1086 Carroll, Scott. Common Ground: Glass (Newsletter of the "Faceting a Glass Bead: Intermediate-to-Ad- vanced Project." Material Characterisation of Glass Disease on International Guild of Glass Artists), Summer Beaded Ethnographic Artefacts from the 2001, pp. 4-5+, ill. Lapidary Journal, v. 54, no. 10, Jan. 2001, Collection of the National Museum of the Basics of size and type. pp. 61-62, ill. American Indian. London: Archetype Publications Ltd., 2001, 1099 Davis, Marcie. 1111 Donth, Ernst-Joachim. pp. 27-38. "Light Your Fire: Is Flamework in Your Future?" The Glass Transition: Relaxation Dynamics in Glass Patterns Quarterly, v. 17, no. 3, Fall Liquids and Disordered Materials. 2001, pp. 68-69+, ill. Berlin; New York: Springer, 2001, 418, pp., ill. 1087 Chouinard, Joanne. Introduction to flameworking. "Personal Protective Equipment and the 1112 Doyal, Sherry. Studio Environment." Cleaning Historic Beadwork. Glass Craftsman, no. 161, Aug./Sept. 2000, 1100 Day, Delbert E. London: Archetype Publications Ltd., 2001, pp. 26-29+. "Glass Microspheres for Irradiating Malignant pp. 117-122, ill. Advice on safety. Tumours." Glass Machinery Plants & Accessories, v. 13, no. 4, July/Aug. 2000, pp. 103-107, ill. 1113 Duffer, Paul. 1088 Clarke, De. "How to Keep from Saying 'What Happened?' "It's a Tankless Job...." 1101 Day, Julie Bishop. on the Job Site." Glass Line, v. 14, no. 6, April/May 2001, p. 1+, "All About the Latest Rage in Glass." USGIass, Metal and Glazing, v. 36, no. 5, May ill. Stained Glass News, no. 52, May 2001, p. 10, 2001, pp. 56-57, ill. Using DME (durable medical equipment) ill. Preventing surface damage and water spots. oxygen concentrators for . Advanced mosaic techniques. 1114 Dohring, Thorsten. 1089 Cogen, David. 1102 Dillehay, James. "An Eye on the Sky." "Torch Care, Maintenance and Repair." "Arts Grants and Funding for Glass Artists: Glass (Monthly Journal of the European Glass The Bead Release, v. 7, no. 4, Fall 2000, What They Are and How to Get Them ... Industry), v. 77, no. 11, Dec. 2000, pp. 8-12. Part 1 pp. 370-371, ill. Glass Craftsman, no. 162, Oct./Nov. 2000, Mirror substrate developed by Schott Glas for use in telescopes. 1090 Conservators of Ethnographic Arte­ pp. 19-21. Part 2: no. 163, Dec. 2000/Jan. facts. 2001, pp. 16-17. Part 3: no. 164, Feb./March 2001, pp. 16-17+. Ethnographic Beadwork: Aspects of Manufac­ 1115 Eberhart, Harald W. ture, Use and Conservation. "One Glass Scoring Knife for Life: Innovation London: Archetype for Conservators of Ethno­ 1103 Dobbins, Norm. #2." graphic Artefacts, 2001, 140 pp., ill. "Glass Etching: It Isn't Just for Glass Anymore." Glass Line, v. 14, no. 4, Dec. 2000/Jan. 2001, Seminar papers on the conservation and tech­ Glass Art, v. 16, no. 2, Jan./Feb. 2001, pp. 10-11. nology of beadworks. pp. 28-29+, ill. Abrasive blasting equipment for etching and 1116 Eberhart, Mark E. carving glass can also be used with stone, "Why Glass and Other Things Break." 1091 Conway, Judith. ceramic, metal, and wood. Glass Machinery Plants & Accessories, v. 13, "Adding Details to Fused Jewelry." no. 2, March/April 2000, pp. 131-137, ill. Glass Craftsman, no. 165, April/May 2001, pp. 34-35+, ill. 1104 Dobbins, Norm. "How a Red and Green BAT Can Help You 1117 Ehrhardt, Anja. Etch Glass!" Beitrag zur Entwicklung fotostrukturierbarer 1092 Conway, Judith. A&E (The Magazine for Awards & Engraving Glaser und Glaskeramiken mit unterschiedli- "Fusing for Jewelry: One Layer, Two Layers, Professionals), v. 14, no. 6, Aug. 2001, chen thermischen Ausdehnungskoeffizienten. Three Layers, More!" pp. 52-53, ill. Aachen: Shaker, 1999, 111 pp., ill. Glass Craftsman, no. 164, Feb./March 2001, Non-liquid adhesive to adhere photo resist to Photosensitive glasses and glasses with p. 48+, ill. a substrate for blast etching. different thermal expansion. 1118 Entwistle, Jill. 1131 Goldman, Stu. 1144 Hinchliffe, Meredith. Bars and Restaurants. "Lead Fabrication: The Finishing Touches." "Laboratorio di vetro: Istituto d'arte de Can­ Crans-Pres-Celigny, Switzerland: RotoVision, Glass Craftsman, no. 167, Aug./Sept. 2001, berra = Canberra School of Art Glass Work­ 1999, 160 pp., ill. pp. 23-29+, ill. shop." A look at the latest lighting techniques and Tips from the experts. Vetro (Centro Studio Vetro, Murano), no. 7, how they have been applied in restaurants April-June 2000, pp. 52-55, ill. In Italian and and bars around the world. English. 1132 Gongalves, Antonio. "Vidro, ciencia e tecnologia: Uma exposigao 1119 Entwistle, Jill. diferente." 1145 Hinder, Paddy. Hotels. Vidro (Boletim Trimestral da Associagao Por- "Copper-Free Mirror Production." Crans-Pres-Celigny, Switzerland: RotoVision, tuguesa do Vidro), no. 1, Autumn 2000, p. 8, ill. Glass (Monthly Journal of the European Glass 1999, 160 pp., ill. Report on exhibition in Oeiras, Portugal, de­ Industry), v. 78, no. 8, Sept 2001, p. 245, ill. An overview of what should be considered tailing the scientific and technological uses of when creating successful lighting in hotels. glass. 1146 Holland, Sage. "Lewis & Clark Bead." 1120 Eppler, Richard A. 1133 Greer, Dani. Lapidary Journal, v. 54, no. 2, May 2000, Glazes and Glass. pp. 257-259, ill. Westerville, Ohio: American Ceramic Society, "Painting on Glass (Part 4): Silver Stain." 2000, 332 pp., ill. Common Ground: Glass (Newsletter of the International Guild of Glass Artists Inc.), 1147 Howard, Arnold. Winter 2001, pp. 8-9, ill. " Control in Kilns." 1121 Evans, Robin. Glass Craftsman, no. 165, April/May 2001, "Architectural Mixed Media Mosaics: Glass & pp. 36-38. Floor Border Inlay." 1134 Griotti, Oreste. Glass Craftsman, no. 167, Aug./Sept. 2001, "Un'icona per il XX secolo." pp. 14-18, ill. Neon Light e Sign, no. 98, Sept./Oct. 2001, 1148 Howard, Arnold. pp. 68-69, ill. "How to Choose a Glass Kiln." 1122 Evans, Robin. Brief history of lighting. Glass Craftsman, no. 164, Feb./March 2001, pp. 28-31+, ill. "Glass on Glass: Glue vs. Glue Performance Tests." 1135 Gross, Richard. 1149 Howard, Arnold. Glass Craftsman, no. 164, Feb./March 2001, "Photographing Stained Glass, Part Five." "Maintaining Your Glass Fusing Kiln." pp. 18-21, ill. Stained Glass, v. 96, no. 3, Fall 2001, Glass Craftsman, no. 166, June/July 2001, pp. 174-177, ill. 1123 Finch, Peter. pp. 18-21, ill. "Nuova CEV: Putting Craft before Quantity." Glass Machinery Plants & Accessories, v. 12, 1136 Gross, Richard. 1150 Jembrih, D. and others. no. 6, Nov./Dec. 1999, pp. 132-134, ill. "Photographing Stained Glass, Part Four." "Iridescent Art Nouveau Glass: IBA and XPS Profile of Tuscan lead crystal manufacturer. Stained Glass, v. 96, no. 2, Summer 2001, for the Characterisation of Thin Iridescent pp. 108-111, ill. Layers." 1124 Fisher, Kathleen. Nuclear Instruments and Methods in Physics "New Life for Old Tubs: A Buyer's Guide to 1137 Gross, Richard. Research, v. 181, 2001, pp. 698-702, ill. Bathroom Fixture Refinishing." "Photographing Stained Glass, Part Three." OldHouse Journal, v. 29, no. 2, March/April Stained Glass, v. 96, no. 1, Spring 2001, 1151 Jones, James Alfred. 2001, pp. 52-55, ill. pp. 48-51, ill. "Fantastica Glass Bead: Beginner-to-lnter- Includes information on porcelain (vitreous) mediate Project." enamel, p. 55. 1138 Gross, Richard. Lapidary Journal, v. 54, no. 12, March 2001, "Photographing Stained Glass: Part Two." pp. 55-56, ill. 1125 Fleming, S. J. Stained Glass, v. 95, no. 4, Winter 2000, "Roman Mosaic Glass: A Study of Production pp. 294-297, ill. 1152 Kapp, David C. Processes, Using PIXE Spectrometry." Part 1: v. 95, no. 3, Fall 2000, pp. 216-219, ill. "Decorating Glass with Organic Coatings Is an Beam Interactions with Materials and Atoms, Adhesive Challenge." v. 150, 1999, pp. 622-627, ill. Glass International, v. 24, no. 1, Jan. 2001, 1139 Haan, L.de. p. 12+, ill. 1126 Fletcher, Charlie. Glas: Fabricage, bewerking, toepassing. Haarlem: H. Stem, [1952], 199 pp., ill. "LCDs Are Here to Stay." 1153 Keller-Hohl, Inge. Sign Builder Illustrated, no. 72, May 2001, "A Revolution in ." pp. 60-64+, ill. 1140 Hagy, Henry E. Schott Info, no. 97, May 2001, pp. 12-13, ill. Latest breakthroughs in liquid crystal displays. "Glass Seals and Thermal Expansion Com­ Use of glass mini-tubes improves processing patibility." of the weft yarn. 1127 Fowle, Kate. The Glass Art Society Journal, 2000, "Lampworking a Seashell Bead." pp. 24-28, ill. 1154 Kervin, James. Lapidary Journal, v. 55, no. 7, Oct. 2001, Pate de Verre and Kiln Casting of Glass. pp. 92-93, ill. 1141 Halem, Henry. Livermore, CA: GlassWear Studios, 2000, 192 Intermediate lampwork project. "The Marie Antoinette Guillotine Color Rod pp., in. Breaker." 1128 Freudenberger, Bianca. GAS News (Glass Art Society), v. 12, no. 2, 1155 King, Candice. "Good Connection." March/April 2001, p. 9, ill. Schott Info, no. 97, May 2001, pp. 14-15, ill. "Mini Ornaments." Special glasses used as stabilizers and in­ Glass Line, v. 14, no. 4, Dec. 2000/Jan. 2001, sulators. 1142 Harvey, Kathleen S. p. 1+, ill. "Adhesion: Quimica del vidrio = Chemical 1129 Fritts, Drew. Bonding of Glass." 1156 Klopsch, Bill. "A Beginner's Guide to Glass: Alchemy Vidrio, no. 4, April-June 2000, pp. 5-9, ill. In "Tips for Tackling Bigger Windows." Colored Borosilicate." Spanish and English. Stained Glass News, no. 52, May 2001, Glass Line, v. 14, no. 5, Feb./March 2001, Includes tips on choosing an adhesive. pp. 6-7, ill. p. 1+, ill. Creating stained glass for the main entrance 1143 Herrmann, Volker. of an elementary school. 1130 Frost, J. A. "Moving Glass to Higher Levels." "Clear as Glass." Glass Digest, v. 80, no. 8, Aug. 15, 2001, 1157 Liu, Robert K. Chemistry in Britain, v. 6, no. 12, Dec. 1970, pp. 40-43, ill. "Larry Scott: Torch-Drawn Glass Cane Beads." pp. 529-532, ill. Teaming antireflective and Low-E coated Ornament, v. 23, no. 4, Summer 2000, Glass in the laboratory. glass. pp. 54-55, ill. 1158 Lord, Annie. 1171 Murray, Peter. 1183 Prokop, Diane. Deterioration of Glass Beads on an Ed­ "The Not-So-Humble Test Tube." "Tools for Making Better Beads." wardian Evening Bodice. Glass (Monthly Journal of the European Glass Lapidary Journal, v. 55, no. 7, Oct. 2001, London: Archetype Publications Ltd., 2001, Industry), v. 78, no. 5, June 2001, p. 155, ill. pp. 90-91, ill. pp. 127-132, ill. Description of test tube methods. 1184 Radeschi, Loretta. 1159 Love, Laura Beth. "The Dangers of Working with Glass Are "Beginner Stained Glass." 1172 Newcomb, Gerry. Crystal Clear: Tips for Ensuring Your Safety in Common Ground: Glass (Newsletter of the "Turn Up the Music, Turn Up the Heat... the Studio." International Guild of Glass Artists Inc.), con­ Open-Face Kiln Casting Is Hot!" The Crafts Report, v. 27, no. 298, Feb. 2001, tinuing series, Fall 2000-Winter 2001. Glass Craftsman, no. 167, Aug./Sept. 2001, pp. 36-37, ill. pp. 6-10, ill. 1160 Lozza, Maurizio. 1185 Reed, Graham. "The Changing Face of Murano Glass." 1173 Noll, Steve J. "Industry Faces Shortage of Scientific Glass- Glass Machinery Plants & Accessories, v. 13, "A Homemade Mini Glassworking ." blowers." no. 3, May/June 2000, pp. 106-113, ill. Fusion (Journal of the American Scientific Glass (Monthly Journal of the European Glass Glassmakers respond to changing markets Glassblowers Society), v. 48, no. 2, May 2001, Industry), v. 78, no. 5, June 2001, pp. 157-158, and economic conditions. pp. 21-23, ill. ill.

1161 Mann, Elise. 1174 Oddy, Robert. 1186 Reed, Karen. "Constructing Fused-Glass Beads." "A Stained Glass Artist's Adventure into "More about Silk-screening." Bead Society of Great Britain Newsletter, Sculpture: Adding a New Dimension to My Glass Craftsman, no. 166, June/July 2001, no. 56, Dec. 2000, pp. 3-5, ill. Work." pp. 48-53, ill. Glass Craftsman, no. 163, Dec. 2000/Jan. 1162 Manriquez, Rodrigo. 2001, pp. 22-25, ill. "Lobbying with Light." 1187 Reed, Karen. LD+A (Lighting Design + Application), v. 31, "Silk-Screening on Glass." 1175 Osuna, Ana. no. 6, June 2001, pp. 40-45, ill. Glass Craftsman, no. 165, April/May 2001, "El Museo de las Ciencias Principe Felipe: pp. 42-44+, ill. Two lobby projects, both of which involve Armonia entre lo logico y lo organico." glass elements, require "vastly different ap­ "The technical side of multiple image trans­ Vitrea, no. 16, Sept. 2001, pp. 48-53, ill. proaches to the lighting design." ferring." Glass incorporated into "organic" architectural structure. 1163 Marcos Gozalo, Maria. 1188 Reichs, Ron. "Las tecnicas del vidrio: Pasta de vidrio." "Notes on Finishing Glass." Cuadernos del Vidrio, no. 2, Oct. 2000, 1176 Paciello-Truty, Jackie. N.Z.S.A.G. Newsletter (New Zealand Society "Art Clay Silver and Glass: A Perfect Partner­ pp. 30-31, ill. of Artists in Glass), June 2001, pp. 9-10. ship." Glass Craftsman, no. 168, Oct./Nov. 2001, 1164 Marcos, Maria. pp. 21-25+, ill. 1189 Rice, Peter. "Las tecnicas del vidrio: Grabado." How to fuse glass with other materials. Transparente Architektur: Glasfassaden mit Cuadernos del Vidrio, no. 2, Oct. 2000, Structural Glazing. pp. 28-29, ill. Basel; Boston: Birkhauser, 1995, 144 pp., ill. 1177 Perdu, Bruno. Illustrates buildings in which architectural "Doublage & comblement du verre archeologi- glass is an integral part of construction. 1165 Mathel, Jerry. que par papier." "The Art of Glue Chip Glass." Conservation Restauration des Biens Cultu- Sign Builder Illustrated, no. 70 [69], Feb. 2001, rels, no. 7, Dec. 1995, pp. 45-50, ill. 1190 Ring-Heber, Anne-Marie. pp. 114-117, ill. Lining and infilling of archeological glass with "Glassy Thermal Shield." paper. Schott Info, no. 97, May 2001, pp. 20-21, ill. 1166 McCreight, Tim. Glass architecture incorporated into Frankfurt Color on Metal: 50 Artists Share Insights and Hilton building. 1178 Perlis, Leslie. Techniques. "Kickstarting Your Creativity: How to Keep the Madison, Wl: Guild Pub.; Cincinnati, OH: Inspiration from Stalling." 1191 Rossol, Monona. North Light Books, 2001, 126 pp., ill. Glass Craftsman, no. 164, Feb./March 2001, "The 100 Pound Lead Reporting Rule Lives." Cloisonne and basse-taille processes pp. 6-11, ill. Common Ground: Glass (Newsletter of the (pp. 10-11). International Guild of Glass Artists), Summer 2001, pp. 12-13. 1167 Meyne, Fritz, Jr. 1179 Peterson, Sara. "Why Light Your Letters with Fiber Optics?" "The Lure of Beadmaking." 1192 Rossol, Monona. Sign Builder Illustrated, no. 73, June/July The Score (Spectrum Glass Company, "Heaith and Safety: Good Glasses for Gazing 2001, pp. 99-101, ill. Woodinville, WA), no. 73, Dec. 15, 2000, at Glowing Glass." Fiber optics used as alternative to illuminating pp. 1-2, ill. Common Ground: Glass (Newsletter of the channel letters. Review of video by beadmaker Kate Drew- Wilkinson. International Guild of Glass Artists Inc.), Fall 2000, pp. 4-5. 1168 Michalske, Terry A. "The Fracturing of Glass." 1180 Porcelli, Joe. Scientific American, v. 257, no. 6, Dec. 1987, "Smooth Soldering." 1193 Roussel, Lucy. pp. 122-129, ill. Glass Craftsman, no. 167, Aug./Sept. 2001, "Mold Making Olympics in Corning, New York." "Ways to slow or even stop the growth of pp. 35-36+, ill. Fusion Magazine (The Ontario Clay & Glass cracks in glass and other brittle materials." Tips and techniques. Association), v. 25, no. 3, Fall 2001, p. 22, ill. Event at 2001 Glass Art Society conference. 1169 Mocatta, Charmian. 1181 Priest, Nicholas D., and others. Lettering on Glass. "The Bio-Safety of Metal Components in 1194 Rowe, Melanie. London: A. & C. Black; Seattle, WA: University Crystal Glass." "Marriage of Technology and Creativity: Mould of Washington Press, 2001, 112 pp., ill. Glass Machinery Plants & Accessories, v. 14, Making for Cast Glass Using Mold Mix 6." no. 3, May/June 2001, pp. 77-84, ill. Glass Gazette (Glass Art Association of 1170 Morey, Robert. Canada), v. 3, no. 43, Feb. 2001, pp. 7-9, ill. "The Pushing Technique." 1182 Prinssen, Gerrit. Glass Line, v. 14, no. 6, April/May 2001, "The Giant Blue Wing." 1195 Schieb, Gustl. pp. 10-11+, ill. Schott Info, no. 97, May 2001, pp. 16-17, ill. Das Fachbuch des Glashandwerkes.... "The technique of pushing a rod of glass into Blue glass facade at the National Science [Wien]: Osterreichischer Gewerbeverlag, a gather of clear." Museum in London. [1958], 2 v., ill. 1196 Seddon, Tracey. 1211 Sycuro, Ginny. 1224 Thielen, Marcus. "Examination and Conservation of a Beaded "The Glass Doctor: Lampwork Series - Dot "Runnin' on Heavy Fuel: Why Overloaded Throne from Cameroon." Beads." Neon Transformers Will Fail Quickly." Ethnographic Beadwork: Aspects of Manu­ Beadwork, v. 4, no. 2, Feb./March 2001, p. 52, Signs of the Times, v. 223, no. 5, April 2001, facture, Use and Conservation. ill. p. 36+, ill. London: Archetype Publications Ltd., 2001, Instructions for making dot beads. pp. 79-101, ill. 1225 Thielen, Marcus. 1212 Synek, Miroslav. "Sign-Service Blues." 1197 Slater, Ken. "Czech Company Helps Designer to Reach Signs of the Times, v. 223, no. 7 [8], July 2001, "Photographing Glass." His Mexican Goal." p. 30+, ill. Glass Works (Fostoria Glass Collectors Inc.), Glass International, v. 23, no. 6, Nov./Dec. Questions of accessibility and safety. v. 8, no. 2, March 2001, pp. 4-13, ill. 2000, pp. 14-15, ill. 1226 Townsend, Milon. 1198 Smircich, James. 1213 Tarsitano, Debbie. Advanced Flameworking. "Making a Fine Round Bead." "How to Create Small-Scale Latticino." Hilton, NY: Blue Moon Press, 2001, 191 pp., ill. Lapidary Journal, v. 55, no. 7, Oct. 2001, Glass Art, v. 16, no. 4, May/June 2001, p. 76+, ill. pp. 32-34, ill. 1227 Turner, David. "Conservation of Historic Stained Glass: 1199 Smith, Kent H. 1214 Tarsitano, Debbie. Towards a Code of Practice." "Great Tips from the Past: Gold Leaf Tech­ "Rediscovering Paperweights as Encased Historic Environment, v. 12, no. 2, 1996, niques." Lampwork." pp. 41-42. The Gilder's Tip (Journal of the Society of Glass Art, v. 16, no. 2, Jan./Feb. 2001, Gilders), no. 2, 2001, pp. 18-20. pp. 38-42, ill. Tips on preventing air traps. 1228 Vargas, FranCisco. "A Conversation with the Sign Guru." 1200 Sosna, Marta Gilberd. Sign Builder Illustrated, no. 72, May 2001, "Building Armatures for Sculptural Beadwork: 1215 Tarsitano, Debbie. p. 78+, ill. Varaform Techniques." "Renovate Your Studio: Remodel Your Per­ Profile of "one of Fresno, California's most Beadwork, v. 4, no. 4, June/July 2001, ception." famous sign makers," who works with neon. pp. 50-51, ill. Glass Art, v. 16, no. 6, Sept./Oct. 2001, pp. 76-79, ill. 1201 Spoto, Giuseppe. 1229 Viesnik, Peter. "For Your Eyes Only - Eye Protection Advice." X-Ray Photoelectron Spectroscopy and Auger 1216 Thiel, Ana. Electron Spectroscopy in Art and Archaeology. N.Z.S.A.G. Newsletter (New Zealand Society "Metodos de produccion del vidrio = Glass of Artists in Glass), Dec. 2000, pp. 6-7. New York: Wiley, 2000, pp. 363-404, ill. Production Methods." Vidrio, no. 2, June-August 1999, pp. 5-9, ill. 1202 Stanton Harris, Martyn. In Spanish and English. 1230 Vitkala, Jorma. Practising Stained Glass Safely. Brief discussion. "Toughening Large Size Glasses." Sheffield: Society of Glass Technology, 2000, Glass (Monthly Journal of the European Glass Industry), v. 78, no. 8, Sept. 2001, p. 250+, ill. 48 pp., ill. 1217 Thielen, Marcus. "The Code." 1203 Stone, Graham. Signs of the Times, v. 223, no. 9 [10], Sept. 1231 Volka, Annie. Firing Schedules for Glass: The Kiln Com­ 2001, p. 42+, ill. Restauration de six figures en verre file dit de panion. "Installing neon signs safely using the Neon Nevers. Melbourne: G. Stone, 2000, 1996, 225 pp., ill. Installation Manual." [France: the author, 1995], 2 v., 355 pp., ill. Restoration of six figurines of spun glass from 1204 Stookey, S. Donald. 1218 Thielen, Marcus. Nevers. Explorations in Glass: An Autobiography. "Cold-Cathode Hints, Part 1." Westerville, OH: American Ceramic Society, Signs of the Times, v. 223, no. 6, May 2001, 1232 Wardell, Randy. 2000, 74 pp., ill. p. 44+, ill. "Hints & Tips for Hobbyists." "Alternative lighting products that you can Stained Glass News, no. 52, May 2001, 1205 Stalhandske, Christina. make in your neon shop." pp. 8-9, ill. "The Impact of Refining Agents on Glass Cutting mirror glass with a band saw. Colour." 1219 Thielen, Marcus. Glasteknisk Tidskrift, v. 55, no. 3, 2000, "Cold-Cathode Hints, Part II." 1233 Watts, David C. pp. 65-71. Swedish summary. Signs of the Times, v. 223, no. 6 [7], June "What Future for the British Domestic Glass 2001, p. 24+, ill. Industry?" 1206 Suter, Cindy. "How to complete an electrode splice in large- Glass Circle News, no. 86, March 2001, p. 14. "A Warning about Lead Poisoning for Parents diameter tube processing." Working with Stained Glass at Home." 1234 Weiner, Kay Bain. Glass Art, v. 16, no. 4, May/June 2001, p. 22. 1220 Thielen, Marcus. "Envision the Shape of Things to Come ... "Design(ing) Light." And Color Them Beautiful!" 1207 Swormstedt, Wade. Signs of the Times, v. 223, no. 8 [ie 9], Aug. Glass Craftsman, no. 167, Aug./Sept. 2001, "The Neon Sign Industry: A Report for 2000." 2001, p. 24+, ill. "Neonizing logos." pp. 20-22+, ill. Signs of the Times, v. 223, no. 4, March 2001, Common shapes and icons provide "an end­ pp. 148-152+, ill. 1221 Thielen, Marcus. less repertoire of design ideas." "LED or Neon? A Scientific Comparison." 1208 Swormstedt, Wade. Signs of the Times, v. 223, no. 11, Nov. 2001, 1235 Weiner, Kay Bain. "Neon Still Rules in 2000." p. 40+, ill. "Write a Letter: The ABC's of Designing." Signs of the Times, v. 223, no. 4, March 2001, Glass Craftsman, no. 165, April/May 2001, p. 248. 1222 Thielen, Marcus. pp. 14-17, ill. Comments on second annual Neon Survey. "Neon Basics, Part 6: Pattern-Making." Making letter designs. Signs of the Times, v. 222, no. 13, Dec. 2000, 1209 Sycuro, Ginny. p. 32+, ill. 1236 Weiss, Bert. "Dichroic Chip Beads." "A Big Job for a Little Synagogue: A Tribute to Beadwork, v. 4, no. 4, June/July 2001, p. 52, ill. 1223 Thielen, Marcus. Lost Friends and New Collaborators." "Processing Techniques: Special Handling for Glass Craftsman, no. 163, Dec. 2000/Jan. 1210 Sycuro, Ginny. Special Tubes." 2001, pp. 33-34+, ill. "The Glass Doctor: Ginny Sycuro." Signs of the Times, v. 223, no. 4, March 2001, Describes the process of creating an enamel Beadwork, v. 4, no. 3, April/May 2001, p. 52, ill. p. 48+, ill. painting on float glass for synagogue in New Making flower beads. Neon. Hampshire. 1237 Wolfersberger, Stan. 1243 Young, Butch. 1249 Young, Butch. "Ventilation for Beadmaking: How Much Do "Stencils: A Hand-Cutter Changes Her Tune." "How Bambi Lost Her Temper and What We You Need?" A&E (The Magazine for Awards & Engraving Did about It." The Bead Release, v. 8, no. 2, Spring 2001, Professionals), v. 14, no. 1, March 2001, Glass Art, v. 16, no. 3, March/April 2001, pp. 14-15. p. 22+, ill. pp. 24-26+, ill. . 1238 Wright, Randy. 1244 Young, Butch. "Fluorescent vs. HID." "Sophisticated Surface Etching: Part 3." 1250 Young, Butch. Sign Builder, no. 70, March 2001, p. 34+, ill. Glass Art, v. 15, no. 2, Jan./Feb. 2000, "Getting the Right Look, Part One." pp. 10-15, ill. A&E (The Magazine for Awards & Engraving 1239 Worner, Johann-Dietrich. Professionals), v. 14, no. 4, June 2001, p. 16+, Glasbau: Grundlagen, Berechnung, Konstruk- 1245 Young, Butch. ill. tion. "So Many Fonts, So Little Time...." A review of the creative process involved in Berlin: Springer-Verlag, 2001, 275 pp., ill. A&E (The Magazine for Awards & Engraving designing an award. Technical implications of glass as a construc­ Professionals), v. 14, no. 7, Sept. 2001, tion material. p. 16+, ill. 1251 Young, Butch. 1240 Young, Butch. "Don't Be a Copycat: Variations on a Stencil "When to Use Clear Resist." 1246 Young, Butch. Theme." A&E (The Magazine for Awards & Engraving "Sandblasting Safely." A&E (The Magazine for Awards & Engraving Professionals), v. 13, no. 11, Jan. 2001, Glass Art, v. 16, no. 6, Sept./Oct. 2001, Professionals), v. 14, no. 2, April 2001, p. 24+, pp. 32-34, ill. p. 12+. ill. Using a simple stencil to achieve different 1241 Young, Butch. 1247 Young, Butch. looks. "True Grit: Unraveling the Mysteries of Sand­ "Nozzletov: A Toast to the Least Understood blasting." and Most Underestimated Tool in Your 1252 Young, Butch. A&E (The Magazine for Awards & Engraving Blasting Arsenal." "Doing It Right: Applying Stencils." Professionals), v. 14, no. 5, July 2001, p. 22+, Glass Art, v. 16, no. 5, July/Aug. 2001, p. 26+, A&E (The Magazine for Awards & Engraving ill. ill. Professionals), v. 14, no. 3, May 2001, p. 28+, ill. 1242 Young, Butch. 1248 Young, Butch. "Touched by an Angle." "It Ain't Always Easy: Getting It Right, Part Glass Art, v. 15, no. 1, Nov./Dec. 1999, Two." 1253 Young, Butch. pp. 26-29+, ill. A&E (The Magazine for Awards & Engraving "Back to School: Seminars and Classes." "Explores the use of angles to create a broad Professionals), v. 14, no. 6, Aug. 2001, A&E (The Magazine for Awards & Engraving range of sensuous shapes" in sandblasted pp. 24-26, ill. Professionals), v. 13, no. 12, Feb. 2001, glass. Tips for glass artists. pp. 30-32+, ill.

FILMS AND VIDEOTAPES/FILME UND VIDEOKASSETTEN

1254 Art Glass: Looking at the Basics. 1263 Big Dream Small Screen. 1271 Tape 11: The Corning Studio - Fifth Kathen Gaffney, 2001. PBS Video, 1997. Anniversary, by Amy Schwartz. 36 min., sound, color. 60 min., sound, color. The Corning Museum of Glass, 2001. [60?] min., sound, color. 1255 The Art of Glass Engraving, v. 100. 1264 Blenko Retro: Three Designers of Gibson Productions, 1999. American Glass. 1272 Tape 3: Chemistry and Development of 30 min., sound, color. Witek & Novak, 2001. Glass, by David C. Watts. 1 videocassette, sound, color. The Corning Museum of Glass, 2001. [60?] min., sound, color. 1256 The Art of Glass Engraving, v. 101. 1265 Blown Beads. Gibson Productions, 1999. Remschneider Glass, 2001. 30 min., sound, color. 1273 The Crystal City. 83 min., sound, color. WSKG, 2001. 47 min., sound, color. 1257 The Art of Glass Engraving, v. 102. 1266 Bohemian Beadmaking. Gibson Productions, 1999. Paradise & Co., 2000. 1274 Dudley Giberson's Core Vessel Video 30 min., sound, color. 48 min., sound, color. (presented to the 2001 GAS Conference). Joppa Glassworks, 2001. 1258 The Art of Glass Engraving, v. 103. 1267 Chihuly and the Masters of Venice. 1 videocassette, sound, color. Gibson Productions, 1999. Portland Press, 2001. 30 min., sound, color. 58 min., sound, color. 1275 Flamework an Intimate Art. Glassworks Video Productions, 2001. 1259 The Art of Glass Engraving, v. 104. 1268 The 'Colour Pot' Electric Glass Melting 60 min., sound, color. Gibson Productions, 1999. Furnace. 30 min., sound, color. Mark Lauckner, 1999. 1276 Flameworking with Teamwork, Tech­ 2 videocassettes (160, 80 min.), sound, color. nology and Scale. Blue Moon Press, 2001. 1260 Art of Glass. 1 videocassette, sound, color. Metro Video Productions, 1999. 1269 Corning Museum of Glass 2000 Semi­ 15 min., sound, color. nar. Tape 6: The Rakow Commission, by Josiah 1277 Georg Michael Gausling Spuren in McElheny. Glas. 1261 Bead Torch 101. The Corning Museum of Glass, 2000. Friedhelm Sonderhoff, 2001. Mark Lauckner, [2000?]. [60?] min., sound, color. [15?] min., sound, color. 75 min., sound, color. 1270 Tape 10: Glass Architecture, by Tina 1278 Glass of the Sultans (lecture by David 1262 Ben Edols and Kathy Elliott. Oldknow. Whitehouse). [S.n.], 2000. The Corning Museum of Glass, 2001. The Corning Museum of Glass, 2001. 1 videocassette, sound, color. [60?] min., sound, color. [70?] min., sound, color. 1279 Global Art Glass. 1287 Making Beads with Stained Glass 1295 Stained Glass with Vicki Payne: Wire Eureka Film, 2000. Remnants, part 2. Wrapped Angels with Guest Jayne Persico. 29 min., sound, color. Kate Drew-Wilkinson, 2001. Cutters Video Productions, [199?]. 90 min., sound, color. 30 min., sound, color. 1280 Greater Boston Arts. 1288 Making Paperweights with Schott WGBH, 2001. 1296 [Susan Gotf\. Ophthalmic Glass. 29 min., sound, color. [10?] min., sound, color. Lewis Wilson, 2001. 80 min., sound, color. 1281 Intermediate Beadmaking: The Bells 1297 The Master Class Series: Pate de and Whistles. 1289 Melting Glass. verre with Shin-ichi and Kimiake Higuchi [S.n.], [2001?]. Melting Glass Productions, [2000?]. (volume 4). 75 min., sound, color. 1 videocassette, sound, color. The Studio of The Corning Museum of Glass, 2001. 1282 Introduction to the Fusing and Slumping 1290 Pattern Canes from Optic Molds. 30 min., sound, color. of Glass. [S.n.], 2001. Dragon Glass, [2000?]. 75 min., sound, color. 2 videocassettes (49, 58 min.), sound, color. 1298 Vetroricerche: Sogno di una notte di mezza estate; Omaggio a W. . 1291 Rather Good at Blue: A Portrait of Vetroricerca, [1999?]. . 1283 Itoko Iwata Glass Tower. 19 min., sound, color. NHKTV, 1999. HTV Television, 2000. 45 min., sound, color [55?] min., sound, color. 1299 What is Man? Aspects of Scale in 1292 Stained Glass with Vicki Payne: Fused Flameworked Sculpture. 1284 Karg Art Glass Documentary. Video Post, 2000. Glass Jewelry. Blue Moon Press, 2001. 49 min., sound, color. Cutters Video Productions, [n.d.]. 1 videocassette, sound, color. 60 min., sound, color. 1300 When Frogs Talk (featuring Nancy 1285 Lauscha Glas Creation: Original 1293 Stained Glass with Vicki Payne. Nagel). Christbaumschmuck aus dem Thuringer Wald. Cutters Productions, [n.d.]. Flame and Fusion, 2001. 5 min., sound, color. 60 min., sound, color. 55 min., sound, color. 1286 Making Beads with Stained Glass 1294 Stained Glass with Vicki Payne: Kiln- Remnants, part 1. formed Bracelets. 1301 World on a String. Kate Drew-Wilkinson, 2001. Cutters Video Productions, [199?]. Zepra International, 2001. 90 min., sound, color. 60 min., sound, color. [15?] min., sound, color. A SELECTIVE INDEX OF PROPER NAMES AND PLACES AUSGEWAHLTES REGISTER VON EIGENNAMEN UND ORTEN

This is a subject index to the "Bibliogra­ Es handelt sich im Folgenden urn ein denen die entsprechenden Personen phy" of New Glass Review 23. The num­ Sachregister zur „Bibliographie" der New oder Orte behandelt werden. bers following the names below are Glass Review 23. Die Zahlen hinter den keyed to the numbers preceding the indi­ Namen entsprechen den Zahlen, die den vidual "Bibliography" entries in which Eintragungen der einzelnen Beitrage der these persons and places are discussed. „Bibliographie" vorangestellt sind, in

Allen, Tricia, 246 Cenedese, Simone, 156 Elskus, Albinas, 902 Ambruz, Jan, 764 Chapelle du Rosaire (Vence, France), 941 Engman, Kjell, 402, 482 Amoruso, Giampaolo, 664 Chaseling, Scott, 421 Fabre, Jan, 533 Andrews, Paula, 557 Chiarizia, Victor, 55 Farnsworth, Philo Taylor, 1263 Antonakos, Stephen, 9, 608, 1260 Chihuly, Dale, 9, 25, 26, 27, 41, 256, 279, 283, Fauguet, Richard, 319 Ayotte, Rick, 143 327, 355, 378, 395, 397, 413, 458, 482, Fenton, Dan, 994 538, 589, 597, 781, 800, 1260, 1267 Bacci, Arduino, 8 Ferguson, Mark, 332 Cho, Simsa, 209 Bach, Elvira, 714 Flavin, Dan, 729 Cioni, Silvano, 106 Backstrom, Monica, 517 Fox, Mary, 795 Clarke, Brian, 159 Baldwin, Philip, 82, 231, 387 Frabel, Hans Godo, 348 Clegg, Tessa, 534 Baldwin, Philip/Guggisberg, Monica, 254 Frijns, Bert, 145, 476 Cline, Mary Van, 256 Barovier, Ercole, 657, 703 Fujita, Kyohei, 531 Conrad-Lindig, Ingrid, 715 Baudry, Thierry, 320 Gass, Nabo, 78 Corning Glass Works, 1273 Beck, Rick, 251, 268 Gehry, Frank, 980 Corning Incorporated, 1273 Ben Tre, Howard, 591 Gherardi, Lisa, 625 Corning Museum of Glass, 1271, 1273 Benglis, Lynda, 464 Glass Art Society, 71 Corning Museum of Glass Studio, 1262 Bergner, Larry, 462 Glauner, Bert, 918 Cotter, Maud, 108, 287 Bergstrom, Lena, 394 Glovsky, Alan, 609 Courtney, Giselle, 289, 737 Bettison, Giles, 416 Gott, Susan, 1296 Couturier, Marie-Alain, 941 Beveridge, Philippa, 135 Grcic, Konstantin, 712, 724 Cribbs, KeKe, 546, 626, 773 Bilka, llji, 425 Grebe, Robin, 777 Croze, Nani, 299, 376 Birkhill, Frederick, 382 Groot, Mieke, 113 Cuomo, Domenico, 106 , 613, 1264 Grusenmeyer, Marie-Paule, 862 Dailey, Dan, 315 Blomdahl, Sonja, 198 Guerin, Henri, 364 Day, Stephen Paul, 237 Blomquist, Lyle, 529 Guggisberg, Monica, 82, 231, 387 Bolangier, Wouter, 692 De Clerck, Sandra, 691 Guggisberg, Monica/Baldwin, Philip, 579 Breidfjord, Leifur, 984 de Santillana, Laura, 99 Gutauskas, Simonas, 931 Brekke, John, 418 De Sousa, Katherine, 723 Halkidis, Effie, 204 Bremers, Peter, 247 de Vogelaere, Lut, 862 Hall, Sarah, 875 Britton, Margaret, 864 Deacons, John, 788 Harlow, Valorie, 433 Bruce, Jane, 419 Dei Rossi, Antonio, 366 Harris, Jonathan, 540, 541 Brychtova, Jaroslava, 350 Dejonghe, Bernard, 683 Hector, Valerie, 496 Bubacco, Lucio, 749, 762 Delafosse, Gerard, 192 Henshaw, Clare, 412 Burato, Michele, 112 Delvoye, Wim, 533 Hickert, Elvira, 47 Buren, Daniel, 101 Dempf, Martina, 789 Higuchi, Kimiake, 34, 1297 Buus, Marianne, 305 Diaz de Santillana, Alessandro, 256 Higuchi, Shin-ichi, 34, 1297 Cagianelli, Antonio, 662 Dibbets, Jan, 885 Hirst, Brian, 19, 422 Caiger-Smith, Alan, 24 Dickinson, Anna, 436 Hoglund, Erik, 430 Calatrava, Santiago, 998 Dietman, Erik, 307 Holler, Franz Xaver, 59 Caldwell, Geoffrey, 786 Dine, Jim, 809 Hubert, Karin, 645 Caldwell, Karen, 786 Donefer, Laura, 298 Huchthausen, David, 44 Campos-Pons, Magdalena, 609 Donofrio, Jim, 706, 769 Hulet, Dinah, 438 Carlson, Robert, 793 Dreiser, Peter, 311 Hutter, Sidney, 548 Carpenter, Ed, 272, 820, 997 Drew-Wilkinson, Kate, 1286, 1287 Ink, Jack, 678 Carpenter, James, 125, 273, 897, 988 Drury, John, 312 Iwata, Itoko, 1283 Cash, Sydney, 164 Duchamp, Marcel, 580 Jarman, Angela, 255 Casset, Odile, 765 Elliott, Kathy, 1262 Jolley, Richard, 509, 774 Jonasson, Mats, 107, 169, 448, 453, 600 Moje, Klaus, 2, 71, 396, 566 Ruffner, Ginny, 1, 71, 256, 466, 485, 793 Jonker, Menno, 207 Moje-Wohlgemuth, Isgard, 239 Rybak, Jaromir, 5, 424 Kaneko, Jun, 639, 794 Montilla, Javier Vidal, 95 Sahlin, Gunnel, 81 Karel, Marian, 700 Moosbrugger, Eva, 150 Salome, 60 Karg, Rollin, 1284 Moravska Galerie v Brne, 571 Santarossa, Renato, 675 Kelly, Elizabeth, 500 Morin, Frederic, 60 Sarpaneva, Timo, 605 Klein, Richard, 468 Morrel, Richard, 346 Sassu, Aligi, 850 Klein, Toan, 298 Morris, William, 9, 550, 1260 Sattler, Norbert, 911 Klein, Vladimir, 172, 173, 505 Mosso, Leonardo, 100 Sautner, Barry, 21 Kobasz, Mark, 495 Mukaide, Keiko, 474 Scanga, Italo, 256 Koskinen, Harri, 633, 730 Musler, Jay, 793 Scanlon, James, 91, 832 Kosta Boda, 81 Nagel, Nancy, 1300 Schreiter, Johannes, 833 Kramer, Michael, 1212 Nanning, Barbara, 201, 202 Scott, Joyce, 734 Lagerbielke, Erika, 401 Noda, Osamu, 185 Seguso, Archimede, 526 Lane, Danny, 230 Nordio, Massimo, 253 Seguso, Giampaolo, 219 Langley, Warren, 450 Novaro, Jean-Claude, 582 Sellner, Theodor G., 240, 686 Layton, Peter, 24, 429 Ohira, Yoichi, 139, 181 Shave, Chris, 701 Ledbetter, William, 110 Oppenheim, Dennis, 609, 779 Shinkai, Miyuki, 114 Leibovitz, Edward, 64, 688 Paik, Nam June, 456 Shioya, Naomi, 185 Leibovitz, Edward/Levenson, Silvia, 86 Paley, Albert, 549 Sibony, Anne-Lise Riond, 661 Levenson, Silvia, 154 Patti, Tom, 167, 352 Signoretto, Pino, 171, 748, 1267 Levitt, Lezlie, 770 Payne, Vicki, 1292, 1294 Signoretto, Silvano, 171 Libensky, Stanislav, 350, 435, 504 Perozeni, Michele, 193 Simpson, Josh, 274, 310 Libensky, Stanislav/Brychtova, Jaroslava, Persico, Jayne, 1292, 1294, 1295 Sipek, Borek, 17, 18 406, 471, 742 Pesce, Gaetano, 676 Skibska, Anna, 55, 257 Lin, Maya, 331, 521 Peters, Sharon, 475 Smith, Jeff G., 978 Lintzen, Sabine, 248 Petrovic, Marc, 628, 629 Smith, Kiki, 619 Lipman, Beth, 38, 282 Sonnier, Keith, 493 Pfeifer, Jens, 624 Lipofsky, Marvin, 105, 128, 355, 632, 758 Sottsass, Ettore, 129, 605, 717 Phaophanit, Vong, 588 Lipski, Donald, 46 Stankard, Paul, 214, 215 Picaud, Fabienne, 222 Lomne, Alicia, 546 Starosielski, Eric, 854 Pilon, Carole, 278 Loughlin, Jessica, 417, 520 Statom, Therman, 9, 1260 Lugossy, Maria, 256 Poilprez, Isabelle, 112, 362, 667 Sterling, Lisabeth, 547 Luszpinski, Eve, 970 Popadic, Jelena, 205 Still McKinney, Nanny, 119 Lyons, Tanya, 612 Powell, Stephen Rolfe, 137, 811 Still, Nanny, 488, 670 MacNeil, Linda, 315 Prehal, Friedrich, 375 Stockel, Michael, 805 Mahut, Sheila, 525 Prehal, Fritz, 389 Suhajek, Jin, 736 Mandelbaum, Ellen, 903 Price, Richard, 208 Swinburne, Elizabeth, 200 Mansau, Serge, 194, 356 Prisse, Caroline, 203 Tagliapietra, Lino, 102, 103, 146, 157, 158, Marangoni, Federica, 677 Pusztaszeri, Adela, 304 335, 652, 1267, 1280 Marioni, Dante, 227, 481, 590 Quagliata, Narcissus, 131, 556, 631 Tagliapietra, Silvano, 751 Marioni, Paul, 1006 Rainey, Clifford, 569 Takenouchi, Naoko, 120, 294, 295, 297 Marquis, Richard, 377 Raos, Peter, 134 Tarsitano, Debbie, 45, 735 Martens, Michel, 674 Rashid, Karim, 454 Taylor, Michael, 736 Martinez, Raymond, 388 Rayssiguier, L-B, 941 Tempesti, Piergiorgio, 567 Mason, Concetta, 355 Rea, Kirstie, 421 Teschmacher, Winnie, 250 Matisse, Henri, 941 Reay-Young, Helga, 642, 716 Thomas, Roger, 1008 Maurer, Helen, 602 Reid, Colin, 28, 29, 395, 442 Thompson, Mark, 914 McCollum, Allan, 518 Reinoso, Pablo, 451 Toledo Museum of Art, 744 McElheny, Josiah, 16, 497, 797, 1269 Remschneider, Douglas, 1265 Towsend, Milon, 1276, 1299 McKinney, Don, 1293 Reyntiens, Patrick, 1291 Trabucco, Victor, 189 Meitner, Richard, 72, 736 Ries, Christopher, 76, 410 Troutner, Ann, 1006 Merendi, Patrizia, 271 Rigan, Otto, 574 Tudor, Morna, 293, 295, 296 Merker, Ursula, 374, 684 Rinaldo, Michele, 752 Uffing, Michael, 375 Meydam, Floris, 73 Ritter, Richard, 142 Ullrich, Heinz, 376 Micheluzzi, Massimo, 463, 562 Roca Soria, Joaquin, 853 Umbdenstock, Jean-Pierre, 224 Miller, Robbie, 312 Rosin, Maria Grazia, 171 Urbanowicaz, Tomasz, 168 Mishima, Ritsue, 196 Roubicek, Rene, 140, 733, 741 Vallien, Bertil, 53, 84, 318, 400 Moberg, Camilla, 387 Roubickova, Miluse, 741 van der Rohe, Ludwig Mies, 926 Van Stappen, Lieve, 23, 669 Vanderstukken, Koen, 690 Vetroricerca Glas & Modern, 1298 Vigliaturo, Silvio, 155 Vigo, Nanda, 992 Visser, Arnout, 623 Vistosi, Luciano, 544 Vizner, Frantisek, 599, 784 Voldrichova, Jana, 653 Vymazal, Jaroslav, 501 Wagenfeld, Wilhelm, 344 Watkins, James, 92 Wax, Jack, 787 Weinberg, Steven, 581, 796, 798 Weiss, Dick, 1007 Whiteley, Richard, 346, 420 Wilcox, John, 958 Wilkin, Neil, 152 Willits, Laura, 197 Willson, Robert, 469 Wilmarth, Christopher, 243 Wilson, Lewis, 1288 Wirkkala, Tapio, 440, 605, 799 Wolff, Ann, 600 Wunsch, Karel, 502 Yamano, Hiroshi, 414, 736 Yang, Loretta, 58 Zamecnikova, Dana, 42 Zijst, Sunny van, 249 Zimmerman, Walter, 38 Zoritchak, Jan, 94, 324, 326, 360, 361 Zuber, Czeslaw, 225 Zynsky, Toots, 740 EINLADUNG / INVITATION / INVITATION ZUM/TO/AU CORNING MUSEUM OF GLASS WETTBEWERB/COMPETITION/CONCOURS New G lass Review 24 in NEUES GLAS / NEW GLASS

Jedes Jahr veranstaltet das Corning Museum Each year, The Corning Museum of Glass, Chaque annee, le Corning Museum of Glass, of Glass, N.Y./USA, einen internationalen Wett- New York, U.S.A., conducts a worldwide com­ N.Y./U.S.A., organise un concours international bewerb, um 100 Dias von innovativen Glasar- petition to select 100 slides of innovative works afin de choisir 100 diapositives d'innovations beiten auszuwahlen. in glass. The selection is made by an inter­ d'ourvrage en verre. Un jury international se Eine internationale Jury trifft die Auswahl. Die national jury. The 100 works chosen will be preoccupe de la choix. Les 100 ouvrages choi- sis seront publies dans la revue NEUES 100 ausgewahlten Arbeiten werden im Fruh- published in the magazine NEUES GLAS/ GLAS/NEW GLASS en printemps 2003. Tous jahr 2003 in der Zeitschrift NEUES GLAS/NEW NEW GLASS in Spring 2003. All participants will receive a copy. (If you do not receive your les participants recevront un exemplaire (Au GLASS veroffentlicht. Alle Teilnehmer erhalten cas ou vous n'auriez pas regu un exemplaire, ein Exemplar. (Falls Sie kein Exemplar erhal­ copy, please write directly to: NEUES GLAS/ NEW GLASS, Ritterbach Verlag GmbH, ecrivez directement a NEUES GLAS/NEW ten, schreiben Sie direkt an NEUES GLAS/ GLASS, Ritterbach Verlag GmbH, Rudolf-Die- Rudolf-Diesel-StraRe 5-7, 50226 Frechen, NEW GLASS, Ritterbach Verlag GmbH, Ru- sel-StraBe 5-7, 50226 Frechen, Allemagne). Germany.) dolf-Diesel-StraBe 5-7, 50226 Frechen.) Participants: Tous les createurs et firmes Teilnehmer: Alle Glasgestalter sowie Firmen Participants: All artists and companies, from dans le monde entier se preoccupant du verre. aus aller Welt. all over the world, making glass objects. Objets: Ne sont admises que les oeuvres qui Objekte: Zugelassen sind nur Arbeiten, die Objects: Only works which have been sont ete congues et realisees entre le 1er Oc- zwischen dem 1. Oktober 2001 und dem designed and made between October 1, 2001, tobre 2001 et le 1er Octobre 2002. 1. Oktober 2002 entworfen und gemacht wor- and October 1, 2002, are eligible. Admission: On pourra presenter des reci­ den sind. Permitted entries: Vessels, objects, environ­ pients, des objets, des environnements, des Zulassung: Eingereicht werden konnen Ge- ments, glass pictures, glass windows, architec- Images en verre, des vitraux, des verres refees a I'architecture, ainsi que des dessins en verre. faGe, Objekte, Environments, Glasbilder, Glas- ture-related glass, and glass designs may be Tous les ouvrages devralent representer un fenster und architekturbezogenes Glas sowie submitted. All works should be of excellent standard excellent de tous les points de vue, Glas-Design. Alle Arbeiten sollten unter jedem standard from every point of view - function, soit de la fonction, de I'esthetique et de la Gesichtspunkt - Funktion, Asthetik und Tech- aesthetics, and technique. technique. nik - einen exzellenten Standard aufweisen. Conditions: Participants must complete the Conditions: Les participants devront remplir Bedingungen: Teilnehmer mussen das nach- attached entrance form in full and enclose a le formulaire d'ouverture suivant a la presente folgende Ausschreibungsformular in alien total of 3 color slides illustrating one work or sur tous les points et y annexer max. 3 diapo­ Punkten ausfullen, max. 3 Farbdias beifugen, design series. The size of the slides should be sitives en couleur presentant un ouvrage ou die eine Arbeit Oder eine Designserie enthal- 35 mm, 5,1 x 5,1 cm. The slides must be la­ une serie de dessins. Les diapositives auront ten. Die Dias sollen eine Grof3e von 35 mm, beled with an identification number and the une dimension de 35 mm, 5,1 x 5,1 cm. lis se­ 5,1 x 5,1 cm haben. Die Dias mussen einen title of the piece, and must also indicate "top" ront munles d'une etiquette adhesive portant Aufkleber mit einer Identifikations-Nr. und den and "bottom" of object. The quality of the re­ un numero d'identification et le titre, ainsi que Titel tragen sowie die Angabe „oben" und „un- productions in the magazine NEUES GLAS/ I'indication «en haut» et «en bas». La qualite ten" enthalten. Die Qualitat der Abbildungen in NEW GLASS depends on the quality of the des reproductions dans la revue NEUES GLAS/ der Zeitschrift NEUES GLAS/NEW GLASS slides. All slides become the property of The NEW GLASS depend de la qualite des diaposi­ hangt von der Qualitat der Dias ab. Alle Dias Corning Museum of Glass. They will be added tives. Toutes les diapositives seront la propriete du Corning Museum of Glass. Elles trouveront werden Eigentum des Corning Museums of to the world's largest slide collection, which is un bon accuell a la plus grande collection du Glass. Sie werden in die weltgroBte Dia- made available to any interested person, stu­ dents, dealers, collectors, and artists in glass. monde qui est a disposition de tous les interes- Sammlung aufgenommen, die alien Interes- ses, les etudiants, les marchands, les collec- Fee: US $15. Payment may be made by Unit­ senten, Studenten, Handlern, Sammlern, Glas- tionneurs et les createurs d'buvrages en verre. gestaltern zur Verfugung steht. ed States check (foreign checks will not be ac­ Droit: US $ 15. Le paiement peut etre effectue cepted), United States Postal Money Order, or Gebuhr: 15 US-$. Zahlungen konnen in U.S. par cheque-U.S., (Les cheques etrangers ne Schecks erfolgen (Auslandsschecks werden credit card (Visa, MasterCard, American Ex­ seront pas acceptes) par mandat postal U.S., nicht akzeptiert.), per U.S. Postanweisungen press, or Discover). ou par carte de credit (Visa, MasterCard, oder Kreditkarte (Visa, MasterCard, American Closing date: All entries must be postmarked American Express ou Discover). Express oder Discover). not later than October 15, 2002, and ad­ Detals: Au plus tard jusqu'au 15. Octobre 2002 Termin: bis spatestens 15. Oktober 2002 dressed to: (Timbre de la poste). Envoyez le materiel justi- (Poststempel). Unterlagen an: vicatif a:

NewGlass Review, The Corning Museum of Glass, One Museum Way, Corning, New York 14830-2253, ANMELDUNG/APPLICATION/DECLARATION Deadline: October 15, 2002 Name/Nom • Frau/Ms./Madame • Herr/Mr./Monsieur

(Vorname/First/Prenome) (Nachname/Last/Nom) (Name der Firma/Name of company/Nom de firme) Adresse/Address

Telephone Nationalitat/Nationality/Nationalite

Bitte nur 35-mm-Dias einreichen (ohne Glasrahmen). niac/QliHac/nionrtciti\/oc Please submit 35 mm slides only (no glass mounts). Ulao/OMu€o/UlapOolUVGo Priere de presenter des diapositives de 35 mm seulement (pas encadrees de verre). Titel/Title/Titre Technik/Technique-Mat./medium MaBe/Dimensions/Mesures Hohe/Height/ Breite/Width/ Tiefe/Depth/ 1. Hauteur Largeur Profondeur

cm cm cm 2.

cm cm cm 3.

cm cm cm

Ich bestatige, dass ich die oben beschriebene(n) Ar- I certify that I designed •/made• (check one or Je certifie que j'ai dessine •/execute • la ou les beit(en) zwischen dem 1. Oktober 2001 und dem both) the work(s) described above between October 1, oeuvres (marquez d'une croix un ou les deux) qui est 1. Oktober 2002 entworfen •/gestaltet • (eins Oder 2001, and October 1, 2002. I understand that my (sont) descrit(s) ci-dessus, entre le 1er Octobre 2001 beides ankreuzen) habe. Ich bin damit einverstanden, entry cannot be considered if it is postmarked after et le 1er Octobre 2002. J'approuve que ma sollici- dass meine Bewerbung nicht berucksichtigt werden the October 15, 2001, deadline and that the U.S. tation ne sera pas consideree si elle est obliteree kann, wenn sie nach dem 15. Oktober 2001, Bewer- Copyright Act, effective January 1, 1978, requires that apres le 15e octobre 2001 - fin de sollicitation - et bungsschluss, abgestempelt ist, und dass es die U.S. I sign this document to permit The Corning Museum j'approuve que le decret de I'U.S. copyright, valide Copyright-Bestimmung, gultig seit 1. Januar 1978, of Glass to reproduce in any form slides of my objects depuls le 1er janviers 1978, exige que je signe le erforderlich macht, dass ich dieses Formular unter- submitted for New Glass Review 24, and to sell those formulaire afin que The Corning Museum of Glass schreibe, damit The Corning Museum of Glass in reproductions in any form on the Museum's behalf puisse reproduire les diapositives de mes ouvrages jeder Form Dias mit meinen Arbeiten, die ich fur New and without compensation to me. This permission is que j'ai remises pour New Glass Review 24 en tout Glass Review 24 eingereicht habe, reproduzieren und granted on a nonexclusive basis to protect the artist's genre et que le musee puisse les vendre en chaque in jeglicher Form und ohne Vergutung an mich fur das right of use. I also understand that all slides submitted fagon et sans compensation a moi. Cette autorisation Museum verkaufen kann. Diese Genehmigung wird become the property of The Corning Museum of est donnee sur une base non-exclusive pour proteger nicht uneingeschrankt erteilt, um die Nutzungsrechte Glass. les droits de joussance de la part de I'artiste. J'ap­ des Kunstlers zu schutzen. Ich bin weiterhin damit prouve aussi que toutes les diapositives soumises einverstanden, dass alle eingereichten Dias in den seront la propriete du Corning Museum of Glass. Besitz des Corning Museum of Glass ubergehen.

Unterschrift/Signature: Datum/Date: • Gebiihr 15 US-$ beigefiigt/US $15 er y fee enclosed/15 US-$ frais ci-inclus The Corning Museum of Glass erhalt viele Anfragen The Corning Museum of Glass receives many re­ The Corning Museum of Glass regoit beaucoup de nach den Adressen der Kunstler, die in New Glass quests for the addresses of the artists included in demandes concernant les adresses des artistes qui ftew'ewaufgenommen werden. Wenn Sie wunschen, New Glass Review. If you would like your address or sont admis a New Glass Review. Si vous desirez dass Ihre Adresse oder die einer einzelnen Galerie/ that of a single gallery/representative listed, please que votre adresse ou celle de votre galerie/repre- Ihres Vertreters aufgelistet werden soli, vervollstandi- complete the following information. sentatif soit mentionnee, nous vous prions de com­ gen Sie bitte folgende Information. • Please list the same address I have provided on pleter I'information suivante. • Bitte geben Sie dieselbe Adresse an, die ich auf the entry form. • Je vous prie d'indiquer la meme adresse que dem Anmeldeformular vermerkt habe. • Please do not print or release my address. dans le formulaire. • Bitte drucken Sie meine Adresse nicht ab und • Please print the address of my representative in­ • Je vous prie de ne pas imprimer ou faire passer geben Sie sie auch nicht weiter. stead of my own. mon adresse. • Bitte geben Sie die Adresse meines Reprasen- • Je vous prie d'indiquer I'adresse de mon repre- tanten anstelle meiner eigenen an. sentatif au lieu de la mienne.

Galerie/Gallery - Reprasentant/Representative/Representant: Adresse/Address:

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