NewG lass

The Corning Museum of Glass NewGlass Review 21

The Corning Museum of Glass Corning, New York 2000 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 within der Voraussetzung ausgewahlt, dass sie in- the 1999 calendar year. nerhalb des Kalenderjahres 1999 entworfen und gefertigt wurden.

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All rights reserved, 2000 Alle Rechte vorbehalten, 2000 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 0-87290-147-5 ISSN: 0275-469X

Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Library of Congress 81-641214 unter der Nummer 81-641214 Table of Contents/In halt

Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstlerlnnen und Objekte 16 1999 in Review/Ruckblick auf 1999 36 Bibliography/Bibliografie 44 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 73 Jury Statements

Here is 2000, and where is art? Hier ist das Jahr 2000, und wo ist die Kunst? Although more people believe they make art than ever before, it is a Obwohl mehr Menschen als je zuvor glauben, sie machen Kunst, "definitionless" word about which a lot of people disagree. This includes bleibt das ein „definitionsloses" Wort, uber das viele Leute streiten. Das the mayor of the City of New York, who, as 1999 waned, got so mad at betrifft auch den Burgermeister der Stadt New York, der, als 1999 zu the director and trustees of the Brooklyn Museum for showing art he Ende ging, so wutend auf den Direktor und die Kuratoren des Brooklyn considered offensive that he tried to close the place down. On the other Museums wurde, dass er versuchte, den Ort zu schlieBen, weil dort hand, the philosopher Arthur C. Danto sees the loss of definition, the Kunst gezeigt wurde, die er fur anstoBig hielt. Auf der anderen Seite subversion of the "presuppositions governing the nature of art," as a sieht der Philosoph Arthur C. Danto den Verlust der Definition, die clarifying moment. Subversion der „Voraussetzungen, die die Natur der Kunst bestimmen" I do not need the mayor's help in deciding what is offensive (to me), als ein klarendes Moment an. and I have yet to bathe in the light of Mr. Danto's clarifying moment. Art Ich brauche nicht die Hilfe des Burgermeisters, um zu entscheiden, seems to have evolved into an immense arena jammed with contend­ was (fur mich) anstoBig ist, und ich habe noch nicht im Licht des klaren- ers, each of whom competes on his or her own terms. If the art game den Momentes gebadet, von dem Mr. Danto spricht. Kunst scheint sich has no rules, is there a game? zu einer immensen Arena voller Kampfer entwickelt zu haben, von The answer is probably yes, several. The mayor and Mr. Danto are denen jeder auf seine Art und Weise am Wettkampf teilnimmt. Wenn using the same word to describe different activities. One is probably das Kunst-Spiel keine Regeln kennt, gibt es dann ein Spiel? referring to art as inspiration, and the other to art as liberation. How Die Antwort ist wahrscheinlich „Ja", in mehrfacher Hinsicht. Der about art as innovation or perfection or reform or revolution or contem­ Burgermeister und Mr. Danto benutzen dasselbe Wort, um unterschied- plation or self-expression or. . . ? All are different art games. liche Aktivitaten zu beschreiben. Der eine bezieht sich wohl auf die As we New Glass Review jurors convene each year, this ambiguity Kunst als Inspiration, und der andere auf Kunst als Befreiung. Wie ware sets us off on a long trip with only the more or less weighty baggage of es mit Kunst als Innovation oder Perfektion oder Reform oder Revolu­ our own criteria and experience, our own individual set of rules - and tion oder innere Einkehr oder als Selbstausdruck oder. . .? Das alles we do contend, not to see who can choose the best (who knows?), but sind verschiedene Kunst-Spiele. to see whose ideas will prevail. It is my job to explain the system, the Wenn wir New Glass Review Juroren jedes Jahr zusammenkommen, mechanics of the selection process, and to say something about the schickt uns diese Vieldeutigkeit auf eine lange Fahrt, bei der wir nur das word "new." In setting up this competition in 1976, we wanted to provide mehr oder weniger schwere Gepack unserer eigenen Kriterien und Er- a record of what was happening in contemporary glassmaking. We fahrungen bei uns haben, unser eigenes individuelles Regelwerk- und thought that the word "new" would clearly define our mission while wir kampfen tatsachlich, nicht, um zu sehen, wer die Besten auswahlen avoiding the amorphous "art" word. In fact, in those days, we hoped that kann (wer weiB?), sondern, um zu sehen, wessen Ideen letztlich die new factory designs would be as forthcoming as new studio glass. Now, Oberhand behalten. Es ist meine Aufgabe, das System, die Mechani- the word mocks us like an exasperated schoolteacher. New to whom? ken des Auswahlprozesses, zu erklaren, und etwas uber das Wort „neu" In comparison with what? New in color? Technique? New in comparison zu sagen. Als wir 1976 diesen Wettbewerb ins Leben riefen, wollten wir with last year? The year before? The first year? New in Honduras? zu dem, was in der zeitgenossischen Glasherstellung passierte, eine New and significant, good, well made - or just new? Bestandsaufnahme bereitstellen. Wir dachten, dass das Wort „neu" un- There is an answer to most of these questions, but each limits the sere Mission klar definieren wiirde, wahrend das amorphe Wort „Kunst" field, curtails the very freedom to choose - and it is that freedom for gemieden wurde. Tatsachlich hofften wir in jenen Tagen, dass neue which the jurors are selected. So I tell the others to read "new" accord­ Fabrik-Designs genauso auf dem Vormarsch sein wurden wie das neue ing to their own knowledge, and the four of us (like those whose work Studioglas. Jetzt reizt uns dieses Wort wie einen aufgebrachten Schul- we will review) use our own criteria and create our own game. At least lehrer. Neu fur wen? Im Vergleich zu was? Neu in der Farbe? In der we are accountable, since our initials are printed by our choices and our Technik? Neu im Vergleich zum letzten Jahr? Oder zum Jahr davor? jury statements are signed. Zum ersten Jahr? Neu in Honduras? Neu und signifikant, gut, gut The main criteria that seem to have survived over the years are ausgefuhrt - oder einfach neu? technical competence (if not prowess) and originality. Most of the ques­ Es gibt eine Antwort auf die meisten dieser Fragen, aber jede begrenzt tions among the jurors are about how things were made and what, in das Feld, beschneidet gerade die Freiheit zu entscheiden - und es ist fact, we are looking at. And most of our comments are about the repeti­ diese Freiheit, um derentwillen die Juroren ausgewahlt werden. Des- tion of a concept or technique, and its imitation. Both of these areas halb empfehle ich den anderen, „neu" gemaB ihres eigenen Wissens zu have to do with knowledge about contemporary glass, as opposed to lesen, und wir vier (so wie diejenigen, deren Arbeit wir begutachten) personal connoisseurship, and the jurors with firsthand information legen unsere eigenen Kriterien an und schaffen unser eigenes Spiel. usually influence the others. Those who are the least familiar with glass Zumindest stehen wir in der Verantwortung, weil unsere Initialen neben and glassmaking tend to be the choosiest, treating each selection as if unseren Entscheidungen stehen und unsere AuBerungen als Jury they were assembling a self-portrait. An exception to this was one of the unterschrieben werden. major art historians of the 20th century, Clement Greenberg, who chose Die Hauptkriterien, die uber die Jahre hinweg uberlebt zu haben with inexplicable diversity and generosity. I think we see what we look scheinen, sind technische Kompetenz (wenn nicht gar uberragendes for. Konnen) und Originalitat. Unter den Juroren drehen sich die meisten And reject what we do not want to see. Here, with commendable Fragen darum, wie Gegenstande gemacht wurden und was wir uns candor, is the beginning of my rejection list: eigentlich ansehen. Und die meisten Kommentare handeln von der 1. Things that must be profound, because I don't understand them. Wiederholung eines Konzepts oder einer Technik und deren Imitation. This includes an endless array of glass in the woods, glass in battered Die beiden Bereiche haben, im Gegensatz zu personlicher Connois- rooms, and glass casting shadows, as well as collections of glass bits seurhaftigkeit, mit dem Wissen uber zeitgenossisches Glas zu tun, und cleverly disguised as rust. Curatorial jurors thrive in this genre. die Juroren, die uber Informationen aus erster Hand verfugen, beein- 2. Glasses covered with words that I cannot read - or that are not flussen in der Regel die anderen. Diejenigen, die mit Glas und mit worth the trouble if I can read them. Glasherstellung am wenigsten vertraut sind, neigen dazu, am wahle- 3. Vessels that remind me of something much better that was made a rischsten zu sein, sie behandeln jedes Auswahlverfahren so, als ob sie couple of centuries ago, or as recently as 1948. ein Selbst-Portrait zusammenstellen wurden. Einer der bedeutendsten 4. Over the years, I have learned to live with glass denial (as my Kunsthistoriker des 20. Jahrhunderts, Clement Greenberg, der mit choices show), but I have an instinctive lack of enthusiasm for glass unbeschreiblicher Diversitat und GroBzugigkeit entschied, war eine masquerading as other materials, even though the practice is as old as Ausnahme davon. Ich denke, wir sehen immer das, wonach wir suchen; glass itself. It made sense when such imitation was profitable: glass und lehnen ab, was wir nicht sehen wollen. Hier ist, mit einer Portion posing as turquoise, for example, but glass posing as paving blocks? empfehlenswerter Aufrichtigkeit, der Anfang meiner Ablehnungsliste: 5. Personal metaphors, which I clump together as "My Secret World" 1. Dinge, die profund sein mussen, weil ich sie nicht verstehe. Dies (dollhouse scale) or the male counterpart, "My Lost Civilization" (sacred umfasst ein endloses Aufgebot von Auf-dem-Holzweg-Glas, Glas in de- symbols). The number of submissions in both of these categories is, molierten Raumen und Glas, das Schatten wirft, sowie Glasstuckchen- happily, declining. sammlungen, die auf clevere Weise als Rost getarnt werden. There are more, but I want to touch on some rejection categories that 2. Glaser, die mit Worten bedeckt sind, die ich nicht lesen kann - oder have to do with the slides themselves: the inclusion of a hand or, worse, die solche Bemuhungen nicht wert sind, falls ich sie doch lesen kann. a face; rain in almost any form; objects multiplied with mirrors; an 3. GefaBe, die mich an etwas viel Besseres erinnern, das allerdings enlarged detail with no sign of the object from which it came; stained einige Jahrhunderte zuvor oder auch vor so kurzer Zeit wie 1948 ge- glass that includes the view across the street; and fabric, especially macht wurde. plush. Obviously, all this is very personal, but it is part of the baggage I 4. Uber die Jahre hinweg habe ich gelernt, mit Glasverweigerung zu bring to this game-without-rules, and it is only fair that you should know leben (wie meine Entscheidungen zeigen), aber ich hege einen instinkti- about it. ven Mangel an Begeisterungsfahigkeit fur Glas, das sich, wie in einer This year, I wanted to include many more pieces than the regular Maskerade, fur andere Materialien ausgibt, selbst wenn die Praxis so allotment. Submissions seemed unusually good, less self-conscious alt ist wie das Glas selbst. Das hat nur Sinn gemacht, als eine solche and more elegant, certainly more technically competent. Here is an Imitation noch profitabel war: Glas, das als Turkis posiert, zum Beispiel, irony: at the conclusion of the millennium, glass finds itself a full-fledged aber Glas, das als Pflasterstein posiert? art medium, just as art itself escapes definition. 5. Personliche Metaphern, die sich zu „Meine geheime Welt" (Pup- penhausformat) oder zum mannlichen Gegenstuck, „Meine verlorene • • • Zivilisation", zusammenklumpen. Die Anzahl der Einreichungen nimmt, The good news from Corning is that Tina Oldknow has joined the glucklicherweise, in diesen beiden Kategorien ab. staff of the Museum as curator of modern glass. Ms. Oldknow, who Es gibt noch mehr, aber ich will nun ein paar Ablehnungskategorien holds degrees in art history from the University of Pennsylvania and anklingen lassen, die mit den Dias selbst zu tun haben: Das Miterfas- UCLA, is an art historian, writer, and curator specializing in historic and sen einer Hand oder, noch schlimmer, eines Gesichts; Regen in bei- contemporary glass. While working as a curator at the Los Angeles nahe jeder Form; Objekte, die durch Spiegel multipliziert werden; ein County Museum of Art in the 1980s, she was introduced to contempo­ vergoBertes Detail ohne Anzeichen vom Objekt, aus dem es stammt; rary studio glass, an interest that grew after she moved to the Pacific farbiges Glas, das den Ausblick quer uber eine StraBe hinweg fasst; Northwest. Since 1996, Ms. Oldknow has been editor of the Glass Art und Stoffe, besonders Plusch. All dies ist offensichtlich sehr personli- Society Journal, and she has been a staff member and consultant at cher Natur, aber es ist Teil des Gepacks, das ich zu diesem Spiel-ohne- several major museums. New Glass Review lor the year 2000 will be Regeln trage, und es ist nur gerecht, dass Sie darum wissen sollten. carried out under her direction, and I am delighted. In diesem Jahr wollte ich viel mehr Stucke miteinschlieBen, als regular zugestanden wird. Die Einreichungen erschienen ungewohnlich Thomas S. Buechner (TSB) gut, weniger befangen und eleganter, gewiss technisch kompetenter. Founding Director Hier liegt eine Ironie vor: zum Abschluss des Jahrtausends halt sich das The Corning Museum of Glass Glas fur ein vollentwickeltes Kunstmedium, gerade als die Kunst sich jeder Definition entzieht. • • *

Die gute Nachricht aus Corning ist, dass Tina Oldknow sich dem Personal des Museums als Kuratorin fur Modernes Glas zugesellt hat. Ms. Oldknow, die von der University of Pennsylvania und der UCLA Abschlussurkunden in Kunstgeschichte erhalten hat, ist Kunsthistorike- rin, Autorin und Kuratorin mit den Spezialgebieten historisches und zeitgenossisches Glas. Als sie in den 80er Jahren im County Museum of Art in Los Angeles gearbeitet hat, wurde sie in das zeitgenossische Studioglas eingefuhrt, ein Interesse, das weiter wuchs, nachdem sie in den Nordwesten am Pazifik zog. Seit 1996 ist Ms. Oldknow Redakteurin des Glass Art Society Journals und gehort an mehreren Museen zum Personal und zum Beraterkreis. Die New Glass Review wird im Jahr 2000 ihrer Leitung unterstehen, und ich bin daruber hocherfreut.

Thomas S. Buechner (TSB) Grundungsdirektor Corning Museum of GlassDas Corning Museum of Glass ist in Bezug

he good thing about judging the New Glass Review competition is as Gute am Beurteilen der New Glass Review ist, dass jeder Juror Tthat each juror gets his or her own picks; the selection process is Dseine oder ihre Kandidaten bekommt; der Auswahlprozess basiert not based on consensus. Therefore, in this statement, I should explain nicht auf Konsens. Deshalb sollte ich in dieser AuBerung meine Ent­ my choices. scheidungen erklaren. To begin with, I am not a glass artist, so I lack the insider's criteria for Vorangestellt sei, dass ich keine Glaskunstlerin bin, also mangelt es evaluation and must base my judgment primarily on the image of the mir an den Bewertungskriterien der Insider, und mein Urteil muss zu object. This is unfortunate, for I work in the crafts field as a maker and allererst auf dem Bild des Objekts basieren. Das ist unglucklich, denn curator, and I definitely think process and material are two major as­ ich arbeite im kunsthandwerklichen Arbeitsfeld als Macherin und Kura­ pects of interpreting artwork in craft media. In other words, my ability to torin, und ich denke definitiv, dass der Prozess und das Material im judge what I was seeing in this competition was limited by my under­ kunsthandwerklichen Medium zwei Hauptaspekte bei der Interpretation standing of what I was looking at. Fortunately, other jurors filled in my von Kunstwerken darstellen. Mit anderen Worten, meine Fahigkeit, uber gaps with their observations and selections: Michael Taylor knew what das zu urteilen, was ich in diesem Wettbewerb gesehen habe, be- he was looking at, Thomas Buechner has seen it all, and Derek Oster- schrankte sich auf mein Verstandnis von dem, was ich ansah. Gluckli- gard didn't want to see any of it. cherweise schlossen andere Juroren durch ihre Beobachtungen und Potshots aside, each juror has personal proclivities, and I responded durch ihre Auswahl meine Lucken: Michael Taylor wusste, was er sich mainly to the sculptural use of the material. By "sculptural," I don't ansah, Thomas Buchner hat alles gesehen und Derek Ostergard wollte necessarily mean the manipulation of form, but rather a way of thinking gar nichts davon sehen. that is associated with contemporary art and not boxed in by craft Von Seitenhieben abgesehen, hat jeder Juror personliche Neigun- media. This is not a value judgment, as craft has its own language and gen, und ich war hauptsachlich fur die bildhauerische Verwendung des discipline that drive its content. Ideally, these two approaches would Materials empfanglich. Mit „bildhauerisch" meine ich nicht unbedingt die come together to produce the best glass art. But how does a glass artist Manipulation der Form, sondern eher eine Art zu Denken, die mit respond to the history and tradition of the discipline and still manage to zeitgenossischer Kunst assoziiert wird und die vom kunsthandwerkli- think outside the box of how and why glass is made? This is a problem chen Medium in keine Kiste gesteckt wird. Das ist kein Werturteil, weil for all of contemporary craft. das Kunsthandwerk seine eigene Sprache und Disziplin hat, mit der Traditional craft and originality don't often go together, according to sein Inhalt vorangetrieben wird. Idealerweise wurden diese beiden the way that originality is defined in 20th-century art. And newness is a Herangehensweisen zusammenkommen, um die beste Glaskunst zu parameter of this competition. Studio glass was relatively new at the produzieren. Aber wie reagiert ein Glaskunstler auf die Geschichte und time of the first New Glass Review in 1979. But perhaps the Review has Tradition der Disziplin und schafft es trotzdem noch, auRerhalb der outlived its usefulness in the sense that the commercial market has Wie-und-Warum-Wird-Glas-Gemacht-Kiste zu denken? Das ist fur das grown to accommodate craft production. Museums follow the lead of ganze zeitgenossische Kunsthandwerk ein Problem. galleries in identifying important new works. As proof, there were few Wenn man der Art folgt, in der Originalitat in der Kunst des 20. Jahr- entries by established glass artists. There did seem to be a lot of stu­ hunderts definiert wird, dann gehen traditionelles Handwerk und Ori­ dent entries, and much of the work lacked ideas. Some of the best ginalitat oft nicht einher. Und Neuheit ist ein Parameter dieses Wettbe- submissions were from artists who were included in recent Reviews, so werbs. Studio Glas war 1979, zur der Zeit der ersten New Glass their "newness" was questioned. I chose to ignore these criteria in order Review, relativ neu. Aber vielleicht hat die Review\hre Nutzlichkeit not to eliminate good works. The finer points of such issues can get insofern uberlebt, als dass der kommerzielle Markt so weit angewach- sticky. sen ist, dass er die Handwerksproduktion unter sein Dach bringen The bottom line is that I got my 25 picks, no matter what the issues, kann. Museen folgen der Anfuhrung durch die Galerien, die wichtige as did the other jurors. (Actually, I gave one choice away to Michael, neue Arbeiten identifizieren. Wie als Beweis gab es wenige Eingange who needed it.) I knew some of the artists, such as Stephen Paul Day, von etablierten Glaskunstlern. Es schien tatsachlich eine ganze Menge Susan Stinsmuehlen-Amend, Judith Schaechter, and Daniel Clayman, studentischer Eingange zu geben, und vielen Arbeiten fehlten die and I appreciate their work for its ability to transcend the medium. Other Ideen. Einige der besten Einreichungen kamen von Kunstlern, die in work looked familiar: the glass-encased specimens of Jennifer Kelting den letzten Reviews dabei waren, sodass ihre „Neuheit" hinterfragt and Tanya Lyons relate to the sculpture of Donald Lipski, and I liked wurde. Ich entschied mich dafur, diese Kriterien zu ignorieren, um gute them for that reason. The same occurred with those bright vessels a la Arbeiten nicht zu eliminieren. Die feineren Punkte solcher Angelegen- Venini: Colin Heaney's flecked doughnut-shaped vase and Yumi Ogu- heiten konnen lastig werden. chi's lidded container that looks like a red blood corpuscle. This imagery Der Grundstandpunkt ist, dass ich meine 25 Wahlen getroffen hatte, is part of an organic/biomorphic theme in works by Mark Eliott and egal, was anliegt, so wie die anderen Juroren. (Tatsachlich habe ich Timothy Horn (paramecia, both), and Midori Tsukada and Sharon Michael, der sie brauchte, eine uberlassen). Ich kannte einige der McJannet (nautilus and shrimp shells). Kunstler, wie Stephen Paul Day, Susan Stinsmuhlen-Amend, Judith It is interesting to compare McJannet's translucent, telescoping form Schachter und Daniel Clayman, und ich schatze ihre Arbeiten wegen with the structure of Michele Perozeni's piece. Both emphasize the ihrer Fahigkeiten, uber das Medium hinauszugehen. Andere Arbeiten material, but Perozeni's work looks like rolled Fiberfrax or fiberglass, as sahen vertraut aus: die in Glas eingeschlossenen Exemplare von though it were a found object. Glass itself seems to be the subject Jennifer Kelting und Tanya Lyon beziehen sich auf die Skulptur von matter. This is also the case with two of my favorite works: the shimmer­ Donald Lipski, und aus diesem Grund mochte ich sie. Das gleiche ge- ing weaving of glass beads/threads by Aseem Pereira and the elegant schah mit diesen grellen GefaRen a la Venini: Colin Heaneys gespren- bowl by Charles Miner. kelte Vase in Form eines Doughnuts und Yumi Oguchis Behalter mit These are examples of great pieces that were brought to my attention Deckel, der wie ein rotes Blutkorperchen aussieht. Diese Bildersprache by the New Glass Re view competition. Whatever its problems, it served ist in Arbeiten von Mark Eliott und Timothy Horn (beide bei Paramecia) this purpose. I'd like to thank Mr. Buechner and the staff at The Corning und von Midori Tsukada und Sharan McJannet (Nautilus- und Garnelen- Museum of Glass for their dedication to this project. They made the schalen) Teil einer organisch/biomorphen Thematik. selection process valuable and engaging. Es ist interessant, McJannets lichtdurchlassige, teleskopartige Form mit der Struktur von Michele Perozenis Stuck zu vergleichen. Beide Mary Douglas (MD) betonen das Material, aber Perozenis Arbeit sieht wie gerolltes Fiber­ Curator frax oder wie Fiberglas aus, als ob sie ein gefundenes Objekt sei. Das Mint Museum of Craft + Design Glas selbst scheint das Thema zu sein. Das ist auch bei meinen zwei Charlotte, North Carolina Lieblingsarbeiten so, der schimmernden Weberei aus Glasperlen/Faden von Aseem Pereira und der eleganten Schussel von Charles Miner. Sie sind Beispiele fur die groGartigen Stucke, die meiner Aufmerk- samkeit beim New Glass flew'etv-Wettbewerb zugefuhrt wurden. Was immer seine Probleme sein mogen, er hat seinem Zweck gedient. Ich wurde gem Mr. Buechner und dem Personal des Corning Museum of Glass fur ihre Hingabe an dieses Projekt danken. Sie haben den Aus- wahlprozess wertvoll und einnehmend gemacht.

Mary Douglas (MD) Kuratorin Mint Museum of Craft + Design Charlotte, North Carolina emantics, a sense of historical precedents, and the sheer number of ie Semantik, der Sinn fur historische Vorganger und allein die An- Ssubmissions to the New Glass Review competition all contribute to Dzahl von Eingangen zum New Glass ftew'ew-Wettbewerb - alle tra- the suggestion that this exquisitely coordinated event may be in need of gen zu der Vermutung bei, dass dieses exquisit koordinierte Ereignis a new format following the conclusion of its highly successful 21-year nach dem Abschluss seiner hocherfolgreichen 21-jahrigen Geschichte history at The Corning Museum of Glass. It is admirable that Corning, im Corning Museum of Glass vielleicht eines neuen Formats bedarf. Es the preeminent museum in the world devoted to a single material disci­ ist bewundernswurdig, dass Corning, DAS hervorstechendste Museum pline, should seek an active role in the contemporary world of glass pro­ in der Welt, das einer einzigen materialorientierten Disziplin gewidmet duction, but this position comes with an inherent "kick me" sign as well. ist, eine aktive Rolle in der zeitgenossischen Welt der Glasherstellung An institution as central as the Corning Museum can only invite a cer­ sucht, wenngleich diese Position aber auch mit einem „Tritt mich" Schild tain negative criticism for assuming such a sensitive role as a fulcrum einhergeht, das ihr innewohnt. Eine Institution, die so zentral ist, wie by suggesting what is new within the glass community. Besides, that das Corning Museum, muss dafur, dass es eine solch feinfuhlige Rolle community now possesses so many venues for the exhibition of what is als Dreh- und Angelpunkt einnimmt, negative Kritik geradezu herausfor- assumed to be new, as opposed to 21 years ago, when the Review was dern, weil es vorschlagt, was in der Glasgemeinschaft neu ist. Abgese- first conducted. A very brief prognosis of this situation does suggest a hen davon besitzt diese Gemeinschaft heute viele Ausstellungsorte fur possible cure, albeit one that has most likely been presented before. das, was fur neu gehalten wird - anders als vor 21 Jahren, als die Re­ A fundamental recommendation from this juror is that the title of this view das erste Mai durchgefuhrt wurde. Eine sehr kurze Prognose die- process be changed to Recent Glass. The word new, by the simple ser Situation legt ein mogliches Heilmittel nahe, wenngleich es auch ei­ nature of its definition, bears a responsibility to expose an aspect or nes ist, das hochstwahrscheinlich schon einmal prasentiert wurde. multiple components of innovation. This year, all of the jurors, whether Eine grundlegende Empfehlung dieses Juroren ist es, den Titel artists, curators, or academics, kept seeking what was new in each dieses Prozesses in Recent Glass umzuandern. Das Wort neu tragt work under review, and when faced with substantial historical, technical, aufgrund der einfachen Natur seiner Definition eine gewisse Verantwor- conceptual, or esthetic examples of precursors, some individuals invari­ tung, einen Aspekt oder verschiedene Komponente in Bezug auf Inno­ ably fell back on the simple and often unsatisfying explanation that vation zur Schau zu tragen. In diesem Jahr suchten alle Juroren, ob sie "Well, it's new to his or her work." This appeared to be an all-inclusive, nun Kunstler, Kuratoren oder Akademiker waren, immerzu nach dem, mea culpa use of this word, and therefore diluted its resonance and was an jeder Arbeit, die zur Beurteilung anstand, neu sei, und wenn sie significance. I recommend that this word be deleted from the title of the sich substantiell mit historischen, technischen, konzeptuellen oder competition and used only in the mission statement. A knowledge of the asthetischen Beispielen der Vorganger konfrontiert sahen, fielen einige recent or distant technological and esthetic history of glass by members Einzelpersonen unausweichlich auf die einfache und oft nicht zufrieden- of the jury made it possible to isolate the antecedents of any proclaimed stellende Erklarung zuruck, dass „es, nun ja, in ihrer oder seiner Arbeit innovation. neu" sei. Dies schien eine alles miteinschlieBende mea-culpa-\/erwen- Another critical issue with this annual event is the sheer magnitude of dung dieses Worts zu sein und verwasserte deshalb seine Resonanz submissions. Jurors examined 2,400 images three times in an atmo­ und Bedeutung. Ich empfehle dieses Wort aus dem Wettbewerbstitel sphere of military precision. Review and counter-review, even of rejec­ zu loschen und nur in der Erlauterung des Ausschusses zu verwenden. ted images, contributed to an environment that can only be deemed as Ein Wissen um die erst kurzlich geschriebene oder auch weit zurucklie- fair as possible under the circumstances. With the globalization of the gende technologische und asthetische Geschichte des Glases machte art world and the use of the Internet to publicize events such as New es auf seiten der Jury-Mitglieder moglich, die Vorlaufer jeder vermeint- Glass Review, the number of individuals participating in this competition lichen Innovation zu isolieren. is likely to grow, making the review sessions even more of a challenge. Ein anderer kritischer Ansatzpunkt ist bei diesem jahrlichen Ereignis Perhaps regional committees composed of museum curators, academ­ allein die GroBenordnung der Eingange. Die Juroren bewerteten 3 x ics, artists, and dealers should be established to vet submissions with 2400 Bilder in einer Atmosphare militarischer Prazision. Urteil und greater accuracy before they are sent to Corning. Gegen-Urteil, selbst bei den abgelehnten Bildern, trugen zu einem In this age of digital cameras and improved film processing, photog­ Umfeld bei, das den Umstanden ensprechend nur als so gerecht wie raphy remains a seriously deficient component of this competition. moglich bezeichnet werden kann. Durch die Globalisierung der Kunst- Many works were indecipherable by virtue of the mediocre or poor welt und die Benutzung des Internets, in dem Ereignisse wie die New quality of the slides that were submitted to the jury. Without an adequate Glass Review publiziert werden, nimmt die Anzahl der Personen, die understanding of the work through its visual representation, jurors were daran teilnehmen, wahrscheinlich zu. Vielleicht sollten regionale Komi- forced to eliminate many possibly significant pieces from the pool of tees, bestehend aus Museumskuratoren, Akademikern, Kunstlern und work under consideration. The attractiveness of an image and its suit­ Handlern, eingerichtet werden, um die Eingange mit groBerer Genauig- ability for publication, however, were often enough to keep it in the keit zu uberprufen, bevor sie dann nach Corning geschickt werden. running, even though the quality of the work itself might not have been Im Zeitalter digitaler Kameras und verbesserter Filmentwicklung bleibt evident. die Fotografie ein auBerst unzureichender Bestandteil dieses Wettbe- As a juror this year and the author of this brief report, I would never werbs. Viele Arbeiten waren aufgrund der durchschnittlichen oder suggest that my personal choices underscored anything new or even schlechten Qualitat der Dias, die der Jury eingereicht wurden, nicht zu partly technically or esthetically innovative to the highly sophisticated entschlusseln. Ohne ein adaquates Verstandnis der Arbeit durch seine world of glass. What can be said is that these pieces were selected visuelle Representation waren die Juroren gezwungen, viele moglicher- because, from their slides, they appeared to be esthetically pleasing, weise bedeutende Stucke aus dem Kreis der Arbeiten, die in Betracht technically accomplished, and ultimately good expressions of serious kamen, zu eliminieren. Die Attraktivitat eines Bildes und seiner Eignung artists working in a difficult field. Apart from such ambiguities, I can state zur Publikation reichten jedoch oft aus, um es im Rennen zu lassen, sogar more emphatically that I selected those pieces in which glass is a wenn die Qualitat der Arbeit selbst eventuell nicht ersichtlich gewesen ist. principal component of the work and in which the inherent qualities of Als Juror in diesem Jahr und als Autor dieses kurzen Berichts wurde glass are foremost to the composition. Glass that does not look like ich nie nahelegen, dass meine personliche Auswahl irgendetwas Neues glass was not important to me for this competition. Each juror, every oder auch nur teilweise Innovatives, sei es technischer oder astheti- year, has come to the New Glass Review competition with his or her scher Natur, in der hochentwickelten Welt des Glases unterbewertet own esthetic sensibilities, professional predilections and relationships, hat. Was allerdings gesagt werden kann, ist, dass diese Stucke ausge- and sense of esthetic and intellectual standards, which are used by wahlt wurden, weil sie, durch ihre Dias, asthetisch ansprechender, some individuals to define their relationship to other jurors, glass artists, technisch vollkommener erschienen und letztendlich als guter Ausdruck or their own individual backgrounds. Taste - and taste based on per­ von ernsthaften Kunstlern heruberkamen, die in einem schwierigen Feld sonal decision - is still a potent component of one's identity. The psy­ arbeiten. Von solchen Zweideutigkeiten abgesehen, kann ich etwas chology of such interpretations could fill many boring books. emphatischer mitteilen, dass ich solche Stucke ausgewahlt habe, bei Certainly there are those who need to see this competition continue denen das Glas der Hauptbestandteil der Arbeit ist und bei denen die and who will say that these suggestions and insights have all been dem Glas innewohnenden Qualitaten bei der Komposition an erster made before. However, if they have been said and not appropriately Stelle stehen. Glas, das nicht wie Glas aussieht, war fur mich bei die- addressed, that is indeed an unfortunate statement for the field. A new sem Wettbewerb nicht wichtig. Jeder Juror muss jedes Jahr mit seinen committee should be formed to inaugurate interim and long-term correc­ eigenen asthetischen Sensibilitaten zum New Glass flew'ew-Wettbe- tives that would keep this competition viable. It is an event far too werb kommen, mit seiner professionellen Vorlieben und seinen profes- important to continue unaltered or to be disbanded. sionellen Beziehungen und einem Sinn fur asthetische und intellektuelle Historically, the New Glass Review competition - or any artistic Standards, die von einigen Einzelpersonen angewandt werden, um ihre gathering, for that matter - has never succeeded in pleasing a wide Beziehung zu anderen Juroren, Glaskunstlern oder zu ihrem eigenen cross section of interested parties, much less a community as compli­ individuellen Hintergrund zu definieren. Geschmack - und Geschmack, cated as that which surrounds glass people: the curators, collectors, der auf personlichen Entscheidungen basiert - ist immer noch ein dealers, and artists who have witnessed and contributed to the remar­ machtiger Bestandteil der eigenen Identitat. Die Psychologie solcher kable expansion of this field in the past two decades. Sadly, however, Interpretationen konnte viele langweilige Bucher fullen. despite this success, the number of applicants to New Glass Review Sicher gibt es einige, die diesen Wettbewerb fortgesetzt sehen moch- has declined in recent years, a statistic that might be traced to several ten und die sagen werden, dass solche Vorschlage und Einsichten alle significant factors. First, has the competition successfully done its work schon einmal gemacht worden sind. Falls sie ausgesprochen wurden and helped to establish a vital academic, museological, and commercial und damit nicht angemessen umgegangen wurde, ist das jedoch eine environment for the promotion of glass, and thus appropriately diminis­ wirklich ungluckliche Aussage fur das Arbeitsfeld. Ein neues Komitee hed its own crucial role in the field? The answer would have to be, in sollte geschaffen werden, um fur eine Interims-Zeit und auch langfristig part, yes. Second, have some established members of the field, as well Korrektive einzufuhren, die diesen Wettbewerb lebensfahig halten as more confident novices, come to the conclusion that this annual wurden. Er ist als Ereignis viel zu wichtig, als dass er unverandert fort­ event has lost the cutting-edge luster it once enjoyed, so that they no gesetzt oder abgeschafft werden sollte. longer see it as important and worthy of their consideration? Possibly Aus historischer Sicht betrachtet hat der New Glass Re vie w-Wettbe­ this is true as well. werb - oder jede andere kunstlerische Versammlung - nie Erfolg damit In 1949, Shirley Jackson published The Lottery, her moving, disquiet­ gehabt, einem grof3en Querschnitt interessierter Parteien zu gefallen, ing indictment of tradition and the human inability to question. In that viel weniger noch einer Gemeinschaft, die so kompliziert ist wie diejeni- short story, a small community annually commits the act of stoning to ge, die die Glasleute umgibt: gemeint sind Kuratoren, Sammler, Handler death one of its inhabitants without questioning the rationale for such a und Kunstler, die die bemerkenswerte Expansion dieses Feldes in den gruesome deed. The New Glass Review competition is certainly the vergangenen zwei Jahrzehnten bezeugt oder zu ihr beigetragen haben. antithesis of what is gruesome (although some who have experienced it Traurigerweise ist jedoch die Zahl der Bewerber fur die New Glass might suggest that it is grueling), but it has also become an established Review\ro\z ihres Erfolges in den letzten Jahren zuruckgegangen, eine tradition that might be inexplicable to juror, competitor, and outsider Statistik, die moglicherweise auf verschiedene bedeutende Faktoren alike. More to the point, however, is the fact that, just as traditions can zuruckverfolgt werden kann. Erstens, hat der Wettbewerb seine Arbeit be important components of any community, they can also be detrimen­ erfolgreich getan und geholfen, ein vitales akademisches, museales tal. All traditions need to be periodically re-examined to test the depth of und kommerzielles Umfeld zur Forderung des Glases zu schaffen und their viability and to assess the possible need to adjust them in order to dadurch angemessenerweise seine eigene entscheidende Rolle auf suit the times and keep them alive by making them make a contribution. diesem Gebiet verringert? Die Antwort musste, zum Teil, ein Ja sein. New Glass Review is an important annual tradition, and one in which I Zweitens, sind einige etablierte Mitglieder des Feldes, sowie einige am honored to have participated during this final year of the century and zuversichtliche Novizen, zu dem Schluss gekommen, dass diesem millennium. For the start of the next century, may I suggest the pursuit jahrlichen Ereignis der schneidige Glanz, den es einmal genossen hat, of changes to refine and possibly redefine a tradition under question by verlorengegangen ist, so dass sie es nicht mehr fur wichtig oder ihrer some? A group of established curators, academics, artists, designers, Betrachtung fur wurdig halten? Moglicherweise ist auch das wahr. and commercial figures should convene to write up new parameters for 1949 hat Shirley Jackson The Lottery veroffentlicht, ihre bewegende, this competition in order for it to make a contribution to the artistic and beunruhigende Anklage gegen die Tradition und die menschliche technological evolution of glass in the new millennium. Unfahigkeit, Dinge in Frage zu stellen. In dieser Kurzgeschichte begeht eine kleine Gemeinschaft jahrlich einen Akt, bei dem eines ihrer Mitglie­ Derek Ostergard (DO) der zu Tode gesteinigt wird, ohne die Rationale fur eine solch schaurige Associate Director and Founding Dean Tat in Frage zu stellen. Der New Glass ftewew-Wettbewerb ist sicher The Bard Graduate Center for Studies in the Decorative Arts die Antithese zu dem, was schaurig ist (obwohl einige, die ihn erlebt New York, New York haben, eventuell meinen konnten, dass er zermurbend sei), aber er ist auch zu einer festen Tradition geworden, die dem Juror, dem Mitbewer- ber und dem Auf3enstehenden gleichermaRen unerklarlich sein mag. Mehr auf die Sache bezogen ist jedoch die Tatsache, dass Traditionen, die wichtige Bestandteile jeder Gemeinschaft sein konnen, genauso gut schadlich sein konnen. Alle Traditionen mussen ab und zu auf die Tiefe ihrer Lebensfahigkeit gepruft werden, um ihren moglichen Anpassungs- bedarf an die Zeiten einzuschatzen und um sie am Leben zu erhalten indem man sie zu einer Bereicherung zwingt. New Glass Review \s\ eine wichtige jahrliche Tradition, und eine, bei der ich mich geehrt fuhle, an ihr teilgenommen zu haben in diesem letzten Jahr des Jahrhunderts und Jahrtausends. Darf ich fur den Beginn des nachsten Jahrhunderts die Suche nach Veranderungen vorschlagen, um eine Tradition, die von einigen in Frage gestellt wird, zu verfeinern und moglicherweise neu zu definieren? Eine Gruppe etablierter Kuratoren, Akademiker, Kunstler, Designer und kommerzieller Personlichkeiten sollte zusammenkom- men, um neue Parameter fur diesen Wettbewerb aufzustellen, damit er einen Beitrag zur kunstlerischen und technologischen Evolution des Glases im neuen Jahrtausend leisten kann.

Derek Ostergard Auf3erordentlicher Direktor und Grundungsdekan The Bard Graduate Center for Studies in the Decorative Arts, New York, New York he Corning Museum of Glass is this continent's (and possibly the as Corning Museum of Glass ist in Bezug auf Glasstudien die in- Tworld's) most comprehensive and respected source for research in Dhaltsreichste und respektierteste Quelle zur Recherche auf diesem glass studies. Our education is not complete without a visit there - and Kontinent (und moglicherweise auf der ganzen Welt). Unsere Ausbil- that, no doubt, is one reason why the Glass Art Society has chosen to dung ist ohne einen Besuch dort nicht vollstandig - und das ist, ohne hold four conferences at this location. Zweifel, ein Grund dafur, warum die Glass Art Society sich dafiir ent- I was honored to be chosen as one of four jurors for Coming's 23rd schieden hat, vier Konferenzen an diesem Ort abzuhalten. annual New Glass Re view competition. Susanne Frantz, former curator Ich wurde damit geehrt, fur Comings 23. New Glass Review-\Ne\tbe- of the 20th-century collection at the Museum, was not part of the jury, as werb als einer von vier Juroren ausgewahlt zu werden. Susanne Frantz, she had been for the previous 13 years. She was missed. Tom Buech- Exkuratorin der Sammlung „20. Jahrhundert" am Museum, war, anders ner's historical perspective gave balance to the jury. All of the judges als in den 13 vorausgegangenen Jahren, nicht Teil der Jury. Sie wurde viewed the slides for the first time as a group. In the second round of vermisst. Tom Buechners historische Perspektive gab der Jury eine viewing, we began to make choices. Balance. Alle Preisrichter sichteten die Dias beim ersten Mai als Gruppe. It was readily apparent that the global glass community takes this In der zweiten Runde fingen wir an, Entscheidungen zu fallen. contest seriously. There were 884 entries from 42 countries. I was Es war sofort klar, dass die globale Glasgemeinschaft diesen Wettbe- excited and gratified by the diversity of artists and companies that werb ernst nimmt. Es gab 884 Eingange aus 42 Landern. Ich war auf- entered, particularly considering that, in Europe, Africa, Asia, and geregt und erfreute mich an der Diversitat der Kunstler und der Firmen, Oceania, high-school students may study glass from a vocational die daran teilnahmen, besonders in Anbetracht der Tatsache, dass in perspective, but they are seldom taught to use glass as a means of Europa, Afrika, Asien und Ozeanien Schuler zwar Glas mit einer beruf- personal expression. Viewing this body of work brought home forcibly lichen Perspektive studieren konnen, aber ihnen wird nur selten beige- the role of glass as a means of universal communication. It was also bracht, wie man Glas als personliches Ausdrucksmittel verwendet. apparent that the accepted "cutting-edge" centers of our profession are Beim Sichten dieser Gruppe von Arbeiten trat die Rolle des Glases als not the only places producing work that is highly sophisticated in both universelles Kommunikationsmittel kraftvoll zutage. Es war auch offen- esthetic expression and technique. kundig, dass die akzeptierten Zentren an der Spitze unseres Berufs- "New" Work? stands nicht die einzigen Orte sind, an denen Arbeiten produziert Tom Buechner explained at the outset that we were to make our werden, die sowohl im asthetischen Ausdruck als auch in der Technik selections based on our own interpretation of the general guidelines. hochst ausgereift sind. These guidelines were similar to those used in any simple critique. „Neue" Arbeit? Glass must be used in some portion of the object, and the work must be Tom Buechner erklarte zu Beginn, dass wir unserer Auswahl unsere new (new for the artist, new for the field, new in design, new in general eigene Interpretation der allgemeinen Richtlinien zugrunde legen soil- concept). At a more detailed level, newness could be found in colors, ten. Diese Richtlinien waren denen ahnlich, die in jeder einfachen Kritik forms, and narrative images. angewendet werden. Glas muss bis zu einem gewissen MaB verwendet How much development must occur in an artist's work for it to be worden sein und die Arbeit neu sein (neu fur den Kunstler, neu fur das considered new? Determining this is not an exact science. One artist I Arbeitsfeld, neu im Design, neu im allgemeinen Konzept). Auf einer know has been making the same blown work for 30 years; you would detaillierteren Ebene konnte Neuheit in Farben, Formen und erzahleri- not be able to tell a piece made in the 1970s from one made today. schen Bildern gefunden werden. Other artists are continually pushing the envelope, creating work that is Wieviel Entwicklung muss in der Arbeit eines Kunstlers geschehen dramatically new and different from what they made even a few years sein, damit sie fur neu gehalten wird? Das zu bestimmen ist keine ge- ago. Richard Meitner is one glass artist who consistently takes risks and naue Wissenschaft. Ein mir bekannter Kunstler macht dieselben gebla- successfully moves into fresh and fascinating territory. In some sense, senen Arbeiten seit 30 Jahren; man wurde nicht in der Lage sein, ein all art is derivative, but we can make some distinctions. For example, a Stuck, das in den 70ern gemacht wurde und eines von heute, auseinan- number of glass artists are currently making Dale Chihuly's Macchia der zu halten. Andere Kunstler stoBen standig gegen die Decke, schaf- "handkerchief" bowl. This work is highly derivative, and it could not be fen Arbeiten, die auf dramatische Weise neu sind und sich von dem un- described as "new." However, Chihuly himself derived his form (con­ terscheiden, was sie vor nur wenigen Jahren gemacht haben. Richard sciously or unconsciously) from the Italian Art Nouveau and elevated it Meitner ist ein Glaskunstler, der permanent Risiken eingeht und sich into something uniquely his own. Other artists derive their inspiration erfolgreich auf frisches und faszinierendes Territorium zubewegt. In ge- from work created in another medium, such as modernist sculpture, and wissem Sinn ist jede Kunst eine von etwas anderem abgeleitete Form, transform the concept into something new in glass. aber wir konnen einige Unterscheidungen vornehmen. Zum Beispiel Many artists struggle to achieve a balance between pleasing their macht eine Anzahl von Glaskunstlern gegenwartig Arbeiten wie Dale audience in order to sell their work and taking commercial and esthetic Chihulys Macchia Jaschentuch" Schussel. Sie sind in hohem Maf3 ab- risks to express themselves as authentically as they can. The work geleitet und konnten nicht als „neu" beschrieben werden. Chihuly selbst must support itself - or be supported by some other means - or the hat diese Form (ob bewusst Oder unbewusst) jedoch vom Italienischen artist cannot continue to create it. Glass is technically demanding, and it Art Nouveau abgeleitet und sie zu etwas erhoben, dass auf seine Weise can be costly to make. Frequently, the choices are driven by the poten­ einzigartig ist. Andere Kunstler leiten ihre Inspiration aus Arbeiten ab, tial rewards for performance. Artists' ventures into the new are not die in einem anderen Medium, wie der modernen Bildhauerei, geschaf- always appreciated. They sometimes stumble in searching for a new fen wurden und wandeln das Konzept in etwas Neues aus Glas um. path. But a contest such as this one gives artists a venue to be appre­ Viele Kunstler kampfen darum, ein Gleichgewicht zu erreichen, indem ciated purely on the basis of the merit of their work. sie einerseits ihrem Publikum gefallen, um ihre Arbeit zu verkaufen und Criteria andererseits kommerzielle und asthetische Risiken eingehen, durch die Although many of the submitted pieces were dynamic, they were sie sich so authentisch wie sie gerade konnen zum Ausdruck bringen. rejected. They seemed "close to the right thing," but we couldn't figure Die Arbeit muss sich selbst tragen - oder durch irgendwelche anderen out what the images embodied or what the artists were trying to say. Mittel unterstutzt werden - ansonsten kann der Kunstler nicht damit These works didn't "read." Other pieces were not chosen because their weitermachen, sie zu schaffen. Glas ist technisch anspruchsvoll, und es proportions were awkward. In some cases, the forms were intriguing but kann kostenaufwendig sein, es herzustellen. the execution required better craftsmanship. One entry attempted to Oft werden die Entscheidungen von den potientiellen Belohnungen combine vessel and rock, and neither was convincing. fur die Leistung angetrieben. Die Wagnisse, die die Kunstler in das We also needed to consider the distinction between the quality of Neue hinein unternehmen, werden nicht immer wertgeschatzt. Sie ge- the slide (the image of the object) and the object itself. Images should raten manchmal ins Stolpern, wenn sie nach einem neuen Weg suchen. not be computer-enhanced. There is an adage in the contemporary Aber ein Wettbewerb wie dieser gibt den Kunstlern einen Ort, der ein- glass tradition that goes something like this: "The slide is most impor­ zig und allein auf der Basis ihres Arbeitsverdienstes wertgeschatzt wird. tant because more people see the slide than see the actual work." Kriterien Some slides appeared to show fascinating work, but they were impossi- Obwohl viele der eingereichten Stiicke dynamisch waren, wurden sie ble to read. I would suggest sending an image that explains the work, zuruckgewiesen. Sie schienen „nahe dran", aber wir konnten nicht along with another slide that provides the most dramatic shot of the rauskriegen, was die Bilder verkorperten oder was die Kunstler auszu- work. drucken versuchten. Diese Arbeiten konnten wir nicht „lesen". Andere Selections Stucke wurden nicht gewahlt weil ihre Proportionen unbeholfen waren. I admired many, many entries, but I don't have room to mention them In einigen Fallen waren die Formen verbliiffend, aber die Ausfuhrung here. My initial selection included well over 100 artists. Trimming that hatte ein besseres handwerkliches Konnen verlangt. Ein eingereichtes number was a painful process. To help me narrow my choices, I cate­ Werk versuchte, GefaB und Fels zu kombinieren, und keins von beiden gorized the works more or less in the order of their historical emergence. war uberzeugend. Here is a report on the best of those categories. Please understand that Wir mussten auch den Unterschied zwischen der Diaqualitat (der Ab- my observations may or may not relate to the artists' intentions. Many of bildung des Objekts) und dem Objekt selbst in Betracht Ziehen. Die Abbil- the works cross the boundaries of my categories. dungen sollten nicht durch einen Computer verbessert werden. Es gibt in 1. Utilitarian Vessel. Wiebke Vogt's bowl is nothing special, but der zeitgenossischen Glastradition ein Sprichwort, das in etwa so lautet: everything about it is special. The colors are both subtle and dramatic, „Das Dia ist wichtig, weil mehr Leute das Dia und nicht die eigentliche mysterious and strong. The rings of the surface decoration are an in­ Arbeit sehen". Einige Dias schienen faszinierende Arbeiten zu zeigen, tricate part of the form itself, and the surface remains true to the piece's aber es war unmoglich, sie zu lesen. Ich wurde vorschlagen, eine Abbil- utilitarian purpose. The simplicity and elegance of this form are reminis­ dung zu schicken, die die Arbeit erklart, zusammen mit einem weiteren cent of the finest raku tea bowls. Kim Joon Yong's vase is utilitarian in Dia, das die dramatischste Aufnahme der Arbeit zur Verfugung stellt. the same way that any cage cup would have been from the fifth century Auswahl until today. But the black of the cage radically contrasts with the orange Ich habe viele, viele Eingange bewundert, aber ich habe keinen Platz, of the vase form inside. sie hier zu erwahnen. Meine anfangliche Auswahl schloss mehr als 2. Surface Design. Massimo Nordio's Luxor was selected, not for his 100 Kunstler ein. Diese Anzahl herunterzustutzen war ein schmerzvol- clever use of murrine, but for its form and the uniformity of its surface ler Prozess. Um mir selbst dabei zu helfen, meine Entscheidungen decoration. The works of Scott Chaseling and Gerry King represent two einzuengen, kategorisierte ich die Arbeiten mehr oder weniger nach versions of a process that produces an intricately controlled surface. ihrem historischen in-Erscheinung-treten. Hier ist ein Bericht uber die Their methods resemble some ancient Italian techniques, but their work besten dieser Kategorien. Bitte verstehen Sie, dass meine Beobachtun- is decidedly new because of the unique source of the material: Bullseye gen den Intentionen der Kunstler entsprechen konnen oder auch nicht. glass. Viele der Arbeiten uberschreiten die Grenzen meiner Kategorien. 3. Painting on Glass. For the last 15 years, Judith Schaechter has 1. Nutzliche Gefa3e. Wiebke Vogts Schussel ist nichts Besonderes, been painting on glass. Her imagery is complex and intriguing. Some­ aber alles an ihr ist besonders. Die Farben sind sowohl feinsinnig als times it is violent and makes us uncomfortable. Her work reveals a auch dramatisch, mysterios und stark. Die Ringe der Oberflachendeko- masterful and unique approach, and her subject matter - which recalls ration sind ein raffinierter Teil der Form selbst, und die Oberflache bleibt the style of David Wojnarowicz and R. Crumb - demands that the dem nutzlichen Verwendungszweck des Stuckes treu. Die Schlichtheit viewer become involved. The color of the background is as intricate and und Eleganz dieser Form erinnern an die feinsten Raku Tee-Schusseln. important as that of the figures. This new work also uses compartments Kim Joon Yongs Vase ist auf die gleiche Art so nutzlich wie es jede within the same composition. It is exhilarating to see William Bernstein's beliebige Diatretvase vom 5. Jahrhundert bis heute sein wurde. Aber new palette (high-contrast colors) give a Fauvist drama to his impres­ das Schwarze des Netzes kontrastiert radikal mit dem Orangenen der sionistic application. Vasenform im Inneren. 4. Vessel as Metaphor. Chris Tedesco uses the vessel form to 2. Oberflachengestaltung. Massimo Nordios Luxor wurde ausge- make a subtle and strong composite structure. Doug Navarra's inter­ wahlt, und zwar nicht wegen seiner cleveren Verwendung von Murrine, pretation of the anatomy of a vessel structure is intriguing because of sondern wegen der Form und Uniformitat seiner Oberflachendekora- the architectural layering and the impression of depth in the surface. tion. Die Arbeiten von Scott Chaseling und Gerry King stellen zwei The armature of this form becomes an exoskeleton structure. The Versionen eines Prozesses dar, der eine kompliziert kontrollierte Ober­ inside and the outside are one and the same. The complexity of the roof flache hervorbringt. Ihre Methoden ahneln einigen antiken italienischen or beginning of this form permits the object to become sculpture in­ Techniken, aber ihre Arbeit ist entschieden neu wegen des einzigartigen stead of vessel. Etsuko Tashima's vase with three-dimensional surface Ausgangsmaterials: Bullseye Glas. decoration is unique because the surface decoration is as dominant 3. Malen auf Glas. Seit 15 Jahren malt Judith Schaechter auf Glas. as the vase itself. It appears to come from some unknown ancient Ihre Bildsprache ist komplex und faszinierend. Manchmal ist sie gewalt- culture. tatig und beunruhigt uns. Ihre Arbeit offenbahrt eine meisterhafte und 5. Architectural Glass. Jiri Soukup has created a simple cone on a einzigartige Herangehensweise, und ihre Thematik - die an den Stil von massive scale, filling an urban outdoor area. It feeds the space with David Wojnarowicz und R. Crumb erinnert - fordert, dass der Betrachter continual reflection. That he creates such a fascinating surface of cast daran Anteil nimmt. Die Farbe des Hintergrunds ist genauso komplex und forms with such a minimal shape is unexpected and compelling. wichtig wie die der Figuren. Diese neue Arbeit verwendet auch Felder 6. Sculpture as Object. The interior space of Richard Mark Jackson's innerhalb derselben Komposition. Es ist erfrischend, mitanzusehen, wie work is fragile and elegant, as though it protected a harmonious biologi­ William Bernsteins neue Palette (hochkontrastrierende Farben) seiner cal form. The minimal exterior shape is refined, but the interior space impressionistischen Auftragungsweise ein fauvistisches Drama verleiht. and texture predominate. There is an obvious reference to skeletal 4. Gefa3 als Metapher. Chris Tedesco benutzt GefaBform, um eine form. Yet the work is not biological; it is the artist's creation, based on subtile und starke mehrteilige Struktur zu schaffen. Doug Navarras observation and formal execution. Tsuyoshi Inoue's use of cast glass, Interpretation der Anatomie einer GefaBstruktur ist wegen der architek- metal, and light develops suspended tension and intellectual mystery. tonischen Schichtung und wegen des Eindrucks von Tiefe in der Ober­ The visual vocabulary is derived from modernism through Sol Lewitt, flache faszinierend. Die Armatur dieser Form wird zu einer AuBen- Mark di Suvero, and others, but the outcome is exciting and unique. skelett-Struktur. Das Innere und das AuBere sind ein und dasselbe. Die The use of light elevates this work to a postmodern position. Komplexitat des Daches oder der Anfang dieser Form gestattet es dem Michael Meilahn's work has a figure suggestive of the film Eraser Objekt, Skulptur anstatt GefaB zu werden. Etsuko Tashimas Vase mit Head. It gives the eerie feeling of an enormous fetus clinging to an ihrer plastischen Oberflachenverzierung ist einzigartig, weil die so architectonic form. Martin Rosol's and Petr Vlcek's entries have a dominant ist wie die Vase selbst. Sie scheint aus irgendeiner unbekann- fabricated Constructivist origin. Pauline Solven's process appears to be ten antiken Kultur zu kommen. similar to that of Michael Scheiner. It presents minimal form with large- 5. Architektonisches Glas. Jiri Soukup hat einen einfachen Kegel in scale components, each of which takes on its own meaning, and it einem derartigen MaBstab dass er damit einen ganzen stadtischen displays a thoughtful use of color. Stanley Mar's Jennifer is skillfully and Platz fullen kann. Er nahrt den Raum mit steter Reflektion. Dass er bei accurately rendered. The enigmatic female figure seems sedated, gegossenen Formen mit einer solch minimalen Gestalt eine solch lifeless, floating in space, and yet the pieces of glass flowing into (or out faszinierende Oberflache kreiert, ist unerwartet und verlockend. of) the face suggest that something is being enacted upon it. The figure 6. Skulpturals Objekt. Der Innenraum von Richard Mark Jacksons seems to be caught in a state of sanctified custody. Arbeit ist fragil und elegant, so als ob er eine harmonische biologische 7. Form. Lucas Jones created a unique organic utilitarian form remi­ Form beschutzt. Die minimale auBere Gestalt ist raffiniert, aber der In­ niscent of Venini glass from the 1950s. This shape requires tour-de­ nenraum und die Textur uberragen. Es gibt einen deutlichen Bezug auf force manipulation and is not based on the symmetry of form associ­ eine skelettartige Form. Dennoch ist die Arbeit nicht biologisch; sie ist ated with traditional glassblowing. Bravo! Tatsuya Hosomi's elegantly die Kreation des Kunstlers, basiert auf Beobachtung und formaler Aus- photographed study is soft and mechanical at the same time, depend­ fuhrung. Tsuyoshi Inoues Verwendung von gegossenem Glas, Metall ing on where you look at the order of the composition. The overall work und Licht entwickelt eine in der Schwebe gehaltene Spannung und ein appears to be lyrically animated. intellektuelles Geheimnis. Das visuelle Vokabular ist uber Sol Lewitt, 8. Neon. Pat Collentine's technique is not new, but her work de­ Mark di Suvero und andere von der Moderne abgeleitet, aber das, was serves recognition. Fred Tscheda did an exceptional job with this con­ dabei herauskommt, ist aufregend und einzigartig. Die Verwendung von cept eight years ago, but here the idea has been taken further to pro­ Licht hebt diese Arbeit in die Postmoderne. duce a new kind of vase form that is supple rather than angled. Michael Meilahns Arbeit enthalt eine Figur, die an den Film Eraser 9. Mixed-Media Sculpture. Kevin Lockau's Territory beautifully Head erinnert. Sie erzeugt das schaurige Gefuhl eines enormen Fotus, depicts the sense of brutality that is an intricate part of the cycle of der sich an eine architektonische Form klammert. Die Einreichungen von nature. The dogs' strength, fierceness, and masculinity seem almost Martin Rosol und Petr Vlcek haben einen erfundenen konstruktivistischen primeval. Snow, ice, and glass have similar physical properties. Putting Ursprung. Pauline Solvens Verfahren scheint dem von Michael Scheiner glass with snow in a work of art runs a high risk of looking trite and ahnlich zu sein. Es kombiniert eine minimale Form mit groBformatigen predictable. But in this work, the glass seems to rise from the snow. The Teilen, wobei jedes seine eigene Bedeutung annimmt und eine durch- sense of organic integration is similar to that found in an earthwork in­ dachte Verwendung von Farbe zur Schau stellt. Jennifer von Stanley Mar stallation such as James Pierce's Earthwoman. The figure comes from ist gekonnt und akkurat wiedergegeben. Die enigmatische weibliche the earth and is indistinguishable from its surroundings. The animals in Figur scheint ruhiggestellt, leblos, im Raum herumtreibend, und dennoch Lockau's work seem to be a continuation of the ground on which they deuten die Glasstucke, die in das Gesicht hinein- (oder aus ihm heraus-) stand. schwimmen an, dass etwas gerade auf ihm inszeniert wird. Die Figur 10. Site-Specific Installation. Sally Rogers's modernist sculpture scheint in einem Zustand heiliger Obhut gefangen zu sein. makes me question the amount of glass that can be used in this compe­ 7. Form. Lucas Jones hat eine einzigartige organische zweckmaBige tition, but it is nevertheless an impressive use of form and mixed media. Form geschaffen, die an das Venini Glas der 50er Jahre erinnert. Diese The scale and volume of Archikula, by Beata and Tomasz Urbanowicz, Form, die eine ungeheuerliche, meisterhafte Manipulation erfordert, are impressive. The huge size of this work provokes awe and conster­ basiert nicht auf der Symmetrie der Form, die mit dem traditionellen nation. I want more information about its origin. Glasblasen assoziiert wird. Bravo! Tatsuya Hosomis elegant fotogra- 11. Sculpture as Installation. Antoine Leperlier's installation, from fierte Studie ist gleichzeitig weich und mechanisch, je nachdem wohin which the jurors selected a detail, gives pate de verre a new meaning. man seinen Blick in der Anordnung der Komposition richtet. Die Arbeit The incorporation of the stone within the glass is a successful marriage insgesamt scheint lyrisch belebt zu sein. of materials reminiscent of Thomas Scoon's work from several years 8. Neon. Pat Collentines Technik ist nicht neu, aber ihre Arbeit ver- ago. Leperlier has taken the glass to the point of transparency. The dient Anerkennung. Fred Tscheda hat mit diesem Konzept vor 8 Jahren polished surface of an expressionistic interior (bubbles, traces of devit- eine auBergewohnliche Leistung gezeigt, aber hier wurde die Idee rified glass, and other commotion) lends drama to this component of the weiter vorangetrieben, um so eine neue Art von Vasenform herzustel- installation. The excellent craftsmanship of even the smallest units of len, die eher geschmeidig als angewinkelt ist. the work adds to its overall impact. Yuko Matsumoto's Present is an 9. Mixed Media Skulptur. Kevin Lockaus Territory (Territorium) stellt enigmatic apparition with a dreamlike translucency/opacity that is wunderschon das Gefuhl von Brutalitat dar, ein schwieriger Teil im vaguely suggestive of a bed, yet elevated. Zyklus der Natur. Die Kraft der Hunde, die Scharfe und Maskulinitat It was a privilege to review these works, which reflect a steady erscheinen beinahe urzeitlich. Schnee, Eis und Glas haben ahnliche stream of new imagery, esthetic expression, and emerging technology. physikalische Eigenschaften. Glas mit Schnee in ein Kunstwerk einzu- As an educator, I am encouraged by the abundance of talented young bringen, beinhaltet das hohe Risiko, dass es abgedroschen und vorher- artists who will inevitably become the leaders of the new century. They sehbar aussieht. Aber in dieser Arbeit scheint das Glas aus dem may not have the same profiles as the current leaders, but they are Schnee hochzusteigen. Das Gespur fur organische Integration ist dem equally fervent and driven to express their own exceptional purposes. ahnlich, was man in einer Erdinstallation wie bei James Pierces Earth- Support the Competition woman (Erdfrau) finden kann. Die Figur kommt aus der Erde und ist While I was impressed by the number and quality of entries, I was von ihrer Umgebung nicht zu unterscheiden. Die Tiere in Lockaus Arbeit also disappointed to note that many of the glass artists I know chose scheinen eine Fortsetzung des Bodens zu sein, auf dem sie stehen. not to submit their work. Most of us do not have the ability to publish our 10. Ortsgebundene Installation. Sally Rogers modernistische Skulp­ work continually, and by entering our best work in this competition, we tur lasst mich die Menge von Glas in Frage stellen, die bei diesem Wett- can be assured that a significant institution has a yearly record of that bewerb verwendet werden kann, aber sie zeigt trotzdem eine beeindru- work. For this reason alone, it makes sense to enter every year. If my ckende Verwendung von Form und Mixed Media. Der MaBstab und das studio were to have an accident, much of the documentation of my life's Volumen von Archikula, von Beata und Thomasz Urbanowicz, sind be- work could be destroyed. New Glass Review supports the legacy of a eindruckend. Die enorme GroBe dieser Arbeit provoziert Ehrfurcht und glass artist. The record starts slowly, but it becomes a retrospective Besturzung. Ich hatte gern mehr Informationen uber ihren Ursprung. within a few years. Why should we not take advantage of this service, 11. Skulpturals Installation. Antoine Leperliers Installation, von der especially when we select the work that will be submitted? die Juroren einen Ausschnitt ausgewahlt haben, gibt pate de verre eine If you have stopped making anything interesting, if you no longer neue Bedeutung. Die Verbindung mit Stein innerhalb des Glases ist wie work with glass, if your work is of little public consequence, or if glass is eine erfolgreiche Ehe der Materialien, die an Thomas Scoons Arbeit vor of little consequence to you in general, then you have a good reason einigen Jahren erinnert. Leperlier hat das Glas zum Punkt der Transpa- not to participate in the competition. But if you are reading this publica­ renz gebracht. Die polierte Oberflache eines expressionistischen Inne- tion, I suspect that these conditions do not apply to you. If this is the ren (Blasen, Spuren von Entglasung und andere Erschutterungen) ver- case, you should enter the competition so that The Corning Museum of leihen diesem Teil der Installation eine Dramatik. Das hervorragende Glass can keep a record of your work. Geschick, das sich selbst in den kleinsten Einheiten der Arbeit zeigt, As artists, critics, curators, historians, gallery directors, and col­ tragt zu ihrem Gesamteindruck bei. Yuko Matsumotos Present ist eine lectors, we are indebted to the Museum for the practical, academic, and enigmatische Erscheinung mit einer traumartigen Durchsichtigkeit/Un- intellectual support it offers. It is doing an extraordinary job through its durchsichtigkeit, die vage ein Bett nahelegt, aber ein erhohtes. preeminent glass collection, the Rakow Library (with its excellent slide Es war ein Privileg, diese Arbeiten zu sichten, die einen bestandigen holdings), The Studio, New Glass Review, and many other services. To Fluss neuer Bilder, eines asthetischen Ausdrucks und aufkommender the Museum and its staff, the artists who submitted to the competition, Technologie widerspiegeln. Als Padagoge werde ich durch die groBe and my fellow jurors, thank you for your ardent support. Anzahl talentierter junger Kunstler ermutigt, die zwangslaufig die Anfuh- rer des neuen Jahrhunderts werden. Sie mogen nicht dieselben Profile Michael Taylor (MT) wie die gegenwartigen Anfuhrer haben, aber sie sind genauso leiden- Professor schaftlich und werden einfach angetrieben, ihre eigenen auGergewohn- Rochester Institute of Technology lichen Ziele zum Ausdruck zu bringen. Rochester, New York Unterstutzt den Wettbewerb. Wahrend ich von der Anzahl und der Qualitat der Eingange beein- druckt war, stellte ich auch enttauscht fest, dass viele Glaskunstler, die ich kenne, es vorgezogen haben, ihre Arbeit nicht einzureichen. Die meisten von uns haben nicht die Fahigkeit, ihre Arbeit kontinuierlich zu veroffentlichen; indem wir unsere besten Arbeiten zu diesem Wettbe­ werb einreichen, konnen wir versichert sein, dass eine bedeutende In­ stitution jedes Jahr diese Arbeit dokumentiert. Allein aus diesem Grund macht es Sinn, jedes Jahr teilzunehmen. Falls meinem Studio ein Unfall widerfahren sollte, konnte ein GroBteil der Dokumentation meines Lebenswerks zerstort werden. Die New Glass Review sorgt fur das Erbe eines Glaskunstlers. Die Dokumentation fangt klein an, aber inner- halb einiger Jahre wird sie zu einer Retrospektive. Warum sollten wir aus dieser Dienstleistung keinen Vorteil Ziehen, besonders, wenn wir die Arbeiten auswahlen, die eingereicht werden? Falls Sie aufgehort haben sollten, irgendetwas Interessantes zu machen, falls Sie nicht mehr mit Glas arbeiten, falls Ihre Arbeit nur wenig Bedeutung fur die Offentlichkeit hat oder falls Glas fur Sie wenig Bedeutung im Allgemeinen hat, dann haben Sie einen guten Grund, sich an dem Wettbewerb nicht zu beteiligen. Aber falls Sie diese Verof- fentlichung lesen, vermute ich, dass das auf Sie nicht zutrifft. In diesem Fall sollten Sie am Wettbewerb teilnehmen, damit das Corning Museum of Glass Ihre Arbeit dokumentieren kann. Als Kunstler, Kritiker, Kuratoren, Historiker, Kunsthandler und Samm- ler stehen wir in der Schuld des Museums wegen der praktischen, aka- demischen und intellektuellen Unterstutzung, die es bietet. Es leistet eine auBergewohnliche Arbeit durch seine uberragende Glassammlung, die Rakow Library (mit ihrem exzellenten Dia-Bestand), dem Studio, der New Glass Review und vielen anderen Dienstleistungen. An das Mu­ seum und sein Personal, an die Kunstler, die am Wettbewerb teilge- nommen haben, und an die weiteren Juroren richte ich wegen der begeisterten Unterstutzung mein Dankeschon.

Michael Taylor (MT) Professor Rochester Institute of Technology Rochester, New York

Note Schlussbemerkung

n 1999, more than 6,000 copies of the New Glass Review 21 prospec­ 1999 sind mehr als 6000 Einladungen fur die New Glass Review 21 tus were mailed. Each entrant could submit a maximum of three slides. versandt worden. Jeder Teilnehmer konnte bis zu drei Dias einreichen. A total of 884 individuals and companies representing 42 countries sub­ Insgesamt schickten 884 Einzelpersonen und Firmen aus 42 Landern mitted 2,359 slides. The 100 objects illustrated in this Review were se­ 2359 Dias. Die 100 Arbeiten, die in dieser Review abgebildet 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 Library of The Corning Museum of Glass, where they may be viewed by Rakow-Bibliothek des Corning Museums of Glass gesammelt, wo sie the public. Copies of slides published in any of the past Reviews may der Offentlichkeit zur Ansicht zuganglich sind. Kopien von Dias, die in be purchased by special order from the Museum's Sales Department. den vergangenen Reviews erschienen sind, konnen durch Sonder- Copies of New Glass Review 3 (1982), 77(1996), 19 (1998), and 20 bestellung bei der Verkaufsabteilung des Museums erworben werden. (1999) are still available from the Sales Department, which can also Ausgaben der New Glass Re view 3 (1982), 77(1996), 79(1998) und supply all back issues of the Review in black-and-white microfiche. 20 (1999) sind noch lieferbar. Alle alten Ausgaben der Review konnen The Corning Museum of Glass would like to thank all of the artists auch auf SchwarzweiB-Mikrofiche geliefert werden. and designers who submitted their slides to New Glass Review tor 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: Mary Chervenak, Brandy Harold, Charlene Holland, Kevin Besonderer Dank gilt jenen, die diese Ausgabe ermoglicht haben. Mary Kurdylo, Richard Price, Amber Pruden, Joan Romano, Jacolyn Saun­ Chervenak, Brandy Harold, Charlene Holland, Kevin Kurdylo, Richard ders, and Violet Wilson. Price, Amber Pruden, Joan Romano, Jacolyn Saunders und Violet Wilson. Jurors for the New Glass Review Competitions*

Representatives of The Corning Museum of Glass who have served 1989: Richard Marquis, artist, Freeland, Washington; Timo Sarpa- as jurors for the New Glass Review competitions are Thomas S. Buech- neva, artist, littala Glassworks, Nuutajarvi, Finland. ner (1980-2000), William Warmus (1980-1984) and Susanne K. Frantz (1986-1998). Visiting jurors are: 1990: Ginny Ruffner, artist, Seattle, Washington; Michael W. Monroe, curator in charge, Renwick Gallery of the National Museum of American Art, Smithsonian Institution, Washington, D.C.

1991: Bruce Chao, artist, head of the Glass Department, Rhode Island School of Design, Providence, Rhode Island; Janet Kardon, director, 1977: Paul Smith, director, Museum of Contemporary Crafts of the American Craft Museum, New York, New York. American Crafts Council, New York, New York. 1992: Douglas Heller, director, Heller Gallery, New York, New York; 1978: Paul Smith, director, Museum of Contemporary Crafts of the Elmerina and Paul Parkman, collectors, craft historians, Kensington, American Crafts Council, New York, New York. Maryland.

1979: James Carpenter, artist, New York, New York; Paul Smith, 1993: Erwin and Gretel Eisch, artists, Frauenau, Germany; Paul J. director, Museum of Contemporary Crafts of the American Crafts Coun­ Smith, director emeritus, American Craft Museum, New York, New York. cil, New York, New York. 1994: Judith Schaechter, artist, Philadelphia, Pennsylvania; Yoriko 1980: Dan Dailey, artist, head of the Glass Department, Massachusetts Mizuta, associate curator, Hokkaido Museum of Modern Art, Sapporo, College of Art, Boston, Massachusetts; J. Stewart Johnson, curator, Japan. Department of Architecture and Design, The Museum of Modern Art, New York, New York. 1995: Donald Kuspit, critic, professor of art history and philosophy, State University of New York, Stony Brook, New York. 1981: Andrew Magdanz, artist, assistant professor, Rochester Institute of Technology, Rochester, New York; William S. Lieberman, chairman, 1996: Arthur C. Danto, art critic and Johnsonian Professor Emeritus of Department of Twentieth-Century Art, The Metropolitan Museum of Art, Philosophy at Columbia University, New York, New York; Toots Zynsky, New York, New York. artist, Amsterdam, the Netherlands. 1982: Dale Chihuly, artist in residence, Rhode Island School of Design, 1997: Kiki Smith, artist, New York, New York; Geoffrey Edwards, cu­ Providence, Rhode Island; Henry Geldzahler, curator, commissioner of rator of international sculpture and glass, National Gallery of Victoria, cultural affairs of the city of New York, New York. Melbourne, Australia. 1983: Robert Kehlmann, artist, critic, and editor of The Glass Art Society Journal, Berkeley, California; Clement Greenberg, critic, New 1998: Lino Tagliapietra, artist and glassblower, Murano, Italy; David McFadden, chief curator, American Craft Museum, New York, New York, New York. York. 1984: Susan Stinsmuehlen, artist, Austin, Texas; Ronald D. Abram- son, collector, Washington, D.C. 1999: Lois Moran, editor and publisher, American Craft, New York, New York; Dana Zamecmkova, artist, Prague, Czech Republic. 1985: Thomas Patti, artist, Plainfield, Massachusetts; David Revere McFadden, curator, Cooper-Hewitt Museum, New York, New York; 2000: Mary Douglas, curator, Mint Museum of Craft + Design, Char­ Helmut Ricke, curator, Kunstmuseum Dusseldorf, Germany. lotte, North Carolina; Derek Ostergard, associate director and founding dean, The Bard Graduate Center for Studies in the Decorative Arts, 1986: Bertil Vallien, artist, Kosta Boda Glassworks, Afors, Sweden; New York, New York; Michael E. Taylor, professor, College of Imaging Abram Lerner, founding director, Hirshhorn Museum and Sculpture Arts and Sciences, Rochester Institute of Technology, Rochester, New Garden, Smithsonian Institution, Washington, D.C. York. 1987: Stanislav Libensky, artist, former professor, Academy of Applied Arts, Prague, Czechoslovakia; Lloyd E. Herman, independent curator, founding director of the Renwick Gallery of the National Museum of * Jurors are listed according to the years in which the competitions were held and American Art, Smithsonian Institution, Washington, D.C. the results of those competitions were published. In each case, the glass selected by the jurors was made one year earlier. 1988: Wayne Higby, artist, professor of ceramics, Alfred University, * Die Juroren sind nach den Jahren aufgefuhrt, in denen der Wettbewerb statt- Alfred, New York; Jean-Luc Olivie, curator, Centre du Verre, Musee fand und die Ergebnisse veroffentlicht wurden. In jedem Fall wurde das von den des Arts Decoratifs, Paris, France. Juroren ausgewahlte Glas im Laufe des vorherigen Jahres gefertigt. Correction

Due to a printer's error, the photographs that accompanied three of the Aufgrund eines Versehens beim Druck sind drei Fotos aus dem Bereich entries in the "Artists and Objects" section of New Glass Review 20 „Kunstler und Objekte" der New Glass Review 20 falsch veroffentlicht (1999) were published incorrectly. These three entries are reprinted be­ worden. Diese drei Einreichungen werden unten noch einmal vollstan- low in their entirety, with the photographs in the proper position. dig abgebildet, wobei die Objekte dieses Mai korrekt ausgerichtet sind.

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1

Aseem Pereira Bondi Beach, Australia Untitled Cut, drilled, and woven discarded bottles Geschnittene, gebohrte und verwebte Altglasflaschen H. 180 cm, W. 78 cm TSB, LM

2. Rikie Shojiguchi 253-1 Shinsono-machi Toyama, Toyama-ken 930-0993, Japan Sake Blown and cast glass Geblasenes und gegossenes Glas H. 12 cm, W. 200 cm, D. 350 cm TSB, LM, DZ

Jack Wax Elliott Brown Gallery 619 North 35th Street, #101 Seattle, Washington 96103 Tane Blown, cut, and fabricated glass Geblasenes, geschliffenes und weiterbearbeitetes Glas H. 48 cm, W. 43 cm, D. 28 cm TSB, LM, DZ Countries Represented/Vertretene Lander

Australia Italy United States Baldwin, Andrew Castagna, Pino Bernstein, William Baskett, Jonathan Di Fiore, Miriam Bocchino, A. J. Borella, Claudia Nordio, Massimo Bothwell, Christina Brekke, John P. Zilio, Andrea Caffery, Mary Ann Chaseling, Scott Chism, Alison Daw, Cassandra Japan Clarke, Brian Edols, Benjamin and Kathy Elliott (27) Akino, Yoko Clayman, Daniel Eliott, Mark Hosomi, Tatsuya Collentine, Pat Heaney, Colin Ichikawa, Atsushi Corr, Brian Horn, Timothy Inoue, Tsuyoshi Cutrone, Daniel King, Gerry Kaneko, Hiroko Dailey, Dan Loughlin, Jessica Matsumoto, Yuko Day, Stephen P. and Sibylle Peretti (25) Pereira, Aseem Nakatani, Aya Ferman, Bernice E. Procter, Stephen Oguchi, Yumi Holliday, Chad Whiteley, Richard Rogers, Michael Horrell, Deborah Shojiguchi, Rikie Jones, Lucas B. Canada Tago, Miki Kelting, Jennifer L. Haldane, Christine Tashima, Etsuko Mar, Stanley Lockau, Kevin Tsukada, Midori McKay, Hugh Lyons, Tanya Yamaoka, Kensuke Meilahn, Michael Yukutake, Harumi Meyer, Charlotte Czech Republic Miner, Charles V. Bachorik, Vladimir New Zealand Navarra, Doug Marek, Josef Bremner, Hannah Pohlman, Jenny and Sabrina Knowles (66) Soukup, Jin Sharek, Liz Rogers, Jean and Kevin Rogers (68) Vlcek, Petr Tidmarsh, Megan Rogers, Sally Rosol, Martin France Poland Schaechter, Judith A. Leperlier, Antoine Urbanowicz, Beata and Tomasz Urbanowicz Schneider, Rick and Nikki Vahle (73) Perozeni, Michele (88) Shelby, Nancy Smith, Serena JoAnne Germany Sweden Stinsmuehlen-Amend, Susan Gass, Nabo Huth, Ursula Bartron, Paula Taylor, Christopher Isphording, Anja Tedesco, Chris Vogt, Wiebke Switzerland Wolf, Martha Wolff, Hans Jurgen Crevoisier, Hubert Yamasawa, Wilfred Tintori, Katy Brunner Yeaton, Miguel Gonzalez

Great Britain Yong, Kim Joon Akroyd, Stuart Hitomi, Chiho Holloway, Deborah Jane Jackson, Richard Mark McJannet, Sharon Solven, Pauline Wood, Chris 1. Yoko Akino Tower Artists and Objects* Aone 966-1, Tsukuimachi Kiln-cast glass Tsukuigun, Kanagawa 220- Ofengegossenes Glas 0412, Japan H. 38 cm, W. 37.5 cm, D. 23 cm MT Glass Clothes Kunstler und Objekte* Kiln-cast glass; hemp cords 4. Andrew Baldwin Ofengegossenes Glas; * Descriptive information has been provided by the entrants. The Glass Workshop Hanfschnur Canberra School of Art * Die Objektbeschreibungen sind von den Teilnehmerinnen und H. 100 cm, W. 35 cm, D. 35 cm Teilnehmern geliefert worden. Childers Street, GPO 804 TSB ACT 2601 Canberra, Australia 2. Stuart Akroyd Dark Pod 3 52 Back Frederick Street Blown and cold-worked glass Sunderland, Tyne & Wear SR1 Geblasenes und kalt bearbei- 1NF, England tetes Glas H. 12 cm, W. 23 cm, D. 8 cm Extruded Bowl Form TSB, DO Blown, carved, and ground glass 5. Paula Bartron Geblasenes, gemeiBeltes und Box 24115 geschliffenes Glas 10451 Stockholm, Sweden H. 12 cm, W. 50 cm, D. 6 cm TSB Grey Soft Cylinder Glass blown in a sand mold 3. Vladimir Bachorik In eine Sandform geblasenes Prague, Czech Republic Glas H. 23 cm, Diam. 21.5 cm TSB

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4 16 6. Jonathan Baskett Untitled #1 P.O. Box 378, Leichhardt Blown glass; steel wool NSW 2040 Sydney, Australia Geblasenes Glas; Stahlwolle H. 70 cm, W. 80 cm, D. 26 cm Utility Cups DO Blown and enameled glass; decals 9. Claudia Borella Geblasenes und emailliertes 7 Beltana Road, Pialligo Glas; Abziehbilder Canberra ACT 2609, Australia Diam. 8 cm TSB Bullseye - Every Bullseye Is a Fragile Target 7. William Bernstein Fused, wheel-cut, and kiln- 469 Hannah Branch Road formed glass Burnsville, Verschmolzenes, radgraviertes North Carolina 28714 und ofengeformtes Glas Diam. 49 cm Novagersie Study TSB, MD, MT Blown and hot-tooled glass; cane drawing 10. Christina Bothwell Geblasenes und heif3 bearbei- R.R. 1, Box 147-B tetes Glas; Zeichnung Stillwater, Pennsylvania 17878 H. 24 cm, W. 15 cm, D. 15 cm TSB, MD, MT Butterfly Baby Cast glass; clay, sewn and 8. A. J. Bocchino stuffed material 236 Krams Avenue, #2B Gegossenes Glas; Ton, ge- Philadelphia, Pennsylvania nahte und gestopfte Materia- 19127 lien H. 35 cm, W. 25 cm, D. 25 cm TSB 11. John P. Brekke Glas, Spiegel, Stabe, Mur- Canberra, Australia meln, Prismen; montiert H. 71 cm, W. 69 cm, D. 20.3 cm Wirraway - Nowra MT Blown glass Geblasenes Glas 14. Pino Castagna H. 48 cm, W. 48 cm, D. 5 cm Fondamenta Vetrai, 109/A MD, MT 30141 Murano/Venice, Italy 12. Hannah Bremner Canneto 264 Wickstead Street, Flat 3 Blown and ground glass Wanganni, New Zealand Geblasenes und geschliffenes Glas Sensuous Lips ("Fetish Mask H. 580 cm, W. 300 cm, and Gag" Series) D. 130 cm Pate de verre\ cast and enam­ MT eled glass; mixed media Pate de verre\ gegossenes 15. Scott Chaseling und emailliertes Glas; mixed Canberra, Australia Media H. 2 cm, W. 5 cm (Ar)resting DO Blown and fused Bullseye glass; "roll-up" technique 13. Mary Ann Caffery Geblasenes und verschmolze- 1314 Westmoreland Drive nes Bullseye Glas; „Roll"- Baton Rouge, Louisiana 70806 Technik H. 26 cm, W. 16 cm, D. 16 cm Windmills of My Mind II (detail) MT Glass, mirror, rods, marbles, prisms; assembled

14 15 16. Alison Chism Glas, Bronze, Holz; montiert 1122 East Pike Street, #1315 H. 153 cm, W. 127.5 cm, Seattle, Washington 98122 D. 5 cm TSB, MD Of Good and Evil Blown and sculpted glass 19. Pat Collentine Geblasenes und geformtes 454 East 10th Avenue Glas Chico, California 95926 H. 54 cm, W. 21 cm, D. 18 cm TSB Mona Ethereal Vessel Blown glass tubing, neon 17. Brian Clarke Geblasene Glasrohren, Neon Tony Shafrazi Gallery H. 120 cm, W. 50 cm, D. 50 cm 119 Wooster Street MD, MT New York, New York 10012 20. Brian Corr The Stamford Cone 3810 South Harlan Stained glass; steel cable Denver, Colorado 80235 Glasmalerei; Stahlkabel H. 14 m Sometimes, When I Close My TSB, MD, MT Eyes, I Can See Inside Hot-worked glass; photog­ 18. Daniel Clayman raphy •M 9 Newman Avenue HeiB bearbeitetes Glas; Rumford, Rhode Island 02916 Fotografie H. 50 cm, W. 120 cm, D. 40 cm Sluice TSB Glass, bronze, wood; assem­ bled mm mm

mmam

19 20 21. Hubert Crevoisier Pate de verre, Glasscheiben, 11 rue de la Republique Bronze, Aluminium 2300 La Chauz-de-Fonds, H. 91.4 cm, W. 106.7 cm, Switzerland D. 50.8 cm TSB, MT Untitled Blown glass, glass chips; 24. Cassandra Daw assembled North Sydney, Australia Geblasenes Glas, Glas- stuckchen; montiert Tea Party "Purple" H. 48 cm, W. 8 cm, D. 8 cm Pate de verre, Teacup and DO saucer Pate de verre, Teetasse und 22. Daniel Cutrone Untertasse 819 North Taney Street, Apt. B H. 9 cm, W. 15 cm, D. 15 cm Philadelphia, TSB Pennsylvania 19130 25. Stephen P. Day and Oracle Sibylle Peretti Blown glass; silicone, rubber 611 Port Street Geblasenes Glas; Silikon, New Orleans, Louisiana 70117 Gummi H. 6 cm, W. 20 cm, D. 7.5 cm Lillian MT Graal, mold-blown glass; silver, string 23. Dan Dailey Graal, formgeblasenes Glas; 2 North Road Silber, Band Kensington, H. 26 cm, W. 18 cm, D. 18 cm New Hampshire 03833 TSB, MD Dancers in Light Pate de verre, plate glass, bronze, aluminum

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23 26. Miriam Di Fiore Lampengearbeitetes und Via Marco D'Oggiono 7 sandgestrahltes Borosilikatglas 20123 Milan, Italy H. 35 cm, W. 25 cm, D. 25 cm MD Winter Vase Blown, engraved, and micro- 29. Bernice E. Ferman mosaic fused glass New York, New York Geblasenes, graviertes und verschmolzenes Mikromosaik- The Reprobates - Pointing the glas Finger H. 40 cm, W. 15 cm Sandblasted and painted glass TSB Sandgestrahltes und bemaltes Glas 27. Benjamin Edols and H. 37 cm, W. 13 cm, D. 13 cm Kathy Elliott TSB 2/21 Kangaroo Street NSW 2095 Manly, Australia 30. Nabo Gass PhilippsbergstraBe 51 Inferno D-65195 Wiesbaden, Blown and wheel-cut glass Germany Geblasenes und radgraviertes Glas Blossom Roof, "Via Publica" H. 75 cm, W. 13 cm, D. 13 cm Sandblasted glass; steel MT Sandgestrahltes Glas; Stahl H. 100 cm, W. 20 m, D. 550 cm 28. Mark Eliott MT North Bondi, Australia Found Object from the Sea­ shores of the Brain Flameworked and sandblasted borosilicate glass

29 30 31. Christine Haldane Glasscherben; poliert, sandge- Toronto, Canada strahlt, montiert H. 0.8 cm, W. 20 cm, D. 20 cm Regeneration TSB Kiln-formed and sand-cast glass; steel 34. Chad Holliday Ofengeformtes und sandge- Rochester, New York gossenes Glas; Stahl H. 30 cm, W. 180 cm, D. 5 cm Positive Frustration DO, MT Blown glass; mixed media, steel 32. Colin Heaney Geblasenes Glas; mixed Byron Bay, Australia Media, Stahl H. 35.5 cm, W. 22.8 cm, Holy Rock D. 22.8 cm Blown glass TSB, MT Geblasenes Glas H. 36 cm, W. 43 cm, D. 23 cm 35. Deborah Jane Holloway MD 6/16 Tytler Gardens 33. Chiho Hitomi Edinburgh EH8 8HS, Scotland 78 Castelnau, Barnes Transition London SW13 9EX, England Kiln-cast glass Ofengegossenes Glas Untitled (detail) DO Glass shards; polished, sand­ blasted, assembled

31

.MM 36. Timothy Horn 39. Ursula Huth Canberra, Australia Marktplatz 5 a Bearded Clam D-71093 Weil im Schonbuch, Kiln-formed glass; nickel- Germany plated bronze Seasons, Furukawa Gashi Ofengeformtes Glas; mit Hospital, Tokyo, Entrance Hall Nickel uberzogene Bronze Stained glass H. 75 cm, W. 55 cm, D. 10 cm Glasmalerei TSB, MD H. 220 cm, W. 420 cm TSB, MT 37. Deborah Horrell Portland, Oregon 97202 40. Atsushi Ichikawa Cup and Saucer with Black Nagahama, Japan Dots Hard Love Pate de verre Cast glass; copper wire; paint H. 9.5 cm, W. 22.9 cm, Gegossenes Glas; Kupfer- D. 13.3 cm draht; Farbe TSB, MD H. 51 cm, W. 30 cm, D. 15 cm TSB 38. Tatsuya Hosomi Kawasaki-shi, Japan Noise B Blown glass; glue Geblasenes Glas; Klebstoff H. 50 cm, W. 20 cm, D. 20 cm TSB, MT 41. Tsuyoshi Inoue Hiatus Removed #2 4-12-16 Shinkiba Kiln-formed and cold-worked Koto-ku, Tokyo 136-0082, glass Japan Ofengeformtes und kalt bear- beitetes Glas 0<1<0 H. 25 cm, W. 75 cm, D. 40 cm Cast and cut glass; assembled MT Gegossenes und geschliffenes Glas; montiert 44. Lucas B. Jones H. 52 cm, W. 35 cm, D. 28 cm 15 Alfred Street DO, MT Rochester, New York 14623 42. Anja Isphording 2 on 1 Triangle Am Weiher 19 Blown glass; chemical surface D-34431 Marsberg, Germany treatment Geblasenes Glas; chemisch Vessel #20 behandelte Oberflache Kiln-cast glass; lost wax tech­ H. 30 cm, W. 18 cm, D. 8 cm nique, cut, polished, wheel- MT engraved Ofengegossenes Glas; 45. Hiroko Kaneko Wachsausschmelzverfahren, 1839-2 Nase Totsuka geschliffen, poliert, radgraviert Yokohama, Kanagawa 245- H. 24 cm, W. 17 cm, D. 17 cm 0051, Japan TSB, DO Germination 43. Richard Mark Jackson Kiln-cast glass 31 Weybourne Road Ofengegossenes Glas Weybourne, Farnham H. 22 cm, W. 25 cm, D. 28 cm Surrey GU9 9ET, England TSB, DO 46. Jennifer L. Kelting Installation in Archeologic P.O. Box 137 Crypt (detail) Tyaskin, Maryland 21865-0137 Pate de verre H. 75 cm, W. 8 cm, D. 19 cm Heaven and Earth MT Glass, lizard, porcelain, putty; assembled 49. Kevin Lockau Glas, Eidechsenleder, Porzel- Ontario, Canada lan, Kitt; montiert H. 20 cm, W. 12 cm, D. 12 cm Territory MD Sand-cast glass; tar, fur Sandgegossenes Glas; Teer, 47. Gerry King Fell 122 Sheoak Road Each: H. 60 cm, W. 90 cm, Craters, South Australia 5152, D. 20 cm Australia TSB, DO, MT Fragment Vase No. 7 50. Jessica Loughlin Kiln-formed and cold-worked Adelaide, Australia glass Ofen geformtes und kalt bear- In Space 2 beitetes Glas Kiln-formed and wheel-cut H. 78 cm, W. 20 cm, D. 25 cm glass MT Ofengeformtes und radgravier- tes Glas 48. Antoine Leperlier H. 6 cm, W. 85 cm, D. 15 cm 5 rue Willy Brandt TSB, MD, MT 27190 Conches, France 51. Tanya Lyons Flachglas; bemalt, saure- 1609 Queen Street West, #332 geatzt; Holzkiste Toronto, Ontario M6R 1A9, H. 90 cm, W. 220 cm, D. 70 cm Canada MD, MT Gathering Bowl 54. Yuko Matsumoto Blown glass; moss 8 Kunoso, 1-3 Maruoka Geblasenes Glas; Moos Igaya-cho H. 11.5 cm, W. 26.5 cm, Kariya-shi, Aichi 448-0001, D. 26.5 cm Japan TSB, MD Present 52. Stanley Mar Mold-blown and cut glass; Sacramento, California metal Formgeblasenes und geschlif- Jennifer (detail) fenes Glas; Metall Hot- and cold-worked glass H. 180 cm, W. 130 cm, HeiB und kalt bearbeitetes Glas D. 280 cm H. 63.5 cm, W. 101.6 cm, MT D. 182.9 cm MT 55. Sharon McJannet 53. Josef Marek Dundonald, Scotland Dolni Podluzi 213 Shrimp 407 55 Dolni Podluzi, Pate de verre Czech Republic H. 12 cm, W. 12 cm, D. 10 cm MD Ellipse Flat glass; painted, acid- etched; wooden box

54 26 56. Hugh McKay Ofengegossenes Glas; Nesika Bronze and Glass Bronzeguss, Eisenflugel, P.O. Box 93 Kristall, Bronze, Eisen Ophir, Oregon 97464 H. 47 cm, W. 30 cm, D. 20 cm DO Avra with Inlays (detail) Lost wax casting 59. Charles V. Miner Wachsausschmelzverfahren P.O. Box 146 H. 20 cm, W. 30 cm, D. 30 cm 1510 Bishops Lodge Road MT Tesuque, New Mexico 87574 57. Michael Meilahn Mica Fish N 9268 County Road M Lost wax casting Pickett, Wisconsin 54964 Wachsausschmelzverfahren H. 41.9 cm, W. 85.1 cm, I Thought I Saw GMO D. 85.1 cm ("Corn Crib" Series) TSB, MD, DO, MT Blown glass; painted wood Geblasenes Glas; bemaltes 60. Aya Nakatani Holz Toyama, Japan H. 152.4 cm, W. 33.0 cm, D. 20.3 cm Greenman MT Blown glass; copper, glue Geblasenes Glas; Kupfer, 58. Charlotte Meyer Klebstoff 8009 26th Avenue Northwest H. 63 cm, W. 24 cm, D. 39 cm Seattle, Washington 98117 DO Emergence Kiln-cast glass; bronze fabrication, iron wings, crystal, bronze, iron

59 60 61. Doug Navarra Red Bean Brooklyn, New York Pate de verre H. 10 cm, W. 20 cm, D. 9.5 cm Palazzo TSB, MD Carrara and plate glass; wood, metal 64. Aseem Pereira Marmor und Glasscheiben; P.O. Box 178 Holz, Metall Bondi Junction H. 101.6 cm, W. 68.5 cm, NSW 2022 Sydney, Australia D. 55.8 cm MT Hang Over Cut, drilled, and woven glass 62. Massimo Nordio Geschliffenes, gedrehtes und Venice, Italy gewebtes Glas H. 180 cm, W. 90 cm Luxor MD Blown glass; murrine composi­ tion 65. Michele Perozeni Geblasenes Glas; Murrine- Strasbourg, France Komposition H. 35 cm, W. 18 cm, D. 12 cm Je cherche le centre-Solitude MT illimitee Pate de verre 63. Yumi Oguchi H. 29 cm, W. 35 cm, D. 22 cm Utatsu-machi WO 16-1 MD Kanazawa-shi, Ishikawa 920- 0832, Japan 66. Jenny Pohlman and Funktional Sculpture Lidded Sabrina Knowles Vessel #057 1517 12th Avenue, #200 Blown, cut, hot-worked, and Seattle cold-worked glass; assembled Washington 98122-3932 Geblasenes, geschliffenes, heif3 und kalt bearbeitetes Water Bearer Glas; montiert Blown and sculpted glass; H. 46 cm, W. 27 cm, D. 27 cm charms, beads MT Geblasenes und geformtes Glas; Talisman, Perlen 69. Michael Rogers H. 61 cm, W. 28 cm, D. 28 cm 2-402-1 -Hirosawa TSB Igaya-cho, Kariya-shi 67. Stephen Procter Aichi 448-0001, Japan The Glass Workshop Viscera Votive Canberra School of Art Cast glass; steel Childers Street, GPO 804 Gegossenes Glas; Stahl ACT 2601 Canberra, Australia H. 120 cm, W. 80 cm, D. 14 cm MD "Light beyond the Darkness" Series 70. Sally Rogers Blown and cut glass P.O. Box 48, Penland, Geblasenes und geschliffenes North Carolina 28765-0048 Glas Largest/hochste: H. 26 cm, Ducere W. 28 cm, D. 28 cm Cast glass; fabricated steel; TSB sandstone Gegossenes Glas; bearbeite- 68. Jean Rogers and ter Stahl; Sandstein Kevin Rogers H. 102 cm, W. 97 cm, D. 52 cm Rogers Glass Works MT P.O. Box 314 Uniontown, Ohio 44685

v.

68 71. Martin Rosol The Glory Hole Dancers 229 Barnard Road Blown and enameled glass Shelburne, Geblasenes und emailliertes Massachusetts 01370 Glas H. 46 cm, W. 26 cm, D. 18 cm The Bound TSB Cut, polished, and laminated glass; gold leaf 74. Liz Sharek Geschliffenes, poliertes und 16 Copeland Street, laminiertes Glas; Blattgold Eden Terrace H. 30 cm, W. 47 cm, D. 30 cm Auckland, New Zealand MT Vessel (Grey) 72. Judith A. Schaechter Lost wax casting; lead crystal Snyderman Gallery Wachsausschmelzverfahren; 303 Cherry Street Bleikristall Philadelphia, H. 15 cm, W. 15 cm, D. 8 cm Pennsylvania 19106 DO Autobiography 75. Nancy Shelby Stained glass; sandblasted, Redway, California engraved, enameled; copper foil Critter #1 (detail) Glasmalerei; sandgestrahltes Mosaic glass; cement sculp­ Glas, emailliert, Kupferfolie ture H. 62 cm, W. 52 cm Mosaikglass; Zementskulptur TSB, MD, MT H. 50.8 cm, W. 17.8 cm, D. 106.7 cm 73. Rick Schneider and TSB, MT Nikki Vahie 422 South Baldwin Street Madison, Wisconsin 53703 76. Rikie Shojiguchi Largest/hochste: H. 41 cm, Toyama, Japan W. 21 cm, D. 6 cm TSB, MT Give Me a Glass of Water Blown, cut, and hot-worked 79. Jiff Soukup glass Kralouicka 925 Geblasenes, geschliffenes und 250 01 Brandys nad Labem, heif3 bearbeitetes Glas Czech Republic H. 10 cm, W. 10 cm, D. 7 cm TSB Glass Rods (detail) Glass, stainless steel, mirror; 77. Serena JoAnne Smith assembled 1708 Thomas Road Glass, Edelstahl, Spiegel; Medford, Oregon 97501 montiert H. 600 cm, Diam. 200 cm Fright MT Flameworked glass; paper Lampengearbeitetes Glas; 80. Susan Stinsmuehlen- Papier Amend H. 42 cm, W. 30 cm, D. 1 cm 291 Avenida Del Recreo TSB Ojai, California 93023 78. Pauline Solven Landscape Memorial 31 Culver Street Gold-lustered mosaic; oil paint, Newent, Gloucestershire GL18 cut glass (lustered and UV ad­ 1DB, England hered), wood; assembled Goldlustermosaik; Olfarbe, ge­ Transition I & VI schliffenes Glas (verlustert und Mold- blown glass; assembled UV geklebt), Holz; montiert Formgeblasenes Glas; mon- H. 60 cm, W. 80 cm, D. 20 cm tiert MD 76 Miki Tago It Has to Be (detail) 202-92 Ugusu Kamo-mura, Blown glass; rubber, grass Kamo-gun Geblasenes Glas; Gummi, Sizuoka 410-3501, Japan Gras H. 16 cm, W. 33 cm, D. 33 cm The Records of Sweet Memory DO Stained glass; sandblasted; mixed media 84. Chris Tedesco Glasmalerei; sandgestrahlt; 2537 Mission Street mixed Media Santa Cruz, California 95060 H. 100 cm, W. 120 cm, D. 3 cm TSB, MD, MT Amber Teardrop Cast and blown glass; assem­ 82. Etsuko Tashima bled 7-8-2, Sunji-yata Gegossenes und geblasenes Higashisumiyoshi-ku Glas; montiert Osaka 546-0022, Japan H. 76 cm, W. 53 cm, D. 24 cm MT Cornucopia 99-IX Kiln-formed glass; ceramic 85. Megan Tidmarsh Ofengeformtes Glas; Keramik Auckland, New Zealand H. 50 cm, W. 54 cm, D. 60 cm TSB, MT Rest Cast lead glass, pate de verre 83. Christopher Taylor Gegossenes Bleiglas, Pate de Providence, Rhode Island verre H. 30 cm, W. 12 cm, D. 35 cm DO 86. Katy Brunner Tintori 89. Petr Vlcek Le Cergneux Marikova 1/187 CH-1921 Martigny-Combe, 16200 Prague 6, Switzerland Czech Republic It's Snowing Flame Glass, silver wires Kiln-cast, cut, and polished Glas, Silberdraht glass; assembled H. 80 cm, W. 80 cm, D. 80 cm Ofengegossenes, geschliffe- MD nes und poliertes Glas; montiert 87. Midori Tsukada H. 40 cm, W. 30 cm, D. 30 cm Toyama, Japan MT Uzumaku Hateyori 90. Wiebke Vogt Blown and kiln-formed glass Geblasenes und ofengeform- DanckelmannstraBe 18 tes Glas D-14059 Berlin, Germany H. 65 cm, W. 46 cm, D. 4 cm Vessels of Silence XVM MD Blown and sandblasted glass; platinum, rubber ring 88. Beata Urbanowicz and Geblasenes und sandgestrahl- Tomasz Urbanowicz tes Glas; Platin, Gummiringe Ul. Kochanowskiego 7-9/10 H. 19 cm, Diam. 20 cm 51602 Wroclaw, Poland TSB, MT Archikula Cast glass; metal Gegossenes Glas; Metall Diam. 180 cm MT

— 89 90 91. Richard Whiteley 94. Chris Wood A1/57 Addison Road Cambridgeshire, England NSW Sydney, Manly, Australia Lines of Light (detail) Green Lens Plate glass; coated, assembled Cast glass Glasscheiben; beschichtet, Gegossenes Glas montiert H. 550 cm, W. 230 cm, D. 50 cm H. 80 cm, W. 120 cm, D. 5 cm DO TSB, DO 92. Martha Wolf 95. Kensuke Yamaoka 3245 Northeast 78th Avenue Kawasaki-shi, Japan Portland, Oregon 97213 Vessel of Hidden Meaning Born to Be Wild Blown glass Fused glass; assembled Geblasenes Glas Verschmolzenes Glas; montiert H. 35 cm, W. 58 cm, D. 34 cm H. 40.5 cm, W. 60.7 cm, TSB D. 10.1 cm TSB 93. Hans Jiirgen Wolff Broken Glass MaximilianstraBe 4 D-82379 Starnberg, Germany Im Menschenmuseum Glass, wood Glas, Holz H. 40 cm, W. 30 cm, D. 72 cm TSB

, 96. Wilfred Yamasawa H. 38 cm, W. 20 cm, D. 20 cm P.O. Box 311 TSB, MT Holualoa, Hawaii 96725 99. Harumi Yukutake The Sea before Me 6796 Kureha, #2-202 Blown and sandblasted glass; Toyama, Toyama 930-0138, gilded 24-karat gold leaf Japan Geblasenes und sandgestrahl- tes Glas; 24 karatiges Blattgold Untitled H. 34 cm, W. 28 cm, D. 28 cm Blown glass tubing; stainless TSB cable Geblasene Glasrohren; rost- 97. Miguel Gonzalez Yeaton freies Kabel 4303 Blanco, #401 H. 210 cm, W. 900 cm, San Antonio, Texas 78212 D. 400 cm TSB, MD, DO, MT Red Aura Glass, paint 100. Andrea Zilio Glas, Farbe Murano-Venice, Italy H. 102 cm, W. 76 cm TSB Caragoi (Sea shells) Blown and cut glass; sea 98. Kim Joon Yong shells; assembled Rochester, New York Geblasenes und geschliffenes Glas; Meeresmuscheln, Diatreta - 99 montiert Blown, cast, and hot-worked H. 23 cm, W. 24 cm, D. 20 cm glass TSB Geblasenes, gegossenes und heif3 bearbeitetes Glas

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99 100 1999 in Review

In my juror's statement last year, I wrote that we planned to add a In meiner Juroren-Erklarung vom letzten Jahr schrieb ich, dass wir new section to New Glass Review \ha\ would include the work of more geplant hatten, der New Glass Review eine neue Sektion hinzuzufugen, established artists. This idea was prompted by the fact that some of the die die Arbeit etablierterer Kunstler umfassen wurde. Diese Idee wurde most significant people working in the field no longer submit to New durch die Tatsache vorangetrieben, dass einige der bedeutendsten Glass Review, and by our intention for the Review to present as broad a Leute auf diesem Gebiet nicht mehr an der New Glass Review teilneh- "snapshot" of the glass world as possible. To this end, I urge all artists men, und durch unsere Absicht, dass die Review einen so breit wie working with glass to submit to New Glass Review every year. Both the moglich gehaltenen „Schnappschuss" auf die Glaswelt prasentieren Museum and artists will benefit from this arrangement, as Michael sollte. Zu diesem Zweck drange ich alle Kunstler, die mit Glas arbeiten, Taylor has suggested in his essay. The Museum will be able to build a dazu, an der New Glass Review jedes Jahr teilzunehmen. Sowohl das more complete visual record of artists' work, and artists will have a Museum als auch die Kunstler werden von diesem Arrangement Vor- permanent place to preserve images of that work. As art in glass teile Ziehen, wie Michael Taylor in seinem Essay dargelegt hat. Das evolves, the development of such an international archive becomes in­ Museum wird in der Lage sein, eine vollstandigere Bilddokumentation creasingly important. der Arbeit der Kunstler aufzubauen, und die Kunstler werden einen Apart from adding a new section, we will retain the general format of dauerhaften Ort haben, an dem Bilder dieser Arbeit bewahrt werden. New Glass Review as we have all known it for 24 years. Presently, we Mit dem Fortschreiten der Kunst in Glas wird die Entwicklung eines are seeking a better definition of what the new "Year in Review" section solchen internationalen Archives immer wichtiger. might be, and how it might be organized. We have long felt the need to Abgesehen von dem Hinzufiigen einer neuen Sektion, werden wir have the Review cover more of what is happening in glass each year. In das allgemeine Format der New Glass Review, so wie man es seit previous years, Coming's former curator of 20th-century glass, Susanne 24 Jahren kennt, beibehalten. Gegenwartig suchen wir nach einer bes- K. Frantz, attempted to broaden the scope of this publication by writing seren Definition dessen, was die neue „Year in Review" Sektion eventu- several insightful essays titled "Some of the Best in Recent Glass." We ell sein und wie sie eventuell organisiert werden konnte. Wir haben seit invite our readers to send us comments on the concept and organiza­ langem das Bedurfnis gespurt, dass die Review mehr von dem behan- tion of the new "Year in Review" section, as well as other aspects of delt, was jedes Jahr gerade im Glas passiert. In vorangegangenen New Glass Review, by e-mailing Tina Oldknow at [email protected]. Jahren versuchte Comings ehemalige Kuratorin fur das Glas des For this inaugural appearance of the "Year in Review," we asked 20. Jahrhunderts, Susanne K. Frantz, die Reichweite dieser Publikation three individuals to offer suggestions on the best in recent glass. The auszudehnen, indem sie verschiedene einsichtsvolle Essays mit dem Seattle artist Dale Chihuly selected a group of architects whose work Titel „Some of the Best in Recent Glass" geschrieben hat. Wir laden using glass impressed him. Geoffrey Edwards, director of the Geelong unsere Leser dazu ein, uns Kommentare zum Konzept und zur Organi­ Art Gallery in Victoria, Australia, focused on glass artists who have been sation der neuen „Year in Review" Sektion sowie zu anderen Aspekten influential over time. Coming's new curator of modern glass, Tina Old- der New Glass Review zu schicken, indem sie eine E-Mail an Tina know, chose work that she believes to have made a noteworthy contri­ Oldknow schicken unter: [email protected]. bution to the glass world in 1999. Fur diesen Eroffnungsauftritt der „Year in Review" baten wir drei Personlichkeiten, Vorschlage zu herausragenden Arbeiten im jungeren Thomas S. Buechner Glas zu unterbreiten. Der Kunstler aus Seattle, Dale Chihuly, wahlte eine Gruppe von Architekten, deren Arbeit mit Glas ihn beeindruckte. Geoffrey Edwards, Direktor der Geelong Gallery in Victoria, Australien, konzentrierte sich auf Glaskunstler, die uber die Zeit hinweg einfluss- reich geblieben sind. Comings neue Kuratorin fur modernes Glas, Tina Oldknow, entschied sich fur Arbeiten, von der sie glaubt, dass sie einen bemerkenswerten Beitrag zur Glaswelt im Jahr 1999 geleistet haben.

Thomas S. Buechner

The Selections/Die ausgewahlten Arbeiten

Dale Chihuly (DC) Stephen Procter, Australia Santiago Calatrava, Spain Ann Robinson, New Zealand James Carpenter Design Associates, United States Ginny Ruffner, United States Frank O. Gehry & Associates, United States Paul J. Stankard, United States Peter Zumthor Architekturbiiro, Switzerland (not illustrated) Yoshihiko Takahashi, Japan

Geoffrey Edwards (GE) Tina Oldknow (TO) Dale Chihuly, United States Dale Chihuly, United States Alessandro Diaz de Santillana, Italy Dan Dailey, United States Bert Frijns, The Netherlands Flora C. Mace and Joey Kirkpatrick, United States Kyohei Fujita, Japan Richard Marquis, United States Brian Hirst, Australia Josiah McElheny, United States Robert Knottenbelt, Australia Marsha Pels, United States Stanislav Libensky and Jaroslava Brychtova, Czech Republic Susan Plum, United States Richard Marquis, United States Ann Robinson, New Zealand Paolo Martinuzzi, Italy Ginny Ruffner, United States Richard Craig Meitner, The Netherlands Laura de Santillana, Italy Klaus Moje, Australia Joyce Scott, United States Tom Patti, United States Waterford Crystal Ltd., Ireland Santiago Calatrava, Spain Campo Volantin Footbridge, Bilbao, Spain, 1990-1997 Steel inclined parabolic arch; glass decking Geneigter stahlerner Parabolbogen; Glasbedachung Photo: GreatBuildings.com Photo © Artifice Inc., Eugene, Oregon DC

James Carpenter Design Associates, United States Glass Scrim Wall, Scottsdale Museum, Phoenix, Arizona, 1999 Rebecca Uss and Aki Ashida, project architects; William P. Bruder, museum architect Photo: James Carpenter, courtesy of James Carpenter Design Associ­ ates, New York, New York DC

Dale Chihuly, United States Chihuly in the Light of Jerusalem 2000, Tower of David Museum, Jerusalem, Israel, 1999 Outdoor installations: blown glass; metal armature AufBeninstallationen: geblasenes Glas; Metallverankerung Photo: Teresa Rishel, courtesy of Chihuly Studio, Seattle, Washington GE, TO

Dan Dailey, United States Birds in Flight Chandelier, 1999 Blown, diamond-cut, sandblasted, and acid-polished Waterford crystal Geblasenes, diamantgeschliffenes, sandgestrahltes und saurepoliertes Waterford Kristall H. 101.6 cm, W. 91.4 cm, D. 76.2 cm Photo: Terry Murphy, courtesy of Waterford Crystal Ltd., Waterford, Ireland TO Alessandro Diaz de Santillana, Italy Moon Tree, 1998 Glass, silver, steel Glas, Silber, Stahl H. 219.7 cm, W. 45.7 cm, D. 22.9 cm Photo: Richard Nicol, courtesy of Bryan Ohno Gallery, Seattle, Washington GE

Bert Frijns, The Netherlands Spiral Forms, 1994 Sagged glass Abgesenktes Glas H. 46 cm, Diam. 39 cm The Corning Museum of Glass, 95.3.76 Photo: Courtesy of The Corning Museum of Glass, Corning, New York GE

Kyohei Fujita, Japan Tempyo no Hana, 1978 Mold-blown glass; gold- and silver-foil inclusions Formgeblasenes Glas; Blattgold- und Silberfolieneinschlusse H. 21.3 cm, W. 17.4 cm, D. 17.6 cm The Corning Museum of Glass, 78.6.1 Photo: Courtesy of The Corning Museum of Glass, Corning, New York GE

Frank O. Gehry & Associates, United States Nationale Nederlanden Building, Prague, Czech Republic, 1992-1996 Photo: Tim Griffith/Esto Photographies, Mamaroneck, New York

DC .... niiJMm Brian Hirst, Australia Votive Bowl, 1987 Colorless, blown, sand-cast, and cold-worked glass; kiln-fired gold Farbloses, geblasenes, sandgegossenes und kalt bearbeitetes Glas; eingebranntes Gold H. 26.4 cm The Corning Museum of Glass, 90.6.6 Photo: Courtesy of The Corning Museum of Glass, Corning, New York GE

Robert Knottenbelt, Australia Ma, I Buried the Beetle, 1986 Blown, flameworked, and assembled glass Geblasenes, lampengearbeitetes und montiertes Glas Photo: Courtesy of the Rakow Library, The Corning Museum of Glass, Corning, New York GE

Stanislav Libensky and Jaroslava Brychtova, Czech Republic Imprint of an Angel I, 1997-1998 Cast glass Gegossenes Glas H. 78.7 cm, W. 109.2 cm, D. 34.3 cm Photo: Martin Polak, courtesy of Heller Gallery, New York, New York GE

Flora C. Mace and Joey Kirkpatrick, United States With Measured Purpose, 1999 Glass, wood, steel, fiber Glas, Holz, Stahl, Fasern H. 165.1 cm, W. 50.8 cm, D. 27.9 cm Photo: Rob Vinnedge, courtesy of Mace/Kirkpatrick Studio, Seattle, Washington TO Richard Marquis, United States Marquiscarpa 99-12, 1999 Fused, blown, slumped, and carved murrine Verschmolzene, geblasene, abgesenkte und gemeiBelte Murrine H. 29.2 cm, W. 32.4 cm, D. 22.9 cm Photo: Richard Marquis, courtesy of Elliott Brown Gallery, Seattle, Washington GE, TO

Paolo Martinuzzi, Italy Untitled, 1976 Engraved glass; wood Graviertes Glas; Holz H. 23.4 cm, W. 40.2 cm The Corning Museum of Glass, 83.3.10 Photo: Courtesy of The Corning Museum of Glass, Corning, New York GE

Josiah McElheny, United States An Historical Anecdote about Fashion, 1999 Blown glass; display table Geblasenes Glas; Ausstellungstisch Photo: Claire Garoutte, courtesy of Donald Young Gallery, Chicago, Illinois TO

Richard Craig Meitner, The Netherlands Qualcosa in Argento, 1995 Blown glass; applied silver leaf Geblasenes Glas; Blattsilberauflage H. 75 cm Photo: Courtesy of the Rakow Library, The Corning Museum of Glass, Corning, New York GE Klaus Moje, Australia Niijima, from the "Niijima Vessel Series," 1999 Kiln-formed and cut glass Ofengeformtes und geschliffenes Glas H. 54 cm, Diam. 15 cm 1999 Rakow Commission, The Corning Museum of Glass, 99.6.8 Photo: Nicholas L. Williams, courtesy of The Corning Museum of Glass, Corning, New York GE

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Tom Patti, United States Spectral Starphire, Bi-Sected Amber, Black Orb with Blue, Red, 1993-1999 Fused, hand-shaped, ground, and polished glass Verschmolzenes, handgeformtes, geschliffenes und poliertes Glas H. 10.6 cm, W. 11 cm, D. 11.7 cm Photo: George Erml, courtesy of Tom Patti Studio, Pittsfield, Massachusetts GE

Marsha Pels, United States Model of the Bahnhofsbunker Project, Emden, Germany, 1999 Patinated cast aluminum; photo-etched glass (model by Jeff Slomba) Patiniertes gegossenes Aluminium; Glas mit Photogravur (Modell von Jeff Slomba) Photo: John Berens, courtesy of Marsha Pels, New York, New York TO

Susan Plum and Joyce Scott, United States Borderscapes (detail, Susan Plum installation), 1999 Mixed-media installation Mixed-Media Installation Photo: Eva Heyd, courtesy of UrbanGlass, Brooklyn, New York TO Susan Plum and Joyce Scott, United States Borderscapes (detail, Joyce Scott installation), 1999 Mixed-media installation Mixed-Media Installation Photo: Eva Heyd, courtesy of UrbanGlass, Brooklyn, New York TO

Stephen Procter, Australia Opposite and Equal 2, 1998 Fused, blown, cut, and engraved Bullseye glass Verschmolzenes, geblasenes, geschliffenes und graviertes Bullseye Glas H. 9.5 cm, Diam. 29.5 cm Photo: Courtesy of the Rakow Library, The Corning Museum of Glass, Corning, New York GE

Ann Robinson, New Zealand Shield, 1999 Kiln-cast lead crystal Ofengegossenes Bleikristall H. 15.2 cm, W. 96.5 cm, D. 43.2 cm Photo: Studio LaGonda, courtesy of Elliott Brown Gallery, Seattle, Washington GE, TO

Ginny Ruffner, United States Spiral Moderne, from "Virtual Vessel Series," 1999 Steel, glass Stahl, Glas H. 55.9 cm, W. 88.9 cm, D. 7 cm Photo: Mike Seidl, courtesy of Ginny Ruffner Studio, Seattle, Washington GE, TO Laura de Santillana, Italy Untitled V, 1999 Blown and compressed glass Geblasenes und zusammengepresstes Glas H. 34.3 cm, W. 33 cm, D. 4.4 cm Photo: Andrea Morucchio, courtesy of Elliott Brown Gallery, Seattle, Washington TO

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Paul J. Stankard, United States Sunflower Botanical Cube (detail), 1996 Flameworked and encased glass Lampengearbeitetes und Uberfangglas H. 10.1 cm, W. 7.6 cm, D. 6.4 cm Photo: Courtesy of the Rakow Library, The Corning Museum of Glass, Corning, New York GE

Yoshihiko Takahashi, Japan Untitled, 1999 Blown glass Geblasenes Glas PlJlgfljg® L. 91.4 cm Photo: Courtesy of Chappell Gallery, Boston, Massachusetts GE WMSm

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Waterford Crystal Ltd., Ireland Computer Rendering of the Times Square Millennium Ball, 1999 180 panels of molded crystal (363 kilos) on metal armature Diam. 183 cm 180 Tafeln aus geformtem Kristall (363 Kilo) auf einer Metallver- ankerung Photo: Courtesy of Waterford/Wedgwood USA, New York, New York TO 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 20. New Glass Review 20 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 zahlenmaRig 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 "Aires de Barcelona." 11 "The Art of Glass Marbles: David P. "A la conquete du monde: Cristal Atlantis." Revista del Vidrio Piano, no. 53, June 1999, Salazar." Ceramique, Verre et Cristal du Portugal, sup­ pp. 66—69, ill. Marble Mate (Japan Marbles Association), plement to Offrir International: Arts & Cadeaux Engraved glass mural designed by Xano Ar- no. 5, 1993, p. 1, ill. In Japanese. pour la Maison, no. 359, Jan. 1999, p. 7, ill. m enter. Portuguese firm. 12 "The Art of Glass Marbles: Geoffrey 7 "Aleph, fusionando ideas en vidrio." Beetem." 2 "Acquisitions/Expose: Glass." Revista del Vidrio Piano, no. 48, Aug. 1998, Marble Mate (Japan Marbles Association), Art Bulletin of Nationalmuseum Stockholm, pp. 134-135, ill. no. 4, 1993, p. 6, ill. In Japanese. vv. 1/2, 1994-1995, pp. 36-37. Workshop in Barcelona specializing in fused glass. 3 "Acquisitions: Renaissance and Later 13 "The Art of Glass Marbles: Harry & Decorative Arts and Sculpture." Wendy Besett." 8 "Allehanda: Glas i ropet." The Cleveland Museum of Art Annual Report Marble Mate (Japan Marbles Association), Antik & Auktion, no. 10, Oct. 1998, p. 86, ill. 1998, 1999, pp. 41-43, ill. no. 5, 1993, p. 6, ill. In Japanese. Glass by Ingeborg Lundin, Timo Sarpaneva, Untitled glass sculpture by Stanislav Libensky and Tapio Wirkkala at auction. and Jaroslava Brychtova, p. 41. 14 "The Art of Glass Marbles: Josh Simp­ son." 9 "American Glass at Springfield." 4 "Adam & Eva\ Salviati prasentiert Kunst Marble Mate (Japan Marbles Association), Antiques and The Arts Weekly, v. 28, no. 8, statt Vasen." no. 3, 1993, pp. 1-2, ill. In Japanese. Die Schaulade, no. 11, Nov 1998, p. 55, ill. Feb. 19, 1999, p. 56, ill. Vases designed by Berit Johansson. Fifty-six artworks by 12 contemporary glass artists exhibited. 15 "The Art of Glass Marbles: Mark Mat­ 5 "Air-Twist Flutes Designed for the thews." Millennium." 10 "Art Glass of This Century." Marble Mate (Japan Marbles Association), Glass, Monthly Journal of the European Glass Mosaic (Museum of Fine Arts, St. Petersburg, no. 4, 1993, pp. 1-2, ill. In Japanese. Industry, v. 76, no. 1, Jan. 1999, p. 6, ill. FL), Jan./Feb./March 1999, p. 12, ill. Limited-edition champagne flutes by Darting- Illustrations of two overlay glass objects by 16 "The Art of Glass Marbles: Noble Effort, ton Crystal. Harvey Littleton. J. Fine Glass." Marble Mate (Japan Marbles Association), 30 "Chihuly over Venice." Spring 1993, pp. 4-5, ill. no. 2, 1993, p. 10, ill. In Japanese. Night & Day (The Corcoran Gallery of Art), Jane Cowie's Dancing Dolphin goblet series. v. 4, no. 3, May/June 1997, p. 6, ill. 17 "The Art of Glass Marbles: Steven Lund- Exhibition. 45 "L'Eau Claire de Cristal." berg." Event Magazine, v. 5, no. 21, April 15-28, 1999, Marble Mate (Japan Marbles Association), 31 "Commissions: Michelle Plucinsky and p. 13, ill. no. 3, 1993, pp. 9-10, ill. In Japanese. Chris Nordin." Exhibit at gallery in Belleair Bluffs, Florida. American Craft, v. 59, no. 1, Feb./March 1999, p. 99, ill. 18 "Avventurine: Massimo Nordio." 46 "Einar & Jamex De La Torre: Meso- Fixtures of blown and cast glass, plate glass, CeramicAntica, v. 9, no. 4 (92), April 1999, modern." and forged metal resembling jellyfish installed pp. 50-51, ill. Common Ground: Glass (Newsletter of the in Michigan restaurant. Venice exhibition. International Guild of Glass Artists Inc.), Summer 1999, pp. 31-32, ill. 32 "Contemporary Showcase: The Latest Exhibition review. 19 "Babilonia: II grande mercato antiquario Creations from Today's Paperweight Artists." d'inverno." Annual Bulletin of the Paperweight Collectors CeramicAntica, v. 8, no. 11 (88), Dec. 1998, Association, 1999, pp. 71-75, ill. 47 "Elizabeth Blood." Ornament, v. 23, no. 1, Autumn 1999, p. 63, ill. Twenty paperweights illustrated. Forli fair for antiques and collectibles will in­ pp. 54-55, ill. clude Murano glass of 1950s-1970s. Profile of the artist. 33 "Corning Museum of Glass Awards Rakow Commission to Klaus Moje." 20 "Beadwork I: Up Close." The Wedgwood Society of New York, [Sept.] 48 "Elvira Hickert." Beadwork, v. 2, no. 1, Winter 1999, pp. 16-17, ill. 1999, p. 3. Vitrium, v. 1, no. 1, July/Aug. 1998, pp. 9-10, ill. Sculptural beaded works for juried exhibit. Profile of the artist. 34 "Counting Down to the Millennium." 21 "Broze Jaroslava Kodejse." Waterford Reflections, v. 5, no. 2, 1999, p. 15, ill. 49 "The Enameled Sculpture of Glenn Umenf a Remesla, no. 4, 1998, pp. 74-75. Times Square New Year's Eve Ball by Water- Zweygardt." Brooches by Jaroslav Kodejs. ford Crystal. Glass on Metal, v. 12, no. 1, Feb. 1993, pp. 20-22, ill. Artist's works include glass elements. 22 "Capricci & Esercizi: Le Verre selon 35 "Craftsman at Work: A Ful-Philling Life!" Ettore Sottsass." Reflections (Caithness Glass Paperweight Table & Cadeau, no. 396, June/July 1998, Collectors Society), no. 14, May 1998, p. 7, ill. 50 "Es lebe der gute Geschmack! Nanna - pp. 60-61, ill. Artist Phil Chaplain. Teekanne & Wunschbrunnen von Leonardo." Exhibit of recent works in Venice. Die Schaulade, no. 9, Sept. 1998, p. 62, ill. Glass teapot designed by Michael Graves. 36 "The Creation of Stained Glass Art." 23 "Carlos de Anda." Kahch (All India Glass Manufacturers' Federa­ Vidrio (Asociacion de Artistas del Vidrio), tion, New Delhi), v. 6, no. 3, Sept. 1998, 51 "Forsta kvinnan i Okras design-team." no.1, March-May 1999, pp. 14-18, ill. English pp. 20-24, ill. Glas och Porslin, v. 68 [69], no. 2,1999, p. 10, ill. summary. Sarah Cowan is first woman on Okra Studios' Interview with the artist. 37 "Crystal Artists Develop System for Dec­ design team. orating Hot Glass." 24 "C'e del nuovo in Fiam Italia: E nata Glass, Monthly Journal of the European Glass 52 "Die franzosische Revolution: Verrerie Liv'it = There Is Something New at Fiam Italia: Industry, v. 76, no. 6, June 1999, p. 194, ill. Cristallerie d'Arques auf deutschen Tischen." Liv'it Is Born." Josef and Benito Marcolin. Die Schaulade, no. 7, July 1998, pp. 34-37, ill. Ottagono, v. 33, no. 127, June-Aug. 1998, Recent developments in the history of the pp. 126-129, ill. In Italian and English. 38 "Dale Chihuly Accepts the Phoenix French company. Includes glass tables designed by Vittorio Livi. Award." Glass Digest, v. 78, no. 1, Jan. 15, 1999, 53 "Future Pop." 25 "Celebrating Italian Style: Leucos Enjoys p. 16, ill. Interior Design, v. 70, no. 10, Aug. 1999, Its First U.S. Product Introduction Party." pp. 148-153, ill. Home Lighting & Accessories, v. 81, no. 4, 39 "Danny Perkins: Stone Age." Artist Mariko Mori uses glass in her Dream April 1998, p. 124+, ill. Common Ground: Glass (Newsletter of the In­ Temple, recently exhibited at the Fondazione "Italy's premier source for contemporary ternational Guild of Glass Artists Inc.), Sum­ Prada in Milan. Murano glass lighting." mer 1999, p. 32. Exhibition review. 54 "La galeria de artistas: Eduardo Giu­ 26 "Ceskoslovensky lid k 70. narozeninam seppe Nieto, Antonio Sciacca - Especialistas J. V. Stalina." 40 "Debbie Tarsitano." en fusing." Tvar, v. 3, no. 1, 1950, pp. 3-5, ill. The Weight Paper (The Dunlop Collection, Revista del Vidrio Piano, no. 49, Oct. 1998, Russian, English, and French summaries. Statesville, NC), no. 17, Summer 1999, p. [4], ill. pp. 10-11, ill. Czechoslovakian gifts to celebrate Stalin's Profile of the artist. Italian and Argentinian glass artists. 70th birthday include glass objects. 41 "Des sources d'inspiration inepuisables." 55 "La galeria de artistas: Javier Perez 27 "Cesky design 80. a 90. let: Lesky a Offrir International, no. 366, Sept. 1999, p. 17, ill. Blanco - Interpretaccion en vidrio." stiny." Three designs by Hilton McConnico for Daum. Revista del Vidrio Piano, no. 46, April 1998, Umenf a Remesla, no. 3, 1999, pp. 34-53, ill. pp. 10-11, ill. English summary, p. 79. 42 "Designer Profile." Spanish glass artist. Modern Czech design in glass, pp. 36-39. Reflections (Caithness Glass Paperweight Collectors Society), no. 15, Dec. 1998, p. 10, ill. 56 "La galeria de artistas: Merce Mas 28 "Champagner & Kunsthandwerk: 'Young Engraver and paperweight designer Helen Corretge - 'El vidrio: Una sensacion de Art Collection' von Mercantile." MacDonald. frialdad agradable.'" Die Schaulade, no. 11, Nov. 1998, p. 39, ill. Revista del Vidrio Piano, no. 47, June 1998, Designs by Boris Petrowsky, Monika Thorns, 43 "Designer Profile: The Multi-Facetted Mr pp. 10-11, ill. Gesa Luig, Martin Stohrer, Marion Anna Simon, Macintosh." Spanish glass artist. and Christine Horbach. Reflections (Caithness Glass Paperweight Collectors Society), no. 16, May 1999, p. 12, ill. 57 "La galeria de artistas: Monika Uz 29 "Champagner-Launen: Solitare von Alastair Macintosh. Segarra - Informacion Genetica." Rosenthal Studio-Linie." Revista del Vidrio Piano, no. 53, June 1999, Die Schaulade, no. 11, Nov. 1998, p. 43, ill. 44 "Dolphins in Flight." pp. 10-11, ill. Designs by Michael Boehm. Object (Crafts Council of New South Wales), Spanish glass artist. 58 "La galena de artistas: Stanislav 72 "In the Making: The Colin Terris Water pp. 84-85+, ill. Libensky- Regreso al color." Lily Collection - Tranquil Pond" Brief look at beaded sculptural work. Revista del Vidrio Piano, no. 48, Aug. 1998, Reflections (Caithness Glass Paperweight pp. 10-11, ill. Collectors Society), no. 14, May 1998, 87 "A Mace for Wales." Stanislav Libensky and Jaroslava Brychtova. pp. 8-9, ill. The Glass Cone, no. 50, Summer 1999, p. 5, ill. Step-by-step look at the paperweight's creation. Work made by Jane Beebe for the Welsh 59 "Gary Andolina: Static Penduli." National Assembly. Common Ground: Glass (Newsletter of the 73 "Instituut Cristal Superieur: Het levend International Guild of Glass Artists Inc.), houden van een oude traditie." 88 "The Magic Labyrinth." Summer 1999, pp. 34-35, ill. Glas/Kristal, Aardewerk/Porselein, v. 1, no. 1, Swarovski, no. 12, July/Aug. 1999, pp. 27-29, ill. Exhibition review. Nov. 1998, pp. 28-29, ill. New installations at Swarovski's Kristallwelten Institute initiated by Royal Leerdam Cristal. include works by Niki de Saint Phalle, Paul 60 "Gerard Tavenas, I'avenir du luxe." Seide, and John Brekke. Table & Cadeau, no. 416, Aug./Sept. 1999, 74 "Interview: Hiroshi Yamano." p. 48+, ill. Glass Focus, v. 13, June/July 1999, p. 1+. 89 "Magical, Mystical. . . Dale Chihuly at Interview with president of the Lalique Group. Waterford." 75 "Interview with a Marble Maker." Waterford Reflections, v. 5, no. 1, 1999, 61 "Gizela Sabokova: L'Envol des formes." Marble Network (Midwest Marble Club), v. 10, pp. 7-9, ill. Verre & Creation, no. 13, Dec. 1998, p. 3, ill. no. 1, March 1999, pp. 4-5, ill. Chandeliers. English summary. Rudy Calin. Brief profile of the artist. 90 "A Matter of Weight." 76 "An Italian Glass Master Works at Object (Centre for Contemporary Craft, 62 "Glas fur den Zarenhof: Die 'Konigs- Steuben." Sydney), no. 1, 1997, pp. 46-47, ill. kollektion' der Theresienthaler Krystallglas- American Flint, v. 88, no. 9 [10], Oct. 1998, Touring exhibition includes glass work by manufaktur." pp. 9-10, ill. Barbara Jane Cowie. Die Schaulade, no. 11, Nov. 1998, p. 52, ill. Lino Tagliapietra. Reproduction of set made for czarist court has 91 "May Treasure of the Month: Artifact: slightly altered blue tone. 77 "Jaroslav Matous: Le Solitaire des expo­ Tooth, 1995." sitions." Mosaic (Museum of Fine Arts, St. Petersburg, 63 "Glaskunst over alle graenser." Verre & Creation, no. 12, Sept. 1998, p. 3, ill. FL), April/May/June 1999, pp. 5-6, ill. GlasMagasinet, v. 7, no. 4, Nov. 1998, English summary, p. 8. Work by William Morris. pp. 20-22, ill. Profile of the artist. Exhibition of young glass artists at the Run- 92 "Michael Higgins, 90, Pioneer Glass Art­ detarn, Copenhagen. 78 "Jutta Cuny: L'Art de sculpter le verre." ist Dies." CERFAV Infos (Lettre de la Plate-Forme Ver- Glass Focus, v. 13, April/May 1999, p. 1. 64 "Glass Decorators Reach New Highs." riere de Vannes-le-Chatel), no. 11, Oct. 1995, American Glass Review, v. 119, no. 4, p. 8, ill. Jan./Feb. 1999, pp. 12-13, ill. Brief profile of the artist. 93 "Miriam Monasterios: Una artista vene- Winners of the Society of Glass and Ceramic zolana a la conquista del mundo." Revista del Vidrio Piano, no. 48, Aug. 1998, Decorators' 1998 Discovery Awards. 79 "Kort nieuws: Bomen van kristal." pp. 141-142, ill. Glas en Keramiek, no. 6, 1997, p. 5, ill. 65 "Glass Makes a Brilliant Entry at Niche Exhibition of works by Giuseppe Penone in Awards." Nimes. 94 "Moje Commissioned to Create Work for American Glass Review, v. 119, no. 5, Coming's Collection." March/April 1999, p. 10, ill. 80 "Kurz notiert: Farben- und Formenvielfalt Journal of Glass Studies, v. 41, 1999, - Glasgestaltung Peters." pp. 174-175, ill. 66 "Glass Sculpture to Be Placed on 33- Glaswelt, v. 51, no. 5, May 1998, p. 7, ill. Story Skyscraper." Vases and bottles designed by Jack Ink. 95 "Moje Receives Rakow Commission." U.S. Glass, v. 34, no. 7, July 1999, p. 38, ill. The Corning Museum of Glass Newsletter, Large dichroic and holographic sculpture by 81 "Lalique North America: Collection hiver Summer 1999, p. [3], ill. Kenneth von Roenn Jr. on building in Louis­ 1998/1999." ville, Kentucky. Offrir International: Arts & Cadeaux pour la 96 "Narcissus ante portas." Maison, no. 359, Jan. 1999, p. 84, ill. Glashaus/Glasshouse (Internationales Maga- 67 "Glasscasting with Kanoh Tomohiro." New collection includes wooden folding zin fur Studioglas), no. 1, 1999, pp. 10-12, ill. Glass and Art (Tokyo), no. 23, Autumn 1998, screen with reproductions of nine engraved In German and English. pp. 80-83, ill. In Japanese. glass panels by Rene Lalique. Profile of the artist Narcissus Quagliata.

68 "Graceful Magic of Art in Glass." 82 "The Legacy of Glass Artist Ishii Koji." 97 "New Glass Company Launches Its First Life, v. 2, no. 4, April 1979, pp. 82-88, ill. Glass and Art (Tokyo), no. 23, Autumn 1998, Collection." Glass from exhibit held at The Corning Mu­ pp. 64-65, ill. In Japanese. Glass, Monthly Journal of the European Glass seum of Glass. Industry, v. 75, no. 10, Oct. 1998, p. 328, ill. 83 "Libensky: Un genio con dos cabezas." Sunderland Glassworks, England. 69 "Handgemaakt kristal van Granna Glas- Cristal, no. 2, Jan. 1998, pp. 9-19, ill. bruk." In Spanish and English. 98 "New Traditions in Glass from Venice: Glas/Kristal, Aardewerk/Porselein, v. 2, no. 2, Profile of Stanislav Libensky and Jaroslava Cristiano Bianchin, Yoichi Ohira, Laura de April 1999, pp. 33-34, ill. Brychtova. Santillana." Glass artists Germano Padoan and Jim CeramicAntica, v. 8, no. 8 (85), Sept. 1998, Johnsson. 84 "Lichtdurchflutete Leichtigkeit." pp. 6-11, ill. In Italian. GFF, Zeitschrift fur Glas, Fenster, Fassade, New York exhibition. 70 "Hiroshi Yamano: Recent Work." nos. 23/24, Dec. 1998, p. 1290, ill. Common Ground: Glass (Newsletter of the Lichtobjekt 10 by Oliver Schaugg. 99 "News: II vaso a pigna." International Guild of Glass Artists Inc.), Abitare, no. 378, Nov. 1998, p. 60, ill. Summer 1999, pp. 32-33, ill. 85 "Light Products." In Italian and English. Exhibition review. LD+A (Lighting Design + Application), v. 28, Large pine cone vase designed by Laura de no. 10, Oct. 1998, pp. 65-68, ill. Santillana. 71 "Im Mittelpunkt stand die Zukunft." Includes new oven technology for lenses and P und G (Porzellan und Glas), no. 9, Sept. recreations of Tiffany lamps. 100 "Notizie/News: Concorso Driade 1998 = 1998, pp. 82-83, ill. 1998 Driade Competition." "Digital Glass" collection of mousepads and 86 "Liza Lou's Back Yard." Domus, no. 809, Nov. 1998, u.p., ill. drinking glasses. American Craft, v. 59, no. 1, Feb./March 1999, In Italian and English. Competition winner produces glass mold used Die Schaulade, no. 7, July 1998, pp. 58-59, ill. PhotoBrasive Systems Update, v. 3, no. 1, to create orange squeezer made of ice. Orrefors glass exhibited in Nuremberg. 1999, p. [2], ill. Profile of Florida artist Chuck Boux. 101 "Notizie/News: I vetri di Cristiano Bian- 114 "Orrefors ringer in det nya millenniet." chin = Glass Works by Cristiano Bianchin." Glas och Porslin, v. 68 [69], no. 1, 1999, 129 "Sars-Poteries: L'Ete des stages." Domus, no. 810, Dec. 1998, u.p., ill. pp. 38-39, ill. Verre & Creation, no. 14, March 1999, In Italian and English. Designs by Lena Bergstrom, Per B. Sund- pp. 4-5, ill. English summary, p. 8. New York exhibition. berg, Erika Lagerbielke, and Helen Krantz. Summer University program.

102 "Notizie/News: Intersezioni del design - 115 "Orrefors, 1898-1998: 100 anos de 130 "Sars-Poteries: Vivre le verre." Sperimentazioni portoghesi = Design Intersec­ innovation = 100 Years of Innovation." Verre & Creation, no. 13, Dec. 1998, tions - Portuguese Experimentations." Cristal, no. 3, Sept. 1998, pp. 6-10+, ill. pp. 4-5, ill. English summary. Domus, no. 818, Sept. 1999, p. vii, ill. In Spanish and English. Interview with Philip Baldwin and Monica In Italian and English. Twenty-five pieces created by eight Orrefors Guggisberg. Table with plate glass top designed by Carlo artists. Mollino. 131 "Les Sculptures de Vincent van Ginneke." 116 "Polish Artist Studies New Techniques, Offrir International, no. 365, July 1999, p. 41, ill. 103 "Notizie/News: Nuova collezione da ta- Creates Sculpture during Studio Visit." Exhibition at Musee-Atelier du Verre, Sars- vola in cristallo di Murano = New Table Collec­ The Corning Museum of Glass Newsletter, Poterie. tion in Murano Glass." Spring 1999, p. [5], ill. Domus, no. 810, Dec. 1998, u.p., ill. Paulina Komorowska-Birger. 132 "Sekt aus dem Sagefisch: Rastal-Chef- In Italian and English. Designer Horst Bartels erneut in New York Designed by Nason & Moretti. 117 "Portfolio: Beads across America." ausgezeichnet." Glass: The UrbanGlass Art Quarterly, no. 73, Die Schaulade, no. 7, July 1998, p. 70, ill. 104 "Notizie/News: Nuove serie di bicchieri Winter 1998, pp. 30-33, ill. Champagne glass shaped like a sawfish. in vetro Duralex = New Series of Drinking Beads as glass art. Glasses in Duralex Glass." 133 "Serge Mansau decouvre Baccarat." Domus, no. 810, Dec. 1998, u.p., ill. 118 "Portfolio: Marc Petrovic." Table & Cadeau, no. 400, Oct. 1998, p. 4, ill. In Italian and English. American Craft, v. 59, no. 3, June/July 1999, Limited-edition crystal by Mansau. Stackable glasses, designed with restaurants p. 66, ill. in mind. 119 "Portfolio: Michael Cain." 134 "Setting the Criteria of 'New': New 105 "Notizie/News: Undici artisti per Targetti American Craft, v. 59, no. 1, Feb./March 1999, Glass Review." = Eleven Artists for Targetti." p. 91, ill. Design, v. 253, no.7, July 1999, pp. 134-135, ill. Domus, no. 814, April 1999, u.p., ill. Artist creates "neon-charged vessels." In Korean and English. In Italian and English. Brief review of the annual competition for in­ novative works in glass. "Light pictures" created by the artists for 120 "Portfolio No. 182: Paul Kelsey." exhibition. Craft Arts International, no. 46, 1999, p. 114, ill. 135 "She's Done It Again!" Bead Words (The Newsletter for Members of 106 "Notizie/News: Venini - II vetro e gli 121 "Portfolio Spotlight: Correia Art Glass." the Bead Society of Greater Chicago), artisti = Venini - Glass and Artists." Sandcarving Quarterly, v. 3, no. 1, Spring vv. 98/99, no. 1, Sept. 1998, p. 14. Domus, no. 810, Dec. 1998-, u.p., ill. 1999, pp. 7-8, ill. In Italian and English. Liza Lou's Back Yard and plans for future works. Two collections of vases designed by Rodolfo 122 "Das pralle Leben: Love Plates fur Dordoni. Teller, Lust & Liebe." Die Schaulade, no. 10, Oct. 1998, p. 52, ill. 136 "Show Highlights Innovation in Glass 107 "Obituary: George Elliott." Glass plates in solid colors by designer Mela- Furniture." Glass Network (Newsletter of the Contempo­ nie Weisweiler. Glass Digest, v. 78, no. 7, July 15, 1999, rary Glass Society, U.K.), no. 5, July 1998, pp. 56-58+, ill. Includes works by Ron Arad, Lourens Fisher, p. 10, ill. 123 "Une Renommee dans le monde entier: and Drew and Kirsi Smith. British glass artist. Orfevrerie Topazio." Ceramique, Verre et Cristal du Portugal, sup­ 108 "Obituary: Michael Higgins." plement to Offrir International: Arts & Cadeaux 137 "Silber und Glas: Durch die '4 Jahres- American Glass Review, v. 119, no. 5, pour la Maison, no. 359, Jan. 1999, p. 12, ill. zeiten' mit Saint Hilaire." March/April 1999, p. 23. Portuguese firm. Die Schaulade, no. 11, Nov. 1998, p. 53, ill. Winter collection features champagne cooler and ice bucket of colorless glass and silver. 109 "Observations: Valeri Timofeev." 124 "Renwick Gallery Will Feature 'Glorious Metalsmith, v. 18, no. 5, Fall 1998, pp. 42-43, ill. Glass.'" Plique-a-jour enameling. Antiques and The Arts Weekly, v. 28, no. 35, 138 "Skulptur aus Glas und Edelstahl." Aug. 27, 1999, p. 25. GFF, Zeitschrift fur Glas, Fenster, Fassade, 110 "De Opdracht: Palais des Beaux-Arts te Review of exhibition. no. 10, Sept. 1999, pp. 52-53, ill. Lille." Glass and steel public sculpture designed by Glas en Keramiek, no. 6, 1997, pp. 24-25, ill. 125 "Report: 7th International Glass Exhibi­ Leo Janischowsky. In Dutch and English. tion '98 Kanazawa." Italian artists Gaetano Pesce and Giulio Glass and Art (Tokyo), no. 23, Autumn 1998, 139 "Speciale Vetro & Cristallo." Paolini commissioned to make glass objects pp. 56-57, ill. In Japanese. Magazine, Premier for Tableware (Milan), for Lille museum. no. 59, Jan. 1999, pp. 83-106, ill. 126 "Rosario Arias." In Italian and English. 111 "Oproep: Bernardine de Neeveprijs." Vitrium, v. 1, no. 3, Nov./Dec. 1998, pp. 11-12, ill. Brief survey of several glass and crystal firms. Glas en Keramiek, no. 6, 1997, p. 7. Profile of the artist. 140 "Spotlight on: Christian Henri Thirion 112 "Organische vormen met zelfgemaakte 127 "Saint-Louis: Une Creation porteuse and Silvia Levenson." kleuren." d'emotions." Glass Focus, v. 12, Dec.1998/Jan. 1999, p. 15. Glas/Kristal, Aardewerk/Porselein, v. 2, no. 3, Offrir International, no. 360, Feb. 1999, 1999, pp. 19-20, ill. pp. 79-80, ill. 141 "Staatspreise fur Gabriele Kustner und Lampworked glass by Miranda van der Waal. Interview with artistic director at Cristalleries Georg Linden." de Saint-Louis. Glashaus/Glasshouse (Internationales Maga- 113 "Orrefors ist 100: Eine Reise in die Welt zin fur Studioglas), no. 1, 1999, pp. 13-16, ill. des Glases - zum Beispiel Rosenthal Studio- 128 "Sandcarving on 'Future' Ancient In German and English. Haus Nurnberg." Glass." Interviews with the artists. 142 "Stolen Art Alert: Decorative Arts." 155 Abrink, Pernilla. 169 Anderson, Peter. I FAR Journal (International Foundation for Art "Frukter av glas." "Snow Blind." Research), v. 1, no. 3, Autumn 1998, p. 39, ill. Form, v. 95, no. 3 (723), 1999, pp. 38-43, ill. Object (Centre for Contemporary Craft, Three works by Toots Zynsky stolen. English summary. Sydney), no. 1, 1999, pp. 56-58, ill. Profile of Swedish glass artist Jonas Rooth. Cast glass vessels by Helen Aitken-Kuhnen. 143 "Studio Glass Tradition Continues in Brierley Hill." 156 "Vidunderligt starkt." 170 Angus, Mark. Glass Industry, v. 80, no. 2, Feb. 10, 1999, Form, v. 95, no. 3 (723), 1999, p. 20, ill. "An Experimental Approach to Workshops." p. 33, ill. Brief review of exhibition by Gunilla Kihlgren. Conference Report 1998 (2nd Contemporary Glass Society Conference, Sunderland, Eng­ land). [Stoke-on-Trent, UK]: the society, p. 6, ill. 157 Adams, Erica H. 144 "Swarovski: El legado de una gran Summary of conference presentation. marca = The Legacy of a Great Name." "Corning Museum: Beauty and the Beast." Cristal, no. 1, 1997, pp. 7-16, ill. This Side Up! (Valkenswaard, The Nether­ In Spanish and English. lands), no. 5, Spring 1999, pp. 3-5, ill. 171 Annecy, France. Galerie Nadir. Exposition center in Wattens, Austria, Review of "The Glass Skin" exhibition. Matei Negreanu. designed by Andre Heller. Annecy: the gallery, 1997, 34 pp., ill. In French and English. 158 "Storming Talent: Oliver Nikolich." Exhibition catalog. 145 "Teegenuss mit glaserner Rahmen- This Side Up! (Valkenswaard, The Nether­ handlung." lands), no. 5, Spring 1999, pp. 16-17, ill. P und G (Porzellan und Glas), no. 9, Sept. Profile of the artist. 172 Antoine Leperlier (Trajectoires). 1998, p. 90, ill. Aubais, France: HD Nick Editions, [1999], 72 pp., ill. In French and English. Glass teapots designed by Michael Graves 159 "Thinking through Glass: Mario Merz - and Enzo Mari. Light River." 173 Armstrong, Tim. This Side Up! (Valkenswaard, The Nether­ "Chi: A Vital Energy for New Initiatives? lands), no. 5, Spring 1999, pp. 24-25, 146 "Transjo en Strombergshyttan: Glas in Report on 'Glass Works,' the CGS Annual Profile of the artist. Zweden - Deel 1 Conference 1998." Glas/Kristal, Aardewerk/Porselein, v. 2, no. 2, Glass Network (Newsletter of the Contempo­ April 1999, pp. 20-22, ill. 160 Adela Pusztaszeri: Glass Sculptures rary Glass Society, U.K.), no. 6, Feb. 1999, Swedish glass studio. (Essay: Stuart Morgan). pp. [7-12]. [Switzerland: the artist?, n.d., 1996], 8 cards Notes on artists Maude Cotter, Martin Donlin, 147 "Two Projects by Fenestra Atelier, CV." in portfolio, ill. Lisa Autogena, David Reekie, Laura John­ Stained Glass, v. 94, no. 3, Fall 1999, ston, Colin Reid, and Mark Angus. pp. 188-189, ill. 161 Adonalia: Krystyna Schwarzer Litwornia. Recent work by Jan-Willem van Zijst, Angela Krakow: Stowarzyszenie Wspolnota Polsa 174 Atlantis: Chihuly. van der Burght, and Sunny van Zijst. Oddziat, 1997, [20] pp., ill. In Polish and English. Seattle: Portland Press, 1999, [85] pp., ill. Illustrates four works: Crystal Gate, Temple of 148 "Union Centrale des Arts decoratifs: 162 Albertson, Karla Klein. the Sun, Temple of the Moon, and Atlantis Artcodif defend la creation contemporaine." "Contemporary Paperweights." Chandelier. Offrir International, no. 365, July 1999, p. 34, ill. Early American Homes, v. 30, no. 3, June 1999, Designs by Alessandro Vicari and Jean-Bap- p. 80, ill. 175 Aubry, Kirsteen. tiste Sibertin-Blanc illustrated. "Glass in Public Works of Art III." 163 Alfano, Nancy. Conference Report 1998 (2nd Contemporary 149 "Vetri d'arte." "Loren Stump: An American Original." Glass Society Conference, Sunderland, Eng­ Alte Vitrie, vv. 10/11 [11/12], no. 3, 1998, no.1, Annual Bulletin of the Paperweight Collectors land). [Stoke-on-Trent, UK]: the society, p. 10, ill. 1999, pp. 27-28, ill. Association, 1999, pp. 95-98, ill. Summary of conference presentation. Exhibition notes. Profile of the artist. 176 Augustijn, Piet. "Bibi Smit vangt het schotse landschap in 150 "'Vita brevis, ars longa,' het leven is 164 Allwood, Jacqueline. heldere objecten." kort, kunst is eeuwig: Royal Leerdam Cristal." "Light, Colour, Action." Glasbulletin, Vereniging van Vrienden van Glas/Kristal, Aardewerk/Porselein, v. 2, no. 1, Glass Network (Newsletter of the Contempo­ Modern Glas, v. 12, no. 4, 1998, pp. 11-13, ill. 1999, pp. 43-44, ill. rary Glass Society, U.K.), no. 5, July 1998, Dutch artist's work is influenced by nature, Brief profile of the company. pp. 18-19, ill. and often combines glass with other materials Describes exhibition that combines glass, such as stone and wood. 151 "Zooma in Goran Warff: Tatt bland architecture, and dance. nyheterna fran Kosta Boda." 177 "Deborah Hopkins: Gebarentaal in Glas och Porslin, v. 68 [69], no. 1, 1999, 165 Amsterdam. Braggiotti Gallery. glazen handen = Deborah Hopkins: Sign pp. 18-19, ill. 11th anniversary celebration. Language in Glass Hands." Designs by Goran Warff, Kjell Engman, Anna [Amsterdam: the gallery, 1998], [26] pp., ill. Glas en Keramiek, no. 2, 1998, pp. 14-17, ill. Ehrner, Gunnel Sahlin, and Ann Wahlstrom. In English and Dutch. In Dutch and English. Exhibition catalog features 11 glass artists. Profile of the British artist. 152 "The 1998 Discovery Awards." The Society of Glass and Ceramic Decorators 166 Anderson, Kathie Jackson. 178 "Lisa Gherardi en haar fascinatie voor Newsletter, v. 36, no. 11, Dec. 1998, 4-p. insert. "Chris Heilman." de dood." Awards for food, beverage, and cosmetic con­ American Style, v. 4, no. 4, Summer 1998, Glas en Keramiek, no. 6, 1997, pp. 18-21, ill. tainers; lighting ware; architectural glass; and p. 42, ill. In Dutch and English. other categories. Reprinted from Dec. 1998 Profile of the artist. Artist's fascination with death is shown in her issue of Ceramic Industry. urns, offering tables, and other works. 167 Anderson, Nola. 153 "1998 Glass Art Society Student Awards." "Ausglass Advance." 179 "Manifestatie State of the Art in Eind­ Glass Art Society Journal, 1998, pp. 65-66, ill. Crafts New South Wales, Summer 1991, hoven: De Stand van Zaken." In English and Japanese. pp. 14-17, ill. Glasbulletin, Vereniging van Vrienden van Awards presented at the conference in Seto, Development of the Australian glass artists' Modern Glas, v. 13, no. 1, 1999, pp. 19-21, ill. Japan. organization. Exhibition at Art Company, Eindhoven.

154 "1998 Honorary Lifetime Member: 168 "Why Not Glass?" 180 "Nieuwe glazen beelden." Dan Dailey." Crafts New South Wales, Winter 1991, Glasbulletin, Vereniging van Vrienden van Glass Art Society Journal, 1998, pp. 62-64, ill. pp. 16-20, ill. Modern Glas, v. 13, no. 1, 1999, pp. 14-15, ill. In English and Japanese. Studio glass in Australia. Works by Ad Haring and Bert van Loo. 181 "Ontwerper Gerard Thomassen: 194 Bellati, Nally. Glass." 'Je zoekt altijd naar een meerwaarde in je New Italian Design. Neues Glas/New Glass, no. 4, 1998, ontwerpen.'" New York: Rizzoli, 1990, 203 pp., ill. pp. 38-43, ill. In German and English. Glas/Kristal, Aardewerk/Porselein, v. 2, no. 1, Tessa Clegg awarded the prize. 1999, pp. 38-40, ill. 195 Benefield, Scott. Profile of the designer. "Interview with Chuck Vannatta: The Center­ 208 Brill, Louis M. piece Commission." "Beacon in the Night: Lighting Effects Give At­ 182 "Werken met glas is schilderen met GAS News (Glass Art Society), Sept./Oct. 1999, lantic City's Lighthouse Sculpture Visual Allure." licht." p.1+, ill. Signs of the Times, v. 221, no. 4, March 1999, Glasbulletin, Vereniging van Vrienden van Canadian designer's works produced for pp. 94-96, ill. Modern Glas, v. 13, no. 1, 1999, pp. 24-27, ill. Pilchuck's annual fund-raising auction. Translucent fiberglass "wrap" provides surface Jan-Willem van Zijst. for light show. 196 Bernard, Elodie. 183 "De zee als inspiratiebron voor Susan "Between Humor & Mockery: Thierry Baudry." 209 Brown, Glen R. Hammond." Neues Glas/New Glass, no. 2, 1998, "Donald Friedlich: A Reductive Art." Glas/Kristal, Aardewerk/Porselein, v. 1, no. 1, pp. 38-41, ill. In German and English. Ornament, v. 22, no. 1, Autumn 1998, Nov. 1998, pp. 15-17, ill. pp. 44-47, ill. 197 Berndt, John. Jewelry craftsman designs glass brooches. "No Unifying Idea in the Work of No One in 184 Austin, Tex. Austin Museum of Art - Particular." Laguna Gloria. 210 Buechner, Thomas S. Experimental Musical Instruments, v. 14, no. 4, Holding Light: Contemporary Glass Sculpture. "Studio Glass." June 1999, pp. 58-62, ill. Austin: [the museum], 1999, [25] pp., ill. Studio Potter, v. 6, no. 1, 1977, pp. 50-51, ill. The Venetian Glass Nephew instrument, an Adapted from Buechner's closing address to amplified pane of frosted glass. the 1976 meeting of the Glass Art Society. 185 Autogena, Use. "Perceptions of Light: Multimedia Visualisation 198 Besten, Lisbeth den. of Light and Space." 211 Bundesverband Kunsthandwerk e.V. = "Bernardine de Neeve Prize: For Glass or German Crafts Association. Conference Report 1998 (2nd Contemporary Sculpture? Glass Society Conference, Sunderland, Eng­ Made in Germany: German Crafts, New York Neues Glas/New Glass, no. 4, 1998, International Gift Fair (Exhibition: Jacob K. land). [Stoke-on-Trent, UK]: the society, p. 4, ill. pp. 32-37, ill. In German and English. Summary of conference presentation. Javits Convention Center, New York, Craft Section, August 9-13, 1998). 199 Beswick, Helen. Frankfurt am Main: the association, 1998, 186 Baker, Cozy. "Shirley Elford." [40] pp., ill. In German and English. Kaleidoscopes: Wonders of Wonder. Fusion Magazine (The Ontario Clay & Glass Glass by Jan Adam Glasstudios, Glasstudio Lafayette, CA: C & T, 1999, 144 pp., ill. Association), v. 23, no. 1, Winter 1999, Borowski, Ayman Radwan, Schwarzmuller pp. 12-13, ill. Glas, and Wiebke Vogt. 187 Barden, Paul. "Pure Glass: Scandinavian Design." 200 Blauensteiner, Charlotte. 212 Made in Germany: German Crafts, New Volvo Magazine, no. 2, 1999, pp. 46-51, ill. "Europapreis 1998." York International Gift Fair (Exhibition: Jacob Glassmaking at Orrefors Glasbruk in Sweden. Kunsthandwerk & Design, no. 6, Nov./Dec. 1998, K. Javits Convention Center, New York, Craft pp. 46-47, ill. Section, February 22-26, 1998). Winners include Swedish glass artist Paula 188 Bateman, Nita. Frankfurt am Main: the association, 1998, Barton. "Double Vision." [44] pp., ill. In German and English. Collectors' Showcase, v. 19, no. 2, March/April Glass by Glasstudio Borowski, Stefan Lenke, 1999, pp. 52-53, ill. 201 "Ringe zu zweit von Claudia Langer." Ayman Radwan, Schwarzmuller Glas, and Cut glass figurines by Crystal World, a New Kunsthandwerk & Design, no. 2, March/April Wiebke Vogt. Jersey firm. 1999, pp. 44-46, ill. Artist's rings include glass covers. 213 Made in Germany: German Crafts, New York International Gift Fair (Exhibition: Jacob 189 Bauduin and Weiss, Allen S. 202 "Schimmern: Schmuck von Margit Hart." K. Javits Convention Center, New York, Craft Lieux et liens. Kunsthandwerk & Design, no. 1, Jan./Feb. 1999, Section, January 21-25, 1996). Paris: Editions Lahumiere, 1998, 52 pp., ill. Frankfurt am Main: the association, 1996, Glass incorporated in photographic works. pp. 42-45, ill. [60] pp., ill. In German and English. 203 Bock, Angela. Glass by Michael Kramer and Stefan Lenke. 190 Beaded, Tony. "Talente '99: Vorbericht zur IHM." "William L. lorio: From Cut Glass to Hot Glass." Kunsthandwerk & Design, no. 1, Jan./Feb. 1999, 214 Made in Germany: German Crafts, New Glass Collector's Digest, v. 12, no. 4, Dec. 1998/ pp. 4-11, ill. York International Gift Fair (Exhibition: Jacob Jan. 1999, pp. 80-86, ill. Work by Ben Sewell at Internationale Hand- K. Javits Convention Center, New York, Craft Paperweights and paperweight buttons by werksmesse in Munich, March 18-24, 1999. Section, January 31-February 4, 1999). New Jersey lampwork artist (1914-1986). Frankfurt am Main: the association, 1999, 204 Bockermann, Tobias. [36] pp., ill. In German and English. 191 Beadle, The Venerable. "Heart of Glass." Glass by Jan Adam Glasstudios, Glasstudio "The Bead Column: Beads of the Future?" Schott Info, no. 89, April 1999, pp. 28-29, ill. Borowski, Stefan Lenke, Ayman Radwan, and Glass Line, v. 11, no. 6, April/May 1998, Dutch glass artist Cees van Olst. Schwarzmuller Glas. pp. 8-9, ill. Producing three-dimensional images within a 205 Borgward, Monica. 215 Buxton, Pamela. block of glass. (This entry was incorrectly re­ "Caroline Rugge: Beruf Grenzgangerin." "Commissions: Queen Elizabeth Centre for ported in New Glass Review, no. 20, 1999.) Kunsthandwerk & Design, no. 6, Nov./Dec. the Treatment of Cancer." 1998, pp. 10-15, ill. Crafts (U.K.), no. 160, Sept./Oct. 1999, 192 Beaumont, Thierry de. Artist's jewelry includes glass beads and pate pp. 20-23, ill. "Antonio Cagianelli: Le Feu sacre." de verre. Sandblasted glass doors by Jane McDonald. Verre & Creation, no. 14, March 1999, p. 2, ill. English summary, p. 8. 206 Boston. Museum of Fine Arts. 216 "Lookout: Isabel Hamm." Report on Paris exhibition. Glass Today by American Studio Artists (Text: Crafts (U.K.), no. 157, March/April 1999, p. 46, ill. Jonathan L. Fairbanks and others). Profile of the German artist. 193 "Jean-Pierre Umbdenstock: Signes Boston: the museum, 1997, 80 pp., ill. particuliers." Exhibition of works by more than 25 artists. 217 Buyer's Guide to Contemporary British Verre & Creation, no. 15, June 1999, p. 2, ill. Studio Glass. English summary, p. 8. 207 Brewerton, Andrew. London: Crafts Council, 1998, 48 pp., ill. Exhibition review. "The Jerwood Prize for Applied Arts 1998: In English, French, and German. 218 Byrd, Joan Falconer. 235 Paul Stankard: Tribute to Nature's Craft Arts International, no. 46, 1999, "Harvey Littleton: Reflections, 1946-1994." Mysteries (Text: Dan Klein). pp. 18-23, ill. American Craft, v. 59, no. 2, April/May 1999, Chicago: the gallery, [1997], [8] pp., ill. Exhibition of glass objects touring Queensland. pp. 48-53, ill. 236 William Morris. 249 Cooper, Nina. 219 Caforio, Mina. Chicago: the gallery, [1999], [12] pp., ill. "An Affinity for Experiment." "Crevoisier: Du verre au cocon." Lapidary Journal, v. 53, no. 1, April 1999, Form Forum (Switzerland), no. 3, 1998, p.7, ill. 237 Chihuly, Dale. pp. 32-35, ill. Exhibition of glass sculptures by Hubert Cre­ BeIlag io: Fiori di Como, Las Vegas, Nevada, Glass and metal jewelry by Suzanne Stern. voisier at Musee-Atelier du Verre, Sars-Pote- 1998. ries. Seattle: Portland Press, 1999, u.p., ill. 250 Cumbow, Robert C. "Public Art/Private Vision: For Seattle Artist 220 "Venezia Aperto Vetro 1998." 238 Icicles: The Icicle Creek Chandelier Richard Posner, Clarity Begins at Home." Form Forum (Switzerland), no. 4, 1998, p. 7, ill. (Text: Dale Chihuly). ArtsLine, v. 3, no. 1, May 1985, pp. 10-13+, ill. Second biennial international exhibition of Seattle: Portland Press, 1998, 63 pp., ill. Artist uses glass as principal medium for glass in Venice. An installation by Dale Chihuly at Sleeping series of public works. Lady Retreat and Conference Center, Leaven­ 221 California Design '76: A Bicentennial worth, Washington. 251 Cyklon: Ann Wahlstrom glas i rorelse = Celebration. Movements in Glass. Pasadena: California Design, 1976, 195 pp., ill. 239 Coburg, Germany. The Bergmann [Kosta, Sweden: Kosta Boda, 1999], 28 pp., ill Includes glass. Gallery. In Swedish and English. Beschauliches Fleisch: Bemerkungen zur 222 Carpenter, Woodrow. Kunst von Erwin Eisch = Contemplative Flesh: 252 Dan Dailey, Linda MacNeil: Art in Glass "A Pioneer of Enameling in the United States Thoughts on the Art of Erwin Eisch (Text: and Metal. Turns 100." Peter Kobbe). [S.I.]: Exeter Press, 1999, 63 pp., ill. Glass on Metal, v. 12, no. 3, June 1993, [Coburg?: the gallery?, 1986?], 12 pp., ill. Catalog of exhibition held at The Art Center at pp. 64-65, ill. In German and English. Hargate, St. Paul's School, Concord, New Harold Tishler. Hampshire. 240 Cochrane, Grace. 223 Casciani, Stefano. "Giles Bettison." 253 Danske studieglasvaerksteder og glas- "Intorno al vuoto = Encircling the Void." Neues Glas/New Glass, no. 4, 1998, kunstnere. Abitare, no. 383, April 1999, pp. 209-211, ill. pp. 26-31, ill. In German and English. Ebeltoft: Glasmuseets Venner og Glasmuseet, In Italian and English. The artist "uses pointillist murrini to interpret 1999, 12 pp., ill. New series of Murano drinking glasses. the Australian landscape." Directory of Danish glass artists and studios.

224 Chambers, Karen. 241 "Objects of Desire." 254 D'Arcy, David. "Las Vegas Gets Culture: "Dual Action Artistry: Flora Mace and Joey Object (Centre for Contemporary Craft, Art Hits the Strip - Mayor Raises Funds for Kirkpatrick Combine Their Passions and Their Sydney), no. 1, 1997, pp. 26-27, ill. Neon-Sign Museum, 'Our Heritage.'" Skills in an Acclaimed Partnership." Excerpt from catalog for exhibition in Sydney; The Art Newspaper, v. 9, no. 83, July/Aug. 1998, American Style, v. 4, no. 4, Summer 1998, glass by Lienors Allen illustrated. p. 6. pp. 62-69, ill. Profile of the artists. 242 Codrington, Andrea. 255 Daw, Robyn. "The Incredible Lightness of Being Ingo." "Offline." 225 "Steuben with an Italian Accent." I.D. (International Design Magazine), v. 46, Craft Victoria, v. 28, no. 236, Jan. 1998, American Style, v. 5, no. 1, Fall 1998, p. 17, ill. no. 2, March/April 1999, pp. 70-77, ill. pp. 24-25, ill. Lino Tagliapietra at Steuben. Ingo Maurer, German designer of lamps and Review of exhibition in Adelaide, Australia; lighting. work by Ben Edols and Kathy Elliott illustrated. 226 Charleroi, Belgium. Musee du Verre. Erwin Eisch: Sensualite du verre (Text: 243 Collischan, Judy. 256 Deganello, Paolo. Yvonne Brunhammer, Thomas Buechner, and "Maura Sheehan: Massaging Glass." "II cristallo di Mari, Sottsass, Tallon = Glass­ Erich Schneider). Glass: The UrbanGlass Art Quarterly, no. 73, ware by Mari, Sottsass, Tallon." Charleroi: the museum, 1997, 44 pp., ill. Winter 1998, pp. 40-45, ill. Domus, no. 814, April 1999, pp. 70-75, ill. Examination of the artist's ceuvre. In Italian and English. 227 Chicago. Habatat Galleries. Marvin Lipofsky: Czech Experience. 244 Columbus, Ohio. Riley Hawk Galleries. 257 Delecour, Carine. Chicago: the galleries, 1999, [11] pp., ill. Dan Dailey: Vases from the Archives 1974- 50 ans d'art: L. LeLoup. 1988 (Text: Karen Chambers, Peqay Gilqes, Seraing, Belgium: C. Delecour, 1998, 112 pp., ill. 228 Chicago. Marx-Saunders Gallery. Dan Dailey). In French, Dutch, English, and German. Janusz Walentynowicz (Text: James Yood). [Columbus: Riley Hawk Galleries, 1998], Belgian glass artist Louis Leloup. Chicago: the gallery, [1999], [10] pp., ill. 36 pp. ill. 258 Detroit. Detroit Institute of Arts. 229 Jay Musler(Text: Bruce W. Pepich). 245 Common Ground: First Works in Kiln- A Passion for Glass: The Aviv a and Jack A. Chicago: the gallery, [1998], [8] pp., ill. formed Glass by Artists with Backgrounds in Robinson Studio Glass Collection (Text: Clay (Text: Lani McGregor, Elizabeth Stanek, Bonita Fike). Terri Hopkins). Detroit: the institute, 1998, 91 pp., ill. 230 Joel Philip Myers: Dialogues, Enticements Portland, OR: Bullseye Glass, 1998, 31 pp., ill. and Color Studies (Text: Bruce W. Pepich). Chicago: the gallery, [1999], [8] pp., ill. 259 DeVuono, Frances. 246 Conference Report 1998 (2nd Contem­ "A Conversation with Ginny Ruffner, Artist." porary Glass Society Conference, Sunder­ Artweek, v. 29, no. 10, Oct. 1998, p. 17, ill. 231 Jon Wolfe: Fabrikat(Text: John Brunetti). land, England. Stephen Pollock-Hill, ed.). Chicago: the gallery, [1998], [8] pp., ill. [Stoke-on-Trent]: Contemporary Glass Society, 260 Dobbins, Norm. 1998, 12 pp., ill. "Michael Glancy." 232 Mark Reiser: Change. Glass Craftsman, no. 153, April/May 1999, Chicago: the gallery, [1998], [9] pp., ill. 247 Contemporary Glass Art from Japan: pp. 14-17+, ill. Toshichi Iwata & Hisatoshi Iwata - Pioneers of Profile of the artist. 233 Michael Pavlik (Text: James Yood). Contemporary Japanese Glass Art. Chicago: the gallery, [1998], [8] pp., ill. [S.I.: s.n., 1997], [16] pp., ill. 261 Donefer, Laura. "Artist Profile: Susan Edgerley." 234 Paul J. Stankard. 248 Cooke, Glenn R. Glass Gazette (Glass Art Association of [Chicago: the gallery, 1999?], [8] pp., ill. "Luminous . . . and More!" Canada), v. 3, no. 37, Aug. 1999, pp. 3-7, ill. 262 Donlin, Martin. 274 Edwards, Geoffrey. glass, broken glass chips, and fiber optics in "Recent Work." "A Note on 'Transmission': New Cast Glass by his creations. Conference Report 1998 (2nd Contemporary Richard Whiteley." Glass Society Conference, Sunderland, Eng­ Craft (Craft Victoria), v. 29, no. 237, 1999, 286 Foster, Holly A. land). [Stoke-on-Trent, UK]: the society, p. 7, ill. p. 26, ill. "Creations Out of This World." Summary of conference presentation. Exhibition review. Hamilton Alumni Review, v. 63, no. 4, Winter 1998/1999, pp. 16-21, ill. 263 Donovan, Martin. 275 "Overview of Australian Glass." Josh Simpson. "Millenium [s/'c]." Glass Art Society Journal, 1998, pp. 33-35, ill. Collect It! (U.K.), no. 21, March 1999, In English and Japanese. 287 Foulds, Diane E. pp. 15-17, ill. A Guide to Czech & Slovak Glass. Collectibles with a millennium theme include 276 "The Singing of Crickets and the Prague: European Community Imports, 1995, Okra glassware. Problem of Orthodoxy in Contemporary 208 pp., ill. Australian Glass." Primarily 20th century glass, but includes 264 Donovan, Sharon. Artlink, v. 12, no. 2, 1992, pp. 40-41, ill. chapter on the history of Czech and Slovak "Art in the Big Easy." Review of innovative Australian glass artists. glassmaking. American Style, v. 5, no. 1, Fall 1998, pp. 64-67+, ill. 277 Eich, Maria-Bettina. 288 Frankham, Noel. Glass studios and galleries in New Orleans. "Picasso's Ladies: Wendy Ramshaw." "20:20 Vision: Forces of Change in Glass Arts Schmuck Magazin, no. 6, Dec. 1998/Jan. 1999, Practice." pp. 28-29, ill. Object (Centre for Contemporary Craft, 265 Drake, Jeanette Wenig. Jewelry designed for the women in Picasso's Sydney), no. 1, 1997, p. 16, ill. "A Glass Act." paintings. Review of the 1997 Ausglass conference. Ohio State Alumni Magazine, Nov. 1998, p. 18. Brief profile of Ohio State's Hoyt Sherman Studio Art Center. 278 Einarson, Anna Lena. 289 Frantz, Susanne K. "Land du designade: Den svenska design- "Dana Zamecnikova: Sklenene sochy." historien, 1950-talet." Atelier, no. 24, Dec. 3, 1998, p. 5, ill. 266 "Splendor in the Glass: For Artist Chris­ Skona Hem, no. 13, 1998, pp. 164-165+, ill. English summary, p. 15. topher Ries, Work Is a Grind - And He Loves Includes vases designed by Vicke Lindstrand Profile of the artist. It." and Tapio Wirkkala. Ohio State Alumni Magazine, Nov. 1998, 290 "Marquis at the Caffe Florian." pp. 14-18, ill. American Craft, v. 59, no. 1, Feb./March 1999, Profile of the artist. 279 "Revolution i vardagsrummet: Den svenska designhistorien, 1960 & 70-talet." pp. 74-75, ill. Skona Hem, no. 1, 1999, pp. 96-97+, ill. 1998 Venice exhibition of works by Richard 267 Dreisbach, Fritz. Includes pieces designed by Gunnar Cyren, Marquis. "An American Overview." Monica Backstrom, Erik Hoglund, and Sven Glass Art Society Journal, 1998, pp. 29-32, ill. Palmqvist. 291 "Sklo a prostor." In English and Japanese. Atelier, no. 21, Oct. 22, 1998, p. 8, ill. The Studio Glass Movement. 280 Enbom, Carla. English summary, p. 15. "Elegant Japanese Studio Glass." Exhibition in Prague includes works by 268 Dudley, Jenni. Form Function Finland, no. 69 (1), 1998, Zamecnikova, Cigler, Karel, and Libensky/ "Semiotically Speaking." pp. 54-55, ill. Brychtova. Artlink, v. 12, no. 2, 1992, pp. 64-66, ill. Nineteen Japanese artists in exhibition at Fin­ Essay on the symbolic "languages" of crafts nish Glass Museum, Riihimaki. 292 Freeman, Carmen. includes mention of glass artists Vicki Torr and "James Carpenter: Artist, Architect, Engineer." Ian Mowbray, with illustrations of their works. 281 Erickson, Dorothy. The Glass Club Bulletin, no.184, 1999, p. 7, ill. "Emotional Geometry: The Jewels of Wendy 269 Dumont, Jean. Ramshaw." 293 "Shari Maxson Hopper: Glass Artist, "Un Heureux Anniversaire: Le 15e d'Espace Craft Arts International, no. 46, 1999, Beadmaker, Mover & Shaker." Verre." pp. 35-41, ill. The Glass Club Bulletin, no. 184, 1999, p. 8, ill. Vie des Arts, v. 42, no. 173, Winter 1998-1999, pp. 64-65, ill. 282 Fagone, Vittorio and Tognon, Caterina, 294 Friedman, Jane. eds. "Happenings: A Smithsonian Surprise." 270 Dunham, Bandhu Scott. I grandi vetri: Sculture e disegni - Stanislav The Washington Post, Home Section, April 23, "Sculptural Alchemical Vessels." Libensky, Jaroslava Brychtova. [Milan: Maz- 1998, pp. 4-5+, ill. Glass Art Society Journal, 1998, p. 70, ill. zotta, 1998], 93 pp., ill. In Italian and English. Glass artisans at the Smithsonian Craft Show In English and Japanese. Catalog of an exhibition held at the Palazzo include Chuck Savoie of Wisconsin and Presentation at conference in Seto, Japan. della Ragione, Bergamo, May 8-Apr. 13, 1998. Kenny Walton of Nebraska.

283 Feinstein, Amy. 295 "Happenings: On the Edge of the 271 Dunlevy, Mairead. "Glass Artist Is Inspired by 'the Skies of Her Millennium." "Designer Extraordinary: Miroslav Havel and Youth' on a Ranch in Magdalena, The Washington Post, Home Section, Feb. 19, the Birth of Modern Waterford Glass." New Mexico." 1998, p. 4+, ill. Irish Arts Review Yearbook, v. 13, 1997, The Crafts Report, v. 24, no. 272, Dec. 1998, Glass artisans at the Baltimore Craft Show in­ pp. 152-157, ill. p. 51+, ill. clude Michael Meilahn, Mark Russell Jr., Keith Dichroic glass paperweights and pendants Layton, Barbara Lash, Josh Simpson, Latche- 272 Dutron, Guy. by Sara Creekmore. zar Boyadjiev, and Elaine Hyde. "Sars-Poteries: La Vie d'un stage." Verre & Creation, no. 12, Sept. 1998, p. 5, ill. 284 "The Northwest Is a Hotbed for Glass: 296 Frost, James A. English summary, p. 8. Regional Profile - Alaska, Idaho, Montana, "Contemporary Glass Society Hosts Success­ Interview with Tessa Clegg about the Summer Oregon, Washington." ful Symposium." University program. The Crafts Report, v. 25, no. 275, March 1999, Glass, Monthly Journal of the European Glass pp. 54-55+, ill. Industry, v. 75, no. 11, Nov. 1998, 273 Ebeltoft, Denmark. Glasmuseum Ebeltoft. pp. 403-404, ill. Myternas vatten: En installation af form, lyd or 285 Finessi, Beppe. Conference held at National Glass Centre, lys af Kjell Engman = Water of Myth: An In­ "Fabio Novembre: Pioggia di Novembre = No­ Sunderland, England. stallation of Shape, Sound and Light by Kjell vember Rain." Engman. Domus, no. 809, Nov. 1998, pp. 96-103, ill. 297 "Design Talent Shines at Himley Hall." Ebeltoft: the museum, 1998, 55 pp., ill. In Italian and English. Glass, Monthly Journal of the European Glass In Danish, English and Japanese. Italian designer/architect incorporates blown Industry, v. 75, no. 12, Dec. 1998, pp. 443-444, ill. 310 Goga, Larry. The Art Newspaper, v. 10, no. 89, Feb. 1999, Students from British universities and colleges "Moving the Studio's Glass - A Success Story." p. 23, ill. exhibit their glass designs. Common Ground: Glass (Newsletter of the International Guild of Glass Artists Inc.), 323 "Glass Act: Dale Chihuly in Seattle, 298 Fruscella, Fabiana. Winter 1998, p. 35, ill. London and Jerusalem." "Le mille invenzioni di Miriam Haskell." Describes construction and building of crates The Art Newspaper, v. 10, no. 92, May 1999, Antiquariato, no. 203, March 1998, pp. 50-57, ill. for safely moving art glass supplies. pp. 30-31, ill. Costume jewelry by the designer includes Chihuly and the Pilchuck Glass School. strass and pate de verre. 311 Goldman, Stu. "The Incredible Lightness of Being . . . Part of 324 Greenwich, Conn. Bruce Museum of Glass Craftsman: An Adventure in Neon." Arts and Science. 299 Frydryczak, Beata, ed. Glass Craftsman, no. 154, June/July 1999, Malarstwo: Inne wymiary. Visionary Landscapes: The Glasswork of Josh pp. 20-23, ill. Simpson (Text: Sylva Petrova). Zielona Gora, Poland: KRAAA (Kolektywny Workshop in neon art. Ruch Animacji Aktywnosci Artystycznej), Greenwich: the museum, 1998, [40] pp., ill. 1998, [24] pp., ill. Includes work of Paulina Komorowska-Birger, 312 "The View through the Inner Child: 325 Grenon, Ariane. glass artist in residence at The Corning Mu­ The Kaleidoscopes of Janice Day." "CERFAV-Vannes le Chatel: La Grand'fete du seum of Glass Studio, Nov. 1998. Glass Craftsman, no. 155, Aug./Sept. 1999, verre." pp. 57-59, ill. Le Courrierdes Metiers d'Art, no. 174, Sept./ 300 Fujita, Kyohei. Oct. 1998, pp. 14-15, ill. 313 Goodearl, Marilyn and Goodearl, Tom. "1998 Lifetime Achievement Award: Kyohei Glass symposium. Engraved Glass: International Contemporary Fujita - Me and Glass." Artists. Glass Art Society Journal, 1998, pp. 54-56, ill. 326 "Saint-Emilion, artisans d'art." Woodbridge: Antique Collectors' Club, 1999, In English and Japanese. Le Courrierdes Metiers d'Art, no. 183, Sept./ 207 pp., ill. Oct. 1999, p. 19, ill. Presents 200 works by 65 glass artists. 301 Gardner, Tony. Exhibition at Saint-Emilion; glass installation by Xavier Carrere illustrated. "Resurrecting the Legends: Kansas City Mu­ 314 Goodman, Ben. seum Signage Pays Homage to Jazz, Base­ "Glass Art Communities in Canada: A Profile." 327 "Verriales en duo." ball Greats." AISG Flat Glass Journal (Artists in Stained Le Courrierdes Metiers d'Art, no. 174, Sept./ Signs of the Times, v. 221, no. 1, Jan. 1999, Glass, Toronto), v. 23, no. 4, Summer 1998 Oct. 1998, pp. 12-13, ill. pp. 96-104, ill. [1999], pp. 7-9. Neon signs. Exposition at Galerie Internationale du Verre, Biot, France. 315 Goss, Bronwyn. 302 Gee, Francis. "Locate/Relocate: The Medium and the Mes­ "Japanese Glass Wind Chimes." sage - Four Glass Artists Explore the Notions 328 Grigson, Anna. Arts of Asia, v. 28, no. 4, July/Aug. 1998, of 'Place' and 'Displacement.'" "Translucence: Quadrivium Gallery- pp. 89-93, ill. Object (Centre for Contemporary Craft, An Exhibition of Contemporary Australian Yutaka Shinohara "is the sole perpetuator of Sydney), no. 3, 1998, pp. 17-19, ill. Studio Glass." an art that enjoyed a boom in Japan during Barbara Jane Cowie, Deb Jones, Claire Ausglass Newsletter (Australian Association the mid Edo period (1600-1868)." Belfrage, and Gabriella Bisetto. of Glass Artists), no. 2, Spring 1998, p. 7, ill.

303 Giacobone, Tersilla Faravelli, ed. 316 Goudstikker, Bernard. 329 Gwinner, Schnuppe von. Living Vases: Anna Mari. "Herman Dommisse." "Hilde Leiss." Milano: Electa, 1998, 59 pp., ill. Glas/Kristal, Aardewerk/Porselein, v. 1, no. 1, Kunsthandwerk & Design, no. 5, Sept./Oct. In Italian and English. Nov. 1998, pp. 40-41, ill. 1999, pp. 4-9, ill. Interview with the collector. Glass and silver jewelry. 304 Gilson, Robert. "Between Expressionism and Adornment: The 317 "De huid in het werk van Menno Jonker." 330 Hagan, Debbie. Jewelry of Tod Pardon." Glas/Kristal, Aardewerk/Porselein, v. 2, no. 1, "Kevin and Jean Rogers: Artist Profile." Metalsmith, v. 18, no. 5, Fall 1998, pp. 26-33, ill. 1999, pp. 34-37, ill. Niche, v. 11, no. 1, Winter 1999, p. 88, ill. Artist's works in ceramic and glass. 331 Hall, Sarah. 305 Glas-Plastik und Garten: 2. Internatio­ "Wind's Eye Gallery: Featuring the Work of nale Ausstellung. 318 "De geest van Alfredo Barbini in glas: Hella Santa-Rossa." Munster: Stadt Munster, 1998, 54 pp., ill. Groeiende belangstelling voor legendarisch glasmerk." Glass Art, v. 14, no. 4, May/June 1999, Glas/Kristal, Aardewerk/Porselein, v. 2, no. 2, pp. 18-19, ill. 306 Glass & Art. [S.I.: s.n., n.d.], 80 pp., ill. April 1999, pp. 11-12, ill. In Japanese; captions in English. 332 "Wind's Eye Gallery: Featuring the Exhibition catalog of work by 44 international 319 Graff, Mary. Work of Robert Brown." artists. "Shining Stars." Glass Art, v. 14, no. 2, Jan./Feb. 1999, Figurines & Collectibles, v. 4, no. 6, Jan./ pp. 50-51, ill. 307 The Glass Art Society Presents Interna­ Feb. 1999, pp. 30-32, ill. tional Expo 2 (Exhibition, Tampa Convention Collection of European blown glass orna­ 333 Hall, Sarah and Kraegel, Jeffrey. "Art at Center). [S.I.: the society], 1999, 32 pp., ill. ments pairs celebrities with charities. Work: Creating Corporate Commissions." Glass Gazette (Glass Art Association of 308 Glembocki, Vicki. 320 Gray, Katherine. Canada), Winter 1999, pp. 6-8, ill. "Heart of Glass." "Reviews: Robbie Miller." The PennStater, v. 87, no. 1, Sept./Oct. 1999, Glass: The UrbanGlass Art Quarterly, no. 73, 334 "Materializing Visions." cover and pp. 30-37, ill. Winter 1998, p. 46, ill. Glass Art, v. 14, no. 4, May/June 1999, Pilchuck Glass School and its executive direc­ Seattle exhibition. pp. 4-7+, ill. tor, Marjorie Levy. Profile of Derix Glasstudios, Taunusstein, 321 Gray, Lori. Germany. 309 Goddu, Krystyna Poray. "Origins: A Long and Winding Road." "Artist Updates." American Style, v. 4, no. 3, Spring 1998, 335 Hall, William and Hall, Dorothy. Collector Editions, v. 26, no. 7, Dec. 1998, p. 21+, ill. "Mid Twentieth Century North European pp. 32-34, ill. Profile of Charles Lotton. Glass: An Introduction." Reprint of 1974 article on Paul Stankard, The World of Antiques & Art, 56th ed., followed by information on the artist's current 322 Greenberg, Sarah. Dec. 1998-June 1999, pp. 158-160, ill. activities. "Class Glass: Artist Profile - Josiah McElheny." Emphasis on Scandinavian and Finnish pieces. 336 Haneson, Christian. 347 Hinchliffe, Meredith. Lasitutkimuksia - Glass Research XII "Ett vardagsrum fullt med kristall." "Exploring Mindshop: Glass Artists, Kirstie (Suomen Lasimuseon Tutkimusjulkaisu/The Glas och Porslin, v. 68 [69], no. 2, 1999, Rea and Scott Chaseling, Build Trust through Bulletin of the Finnish Glass Museum), 1999, pp. 14-17, ill. Business Planning." pp. 56-65, ill. English summary, p. 65. Nordiska Kristall, Stockholm. Smarts, no. 18, June 1999, p. 36, ill. Article based on interviews with retired glass cutters of the Riihimaki, littala, and Nuutajarvi 337 Hanley, Nell. 348 Hockemeyer, Lisa. glassworks in Finland. "Through a Glass Brightly: Cape Glass- "Notizie/News: Dal pezzo industriale all'og- maker's Work in Museums and White House." getto d'uso domestico = Industrial Resources 360 In diretta dal Big Bang: I quadri-scultura Mass Bay Antiques, v. 18 [19], no. 11, Turned Domestic Objects." in vetro-Archimede Seguso e Ferruccio Gard. March 1999, p. 27, ill. Domus, no. 814, April 1999, u.p., ill. Circolo artistico di Venezia. Sydenstricker Glass. In Italian and English. Cittadella (Padova): Biblos, 1997, [31] pp., ill. Collaboration between design firm and lighting In English and Italian. manufacturer turns light bulb into vase. Catalog of exhibition held at Palazzo delle 338 Harris, Brigette. Prigioni, San Marco. "Out of the Blue." Object (Centre for Contemporary Craft, Syd­ 349 Hoffmann, Ute. ney), no. 1, 1998, p. 25, ill. "Hot Dialogue: Glass Art." 361 The Indusmin collection. Glass exhibited at the Sydney Festival. Schott Info, no. 85, June 1998, pp. 24-25, ill. Toronto: Indusmin Limited, [1970-1989?], [40] German glass artist Hans-Joachim Ittig. leaves in portfolio, ill. Corporate collection of ceramic and glass 339 Hasegawa, Kanae. pieces by Canadian artists. "Toshichi and Hisatoshi: Pioneers of Modern 350 Hofliger, Yvonne. Art Glass in Japan." "Glas aus Murano." Glass Circle News, no. 79, June 1999, p. 8, ill. Form Forum (Switzerland), no. 4, 1998, p. 11, ill. 362 Inge Lauwers: Glass Artist. Toshichi and Hisatoshi Iwata. Exhibition at Museum Bellerive, Zurich. [Belgium?: the artist?, n.d., 1997?], [4] pp., ill. Promotional brochure for the Belgian artist. 351 Hoggard, Liz. 340 Hatton, Beth. "Shortform: Mould Master." 363 International Exhibition of Glass Kana- "Creative Australia in Japan." Crafts (U.K.), no. 160, Sept./Oct. 1999, p. 18, ill. zawa, Executive Committee. Craft Arts International, no. 46, 1999, Daniel Whittard "has developed a novel range The International Exhibition of Glass, Kana- pp. 104-105, ill. of cut and moulded-glass bowls and vases" as zawa 95, Official Report. Exhibition includes glass objects by Marc part of his Edinburgh Crystal Scholarship. Kanazawa, Japan: International Exhibition of Grunseit and Pavel Tomecko. Glass Kanazawa, 1995, 32 pp., ill. 352 Holloway, Jay. In English and Japanese. 341 Hauschild, Joachim. "Blown Away." "Auf sicherstem Terrain: Modernes Glas in In Britain, v. 8, no. 9, Sept. 1998, pp. 54-58, ill. 364 Jablonec nad Nisou, Czech Republic. Mailand." Review of the Studio Glass Movement in Muzeum Skla a Bizuterie. Antiquitaten Zeitung, v. 27, no. 6, March 12, Great Britain. B. Elias, J. Exnar, V. Kopecky, J. Matous, E. 1999, p. 204, ill. Rozatova, J. Rybak, G. Sabokova, I. Sram- Auction of 20th-century Italian glass, including 353 Holm, Aase. kova, K. Vahura (Text: Anton in Langhamer). vases designed by Paolo Venini and Fulvio "Jeg bli'r ved og ved at vise, at glas er mere Jablonec nad Nisou: the museum, 1996, Bianconi. end vandglas." 30 pp., ill. GlasPosten (Foreningen Glasmuseets Ven- 342 Helena, Mont. Holter Museum of Art. ner, Ebeltoft), no. 3, Aug. 1998, pp. 10-13, ill. 365 Ceska tavena sklenena plastika '95: Telling Compelling Tales: Narration in Con­ English summary, p. 15. Czech Mould-Melted Glass Objects '95. temporary Glass (Curated by Dick Weiss). Danish artist Helle Helsinghoff. Jablonec nad Nisou: the museum, 1995, 55 [Helena: the museum, 1998], 20 pp., ill. pp., ill. Susan Stinsmuehlen-Amend, Robert Carlson, 354 "Parlob og unik glaskunst i det hvide Erwin Eisch, David Hopper, Walter Lieberman, traehus pa havnen." 366 Claus J. Riedel: Sklarsky designer a Paul Marioni, Charles Parriott, Pike Powers, GlasPosten (Foreningen Glasmuseets Venner, podnikatel = Glasdesigner und Unternehmer, Cappy Thompson, Ulrica Hydman-Vallien, Ebeltoft), no. 2, May 1998, pp. 6-9, ill. English 1925, 1957, 1969, 1995 (Text: Antonin Lang­ Martin Velisek, and Jack Wax. summary, p. 15. hamer). Glass artists Tobias Mohl and Trine Drivsholm Jablonec nad Nisou: the museum, 1995, 343 Henkin, Stephen. have established a glass studio in Ebeltoft. 27 pp., ill. In Czech and German. "Glass Gallery Galactica: Habatat Spotlights the Stars." 355 "De store formater." 367 Eva Svestkova: Sklo 1970-1995 - The World & I, v. 14, no. 5, May 1999, GlasPosten (Foreningen Glasmuseets Venner, Crystalex. pp. 112-119, ill. Ebeltoft), no. 4, Nov. 1998, pp. 7-9, ill. Jablonec nad Nisou: the museum, 1995, English summary, p. 15. [16] pp., ill. 344 Herman, Lloyd E. Profile of Stig Persson. Tableware designs by the artist. American Glass: Masters of the Art. Washington, DC: Smithsonian Institution Trav­ 356 Houston, James A. 368 Jarmila Hlavova. eling Exhibition Service; Seattle: University of Fire into Ice: Adventures in Glass Making. Jablonec nad Nisou: the museum, 1995, Washington Press, 1998, 65 pp., ill. Toronto: Tundra Books, 1998, [32] pp., ill. 18 pp., ill. Children's book by Steuben glass designer. Includes beaded bags. 345 Hessey, Ruth. "Merchandising Van Gogh." 357 Ide, Reed. 369 Jitka Forejtova: Sklo 1984-1996 (Text: Object (Crafts Council of New South Wales), "The Fire and Ice of Ireland." Antonin Langhamer and Alena Adlerova). Spring 1993, pp. 23-26, ill. Collector Editions, v. 26, no. 7, Dec. 1998, Jablonec nad Nisou: the museum, 1996, Objects inspired by the paintings of Vincent pp. 88-91, ill. 31 pp., ill. In Czech and English. van Gogh include fused glass container by Waterford stemware and decorative objects. Fused bowls, cubes, and tree sculptures. Judi Elliott. 358 "Making the Cut." 370 Loretta Yang. 346 Hettes, Karel. Collector Editions, v. 26, no. 6, Nov. 1998, Jablonec nad Nisou: the museum, 1995, "Prace borskych atelieru." pp. 72-74, ill. [16] pp., ill. In Czech and English. Tvar, v. 3, no. 4, 1950, pp. 118-123, ill. Swarovski Crystal. Colored cast glass by Taiwanese artist. Russian, English, and French summaries. Glass produced at Novy Bor, including works 359 llomaki, Jaana. 371 Jackson, Lesley. by Vaclav Platek, Stanislav Libensky, Karel "Tyota hiomossa toisen maailmansodan jal- "Hand-Made Revolution." Hrodek, Marie Stahlikova, and Milena Korou- keen = Glass Cutting after the Second World Crafts (U.K.), no. 154, Sept./Oct. 1998, sova. War." pp. 30-33, ill. Examination of crafts in the 1960s includes Kamomura: Koganezaki Crystal Park, 1999, pp. 42-45, ill. In German and English. evolution of Studio Glass Movement. 46 pp., ill. In Japanese and English. Glass at the St'art art fair in Strasbourg, France.

372 The Sixties: Decade of Design Revolution. 385 Kangas, Matthew. 398 "The Line Is the Basic Unit of Beauty." London: Phaidon Press, 1998, 240 pp., ill. "Reviews: Bertil Vallien." Neues Glas/New Glass, no. 2, 1998, Includes glass. Glass: The UrbanGlass Art Quarterly, no. 73, pp. 14-19, ill. In German and English. Winter 1998, p. 47, ill. Monica Guggisberg and Philip Baldwin. 373 Janja Lap: Plemici stekla na gradu Seattle exhibition. Podsreda = Die Adelige der Glaskunst in der 399 "Venezia Aperto Vetro." Burg Podsreda (Text by Franci Zidar). 386 Kao-hsiung shih, Taiwan. Kaohsiung Neues Glas/New Glass, no. 4, 1998, Ljubljana: Tiskarna Ljubljana, 1994, [12] pp., ill. Museum of Fine Arts. pp. 12-19, ill. In German and English. Exhibition at Kozianski Park. Chihuly. Glass in Architecture. Exhibition review. Kaohsiung shih: the museum, 1994, 157 pp., ill. 374 Jankowski, Wanda. "Pool of Lights." In Chinese and English. 400 "Venice: A Confrontation - Ursula Mer- Architectural Lighting, v. 12, no. 1, Jan./Feb. ker." 1998, pp. 36-39, ill. 387 Kaplan, Morton A. Neues Glas/New Glass, no. 4, 1998, Colored lights and fiber optics used at Osaka, "Molly Stone, Michael Cohn: The Beauty of pp. 20-25, ill. In German and English. Japan, pool. Opposites." The artist's recent installation exhibited in The World & I, v. 14, no. 4, April 1999, Venice. 375 Jantunen, Paivi. pp. 138-143, ill. "Nature Is Present in Glass Jewellery." Profile of the artists. 401 "Le Verre dans tout ses etats: Interview Form Function Finland, no. 72 (4), 1998, with Maxime Lebreton, Diector [sic] of Mecen- pp. 24-25, ill. 388 Kaplicky, Josef. art." Glass jewelry workshop by Giorgio Vigna at "Sklo." Neues Glas/New Glass, no. 2, 1998, Nuutajarvi. Tvar, v. 3, no. 1, 1950, pp. 12-17, ill. pp. 32-37, ill. In German and English. Russian, English, and French summaries. 376 Jean-Pierre Umbdenstock (Trajectoires). Discourse on modern glass with examples by 402 Kodres, Krista. Aubais, France: HD Nick Editions, [1999], Kaplicky's students. "L'arte applicata estone oggi = Estonian 72 pp., ill. Applied Art Today." 389 Karlin, Scott M. Domus, no. 810, Dec. 1998, pp. 82-87, ill. 377 Johnson, Laura. "Glass to Life: Jim Donofrio - Modern Day In Italian and English. "Playing with Light: Exploring the Potential of Pygmalion." Glass objects by Eve Koha, Ivo Lill, and Rait Dichroic Glass." Annual Bulletin of the Paperweight Collectors Praats illustrated. Conference Report 1998 (2nd Contemporary Association, 1999, pp. 91-94, ill. Glass Society Conference, Sunderland, Profile of the artist. 403 Korach, Alice. England). [Stoke-on-Trent, UK]: the society, Bead Art. pp. 3-4, ill. 390 Kerr, Ann. Waukesha, Wl: Kalmbach Pub. Co., 1998, Summary of conference presentation. Rosenthal: Excellence for All Times - Dinner- 112 pp., ill. ware, Accessories, Cutlery, Glass. Eighty-one glass bead works by 54 artists 378 Jones, Gwyn. Atglen, PA: Schiffer Pub., 1998, 206 pp., ill. presented at Beadworks 1998 exhibition. "Okra: Taking Glass-Making into the New Glass, pp. 16, 93-127, 154, 180-181, 185. Millennium." 404 "Matt Bezak: Master of Cast Glass." Collect It! (U.K.), no. 20, Feb. 1999, pp. 10-11, ill. 391 King, Gerry. Bead & Button, no. 32, Aug. 1999, pp. 46-49, ill. "Strands of the Cord." Jewelry. 379 Joppien, Rudiger. Craft Arts International, no. 46, 1999, pp. 42-46, ill. "Die Jahresmesse des norddeutschen Kunst- 405 Krumrine, Michael. Profile of Spanish glass artist Javier Gomez. handwerks." "Reviews: First Annual Glass Week - Kunsthandwerk & Design, no. 6, Nov./Dec. Philadelphia." 1998, pp. 4-9, ill. 392 Kjell Engman (Text by Stefan Nilson). Glass: The UrbanGlass Art Quarterly, no. 73, Exhibition in Hamburg includes glass by Jan Kosta, Sweden: Kosta Boda, [n.d., 1995?], Winter 1998, p. 51, ill. Adam. [17] pp., ill. In Swedish and English. Glass figures, grotesque masks, sun-wheel 406 Kuspit, Donald B. symbols. 380 Josslin, Victoria. Chihuly. "Reviews: Josiah McElheny." New York: Abrams, 1998, 367 pp., ill. New Art Examiner, v. 26, no. 9, June 1999, 393 Klatovy, Czech Republic. pp. 52-53, ill. Galerie Klatovy-Klenova. 407 Labirynt sci sle nieskohczony: Krystyna Vaclav Cigler: Sklenene objekty, kresby, Schwarzer Litwornia = Labyrinth Exactly projekty = Glass Objects, Drawings, Designs 381 Joy, Linda. Unlimited: Krystyna Schwarzer Litwornia. (Text Jaromir Zemin). "Scoops on Scopes." Krakow: Centrum Sztuki i Techniki Klatovy: the gallery, 1997, [28] pp., ill. Japo'nskiej The Brewster Society News Scope, v. 14, Manggha; Muzeum Narodowe w Krakowie, In Czech and English. no. 1, Spring 1999, pp. 4-5, ill. 1998, [28] pp., ill. In Polish and English. New kaleidoscope designs. 394 Klein, Dan. "Contemporary Glass in an European Context." 408 Larissa Madsen: Arte em vidro = Glass 382 Jubenvill, Joy. Art. "Scholarship Winner Chosen: Marcus Sabathil The Glass Society of Ireland Newsletter, no. 18, Sept. 1998, pp. 11-15. [S.Ls.n., 1998], [12] pp., ill. Chosen from Group of Six Talented Artists." In Portuguese and English. Glass (British Columbia Glass Arts Associa­ Pamphlet illustrates works by the Brazilian tion), v. 11, no. 1, April 1999, p. 2, ill. 395 "New Glass by British Artists." artist. Tiffany Glass Pilchuck Scholarship. Glass Art Society Journal, 1998, pp. 43-44, ill. In English and Japanese. 409 Lauren, Uta. 383 Kamomura, Japan. Koganezaki Glass "Kristallia: Hyvan muotoilun ja korkeatasoisen Museum. 396 "Tessa Clegg: The Elimination of the kasityon yhdistelma = Crystal: Good Design The First Anniversary: Kyohei Fujita - Glass Inessential." and Craftsmanship Combined." Art (Text Atsushi Takeda). Neues Glas/New Glass, no. 2, 1998, Lasitutkimuksia - Glass Research XII Kamomura: Koganezaki Crystal Park, 1998, pp. 26-31, ill. In German and English. (Suomen Lasimuseon Tutkimusjulkaisu/The 43 pp., ill. In Japanese and English. Bulletin of the Finnish Glass Museum), 1999, 397 Klotz, Uta M. "Boundaries in Flux = pp. 42-55, ill. English summary, p. 55. 384 The Second Anniversary: Pavel Hlava - Die Grenzen werden flieBender." Finnish glass design from the late 1930s to Glass Sculpture. Neues Glas/New Glass, no. 2, 1998, the 1990s. 410 Lederman, Vicki. Opie). London: the gallery, 1996, 28 pp., ill. no. 20, April 1999, pp. 10-12, ill. "Glass Acts." Includes work by Galia Amsel, Brian Blant- Sculptures exhibited at gallery in Cork, Ireland. Tableware Today, v. 3, no. 5, Aug./Sept. 1998, horn, Sara Bowler, Keith Brocklehurst, Jane pp. 44-45+. Charles, Tessa Clegg, Ray Flavell, Alison 436 Madison, Wis. Elvehjem Museum of Art. Trends in contemporary crystal drinking glasses. Kinnaird, Danny Lane, Christina Kirk, Peter Sesquicentennial Celebration Faculty Exhibition. Layton, Gayle Matthias, Kieko Mukaide, Madison: Regents of the University of Wiscon­ 411 Lee, Patrick. Steven Newell, David Reekie, Colin Reid, sin Madison, 1999, 84 pp., ill. "Ornamental Obsession." Bruno Romanelli, Bibi Smit, Pauline Solven, Includes glass by Steve Feren and vitreo- Collector Editions, v. 26, no. 7, Dec. 1998, and Elizabeth Swinburne. graphs by Harvey K. Littleton. pp. 72-73, ill. European blown glass ornaments designed by 424 B. Bias: Sklo - obrazy - plastiky. 437 Madrid, Spain. Galeria Quorum. American Larry Fraga. [London: the gallery, 1997], [6 pp., 24 leaves Javier Gomez. in folder], ill. In English and Czech. Madrid: the gallery, 1996, [11] pp., col. 412 Lill, Ivo. Exhibition of glass, paintings, and sculpture by Artist uses sheet glass in his sculptures. "Glass in Estonia." Bohumil Elias. Glass Art Society Journal, 1998, pp. 39-40, ill. 438 Makarewicz, Zbigniew. In English and Japanese. 425 Luecking, Stephen. "Artist Portrait: Alojzy Gryt - A Dream about a "Spotlight: Mark Fowler - New Work." Glass Mountain." Glass Focus, v. 13, Aug./Sept. 1999, p. 16. 413 Liskova, Vera. This Side Up! (Valkenswaard, The Nether­ "K vystave lobmeyrovskeho skla." lands), no. 5, Spring 1999, p. 29, ill. Tvar, v. 3, no. 10, 1950, pp. 306-310, ill. 426 Lynggaard, Finn. "Observations on Russian, English, and French summaries. Glass Today; New Danish Artists." Exhibition of works by Stepan Rath and others Glass Art Society Journal, 1998, pp. 45-46, ill. 439 Marek, Frantisek. from the Lobmeyr firm. In English and Japanese. "Frantisek Zemek." Tvar, v. 7, no. 3, 1955, pp. 82-85, ill. Russian, English, and French summaries. 414 Liu, Robert K. 427 Lynggaard, Finn, ed. Czech glass artist. "Bead Arts: Masamichi Kimura." The Story of Studio Glass: The Early Years - Ornament, v. 22, no. 1, Autumn 1998, A Historic Documentation Told By the Pioneers. pp. 58-59, ill. Copenhagen: Rhodos, 1998, 158 pp., ill. 440 Marisa & Alain Begou (Trajectoires). Artist designs jewelry that allows glass beads Aubais, France: HD Nick Editions, [1998], 69 pp., ill. In French and English. to rotate; also, cast glass ring based on the 428 McCormick, Linda. magatama bead. "1999 Niche Awards: 10th Anniversary Show Plays to Packed House." 441 Massow, Edmund. 415 "Collectible Beads: Patti Dougherty." Niche, v. 11, no. 2, Spring 1999, pp. 71-79, ill. "Kleemann: A German Enamel-Artist Family." Ornament, v. 22, no. 1, Autumn 1998, Awards to glass artists Michael Cain, Keith Glass on Metal, v. 18, no. 2, Aug. 1999, pp. 32-33, ill. and Deanna Clayton, Beatriz Kelemen, Frank pp. 28-30, ill. Beads and pendants in organic shapes by Zika, Douglas Remschneider, and B. Pettinati- contemporary artist. Longinotti. 442 Matei Negreanu (Trajectoires). Aubais, France: HD Nick Editions, [1998], 416 "Dinah and Patty Hulet." 429 McDaniel, Lynda. 69 pp., ill. In French and English. Ornament, v. 22, no. 3, Spring 1999, "Driving Up Demand for New Glass: Seven pp. 62-63, ill. Established Artists Assess Their Markets and 443 Mechelen, Belgium. Instituut voor Kunst- Mosaic face canes and murrine. Predict Future Returns." ambachten van het Gemeenschapsonderwijs. Niche, v. 11, no. 3, Summer 1999, pp. 76-77+, ill. Glas gewoon ongewoon: 10 jaar glas aan het 417 "Glass and Precious Metal Clay: New Michael Trimpol, Christian Thirion, Milon Town- Instituut voor Kunstambachten te Mechelen. Challenges." send, Tom Philabaum, Judy and Ed Merritt, Mechelen: the institute, 1996, 87 pp., ill. Ornament, v. 22, no. 3, Spring 1999, Stuart Abelman, and Scott and Cindy O'Dell. Exhibit of the work of students from the Belgian pp. 71-74, ill. glass school "I.K.A. Glass Atelier Mechelen." 430 "Glorious Goblets." 418 "Greg Smith." American Style, v. 5, no. 1, Fall 1998, 444 Mexico City. Museo de Arte Contem- Ornament, v. 22, no. 2, Winter 1998, pp. 60-63, ill. poraneo Alvar y Carmen T. de Carrillo Gil. pp. 12-13, ill. Collecting handcrafted stemware. Espejo derramado: Casanueva, Sofia y Ana Carved glass disks, beads, and other jewelry Maria/Ana Maria y Sofia. by New Zealand artist. 431 "Trading on a Raging Bull Market in San Angel, Mexico: Instituto Nacional de Glass." Bellas Artes, 1997, 22 pp., ill. 419 Lloyd-Jenkins, Douglas. Niche, v. 11, no. 3, Summer 1999, pp. 68-71+, ill. In Spanish and English. "Ticking the Box." "Gallery sales of contemporary art glass are Ana Maria y Sofia Casanueva combine mir­ Object (Centre for Contemporary Craft, booming." rors and flat glass in sculptural arrangements Sydney), no. 4, 1998, pp. 44-46, ill. that provide "an illusory representation of a Review of Ann Robinson's exhibition at Auck­ 432 McEvilley, Thomas. single matter in two distinct states." land Art Gallery. "Essay: The Sound of Glass Breaking." Glass: The UrbanGlass Art Quarterly, no. 73, 445 Michaelides, Panicos E. 420 Lockwood, Howard. Winter 1998, pp. 36-39, ill. "Enameling in India." "A Piece on Glass: 20th Century Glass Examination of the role of broken glass in Glass on Metal, v. 12, no. 2, April 1993, Designers." modern art. pp. 30-31+, ill. Echoes, v.7, no. 3, Winter 1998, pp. 42-43+, ill. Author's notes on visits to artists in Delhi, Profile of Swedish designer Vicke Lindstrand. 433 McGrain, Peter. Jaipur, Udaipur, Varanasi, and Lucknow. "Combining Traditional Painting and Colored 421 "The Torso Vases of Fulvio Bianconi." Glass." 446 Micucci, Dana and others. Vetri: Italian Glass News, v. 4, no. 4, Fall Glass Art, v. 14, no. 6, Sept./Oct. 1999, "Top 100 Treasures: How 'Bout Them Apples?" 1998, pp. 19-20, ill. pp. 70-75, ill. Art & Antiques, v. 22, no. 3, March 1999, p. 78, ill. 422 Logan, Jim. 434 "An Illustrative Approach to Painting on Dorothy and George Saxe donate Flora Mace "Spring Flowers & Summer Showers." Glass." and Joey Kirkpatrick's Still Life with Fruit to Object (Centre for Contemporary Craft, Glass Art, v. 14, no. 3, March/April 1999, San Francisco's M. H. de Young Memorial Sydney), no. 4, 1997, pp. 29-30, ill. pp. 4-7+, ill. Museum. Includes brief profile of Clare Belfrage. 435 Mackey, Mary. 447 Milwaukee, Wis. Milwaukee Art Museum. 423 London. Studio Glass Gallery. "Sopa del Dia: An Exhibition by Niamh Lawlor." Contemporary Studio Glass from the Collec­ British Studio Glass (Text: Jennifer Hawkins The Glass Society of Ireland Newsletter, tion of Sheldon and Joan Barnett (Text: Jayne Stokes). Nov. 1998, pp. 38-39, ill. 474 NTmes. Carre d'Art, Musee d'Art Milwaukee: the museum, 1990, [8] pp., ill. Gallery exhibit in The Hague. Contemporain. Giuseppe Penone (Text: Giuseppe Penone). 448 Recent Glass Sculpture: A Union of 462 Murano. Elite Murano. Torino: Hopefulmonster, [1997], 223 pp., ill. Ideas (Text: Audrey Mann). I vetri di Elite Murano: Un vetro d'arte con In French and Italian. Milwaukee: the museum, [1997], 39 pp., ill. mille anni di storia = Elite Murano's glassware. Many of the artist's installations include glass Exhibition catalog. Glassmaking: An Art with a Thousand-Year- elements. Long History. 449 Miyamori, Haruna. Murano: the company, 1997, 196 pp., ill. 475 Nordin, Anna. "Glass Artist Harumi Yukutake: Commanding Catalogue of the company's works (1986— "Glastopografi." the Body and Committing to Glass the Fusion 1996); includes Murano glass glossary. Form, v. 95, no. 3 (723), 1999, p. 25, ill. of Technique and Imagination." New works by Richard Rackham inspired by Glass and Art (Tokyo), no. 23, Autumn 1998, 463 Mystery of Discovered Space: Contem­ weather in the Caribbean. pp. 22-34, ill. In Japanese. porary Slovak Glass Art (Text: Jarmila Racekova). 476 Osaka, Japan. Gallery Enomoto. 450 Mizuta, Yoriko. Bratislava, Slovak Republic: Agency Zachar Australian Glass: 10 Artists. "Modern and Contemporary Glass in Japan." Ltd., 1998, [48] pp., ill. Osaka: the gallery, 1998, 28 pp., ill. Glass Art Society Journal, 1998, pp. 15-18, ill. Works by 19 artists in London and Sunderland In Japanese and English. In English and Japanese. exhibitions. 477 Overduin, Wieke. 451 Moje, Klaus. 464 Nagoya, Japan. Daiichi Museum. "Het depot: Lebeau in Drente Museum." "New Glass at Canberra, Australia." Dale Chihuly (Text: Shigeru Ichihara, Dale Glas en Keramiek, no. 6, 1997, pp. 34-35, ill. Glass Art Society Journal, 1998, pp. 47-48, ill. Chihuly, Thomas S. Buechner, and Bryan Kei In Dutch and English. In English and Japanese. Ohno). Nagoya: the museum, 1997, 76 pp., ill. Museum acquires vase by Chris Lebeau. 452 Monroe, Michael W. "Biographical Note: Kyohei Fujita." 465 Namsser, Astrid. 478 Palm Desert, Calif. Imago Galleries. Glass Art Society Journal, 1998, p. 57, ill. "Profile: A Glassworks at the Cutting Edge." William Morris (Text: Jo Laura). In English and Japanese. Glass Style (Milan), v. 2, no. 1, Jan.-June Palm Desert: the galleries, 1999, [12] pp., ill. 1999, pp. 94-99, ill. Series of flora and fauna vessels, recalling Greek, Peruvian, and Native American pottery. 453 "Biographical Note: Alice Rooney." Dartington Crystal. Glass Art Society Journal, 1998, p. 61. In English and Japanese. 466 Nancy, France. Espace 54. 479 Paris. Galerie I'Eclat du Verre. Matei Negreanu (Text: Herve Claude). Matei Negreanu (Text: Elodie Bernard). 454 Monterrey, Mexico. Museo del Vidrio. Nancy: the gallery, 1994, 15 pp., ill. Paris: the gallery, 1995, [12] pp., ill. Forma, luz y color: Retrospectiva de Jon Kuhn. In French and English. In French and English. Monterrey: the museum, [1998], 24 pp. ill. Sculptures reminiscent of waves and wings. In Spanish and English. 480 Paris. Galerie Sordello. Exhibition catalog. 467 Nava, Vezio and others. Gilles Chabrier: Champs d'ames (Text: S. Sor­ "Alvar Aalto, un racconto per dettagli." dello). 455 Fragil: Arte en vidrio (Text: Claudia Avila Ottagono, v. 33, no. 128, Sept.-Nov. 1998, Paris: the gallery, 1996, [23] pp., ill. and Juileta Trevino). pp. 65-81, ill. In Italian and English. In French and English. Monterrey: the museum, [1998], 42 pp., ill. Brief mention of the designer's work in glass, Sandblasted representations of human heads. Exhibition catalog; works by 30 artists illustrated p. 78. 481 Pavey, Ruth. 456 Moor, Andrew. 468 New Glass Economy: Contemporary "Commissions: New Work for Manchester's Architectural Glass Art: Form and Technique British Glass from the University of Wolver­ Tib Street Trail." in Contemporary Glass. hampton. Crafts (U.K.), no. 157, March/April 1999, Wolverhampton: University of Wolverhampton, New York: Rizzoli, 1997, 160 pp., ill. pp. 20-23, ill. Includes glass sculpture, pp. 142-153. 1999, 95 pp., ill. In Chinese and English. Glass panels by Martin Donlin, neon lighting by Peter Freeman. 457 Morariu, Gavril luliu. 469 New Orleans. New Orleans Museum of "Of Glass Spheres and Columns." Art. 482 Peoria, III. Lakeview Museum of Arts Stained Glass, v. 93, no. 4, Winter 1998, Artistry in Glass: Cameo Glass by Kelsey and Sciences. pp. 289-292, ill. Murphy (Text: John Webster Keefe). Blowing Hot, Cutting Cold: 35th Anniversary Profile of Polish-born artist Mila Lil. New Orleans: the museum, [1995?], [20] pp., ill. of the Studio Glass Movement. Peoria: the museum, 1997, 24 pp., ill. 458 Moreno, Gean. 470 Trail of the Maverick: Watercolors and Exhibit of 31 artists, organized with assistance "American Baroque." Drawings by Robert Willson, 1975-1998 from Marx-Saunders Gallery, Chicago. Art Papers Magazine, v. 23, no. 4, July/Aug. (Text: Daniel Piersol). 1999, pp. 22-27, ill. New Orleans: the museum, 1999, 95 pp., ill. Interview with Liza Lou. Includes designs for glass sculptures, as well 483 Peterborough, Canada. Art Gallery of as photographs of works in glass. Peterborough. 459 Morrison, Rosalyn J. From the Core: Laura Donefer, Susan Edger- "Dreams, Passion and Commitment: Espace 471 Newman, Mark A. ley, Irene Frolic (Text: John Armstrong and Rosalyn Morrison). Verre." "Building Blocks." Peterborough: the gallery, 1998, 52 pp., ill. Ontario Craft, The Newsletter, no. 3, LD+A (Lighting Design + Application), v. 28, Sept. 1998, p. 5. no. 10, Oct. 1998, p. 25, ill. Brief report on the Montreal glass school and Glass block system illuminated with fiber optics. 484 Peterson, Chris. gallery. "Etched Masterpieces: Catrin Jones Captures 472 "Canadian Club." the Elusive Beauty of Fleeting, Ethereal 460 Moyer, Kathy M. LD+A (Lighting Design + Application), v. 28, Moments." "Ray and Bob Banford: Silver Anniversary." no. 10, Oct. 1998, p. 26, ill. Glass Craftsman, no. 155, Aug./Sept. 1999, Annual Bulletin of the Paperweight Collectors Use of glass and light in night club. pp. 6-9, ill. Association, 1999, pp. 76-83, ill. New Jersey paperweight makers. 473 Nielsen, Susanne. 485 "Inspiring Women, Inspiring Artists." "Sizzling Sands: Engulfed in Glass." Glass Craftsman, no. 150, Oct./Nov. 1998, 461 Mual, Makiri. Event Magazine, v. 5, no. 21, April 15-28,1999, pp. 12-17, ill. "Haute Verrerie van Frans Molenaar." p. 12, ill. The Women's International Stained Glass Glas/Kristal, Aardewerk/Porselein, v. 1, no. 1, Glass Art Society conference in Tampa, Florida. Network. 486 Petrova, Sylva. 498 Post, Melissa G. 511 Racekova, Jarmila. "Ohlednuti za vystavou dila, Elisky Rozatove v "Sculpture Bearing Witness to Glass Artist's Lednicke rovne: Medzinarodne sklarske Moravske Galerii v Brne." Creativity." sympozium, jun 1996 = International Glass Bulletin Moravske Galerie v Brne, v. 54,1998, The Corning Museum of Glass Newsletter, Symposium June 1996. kustodka sympozia. pp. 215-216, ill. Spring 1999, p. [3], ill. [S.I.]: Association of Slovak Glass Artists, Review of an exhibition by Eliska Rozatova at Michael Scheiner. [n.d., 1996?], [44] pp., ill. the gallery, 1996. In Slovakian and English. 499 "Some Reflections on the Competition = Artists from Slovakia, Australia, Czech Repub­ lic, Japan, the Netherlands, and Great Britain 487 Philip Baldwin, Monica Guggisberg: In Einige Betrachtungen uber den Wettbewerb." met in June, and their resulting work was ex­ Search of Clear Lines (Text: Susanne Frantz New Glass Review, no. 20,1999, pp. 32-39, ill. hibited. and Jean-Luc Olivie). In English and German. Berne: Benteli Verlag, 1998, 178 pp., ill. 500 Poutasuo, Tuula. 512 Radeschi, Loretta. "The Art of Judaica." 488 Philippe, Joseph. "Helena Tynell: Glass Artist and Designer." Form Function Finland, no. 71 (3), 1998, Glass Craftsman, no. 155, Aug./Sept. 1999, Jean Pi re: Ma it re tail leu r verrier du pays de pp. 10-13+, ill. Liege. pp. 52-55, ill. Liege: Editions du CEFAL, 1999, 95 pp., ill. English summary, p. 24. 501 Powers, Pike. 513 "A Collaboration: Lino Tagliapietra/ "A master cutter in crystal." "A Selection of New North American Artists." Steuben Glass." Glass Art Society Journal, 1998, pp. 51-52, ill. Glass Craftsman, no. 150, Oct./Nov. 1998, In English and Japanese. pp. 6-10, ill. 489 Picasso's Ladies: Jewellery by Wendy Rams haw. 514 "Two Fusers." Stuttgart: Arnold, 1998, 192 pp., ill. 502 Prague. Galerie Bratri Capku. Svetlo stin cas: Pavel Trnka, svetelne obrazy Glass Craftsman, no. 152, Feb./March 1999, Jewelry inspired by Picasso's portraits; some pp. 12-17, ill. items include glass. a svetelny kineticky objekt = Light, Shadow, Time: Pavel Trnka Light Images and Light Kiln-formed pieces by Roger Nachman and Kinetic Object (Text: Jiff Urban). Kathleen Sheard Purvine. 490 Pino Signoretto: Maestro vetraio ed arti- Praha: the galerie, 1997, 63 pp., ill. sta (Text: Salvatore Gravili). In Czech and English. 515 Radice, Barbara. Venezia: Grafiche Veneziane, 1997, [101] pp., ill. Exhibition catalog. Memphis: Research, Experiences, Results, Primarily illustrations of his works (spherical Failures, and Successes of New Design. sculptures, horses and other animals, human 503 Prague. Galerie Hlavniho Mesta Prahy. New York: Thames and Hudson, [1995], figures, etc.). Vladimir Kopecky. 207 pp., ill. Praha: the gallery, 1999, [204] pp., ill. Includes glass. 491 Pinot de Villechenon, Marie-Noelle. In Czech and English. "Acquisitions: Sevres. Musee National de Exhibition catalog. 516 Raether, Keith. Ceramique." "Through a Glass Brightly: New Tradition of Revue du Louvre, v. 49, no. 1, Feb. 1999, 504 Prague. Umeleckoprumyslove museum Transparent Artwork Dawns at Taos Pueblo." p. 102, ill. v Praze. Native Peoples, v. 12, no. 3, Spring 1999, Bottle decorated with murrine by Ermanno Cesky design: 1980-1999 (Text: Milena Lama- pp. 26-32, ill. Toso, 1956. rova). Studio glass center and exhibition space built Praha: the museum, 1999, 148 pp., ill. on reservation land. 492 Pittsburgh. Society for Contemporary Includes glass. Crafts. 517 Rage Mafud, Jose Antonio. Transformation: Contemporary Glass. The 505 Presenting the 16th Annual Smithsonian "Fragil: Arte en vidrio = Fragile: Glass Art." Elizabeth R. Raphael Founder's Prize Exhibi­ Craft Show. Vidrio (Asociacion de Artistas del Vidrio), no. 1, tion (Text: Steve Tobin). [Washington, DC: Smithsonian Women's March-May 1999, pp. 11-13, ill. Pittsburgh: Society for Contemporary Crafts, Committee, 1998], 53 pp., ill. In Spanish and English. 1997, 28 pp., ill. Includes glass. Exhibition in Monterrey, Mexico. Works by 21 artists. 506 Pressman, Jennifer. 518 Reekie, David. 493 Pohribny, Arsen. "Going Gaga for Goti." "Satire and Irony in My Work: Themes and "Vladimir Kopecky." Glass Style (Milan), v. 2, no. 1, Jan.-June 1999, Ideas." Atelier, nos. 16/17, Aug. 26, 1999, p. 16, ill. pp. 133-137, ill. Conference Report 1998 (2nd Contemporary English summary, p. 15. Glassware by Barovier & Toso. Glass Society Conference, Sunderland, Eng­ Review of exhibition in Prague. land). [Stoke-on-Trent, UK]: the society, p. 5, ill. 507 "Maleras and the Many Faces of Mats Summary of conference presentation. 494 Pollock-Hill, Stephen. Jonasson." 519 "The Work of David Reekie." "Glass in Public Works of Art I." Glass Style (Milan), v. 2, no. 2, June-Dec. 1999, The Glass Cone, no. 48, Winter 1998/1999, Conference Report 1998 (2nd Contemporary pp. 172-177, ill. pp. 8-9, ill. Glass Society Conference, Sunderland, Eng­ Designs by Mats Jonasson and Erika Hoglund land). [Stoke-on-Trent, UK]: the society, p. 8, ill. at the Swedish company. Summary of conference presentation. 520 Reid, Colin. 508 "Romancing the Stone." "Glass in Public Works of Art II." Glass Style (Milan), v. 2, no. 1, Jan.-June 1999, Conference Report 1998 (2nd Contemporary 495 Pontiac, Mich. Habatat Galleries. pp. 35-41, ill. Glass Society Conference, Sunderland, Eng­ Martin Blank. Swarovski's Crystal Worlds center (Kristall- land). [Stoke-on-Trent, UK]: the society, p. 9, ill. Pontiac: the galleries, 1998, [15] pp., ill. welten) in Wattens, Austria. Summary of conference presentation. Exhibition of figurative glass sculptures. 509 "Steuben and Tagliapietra: A Magical 521 Richmond, Rachel. 496 Porcelli, Joe. Combination." "Sign of the Times." "Cold Fusion: Beyond Laminating and Plating Glass Style (W\\\an), v. 2, no. 2, June-Dec. 1999, Swarovski, no. 9, Oct. 1998, pp. 6-7, ill. Glass." pp. 118-125, ill. Designer Tao Ho. Glass Craftsman, no. 154, June/July 1999, pp. 12-18, ill. 510 Prouse, Louise. 522 Riendeau, Isabelle. "Gerry King: Changing Tack - The Glass "Susan Edgerley: Le Verre, comme meta- 497 "Fiori di Como: Dale Chihuly's Latest for Artists Gallery, Glebe." phore de I'existence." the Bellagio Resort in Las Vegas." Ausglass Newsletter (Australian Association Vie des Arts, v. 42, no. 174, Spring 1999, Glass Craftsman, no. 152, Feb./March 1999, of Glass Artists), no. 2, Spring 1998, p. 7, ill. pp. 32-34, ill. p. 55, ill. Review of exhibition. Analysis of the artist's work. 523 Riihimaki, Finland. Suomen Lasimuseo. English summary, p. 15. Interview with Helmut Ricke, director of the Studiolasia - studioglas 1975 (Text: Soren Large installation by Swedish artist Kjell Eng- Kunstmuseum Dusseldorf, about the exhibition. Sass). man. Riihimaki: the museum, 1975, [24] pp., ill. 545 "Pierre Declerck: La Lumiere est dans In Finnish, English, German, and French. 535 "A Study in Glass." le verre." Exhibition of studio glass by 17 artists from GlasPosten (Foreningen Glasmuseets Venner, Verre & Creation, no. 14, March 1999, p. 4, ill. the United States, Europe, and Australia. Ebeltoft), no. 3, Aug. 1998, p. 4, ill. English summary, p. 8. English summary, p. 15. Exhibition at Sars-Poteries. 524 Venini venezia: Moderni lasi = Modern Exhibition about history of studio glass. Glass. 546 "Portrait: Vincent van Ginneke des clefs Riihimaki: the museum, 1998, 84 pp., ill. 536 "Tillykke!" pour le verre." In Finnish and English. GlasPosten (Foreningen Glasmuseets Venner, Verre & Creation, no. 15, June 1999, p. 4, ill. Exhibition of Venini designs at the Finnish Ebeltoft), no. 4, Nov. 1998, p. 5, ill. English summary, p. 8. Glass Museum in 1998. English summary, p. 15. Exhibition of graduate work by students from 547 "Sars-Poteries: Collectionner la creation." England, the Netherlands, Denmark, Sweden, 525 Robinson, Michael. Verre & Creation, no.15, June 1999, pp. 4-5, ill. and Japan. "Radiant: Sculpture by Zora Palova, English summary, p. 8. Christina Kirk and Susan Hill." Interview with the director of the Musee-Atelier Crafts (U.K.), no. 160, Sept./Oct. 1999, 537 Sainz, Antonio L. du Verre regarding the museum's acquisition pp. 59-60, ill. "Keshava." policies. Exhibition review. Revista Vidrio Internacional, no. 7, June 1998, pp. 47-51, ill. 548 "Sylvie Vandenhoucke: L'Ombre du verre." 526 Romanelli, Marco. Work by Keshava (Antonio Luis Sainz), Barcelona architectural glass artist. Verre & Creation, no. 12, Sept. 1998, p. 4, ill. "12 oggetti = 12 Objects." English summary, p. 8. Abitare, no. 378, Nov. 1998, pp. 154-165, ill. Profile of the artist. In Italian and English. 538 San Francisco. M. H. de Young Memo­ Glass bottles by Cristiano Bianchin (p. 156) rial Museum. and bowls by Roberto and Ludovica Palomba The Art of Craft: Contemporary Works from 549 Save, Colette and Beaumont, Thierry de. (p. 161). the Saxe Collection (Text: Timothy Anglin "Chateau de verre." Burgard). Verre (Institut du Verre, Versailles), v. 4, no. 5, [San Francisco]: Fine Arts Museums of San Sept./Oct. 1998, pp. 78-79, ill. 527 Rooney, Alice. Exhibition of contemporary glass at Pauillac. "1998 Lifetime Achievement Award: Alice Francisco; Boston: Bulfinch Press/Little, Rooney - Alice through the Looking Glass." Brown and Company, 1999, 270 pp., ill. Glass Art Society Journal, 1998, pp. 58-61, ill. Glass, pp. 41-129. 550 "Fabienne Picaud: Alchimie du verre." In English and Japanese. Verre (Institut du Verre, Versailles), v. 5, no. 1, 539 Santa Monica, Calif. Santa Monica Jan./Feb. 1999, pp. 46-47, ill. Profile of the artist. 528 Rose-Shapiro, Annette. Museum of Art. "Reviews: Toots Zinsky [sic]." Liza Lou (Text: Peter Schjeldahl and Marcia Glass: The UrbanGlass Art Quarterly, no. 73, Tucker). 551 "Jaromir Rybak: Creatures de verre." Winter 1998, p. 48, ill. Santa Monica: the museum in associat in with Verre (Institut du Verre, Paris), v. 5, no. 3, New York exhibition. Smart Art Press, 1998, 63 pp., ill. May/June 1999, pp. 62-63, ill. Examines two of the artist's beaded sculptural works, Kitchen and Back Yard. 529 Rutjers, N.J. Stedman Gallery, Rutgers- 552 "Sur le front du verre." Camden Center for the Arts. Verre (Institut du Verre, Paris), v. 5, no. 2, 540 Santar, Jindrich. Visual Poetry and Walt Whitman's Camden. March/April 1999, pp. 68-69, ill. Expo 58: Svetova vystava v Bruselu. Rutgers: The State University of New Jersey, Notes on exhibitions in Strasbourg and else­ Praha: Statni nakladatelstvi krasne literatury a 1998, [55] pp., ill. where. Includes Paul Stankard paperweight (pp. 18-21). umem, 1961, [300] pp., ill. Photos of international pavilions at Brussels 553 "'Venezia Aperto Vetro': Hommage a 1958 Expo includes special section on glass Venise." 530 Ryan, Kathleen. display. "A Star-Studded Collection: Joy to the World's Verre (Institut du Verre, Versailles), v. 4, no. 6, Celebrity-Backed Ornaments Are Fund-Rais- Dec. 1998, pp. 62-63, ill. 541 Sapporo, Japan. Hokkaido Museum of ers for Some Very Worthwhile Organizations." Exhibition review. Modern Art. Collector Editions, v. 26, no. 7, Dec. 1998, Contemporary Australian Craft. pp. 66-68, ill. Sapporo: the museum, 1999, 165 pp., ill. 554 "Verriales de Biot: Nouvelles alliances." In Japanese and English. Verre (Institut du Verre, Paris), v. 5, no. 4, 531 Ryckaert, Marie-Leen. Glass sculptures and jewelry by Giles Bettison, July/Aug. 1999, pp. 46-47, ill. "Musee-atelier du verre de Sars-Poteries: Deborah Cocks, Benjamin Edols and Kathy Review of exhibition at Galerie Internationale Een levendig centrum voor modern glas in Elliot, Brian Hist, Klaus Moje, Stephen Procter, du Verre, Biot, France. Noord-Frankrijk." Pierre Cavalan, Giselle Courtney, and Blanch Glas/Kristal, Aardewerk/Porselein, v. 2, no. 2, Tilden. 555 Scheinin, Henry. April 1999, pp. 27-28, ill. "All Smiles: A Semiotic Analysis of Smile, a 542 Sarpellon, Giovanni, ed. Work of Glass Sculpture by Professor Timo 532 Sahl-Madsen, Charlotte. Fragilita e forza: I vetri di Umberto Mastroianni. Sarpaneva." "Fantasi i glas: For born og barnlige sjaele " Milano: Electa, 1998, 106 pp., ill. Form Function Finland, no. 72 (4), 1998, GlasPosten (Foreningen Glasmuseets Venner, In English and Italian. pp. 54-56, ill. Ebeltoft), no. 4, Nov. 1998, p. 4, ill. Fifty-nine works by the Italian glassmaker and English summary, p. 15. sculptor. 556 Schipper, K. Exhibition of imaginative works in glass, "The Challenge Is Always There." designed with children in mind. 543 Sars-Poteries, France. Musee-Atelier A&E (The Magazine for Awards & Engraving du Verre de Sars-Poteries. Professionals), v. 12, no. 7, Sept. 1999, 533 "Fortolkninger - A Study in Glass." Pierre Declerck. pp. 64-69, ill. GlasPosten (Foreningen Glasmuseets Venner, Sars-Poteries: the museum, 1999, 19 pp., ill. Profile of Wilf Paddock, who has designed Ebeltoft), no. 2, May 1998, p. 4, ill. In French and English. items for Britain's royal family. English summary, p. 15. Exhibition catalog. Review of two exhibitions. 557 Schneider Enriquez, Mary. 544 Save, Colette. "Star Track: Mexico City - Yolanda Gutierrez." 534 "Myternes vatten." "Dusseldorf: The Glass Skin.'" ARTnews, v. 97, no. 5, May 1998, p. 152, ill. GlasPosten (Foreningen Glasmuseets Venner, Verre & Creation, no. 14, March 1999, Installation on lake includes 60 glass spheres Ebeltoft), no. 2, May 1998, p. 5, ill. pp. 2-3, ill. English summary, p. 8. holding water. 558 Schnetzer, Jenny. U.S. Glass, v. 33, no. 10, Oct. 1998, English summary, p. 15. "Neo Neon: Electric-Sign Companies Show­ pp. 42-43+, ill. Exhibition of contemporary American glass case Knockout Neon Applications." beads. Signs of the Times, v. 221, no. 4, March 1999, 571 Silander, Liisa. pp. 102-105, ill. "Ultimate Exposure." 583 Glas pa kroppen: Moderne ameri- RISD Views (Rhode Island School of Design), kanske glasperler = Contemporary American 559 Schrijvers, Dirk. v. 9, no. 3, Summer 1997, pp. 8-13, ill. Glass Beads. "Glasatelier L'Anverre: Een tentoonstelling." Public sculptures by Howard Ben Tre. Kobenhavn: Forlaget Thot, 1998, 79 pp., ill. Glasbulletin, Vereniging van Vrienden van Mo­ In Danish and English. dern Glas, v. 13, no. 1, 1999, pp. 16-18, ill. 572 Silberman, Robert. Twenty-seven American glass beadmakers Exhibition at Museum voor Sierkunst en "Scott + Scott: Elizabeth Talford Scott and profiled. Vormgeving, Ghent. Joyce Scott." American Craft, v. 58, no. 6, Dec. 1998/ 584 SOFA NYC 1999: Sculpture Objects 560 Schweinfurt. Schweinfurter Museum. Jan. 1999, pp. 40-45, ill. Functional Art. Erwin Eisch: "Nimm zwei und werde frei." Joyce Scott's beaded sculptural works. Chicago: Expressions of Culture Inc., 1999, Glas, Malerei, Zeichnung (Schweinfurter 161 pp., ill. Museumsschriften, Bd. 71/1997. Schneider, 573 Sillevis, John and Berengo, Adriano, eds. Erich, ed.). Berengo Collection: Glass-A Possibility of Art. 585 SOFA: Sculpture Objects Functional Schweinfurt: the museum, 1997, 107 pp., ill. Venice: Marsilio, 1998, 207 pp., ill. Art. Chicago Exposition 1996. In English and Italian. Chicago: Expressions of Culture Inc., 1996, 561 Seattle. Seattle Art Museum. 211 pp., ill. Richard Marquis: Objects (Text: Tina Oldknow). 574 Simon, Jordan. Seattle: the museum, 1997, 143 pp., ill. "Decoupage: From Hobby to Art - Artist Scott 586 SOFA: Sculpture Objects Functional Published on the occasion of a retrospective Potter Elevates the Common Collage." Art. Miami Exposition 1996. at the Seattle Art Museum. Art & Antiques, v. 22, no. 5, May 1999, Miami: Expressions of Culture Inc., 1996, p. 74+, ill. 129 pp., ill. 562 Seeler, Margarete. Many of the artist's works are layered behind glass objects, including vases, urns, plates, "If You Could Look over My Shoulder: Part II - 587 SOFA: Sculpture Objects Functional and compotes. The Making of a Cloisonne Altar." Art. New York City Exposition 1998. Glass on Metal, v. 9, no. 5, Oct. 1990, New York City: Expressions of Culture Inc., pp. 92-95, ill. 575 Simpson, Richard V. 1998, 131 pp., ill. "The Lampwork and Sculptured Paperweights of Victor Trabucco." 563 "If You Could Look over My Shoulder: 588 Sprengnagel, Dusty. The Making of a Large Cloisonne Wall Piece." Antiques & Collecting Magazine, v. 104, no. 3, May 1999, pp. 32-36+, ill. Neon world. Glass on Metal, v. 9, no. 4, Aug. 1990, Cincinnati: ST Publications, 1999, 229 pp., ill. pp. 76-79+, ill. Neon signs and graphics from major cities 576 Sipe, Jeffrey R. around the world; also a section on neon art "Artistry in Motion." 564 Seeling, Maarit. and installations. American Style, v. 5, no. 2, Winter 1998, "Heikki Orvola: Kaj Franck Design Award 1998." pp. 48-55, ill. Form Function Finland, no. 72 (4), 1998, Profile of Therman Statom. 589 Stavis, Amy. pp. 4-7, ill. "By Design: Tom Conrad - Spotlight on Creator" Tableware Today, v. 4, no. 6, Oct./Nov. 1999, 577 Skupina, Vytvarna. 565 "A Landscape of Dreams at Retretti." pp. 68-69, ill. Tvrdohlavi: 1987-1999. Designer of contemporary glass collections. Form Function Finland, no. 70 (2), 1998, [S.I.]: Silver Screen, 1999, 219 pp., ill. pp. 40-42, ill. In Czech with English summary. Glass artists Annaleena Hakatie and Markku Includes works in glass by Zdenek Lhotsky 590 "Champagne Wishes." Salo exhibit at Retretti Art Centre, Finland. (pp. 120-123) and Stepan Milkov (p. 130). Tableware Today, v. 3, no. 5, Aug./Sept. 1998, pp. 49-51, ill. Cristalleries Royales de Champagne. 566 Seince, Frangoise. 578 Smallenburg, Sandra. "Au rythme du verre." "Het leven is vergankelijk: Over het werk van Le Courrier des Metiers d'Art, no. 177, Jan./ Philippa Edwards en Lieve van Stappen." 591 "Venetian Finds." Feb. 1999, p. 14, ill. Glas en Keramiek, no. 6, 1997, pp. 26-29, ill. Tableware Today, v. 3, no. 5, Aug./Sept. 1998, Monica Guggisberg and Philip Baldwin exhibit In Dutch and English. pp. 46-48, ill. in Nonfoux, Switzerland. Artists' sculptures combine glass with other Seguso Viro. materials. 567 Selman, Lawrence H. 592 Stenros, Anne. "Denali Crystal: Making Sense Out of Abstract 579 Smart, Tom. "Realta e Utopia: Le due facce del design Art." "The Unwilling Bestiary: Glass Sculpture by finlandese = Two Faces of Finnish Design: Annual Bulletin of the Paperweight Collectors lone Thorkelsson, Poetry by Lea Littlewolfe." Reality vs. Utopia." Association, 1999, pp. 84-90, ill. Glass Gazette (Glass Art Association of Domus, no. 810, Dec. 1998, pp. 50-55, ill. Profile of the studio and the processes used Canada), Spring 1999, pp. 3-5, ill. In Italian and English. to create abstract paperweights. Profile of the Canadian glass artist. Set of glasses, block-lamp, and glass con­ tainer illustrated. 568 Songs Without Words: The Art of the 580 Smith, Mark A. Paperweight - Rick Ayotte. "Egg-Shaped Paperweights. Part III." 593 Stone, Kari. Santa Cruz, CA: Paperweight Press, 1997. Glass Collector's Digest, v. 12, no. 4, Dec.1998/ "Stringing Along." 152 pp., ill. Jan. 1999, pp. 39-43, ill. Jewelry Crafts, March/April 1999, pp. 49-51, ill. Paperweights by contemporary craftsmen. Beadmakers Robert and Kari Madera. 569 Severa, Zdenek. Part 1: v. 8, no. 2, Aug./Sept. 1994; part 2: v. 9, "Tri vystavy soudobeho skla." no. 3, Oct./Nov. 1995 594 Stroter, Michael. Tvar, v. 7, no. 10, 1955, pp. 304-314, ill. "Milan Vobruba." Russian, English, and French summaries. 581 Smythe, Lynn. Glas en Keramiek, no. 2, 1998, pp. 24-27, ill. Three exhibitions of contemporary Bohemian "The Art of Glass Fusing." In Dutch and English. glass, one devoted to commercial glass and Jewelry Crafts, Jan./Feb. 1999, pp. 8-10, ill. Profile of the Czech artist. the other two focusing on artistic trends. 582 Sode, Torben. 595 Sturcz, Janos. 570 Shaver, Leslie. "Glas pa kroppen." '"I Hope I Am Disturbing.'" "When Disasters Strike: Glass Shops Master GlasPosten (Foreningen Glasmuseets Venner, This Side Up! (Valkenswaard, The Nether­ Disasters by Planning Ahead." Ebeltoft), no. 4, Nov. 1998, p. 6, ill. lands), no. 5, Spring 1999, pp. 12-13, ill. Speech from 1998 Hungarian Glass Art Asso­ 608 Tomita, Yasuko. Glas/Kristal, Aardewerk/Porselein, v. 2, no. 2, ciation symposium. "Hotworking with Takahashi Yoshihiko: April 1999, pp. 38-40, ill. Beauty Enhancement Techniques - Forming a Tour of Amsterdam highlighting glass studios 596 Sweeney, Noreene. Pitcher Lip." and galleries. "A Glass Act." Glass and Art (Tokyo), no. 23, Autumn 1998, Figurines & Collectibles, v. 4, no. 5, Nov./ pp. 84-87, ill. In Japanese. 620 Vanlatum, Anne. Dec. 1998, pp. 72-76, ill. "Michel Martens: Reflexion de verre." Profiles of five glass ornament companies. 609 Tommasini, Maria Cristina. Verre & Creation, no. 15, June 1999, pp. 2-3, ill. "Notizie/News: Anni '60 - Design ritrovato = English summary, p. 8. 597 Sweren, Betty R. The '60s-Design Born-Again." Exhibition review. "An Adventure in Heat and Light." Domus, no. 814, April 1999, u.p., ill. James Renwick Alliance Quarterly, Fall 1999, In Italian and English. 621 Varga, Vera. p. 4, ill. Artemide revives 18 lamp designs from the "Uveg: Ipar vagy kepzomuveszet?" Glass Weekend at Wheaton Village in Millville, 1960s. Magyar Iparmuveszet, no. 4, July/Aug. 1995, New Jersey. pp. 28-31, ill. 610 Topp, Pat Diacca. Glass as a fine art. 598 Szabo, Erno P. "Carefree Lusters: Total Fascination." "Horvath Marton muhelyeben." Glass on Metal, v. 14, no. 3, June 1995, 622 Vedrenne, Elisabeth. Magyar Iparmuveszet, no. 2, March/April 1995, pp. 64-65+, ill. "Les Vanites d'Antonio Cagianelli." pp. 9-11, ill. English summary, p. 63. Report on commissioned work of enamel on L'Oeil, no. 505, April 1999, p. 28, ill. Profile of the artist. glass. Paris exhibition.

599 Szklane nieznane = Unknown Glass = 611 Torshalla, Sweden. Brandt Contempo­ 623 Venice. Museo Correr. Okant glas (Text: Agata Saraczynska). rary Glass. Avventurine: Massimo Nordio (Text: Attilia Vaxjo: Kulturspridaren Forlag, 1999, 19 pp., ill. Katalog nr 1 (Text by Asa Brandt, Jarl Helli- Dorigato). In English and Swedish. chius, and Pauline Solven). Venezia: Arsenale Editrice, 1999, 79 pp., ill. Exhibition of studio glass from Poland. Torshalla: the studio, 1999, [44] pp., ill. Exhibition catalog. In Swedish and English. 600 Szkfo miodych '92. Exhibition includes works by Beatriz Castro, 624 Verdier, Jean-Emile. Wroclaw: Pa'nstwowa Wyzsza Szkota Sztuk Keiko Mukaide, Steven Newell, Colin Reid, "Caroline Boileau: Au commencement de la Plastycznych we Wroctawiu, 1992, [32] pp., ill. Pauline Solven, and Maria Barnes (student). sculpture etait la surface. . . ." Artists' biographies in Polish and English. Vie des Arts, v. 42, no. 173, Winter 1998-1999, Exhibition of young Polish glass artists. 612 Trapp, Kenneth R. pp. 47-49, ill. "Glass! Glorious Glass!" 601 Tacoma, Wash. Tacoma Art Museum. James Renwick Alliance Quarterly, Fall 1999, 625 Vicha, Jan. The Jewelry of Ken Cory: Play Disguised p. 1+, ill. "Murano-Glas nach 1940: Einschatzungs- (Text: Ben Mitchell, Tom Robbins, and Nancy Review of exhibition at the National Museum problematik spaterer Modell-Varianten." Worden). of American Art. Weltkunst, v. 67, no. 17, Sept. 1, 1997, p. 1717, ill. Tacoma: the museum; Seattle: University of Washington Press, 1997, 135 pp., ill. 613 Tringo, Thalia C. 626 Waggoner, Shawn. Some works incorporate glass. "Kristina Logan: The Bead as Art." "The Best of Both Worlds: Kessler Studios." Glass: The UrbanGlass Art Quarterly, no. 73, Glass Art, v. 14, no. 4, May/June 1999, 602 Tampa. Tampa Museum of Art. Winter 1998, pp. 20-25, ill. pp. 58-63, ill. Clearly Inspired: Contemporary Glass and Its Origins (Text: Karen S. Chambers and Tina 614 Turcajova, Marie. 627 "The Glass Canvas of Robert Pinart." Oldknow). "Sklarsky mistr Louis Leloup vystavoval v Glass Art, v. 14, no. 3, March/April 1999, Tampa: the museum; San Francisco: Praze a Liberci." pp. 54-59, ill. Pomegranate, 1999, 134 pp., ill. Sklar a Keramik, v. 49, no. 5, 1999, Interview with the artist. pp. 134-135, ill. 603 Tarlow, Lois. 628 "Sentinel to Spirit Figure: Cast Glass "Profile: Alan Glovsky." 615 Tuttle, Dennis. Sculpture by Susan B. Gott." Art New England, v. 20, no. 2, Feb./March "Neon America." Glass Art, v. 14, no. 5, July/Aug. 1999, pp. 4-8, ill. 1999, pp. 27-29, ill. Figurines & Collectibles, v. 4, no. 6, Jan./ Interview with the artist. Feb. 1999, pp. 41-43, ill. 629 Walker, Linda Marie. Jerry Berta's ceramic sculptures include work­ "Nick Mount: Gradually, as One Watches." 604 Templado, Louis. ing neon signs. Object (Centre for Contemporary Craft, Syd­ "Piscine Predilections." ney), no. 1, 1998, pp. 22-23, ill. Glass Music World, Fall 1998, p. 4+, ill. 616 van der Burght, Angela. Exhibition of scent bottles in Adelaide, Australia. Japanese design firm has developed a glass "3 X Galerie." harp shaped like a carp. Glasbulletin, Vereniging van Vrienden van Mo­ 630 Wallraf-Losch, Ursula and Losch, Rainer. dern Glas, v. 13, no. 1, 1999, pp. 30-33, ill. "Schwedisches Glas: Perfektionismus par ex­ 605 Thiel, Ana. Galerie Pavlovsky, Utrecht; Via Verde Glas- cellence." "Escultura de vidrio en Mexico: Sus pioneros galerie, Heukelum; and Contemporary Art Sammler Journal, v. 28, no. 1, Jan. 1999, = Glass Sculpture in Mexico: The Pioneers." Centre, Schalkwijk. pp. 32-36, ill. Vidrio (Asociacion de Artistas del Vidrio), no. 1, March-May 1999, pp. 4-9, ill. 617 Van Nunen, Linda. 631 Walter, Layla. In Spanish and English. "A Glass Act: Dale Chihuly." "1998 RFC Glass Prize." Brief profiles of Feliciano Bejar, Gladys Brawer, Object (Centre for Contemporary Craft, Syd­ New Zealand Society of Artists in Glass Andrea Cordova, Xavier Melendez, and ney), no. 1, 1998, pp. 42-45, ill. Newsletter, Dec. 1998, p. 4. Marcelo Rodi. Chihuly's Sydney Project. Review of the 1998 finalists' exhibit in Sydney.

606 Thiele, Mark. 618 van Ommen, Kasper. 632 Warmus, William. "Hooked on Glass." "Unica van Chris Lebeau in Museum Boijmans "Catherine Rahn: Deep Glass." Smarts, no. 18, June 1999, pp. 25-26, ill. Van Beuningen." Glass Art, v. 14, no. 2, Jan./Feb. 1999, Brief self-portrait by the Australian glass artist. Glasbulletin, Vereniging van Vrienden van pp. 4-8+, ill. Modern Glas, v. 13, no. 1, 1999, pp. 28-29, ill. Account of artist's works photographed at 607 Tirado, Michelle J. various underwater sites. "Reviews: Joyce Scott." 619 van Riemsdijk, Marjolijn. New Art Examiner, v. 26, no. 9, June 1999, "En Route: Een glas- en keramiekwandeling 633 Warnia, Pierre. p. 46, ill. door Amsterdam." "La Verrerie de Biot®: Le Secret du succes." Offrir International: Arts & Cadeaux pour la 643 Whiteley, Richard. 654 Wright, Richard Aaron. Maison, no. 359, Jan. 1999, pp. 123-125, ill. "Perceptions and Experiences of Cross- "Photons: Artist's Rendering." Glass gallery and studio at Biot, France. Cultural Professional Development." LD+A (Lighting Design + Application), v. 28, Glass Art Society Journal, 1998, pp. 68-69, ill. no. 8, Aug. 1998, p. 12, ill. 634 Washington, D.C. Maurine Littleton In English and Japanese. Sphere-shaped glass and metal sculpture in Gallery. Minneapolis. Ginny Ruffner. 644 "RFC Glass Prize Review." Washington, DC: the gallery, 1999, [16] pp., ill. Ausglass Newsletter (Australian Association 655 Wuohela, Lisa. of Glass Artists), no. 2, Spring 1998, p. 6, ill. "Studio Profile: What's New in Hot Glass? 635 Therman Statom. Review of 4th annual exhibition in Sydney. Geisterblitz Hot Glass Studio." Washington, DC: the gallery, [1999], [20] pp., ill. Glass Gazette (Glass Art Association of 645 Whiting, David. Canada), Winter 1999, pp. 3-5, ill. 636 Washington, D.C. Renwick Gallery. "Art of Glass." Skilled Work: American Craft in the Renwick Crafts (U.K.), no. 156, Jan./Feb. 1999, 656 Yood, James. Gallery, National Museum of American Art, pp. 26-29, ill. "Chardiet: Still Life." Smithsonian Institution. Tessa Clegg, winner of the 1998 Jerwood American Craft, v. 58, no. 6, Dec. 1998/ Washington, DC: Smithsonian Institution Prize for Applied Arts (Glass). Jan. 1999, pp. 32-35, ill. Press, 1998, 191 pp. ill. Profile of artist Jose Chardiet. Glass, pp. 41-42, 50-51, 53, 106-125. 646 Wichert, Geoffrey. "Latitudes II." 657 "Reviews: Ginny Ruffner." 637 Waterloo, Ontario, Canada. Canadian Glass: The UrbanGlass Art Quarterly, no. 73, Glass: The UrbanGlass Art Quarterly, no. 73, Clay and Glass Gallery. Winter 1998, p. 50, ill. Winter 1998, p. 49, ill. Containment: The Space Within - An Exhibi­ Exhibition in Portland, Oregon. Chicago exhibition. tion of Clay and Glass Art at the Canadian Clay and Glass Gallery (Text: Ann Roberts). 647 Wiles, Shelly E. 658 Yoshinaga, Miyako. Waterloo: Waterloo Printing, 1994, 32 pp., ill. "Carol Grape." "Column from the World: U.S.A. Light and Text in English and French. Ornament, v. 22, no. 3, Spring 1999, pp. 60-61, ill. Darkness in Southern California - Neon Art Artist's millinery sculptures include glass leaves Encountered in La Jolla." and beads. 638 Weingarten, Lucille and Speights, M. W. Glass and Art {Tokyo), no. 23, Autumn 1998, "An Inside Look at the Labor Intense Process p. 75, ill. In Japanese. of Making Czech Glass." 648 Williams, Maureen. The National Button Bulletin, v. 58, no. 1, "The 11th Biennial Ausglass Conference." 659 Zelezny Brod, Czech Republic. Feb. 1999, pp. 39-42, ill. Craft (Craft Victoria), v. 29, no. 237,1999, p. 33. Stredni umeleckoprumyslova skola sklarska. Photos of contemporary glass button-making Sklo 1920-1996 (Text: Antonin Langhamer). in Czechoslovakian factories. 649 Wines, Suzan. [S.I.: s.n.], 1996, 78 pp., ill. In Czech, with "Le due anime del design = The Two Souls of summaries in English and German. Design." 639 Wenzel, Lynn. Student work at the Secondary School of Domus, no. 810, Dec. 1998, pp. 56-63, ill. "Little Gardens of Glass: Collecting Lundberg Applied Arts for Glassmaking in Zelezny Brod. Paperwiehgts [sic]" In Italian and English. Southern Antiques, v. 24, no. 1, Feb. 1999, Finnish designer/artist Stefan Lindfors uses p. B1+, ill. fiberglass in sculptures, furniture. 660 Zetter, Marika. "Fulltraff for finsk form." Antik & Auktion, no. 4, April 1999, pp.70-73, ill. 640 Werstiuk, Jeff. 650 Winton, Ben. Finnish designers Tapio Wirkkala and Timo "Pioneers of Glass Program at Red Deer, Part 1." "Creating: Preston Singletary - Native and Sarpaneva. Glass Gazette (Glass Art Association of European Traditions Meet in Preston Single- Canada), v. 3, no. 37, Aug. 1999, p. 10, ill. tary's Tlingit Glass Designs." Native Peoples, v. 12, no. 3, Spring 1999, 661 Zuniga, Alberto. "The Discovery of Beauty." 641 Wesel, Klaus von. pp. 44-48, ill. Schott Info, no. 88, March 1998, pp. 28-29, ill. "Kunsthandwerk Made in Nordrhein-West- falen: Manu Factum '99." 651 Wit, Esther de. Spanish sculptor Antonio Aranda "Tobaras" Kunsthandwerk & Design, no. 5, Sept./ "Glaskunstbeurs 1998: Leerdam als mekka combines wood with glass. Oct. 1999, pp. 26-31, ill. voor de glasliefhebber." Award to Lothar Gobel for glass and stone Glas/Kristal, Aardewerk/Porselein, v. 1, no. 1, 662 "From Neck to Foot: Art from Spain." sculpture; window installation by Michaela Nov. 1998, p. 23, ill. Schott Info, no. 86, Sept. 1998, pp. 24-25, ill. Maria Moller also illustrated. Spanish artist Emilio Rabal transforms necks 652 "Glasrijk Tubbergen." of empty bottles into stems and feet for wine­ 642 West Bloomfield, Mich. Janice Charach Glas/Kristal, Aardewerk/Porselein, v. 1, no. 1, glasses. Epstein Museum/Gallery. Nov. 1998, p. 19, ill. Zippity Do-Dah: Recent Work by Ricky Bern­ 663 6th Glass Works Korea. stein (Text by Bruce Pepich and others). 653 Wouter Bolangier. Seoul: Hanglas, 1998, [36] pp., ill. [West Bloomfield?: the gallery?, 1999?], [Watou, Belgium]: Koen Art, [1999], 48 pp., ill. In Korean and English. [12] pp., ill. Insert in French, English, German, Spanish, Catalog for exhibition at Bunka Center, Humorous wall-mounted glass reliefs of people. and Italian. Fureai Hall, Seto, Japan. FLAT GLASS (after 1945) including Architectural, Mosaic, Painted, and Stained Glass FLACHGLAS (nach 1945) einschlieBlich architekturbezogenes Glas, Mosaikglas, Glasmalerei und Bundglas

664 Anonymous. 676 "'Float Glass Painting': New Develop­ 688 "Un museo y la renovacion del hogar, "An Architect Talks about Designing with ments in Architectural Glass." ganan los premios DuPont Benedictus 1998, Glass: Director of Sir Norman Foster and Common Ground: Glass (Newsletter of the a la innovacion en el uso arquitectonico del Partners Discusses His Firm's Approach and International Guild of Glass Artists Inc.), cristal laminado." Experiences." Fall 1998, pp. 2-3, ill. Revista Vidrio Internacional, no. 8, [Sept.] Glass Magazine (National Glass Association, 1998, pp. 32-35, ill. McLean, VA), v. 49, no. 4, April 1999, p. 98+, ill. 677 "Die Folie in der Kuppel." Winners of 1998 DuPont Benedictus Awards GFF, Zeitschrift fur Glas, Fenster, Fassade, for creative uses of laminated glass in archi­ 665 "Architectural Awards Show Use of nos. 23/24, Dec. 1998, pp. 1285-1286, ill. tecture. Laminated Glass Continues to Grow." Laminated glass dome tops Reichstag build­ American Glass Review, v. 119, no. 4, ing in Berlin. 689 "Neue Farbfenster fur die Kirche Jan./Feb. 1999, pp. 10-11, ill. Ruegsau: Walter Loosli." Winners of the 1998 Benedictus Awards. 678 "Gabriele Kunster: Italian Mosaics." Das Munster, v. 52, no. 2,1999, pp.165-166, ill. Common Ground: Glass (Newsletter of the 666 "Associates and Fellows: New Work 1997." International Guild of Glass Artists Inc.), 690 "Die neue Lust an der Schonheit: The Journal of Stained Glass (British Society of Summer 1999, pp. 34-35, ill. Ein Gesprach mit BF-Vorstandsmitglied Master Glass Painters), v. 21,1997, pp. 99-101. Exhibition review. Axel Schmid." GFF, Zeitschrift fur Glas, Fenster, Fassade, 667 "Bent Glass Specialist Displays Mastery 679 "Gefuhle transparent machen." no. 1, Jan. 1999, pp. 62-64, ill. of the Art at Getty Center." Glas + Rahmen, v. 50, no. 8, Aug. 1999, Trends in architectural glass. Glass Digest, v. 78, no. 1, Jan. 15, 1999, pp. 16-17, ill. p. 88, ill. Whimsically painted glass doors by Schneider 691 "Das 'Neue Palmenhaus' auf der Insel Entrance pavilion incorporates about 1,000 und Fichtel firm. Mainau." feet of bent tempered glass. GFF, Zeitschrift fur Glas, Fenster, Fassade, 680 "Glaserne Interpretation von High-Tech- no. 19, Oct. 1998, pp. 1032-1033, ill. 668 "Bernard Pictet: Portrait d'un graveur Architektur: Sonnen- und Warmeschutz mit The New Palm House on the island of sur verre de talent... Glas." Mainau, Germany, is covered in a curving Verre Actualites, no. 160, Dec. 1998/Jan. 1999, GFF, Zeitschrift fur Glas, Fenster, Fassade, filigree of steel and acrylic glass. pp. 28-32, ill. no. 9, Sept. 1999, pp. 31-33, ill. Architectural glass designer. Functional and esthetic utilization of glass on 692 "Notizie/News: II vetrocemento 'cambia' three buildings at complex in Berlin. nome = Concrete-Framed Glass Blocks 669 "Collaborations." 'Change' Name." 681 "Glaskunst aus Koln-Porz." GFF, Zeitschrift fur Glas, Fenster, Fassade, Domus, no. 810, Dec. 1998, u.p., ill. GFF, Zeitschrift fur Glas, Fenster, Fassade, nos. 23/24, Dec. 1998, pp. 1291-1293, ill. In Italian and English. Glass artist Brian Clarke and photographer nos. 23/24, Dec. 1998, pp. 1306-1307, ill. Italian company asked Eugenio Carmi to de­ Linda McCartney collaborate in exhibition at Work by Michael te Reh on float glass. sign tiles that would make glass blocks more Deutsches Glasmalerei-Museum, Linnich. decorative. 682 "The Hana Artwork of Diane Mantzaris." Common Ground: Glass (Newsletter of the 693 "Nouvelles tendances autour du verre 670 "The Creation of Stained Glass Art." International Guild of Glass Artists Inc.), Kanch (All India Glass Manufacturers' Federa­ composite: Verre sandwich." Winter 1998, pp. 52-57, ill. tion, New Delhi), v. 6, no. 3, Sept. 1998, Verre Actualites, no. 161, Feb./March 1999, Transparent color film prints baked inside pp. 20-24, ill. pp. 14-20, ill. glass for windows at Australian restaurant. Glass composites are functional and decorative.

671 "La Cupula de Dali." 683 "Hero-Glas liefert gebogene VSG- Revista del Vidrio Piano, no. 46, April 1998, 694 "Peter McGrain: Artist and Teacher." Scheiben fur den neuen Fernbahnhof am AISG Flat Glass Journal (Artists in Stained pp. 28-29, ill. Flughafen Frankfurt." Restoration of the geodesic glass dome at the Glass, Toronto), v. 23, no. 3, Spring 1998 GFF, Zeitschrift fur Glas, Fenster, Fassade, [1999], p. 8, ill. Teatre-Museu Dali in Figueres, Spain. no. 8, Aug. 1999, pp. 39-41, ill. Curved glass used in train station at Frankfurt 672 "Energiegewinnung und Sonnenschutz airport. 695 "Premio Benedictus Comercial '98: optimal verknupft: Innovativer Pyramidenbau." Museo de Bellas Artes, en Lille." Vitrea, no. 3, Nov. 1998, pp. 78-84, ill. Glaswelt, v. 52, no. 1, Jan. 1999, pp. 55-56, ill. 684 "I dag er pyramiderne af glas." Energy-efficient glass pyramid serves as cafe­ GlasMagasinet, v. 7, no. 4, Nov. 1998, p. 16, ill. teria at Berlin power company. Glass pyramid at Herning Kongrescenter. 696 "Premios Benedictus Awards 1998." Revista del Vidrio Piano, no. 49, Oct. 1998, 673 "Entrevista a Francisco Garcia Lucha: 685 "Eine Idee setzt sich durch: pp. 118-124, ill. Propietario de Vidrieras Artisticas Garcia." Wachstumspotential im Bereich transparenter Awards for use of laminated glass in architec­ Revista del Vidrio Piano, no. 52, April 1999, Dammsysteme." tural projects. pp. 94-96+, ill. GFF, Zeitschrift fur Glas, Fenster, Fassade, Interview with owner of stained glass studio. no. 5, May 1999, pp. 64-65, ill. 697 "Profile: Preston Studios." Glass facades. Glass Craftsman, no. 151, Dec. 1998/Jan. 1999, 674 "Entrevista al arquitecto Ignacio Paricio." pp. 58-59, ill. Revista del Vidrio Piano, no. 46, April 1998, 686 "Innovative Glas-Pyramide." pp. 50-52+, ill. GFF, Zeitschrift fur Glas, Fenster, Fassade, 698 "St. Mary's Cathedral of the Immaculate Interview with architect responsible for no. 19, Oct. 1998, pp. 1040-1041, ill. Conception." renovation of geodesic glass dome at Dali Berlin power company's energy-efficient glass Stained Glass, v. 93, no. 4, Winter 1998, museum in Figueres, Spain. pyramid. pp. 278-282, ill. Eight windows designed and painted by Deb- 675 "Exposition au Centre International du 687 "Judisches Museum Berlin: ora Coombs for Portland, Oregon, cathedral Vitrail: 'Lumieres et creation.'" Gebaudeplastik mit vielen 'Ansichten.'" depict American Saints and Blessed. Verre Actualites, no. 161, Feb./March 1999, GFF, Zeitschrift fur Glas, Fenster, Fassade, pp. 4-12, ill. no. 22, Nov. 1998, pp. 1204-1205, ill. 699 "Secular Uses for Stained Glass." Report on stained glass exhibition in Chartres, Glass and aluminum facade on Jewish Sourcebook '98 (Stained Glass Association of France. Museum, Berlin. America), 1999, p. 8. 700 "Selecting a Studio." 712 "Valoracion de la Cupula del Teatre- 724 Artistic Glass in Architecture = Le verre Sourcebook '98 (Stained Glass Association of Museu Dali." d'art dans I'architecture = Kunstlerisches Glas America), 1999, p. 4. Revista del Vidrio Piano, no. 48, Aug. 1998, in der Architektur. General guidelines for clients wishing to in­ pp. 128-130+, ill. Liberec, Czechoslovakia: Crystalex, [n.d., clude stained glass in their buildings. Geodesic glass dome at Salvador Dali 1965-1975?], 30 pp., ill. museum in Figueres, Spain. In English, French and German. 701 "Shaare Emeth Synagogue Windows: Stained glass and flat glass in Czechoslovakia. Saint Louis, Missouri 1980 - Dale Chihuly." 713 "El vidrio como elemento estructural." AISG Flat Glass Journal (Artists in Stained Revista del Vidrio Piano, no. 52, April 1999, 725 Barme, Geremie R. Glass, Toronto), v. 23, no. 4, Summer 1998 pp. 104-106+, ill. "The Fab Four and Friends Do China." [1999], p. 6, ill. Examines qualities of architectural glass. Object (Crafts Council of New South Wales), no. 2, 1995, pp. 20-25, ill. 702 "Skylights." 714 "Los vidrios de la Cupula del Teatre- The "rock iconography of stained glass and Kahch (All India Glass Manufacturers' Federa­ Museu Dali." the significance of these Western cultural tion, New Delhi), v. 6, no. 3, Sept. 1998, Revista del Vidrio Piano, no. 48, Aug. 1998, icons in China." pp. 30-31, ill. pp. 124-126, ill. Technical report on glass dome in Figueres, 726 Barreneche, Raul A. "Gallery of Glass: Kohn Pedersen Fox Creates 703 "Sonnenschutz im Spannungsfeld Spain. a Luminous Sanctuary for a Pair of Rodin zwischen Architektur und Kunst." Bronzes." GFF, Zeitschrift fur Glas, Fenster, Fassade, 715 "Vijf generaties Nicolas ramen in een Architecture, v. 87, no. 11, Nov. 1998, no. 5, May 1999, pp. 62-63, ill. kerk." pp. 148-155, ill. Glass facades on complex in Coburg, Germany. Glas/Kristal, Aardewerk/Porselein, v. 2, no. 3, New exhibition space in Seoul, Republic of 1999, pp. 87-88, ill. Korea. 704 "Specifying Stained Glass." Stained glass by Diego Semprun Nicolas for church in Tubbergen, the Netherlands. Sourcebook '98 (Stained Glass Association of 727 Beckwith, Sandra. America), 1999, pp. 5-7, ill. "Commissioned Art Work Will Accent Center's Provides information on leaded and faceted 716 "Vitrages de grandes dimensions: Les Mission." stained glass. Defis." GGW Vignettes (Gong Glass Works, Rochester, Verre Actualites, no. 158, Sept. 1998, NY), v.7, no. 2, Winter 1998/1999, p.1+, ill. 705 "Stained Glass Artist Commissioned for pp. 31-33, ill. Stained glass windows designed by Nancy New Edison Train Station." Study of considerations when using large- Gong for Hildebrandt Center for Palliative Care. Antiques and The Arts Weekly, v. 28, no. 35, scale architectural glass. Reprinted from Caring Times, Fall 1998. Aug. 27, 1999, p. 59. J. Kenneth Leap commissioned by New 717 "Winners of the 1999 DuPont Benedic­ 728 Benhamou-Huet, Judith. Jersey Transit Authority to create series of ts Awards for Innovation in Architectural "Questions Raised over Maar Sale." stained glass windows. Laminated Glass." Art & Auction, v. 21, no. 7, Nov. 30-Dec. 13, Glass Magazine (National Glass Association, 1998, p. 10+. 706 "Sustitucion de la Cupula del Teatre- McLean, VA), v. 49, no. 8, Aug. 1999, Mentions Picasso's prints on glass. Museu Dali." pp. 46-52, ill. Revista del Vidrio Piano, no. 46, April 1998, 729 Benney, James. p. 30+, ill. 718 "Wegweisende Brandschutztechnik im "Glass: Facts & Fantasy." Photographs document the removal and Reichstagsgebaude." Glass Digest, v. 78, no. 8, Aug. 15, 1999, reconstruction of the geodesic glass dome in GFF, Zeitschrift fur Glas, Fenster, Fassade, pp. 46-47, ill. Figueres, Spain. no. 8, Aug. 1999, pp. 42-46, ill. Fire-resistant glass used in Reichstag building 730 Binder, Ivo. 707 "Szene: Designer-Gehause." in Berlin. "Vitraje Karla Rechlika." Art (Das Kunstmagazin), no. 12, Dec. 1998, Bulletin Moravske Galerie v Brne, v. 54, 1998, pp. 8-9, ill. 719 "1995-1996 Visual Arts Awards in pp. 170-174, ill. Extensive use of glass makes building near Stained Glass." Stained glass by Karel Rechlik. Hamburg into lamp at night. Modern Liturgy, v. 22, no. 9, 1995, pp. 4-6, ill. 731 Bode, Peter M. 708 "Technology Gives Building Top-Notch 720 Ackley, Reid. "Theatralische Effekte im transparenten Energy Efficiency." "Working with Her Mind, Heart and Hands." Baukorper." Glass Magazine (Center for Environmental GGW Vignettes (Gong Glass Works, Rochester, Art (Das Kunstmagazin), no. 12, Dec. 1998, Science and Technology), v. 49, no. 10, Oct. NY), v. 7, no. 2, Winter 1998/1999, pp. 3-5, ill. p. 121, ill. 1999, pp. 32-33, ill. Profile of Nancy Gong, reprinted from Roches­ Glass-walled office building in Leipzig. Management in Albany, New York, designed ter Business Journal, Oct. 23, 1998. as a photovoltaic demonstration project. 732 Borgeaud, Georges. 721 Alexander, Pam. "Les Vitraux de Bazaine a Berlens = Die Glas- 709 "Trois maquettes, six verriers: Exposi­ "Contemporary Craft; Historic Content." malereien Bazaines in Berlens." tion itinerante de vitraux contemporain." Stained Glass, Newsletter of the British Jean Bazaine: Vitraux et mosai'ques = Glas- Verre (Institut du Verre, Versailles), v. 4, no. 5, Society of Master Glass Painters, no. 7, malereien und Mosaiken. Bern: Benteli, 1994, Sept./Oct. 1998, p. 77, ill. Sept. 1999, pp. 3-4, ill. pp. 65-76, ill. In French and German. Traveling exhibition of contemporary stained Abridged version of speech concerning the glass. quality of contemporary design and crafts­ 733 Braun, Astrid. manship. "Sich immer wieder neu erfinden: 710 "Two Windows from Goodman Zissoff Franz Mayer'sche Hofkunstanstalt." Stained Glass Studio." 722 Andrieux, Christiane and Andrieux, Glaswelt, v. 52, no. 6, June 1999, pp. 36-39, ill. Stained Glass, v. 94, no. 3, Fall 1999, Philippe. Profile of the Munich firm. pp. 214-222, ill. La Maitrise du vitrail: Creation-restauration. Recently completed windows for Christ Paris: Dessain et Tolra, 1995, 79 pp., ill. 734 Brest, France. Bibliotheque Municipale Church United of Mississauga, Ontario. de Brest. 723 Arcidi, Philip. Gilles Dulis et le fixe sous verre. 711 "Unfinished Testament." "Suspended Emanation: Sculptor James Car­ Brest: Service Reprographie de la Ville de Ausglass Newsletter (Australian Association penter Hangs a Glass Lantern in Hong Kong." Brest, 1993, 28 pp., ill. of Glass Artists), no. 2, Spring 1998, p. 5, ill. Architecture, v. 87, no. 9, Sept. 1998, Reverse glass paintings by the French artist. Andrew and Peter Ferguson complete pp. 136-139, ill. windows begun by Alan Sumner in 1962 for Suspended tower is 56 feet tall and made of 735 Brisac, Catherine. Melbourne church. 520 glass panels. "Vitraux contemporains pour I'abbatiale de la Melleray." pp. 46-53, ill. 760 Goldman, Stu. 303 [Trois Cent Trois]: Recherches et Crea­ Little/Raidl Studios in California. "The Duo-Dynamic: Rick Steiner and Lissa Jo tions, no. 10, 1986, pp. 28-29, ill. Ruggles." Windows by Didier Alliou for monastery. 748 Coombs, Debora. Glass Craftsman, no. 154, June/July 1999, "St Mary's Cathedral: A Personal Perspective." pp. 65-67, ill. 736 Bucek, Thomas. The Journal of Stained Glass (British Society Stained glass and sculptural artists. "Easy to See Whatever the Weather." of Master Glass Painters), v. 22, 1998, Schott Info, no. 88, March 1998, pp. 22-23, ill. pp. 71-77, ill. 761 "Robert Oddy: A Return to Nature." Non-reflective flat glass used on electronic Glass Craftsman, no. 152, Feb./March 1999, information columns in Vienna. 749 "St. Mary's Cathedral: The Artist's pp. 65-67, ill. Observations." Artist incorporates hand-sculpted wood into 737 Budig, Peter. Stained Glass, v. 93, no. 4, Winter 1998, his layered stained glass windows. "Advertising with Light." pp. 283-288, ill. Schott Info, no. 86, Sept. 1998, pp. 18-19, ill. Excerpted from artist's memoirs of project in 762 Gould, Kira. New sign technology using fiber optics allows Portland, Oregon. "Veiled Illusions." illumination of engraved acrylic glass (Th. 2 cm). Architecture, v. 87, no. 9, Sept. 1998, 750 Craig, Brock. pp. 124-129, ill. 738 Bulbena, Agusti. "Mary Filer: The D'Eathe Commission: Adhesive polymer film-coated glass used in "El vidrio estructural (II): Una oportunidad Romantic Motif Embraces the Concept of Day." New York boutique becomes translucent para los mas audaces . . Glass (British Columbia Glass Arts Associa­ green when viewed at an angle. Vftrea, no. 3, Nov. 1998, pp. 42-47, ill. tion), v. 11, no. 1, April 1999, pp. 4-5, ill. 763 Greer, Dani. 739 Cajide, Isabel. 751 Curzay-sur-Vonne. Musee du Vitrail du "Artistic Touches with Paint." Muhoz de Pablos (Artistas espanoles contem- Pays Melusin. Common Ground: Glass (Newsletter of the poraneos; 132. Serie Pintores). Loire, un atelier familial a Chartres au XXe International Guild of Glass Artists Inc.), [Madrid]: Direccion General del Patrimonio siecle (Text: Cedric). Spring 1999, pp. 2-3, ill. Artistico y Cultural, 1977, 86 pp., ill. Curzay-sur-Vonne: the museum, [1998], 31 pp., ill. 764 Greff, Jean-Pierre. 740 Carpenter, James. "L'Oeuvre monumental de Bazaine = Die ar- "Exploring the Possibilities." 752 d'Anjou, Yvon. chitekturbezogenen Arbeiten Bazaines." Glass Magazine (National Glass Association, "About the Stained Glass of Conques." Jean Bazaine: Vitraux et mosaiques = Glas- McLean, VA), v. 48, no. 10, Oct. 1998, p. 34+, ill. AISG Flat Glass Journal (Artists in Stained malereien und Mosaiken. Bern: Benteli, 1994, More colorless glass used in European buildings. Glass, Toronto), Fall 1998, pp. 11-14, ill. pp. 9-60, ill. New stained glass windows by Pierre Soula- In French and German. 741 Chagall: Windows for Jerusalem. ges and Jean-Dominique Fleury for abbey in Synagogue, Hadassah-Hebrew University France. 765 Grenon, Ariane. Medical Center, Jerusalem, Israel. "Henri Guerin, ecriture et silence." Monte Carlo: Andre Sauret, 1963, [42] pp., ill. 753 "From Respect for Tradition to Exploring Le Courrier des Metiers d'Art, no. 180, In English and Hebrew. the Avant-Garde: A Portrait of Jean-Dominique May 1999, p. 25, ill. Stained glass windows by Marc Chagall. Fleury." Exhibition review. AISG Flat Glass Journal (Artists in Stained 742 Chartres, France. Centre International Glass, Toronto), Fall 1998, pp. 3-4, ill. 766 Gross, Richard. du Vitrail. "The Morning Star Chapel of Camp John Marc." Genese. Stained Glass, v. 93, no. 4, Winter 1998, Chartres: the center, 1999, 56 pp., ill. 754 Dixon, Ronald Neill. Windows of Opportunity: How to Get the Best pp. 254-255+, ill. Exhibition of stained glass on the theme of Dalle de verre work by John Kebrle in Texas Genesis. Stained Glass Windows for Your Church. Lynchburg, VA: Ruthefort Press, 1999,30 pp., ill. chapel.

743 Lumieres en patrimoine: Les Grands 767 H. A. Sigg: Farbfenster und Malerei - chantfers de vitraux contemporains en France. 755 Forestier, Sylvie. Chagall: Les Vitraux. Reformierte Kirche Freiburg = Vitraux et pein- Chartres: the center, 1997, [8] pp. (folded ture : Le Temple reforme de Fribourg. brochure), ill. Paris: Editions Paris-Mediterranee, 1996, 223 pp., ill. Bern: Benteli, 1994, 51 pp., ill. Windows by Claude Viallat, Francois Rouan, In German and French. Udo Zembok, Marc Couturier, Gerard Garouste, Chagall's windows in Germany, the U.S., and Gilles Rousvoal. France, England, Israel, and Switzerland. 768 Hall, Sarah. "St. Andrew Catholic Church." 744 Lumieres et creation: Les Grands 756 Freeman-Jurney, Roberta H. AISG Flat Glass Journal (Artists in Stained ateliers de vitraux contemporains en France. "The Glass Guitars of Stanley Klopfenstine." Glass, Toronto), v. 23, no. 3, Spring 1998 Chartres: the center, 1998, 16 pp., ill. Glass Craftsman, no. 154, June/July 1999, [1999], p. 10. Includes the following studios: Duchemin, pp. 29-30+, ill. Jacques Simon, Jean Mauret, and Pierre- Guitar bodies designed in stained glass. Alain Parot. 769 "Wind's Eye Gallery: Featuring the 757 Freiter, Hans-Jurgen. Work of Hella Santa-Rossa." 745 Chartres, France. Galerie du Vitrail. "Das Sonnenhaus: Stahl-Glas-Fassaden und Glass Art, v. 14, no. 4, May/June 1999, Chartres en vitrail. Photovoltaik-Technologie im Einfamilienhaus." pp. 18-19, ill. Leves: Edition Ateliers Loire, 1996, [40] pp., ill. GFF, Zeitschrift fur Glas, Fenster, Fassade, Exhibition catalog. no. 20, Oct. 1998, pp. 1090-1091, ill. 770 "Yvonne Williams: An Appreciation." New trends in solar-powered homes. AISG Flat Glass Journal (Artists in Stained 746 Churches, Artists and People: Thirteenth Glass, Toronto), Fall 1998, pp. 5-6, ill. Annual Report of the Central Council for the 758 Giles, Richard; Sotheran, Ann; and Care of Churches. Kent, Graham R. 771 Hall, Sarah and Kraegel, Jeffrey. [London]: Church Information Board, 1959, "The Artist and the Committee." "Materializing Visions." 56 pp., ill. The Journal of Stained Glass (British Society Glass Art, v. 14, no. 4, May/June 1999, Includes "How to Choose Stained Glass: of Master Glass Painters), v. 21, 1997, pp. 4-7+, ill. Advice on Planning and Commissioning a pp. 102-108. Profile of Derix Glasstudios, Taunusstein, Ger­ Design" (pp. 27-34). Summaries of three presentations from 1997 many. Northern Group symposium. 747 Coleman, Brian D. 772 Hansen, Melissa V. "Home and Studio: A Visit with Artists in 759 Gloag, John, ed. "Going Once, Going Twice, Sold! Tiffany Stained Glass." The Place of Glass in Building. Manufacturer Supports Community through Old-House Interiors, v. 6, no. 1, Jan. 2000, London: Allen & Unwin, 1944, 92 pp., ill. PBS Auction." Home Lighting & Accessories, v. 81, no. 8, Geometric stained glass panels suspended 796 Lewis, Julia. Aug. 1998, p. 54, ill. from ceiling of Manhattan lobby. "A New Casa for Bisazza." Interior Design, v. 69, no. 15, Dec. 1998, 773 "The Tiffany Mystique: Whether Orginal 785 Jean Bazaine: Vitraux et mosaiques = pp. 80-81, ill. Works or Reproductions, Tiffany-Style Lamps Glasmalereien und Mosaiken (Jean-Pierre Italian manufacturer of glass mosaic tiles and Fixtures Are in Demand." Greff, ed.). opens Manhattan showroom. Home Lighting & Accessories, v. 81, no. 8, Bern: Benteli, 1994, 131 pp., ill. In French; Aug. 1998, p. 68+, ill. foreword and three essays also in German. 797 Liehr, Ulrich. Exhibition at Centre International du Vitrail, "Old Technique: New Design." 774 Harris, Nicole. Chartres, and Musee Suisse du Vitrail, Schott Info, no. 87, Nov. 1998, pp. 28-29, ill. "And the Winners Are. . . : NGA's 1999 Stu­ Romont, Switzerland. Millefiori mosaic plates by German artist dent Awards for Excellence in Architectural Gabriele Kustner. Glass Design Showcase Upcoming Talent and 786 Knapp, Stephen. New Challenges for the Glass Industry." The Art of Glass: Integrating Architecture and 798 Lin, Erin. Glass Magazine (National Glass Association, Glass. "Tiffany Lamps: Makers Survive on McLean, VA), v. 49, no. 4, April 1999, Gloucester, MA: Rockport Publishers, 1998, Reproduced Quality." pp. 118-120, ill. 176 pp., ill. Taiwan Lighting, no. 51 [52], May 1998, pp. 44-45, ill. 775 Hendrickson, Edwin A. 787 Kohn, Mitchell. Mosaics: Hobby and Art. "Lightfair International 1998." 799 Linn, Charles. New York: Hill and Wang, [1957], 111 pp., ill. Interiors, v. 157, no. 9, Sept. 1998, "Lighting "Where We Seek the Light: Places of Worship." Focus" section, pp. 6-9, ill. Architectural Record, v. 186, no. 7, July 1999, pp. 87-104, ill. 776 Hewitt, Dave. Includes design award for chapel in Houston "Award Winning Design Showcases Glass in with "backlighted and edge-lit glass panels," p. 9. Medical Facility: Family Centered Care from 800 Longatti, Alberto, ed. Alfonso Salardi: Vetrate - Catalogo the Inside Out at Children's Medical Center in 788 Kolb, Bernhard. 1968-1973. Augusta, Ga." Wintergarten und Glasanbauten im Detail: Como: Famiglia comasca, 1997, 47 pp., ill. Glass Magazine (National Glass Association, Projektbeispiele, Material, Konstruktions- Exhibition catalog. McLean, VA), v. 49, no. 4, April 1999, p. 74+, ill. details, Kosten. Eleven types of glass and 95 segments of cur­ Augsburg, Germany: Weka Baufachverlage, tain wall employed at facility. 1996, 205 pp. ill. 801 Longo, Linda. "Stained Glass in the White House?" Home Lighting & Accessories, v. 81, no. 8, 777 Heye, Hans-Gerd. 789 Komar, Charlene and Story, Greg. Aug. 1998, p. 88+, ill. "Offenheit durch Transparenz: Eingangs- "Harry Clarke's Stations of the Cross." Profile of stained glass designer Granville Pavillon fur die Kirche St. Thomas, Munchen." Stained Glass, v. 94, no. 3, Fall 1999, Latham, creator of stained glass ornament GFF, Zeitschrift fur Glas, Fenster, Fassade, pp. 192-195, ill. for White House Christmas tree. nos. 23/24, Dec. 1998, pp. 1289-1290, ill. Windows in County Donegal, Ireland. Glass entry pavilion at church of St. Thomas, Munich. 802 Luciano and Malmstrom, Don. 790 Kuma, Kengo. The Wonder of Stained Glass. "Keynote Lecture: Glass as an Architectural Palo Alto, CA: Hidden House, 1978, 35 pp., ill. 778 Hoffmann, Ute. Medium in Japan." Examples of types and colors of stained glass "Triumph of Transparency: Fire Protection." Glass Art Society Journal, 1998, pp. 12-14, ill. sheets, jewels, and beveled pieces. Schott Info, no. 85, June 1998, pp. 20-21, ill. In English and Japanese. Fire-resistant glass facade on building in Presented at conference in Seto, Japan. 803 McGrain, Peter. Toulouse, France. "Combining Traditional Painting and Colored 791 Kyle, Carolyn. Glass." 779 Hopkins, Mary Rozell. "Design It Your Way: Tips for Getting Exactly Glass Art, v. 14, no. 6, Sept./Oct. 1999, "Transparent Democracy: The Reichstag, the Pattern You Want." pp. 70-75, ill. Berlin." Stained Glass News, continuing series, The Art Newspaper, v. 10, no. 92, May 1999, no. 43, Feb. 1999 - no. 44, May 1999. 804 "An Illustrative Approach to Painting on p. 6, ill. Series ended. Glass." Glass dome by Norman Foster. Glass Art, v. 14, no. 3, March/April 1999, 792 Lampton, Patrice. pp. 4-7+, ill. 780 Hundertwasser, Friedensreich; Ritschel "How Ring Mottle Glass Is Used." Karl Heinz; and Schweigert, Horst. Home Lighting & Accessories, v. 81, no. 8, 805 "Unconditionally Judith." Franz Weiss: Hinterglasbilder 1948-1998. Aug. 1998, p. 128+, ill. Glass Craftsman, no. 151, Dec. 1998/Jan. 1999, Graz: Akademische Druck- und Verlagsan- Design techniques. pp. 6-11+, ill. stalt, 1998, 43 pp., ill. In German and English. Judith Schaechter. 793 Leach, William Herman. 781 Hutton, Helen. Protestant Church Building: Planning, Finan­ 806 McMillan, Brian and Nixon, Jayne. Mosaic Making Techniques. cing, Designing. "Prairie Stained Glass." New York: Scribner, 1977, 138 pp., ill. Nashville: Abingdon-Cokesbury Press, [1948], Stained Glass, v. 93, no. 4, Winter 1998, 188 pp., ill. pp. 274-276, ill. 782 Irace, Fulvio. Stained glass, pp. 104-109. Profile of Winnipeg, Manitoba, studio. "Reichstag: Foster and Partners a Berlino." Abitare, no. 387, Sept. 1999, pp. 120-127, ill. 794 Leger, Jean-Pierre. 807 Mallard, Gene. In Italian and English. "A Meeting with Eric Wesselow: "Temple Sholom's Joseph Windows: Designed Glass dome on the Reichstag building in Berlin. On the Vanished Glass Installation at by Leon Golub." Montreal Dorval Airport." Stained Glass, v. 94, no. 2, Summer 1999, 783 Irwin, Jane. AISG Flat Glass Journal (Artists in Stained pp. 118-123+, ill. "Christ Church Cathedral, Victoria, B.C.: Glass, Toronto), Fall 1998, pp. 7-8, ill. The Visitation by Ed Schaefer." 808 Margret Bilger: Das malerische Werk AISG Flat Glass Journal (Artists in Stained 795 Let There Be Light: God's Story through (Peter Assmann and Melchior Frommel, eds.). Glass, Toronto), v. 23, no. 3, Spring 1998 Stained Glass (Leslie N. Boney, Jr., ed.). Weitra: Bibliotek der Provinz, [1998], 347 pp., ill. [1999], pp. 3-4, ill. Wilmington, N.C.: First Presbyterian Church, Includes stained glass by the Austrian artist. 1990, 135 pp., ill. 784 Jankowski, Wanda. Documents the church's stained glass 809 Melchionne, Kevin. "Grazing the Glass Ceiling." windows, the earliest designed by George "Living in Glass Houses: Domesticity, Interior Architectural Lighting, v. 12, no. 2, April/ Owen Bonawit, but the majority designed by Decoration, and Environmental Aesthetics." May 1998, p. 48, ill. Henry Lee Willet and his studio. The Journal of Aesthetics and Art Criticism, v. 56, no. 2, Spring 1998, pp. 191-200. emphasizing colorless textured and beveled 835 Reinig, Matthias. Analysis of why Philip Johnson's Glass House glass. "Brilliance for Schwarze Pumpe." is considered to be unlivable. Schott Info, no. 87, Nov. 1998, pp. 26-27, ill. 823 Pettinati-Longinotti, Betti. Solar reflective glass used on buildings at 810 Michiyo Durt-Morimoto: Vitraux. "An Approach to Stained Glass Apprenticeship." power plant in Lausitz, Germany. Tokyo: Libro, 1994, 119 pp., ill. Common Ground: Glass (Newsletter of the In Japanese and French. International Guild of Glass Artists Inc.), 836 Rodio, Danijela Kracun. Fall 1998, pp. 60-64, ill. "The Poetic Journey." 811 Mogul, Leslie Anne. Stained Glass, v. 94, no. 2, Summer 1999, "Interpreting the Glass of the San Diego 824 Pfaffinger, Jorg. pp. 113-116, ill. International Airport." "Das erste Verwaltungsgebaude im Passiv- Willet Studio stained glass inspired by Stained Glass, v. 94, no. 1, Spring 1999, haus-Standard steht in Colbe." Christopher Smart poem. pp. 14-16, ill. GFF, Zeitschrift fur Glas, Fenster, Fassade, Three installations designed by Joan Irving. no. 21, Nov. 1998, pp. 1155-1160, ill. 837 Romont, Switzerland. Musee Suisse du Solar energy incorporated into office building Vitrail. 812 Moor, Andrew. design. Leon Zack: Premisses du silence = Leon Architectural Glass Art: Form and Technique Zack: Zeichen der Stille (Text: Myriam Poiatti in Contemporary Glass. 825 Pitt, Sue. and Stefan Trumpler). New York: Rizzoli, 1997, 160 pp., ill. "The Art of Margaret Traherne: A Personal View." Bern: Benteli, 1992, 51 pp., ill. Includes glass sculpture, pp. 142-153. The Journal of Stained Glass (British Society In French and German. of Master Glass Painters), v. 21, 1997, 813 Moser, Roland. pp. 75-89, ill. 838 Pierre Chevalley: Les Vitraux = Die Peinture sous verre: Textes, creations et Includes list of the artist's stained glass works. Glasmalereien (Text: Laurence Fasel, Claude croquis de Roland Moser. Ritschard, and Stefan Trumpler). Paris: Editions Fleurus, 1984, 167 pp., ill. 826 Price, Geoff. Milano: Skira, 1998, 78 pp., ill. Techniques for reverse painting on glass. "Deep Blue into the Next Millennium." Catalog of exhibition held at the Musee Schott Info, no. 88, March 1998, pp. 13-15, ill. Suisse du Vitrail, Romont. 814 Mujika, Alasne. Fire-resistant blue glass to be used in new "La resistencia: El vidrio y la arquitectura." London Underground station. 839 Zeitgenossische Schweizer Glasmale- Vi'trea, no. 3, Nov. 1998, pp. 20-22, ill. rei auf dem Klosterplatz Einsiedeln und im 827 Radeschi, Loretta. Schweizerischen Museum fur Glasmalerei 815 Muller, Monika. "Glass in High Places." Romont = Le Vitrail suisse contemporain au Folk Art on Glass. Glass Craftsman, no. 153, April/May 1999, Musee Suisse du vitrail Romont et sur la Cape Town, South Africa: Tafelberg, 1988, pp. 6-13, ill. place de I'abbaye Einsiedeln. 40 pp., ill. Stained glass skylights; cable-suspended cast Bern: Benteli, 1996, [64] pp., ill. glass collage. In German and French. 816 Mumau, Germany. Schlossmuseum Murnau. 828 "Mosaic Weaving by Erin Adams." 840 Ryan, Michael G. Buchheims bunte Zirkuswelt: Hinterglasbilder, Glass Craftsman, no. 151, Dec. 1998/Jan. 1999, "St. James Cathedral of Seattle, Washington." Hampelmanner, Manegenzauber. . . . pp. 12-17, ill. Stained Glass, v. 94, no. 3, Fall 1999, Murnau: the museum, 1997, 64 pp., ill. pp. 196-201, ill. Reverse glass paintings with circus themes by 829 "Mosaics: From Antique to Contempo­ Lothar-Gunther Buchheim. rary." 841 Sabroe, Poul. Glass Craftsman, no. 154, June/July 1999, "Arkitekturens grundstof har brug for foraedling." 817 Hinterglaskunst: Erwin Pohl. pp. 6-11, ill. GlasMagasinet, v. 7, no. 4, Nov. 1998, pp. 8-9, ill. Murnau: the museum, 1994, 15 pp., ill. Focus on contemporary works. Architectural glass. Exhibition catalog. 830 Rambert, Francis. 842 "Bedre dialog mellem arkitekter og glas- 818 New York. Tony Shafrazi Gallery. "Presence de I'absence: Musee Juif de Berlin." branche." Brian Clarke: Projects (Text: Brian Clarke and Connaissance des Arts, no. 561, May 1999, GlasMagasinet, v. 8, no. 2, May 1999, pp. 6-7, ill. pp. 98-105, ill. Susanne K. Frantz). Architectural glass. New York: the gallery, 1998, u.p., ill. Glass and aluminum facade on Jewish Museum, Berlin. 843 Samyn, Philippe. 819 Nuttgens, Joseph. "Walloon Forestry Center." "The Durham Cathedral Millennium Window." 831 Ranzani, Ermanno. Wood Design & Building, no. 7, Spring 1999, The Journal of Stained Glass (British Society "Oggetto architettonico nel North Carolina = pp. 20-23, ill. of Master Glass Painters), v. 21, 1997, An Architectural Object in North Carolina." Exterior envelope of ovoid-shaped building pp. 90-91, ill. Abitare, no. 378, Nov. 1998, pp. 131-139, ill. in Belgium "composed of large pyrolized Brief description by artist of his themes in this In Italian and English. laminated glass tiles." work. Mario Bellini's nautical-influenced building design has glass main facade. 820 Ohannessian, Paul-Apraham. 844 Save, Colette and Beaumont, Thierry de. "Troen pa glas." 832 Rao, Krishnaraj. "L'Atelier Dhonneur: Duo de maTtres." GlasMagasinet, v. 7, no. 4, Nov. 1998, "Laminated Glass: Building Material of the Verre (Institut du Verre, Paris), v. 5, no. 3, pp. 14-15, ill. 21st Century." May/June 1999, pp. 60-61, ill. Report on architectural glass at Glastec '98, Kahch (All India Glass Manufacturers' Federa­ Profile of the stained glass studio. Dusseldorf. tion, New Delhi), v. 6, no. 2, June 1998, pp. 10-13+, ill. 845 "Bruno Pigeon: A vitrail ouvert." 821 Parot, Pierre-Alain. Verre (Institut du Verre, Versailles), v. 5, no. 1, "Le Travail du verre par les maitres-verriers 833 "Switch Off the Glass Walls, Give Me Jan./Feb. 1999, pp. 44-45, ill. contemporains." Some Privacy!" Profile of the stained glass artist. Le Materiau vitreux: Verre et vitraux (Roger- Kahch (All India Glass Manufacturers' Federa­ Alexandre Lefevre and Isabelle Pallot-Frossard, tion, New Delhi), v. 6, no. 3, Sept. 1998, 846 "Jean-Dominique Fleury: La Lumiere eds.). Bari: Edipuglia, 1998, pp. 43-52, ill. pp. 9-10, ill. revelee." Italian summary. Light-control film between laminated glass. Verre (Institut du Verre, Versailles), v. 4, no. 6, Dec. 1998, pp. 60-61, ill. 822 Peterson, Chris. 834 Re, Elena. "Carl Powell's Optical Reality." Trasparenza al limite: Tecniche e linguaggi 847 Schack von Wittenau, Clementine. Glass Craftsman, no. 152, Feb./March 1999, per un'architettura del vetro strutturale (I ma- "Beyond the Language of Medium: The Glass- pp. 6-11, ill. teriali dell'architettura; 2). Painting Workshop at the Munchner Akade- Artist's abstract designs use colors sparingly, Firenze: Alinea, 1997, 268 pp., ill. mie der Bildenden Kunste." Neues Glas/New Glass, no. 2, 1998, 860 Stained Glass Windows of North Amer­ lands), no. 5, Spring 1999, pp. 18-19, ill. pp. 20-25, ill. In German and English. ica, Collection Three. All-glass exhibition pavilion in Groningen, [Waterford, Ontario]: Wardell Publications, designed by Bernard Tschumi. 848 Schriemer, Renske. 1997, 76 pp., ill. "Glasrenovatie is een geweldig 'huzarenstukje.'" Features designers from nine studios across 872 Waggoner, Shawn. Glasbulletin, Vereniging van Vrienden van Canada and the United States. "The Best of Both Worlds: Kessler Studios." Modern Glas, v. 13, no. 1, 1999, pp. 11-13, ill. Glass Art, v. 14, no. 4, May/June 1999, Renovation of Gemeentemuseum, The Hague. 861 Stoll, Rainer. pp. 58-63, ill. "Special Glass off the Conveyor Belt." 849 Schroder, Hans Joachim. Schott Info, no. 86, Sept. 1998, pp. 15-17, ill. 873 "The Glass Canvas of Robert Pinart." "Der Glasmaler Gabriel Loire: Eine Ausstel- Borosilicate glass used in fire-resistant safety Glass Art, v. 14, no. 3, March/April 1999, lung und eine Einfuhrung in sein Werk." glazing, photovoltaics, and flat-display appli­ pp. 54-59, ill. Das Munster, v. 51, no. 1, 1998, pp. 55-57, ill. cations. Interview with the artist. Exhibition in Chartres. 862 Strong, Steven J. 874 "Mosaic: Drawing with Tesserae." 850 Sculptured Glass by Gabriel Loire from "Pushing the (Building) Envelope." Glass Art, v. 14, no. 6, Sept./Oct. 1999, Chartres. Glass Magazine (National Glass Association, pp. 14-15, ill. New York: Loire Imports Inc., 1967, 8 pp, ill. McLean, VA), v. 49, no. 10, Oct. 1999, Sculptural and functional mosaic work by Car­ Includes listing of works by Loire in the United pp. 26-28, ill. ole Haberkorn, Nancy Wadelton, Nancy Klein States. Photovoltaics allows windows to convert sun­ and Peter McGrain, and Laurel Yourkowski. light into electricity. 851 Searle, Jack. 875 Wagner, Ekkehard. 863 Stubinger, Walter and Eisch, Erwin. "Member Feature: John Blyth - Stained Glass "Tradition kombiniert mit modernster Glas- Die Kapelle auf der Zell: Sankt-Hermann- Artist." Technologie." Gedenkstatte Frauenau/Bayer. Wald. Scottish Glass Society Newsletter, no. 61, GFF, Zeitschrift fur Glas, Fenster, Fassade, Frauenau, Germany: the authors, 1997, Summer 1998, pp. [9-14]. no. 20, Oct. 1998, pp. 1098-1101, ill. 67 pp., ill. Glass facade for addition to Kongresshaus in Artist-designed chapel has windows painted Garmisch-Partenkirchen, Germany. 852 "Member Feature: Thomas Symington by children. Halliday 1902-1998." Scottish Glass Society Newsletter, no. 62, 876 Wagner, Sandra. 864 Sundermeier, Theo. "Strahlende Farben gebannt in Beton: Autumn 1998, pp. [13-16]. "Licht und Wort: Dem Andenken an Rainer Volp." Die Betonglastechnik der 50er Jahre." Stained glass artist nominated as the best Kunst und Kirche, no. 1, 1999, pp. 25-29, ill. Kunst und Kirche, no. 4, 1998, pp. 229-235, ill. foreign artist at the 1988 Milan Triennale. Discourse on the role of stained glass in Glass and concrete church windows. churches, using Johannes Schreiter's windows 853 Selden, Roger. for St. Jacobi in Gottingen, as an example. 877 Warren, Joy, ed. "Windows of Worship." Crafts of Australia: A Pictorial Anthology of Glass Style (Milan), v. 2, no. 1, Jan.-June 1999, 865 Suroff, Toby. Australian Crafts. pp. 151-156, ill. "Temple Or Elohim's Stained Glass Windows." Sydney: Crafts Council of Australia, 1974, Author commissioned to design new windows Stained Glass, v. 94, no. 3, Fall 1999, 78 pp., ill. In English, French, and Japanese. for synagogue in Milan, Italy. pp. 184-185, ill. Stained glass by Cedar Prest, p. 29. Designed by Israeli artist Ami Shamir in 1995. 854 Shaller, Halina. 878 Weis, Helene H. "Life Is a Journey." 866 Teuffel, Patrick and Gase, Stefan. "Iconography for Stained Glass: Part Two - AISG Flat Glass Journal (Artists in Stained "Tension under Control." Tools." Glass, Toronto), v. 23, no. 3, Spring 1998 Schott Info, no. 89, April 1999, p. 7, ill. Stained Glass, v. 94, no. 3, Fall 1999, [1999], pp. 5-7, ill. Architectural and engineering students create pp. 202-206, ill. Artist Denise Therrien. glass tube sculpture illustrating "tensegrity" (tensional-integrity) principle. 879 Wilcox, John. 855 Short, Ernest Henry, ed. "Mind the Bollocks: A Conversation with Post-War Church Building. 867 van der Burght, Angela. Stuart Reid." London: Hollis and Carter, 1947, 202 pp., ill. "Berlin's Reichstag Dome." AISG Flat Glass Journal (Artists in Stained "Church Windows: Modern Stained Glass," This Side Up! (Valkenswaard, The Nether­ Glass, Toronto), v. 23, no. 4, Summer 1998 pp. 93-101. lands), no. 5, Spring 1999, p. 28, ill. [1999], pp. 3-5, ill.

856 Sinfield, Frederic A. 868 Vitrail et vitriol: Les Turpitudes du 880 Wilde, David. "Arthur Benfield and Guildmasters." professeur Godigore. "Brian Clarke's Windows at Abbaye de la Fille- The World of Antiques & Art, 57th ed., [Curzay-sur-Vonne: Musee du Vitrail de Dieu." July-Dec. 1999, pp. 118-120, ill. Curzay-sur-Vonne, n.d.], 80 pp., ill. Stained Glass, v. 94, no. 1, Spring 1999, Australian stained glass designer. Includes illustrations of stained glass works by pp. 47-51, ill. Thierry Gilhodez. 857 Smith, Virginia. 881 "Contemporary Stained Glass in "Six Voices: Balabanoff, Brathwaite, Carther, 869 Vitrail 94: Annuaire de la Chambre Eastern France and Switzerland. Part One." Gellman, Pearl, Reid." Syndicate des Maitres-Verriers Frangais. AISG Flat Glass Journal (Artists in Stained AISG Flat Glass Journal (Artists in Stained Paris: Chambre Syndicale des Maitres-Ver­ Glass, Toronto), Fall 1998, pp. 15-18, ill. Glass, Toronto), v. 23, no. 4, Summer 1998 riers Frangais, 1994, [204] pp., ill. Part 2: Spring 1998 [1999], pp. 11-14. [1999], pp. 11-12, ill. Directory of French stained glass artists, with Exhibition review. a list of their own creations and restored 882 "Exhibition 2000." windows. AISG Flat Glass Journal (Artists in Stained 858 Soleau, Antje. Glass, Toronto), v. 23, no. 4, Summer 1998, "Glasmalerei Linden: Klein, fein und sehr er- 870 Vossing, Jurgen. [1999], pp. 15-16. folgreich." "Meisterfeier in Hadamar." Plans for exhibition to celebrate 25th anni­ Glas + Rahmen, v. 50, no. 8, Aug. 1999, Glas + Rahmen, v. 50, no. 7, July 1999, versary of AISG. p. 26, ill. pp. 58-59, ill. Profile of stained glass studio Glasmalerei Competition for glassmakers; flat glass panels 883 Wood, Christie A. Linden and artist Georg Linden. and glass desk illustrated. "Mosaics: The Children's Hospital of Philadel­ phia Project." 859 Sologuren, Javier and others. 871 Vries, Marinus de. Common Ground: Glass (Newsletter of the Winternitz vitrales. "What a Wonderful World: The Tschumi International Guild of Glass Artists Inc.), Lima, Peru: Fondo del Libro, Banco Industrial Pavilion." Winter 1998, pp. 59-60, ill. del Peru, 1980, 103 pp., ill. This Side Up! (Valkenswaard, The Nether­ Using stained glass in mosaic art. 884 Wood, Larry. 885 Wylegalla, Reinhard. 886 Zunino, Maria Giulia. "From Class to Glass: Going to Great Panes "Ein kleines Stuck kunstlerische Intimitat." "Monumento urbano in Olanda = Urban Monu­ for Art." Glas + Rahmen, v. 50, no. 8, Aug. 1999, ment in the Netherlands." Carolinian (The Magazine for Alumni and p. 22, ill. Abitare, no. 378, Nov. 1998, pp. 140-147, ill. Friends of the University of South Carolina), Profile of Heinrich Brunner, artist and stained In Italian and English. Aug. 1998, pp. 26-27, ill. glass restorer. Building incorporates "curved glass solid" and Blenko Glass. glass-roofed light well.

TECHNOLOGY (after 1945)rTECHN0L0GIE (nach 1945)

887 Anonymous. 898 "How to Prevent Moisture Stains on 908 "Tributes to Gerhard Finkenbeiner." "Die Bundesfahne in Glas." Stored Glass." Glass Music World, Summer 1999, pp. 2-3+, ill. Glas + Rahmen, v. 50, no. 8, Aug. 1999, Glass Magazine (National Glass Association, Death of the developer of the modern armonica. pp. 24-25, ill. McLean, VA), v. 49, no. 10, Oct. 1999, Construction of German flag in glass, designed pp. 73-74, ill. 909 "Under the Sun." by Gerhard Richter for Berlin's Reichstag Siteline (Smithsonian Institution Traveling Ex­ building. 899 "In the Making: The Alastair Macintosh hibition Service), no. 43, Winter 1999, p. 1+, ill. Collection - Delilah" Traveling exhibition includes solar glass 888 "A Cameo of the Past: New Techniques Reflections (Caithness Glass Paperweight pavilion. and a Legacy from France." Collectors Society), no. 16, May 1999, p. 13, ill. The Chair (Okra Glass Guild, Brierley Hill, Step-by-step guide to the paperweight's England), no. 3, Winter 1998, pp. 6-9, ill. creation. 910 "Vidrios para vitrofusion (kilnforming)." Technique used to make cameo glass. Revista Vidrio Internacional, no. 4, June 1997, pp. 37-44, ill. 900 "Industry Glossary: Annealing to Work Bullseye Glass Co., Portland, Oregon. 889 "Cyberglass Robotics." Life - Definitions for a Range of Commonly The Independent Glassblower, no. 52, Used Terms." Dec. 1998-Jan./Feb. 1999, p. 8, ill. Glass Magazine (National Glass Association, 911 American Ceramic Society. Glassblowing robot. McLean, VA), v. 49, no. 4, April 1999, The American Ceramic Society: 100 Years. pp. 127-133. [S.I.]: the society, 1998, 180 pp., ill. Connections to glass manufacturing are 890 "Dossier verre & cristal: La Question du mentioned. plomb." 901 "The Latest Technology Helps Fenton Offrir International, no. 364, June 1999, Expand." pp. 38-40, ill. American Glass Review, v. 119, no. 5, 912 Andreozzi, Lori. Concerns about the use of lead in crystal. March/April 1999, p. 11+, ill. "Neon's First Serious Challenger in Years." Sign Builder Illustrated, no. 58, July/Aug. 1999, 891 "Emerging Glass Technologies." 902 "Lightforms: Interactive Light Installations." p. 54+, ill. Glass Industry, v. 80, no. 1, Jan. 10, 1999, Leonardo (Journal of the International Society Fiber optics. pp. 36-37. for the Arts, Sciences and Technology), v. 32, New uses for glass in communications, no. 3, 1999, pp. 159-163, ill. 913 Babbitt, Jeff. medicine, and nuclear power. Exhibition at the New York Hall of Science. "Glass Shop & Related Safety Tips: Quick Reference Guide." 892 "Featured Technique: pate de verre." 903 "Notizie/News: Dallo spazio alia casa = Fusion (Journal of the American Scientific The Glass Society of Ireland Newsletter, From Outer Space to Home." Glassblowers Society), v. 46, no.1, Feb. 1999, no. 20, April 1999, pp. 12-14. Domus, no. 809, Nov. 1998, u.p., ill. pp. 30-31. In Italian and English. Fiberglass in composite material used in 893 "Featured Technique: Sandblasting." washing machine. 914 Bambrough, Mark. The Glass Society of Ireland Newsletter, "The Aesthetics of Protective Glazing." no. 21, Sept. 1999, pp. 10-12. The Journal of Stained Glass (British Society 904 "El ordenador llega a los artesanos del of Master Glass Painters), v. 21, 1997, cristal." 894 "La fuerza del agua: Tecnologia de pp. 109-113. Revista Vidrio Internacional, no. 4, June 1997, Issues in stained glass conservation. corte por chorro de agua aplicado al vidrio pp. 18-20, ill. piano." Computer-controlled engraving. Revista del Vidrio Piano, no. 48, Aug. 1998, 915 Beadle, The Venerable. pp. 77-84+, ill. 905 "Peak of Perfection: A Step-by-Step "The Bead Column." Cutting flat glass by means of a high-pressure Guide to the Creation of Okra's Exquisite Glass Line, v. 12, no. 2, Aug./Sept. 1998, p. 9. water jet. Eiger Waisted Vase." "Successful test of a ceramic oxygen genera­ The Chair (Okra Glass Guild, Brierley Hill, tor.. . may herald the coming independence 895 "Fusers' Delight: Cut It Out - Pre-Cut England), no. 3, Winter 1998, pp. 15-19, ill. of studio lampworkers from delivered oxygen Fusible Glass." supplies." (This entry was incorrectly reported in New Glass Review, no. 20, 1999.) Glass Craftsman, no. 150, Oct./Nov. 1998, 906 "Philly's Funky Neon." p. 45, ill. Signs of the Times, v. 221, no. 4, March 1999, pp. 56-58+, ill. 916 Beke, Bela and Tamas, Ferenc. 896 "The Great Global Glass Recycling." Lenny Davidson restores old neon signs and Proceedings of the Sixth Conference on the Kahch (All India Glass Manufacturers' Federa­ "displays" them at Philadelphia businesses. Silicate Industry, Budapest, October, 1961. tion, New Delhi), v. 6, no. 2, June 1998, Budapest: Akademiai Kiado, 1963, 469 pp., ill. pp. 18-21+, ill. 907 "Schwarz, Rot, Gold als Kunstwerk: Bischoff Glastechnik fertigt Kunstobjekt fur 917 Bendow, Bernard and Mitra, Shashanka 897 "High Quality Barium Crystal Made in den Berliner Reichstag." Shekhar, eds. Gibraltar." GFF, Zeitschrift fur Glas, Fenster, Fassade, Fiber Optics, Advances in Research and Glass, Monthly Journal of the European Glass no. 8, Aug. 1999, pp. 47-48, ill. Development (Conference on the Physics of Industry, v. 76, no. 6, June 1999, p. 195, ill. Construction of glass art object designed by Fiber Optics, University of Rhode Island, 1978). Company opts for barium over lead oxide. Gerhard Richter for Reichstag building in Berlin. New York: Plenum Press, 1979, 693 pp., ill. 918 Benefield, Scott. Charleroi: Union Scientifique Continentale du Glass Craftsman, no. 153, April/May 1999, "Technical Article: Building a (Small, Two-Pot Verre, 1961, 1044 pp., ill. pp. 58-61, ill. for Re-Melting Color Bars) Electric Furnace." Properties of glass, i.e., mechanical strength. GAS News (Glass Art Society), July/Aug. 1999, 946 Fenton, Dan. p.1, ill. 933 Croasdale, Martha. "Slumping Glass for Lighting Fixtures: Part V." "Electroforming." Glass Art, v. 14, no. 2, Jan./Feb. 1999, 919 Bennett, Alan. Glass Art Society Journal, 1998, pp. 71-72, ill. pp. 14-19, ill. "Glassware, a One-Sided View." In English and Japanese. Part VI (conclusion of series): v. 13, no. 3, The Guild of Glass Engravers Newsletter, March/April 1999, pp. 34-37. Winter 1998/1999, pp. 9-12, ill. 934 Glass and Metal: The Art and Tech­ Lecture on Klein bottles, which are single- nique of Electroforming onto Glass. 947 Fiske, Kent. surface vessels. Kalamazoo, Ml: Martha Croasdale, 1998, "Annealing." 74 pp., ill. The Independent Glassblower, no. 54, 920 Berg, Hermann-Josef. June-Aug. 1999, pp. 1-3. "All-Rounders in Glass." 935 Daily, Marty. Discussion of how to make and anneal glass Schott Info, no. 87, Nov. 1998, pp. 16-17, ill. "Carlisle's New Foot Controller for Torches." so that it will last. Photostructurable glass for micro-engineering. Common Ground: Glass (Newsletter of the International Guild of Glass Artists Inc.), 948 Foti, Renato. 921 Billed, Andre G. Summer 1999, pp. 26-27, ill. "Adhesives and Glass: What to Use and When?" "Understanding Glass Calculations." Glass Art Society Journal, 1998, pp. 72-73, ill. Studio Potter, v. 8, no. 2, 1980, pp. 68-70, ill. 936 Danielson, Paul. In English and Japanese. "Properties Make Glass Excellent Choice for 922 Blaschko, Thomas. Optical Fibers." 949 "Adhesives & Glass: What to Use and "Design to Measure." The Glass Researcher (Bulletin of Glass Where." Schott Info, no. 86, Sept. 1998, pp. 22-23, ill. Science and Engineering, Alfred University, Glass Craftsman, no. 154, June/July 1999, Glass washbowls and other functional bath­ New York), v. 4, no. 2, Winter 1995, p. 4+, ill. p. 19+, ill. room accessories. 937 Davis, Mike. 950 Freeman-Jurney, Roberta H. "The Extended Use of Glass." 923 Boeck, Michelle. "Dalle de Verre." The Journal of Stained Glass (British Society "Chemically Etching Your Beads." Glass Craftsman, no. 152, Feb./March 1999, of Master Glass Painters), v. 22, 1998, Newsletter of the Arizona Society of Glass pp. 20-22, ill. pp. 78-79. Beadmakers, Nov. 1998, p. 5, ill. Describes process for creating a dalle de Brief discussion of new techniques in architec­ verre window. tural glass art. 924 Bradford, Kathy and Fenton, Dan. "Hand-Cut Stencils." 938 Day, Delbert E. 951 Gallagher, Barbara. Glass Craftsman, no. 150, Oct./Nov. 1998, "Searching for the Dark Zone." pp. 30-31+, ill. "Medical Applications of Rare Earth Alumino- silicate Glasses." Schott Info, no. 88, March 1998, pp. 10-12, ill. The Glass Researcher (Bulletin of Glass Special glass for use in next space-based 925 Breier, Jurgen. Science and Engineering, Alfred University, telescope. "Piping Hot." New York), v. 4, no. 2, Winter 1995, p. 5+, ill. Schott Info, no. 88, March 1998, pp. 24-25, ill. 952 Gerstein, Marc Saul and Wrigley, Lynette. Manufacture of glass tubing. 939 Deveau, Russell L. Stained Glass. "Fiber-Optic Fixtures - Recent Developments." New York: Henry Holt, 1995, 96 pp., ill. 926 "Safety under the Sign of the Lion." Architectural Lighting, v. 12, no. 1, Jan./Feb. Ten projects for making stained glass items Schott Info, no. 87, Nov. 1998, pp. 23-25, ill. 1998, pp. 48-50, ill. using modern materials and traditional Laminated anti-reflective glass used to protect techniques. paintings in Louvain, Belgium, and in restora­ 940 Dobbins, Norman and Dobbins, Ruth. tion of 1782 Hotel Errera in Brussels. Etched Glass: Techniques & Designs. 953 Giberson, Dudley F., Jr. Madison, Wl: Hand Books Press, 1998, A Glassblower's Companion: A Compilation 927 Briggs, Jeni. 144 pp., ill. of Studio Equipment Designs, Essays, and "Realising Concepts in Glass." Glassmaking Ideas. Glass Network (Newsletter of the Contempo­ 941 Dundas, Bill. Warner, NH: Joppa Press, 1998, 136 pp., ill. rary Glass Society, U.K.), no. 7, Sept. 1999, "Sacred Signs: From East to West, Communi­ P- [9]. ties Preserve a Luminous Heritage." 954 Goldman, Stu. Report on workshop. Signs of the Times, v. 221, no. 3, Feb. 1999, "Color and Design." pp. 86-89, ill. Glass Craftsman, no. 151, Dec. 1998/Jan. 1999, 928 Burgner, Lois. Conservation and restoration of neon signs. pp. 23-26, ill. "Light & Color: Equipment & Application." Color theory for stained glass artists. Architectural Lighting, v. 12, no. 2, April/May 942 Durand, Philippe. 1998, p. 92+. "The Future of Lead Crystal Is in Our Hands." 955 "What Is a Good Design? Part II." Glass filters. Glass Style (Milan), v. 2, no. 1, Jan.-June 1999, Glass Craftsman, no. 150, Oct./Nov. 1998, pp. 48-53, ill. pp. 23-25, ill. 929 Coan, Jeff. Chairman of Verrerie Cristallerie d'Arques Analysis of works by Larry Zgoda, Robert "Hidden Danger in Neon Shops: What You discusses impact of lead crystal production on Pinart, and Judith Schaechter. Don't Know about Mercury Can Hurt You." human health and the environment. Sign Builder Illustrated, no. 56, March/April 956 Green, D. J.; Tandon, R.; Sglavo, V. M. 1999, pp. 73-74+, ill. 943 Eckes, Jeff. "Crack Arrest and Multiple Cracking in Glass "In Search of the Perfect Solder Bead." through the Use of Designed Residual Stress 930 Collier, Robert J.; Burckhardt, Christoph Glass Craftsman, no. 151, Dec. 1998/Jan. 1999, Profiles." B.; and Lin, Lawrence H. pp. 18-22, ill. Science (American Association for the Optical Holography. Advancement of Science), v. 283, no. 5406, New York: Academic Press, 1971, 605 pp., ill. 944 Evans, Robin. Feb. 26, 1999, pp. 1295-1297, ill. "Glass Mosaics for Interior Places: The Clas­ Chemical tempering process results in stronger 931 Color Filter Glass. sic Direct Method." glass that cracks before failing. Duryea, PA: Schott Optical Glass Inc., n.d., Glass Craftsman, no. 155, Aug./Sept. 1999, 31 pp. ill. pp. 14-17+, ill. 957 Greer, Dani. "Painting on Glass: Getting Started." 932 Compte rendu (Symposium sur la resis­ 945 Evans, Robin and Evans, Grant. Common Ground: Glass (Newsletter of the tance mecanique du verre et les moyens de "One Studio's Approach to Photographing International Guild of Glass Artists Inc.), I'ameliorer, Florence, 1961). Glass Art." Fall 1998, pp. 31-33, ill. 958 "Painting on Glass - The Next Step." Fiber optics used in Essen, Germany, museum/ 984 Kinnison, Teri Jo. Common Ground: Glass (Newsletter of the public space designed by Andre Heller. "An Artistic Perspective: Suellen Fowler." International Guild of Glass Artists Inc.), The Arizona Society of Glass Beadmakers, Winter 1998, pp. 29-30, ill. 971 Hofmann, Wolfgang. Sept. 1998, p. 2+. "Seit 15 Jahren Schuleraustausch mit der Artist makes her own colors for Pyrex® glass. 959 Grenon, Ariane. Glasfachschule Hadamar." '"Le Passe vit projete sur I'avenir': Vitraux, les GFF, Zeitschrift fur Glas, Fenster, Fassade, 985 Klein, Dan. ateliers Duchemin." no. 22, Nov. 1998, pp. 1208-1209, ill. "CERFAV." Le Courrier des Metiers d'Art, no. 178, Student glassworking exchange program bet­ Neues Glas/New Glass, no. 4, 1998, March 1999, pp. 14-17, ill. ween France and Hadamar, Germany. pp. 44-46, ill. In German and English. Stained glass conservation and restoration. The Centre Europeen de Recherches et de 972 Holscher, Harry H. Formation aux Arts Verriers in Vannes-le- 960 Grundy, John. The Glass Primer. Chatel, France. "Artful Display Using Fibre Optic Lighting." [S.I.]: Magazines for Industry, 1972, 58 pp., ill. Lighting (Sydney), v. 19, no. 2, March 1999, A "general treatment covering the normal 986 Klopsch, Bill. pp. 26-30, ill. ranges of the properties of glass." "Working Large: Tips for Tackling Bigger Windows." Stained Glass News, continuing series, 961 Hager, Wilhelm. 973 Houghton, David. no. 43, Feb. 1999 - no. 46, Nov. 1999. "Keeping Fire at Bay." "Fiber-Optic Technology - From Specialty to Schott Info, no. 88, March 1998, pp. 16-19, ill. Functional." Fire-resistant glass. Architectural Lighting, v. 12, no. 5, Oct./ 987 Knowles, Sue. Nov. 1998, pp. 56-58, ill. "Fusing for the Raw Beginner." 962 Halem, Henry. The Daily Grind (Newsletter of the Association of Stained Glass Lamp Artists), no. 54, "Technical Article: Making a Mold for Glass 974 Hymore, Ronald R. and Jones, James V. Casting." Sept./Oct. 1998, pp. 4-5. "Advances in Automotive Glass Provide Solar Part 2: no. 55, Nov./Dec. 1998, p. 4. GAS News (Glass Art Society), March/April/ Control." May 1999, pp. 10-11. The Glass Researcher (Bulletin of Glass 988 Koga, Kim and Svenson, David. Science and Engineering, Alfred University, "Sculptural Neon." 963 Hall, Sarah and Kraegel, Jeffrey. New York), v. 4, no. 2, Winter 1995, p. 3+, ill. Glass Art Society Journal, 1998, pp. 74-75, ill. "Fire and Sand: A Pilgrimage to Glashutte In English and Japanese. Lamberts." 975 Illuminating Engineering Society. Report on demonstration at conference in Glass Art, v. 14, no. 6, Sept./Oct. 1999, IES Lighting Handbook (5th ed.). Seto, Japan. pp. 86-91, ill. New York: the society, 1972, 1 v. (various Glass production at the Waldsassen factory. pagings), ill. 989 Kolthoff, Benedict. Includes use of glass with natural and artificial Glass Terminology: A German-English Glossary. 964 Hansen, Melissa V. light sources, properties of lighting glass, New York: Language Service, 1967,106 pp., ill. "Make Your Own Stained Glass Treasures." transmittance and reflectance values, etc. Includes "terminology on all modern aspects of Home Lighting & Accessories, v. 81, no. 8, glass manufacture and such related fields as Aug. 1998, p. 46, ill. 976 International Commission on Glass. furnace design and construction, refractories, Berkeley, California, studio offers instruction Sub-committee A XI. ceramics, crystallography, optics," etc. on making Tiffany-style lamps. A Review of the Literature on the Problems of Glass Furnace Regenerators. 990 Kuban-Scheel, Karin. 965 Hart, Sara. Charleroi, Belgium: the commission, 1975, 82 pp. "Kunstverglasungen: Bei der Arbeit mit und "Shattering Expectations." an Bleiverglasungen ist fur den Kunstglaser Architecture, v. 87, no. 9, Sept. 1998, 977 Isenberg, Anita and Isenberg, Seymour. grofBte Sorgfalt geboten." pp. 150-153, ill. Start Off in Stained Glass. Glas + Rahmen, v. 50, no. 3, March 1999, Efforts to produce stronger, safer laminated Radar, PA: Chilton, 1974, 23 pp., ill. p. 8+, ill. glass. Five questions and answers concerning lead 978 Johnson, Darlene and Lee, Judy. framing and glazing. 966 Hayward, John. "Flowers, Flowers and More Flowers." "Sherborne Abbey: The Great West Window." Fused Art Newsletter (Fused Fantasies, 991 Lamothe, Rich. The Journal of Stained Glass (British Society Bradenton, FL), no. 9, Winter 1999, p. [1], ill. "It's Hip to Use HIPS (High Impact Polystyrene of Master Glass Painters), v. 21, 1997, Making millefiori circles. Sheets)." pp. 92-98, ill. Glass Craftsman, no. 153, April/May 1999, Discussion of the controversy surrounding the pp. 20-23, ill. 979 "Kilns, the Quest for the Best!" replacement of the original 19th-century glass, Describes uses in sandblasting, stained glass, Fused Art Newsletter (Fused Fantasies, and technical notes by the artist. laminating, moldmaking, and templates. Bradenton, FL), no. 9, Winter 1999, p. [1], ill. 967 Hecht, Jeff. 992 Legere, Robert. City of Light: The Story of Fiber Optics. 980 Judson, Walter W. "Inexpensive Sandblast Resist." New York: Oxford University Press, 1999, Stained Glass: A Step-by-Step Guide. Stained Glass, v. 94, no. 3, Fall 1999, 316 pp., ill. New York: Galahad Books, [1972], 138 pp., ill. pp. 190-191, ill.

968 Hecht, Jeff and Teresi, Dick. 981 Kay, Gersil N. 993 Lehmann, Wolfram. Laser, Light of a Million Uses. "Glass Menagerie." "Neon Lighting: Understanding Technical Pa­ Mineola, NY: Dover Publications, 1998, LD+A (Lighting Design + Application), v. 28, rameters Is Crucial in Designing Neon Instal­ 264 pp., ill. no. 12, Dec. 1998, pp. 40-43, ill. lations." Use of glass fiber optics in architectural Signs of the Times, v. 221, no. 4, March 1999, 969 Hellemans, Alexander. lighting applications. pp. 98-100+, ill. "Stress Profiling Gets the Best Out of Glass." Science (American Association for the Ad­ 982 Kennedy, Karen. 994 Liehr, Ulrich. vancement of Science), v. 283, no. 5406, "Sparkling Jewel." "Back into the Melting Tank." Feb. 26, 1999, pp. 1237-1238, ill. Schott Info, no. 85, June 1998, p. 23, ill. Schott Info, no. 86, Sept. 1998, pp. 7-9, ill. Chemical process results in glass that resists Hope Diamond illuminated with fiber optics. Recycling television picture tubes. fracture and delivers warning cracks before failing. 983 Kettler, Michael. 995 Liu, Robert K. "A Touch of Glass." "Ancient Techniques in Contemporary Glass 970 Hoffmann, Ute. Schott Info, no. 88, March 1998, pp. 20-21, ill. Beads." "Dreams of Light." Glass with integrated electronics allows for Glass: The UrbanGlass Art Quarterly, no. 73, Schott Info, no. 87, Nov. 1998, pp. 20-22, ill. display and interactive controls. Winter 1998, pp. 26-29, ill. 996 Loredo-Murphy, Jorge. 1008 Oakley, Shirley. 1020 Richard, Stephen. "Glass: An Age-Old Material with Revolution­ "The Use of Nuts and Bolts to Secure Enamels." "An Exploration of French Embossing." ary Uses." Glass on Metal, v. 12, no. 2, April 1993, Common Ground: Glass (Newsletter of the The Glass Researcher (Bulletin of Glass pp. 38-39, ill. International Guild of Glass Artists Inc.), Science and Engineering, Alfred University, Fall 1998, pp. 4-6, ill. New York), v. 4, no. 2, Winter 1995, p. 1+, ill. Acid-etching technique described. 1009 Oakley, Victoria. Overview of new scientific and technological "Crizzling and Related Problems in Glass: uses. San Francisco, July 1998." 1021 Robertson, John. Glass News (Association for the History of "Heart and Seoul." 997 Lovell, Eric. Glass Ltd.), no. 5, Nov. 1998, p. 2+. LD+A (Lighting Design + Application), v. 28, "How Ring Mottle Opalescent Glass Is Made." Report on session at 18th International no. 8, Aug. 1998, pp. 26-29, ill. Home Lighting & Accessories, v. 81, no. 8, Congress on Glass. Tempered glass used in Korean exterior Aug. 1998, p. 124+, ill. lighting project. Reprinted from Uroboros Glass Studios. 1010 Petersen, Carolyn Collins and Brandt, John C. 1022 Romero Langle, Marco. 998 McAlister, Marti. Hubble Vision: Further Adventures with the "Trabajar con vidrio caliente: Hornos = "Laminated Glass Comes Home." Hubble Space Telescope. Working with Hot Glass: Kilns." Glass Digest, v. 78, no. 1, Jan. 15, 1999, Cambridge, New York: Cambridge University Vidrio (Asociacion de Artistas del Vidrio), no. 1, pp. 52-53, ill. Press, 1998, 224 pp., ill. March-May 1999, pp. 41-42, ill. Shatter-resistant glass windows deter burglars. In Spanish and English. 1011 Porcelli, Joe. 1023 Rosendahl, Ann Brewster. 999 McCann, Michael. "Diamond Tech's PowerMiter™ II Chop Saw." "Clean Art: Form Making Made Easier with Health Hazards Manual for Artists. Glass Craftsman, no. 150, Oct./Nov. 1998, Vermit Plates." New York: Lyons & Burford, 1994, 129 pp. p. 49, ill. Includes hazards in stained glass and glass- This Side Up! (Valkenswaard, The Nether­ blowing, pp. 59-61. lands), no. 5, Spring 1999, p. 30, ill. 1012 "Recognizing Different Glass for Mosaics." 1000 Madera, Kari and Madera, Robert. 1024 Rossol, Monona. Glass Craftsman, no. 153, April/May 1999, "Reproductive Health and Stained Glass Artists." "How to Make a Dot/Eye Bead." pp. 56-57, ill. Jewelry Crafts, March/April 1999, pp. 56-57, ill. Glass Craftsman, no. 154, June/July 1999, pp. 54-56+. 1013 Posner, Richard. 1001 Makarov, V. N. and others. "Vitreography Workshop: Photo-Sensitive Film 1025 Rovinskaia, N. V. and Lapitskaia, E. V. "Dekorativnye stekla iz vtorichogo syr'ia." Elmusion ABCs." "Zhidkoe zoloto i drugie preparaty dria de- Steklo i Keramika, no. 8, Aug. 1998, Glass Art Society Journal, 1998, pp. 75-77, ill. korirovaniia glazurovannykh farforovykh i pp. 22-24, ill. In English and Japanese. stekliannykh izdelii." Decorative glass made of recoverable Steklo i Keramika, no. 3, March 1998, p. 33, ill. resources. 1014 Puxley, David. Liquid gold and other compounds used in dec­ oration of glazed porcelain and glass articles. 1002 Mallard, Gene. "Recycled Glass Project Links Students with Industry." "Framing with Lead: An Introduction to the Glass, Monthly Journal of the European Glass 1026 Russo, Rusty. European Edge Technique." "Neon Techniques: Glassblowing Techniques Glass Craftsman, no. 152, Feb./March 1999, Industry, v. 75, no. 10, Oct. 1998, pp. 339-340, ill. - Improve Your Glass-Working Skills by pp. 28-30, ill. Design and production of recycled glass Fabricating Bulbs, Spheres and Marias." trophy for award presentation in Birmingham, Signs of the Times, v. 221, no. 1, Jan. 1999, 1003 Mantell, C. L., ed. England. p. 68+, ill. Engineering Materials Handbook. New York: McGraw-Hill, 1958, 1 v. (various 1015 Radwan, Christiane. 1027 "Processing Dynamics: What's Hap­ pagings), ill. pening Inside the Tube Affects the Finished Glass and silica, section 27. "Aus der Pistole geschossen: Neue Materia- lien in der Glasmalerei." Product." Glas + Rahmen, v. 50, no. 8, Aug. 1999, Signs of the Times, v. 221, no. 10, Sept. 1999, 1004 Marsh, Jamie. p. 20, ill. p. 40+, ill. "The Acid Queen: Catrin Jones on Acid New techniques and materials in stained and Neon technology. Etching." painted glass. Glass Network (Newsletter of the Contempo­ 1028 Salgado Gonzalo, D. Alberto. rary Glass Society, U.K.), no. 7, Sept. 1999, "Reciclado de vidrio." 1016 Rasmussen, Margaret Adams and P- [7]. Revista Vidrio Internacional, no. 7, June 1998, Choudhary, Manoj. Report on workshop. pp. 17-18, ill. "On the Cutting Edge of Glass: Past, Present Glass recycling. and Future." 1005 Maynard, Marinelle. The American Ceramic Society Bulletin, v. 78, "Innovations: The New Thermic Bottle." no. 2, Feb. 1999, pp. 56-60, ill. 1029 Savaete, Bernard. Glass Machinery Plants & Accessories (Mi­ Report on the 18th International Congress on "Glossaire quadrilingue." lan), no. 3, May/June 1997, pp. 109-111, ill. Glass. Verre (Institut du Verre, Versailles), v. 1, no. 1, Two-part bottle has vacuum to keep contents Jan./Feb. 1995, pp. 51-56. at constant temperature longer. In French, Italian, Spanish, and English. 1017 Reed, Karen. Glossary of technical glass terms. "Sketching on Glass." 1006 Min'ko, N. I. and Emel'ianova, S. N. Glass Craftsman, no. 154, June/July 1999, "Dekorativnye steklokristallicheskie materialy p. 46+, ill. 1030 Schell, James. imitiruiushchie poludragotsennye kamni." "Traditional Light Painting: Glass Photography Steklo i Keramika, no. 8, Aug. 1998, Techniques." pp. 19-21, ill. 1018 Reynolds, Gil. Glass Craftsman, no. 150, Oct./Nov. 1998, Decorative glass-ceramic materials simulating "Kiln Controllers." pp. 40-43+, ill. semiprecious stones. Glass Craftsman, no. 153, April/May 1999, p. 24+, ill. 1031 Schell, Jim. 1007 Mosaics, no. 2: Safeguard, Carthage "Glass Casting and pate de verre: An Easy 1978, Perigueux 1980. 1019 "Kiln Crafting: Hot Tips for Fusing and Way to Make Molds for Waxes." Rome: International Centre for the Study of Slumping." Common Ground: Glass (Newsletter of the the Preservation and the Restoration of Stained Glass News, continuing series, International Guild of Glass Artists Inc.), Cultural Property, 1983, 63 pp., ill. no. 43, Feb. 1999 - no. 46, Nov. 1999. Spring 1999, pp. 103-106, ill. 1032 Schilling, Govert. Objects Specialty Group Postprints, 1057 Wardell, Randy. "Telescope Builders Think Big - Really Big." Albuquerque, NM: American Institute for "Working with Stained Glass: Hints & Tips for Science (American Association for the Conservation of Historic and Artistic Works. Hobbyists." Advancement of Science), v. 284, no. 5422, Objects Specialty Group, 1992, pp. 1-12, ill. Stained Glass News, continuing series, no. 43, June 18, 1999, p. 1913+, ill. "Commercially available stained glasses . .. Feb. 1999-no. 46, Nov. 1999. Discussion of next-generation telescope exhibited no visual changes" after 100 days of mirrors, which may reach up to 100 meters exposure. 1058 Weber, Manfred. across. "The Cutting Edge of Technology: Laser Cutting." 1046 Thielen, Marcus. Schott Info, no. 85, June 1998, pp. 10-11, ill. 1033 Schmid, Edward T. "How Fast Can You Pump? Some Thoughts Lasers used to cut flat glass. Beginning Glassblowing. about Neon Tube-Pumping Speeds." Bellingham, WA: Glass Mountain Press, 1998, Signs of the Times, v. 220, no. 13, Dec. 1998, 120 pp., ill. p. 70+, ill. 1059 "New Glasses for the Next Millennium." Schott Info, no. 87, Nov. 1998, pp. 13-15, ill. 1034 Seeler, Margarete. Lead-free and arsenic-free optical glasses. 1047 Thompson, Allyn J. "Macro-Cloisonne." Making Your Own Telescope. Glass on Metal, v. 12, no. 3, June 1993, Cambridge, MA: Sky Publishing Corp., 1981, 1060 "Put into the Right Light." pp. 54-55, ill. 224 pp., ill. Schott Info, no. 88, March 1998, pp. 7-9, ill. Technique for making large cloisonne murals. Fiber optics provide lighting in automobiles.

1035 Seiz, Robert; Achenbach, Eberhard; 1048 Tichane, Robert. Ash Glazes. 1061 Webster, Shirley. and Brinkmann, Ernst. "Dichroic Glass: Unraveling the Mystery." Glaserfachbuch: Fachkunde, Fachzeichnen, lola, Wl: Krause Publications, 1998, 216 pp., ill. Glass Art, v. 14, no. 4, May/June 1999, p. 12+. Fachrechnen (5th ed.). Wood ash and glass, pp. 181-186. Things to know before fusing with dichroic glass. Schorndorf, Germany: Verlag Karl Hofmann, 1994, 380 pp., ill. 1049 Copper Red Glazes. lola, Wl: Krause Publications, 1998, 306 pp., ill. 1062 "Understanding the Colors of Dichroic 1036 Shelby, James E. Includes glasses, pp. 108-111 and 213-231; Glass." Introduction to Glass Science and Technology. glasses versus glazes, pp. 149-153; glass Glass Art, v. 14, no. 2, Jan./Feb. 1999, Cambridge, England: The Royal Society of staining, pp. 137-145 and 215-218; and ruby pp. 34-37, ill. Chemistry, 1997, 244 pp., ill. glass, 225-231. List of available colors, with guide to color changes after firing. 1037 Sky, Max. 1050 Toussaint, A. "Transparently Safe." "Influence of Pigmentation on the Mechanical 1063 Weiss, Bert. Schott Info, no. 86, Sept. 1998, p. 14, ill. Properties of Paint Films." "Cutting Heavy Glass: 1/4", 3/8", 3/4" and Up." 14-millimeter anti-reflective laminate used in Progress in Organic Coatings, v. 2, no. 3, Glass Craftsman, no. 155, Aug./Sept. 1999, security display case for America's Cup. 1973/1974, pp. 237-267, ill. pp. 40-41+, ill. Influence of pigment volume concentration on glass transition temperature, pp. 244-246. 1038 Smith, Kent. 1064 Woolhouse, Sue. "Tips and Tricks for Gilding Glass & Clear "Kiln Working Workshop with Anne Smyth." Coating." 1051 Trueb, Lucien F. Glass Network (Newsletter of the Contempo­ The Gilder's Tip, no. 2, 1999, pp. 12-14, ill. "Focus on the Universe." rary Glass Society, U.K.), no. 7, Sept. 1999, Schott Info, no. 86, Sept. 1998, pp. 10-12, ill. P- [8]. 1039 Smrckova, Ludvika. Describes process to manufacture the first of Report on workshop. "Hutnicke sklo." four 8.2-meter glass-ceramic mirrors for Tvar, v. 3, no. 4, 1950, pp. 206-217, ill. "supertelescope" in Chile. Russian, English, and French summaries. 1065 Young, Brent Kee. Discussion of furnace glass production. "Casting." 1052 Valka, Jan. Glass Art Society Journal, 1998, pp. 77-78, ill. "The Glass Industryjn the Czech Republic = In English and Japanese. 1040 Spencer, Joseph. Sklarsky prumysl v Ceske republice." Report on demonstration at conference in "Double Torch Enameling." Sklar a Keramik, v. 49, no. 6, 1999, Seto, Japan. Glass on Metal, v. 10, no. 2, April 1991, pp. 165-170, ill. In English and Czech. pp. 170-171+, ill. Primarily industrial and technical glass pro­ duction. 1066 Young, Butch. 1041 Stix, Gary. "Blasting on Blown Glass and Double Cut Lines." "A New Eye Opens on the Cosmos." A&E (The Magazine for Awards & Engraving Scientific American, v. 280, no. 4, April 1999, 1053 van der Burght, Angela. Professionals), v. 12, no. 7, Sept. 1999, pp. 104-111, ill. "Glastechnieken." pp. 60-63, ill. Gemini telescope on Mauna Kea, Hawaii, has Glasbulletin, Vereniging van Vrienden van Modern Glas, v. 13, no. 1, 1999, pp. 4-6. 8.1-meter mirror. 1067 "Getting Greedy: Taking Color Away." A&E (The Magazine for Awards & Engraving 1042 Stoll, Rainer. 1054 Vann, Royce. Professionals), v. 12, no. 5, July 1999, p. 26+, ill. "Electricity from the Desert: Solar Power Sta­ "Diamond Point Engraving (and the Use of tion." Rotary Tools)." Schott Info, no. 85, June 1998, pp. 15-17, ill. Glass Art, v. 14, no. 6, Sept./Oct. 1999, 1068 Young, Butch and Long, Rita. Borosilicate glass tubes used in Mojave pp. 18-25, ill. "High-End Surface Etching: Part I." Desert solar power station. Glass Art, v. 14, no. 5, July/Aug. 1999, pp. 24-26+, ill. 1055 Vogel, NealA. Part 2: v. 14, no. 6, Sept./Oct. 1999, p. 76+. 1043 "Slimming Down 'Zerodur.'" "Stained Glass Restoration." Schott Info, no. 87, Nov. 1998, pp. 10-12, ill. Modern Liturgy, v. 22, no. 9, 1995, pp. 16-17, ill. Making lightweight telescope mirrors. Advice for contracting professional stained 1069 "Solid Frosting for Fun and Profit." glass repairs. Glass Art, v. 14, no. 4, May/June 1999, 1044 "With the Benefit of Hindsight." pp. 48-50+, ill. Schott Info, no. 89, April 1999, pp. 11-13, ill. 1056 Ward, David L. Rear-view mirrors for automobiles. "Mosaic Glue Comparison Testing." 1070 Zuniga, Alberto. Common Ground: Glass (Newsletter of the "Crystal for Cristina: Consumer Glassware 1045 Striegel, Mary F. International Guild of Glass Artists Inc.), and Fibre Optics." "The Effects of Gas Phase Formaldehyde on Summer 1999, p. 21. Schott Info, no. 85, June 1998, pp. 22-23, ill. Selected Inorganic Materials Found in Mu­ Results of informal test on 10 glues for Fiber optics illuminate cathedral in Barcelona seums." "toxicity/fumes, hold, clarity, and cleanup." for royal wedding. FILMS AND VIDEOTAPES/FILME UND VIDEOKASSETTEN

1071 Anna Ehrner. Glas (Leerdam), 11 min., glass blowing by 1084 Markku Salo. Lars Johansson and Boomerangfilm, 1995. hand and machine at the Leerdam factory; [S.n., n.d.]. 10 min., sound, color. Designs in Miniature, 15 min., making of 7 min., sound, color. canes and murrini; Dante Marioni Glass, 15 min., 1072 Bertil Vallien. Dante's team creates large vases; Baccarat: 1085 The Master Class Series, Volume II: Lars Johansson and Boomerangfilm, 1995. Les Presse-Papiers, 8 min., the making of An Introduction to Venetian Techniques with 10 min., sound, color. paperweights at Baccarat. William Guden rath. The Studio of The Corning Museum of Glass, 1073 Chihuly at Bellagio - Fiori di Como. 1079 Dale Chihuly: Person of the Week. 1998. Portland Press, 1998. ABC World News Tonight, 1995. 30 min., sound, color. 30 min., sound, color. 4 min., sound, color. Included are demonstrations of creating an Concept, design, development, production, Broadcast February 3, 1995. optic tumbler and a dragonstem goblet; and installation of the work in Las Vegas. in conjunction with Jutta Page, Curator of 1080 Elements: Robert Mickelsen. European Glass at The Corning Museum of 1074 Chihuly in Action. Marcie Davis, [n.d.]. Glass, Gudenrath discusses other Venetian Portland Press, 1999. 51 min., sound, color. techniques by examining examples from the 30 min., sound, color. A demonstration of lampworking, making a Museum collection. "From drawing to blowing." Narrated by the large sculptural vessel which incorporates artist. Graal technique. 1086 Master Cutting Techniques, Part 1. Glass Giraffe, 1996. 1075 Chihuly Nijima Float Project. 1081 Glass India 2. 1 videocassette, sound, color. Portland Press, 1999. Norman Faulkner, 1999. "Current information on tools, techniques, and 1 videocassette, sound, color. 1 videocassette, sound, color. equipment." Focuses on beads and bangles. 1076 Chihuly Working with Lino Tagliapietra. 1087 Neon from the Smithsonian Light Portland Press, 1999. 1082 Hearts of Glass: The Story of Blenko Sculpture Workshop. 30 min., sound, color. Handcraft. Craig Kraft, [n.d.]. "The Putti; contemporary explorations of Huntington, WV: NETA West Virginia Public 90 min., sound, color. mannerist form." Television, Witek & Novak Inc., 1998. History of neon; bending, tools, equipment, 60 min., sound, color. and safety; and the making of one piece. 1077 Chihuly Working with Pino Signoretto. Traces the Blenko family, beginning with Portland Press, 1998. English immigrant John Blenko and the glass 1088 The Possibility behind Optical Networks. 1 videocassette, sound, color. company he founded over a century ago; [Corning Opto-Technologies?, 1999?]. Working from prototypes for Atlantis Hotel on explores blown-glass production inside the 9 min., sound, color. Paradise Island. factory; and visits with artists, curators, and scholars who evaluate Blenko's unique posi­ 1089 Rainbow in the Glass of Pavel Hlava. 1078 Compilation of Videos no. 1. tion in the world of art. [S.n.], 1999. [Various: various, 1955-1995]. 1 videocassette, sound, color. 64 min., sound, color. 1083 Higgins Glass Studio. Includes Rhapsody in Glass, 5 min., in which RBTV, 1996. 1090 Ulrica Hydman-Vallien. a glass trombone is made by lampworking; 1 videocassette, sound, color. Lars Johansson and Boomerangfilm, 1995. Tuba in Glass, 10 min., made by lampworking; Michael and Frances Higgins. 10 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 21. The num­ Sachregister zur „Bibliographie" der New oder Orte behandelt werden. bers following the names below are Glass Review 21. 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

Aalto, Alvar, 467 Begou, Alain and Marisa, 440 Cagianelli, Antonio, 192, 622 Adam, Jan, 379 Ben Tre, Howard, 571 Cain, Michael, 119 Alliou, Didier, 735 Bergstrom, Lena, 114, 115 Carther, Warren, 857 Andolina, Gary, 59 Bernstein, Ricky, 642 Casanueva, Ana Maria, 444 Casanueva, Sofia, 444 Ayotte, Rick, 568 Bettison, Giles, 240 Chabrier, Gilles, 480 Backstrom, Monica, 279 Bianchin, Cristiano, 98, 101, 526 Chagall, Marc, 741,755 Balabanoff, Doreen, 857 Bianconi, Fulvio, 421 Chardiet, Jose, 656 Bilger, Margret, 808 Baldwin, Philip/Guggisberg, Monica, 130, 398, Chaseling, Scott, 347 487, 566 Bolangier, Wouter, 653 Chevalley, Pierre, 838 Baudry, Thierry, 196 Boyadjiev, Latchezar, 295 Chihuly, Dale, 30, 38, 89, 174, 237, 238, 323, Bazaine, Jean, 732, 764, 785 Brandt, Asa, 427 338, 386, 406, 464, 497, 617, 701, 1073, Beebe, Jane, 87 Brathwaite, Stephen, 857 1074, 1075, 1076, 1077, 1079 Cigler, Vaclav, 291, 393 Leap, J. Kenneth, 705 Ramshaw, Wendy, 277, 281, 489 Clarke, Brian, 669, 818, 880 Leloup, Louis, 257, 614 Rea, Kirstie, 347 Clegg, Tessa, 207, 272, 396, 645 Libensky, Stanislav/Brychtova, Jaroslava, 3, Reekie, David, 518 Cohn, Michael, 387 58, 83, 282, 291 Reid, Colin, 520 Coombs, Debora, 698, 748, 749 Linden, Georg, 141, 858 Reid, Stuart, 857, 879 Cory, Ken, 601 Lindstrand, Vicke, 420 Ries, Christopher, 266 Cyren, Gunnar, 279 Lipofsky, Marvin, 227 Robinson, Ann, 419 Dailey, Dan, 154, 244, 252 Littleton, Harvey, 10, 218, 427, 436 Rooney, Alice, 453, 527 Declerck, Pierre, 543 Liza Lou, 86, 135, 458, 539 Rozatova, Eliska, 486 Donefer, Laura, 483 Logan, Kristina, 613 Ruffner, Ginny, 259, 634, 657 Dreisbach, Fritz, 427 Loire, Gabriel, 751, 849, 850 Rybak, Jaromir, 551 Durt-Morimoto, Michiyo, 810 Lotton, Charles, 321 Rytkonen, Martti, 115 Edgerley, Susan, 261, 483, 522 Lundberg, Steven, 17 Sabokova, Gizela, 61 Ehrner, Anna, 151, 1071 Lynggaard, Finn, 427 Sahlin, Gunnel, 151 Eisch, Erwin, 226, 239, 560 Mace, Flora/Kirkpatrick, Joey, 224, 446 Salazar, David, 11 Elias, Bohumil, 424 MacNeil, Linda, 252 Salo, Markku, 565, 1084 Elliott, Judi, 345 Mansau, Serge, 133 Santillana, Laura de, 98, 99 Engman, Kjell, 151, 273, 392, 534 Mari, Anna, 303 Sarpaneva, Timo, 555, 660 Feren, Steve, 436 Mari, Enzo, 256 Schaechter, Judith, 805, 955 Filer, Mary, 750 Marquis, Richard, 290, 561 Scheiner, Michael, 498 Fleury, Jean-Dominique, 752, 753, 846 Martens, Michel, 620 Schwarzer-Litwornia, Krystyna, 407 Forejtova, Jitka, 369 Mastroianni, Umberto, 542 Scott, Joyce, 572, 607 Frolic, Irene, 483 Matous, Jaroslav, 77 Seguso, Archimede, 360 Fujita, Kyohei, 300, 383, 427, 452 Matthews, Mark, 15 Sheehan, Maura, 243 Gellman, Mimi, 857 Maurer, Ingo, 242 Shinohara, Yutaka, 302 Gherardi, Lisa, 178 McElheny, Josiah, 322, 380 Signoretto, Pino, 490, 1077 Gilhodez, Thierry, 868 McGrain, Peter, 694 Simpson, Josh, 14, 286, 295, 324 Glancy, Michael, 260 Meilahn, Michael, 295 Singletary, Preston, 650 Glass Art Society, 153, 154, 300, 473, 527 Merikallio, Mikko, 427 Solven, Pauline, 427 Gomez, Javier, 391, 437 Merker, Ursula, 400 Sottsass, Ettore, 22, 256 Grunseit, Marc, 340 Merz, Mario, 159 Stankard, Paul, 234, 235, 309, 529 Gryt, Alojzy, 438 Statom, Therman, 576, 635 Mickelsen, Robert, 1080 Gudenrath, William, 1085 Stone, Molly, 387 Miller, Robbie, 320 Guerin, Henri, 765 Stump, Loren, 163 Moje, Klaus, 33, 94, 95 Guiterrez, Yolanda, 557 Sundberg, Per B., 114, 115 Molenaar, Frans, 461 Hall, Sarah, 768 Svestkova, Eva, 367 Morin, Claude, 427 Hammond, Susan, 183 Tagliapietra, Lino, 76, 225, 509, 513, 1076 Morris, William, 91, 236, 478 Heilman, Chris, 166 Takahashi, Yoshihiko, 608 Moser, Roland, 813 Hellsten, Lars, 115 Tarsitano, Debbie, 40 Mount, Nick, 629 Herman, Samuel J., 427 Thorkelsson, lone, 579 Munoz de Pablos, Carlos, 739 Higgins, Frances, 1083 Trabucco, Victor, 575 Murphy, Kelsey, 469 Higgins, Michael, 92, 108, 1083 Trnka, Pavel, 502 Musler, Jay, 229 Hlava, Pavel, 384, 1089 Umbdenstock, Jean-Pierre, 193, 376 Hlavova, Jarmila, 368 Myers, Joel Philip, 230, 427 Valkema, Sybren, 427 Hoglund, Erik, 279 Nachman, Roger, 514 Vallien, Bertil, 385, 1072 Hopkins, Deborah, 177 Negreanu, Matei, 171, 442, 466, 479 van der Burght, Angela, 147 Horvath, Marton, 598 Nilsson, Anne, 115 van der Waal, Miranda, 112 Hyde, Elaine, 295 Nordio, Massimo, 18, 623 van Ginneke, Vincent, 131, 546 Hydman-Vallien, Ulrica, 1090 Nuttgens, Joseph, 819 van Zijst, Jan-Willem, 147, 182 Ink, Jack, 80 Ohira, Yoichi, 98 van Zijst, Sunny, 147 Irving, Joan, 811 Orvola, Heikki, 546 Vandenhoucke, Sylvie, 548 Ishii, Koji, 82 Palmqvist, Sven, 279 Wahlstrom, Ann, 151, 251 Iwata, Hisatoshi, 247 Paolini, Giulio, 110 Walentynowicz, Janusz, 228 Iwata, Toshichi, 247 Pavlik, Michael, 233 Warff, Goran, 151 Johansson, Jan, 115 Pearl, David, 857 Wesselow, Eric, 794 Jones, Catrin, 484 Peiser, Mark, 232 Whiteley, Richard, 274 Karel, Marian, 291 Penone, Giuseppe, 474 Willson, Robert, 470 Kebrle, John, 766 Perkins, Danny, 39 Winternitz, Adolfo, 859 Kihlgren, Gunilla, 156 Pesce, Gaetano, 110 Wirkkala, Tapio, 278, 660 King, Gerry, 427 Pilchuck Glass School, 195, 308, 323 Wolfe, Jon, 231 Komorowska-Birger, Paulina, 299 Pinart, Robert, 627, 955 Yamano, Hiroshi, 70, 74 Kopecky, Vladimir, 493, 503 Pire, Jean, 488 Yang, Loretta, 370 Krantz, Helen, 114, 115 Pohl, Erwin, 817 Yukutake, Harumi, 449 Kuhn, Jon, 454 Posner, Richard, 250 Zack, Leon, 87 Kunster, Gabriele, 141, 678, 797 Powell, Carl, 822 Zamecmkova, Dana, 289, 291 Lagerbielke, Erika, 114, 115 Pusztaszeri, Adela, 160 Zoritchak, Yan, 427 Lap, Janja, 373 Quagliata, Narcissus, 96 Zynsky, Mary Ann "Toots", 142, 528