New

The Corning Museum of Glass NewGlass Review 24

The Corning Museum of Glass Corning, New York 2003 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made between der Voraussetzung ausgewahlt, dass sie zwi- October 1, 2001, and October 1, 2002. schen dem 1. Oktober 2001 und dem 1. Okto- ber 2002 entworfen und gefertigt wurden.

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

To Our Readers An unsere Leser Since 1985, New Glass Review has been printed by Seit 1985 wird New Glass Review von der Ritterbach Ritterbach Verlag GmbH in Frechen, Germany. This Verlag GmbH in Frechen, Deutschland, gedruckt. Dieser firm also publishes NEUES GLAS/NEW GLASS, a Verlag veroffentlicht seit 1980 auBerdem NEUES GLAS/ quarterly magazine devoted to contemporary glass- NEW GLASS, eine zweisprachige (deutsch/englisch), making. vierteljahrlich erscheinende Zeitschrift, die uber zeitge- New Glass Review is published annually as part of the nossische Glaskunst weltweit berichtet. April/June issue of NEUES GLAS/NEW GLASS. It is Die New Glass Review wird jedes Jahr als Teil der Mai- also available as an offprint. Both of these publications, ausgabe von NEUES GLAS/NEW GLASS veroffentlicht. as well as subscriptions to New Glass Review, are avail­ Sie ist aber auch als Sonderdruck erhaltlich. Diese able from the Buying Office of The Corning Museum of beiden Publikationen sind ebenso wie Abonnements fur Glass (see address above). die New Glass Review im Verkaufsburo des Corning The other three issues of NEUES GLAS/NEW GLASS Museums of Glass (siehe oben stehende Adresse) er­ that are published yearly may be ordered by writing to haltlich. NEUES GLAS/NEW GLASS, Ritterbach Verlag GmbH, Die ubrigen drei Ausgaben von NEUES GLAS/NEW Rudolf-Diesel-Strasse 5-7, D-50226 Frechen, Germany. GLASS, die jedes Jahr veroffentlicht werden, Oder Abon­ Readers wishing to subscribe to NEUES GLAS/NEW nements konnen uber NEUES GLAS/NEW GLASS, GLASS should also write to that address. Ritterbach Verlag GmbH, Rudolf-Diesel-Straf3e 5-7, Readers in the United States can order subscriptions D-50226 Frechen, Germany, Tel. +49 2234 1866-17, and single copies of NEUES GLAS/NEW GLASS by Fax +49 22 34 186690, e-mail [email protected] contacting the American Sales Department of German (auch einzeln) bestellt werden. Language Publications Inc., 153 South Dean Street, Lesern in den USA empfiehlt es sich, Abonnements Englewood, NJ 07631, USA, phone: (201) 871-1010, oder Einzelausgaben uber das amerikanische Vertriebs- fax: (201) 871-0870, e-mail: [email protected]. buro des Verlages in New Jersey zu bestellen: German Language Publications, Inc. 153 South Dean Street, Englewood, NJ 07631, USA, Tel. +10 2018 71 -1010, Fax +10 201871-0870, e-mail [email protected]

All rights reserved, 2003 Alle Rechte vorbehalten, 2003 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253

Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland

Standard Book Number 0-i 1-154-8 ISSN: 0275-469X

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

Page/Seite Artists and Objects/Kunstler/innen und Objekte 4 Jury Statements/Statements der Jury 25 Jurors' Choice/Die Wahl der Juroren 38 Bibliography/Bibliografie 47 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 76 1. Elaine Adam Geblasenes und heiB bear- Artists and Objects* "North Lodge," Carberry, beitetes Glas, kalt laminiert; Musselburgh gefarbtes Monofilament, vulka- Edinburgh, Midlothian EH21 nische Schlacke 8PY, Scotland H. 12.8 cm, W. 12.8 cm, Kunstler und Objekte D. 30.7 cm Recycling TO Blown glass; steel * Descriptive information has been provided by the entrants. Geblasenes Glas; Stahl 4. Sean Albert * Die Objektbeschreibungen sind von den Teilnehmerinnen und Glass: H. 36.5 cm, W. 11.2 cm Teilnehmern geliefert worden. Vetri International Glass JP 1401 First Avenue Seattle, Washington 98101 2. Birgitta Ahlin and Sirkka Lehtonen Subtle Diptych (White) Blown glass Stockholm, Sweden Geblasenes Glas Glasklart! Tallest/hochstes: H. 55 cm, Float glass W. 9 cm, D. 9 cm Floatglas TO, JP, NW H. 50 cm, W. 800 cm, D. 800 cm 5. Vaida Andrasiunaite TO, JP, NW Siltnamiu g. 40-20 2043 Vilnius, Lithuania 3. Bernice Akamine Abfall Kaneohe, Hawaii Blown and slumped glass 'a pele Geblasenes und abgesenktes Blown and hot-worked glass, Glas cold lamination; dyed monofila­ Dimensions variable/variable ment, volcanic cinders Maf3e JP 6. Zaiga Baiza 9. Clare Belfrage Maison 180 40 Regent Street L-9940 Asselborn, Luxem­ Kensington, South Australia bourg 5068, Australia The Jewelry III Quiet Shifting Fused glass, hot-formed; iron Blown glass, cane drawing, Verschmolzenes Glas, heiR acid-etched geformt; Eisen Geblasenes Glas, Rohr-Zeich- H. 10 cm, W. 45 cm, nung, sauregeatzt D. 16.5 cm H. 44 cm TO WG, TO, JP, NW

7. Hemi Bawa 10. Alex Gabriel Bernstein 6 Hailey Road Chappell Gallery 110001 New Delhi, India 526 West 26th Street, #904 In the Wild New York, New York 10001 Fused glass; copper Solid Empty Verschmolzenes Glas; Kupfer Cast and cut glass; steel H. 61 cm, W. 38 cm, D. 1.5 cm Gegossenes und geschliffenes WG, TO Glas; Stahl H. 29 cm, W. 27 cm, D. 20 cm 8. Arlon Bayliss and WG, TO Jason Knapp 415 Davis Drive Anderson, Indiana 46011 The Crystal Arch Sheet glass, 360 blown crystals; stainless steel, fiber optics Glasscheiben, 360 geblasene Kristalle, rostfreier Stahl, Faseroptik H. 5 m, W. 13 m WG, TO, JP, NW

7 10 11. A. J. Bocchino Geblasenes Glas; Polyvinyl- 354 Broome Street, Apt. 5-B chlorid, Gerate New York, New York 10013 Dimensions variable/variable MaRe Untitled (floor and walls, detail/ JP Boden und Wande, Detail) Hot-worked glass; bricks 14. Jane Bruce HeiB bearbeitetes Glas; Ziegel Australian National University H. 360 cm, W. 270 cm, GPO 804, Childers Street D. 30 cm ACT 0200 Canberra, Australia JP Stacked (colorless, black, and 12. Mauro Bonaventura red vessel/farbloses, schwar- Dorsoduro 2611 zes und rotes GefaR) 30123 Venice, Italy Fused and blown Bullseye glass, cut Sinapse (detail/Detail) Verschmolzenes und geblase­ Flameworked glass nes Bullseye Glas, geschliffen Lampengearbeitetes Glas H. 109 cm, W. 13 cm, H. 50 cm, W. 30 cm, D. 8 cm D. 13 cm WG TO, JP 13. Liam Bowers 15. Nancy Callan 4 Highland Street, #12A William Traver Gallery Pawtucket, Rhode Island 110 Union Street, Second 02860 Floor Device for Self-Communication Seattle, Washington 98101 Blown glass; polyvinyl chloride, Pin-up Girls hardware Blown glass, engraved Geblasenes Glas, graviert H. 35 cm, W. 10 cm, D. 10 cm NW

/ : 16. Annie Cantin 19. William Couig 4030 Ste-Ambroise, #219 12 John Street, #10 Montreal, Quebec H4C 2C7, New York, New York 10038 Canada Link-in: Four-G 3 Spheres—Little Fruits Blown glass, assembled Flavour Geblasenes Glas, montiert Mold-blown glass; fabric, metal H. 15 cm, Diam. 45 cm Formgeblasenes Glas; Fasern, WG, JP Metall Largest/groRtes: H. 38 cm, 20. Rene Culler W. 15 cm, D. 8 cm 540 East 105th Street, #122 TO Cleveland, Ohio 44108 17. Christine Cholewa Color Cloud Fused glass; pigments, steel, 15 Zima Crescent silver, gold leaf Bradford, Ontario, Canada Verschmolzenes Glas; Glass Armour Pigmente, Stahl, Silber, Blatt- Cut glass gold Geschliffenes Glas Glass/Glas: H. 12.5 cm, Life-size/lebensgrof3 W. 10.5 cm, D. 5 cm JP, NW WG, TO, NW

18. Jon F. Clark Elkins Park, Pennsylvania Rings (detail/Detail) Mold-blown glass, etched Formgeblasenes Glas, geatzt Largest/groRtes: H. 40 cm, W. 316 cm, D. 316 cm JP, NW

f 21. Isabel De Obaldia Untitled P.O. Box 55-0070 Paitilla Blown glass Panama City, Panama Geblasenes Glas H. 50 cm, W. 65 cm, D. 10 cm Guignol WG, NW Kiln-cast glass; wood, lights, paint 24. Adrianne Evans Ofengegossenes Glas; Holz, Providence, Rhode Island Leuchten, Farbe H. 60 cm, W. 120 cm, Balance D. 46 cm Blown glass; English boxwood TO, NW shrub, soil, water, lead, steel Geblasenes Glas; Stahl 22. Tim Edwards H. 175 cm, W. 44 cm, 40 Regent Street D. 20 cm Kensington, South Australia WG, TO 5068, Australia 25. Carole Freve Suspension Montreal, Canada Blown and cut glass Geblasenes und geschliffenes Pensees volages (2002) Glas Blown, hot-worked, and elec­ H. 30 cm, W. 54 cm, D. 6 cm troplated glass; copper, beads WG, TO, JP, NW Geblasenes, hei(3 bearbeitetes und galvanisiertes Glas; 23. Sophia Emmett Kupfer, Perlen 64 Saint David Street, H. 56 cm, W. 42 cm, D. 20 cm Thornbury WG, TO Melbourne, Victoria 3071, Australia 26. Donald Friedlich Geblasenes Glas; Aluminium, 709 South Shore Drive Gummi, elektrische Teile, mon­ Madison, Wisconsin 53715- tiert 1707 Largest/groBtes: H. 28 cm, W. 38 cm, D. 32 cm Translucence Series Brooch WG, NW Cut and sandblasted glass; 14- and 18-karat gold 29. Susan Taylor Glasgow Geschliffenes und sandge- 307 North 10th Street strahltes Glas; 14 und 18 kara- Columbia, Missouri 65201 tiges Gold H. 6 cm, W. 6 cm, D. 1 cm Stylish Comfort WG, TO, JP Fused glass, draped, sand­ blasted, painted, sewn 27. Emi Fujiwara Verschmolzenes Glas, C-201 Famille Heights behangt, sandgestrahlt, 2-1 Aza-tsujishige, Ohira-cho bemalt, genaht Okazaki, Aichi 444-0007, H. 46 cm, W. 20 cm, D. 20 cm Japan TO Everybody is like that... 30. Alison Gordon Cast glass, assembled; paint, 40 Chelsea Park, Easton zipper Bristol BS5 6AG, England Gegossenes Glas, montiert; Farbe, ReiBverschluss Belly in a Box H. 28 cm, W. 52 cm, D. 10 cm Pate de verre\ photographic NW image, shredded, wooden box Pate de verre\ Fotografie, in 28. Julie Gibb Fetzen gerissen, Holzkiste 107 Roselawn Avenue, #304 H. 18 cm, W. 13 cm, D. 10 cm Toronto, Ontario M4R 1E7, JP, NW Canada Creatures Blown glass; aluminum, rub­ ber, electrical parts; assembled

lliliii Katherine Gray 34. Asami Hanamata 900 East First Street, #106 582-10, Minaminakamaru Los Angeles, California 90012 Saitama, Saitama 330-0805, Wonder Vases Japan Blown glass Cake Plates, Cake Geblasenes Glas Kiln-cast glass H. 38 cm, W. 16 cm, D. 16 cm Ofengegossenes Glas TO, NW H. 3.8 cm, W. 26 cm, D. 26 cm TO, JP, NW Brian Gustafson 516 North Main Street, Apt. 4 35. Charlotte Hargreave Bloomington, Illinois 61701 Gildbrovej 68 Untitled Ishoj 2635, Denmark Glass, wood, water, fish Salatfad Glas, Holz, Wasser, Fisch Mold-blown glass; metal, H. 116 cm, W. 50 cm, D. 80 cm rubber wheels WG, TO, JP, NW Formgeblasenes Glas; Metall, Gummirad Carrie Gustafson H. 9 cm, W. 29 cm, D. 25 cm 246 A Park Avenue TO Arlington, Massachusetts 02476 Woven Bamboo Blown glass, sandblasted Geblasenes Glas, sandge- strahlt H. 20.3 cm, W. 25.4 cm WG, TO, NW 36. Michael Hart Glass cullet 139 North Main Street, Apt. #3 Glasscherben Alfred, New York 14802 H. 35.5 cm, W. 914.4 cm NW Maintaining Composure (detail/Detail) 39. Hitoshi Hongo Blown glass; steel, cable, 45 Yasuda Fuchu-machi pulleys Neigun, Toyama 939-2751, Geblasenes Glas; Stahl, Japan Kabel, Rollen H. 255 cm, W. 255 cm, Core of Water D. 60 cm Mold-blown glass; steel JP Formgeblasenes Glas; Stahl H. 270 cm, W. 400 cm, 37. Deborah Holloway D. 300 cm 7 Northfield Circus WG Edinburgh EH8 7PY, Scotland 40. Deborah Horrell Untitled 1553 Southeast Nehalem Blown glass; balloons, water Street Geblasenes Glas; Ballons, Portland, Oregon 97202 Wasser H. 60 cm, W. 7 cm, D. 7 cm Still Life—Lineage of White TO, JP, NW Cast glass, pate de verre\ carved alabaster 38. Adam Holtzinger Gegossenes Glas, pate de Cleveland, Ohio verre, behauener Alabaster H. 33 cm, W. 91 cm, D. 20 cm Footsteps NW 41. Katrina Hude H. 76 cm, W. 30.5 cm, 3360 Old County Road D. 23 cm Greenbank, Washington WG, TO, JP, NW 98253 44. Harumi Ikushima Flicker Pushpins 854-1 Ugusu, Kamomura Fused and blown glass, Kamogun, Shizuoka 410-3501, assembled Japan Verschmolzenes und geblase- nes Glas, montiert Moydzara Series H. 30 cm, W. 10 cm, D. 10 cm Blown, fused, and slumped WG, TO, NW glass Geblasenes, verschmolzenes 42. Charlotte Hughes und abgesenktes Glas Northants, England Largest/groRtes: H. 5 cm, W. 30 cm, D. 30 cm Venetian Blind TO, JP, NW Blown glass (reticello) lenses Geblasene Glaslinsen (Reti­ 45. Corinna Jablonski cello) 1020 Eric Drive H. 1.5 cm, W. 15 cm, D. 5 cm Harrisburg, Pennsylvania WG, NW 17110 43. Beth Hylen Two-Toed Avocet Marionette 60 East Second Street (detail/Detail) Corning, New York 14830- Kiln-cast glass; paint, wire, 2724 wood, thread, steel Ofengegossenes Glas; Farbe, Branches Draht, Holz, Faden, Stahl Lampworked borosilicate glass H. 11.5 cm, W. 4 cm, Lampengearbeitetes Boro- D. 10.5 cm silikat-Glas TO 46. Tae-gon Kim Flameworked glass Strasbourg, France Lampengearbeitetes Glas H. 29 cm, W. 21 cm, D. 4 cm Sans titre (Receptacle du NW souffle) Flameworked borosilicate 49. Catherine Vamvakas Lay glass 140 Alexmuir Boulevard Lampengearbeitetes Boro- Toronto, Ontario M1V 1K9, silikat-Glas Canada H. 26 cm, W. 9 cm, D. 37 cm WG, JP, NW Faith Blown glass; rocks, water, 47. Thomas Kreager olive oil, wick, light, unfinished 800 Turner Avenue gilded icon Hastings, Nebraska 68901 Geblasenes Glas; Gestein, Wasser, Olivenol, Docht, Licht, One Hundred Glass Houses, unvollendete vergoldete Ikone One Hundred Stones, and H. 183 cm, W. 244 cm, Bottle Cart D. 153 cm Blown glass; wood, steel TO, JP, NW Geblasenes Glas; Holz, Stahl Largest/groRtes: H. 102 cm, 50. Jiyong Lee W. 320 cm, D. 320 cm West Henrietta, New York JP Cleavage 48. Katarzyna Krej Hot-worked glass, cut, glued, ul. Lenartowicza 50 carved Sosnowiec, Slask 41-219, HeiR bearbeitetes Glas, ge- Poland schliffen, geklebt, behauen H. 18 cm, W. 28 cm, D. 16.5 The Arctic III cm WG

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46 51. Jenny Leuf Halo Gitarrvagen 62 Cast glass; leather, metal S-17556 Jarfalla, Sweden Gegossenes Glas; Leder, Metall Embraced by Light Diam. 45 cm Mold-blown glass, cut, as­ JP, NW sembled Formgeblasenes Glas, ge- 54. Carmen Lozar schliffen, montiert 1708 Salem Road H. 34 cm, W. 60 cm Champaign, Illinois 61821- JP 5625 52. Gun Lindblad Untitled Roddarvagen 16 Flameworked glass; optic lens S-14141 Huddinge, Sweden Lampengearbeitetes Glas; optische Linsen Mave H. 8 cm, W. 9 cm, D. 8 cm Sand-cast glass; lead TO, NW Sandgegossenes Glas; Blei H. 15 cm, W. 120 cm, 55. Nicole Lucas D. 120 cm Auckland, New Zealand TO, JP Until 53. Dana Esther Lindzon Cast glass; jars, water Rozengracht 72/3 Gegossenes Glas; GefaGe, 1016 NE Amsterdam, The Wasser Netherlands H. 35 cm, W. 70 cm, D. 50 cm NW

S>r- SHE

ni-;f ntrrrkV-M 56. Flora C. Mace and Tengu Baby Joey Kirkpatrick Cast glass; glass eyes, 3920 Sixth Avenue Northwest pigment Seattle, Washington 98107- Gegossenes Glas; Glasaugen, 5016 Pigment H. 18 cm, W. 27 cm, D. 43 cm Land Birds: First Facts WG Hot glass powder pickup and glass cane drawing on blown 59. Kelly McLain glass William Traver Gallery Hei(3es Glaspulver, aufgenom- 110 Union Street, Second men und Glasrohrzeichnung Floor auf geblasenem Glas Seattle, Washington 98101- H. 126 cm, W. 113 cm, 2028 D. 25.5 cm TO, NW Anthem Cast glass 57. Paul Marioni and Gegossenes Glas Ann Troutner H. 244 cm, W. 305 cm, D. 10 cm 4136 Meridian Avenue North WG, TO, NW Seattle, Washington 98103 Liquid Light 60. James McLeod Laminated beaded glass 1721 63rd Street Laminiertes Glas Berkeley, California 94703 H. 105 cm, W. 500 cm, Memory Container #2 D. 2.5 cm Blown glass; steel, waxed NW linen 58. Koichi Matsufuji Geblasenes Glas; Stahl, gewachstes Leinen 3-3-2 Yaemizo H. 60 cm, W. 40 cm, D. 40 cm Saga-shi, Saga-ken 849-0935, TO Japan 61. Anna Mike's 64. Ji Sook Min 9037 Northeast 143rd Street 40, rue Ernest Munch Bothell, Washington 98011 67000 Strasbourg, France Piano Board I Like to Play All Sans titre Night Long Pate de verre Cast glass; glass powder Pate de verre Gegossenes Glas; Glaspulver H. 17 cm, W. 32 cm, D. 11 cm H. 75 cm, W. 23 cm, D. 12 cm TO, JP, NW NW 65. David Murray 62. Maie Mikof-Liivik 1c Bell Street Kentmanni 20A-25 Wanganui, New Zealand EE-10116 Tallinn, Estonia Gatherer The Cliffchaffs Cast glass Flameworked glass, gilded Gegossenes Glas Lampengearbeitetes Glas; ver- H. 31 cm, W. 58 cm, D. 12 cm goldet TO Largest/groBtes: H. 30 cm, Diam. 15 cm WG

63. John Miller Normal, Illinois Eat @ Joes—Ketchup, Egg, Bacon, OJ Blown and hot-worked glass Geblasenes und heiR bearbei- tetes Glas H. 91.4 cm, W. 121.9 cm, D. 61 cm WG, TO 66. Chiaki Nagaoka H. 200 cm, W. 320 cm, D. 460 Higashi Mukojima 3-25-8 cm Sumidaku, Tokyo 131-0032, TO, JP, NW Japan 69. Sharyn O'Mara Untitled Philadelphia, Pennsylvania Kiln-cast glass, slumped; clay Ofengegossenes Glas, abge- Untitled Field (church, detail/ senkt, Ton Kirche, Detail) H. 5 cm, W. 26 cm, D. 19 cm Optical fiber and light TO Lichtleitfaser und Licht TO, JP, NW 67. James E. Nowak Seattle, Washington 70. Steffen Orlowski Akademiestraf3e 2 Thor D-80799 Munich, Bavaria, Blown "incalmo" glass; xenon, Germany copper Geblasenes Jncalmo" Glas; To Put Outside Xenon, Kupfer Flameworked glass H. 43 cm, W. 20 cm, D. 16 cm Lampengearbeitetes Glas WG H. 60 cm, W. 60 cm, D. 60 cm TO, JP 68. Chizuko Oguchi Osachi Izuhaya 3-12-25 Okaya, Nagano 394-0089, Japan Travel-2 (A Water Drop) Flameworked glass; water Lampengearbeitetes Glas; Wasser

66 71. Bethany Owen 73. Michele Perozeni Australian National University 3 route de Fessenheim ACT 0200 Canberra, Australia 67370 Schnersheim, France About Snow #2 Inuit Hopscotch Cast glass, lathe-worked, Neon and crushed glass encaustic Neon und zerbrochenes Glas Gegossenes Glas, gedrech- H. 240 cm, W. 180 cm, selt, Enkaustik D. 1 cm H. 10 cm, W. 17.5 cm, NW D. 10 cm WG, TO 74. Richard Posner E-mail: [email protected] 72. Dylan Palmer Seven Forbidden Names for Providence, Rhode Island God as Anthrax Letters Graft (detail/Detail) Glass rod; rubber Sand-cast glass Glasstab, Gummi Sandgegossenes Glas H. 178 cm, W. 158 cm, H. 30 cm, W. 30 cm, D. 5 cm D. 150 cm JP TO 75. Sally Prasch Montague, Massachusetts Splash Flameworked glass Lampengearbeitetes Glas H. 30 cm, W. 30 cm, D. 30 cm WG, TO, NW

74 76. Helga Reay-Young 79. Karli Sears HoehenstraRe 29 18 14th Street, #16 D-51515 Kuerten, Germany Toronto, Ontario M8V 3H9, Continuity Canada Glass cubes; hollow rods, Envelope cinnamon sticks Blown glass, cut, sandblasted; Glaswurfel; hohle Stabe, Zimt- felt, thread stangen Geblasenes Glas, geschliffen, H. 25 cm, W. 25 cm, D. 12 cm sandgestrahlt; Filz, Draht WG H. 91 cm, W. 36 cm, D. 26 cm WG, TO 77. Amena Saeed 389 Kimball Drive 80. Christiane Sellner Rochester, New York 14623 Troppauplatz 5/92 Organic Growth—rapidly D-96052 Bamberg, Germany increasing inspiration from sea Oberon's Arrival (two-piece life table object/zweiteiliges Tisch- 12,000 fused glass bulbs objekt) 12.000 verschmolzene Gluh- Blown glass, cut, acid-etched; birnen metal parts H. 396 cm, W. 274 cm, Geblasenes Glas, geschliffen, D. 50 cm sauregeatzt, Metallteile TO, JP, NW H. 78 cm, W. 110 cm, D. 74 cm mm TO 78. Joseph S. Salvenmoser Kitzbuchel, Tyrol, Austria Spiral Flameworked glass Lampengearbeitetes Glas H. 90 cm, W. 80 cm WG

76 llbli Stfli mi 81. Michiko ShiBata Glasobjekt Herbstwino 16-11 202 Ashihara Mold-blown and cut glass Inawashiro-machi Formgeblasenes und geschlif- Yama-gun, Fukushima 969- fenes Glas 3121, Japan H. 18.5 cm, W. 8 cm, D. 5 cm WG Kushi (comb/Kamm) Fused and cut glass 84. Preston Singletary Verschmolzenes und geschlif- Seattle, Washington fenes Glas H. 5 cm, W. 9 cm, D. 0.4 cm Bear Mask WG Mold-blown glass, sandblasted Formgeblasenes Glas, sand- 82. Makoto Shimazaki gestrahlt 589 Miyajima, Tsurui-mura H. 45.7 cm, W. 25.4 cm, Akan-gun, Hokkaido 085-1211, D. 27.9 cm Japan TO, JP, NW Life 85. Elizabeth Swinburne Cast glass; granite base Bellamystraat 91-93 Gegossenes Glas; Granit- cnrkol Amsterdam 1053 BJ, The Netherlands H. 110 cm, W. 140 cm, D. 140 cm Golden Bodies JP Blown and cut glass; gold luster 83. Petra Sindelar Geblasenes und geschliffenes Glass Gallery Neusser Glas; Goldluster Wiedner Hauptstrasse 49 Largest/gro(3tes: H. 44 cm, 1040 Vienna, Austria W. 35 cm, D. 20 cm TO, JP

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83 86. KazueTaguchi 88. Christopher Taylor c/Grunyi 1. 4 Providence, Rhode Island 08003 Barcelona, Spain Untitled Le Corbusier in 2500 Blown glass; soap, Styrofoam, Optic glass; Japanese paper, chalk, photo laminated, mirror Geblasenes Glas; Seife, Styro- Optisches Glas; Japan-Papier, por, Kreide, Foto laminiert, Spiegel H. 121.9 cm, W. 121.9 cm, H. 45 cm, W. 120 cm, D. 121.9 cm D. 55 cm TO, JP, NW WG, NW 89. Mark Thiele 87. Makiko Takahashi 46 Bedford Street, West Croy­ 2248 Makino don Fujino-cho, Thukuigun 5008 Adelaide, South Austra­ 199-0206, Japan lia, Australia Peace of Mind No. 3 Flare Pate de verre, light bulb Blown glass, lathe-cut Pate de verre, Gluhbirne Geblasenes Glas, gedrechselt H. 37 cm, W. 48 cm, D. 37 cm H. 45 cm, W. 20 cm, D. 9 cm WG WG, TO, NW 90. Rachael Tillman Hampshire, England Cut (2002) Blown glass; plaster Geblasenes Glas; Gips H. 15 cm, W. 10 cm, D. 9 cm WG 91. Pamina Traylor 94. Ann Wahlstrom Oakland, California Folkungagatan 114-116 www.redqueen.org/pamina S-11630 Stockholm, Sweden Impulse White Forest (installation at Flameworked glass; steel Global Art Glass, Sweden, Lampengearbeitetes Glas; Stahl 2002) H. 79 cm, W. 38 cm, D. 8 cm Blown glass TO Geblasenes Glas H. 200 cm, W. 250 cm, 92. Misaki Urushiyama D. 150 cm 24-2 Mito Hasse, Hasse-machi WG, TO, JP, NW Miura, Kanagawa 238-0112, Japan 95. Gareth Noel Williams Tsukibito-No-Ouchi #2 (The Duizendschoonstraat 12 HS Home for the People Who Live 1031 BG Amsterdam, on the Moon) The Netherlands Blown glass, enameled Booster Geblasenes Glas, emailliert Glass bottles; leather H. 53 cm, W. 67 cm, D. 70 cm Glasflaschen; Leder JP H. 80 cm, W. 48 cm, D. 50 cm JP 93. Wiebke Vogt DanckelmannstraGe 18 D-14059 Berlin, Germany Absence I Blown and cut glass; platinum Geblasenes und geschliffenes Glas; Platin Each/je: H. 26.2 cm, W. 7 cm WG, TO, JP, NW 96. Rachael Woodman Plate glass; steel HHHHH 62 Cedric Road Glasscheibe; Stahl i Bath, Somerset BA1 3PB, H. 55 cm, W. 180 cm, England D. 55 cm WG, TO Vertical 2 Blown glass; stone base 99. Dana Zed Geblasenes Glas; Steinsockel 5551 Masonic Avenue H. 60 cm, W. 50 cm, D. 20 cm Oakland, California 94618 TO, NW Fragile Truths 97. Choong Mock Yoo Kiln-cast glass; electrical Seoul, Republic of Korea source Ofengegossenes Glas; Zipper II elektrische Quelle Blown glass; zipper H. 33 cm, W. 19 cm, D. 19 cm Geblasenes Glas; ReiBver- NW schluss H. 18 cm, W. 10.5 cm, 100. Walter Zimmerman D. 10.5 cm South Orange, New Jersey WG Box Set, Blue 98. Harumi Yukutake Blown glass; found objects, 6796 Kureha #2-202 paint Toyama, Toyama 930-0138, Geblasenes Glas; Fund- Japan stucke, Farbe H. 120 cm, W. 85 cm, Untitled D. 40 cm JP

' • 11 Countries Represented/Vertretene Lander

Australia Oguchi, Chizuko Bayliss, Arlon and Jason Knapp (8) Belfrage, Clare ShiBata, Michiko Bernstein, Alex Gabriel Bruce, Jane Shimazaki, Makoto Bocchino, A. J. Edwards, Tim Takahashi, Makiko Bowers, Liam Emmett, Sophia Urushiyama, Misaki Callan, Nancy Owen, Bethany Yukutake, Harumi Clark, Jon F. Thiele, Mark Couig, William Korea, Republic of Culler, Rene Austria Yoo, Choong Mock Evans, Adrianne Salvenmoser, Joseph S. Friedlich, Donald Sindelar, Petra Lithuania Glasgow, Susan Taylor Andrasiunaite, Vaida Gray, Katherine Canada Gustafson, Brian Cantin, Annie Luxembourg Gustafson, Carrie Cholewa, Christine Baiza, Zaiga Hart, Michael Freve, Carole Holtzinger, Adam Gibb, Julie The Netherlands Horrell, Deborah Lay, Catherine Vamvakas Lindzon, Dana Esther Hude, Katrina Sears, Karli Swinburne, Elizabeth Hylen, Beth Williams, Gareth Noel Jablonski, Corinna Denmark Kreager, Thomas Hargreave, Charlotte New Zealand Lee, Jiyong Lucas, Nicole Lozar, Carmen Estonia Murray, David Mace, Flora C. and Joey Kirkpatrick (56) Mikof-Liivik, Maie Marioni, Paul and Ann Troutner (57) Panama McLain, Kelly France De Obaldia, Isabel McLeod, James Kim, Tae-gon Mike's, Anna Min, Ji Sook Poland Miller, John Perozeni, Michele Krej, Katarzyna Nowak, James E. O'Mara, Sharyn Germany Spain Palmer, Dylan Orlowski, Steffen Taguchi, Kazue Prasch, Sally Posner, Richard Saeed, Amena Reay-Young, Helga Sweden Singletary, Preston Sellner, Christiane Ahlin, Birgitta and Sirkka Lehtonen (2) Taylor, Christopher Vogt, Wiebke Leuf, Jenny Traylor, Pamina Lindblad, Gun Zed, Dana India Wahlstrom, Ann Zimmerman, Walter Bawa, Hemi United Kingdom Italy Adam, Elaine Bonaventura, Mauro Gordon, Alison Holloway, Deborah Japan Hughes, Charlotte Fujiwara, Emi Tillman, Rachael Hanamata, Asami Woodman, Rachael Hongo, Hitoshi Ikushima, Harumi United States Matsufuji, Koichi Akamine, Bernice Nagaoka, Chiaki Albert, Sean Jury Statements

should begin with three personal admissions that anyone curious ch denke, ich sollte mit drei personlichen Eingestandnissen beginnen, about my New Glass Review selections should know. die jeder, der gerne etwas uber mein Auswahlverfahren bei der New First, I am an unrepentant, longtime admirer and student of rather Glass Review wissen mochte, erfahren sollte: traditional beauty. Succinctly put: Zunachst bin ich ein reueloser Langzeitbewunderer, beziehungs- An aesthete? weise ein Student der eher traditionellen Schonheit. Kurz und gut: Yep ... that's me! Ein Asthet? Here is an example, admittedly extreme. Oh ja ... das bin ich! On my 30th birthday, I carefully arranged to be at the Prado in Madrid Hier ein zugegebenermaRen extremes Beispiel: to see Titian's Baccanal and Bosch's Garden of Earthly Delights in the Zu meinem 30. Geburtstag hatte ich ein sorgfaltiges Arrangement ge- morning, then arrived at the Louvre well before closing time to stand plant: morgens war ich im Prado in Madrid, um Titians Bacchanal und before Veronese's opulent Marriage at Carta. The day before had been Boschs Der Garten der Luste zu sehen, dann kam ich noch rechtzeitig spent with El Greco at San Tome in Toledo. Yes, I love beautiful paint­ genug im Louvre an, bevor dort geschlossen wurde, um Veroneses ings. opulentes Werk Hochzeit in Cana zu betrachten. Den Tag zuvor hatte Second, I am a born cataloguer. As a herding dog will instinctively ich mit El Greco in San Tome in Toledo verbracht. Ja, ich liebe schone bulldoze rocks and debris from the perimeter of his pen to its center, so Gemalde. I unavoidably categorize, organize, then reassemble any shapeless Zweitens: ich bin der geborene Katalogisierer. Wie ein Hirtenhund array of data that comes my way. instinktiv Steine und Schutt von der Peripherie zur Mitte seiner Hutte Third, I have been seriously fascinated by glass since my 11th year. zusammenschiebt, so kategorisiere und organisiere ich unvermeidlich These are three of the primary forces that influenced both my se­ jegliche unformige Datenansammlung, die mir begegnet, und setze lecting process and my comments below. diese dann zusammen. During the jurying for this volume of New Glass Review, I was com­ Drittens: Glas fasziniert mich schon seit ich 11 Jahre alt bin. fortable as the only "glass practitioner" and as, no doubt, aesthetically Das sind drei der primaren Krafte, die sowohl mein Auswahlverfahren the most conservative juror. With two curators of contemporary art and als auch meine nachfolgenden Kommentare beeinflusst haben. a distinguished critic of modern art, himself an artist (John Perreault Wahrend der Jurysitzung fur diese Ausgabe der New Glass Review, paints on walls using toothpaste, of all things!), and with no veto avail­ fuhlte ich mich als der einzige Glasschaffende und zweifellos als der able to anyone, I knew that the most challenging and experimental work asthetisch konservativste Juror wohl. Mit zwei Kuratoren fur zeitgenos- would be in good hands. sische Kunst und einem beruhmten Kritiker fur moderne Kunst, seines I expected a fairly wide range of expression, eliciting a broad spec­ Zeichens selbst ein Kunstler (John Perreault bemalt Wande - vor alien trum of emotional responses ... and I found it. I had anticipated easily Dingen mit Zahnpasta!), war ich sicher - und dagegen durfte keiner filling prelabeled pigeonholes with my 25 selections, but I was sur­ etwas sagen -, dass selbst die herausforderndste und experimentellste prised—and delighted—to find my expectations far too limited in scope. Arbeit in guten Handen sein wurde. For example, "Beauty is its own content" is an aesthetic credo with Meine Erwartungen, eine ziemlich grofBe Ausdrucksspanne vorzufin- which I live comfortably under normal circumstances. Judging these den, die ein weites Spektrum an emotionalen Antworten entlocken, wur- entries was not, however, business as usual. Walter Zimmerman's Box den nicht enttauscht. Ich hatte ein einfaches Fullen schon benannter Set, Blue blasted off my rose-colored glasses in the first moments of Kategorien mit meinen 25 auserwahlten Arbeiten vorausgesagt, war je- judging (work is viewed in the order in which it was received by The doch uberrascht - und erfreut - als sich herausstellte, dass meine Er­ Corning Museum of Glass). I was unprepared for the broad palette and wartungen viel zu eng waren. subtle distinctions within a category I had more or less anticipated: „Schonheit ist ihr eigener Inhalt" ist beispielsweise ein asthetisches "Macabre." Subcategories would be necessary. "Decaying" is a fine Credo, mit dem ich unter normalen Umstanden gut leben kann. Diese handle for Ji Sook Min's untitled work in pate de verre. The apparent Einsendungen zu beurteilen, war jedoch nicht „business as usual". decay-in-progress is caught in stop-action: if not broken, the brassiere Walter Zimmermans Box Set, Blue sprengte meine rosa Brille im ersten could, due to the inherent strength and inertness of the glass, remain Moment der Beurteilung (die Arbeiten werden in der gleichen Reihen- unchanged for millenniums. Piano Board I Like to Play All Night Long by folge angesehen, in der sie beim Corning Museum of Glass eingetroffen Anna Mike's resonates similarly. sind). Ich war nicht vorbereitet auf die breite Palette und die feinen Corinna Jablonski's Two-Toed Avocet Marionette and Carmen Unterschiede in der von mir mehr oder weniger erwarteten Kategorie: Lozar's Untitled are certainly "Repulsive," but also playful and ... well ... „makaber." Unterkategorien wurden notig sein. „lm Zerfall" ware eine beautiful. "Nightmarish" is a descriptor that seems to have been lying in guter Titel fur Ji Sook Mins ..Untitled" aus pate de verre. Der scheinbare wait for the appearance of Koichi Matsufuji's Tengu Baby. Steffen Zerfallsprozess ist eingefangen in Stop-Aktion: wenn er nicht zerbricht, Orlowski's To Put Outside is also, to my mind, a little of the stuff of konnte der Bustenhalter!, aufgrund der ihm eigenen Starke und der which bad dreams are sometimes made. Tragheit von Glas, fur Millennien unverandert bleiben. Die Arbeit piano Concluding my subcategories under the general heading "Macabre" board I like to ply all night long von Anna Mike findet den gleichen An- is the uncrowned king, "Morbid." Although titled Glass Armour, Christine klang. Cholewa's entry invites associations that are very dark indeed. Were Corrina Jablonskis Two-Toed Avocet Marionette und Carmen Lozar's these painful to wear? Were the models injured? Is this work meant to „Untitled" sind sicher „widerwartig", aber auch verspielt und ... na ja ... bring to mind bondage rituals or self-mutilation, or by its distortion of the schon. „Alptraumhaft" ist eine Beschreibung, die nur auf das Erscheinen female figure, is exploration of misogyny implied? von Koichi Matsufujis Tengu Baby gewartet zu haben scheint. Steffen Of this group under the heading "Macabre," all I can say for sure is that Orlowskis To Put Outside ist, wie ich meine, auch ein bisschen aus dem the work is very provocative, and that it is, by nearly any standard, art. Stoff aus dem schlechte Traume manchmal gemacht sind. On the other extreme is my category "Alarmingly Beautiful." If beauty Den Abschluss meiner Subkategorien, die ich unter dem Haupttitel is allowed simply to speak for itself, some of these entries are positively „makaber" zusammengefasst habe, bildet der ungekronte Konig „mor- eloquent. A subcategory one might call "With References to Nature" is bid". Obwohl Christine Cholewas Arbeit den Namen Glass Armour tragt, full of intoxicating examples. Here, the entries by Joseph S. Salven- verleitet sie in Wirklichkeit zu sehr dunklen Assoziationen. Waren diese moser and Pamina Traylor hopelessly tie for first place. The objects by schmerzhaft zu tragen? Wurden die Mannequins dabei verletzt? Soli Makiko Takahashi and Bethany Owen brilliantly exploit the "lit from dieses Werk an Bondage-Rituale oder an Selbstverstummelung erin- within" potential of cast glass. Jiyong Lee's Cleavage reads perfectly as nern, oder wird durch das verzerrte Frauenbild die Erforschung von a model of macro- or microscopic natural structure. Mysogynie angedeutet? With the extremes, "Alarmingly Beautiful" and "Macabre," in place Von dieser Gruppe unter der Uberschrift „makaber" kann ich nur and subcategories neatly in tow, one can begin to explore the territory sicher sagen, dass diese Arbeiten sehr provokant sind und dass sie, in-between. John Miller's Eat@Joe's leads my list of "silly" entries, nach fast alien MaBstaben, Kunst sind. nearly all of which are equally good-natured and fun. Chiaki Nagaoka's Im anderen Extrem befindet sich meine Kategorie „alarmierend Untitled happily stands alone in a category I can only term "Why schon". Wenn Schonheit einfach fur sich selbst sprechen darf, sind Glass?" I am reminded of Tom Buechner's very wise juror's statement in manche dieser Einsendungen sehr eloquent. Eine Subkategorie, die New Glass Review 21, in which he rejects all objects of glass imitating man vielleicht „mit Bezugen zur Natur" bezeichnen kann, ist voller be- other materials. Titling the piece Chives and Sour Cream? could have rauschender Beispiele. Die Einsendungen von Joseph S. Salvenmoser elevated Nagaoka's entry to "conceptual" status. Maybe it is a bit clever. und Pamina Traylor rangieren hier hoffnungslos gleichwertig fur den This exercise of sorting and identifying patterns, grouping, and or­ ersten Platz. Die Objekte von Makiko Takahashi und Bethany Owen ganizing, here only begun, is but one approach to assimilating so much nutzen hier auf brillante Art und Weise das „Von innen beleuchtet"-Po- diverse material. While the jurors have narrowed the 2,584 submissions tenzial von gegossenem Glas. Jiyong Lees Cleavage kann man perfekt down to 100, it remains for each interested person to look, assess, and als ein Modell makro- Oder mikroskopischer Naturstruktur interpretieren. judge for him- or herself the condition of the world glass scene, as Mit den Extremen „alarmierend schon" und „makaber", da wo sie viewed through this survey. Perhaps by its very nature as a Corning angebracht sind und den Subkategorien immer hubsch im Schlepptau, Museum of Glass publication, New Glass Review seems to invite kann man mit der Erforschung des Territoriums beginnen, das dazwi- participation by the most creative segments of the glass world. What­ schen liegt. John Millers Eat@Joe's fuhrt meine Liste „verruckter" Ein­ ever the reason, year after year it makes for a fascinating and pro­ sendungen an, von denen fast alle gleichsam harmlos und witzig sind. vocative publication. Glucklicherweise steht Chiaki Nagaokas „Untitled" alleine in einer Kate­ Ultimately, my only disappointment was the near absence of entries gorie, die ich nur mit „Warum Glas?" bezeichnen kann. Ich fuhle mich by individuals and companies making production glass. The selection an Tom Buechners sehr weises Jury-Statement in New Glass Review was so limited, and the perceived need to represent this category of 21 erinnert, in dem er alle Glasobjekte ablehnte, die andere Materialien glass objects was so strong, that one juror was tempted again and imitierten. Der Titel Sauerrahm mit Schnittlauch? hatte Nagaokas Ein- again to select an unremarkable group of tumblers (bright, cheerful sendung auf einen „Konzept(kunst)" Status erheben konnen. Vielleicht colors aside), while another juror had to "jump in" repeatedly to save ist das zu schlau. him from himself! While anyone wanting to take the pulse of the glass Diese Ubung, Muster zu sortieren und zu identifizieren, zu gruppieren world in a truly comprehensive way will surely study commercial trade und zu organisieren, und das ist nur ein Anfang, ist nur eine Moglichkeit publications, advertisements, etc., to assess the status of production eine so groBe Menge unterschiedlichsten Materials anzugleichen. Wah- glass, its complete absence in New Glass Review 24 is, for me, regret­ rend die Juroren die 2584 vorgelegten Arbeiten auf 100 eingegrenzt table. haben, bleibt es jeder interessierten Person selbst uberlassen, den Zu- My "Jurors' Choice" selections take a glance back at some of my stand der Weltglasszene, wie er sich durch diese Untersuchung ab- favorite production glass from both the remote and recent past. zeichnet, zu betrachten, zu bewerten und zu beurteilen. Die New Glass While the expression "production glass" need not mean "inexpen­ Review scheint, vielleicht durch ihre Eigenschaft als Publikation des sive," the first-century glassworker (or, perhaps, workshop owner) Corning Museum of Glass, die kreativsten Segmente der Glaswelt an- named Ennion no doubt supplied the thrifty yet aesthetically discriminat­ zuziehen. Warum auch immer, es genugt jedes Jahr wieder fur eine ing customer. His vessels, represented here by a ewer and a two- faszinierende und provokative Publikation. handled cup, were made by the then new and ultimately revolutionary Schlussendlich war meine einzige Enttauschung die schiere Abwe- process of glassblowing, with the further refinement of using a full-size senheit der Einsendungen von Einzelpersonen und Unternehmen, die mold. This device enabled the worker to quickly and easily set the Serienglas produzieren. Die Auswahl war so begrenzt und das spurbare vessel's final shape, size, and decoration by inflating the hot glass Bedurfnis, diese Kategorie von Glasobjekten reprasentiert zu sehen, bubble into the mold. We know the identity of this clever fellow because war so stark, dass ein Juror immer wieder verleitet war, eine unspekta- he carved—or had carved—both his name and a sales slogan into his kulare Gruppe von Bechern (von den hellen frohlichen Farben abgese- molds. Of course, they were also impressed into the glass, usually hen) auszuwahlen, wahrend ein anderer Juror immer wieder „eingrei- reading, "Ennion made me; let the buyer remember." fen" musste, um ihn vor sich selbst zu retten! Obwohl jeder, der den From a little earlier, yet remaining popular even after Ennion's day, Puis der Glaswelt in einer wirklich umfassenden Art und Weise fuhlen are the irresistibly beautiful Roman ribbed bowls. They were usually mochte, sicherlich kommerzielle Handelspublikationen, Anzeigen etc. made of the most common greenish glass, but illustrated here is a studieren wird, um den Zustand von Serienglas zu bewerten - die slightly "up-market" example in a cobalt blue glass that positively glows komplette Abwesenheit von letzterem in der New Glass Review 24 ist, in bright light. The technique by which these bowls were made involved meiner Meinung nach, bedauerlich. pouring (or casting), pincering, slumping, and cold working. It was, Mit meiner Jurors' Choice"-Auswahl blicke ich zuruck auf einige nevertheless, fairly quick, easy, and reliable. Roman ribbed bowls meiner Serienglas-Lieblingsstucke, sowohl aus ferner als auch aus survive in such vast numbers that they are, 2,000 years after they were jungster Vergangenheit. made, fairly inexpensive and beautiful objects on the antiquities market. Wenn auch der Ausdruck „Gebrauchsglas" nicht gleichbedeutend ist "Production glass" need not always mean endless numbers of ab­ mit „billig", besteht kein Zweifel, dass der Glasarbeiter (oder vielleicht solutely identical objects. At the start of the 17th century, when the three Werkstattenbesitzer) namens Ennion aus dem ersten Jahrhundert den wineglasses I selected were made, Venetian glassblowers created a sparsamen, aber doch asthetisch diskriminierenden Kunden belieferte. wide array of glass vessel shapes for adorning the table. At first glance, Seine GefaBe, hier reprasentiert durch einen Wasserkrug und eine they vary wildly in form. However, having handled countless examples Tasse mit zwei Henkeln, entstanden durch den damals neuartigen und over the years, I can report that they all have a remarkably similar feel: schlussendlich revolutionaren Prozess des Glasblasens, mit der weite- a shocking weightlessness. Their uniformity and elegance of line also ren Verfeinerung des stillen Formblasens. Diese Erfindung ermoglichte help to establish their identity. These "fragile beauties," as one 19th- dem Arbeiter durch das Einblasen der heiBen Glaskugel in die Form, century British collector termed them, are instantly recognizable as die letztendliche Form, GroBe und Dekoration des GefaBes schnell und members of a large but select group of production glasses. Paintings by einfach zu bestimmen. Wir kennen die Identitat dieses schlauen Bur- Titian, Tintoretto, and Veronese of the Last Supper and banquet scenes schen, weil er sowohl seinen Namen als auch einen Verkaufsslogan in show tables littered with similar glasses that were undoubtedly made in seine Form eingravierte - oder eingravieren lieB. Naturlich waren sie Muranese workshops. These three examples are exceedingly under­ dann ebenfalls ins Glas gepragt, gewohnlich mit dem Text: „Ennion hat stated, if that is possible. mich gemacht; der Kaufer moge sich daran erinnern." Any New Glass Review juror is squarely faced with this question: Am Aus etwas fruheren Zeiten stammen die unwiderstehlich schonen I to judge the overall aesthetic impact of the data conveyed by the romischen Rippenschalen, die in Ennions Tagen noch immer popular picture on the projection screen—the slide—or am I to offer instead my waren. Sie waren meist aus gewohnlichstem griinlichen Glas, hier wird estimation of the significance of the object that was photographed? Nick jedoch ein etwas „exklusiveres" Exemplar aus kobaltblauem Glas erlau- Williams, the photographer at The Corning Museum of Glass, has tert, das in hellem Licht positiv strahlt. Die Technik in der diese Schalen presented a group of functional objects, designed by Josef Hoffmann gemacht wurden, umfasste GieBen, Bearbeitung mit Zangen, Absenken about 1915 and made for J. & L. Lobmeyr, so seductively that I wonder und kalte Bearbeitung. Trotzdem war das ziemlich schnell, einfach und if I will be disappointed seeing them in person. I never am. According to zuverlassig. Romische Rippenschalen gibt es immer noch in so groBer the mandate of the Wiener Werkstatte, these were meant to be beautiful Anzahl, dass sie auf dem Antiquitatenmarkt, 2000 Jahre nach ihrer Her- and affordable objects for everyday use. In their intent, in the details of stellung, ziemlich preiswerte und schone Objekte darstellen. their manufacturing process (including cracked-off rims, so quick and „Serienglas" muss nicht zwangslaufig eine endlose Anzahl von abso- easy for the glassworker), and in their name-branding, these wonderful lut identischen Objekten bedeuten. Am Anfang des 17. Jahrhunderts, vessels echo the efforts of Ennion. als die drei von mir ausgewahlten Weinglaser gefertigt wurden, schufen Today, more than 85 years after the Hoffmann-designed glasses were venezianische Glasblaser GlasgefaBe in vielen verschiedenen Formen produced, they can still be purchased at the Lobmeyr shop in Vienna, als Tischschmuck. Auf den ersten Blick variiert deren Gestalt stark. and nearly perfect replicas of Ennion's best work are being created by Nachdem im Laufe der Jahre unzahlige Exemplare durch meine Hande the glassmakers Mark Taylor and David Hill in Andover, England. These gegangen sind, kann ich jedoch berichten, dass sie sich alle bemer- replicas are also widely sold in museum shops. It would seem that kenswert gleich anfuhlen: schockierend schwerelos. Ihre Uniformitat excellent and well-executed designs in production glass can be remark­ und ihre elegante Linie trugen ebenfalls dazu bei, ihre Identitat zu etab- ably successful almost indefinitely. Actively pursuing excellence in the lieren. Diese „zerbrechlichen Schonheiten", wie ein britischer Sammler field of production glass is thus a potentially worthy endeavor. I, for one, des 19. Jahrhunderts sie genannt hat, kann man sofort einer groBen hope to see this important (although perhaps less glamorous) segment aber ausgewahlten Serienglasgruppe zuordnen. Auf Bildern von Tizian, of the glass world better represented in future issues of New Glass Tintoretto und Veronese, die Abendmahl- und Bankettszenen zeigen, Review. sind Tische zu sehen, ubersat mit gleichartigen Glasern, die zweifellos Finally, as an employee of The Corning Museum of Glass, I would be in Muranoworkshops hergestellt wurden. Diese drei Beispiele sind, remiss if I did not comment on the organization and operation of the wenn dies moglich ist, noch auBerst untertrieben. New Glass Review competition, a small but important part of the Jeder Juror der New Glass Review muss sich gleichermaBen mit der Museum's activities, far removed from my normal sphere as resident folgenden Frage auseinander setzen: Soil ich den gesamten astheti- adviser at The Studio. The awesome task of handling the nearly 2,600 schen Eindruck der Einzelheiten, die das Foto auf der Leinwand - das slides and the paperwork of more than 950 entries was directed by Tina Dia - heruberbringt, beurteilen oder stattdessen meine Auffassung der Oldknow and managed by Violet Wilson, assisted by Mary Chervenak, Bedeutung des fotografierten Objekts anbieten? Nick Williams, Fotograf Brandy Harold, and Gretchen Strong. The jurying process was run with des Corning Museum of Glass, prasentierte eine Gruppe funktioneller precision, but with much relaxed good humor. Bravo to my colleagues! Objekte, die von Josef Hoffmann um 1915 entworfen und fur J. & L. Lobmeyr hergestellt worden sind, und dies tat er auf so verlockende Art William Gudenrath (WG) und Weise, dass ich mich frage, ob ich enttauscht sein werde, diese Resident Adviser Objekte in Realitat zu sehen. Doch das bin ich ja nie. Dem Mandat der The Studio of The Corning Museum of Glass Wiener Werkstatte zufolge, sollten dies schone und erschwingliche Objekte fur den taglichen Gebrauch sein. Der Zweck dieser wundervol- len GefaBe, die Details ihres Herstellungsprozesses (abgesprengte Rander, so schnell und einfach fur den Glasmacher) und ihre Namens- gebung spiegeln die Muhe wider, die Ennion sich hier gegeben hat. Heute, mehr als 85 Jahre nach der Produktion der von Hoffmann entworfenen Glaser, konnen diese immer noch im Wiener Lobmeyr- Geschaft gekauft werden und noch immer fertigen die Glasschaffenden Mark Taylor und David Hill im englischen Andover fast perfekte Repli- ken von Ennions besten Arbeiten. Diese Repliken werden ebenfalls in nahezu jedem Museumsladen verkauft. Es hat den Anschein, als ob der Erfolg von einzigartigem und schon ausgefuhrtem Serienglasdesign nahezu ewig anhalt. Hervorragende Qualitat auf dem Gebiet Serienglas aktiv zu verfolgen, ist somit ein sich potenziell lohnendes Unternehmen. Fur meinen Teil hoffe ich, diesen wichtigen Bereich der Glaswelt in den nachsten Ausgaben der New Glass Review besser reprasentiert zu finden. Schlussendlich wurde ich, als Angestellter des Corning Museum of Glass, meine Pflichten vernachlassigen, wenn ich nicht die Organisa­ tion und Arbeit des New Glass Review Wettbewerbs - ein kleiner aber wichtiger Teil der Aktivitaten des Museums, weit weg von meinem nor- malen Arbeitsgebiet als standiger Berater des Studios - kommentieren wurde. Die (ehr)furchteinfloBende Aufgabe, die fast 2600 Dias und den Schriftverkehr von mehr als 950 Einsendungen zu bearbeiten, hat Tina Oldknow beaufsichtigt und Violet Wilson verwaltet, ihr assistierten Mary Chervenak, Brandy Harold und Gretchen Strong. Die Arbeit der Jury verlief mit Pazision, aber entspannt und mit guter Laune. Ein Hoch auf meine Kollegen!

William Gudenrath (WG) Fester Berater Studio des Corning Museum of Glass ertain aspects of New Glass Re vie w present continual challenges estimmte Aspekte der New Glass Review stellen fur mich immer Cfor me. One is that there is a lot of excellent work that does not Bwieder eine Herausforderung dar. Eine davon ist, dass eine ganze make it into the Review. (Should we, the jurors, continue to feel bad Menge herausragender Arbeiten es gar nicht in die ftew'ewschaffen. about this, or do we, the Museum staff, consider enlarging the scope of (Sollten wir, die Juroren, dies weiterhin bedauern oder Ziehen wir, die New Glass Review? Watch for a number-crunching analysis next year Angestellten des Museums, in Betracht, der New Glass Review einen in NGR 25.) Another challenge is my propensity to put my initials on groReren Rahmen zu geben? Bitte beachten Sie einige rechenintensive almost every selection. (Trying for more restraint this year, I was left Analysen in NGR 25 im kommenden Jahr.) Eine andere Herausforde­ frustrated. For those artists who are concerned that my initials are not rung ist mein Hang dazu, fast jedes ausgewahlte Objekt mit meinen Ini- next to their work, please know that I most likely wish they were.) And tialen zu versehen. (Mein Versuch, dieses Jahr zuruckhaltender zu sein, then, there is the challenge of how New Glass Review is interpreted by endete in Frustration. Kunstler, die Bedenken haben, dass meine Initia- the glass public. Last year, I discussed the importance of the jurors in len nicht neben ihrem Werk erscheinen, sollten wissen, dass ich hochst- the selection process. I noted that, rather than a "competition" of what is wahrscheinlich wunschte, dem ware so.) Und dann ist da noch die He­ "best" in glass, New Glass Review reflects individual taste, which in­ rausforderung, wie die New Glass Review vom Glaspublikum interpre- cludes opinions on aesthetic and thematic merit. I still think this is true tiert wird. Letztes Jahr habe ich diskutiert, wie wichtig die Aufgabe der and that it is one of New Glass RevieWs most significant features. Juroren im Auswahlverfahren ist. Ich stellte fest, dass die New Glass The reason that I bring up the last subject is because there is always Review mehr den individuellen Geschmack widerspiegelt - Meinungen some discussion among the jurors about Coming's jury process, which uber asthetische und thematische Werte mit eingeschlossen als dass is unusual in that it allows for personal choice. Most jury processes sie ein „Wettbewerb" fur das „Beste" im Bereich Glas sei. Dies halte ich require consensus. But, for me, one of the most interesting things about immer noch fur zutreffend und fur eines der bedeutendsten Merkmale New Glass Review is looking at the objects that carry only one set of der New Glass Review. initials. It is in these choices that we can better discern the personalities Der Grund, warum ich das letztere Thema aufwerfe, ist, dass es of the jurors, and as a category, the choices tend to be quirkier. I should unter den Juroren immer wieder Diskussionen uber Comings - durch also say that very few, if any, of the selections are disliked by any of the die Moglichkeit der personlichen Auswahl ungewohnliche - Juryverfah- jurors; on the contrary, the jurors respect one another's choices and ren gibt. Die meisten Juryverfahren erfordern Ubereinstimmung. Meiner work together to make sure that the strongest objects are represented Meinung nach ist einer der interessantesten Aspekte der New Glass in the final 100. Review, die Objekte zu betrachten, die die Initialen nur einer Person John Perreault was perhaps the most consistent in his choice of tragen. Bei dieser Art von Auswahlverfahren konnen wir die Personlich- objects that he alone selected. These selections tended to be sculptural keiten der Juroren besser auseinander halten und als Kategorie besitzt and conceptual, with an emphasis on installations: for example, Makoto diese Auswahl meistens mehr Ecken und Kanten. Bemerkenswert ist Shimazaki's self-possessed egg (Life) and A. J. Bocchino's fused glass ebenfalls, dass - wenn uberhaupt - nur sehr wenige der ausgewahlten and brick piece. The rest of us were less focused (or less disciplined), Objekte irgendeinem Juroren nicht gefallen; im Gegenteil, die Juroren preferring a wider range of work. In his single choices, Neil Watson respektieren die Auswahl der Kollegen und arbeiten zusammen, um seemed to favor composed groups of objects and objects with interest­ sicherzustellen, dass die uberzeugungsstarksten Objekte unter die ing textures, such as works by Deborah Horrell {Still Life—Lineage of letzten 100 kommen. White) and Adam Holtzinger (Footsteps). Bill Gudenrath focused on the John Perreault war vielleicht der Bestandigste in der Auswahl der technically complicated (Choong Mock Yoo's Zipper II) and the beautiful Objekte, die nur er wahlte. Diese Auswahl war groRtenteils skulptural (Makiko Takahashi's Peace of Mind No. 3), with forays into the disturb­ oder konzeptuell, mit dem Schwerpunkt auf Installationen: zum Beispiel ing (Koichi Matsufuji's Tengu Baby). Makoto Shimazakis selbstbeherrschtes Ei (Life) und A. J. Bocchinos It is harder for me to see tendencies in my solitary choices. I am verschmolzene Glas- und Backsteinarbeit. Der Rest von uns war weni- interested in sculptural pieces made of luxurious materials, such as ger fokussiert (oder weniger diszipliniert) und bevorzugte ein groReres David Murray's Gatherer (a cast lead glass bowl that is both Minimalist Sortiment von Arbeiten. Neil Watson schien in seiner Einzelauswahl and Cubist) and Pamina Traylor's aesthetically satisfying combination of Objektgruppen und Objekte mit interessanten Strukturen zu bevorzu- spiky flameworked glass and rusty steel in Impulse. I am invariably gen, wie beispielsweise Arbeiten von Deborah Horrell (Still Life - Line­ drawn to conceptual work, such as Dylan Palmer's multilayered Graft. age of White) und Adam Holtzinger (Footsteps). Bill Gudenrath speziali- I am always on the lookout for design that comes from the studio glass sierte sich auf das technisch Komplizierte (Choong Mock Yoos Zipper II) sector, and I wish there were more studio artist-designed pieces in und das Schone (Makiko Takahashis Peace of Mind No. 3), mit einem commercial production. This sentiment was shared by all of the jurors. Abstecher in das Beunruhigende (Koichi Matsufujis Tengu Baby). (I thought Charlotte Hargreave's wheeled salad bowl and Christiane Es ist fur mich schwerer, die Tendenzen in meinen Einzelentschei- Sellner's tables were especially fetching.) I favor odd or surprising dungen zu erkennen. Ich interessiere mich fur skulpturale Objekte aus mixes of materials, such as Bernice Akamine's glass, volcanic cinder, luxuriosen Materialien, wie David Murrays Gatherer (eine gegossene and dyed monofilament object ('a pele), which invokes that still active Bleiglasschussel, sowohl minimalistisch als auch kubistisch) und Pa­ and often vexing Hawaiian goddess of volcanoes. I bask in the combi­ mina Traylors asthetisch zufriedenstellende Kombination aus dornenar- nation of glass and textiles in general (Annie Cantin's 3 Spheres—Little tigem lampengearbeitetem Glas und rostigem Stahl in Impulse. Ich Fruits Flavour), which is not surprising, since I am steeped in glass and fuhle mich stets zu konzeptuellen Arbeiten, wie Dylan Palmers mehr- I crave the hues, densities, and textures of other materials. Like Bill schichtigem Graft hingezogen. Standig halte ich Ausschau nach De­ Gudenrath, I have a little dark side (I am equally attracted to and re­ sign, das aus dem Studioglas-Bereich kommt und wunschte, es gabe pelled by puppets of all kinds, including Corinna Jablonski's Two-Toed mehr kommerzielle von Studio-Glaskunstlern entworfene Serienglas- Avocet Marionette), but unlike Bill, I am not troubled by glass that does arbeiten. Dieses Gefuhl teilten alle Juroren. (Ich fand, Charlotte Har- not look like glass because, no matter how "unglassy" an object might greaves Salatschussel mit Radern und Christiane Sellners Tische waren be, it always exploits something of the material's luminosity or mystery besonders reizvoll). Ich bevorzuge den kuriosen oder uberraschenden (even the humble glass and clay sculpture by Chiaki Nagaoka). If I can Materialmix, wie bei Bernice Akamines gefarbtem Monofaser-Objekt spot a single fashion trend in my choices this year, it was probably sewn aus Glas und Vulkanasche 'a pele, das diese immer noch aktive und oft glass: for example, the pieces by James McLeod (Memory Container beunruhigende hawaiianische Gottin der Vulkane beschwort. Im Allge- #2) and Susan Taylor Glasgow (Stylish Comfort). meinen genief3e ich die Kombination aus Glas und Textilien (Annie Can- Looking at the selections chosen by all four jurors, categories of work tins 3 Spheres - Little Fruits Flavour), was - da ich in Glas schwimme became more defined. For architecture, there was Arlon Bayliss and und mich nach den Schattierungen, der Dichte und der Struktur anderer Jason Knapp's marvelously eccentric The Crystal Arch, which looks and Materialien sehne - nicht uberraschend ist. Wie Bill Gudenrath, habe behaves in no way that we have come to expect of glass architecture. auch ich eine kleine dunkle Seite (ich fuhle mich genauso angezogen, In design, there were Tim Edwards's paired and subtly blurred vases wie auch abgestoBen von Puppen aller Art, unter anderem Corinna (Suspension), Wiebke Vogt's lyrical paired glass and platinum cylinders Jablonskis Two-Toed Avocet Marionette)-, anders als Bill macht mir Glas, (Absence I), and Beth Hylen's gracefully interpreted Branches, a flame- das nicht wie Glas aussieht, keine Probleme, weil ein Objekt - egal wie worked whole-body ornament. These were much-coveted objects. The „unglasern" es auch sein mag - immer etwas von der Leuchtkraft oder crib aquarium by Brian Gustafson was also appealing, albeit puzzling. dem Mysterium des Materials ausschopft (sogar die einfache Glas- und Clare Belfrage's rock-shaped forms (Quiet Shifting) were lusciously Tonskulptur von Chiaki Nagaoka). Wenn ich einen einzigen Modetrend tactile. For me, Ann Wahlstrom's White Forest represented a state of in meiner diesjahrigen Auswahl erkennen kann, dann war es vielleicht perfection. It is a carefully composed collection of thinly blown vessels, zusammengenahtes Glas: beispielsweise die Arbeiten von James animated by light, that conveys a sense of soft delicacy and feathery McLeod (Memory Container #2) und Susan Taylor Glasgow (Stylish transparency. Part of my attraction to this piece is knowing that, inevi­ Comfort). tably, the illusion will be broken by a touch of the material's hard sur­ Wenn man die Auswahl aller vier Juroren betrachtet, lassen sich die face. (There is so much pathos in glass. Is that why it is so alluring?) Kategorien der Arbeiten besser definieren. Im Bereich Architektur, This year's selections, as a whole, were quite strong and intelligent, mochte ich Arlon Bayliss und Jason Knapps wunderbar exzentrische and I find myself wanting to bring attention to many of them. There were Arbeit The Crystal Arch auffuhren, welche in keinster Weise so aussieht impressive installations, only one of which was outdoors (Rene Culler's oder sich so verhalt, wie wir es im Allgemeinen von Glasarchitektur er- pastoral Color Cloud). Birgitta Ahlin and Sirkka Lehtonen's hanging warten. Im Bereich Design sind Tim Edwards's Vasen (Suspension), shards of plate glass (Glasklart!) make a wonderfully shimmering, Wiebke Vogts auf lyrische Art und Weise gepaarte Glas- und Platinzy- dangerous environment, and Kelly McLain's Anthem, based on the linder (Absence I) und Beth Hylens grazios interpretierte Arbeit Bran­ whisk broom, is a wall sculpture thick with rich pattern and texture. Light ches, ein lampengearbeitetes Ganzkorperornament, zu nennen. Diese and energy are strikingly manipulated in Sharyn O'Mara's Untitled Field Objekte waren sehr begehrt. Das Kinderbettaquarium von Brian Gustaf­ of optical fibers, and controlled quite differently in Chizuko Oguchi's son war ebenfalls reizvoll, wenn auch ratselhaft. Clare Belfrages stein- bouncy Travel-2 (A Water Drop), with its beetle-sized perspective of a artige Formen (Quiet Shifting) waren begehrenswert greifbar. Eine Form sidewalk in a rainstorm. Amena Saeed's 12,000 fused light bulbs (Or­ von Perfektion rep rase ntierte fur mich Ann Wahlstroms White Forest. ganic Growth—rapidly increasing inspiration from sea life) were mind- Es ist eine sorgfaltig komponierte Kollektion sehr dunn geblasener Ge- numbing in their intensity, as opposed to Catherine Vamvakas Lay's faf3e, animiert durch ein Licht, das eine Art weiche Zerbrechlichkeit und Faith, which was an oasis of rest and contemplation. federleichte Transparenz vermittelt. Ein Grund, warum ich mich zu dieser As design, Sean Albert's refined white-on-white incalmo vessels were Arbeit so hingezogen fuhle ist, weil ich weiB, dass die Illusion mit der collectively relished, in addition to Asami Hanamata's charming and Beruhrung der harten Oberflache des Materials unvermeidlich zerbricht. useful individual piece-sized cake plates. Of work that could be loosely (Glas ist mit so viel Pathos verbunden. Ist es darum so reizvoll?) classed as "nature-inspired," I appreciated Adrianne Evans's strange Die dieses Jahr ausgewahlten Objekte waren durch die Bank von little boxwood shrub piece (Balance) and Alex Gabriel Bernstein's Solid ziemlich ausdrucksstarkem und intelligentem Charakter und ich ertappe Empty sculpture for their novelty, as much as I welcomed the una­ mich dabei, wie ich auf viele davon aufmerksam machen mochte. Es bashed relaxation of Gun Lindblad's muscular Mave. Karli Sears's gab beeindruckende Installationen, von denen nur eine auRen war lovely Envelope has inspired me not to clean away the plethora of (Rene Cullers pastorale Arbeit Color Cloud). Birgitta Ahlin und Sirkka cocoons and egg sacs that appear every year in the eaves and corners Lehtonens hangende Scheibenglasscherben (Glasklart!) kreieren eine of my house, while Sally Prasch's flameworked Splash reminds me of wundervoll schimmernde, gefahrliche Umgebung und Kelly McLains the joy to be found in the careful observation of an undistinguished, Anthem, die auf einen Reisigbesen basiert, ist eine Wandskulptur, dicht momentary event. mit reichhaltigem Muster und Struktur. In Sharyn O'Maras Feld aus Other noteworthy pieces included Katherine Gray's Wonder Vases, optischen Fasern (Untitled) werden Licht und Energie auf bemerkens- which I see as a clever nod to Andy Warhol's bread lunchboxes of the werte Art und Weise manipuliert und in Chizuko Oguchis schwungvol- 1960s, just as John Miller's Eat@ Joes conjures up Claes Oldenburg's lem Travel-2 (A Water Drop), mit seinem Burgersteig in einem heftigen giant vinyl hamburgers that are the very essence of Pop Art. Mark Regenguss aus der Kaferperspektive, auf etwas andere Art kontrolliert. Thiele, Katrina Hude, and Carrie Gustafson have found new and so­ Die Intensitat von Amena Saeeds 12.000 verschmolzenen Gluhbirnen phisticated applications for age-old techniques, with handsome results, (Organic Growth - rapidly increasing inspiration from sea life) brachte and Donald Friedlich's minimal glass and gold brooches raise the bar einen fast um den Verstand, im Gegensatz zu Catherine Vamvakas for all jewelry made of glass. Of the more conceptual work, Ji Sook Lays Arbeit Faith, die eine Oase der Einkehr und der Beschaulichkeit Min's degraded underwear and Christopher Taylor's object comparisons darstellte. raised some provocative questions. Taylor's installation invites philo­ Alle waren von Sean Alberts raffinierten weif3-auf-weif3 gefarbten sophical debate on notions of similarity and the simulacrum, while Min „incalmo"-GeiaBer\ als Design angetan, und ebenfalls von Asami Hana- presents us with traces of a future archeology, or, more distressing, a matas charmanten und nutzlichen, individuellen stuck-groBen Kuchen- present-day violent crime. tellern. Von den Arbeiten, die locker als „von der Natur inspiriert" klassi- I was pleased to see entries by three artists whose work I have fiziert werden konnten, wusste ich Adrianne Evans komisches kleines admired for years. Harumi Yukutake continues to make pieces that I Strauchstuck aus Buchsbaumholz (Balance) und Alex Gabriel Bern- can only describe as remarkable, and I am convinced that she under­ steins Skulptur Solid Empty genauso fur ihre Ungewohnlichkeit zu stands the material in ways that I cannot even fathom. Her sculpture is schatzen, wie mir die unverfrorene Entspannung Gun Lindblads „mus- always eloquent in form, elegant in execution, and exquisite in concept. kuloser" Arbeit Mave zusagte. Karli Sears's entzuckende Arbeit Flora Mace and Joey Kirkpatrick astonish me with the range and depth Envelope hat mich inspiriert, die Fulle von Kokons und Eiersacken, die of their work over the past 20 years. They share an artistic career that is jedes Jahr in den Dachsimsen und Winkeln meines Hauses auftauchen, exceptional for its resolute integrity and technical fearlessness. Land nicht wegzumachen, wahrend Sally Praschs lampengearbeitete Arbeit Birds: First Facts was one of an extraordinary group of human- and Splash mich an die Freude daran erinnert, die wir in der genauen bird-form sculptures in glass, wood, and bronze that the artists exhibited Beobachtung eines unspektakularen momentanen Ereignisses finden. last October at Habatat Galleries in Chicago. Unter weiteren erwahnenswerten Arbeiten waren Katherine Grays Arbeit Wonder Vases, die ich fur eine clevere Anlehnung an Andy War­ * * * hols Butterbrotbehalter aus den 60er-Jahren halte, genauso wie John I am partial to large-scale sculpture and installations, and my selec­ Millers Arbeit Eat@Joes Claes Oldenburgs riesige Vinylhamburger, die tions for the "Jurors' Choice" section of New Glass Review reflect this Quintessenz der Pop Art, heraufbeschworen. Mark Thiele, Katrina Hude bias. In the context of large-scale work (which is generally more difficult und Carrie Gustafson haben neue und anspruchsvolle Anwendungs- to achieve than small scale), I am constantly amazed by what can be gebiete fur jahrhundertealte Techniken mit beachtlichen Resultaten done with glass. In what other medium can you have the visual and gefunden und Donald Friedlichs minimale Glas- und Goldbroschen tactile range of such pieces as Ginny Ruffner's bronze, steel, and blown haben die Messlatte fur alle Schmuckarbeiten aus Glas hoher gehangt. glass Color Poem of a Vertical Landscape] Iran do Espirito Santo's Von den eher konzeptuellen Arbeiten warfen Ji Sook Mins degradierte sandblasted glass and bitumen Restless 17; Kazuo Kadonaga's half- Unterwasche und Christopher Taylors Objektvergleiche einige provoka- ton, dripped Glass No. 4 J; and Jerry Pethick's assembled bottle man, tive Fragen auf. Taylors Installation ladt zu philosophischen Debatten Le Semeuft These four sculptures have radically different concerns, uber Vorstellungen von Ahnlichkeit und Abklatsch ein, wahrend Min uns formally and conceptually, but they share an undeniable delight in the mit Spuren einer zukunftsweisenden Archaologie, Oder, noch beunruhi- material and its ability to generate light, color, and depth. I particularly gender, einem Gewaltverbrechen in der heutigen Zeit konfrontiert. enjoy the way glass interacts with other media in Ruffner's joyful paean Ich freute mich, Einsendungen von drei Kunstlern zu entdecken, deren to creativity and Espirito Santo's quieter, more self-absorbed study. Arbeit ich schon seit Jahren bewundere. Harumi Yukutake fertigt noch Glass also lends itself to metaphor, and I most often see it used to immer Objekte, die ich nur als bemerkenswert bezeichnen kann, und connote light, water, sky, and spirit. While visiting the American Folk Art ich bin uberzeugt, dass sie das Material auf eine Art versteht, die ich Museum in New York, I was halted by J. B. Murry's Spirit Water, a found noch nicht einmal ergrunden kann. Ihre Skulpturen sind immer eloquent glass bottle containing water that is attached to one of his abstract geformt, elegant ausgefuhrt und exquisit konzipiert. Flora Mace und drawings. A devout tenant farmer, Murry was a self-taught artist who Joey Kirkpatrick haben mich liber die letzten 20 Jahre hinweg mit der thought that his drawings, which he called "spirit script," represented the Vielseitigkeit und Tiefe ihrer Arbeiten uberrascht. Sie haben eine kunst- word of God, and he used his water-filled glass as a magic lens to lerische Karriere gemeinsam, die in ihrer resoluten Integritat und techni- "read" the divine communications. The notion of glass as a material with schen Furchtlosigkeit eine Ausnahme darstellt. Land Birds: First Facts transformational properties is one that is explored by artists and scien­ war eine Arbeit aus der auBergewohnlichen Gruppe von Glas-, Holz- tists (and formerly alchemists). Some of the most powerful and unfor­ und Bronzeskulpturen in Menschen- und Vogelform, die die Kunstler gettable work in this regard is the series of shroudlike "vestments" made letzten Oktober in den Habatat Galleries in Chicago ausgestellt haben. by Stanislav Libensky and Jaroslava Brychtova. Beautiful, quiet, mourn­ Ich habe eine Schwache fur grofBformatige Skulpturen und Installatio- ful, and loving, these dark gray sculptures were created in the last years nen und meine Auswahl fur den Jurors Choice"-Teil von New Glass of the couple's unique and tremendously influential artistic partnership, Review reflektiert diese Neigung. Im Bereich von grof3formatigen Arbei­ which ended with the death of Libensky in February 2002. ten (die generell schwieriger zu schaffen sind als kleinformatige), bin ich The beauty, light, and spirituality inherent in glass are also explored immer wieder erstaunt daruber, was man mit Glas alles machen kann. by Liza Lou, who is well known for her process-oriented sculpture and In welchem anderen Medium hat man den visuellen und taktilen Spiel- installations (such as Kitchen and Back Yard) that require millions of raum von Arbeiten wie Ginny Ruffners Color Poem of a Vertical Land­ meticulously placed shiny glass beads. The metamorphosis taking scape aus Bronze, Stahl und geblasenem Glas; Iran do Espirito Santos place in Man represents a new departure for Lou that is rich in potential. sandgestrahlte und bitumenose Arbeit Restless 17; Kazuo Kadonagas (The intensity of her image reminds me of the stunning ascension of the halbtonnige, getropfelte Arbeit Glass No. 4 J und Jerry Pethicks zusam- soul in Bill Viola's unforgettable video installation, Going Forth by Day.) mengesetzter Flaschenmann Le Semeurt Diese vier Skulpturen haben Lou is the first artist working in glass to have been honored (in 2002) radikal unterschiedliche Anliegen, formal und konzeptuell, sie teilen je- with a prestigious MacArthur Foundation Fellowship. doch eine unbestrittene Freude am Material und seiner Fahigkeit Licht, Other artists whose work I find exceptional are Laura de Santillana Farbe und Tiefe zu generieren. Ganz besonders erfreue ich mich an der and Christine Borland. Again, the works I have picked have different Art des Zusammenspiels von Glas mit anderen Medien in Ruffners freu- formal and conceptual concerns. De Santillana's architectonic, Mini­ digem Lobgesang auf die Kreativitat und Espirito Santos ruhigerer, eher malist glass steles are design studies in pure form, while Borland's selbstversunkenen Studie. installations address science and, in the case of Spirit Collection: Hip­ Glas stellt sich auch in den Dienst der Metapher; und mir fallt auf, pocrates, ethical issues in medical research. Nevertheless, the works of dass es meistens dazu benutzt wird, die Bedeutung von Licht, Wasser, both artists are rational and investigative, and they consciously address Himmel und Geist zu transportieren. Als ich das American Folk Art the beauty of glass. (The skeleton leaves preserved in Borland's 100 Museum in New York besuchte, musste ich vor J. B. Murrys Spirit Water, glass vessels are from a tree at Glasgow University's Department of einer mit Wasser gefullten gefundenen Glasflasche, die an einem seiner Medical Genetics. This tree was grown from the seeds of the famous abstrakten Bilder hing, stehen bleiben. Murry - ein frommer Gutspach- plane tree on the Greek island of Chios, under which Hippocrates is ter und ein Kunstler, der sich sein Handwerk selbst beigebracht hatte - said to have taught his medical students.) dachte, dass seine Bilder, die er „spirit script" nannte, das Wort Gottes In closing, I want to welcome the new Museum of Glass: International reprasentierten und benutzte sein wassergefulltes Glas als magische Center for Contemporary Art, which opened in Tacoma, Washington, Linse, um die gottlichen Mitteilungen zu „lesen". Die Vorstellung von last July. Buster Simpson's large outdoor sculpture, Incidence, is photo­ Glas als Material mit transformierenden Eigenschaften ist eine Vorstel­ graphed with the museum's signature hot-shop cone in the background. lung, die von Kunstlern und Wissenschaftlern (und fruher Alchemisten) (What is not seen in this photograph is the proximity of Dale Chihuly's erforscht worden ist. Einige der kraftvollsten und unvergesslichsten Bridge of Glass, which connects the museum to downtown Tacoma.) Arbeiten in dieser Hinsicht ist die Serie schleierartiger „Gewander", von Without really intending to be, Incidence is a particularly appropriate Stanislav Libensky und Jaroslava Brychtova. Schon, still, traurig und reflection of the museum's mission, which is to present contemporary liebevoll, so wurden diese dunklen grauen Skulpturen in den letzten art in glass in the context of art in other media. Simpson's environ­ Jahren, dieser einzigartigen und ungeheuer einflussreichen Kunstler- mental work incorporates all kinds of materials; unlike Chihuly, he does partnerschaft geschaffen, die im Februar 2002 mit dem Tod Libenskys not work primarily in glass. Yet Simpson, at Chihuly's urging, was a key endete. force in the creation of Pilchuck Glass School, which has been a cata­ Die Schonheit, das Licht und die Spiritualitat die Glas besitzt, sind lyst for studio glass in the Pacific Northwest and throughout the world. auch von Liza Lou - bekannt fur ihre prozessorientierten Skulpturen Inspired by Chihuly, Simpson, and others, Pilchuck's teachers have led und Installationen (wie Kitchen und Back Yard), die Millionen von akri- their students in new and exciting directions in glass. So, hopefully, will bisch platzierten glanzenden Glasperlen bedurfen - erforscht worden. this new museum in Tacoma lead to new and exciting directions in the Die Metamorphose, die in Man stattfindet, reprasentiert fur Lou einen exhibition and interpretation of contemporary art in glass. Neuanfang mit sehr viel Potenzial. (Die Intensitat ihres Bildes erinnert mich an die uberwaltigende Himmelfahrt der Seele in Bill Violas unver- Tina Oldknow (TO) gesslicher Videoinstallation Going Forth by Day). Lou ist die erste glas- Curator of Modern Glass schaffende Kunstlerin, der 2002 die prestigetrachtige Auszeichnung The Corning Museum of Glass MacArthur Foundation Fellowship verliehen wurde. Andere Kunstlerinnen, deren Arbeiten ich fur auBergewohnlich halte, sind Laura de Santillana und Christine Borland. Wieder einmal haben die Arbeiten, die ich herausgegriffen habe, unterschiedliche formale und konzeptuelle Anliegen. De Santillanas architektonische, minimalistische Glasstelen sind reine Designstudien der Form, wahrend Borlands Instal­ lationen sich der Wissenschaft zuwenden, im Fall von Spirit Collection: Hippocrates, ethischen Fragen in der medizinischen Forschung. Den- noch sind die Arbeiten beider Kunstler rational und investigativ und sie wenden sich ganz bewusst der Schonheit von Glas zu. (Die Blattske- lette, die in Borlands 100 GlasgefaBen konserviert sind, stammen von einem Baum in der Abteilung fur medizinische Genetik in der Glasgower Universitat. Dieser Baum wurde aus den Samen der bekannten Platane auf der griechischen Insel Chios gezogen, unter dem Hippokrates seine Medizinstudenten unterrichtet haben soli. AbschlieBend mochte ich das neue Glasmuseum Jnternational Center for Contemporary Art", das im Juli letzten Jahres in Tacoma, Washington eroffnet hat, willkommen heiBen. Buster Simpsons riesige AuBenskulptur Incidence wurde mit dem Markenzeichen des Museums, dem Werkstattkegel, im Hintergrund fotografiert. (Was man auf diesem Foto nicht sehen kann, ist die Nahe zu Dale Chihulys Glasbrucke, die das Museum mit der Innenstadt von Tacoma verbindet). Nicht wirklich absichtlich spiegelt Incidence besonders treffend die Mission des Muse­ ums, zeitgenossische Glaskunst im Kontext von Kunst in anderen Medien zu prasentieren. Simpsons Landschaftsarbeiten beinhalten alle Materialarten; anders als Chihuly, arbeitet er nicht primar mit Glas. Au- Berdem war Simpson, auf Chihulys Drangen hin, eine treibende Schlus- selfigur bei der Errichtung der Pilchuck Glass School, die im pazifischen Nordwesten und in der ganzen Welt bis heute einen Katalysator fur Studioglas darstellt. Pilchucks Lehrer haben ihre Schuler, inspiriert von Chihuly, Simpson und anderen, in neue und aufregende Richtungen der Glaskunst gefuhrt. Hoffnungsvollerweise, wird dieses neue Museum in Tacoma genauso in neue und aufregende Richtungen der Ausstellung und Interpretation von zeitgenossischer Glaskunst fuhren.

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

o much glass, and so few words! Fortunately, it appears I have a o viel Glas und so wenig Worte! Es scheint, dass ich zum Gluck Scertain taste that is expressed through my 25 selections. This taste, Seinen gewissen Geschmack habe, der sich durch meine 25 ausge- or, as it will shortly be seen, these tastes afford a structure that may be wahlten Arbeiten hindurch abzeichnet. Dieser Geschmack (oder, wie used to describe the glass field as a whole, or at least the upper tier. man bald erkennen wird, diese Geschmacker) gewahrt eine Struktur, The mix of entries was, of course, astounding: everything from the die dazu benutzt werden kann, das Gebiet Glas im Ganzen, oder we- latest works by seasoned artists (I shall not name them, since some nigstens die oberen Range, zu beschreiben. Die Mischung der einge- were, for whatever reason, eventually not chosen) to submissions by reichten Arbeiten war, ohne Zweifel, erstaunlich: alles von den jungsten students, both raw and cooked. I myself tended to shy away from the Arbeiten erfahrener Kunstler (ich werde sie nicht benennen, da einige, well-known, established artists (most of whom were instantly recogniz­ aus welchem Grund auch immer, letztendlich nicht ausgewahlt worden able from their slides) in favor of emerging artists unless a particular sind) bis zu den eingereichten Arbeiten von Studenten; grun und reif. known glassmaker was really up to something new or particularly Fur meinen Teil neigte ich dazu, vor dem wohl bekannten zuruckzu- beautiful. Besides, one had to cast one's votes very carefully in terms of schrecken; etablierte Kunstler (von denen die meisten sofort an ihren where they would do the most good. Dias erkennbar waren) zugunsten von Newcomern, es sei denn, ein be- On the other hand, after looking through the complete set of images stimmter bekannter Glasmacher hatte etwas wirklich Neues oder be­ chosen by all of the jurors, this year's selection looks like a fair repre­ sonders Schones zu bieten. AuBerdem hatte man seine Stimme mit sentation of the field as determined by those who know of the ongoing sehr viel Bedacht so auszuwahlen, dass sie das Bestmogliche bewirken New Glass Review competition, think it worthwhile to enter, and actually wurde. send slides. It is highly unusual that the voting is not by consensus. Nachdem man andererseits die ganze Bilderserie der von alien Although I was limited to 25 selections, there are many more that I Juroren ausgewahlten Arbeiten durchgesehen hat, erscheint die dies- could have selected. jahrige Auswahl eine gerechte Representation jenes Bereichs, der von I was amazed to learn that slides of all the entries, winners and denjenigen bestimmt wird, die den jahrlichen Wettbewerb der New losers, have been kept year after year. What an archive this will be if Glass Review kennen, es fur sinnvoll halten daran teilzunehmen und anyone can figure out how to use it! Here are some of the questions I dann tatsachlich Dias schicken. Es ist auBerst unublich, dass die Ab- would like to see answered: Has the geographical spread of entrants, stimmung nicht durch Ubereinstimmung stattfindet. Obwohl meine Aus­ both nationally and internationally, increased over the years? Has the wahl auf 25 beschrankt war, gab es viel mehr Arbeiten, die ich hatte number of women artists increased? Has the proportion of nonvessel auswahlen konnen. work increased? Has the number of installations increased? Given Ich war erstaunt, als ich erfuhr, dass die Dias aller eingereichten larger trends, I would venture that the answer to all of my questions Arbeiten - Gewinner und Verlierer - Jahr fur Jahr aufgehoben werden. would be in the affirmative, but it would be good to have proof. Was wird das fur ein Archiv sein, wenn irgend jemand weiB, wie man es Glass education has grown more sophisticated. By "sophisticated," I benutzt! suppose I mean an increased knowledge of the larger art world of Hier einige Fragen, auf die ich gerne eine Antwort hatte: Hat sich das painting, sculpture, and installations. I only wish there had been an geographische Einzugsgebiet der Einsender, national und international, equivalent increase of sophistication in terms of the craft and design uber die Jahre hinweg vergroBert? Hat die Anzahl der Kunstlerinnen arenas. After all, glass is a three-headed beast. But knowing what I zugenommen? Ist die Proportion von „NichtgefaBarbeiten" gestiegen? know about how glassmaking is taught, I think craft as an art form Hat die Anzahl von Installationen zugenommen? Von den groBeren involving handmade utilitarian objects (vessels of one sort or another) Tendenzen ausgehend, wurde ich wagen anzunehmen, dass die Ant- and design (meaning both mass-produced utilitarian objects and "good wort auf all meine Fragen positiv ist; es ware aber gut, den Beweis da- design" per se) are sorely slighted. As various glass extravaganzas fur zu haben. inadvertently attest, the foundations of good design are simply no Das Glasstudium ist anspruchsvoller geworden. Mit „anspruchsvoll" longer there. Skill is all; design is replaced by skill or, even worse, by glaube ich, meine ich ein steigendes Wissen uber die ubrige Kunstwelt expression. This may be one reason why the majority of my selections der Malerei, Skulptur und der Installationen. Ich wunschte nur, es gabe are at the installation end of the glass spectrum. There were simply not auch eine aquivalente Zunahme des Anspruchsvollen in den Bereichen enough entries at the other end: handmade multiples were paltry, and I des Handwerks und des Designs. Glas ist immerhin ein dreikopfiges could not see any mass-produced things at all. Biest. Mit dem Wissen das ich daruber habe, wie die Glasherstellung As I was going through the slides, sitting in the dark with the other gelehrt wird, denke ich jedoch, dass Handwerk als Kunstform, die hand- jurors, it began to dawn on me that what I was looking for was creativity gemachte Gebrauchsgegenstande (GefaRe der einen oder anderen and/or beauty. The beauty part of my search was mostly filled, as one Sorte) und Design (sowohl massenproduzierte Gebrauchsgegenstande might guess, by the vessel form. The installations and/or the more als auch „gutes Design" per se) umfasst, sich in einem arg schwachen "conceptual" (i.e., idea-generated) offerings are sometimes beautiful in Zustand befindet. Wie einige verschiedene Extravaganzen in Glas un- their own way, but in general, as befitting the genre or genres they absichtlich bestatigen, existieren die Grundlagen guten Designs einfach represent, they do not require enormous design talent. nicht mehr. Kunstfertigkeit ist alles; Design wird ersetzt durch Fertigkeit First, let me deal with what I would label the craft entries. My use of oder, noch schlimmer, durch Ausdruck. Das konnte ein Grund dafur the word "craft" places it as a subcategory under art (like sculpture, sein, dass die Mehrzahl der von mir ausgewahlten Arbeiten am Installa- painting, watercolors, and photography), not as something extra-artistic, tionsende des Glasspektrums liegen. Es gab am anderen Ende einfach merely because the objects in question are utilitarian or use utilitarian nicht genug eingereichte Arbeiten: handgemachte multiple Objekte forms. waren durftig und ich konnte erst recht keine massengefertigten Gegen- Glass in its utilitarian mode encompasses the wearable. Let's not stande erkennen. quibble: the decorative is very useful. Donald Friedlich's Translucence Als ich, mit den anderen Juroren im Dunklen sitzend, die Dias durch- Series Brooch is simply beautiful. Beth Hylen's lampworked Branches is ging, begann es mir zu dammern, dass das wonach ich suchte Kreati- daringly extravagant, with an overtone of danger. Expanding the notion vitat und/oder Schonheit war. Der Schonheitsteil meiner Suche wurde of jewelry, Steffen Orlowski's lampworked headpiece is a cross between groRtenteils erfullt; wie man vielleicht erraten kann, in GefaRform. Die a hat, a mask, and a helmet. If two halos make a trend, then glass halos Installationen und/oder die mehr „konzeptuellen" (d. h. aus Ideen ent- are such: Dana Esther Lindzon's is of cast glass and strapped to the sprungene) Angebote sind manchmal auf ihre eigene Art schon, im head with leather bands; Jenny Leuf's Embraced by Light is blown. Allgemeinen erfordern sie, da sie von dem/den von ihnen reprasentier- Nevertheless, when we think of the utilitarian in glass, we primarily tem/n Genre/s profitieren, jedoch kein enormes Designtalent. think of the vessel. Lassen sie mich zuerst dem zuwenden, was ich als Handwerksarbei- Are plates vessels? One of the most usable and most novel entries ten bezeichnen wurde. Meine Art das Wort „Handwerk" zu benutzen, was Asami Hanamata's cake plates—a circle of removable wedges for platziert es als Subkategorie unter Kunst (wie Skulptur, Malerei, Was- wedges of cake. The cast glass platter becomes the cast glass plates. serfarben und Fotografie), nicht als etwas auRer-kunstlerisches, bloR Harumi Ikushima's blown and fused plates are more traditional, but the weil die fraglichen Objekte zu gebrauchen sind oder praktische Formen decorations are suave indeed. I was also taken by Misaki Urushiyama's benutzen. blown glass "bottles" (called The Home for the People Who Live on the Glas in seiner Gebrauchsform umfasst das Tragbare. Lasst uns nicht Moon). Protruding stalks are fetchingly strange. spitzfindig sein: das Dekorative ist sehr nutzlich. Donald Friedlichs Ar­ The remaining vessels I chose are pairs or groups—a trend if ever beit Translucence Series Brooch ist einfach schon. Beth Hylens lampen- there was one—but a trend that partly answers the thrown clay, blown gearbeitetes Stuck Branches ist mutig extravagant, mit einem Hauch glass, and turned wood problem of achieving sufficient scale to be taken von Gefahr. Indem er den Begriff Schmuck erweitert, stellt Steffen Or- seriously as art. With the exception of Jane Bruce's stacked vessel—a lowskis lampengearbeiteter Kopfbesatz eine Kreuzung zwischen einem new form for this well-known artist—the vessels presented might be Hut, einer Maske und einem Helm dar. Wenn zwei „Heiligenscheine" seen as three-dimensional still lifes: Sean Albert's Subtle Diptych einen Trend machen, dann sind die „Glas-Heiligenscheine" folgende: (White), Wiebke Vogt's Absence I, Clare Belfrage's Quiet Shifting, and Dana Esther Lindzons ist aus gegossenem Glas und mit Lederbandern Tim Edwards's Suspension. I am quite impressed that this wonderful am Kopf festgeschnurt, Jenny Leufs Embraced by Light ist geblasen. vessel minimalism is so international, representing artists from Germany Trotzdem, wenn wir an den Gebrauchswert von Glas denken, denken (Vogt), Australia (Belfrage and Edwards), and the United States (Al­ wir zuerst an das GefaR. bert). I did, however, also fall in love with Elizabeth Swinburne's Golden Sind Teller GefaRe? Eine der nutzlichsten und neuartigsten der ein- Bodies, two irregular blown vessels imprinted with golden hand prints. gereichten Arbeiten waren Asami Hanamatas Kuchenplatten - ein Kreis Further examples of the still-life trope can be provided by my extra- mit herausnehmbaren Keilformen fur Kuchenstiicke. Aus der gegosse- entry selections: Beth Lipman and the vessel work of Kanik Chung, who nen Glasplatte werden gegossene Glasteller. Harumi Ikushimas gebla- is represented here, however, by his performance piece Geyser. In sene und geschmolzenen Teller sind eher traditionell, die Dekorationen glass, the still life seems to have come out of Dale Chihuly's baskets dagegen anspruchsvoll. Von Misaki Urushimyamas geblasenen Glas- through Dante Marioni's elongated paeans to classical Italian design. „flaschen" (mit dem Titel The Home for the People Who Live on the The still life morphs into the blown glass installation. Christopher Moon) war ich ebenfalls angetan. Herausragende Stiele sind bezau- Taylor's untitled display of what he calls real/fake objects is a kind of bernd seltsam. conceptual still life, whereas White Forest, by the very well known Die verbleibenden GefaRe, die ich ausgesucht habe, sind Paare oder Swedish designer/artist Ann Wahlstrom, looks as if it could be a work- Gruppen - ein Trend, wenn es je einen gab - aber ein Trend, der teil- table. Thomas Kreager's displays of multiple bottles and glass houses weise eine Antwort gibt auf das Problem, mit geformtem Ton, geblase- expand the notion of tabletop. Vaida Andrasiunaite's Abfall allows a nem Glas und gedrehtem Holz, genug Volumen zu erreichen, um als large collection of bottles and other vessels to tumble off two tables onto Kunstform ernst genommen zu werden. Mit Ausnahme von Jane Bru- the floor. Catherine Vamvakas Lay's Faith uses glass blown into rocks ces gestapeltem GefaR - eine neue Form fur diese bekannte Kunstlerin to provide giant votive lamps arranged on the floor in front of an un­ - konnte man die prasentierten GefaRe als dreidimensionale Stillleben finished Greek icon on an easel. A. J. Bocchino's untitled floor piece sehen: Sean Alberts Arbeit Subtle Diptych (White), Wiebke Vogts combines refreshingly, sickeningly colored blown glass blobs with Absence I, Clare Belfrages Quiet Shifting und Tim Edwards Suspension. mortared bricks. Chizuko Oguchi's Travel-2 is a room packed with Ziemlich beeindruckt hat mich die Internationalist dieses wundervollen lampworked, water-filled spheres and globs, some of them suspended. GefaRminimalismus, mit Kunstlern aus Deutschland (Vogt), Australien But blown glass installations, per se, do not stop here. The well- (Belfrage und Edwards) und den Vereinigten Staaten (Albert). Aber ich known Jon F. Clark surprised me with his large array of mold-blown verliebte mich auch in Elizabeth Swinburnes Arbeit Golden Bodies, zwei forms of free-standing wings: the multiplicity transcended the individual unregelmaRig geblasene, mit goldenen Handabdrucken bedruckte Ge­ sculptures. And needless to say, glass installations do not necessarily faRe. have to be of blown glass. Birgitta Ahlin and Sirkka Lehtonen offered us Weitere Exemplare des Stillleben-Tropus gibt meine „Extra-Entries"- their installation of hanging shards of flat glass. Picking up the eccle­ Auswahl her: Beth Lipman und die GefaBarbeit von Kanik Chung, der siastical theme, Sharyn O'Mara presented a spectacular installation of hier jedoch mit seinem Performancestuck Geyser reprasentiert ist. In optical fiber and light in an abandoned church. Amena Saeed's Organic Glas scheint das Stillleben aus Dale Chihulys Korben von Dante Mario- Growth—rapidly increasing inspiration from sea life, constructed of nis ausgedehnten Lobreden uber klassisches italienisches Design zu 12,000 used light-bulb shells, was also exceptionally original. stammen. Categories, of course, are instrumental. Elaine Adam blew glass into Das Stillleben verwandelt sich in eine Installation aus geblasenem large bubble springs, left the glass inside, then photographed the pieces Glas. Christopher Taylors Presentation „Untitled", dessen, was er echte/ in a pile of metal and tire debris. Is this sculpture of the site-specific sort gefalschte Objekte nennt, ist eine Art konzeptuelles Stillleben, wahrend or an outdoor installation? Michael Hart's Maintaining Composure would die Arbeit White Forest yon der bekannten schwedischen Designerin be called an installation by some, since it juts out too far from the wall to und Kunstlerin Ann Wahlstrom, von ihrer Erscheinung her auch ein be a relief and uses cables and pulleys, or a wall piece (for an obvious Arbeitstisch sein konnte. Thomas Kreagers Prasentationen von mehre- reason), or simply a sculpture. Walter Zimmerman, who, along with ren Flaschen und Glashausern erweitern den Begriff „Tischplatte". Bocchino, William Couig, and Richard Posner, would have been among Vaida Andrasiunaites Arbeit Abfall lasst eine groBe Ansammlung von my extra-entry choices if he had not entered, often does installations Flaschen und anderen GefaBen von zwei Tischen auf den Boden pur- made up of what look like suspiciously individual pieces that can be zeln. Catherine Vamvakas Lay benutzt in ihrer Arbeit Faith in Steine called either sculptures or assemblage. Here, I voted for assemblage. geblasenes Glas als riesige Votivlampen, die auf dem Boden vor einem Here are eight pieces that, because they are so self-contained, look unfertigen griechischen Heiligenbild auf einer Staffelei arrangiert sind. like sculpture to me: Couig's interlocking Link-in: Four-G, Deborah A. J. Bocchinos Bodenarbeit ..Untitled" kombiniert geblasene Glas- Holloway's balloons in water, Brian Gustafson's fish tank in a crib, kleckse in erfrischend widerlicher Farbe mit gemortelten Backsteinen. Preston Singletary's Bear Mask (or is it a wearable?), Makoto Shima- Chizuko Oguchis Arbeit Travel-2 ist ein Raum, der mit lampengearbeite- zaki's beautiful glass egg, Gun Lindblad's glass and lead star (or is it a ten, wassergefullten Kugeln und Tropfen? vollgestopft ist, von denen floor piece?), Gareth Noel Williams's leather and glass bottle Booster, einige aufgehangt sind. and Arlon Bayliss and Jason Knapp's The Crystal Arch (or is it archi­ Installationen aus geblasenem Glas, per se, horen hier jedoch nicht tecture?). auf. Der bekannte Kunstler Jon F. Clark uberraschte mich mit seinem Body art is another art-world category with some history to it, so it is groBen Aufgebot gussgeblasener Formen freistehender Flugel: die Viel- helpful to classify Ji Sook Min's pate de verre bra, Alison Gordon's Belly faltigkeit geht uber die individuellen Skulpturen hinaus. Es erubrigt sich in a Box, and Christine Cholewa's Glass Armour as such. One could ebenfalls zu sagen, dass Glasinstallationen nicht unbedingt aus gebla­ also classify my extra-entry choice, Jane D'Arensbourg's enamel finger­ senem Glas sein mussen. Birgitta Ahlin und Sirkka Lehtonen boten uns print process pieces, as body art. Tae-gon Kim's untitled apparatus, ihre Installation hangender Scherben aus flachem Glas an. Sharyn allowing two people to breathe from the same bottle, as it were, and O'Mara griff das Thema „Kirche" auf, indem sie uns eine spektakulare •am Bowers's Device for Self-Communication could be seen as body Installation aus optischen Fasern und Licht in einer verlassenen Kirche art, although they can also be considered as performative. Glass per­ prasentierte. Amena Saeeds Arbeit Organic Growth - rapidly increasing formance is also a legitimate genre, here more clearly represented by inspiration from sea life, konstruiert aus 12.000 gebrauchten Gluhbir- my extra-entry choice of Kanik Chung's Geyser, in which, in front of an nen, war ebenfalls auBergewohnlich originell. audience, molten glass was dropped into water to create a steam event. Naturlich sind Kategorien forderlich. Elaine Adam hat Glas in groBe Chung has also made drawings by dropping glass into ink. The well- Sprungfedern geblasen, das Glas darin belassen und dann die Objekte known and always controversial Richard Posner, himself continuing to in einem Haufen aus Metall- und Reifenschutt fotografiert. Ist diese expand the possibilities for glass, offered a slide of the cast glass letters Skulptur von der gelandespezifischen Sorte oder eine AuBeninstalla- for his projected work called Seven Forbidden Names for God as tion? Michael Harts Arbeit Maintaining Composure wurde, da sie aus Anthrax Letters. der Wand zu weit herausragt um ein Relief zu sein und Kabel und Do I really think that art made of glass can be divided into the craft- Rollen benutzt, von manchen als Installation bezeichnet werden oder inspired and the art-world=inspired? Or is the division really between als Wandobjekt (aus ersichtlichen Grunden), oder einfach als Skulptur. the beautiful and the creative? Yes. But only if the divisions are helpful. Walter Zimmermann, der zusammen mit Bocchino, William Couig und They are only heuristic, and once you really start looking, my divisions Richard Posner unter meinen ausgewahlten „Extra-Entry" Objekten begin to fall apart, fan out, transmogrify. It doesn't matter; it is the gewesen ware, wenn er nichts eingereicht hatte, fertigt oft Installationen, looking and the thinking that matter. In the meantime, it should be very die offensichtlich aus verdachtig individuellen Arbeiten bestehen, die clear how much the glass world, now largely made up of art-school= man entweder als Skulptur oder Assemblage bezeichnen konnte. Hier trained practitioners, is beholden to art-world forms. Cut loose from entschied ich mich fur die Bezeichnung Assemblage. utility and utilitarian forms, will glass just melt into the general mix? Nachfolgend acht Arbeiten die, weil sie so in sich geschlossen sind, fur mich wie Skulpturen aussehen: Couigs ineinander greifende Arbeit John Perreault (JP) Link-in: Four-G, Deborah Holloways Ballons im Wasser, Brian Gustaf- Independent Critic and Curator sons Aquarium in einem Kinderbett, Preston Singletarys Bear Mask New York, New York (oder ist es etwas zum Anziehen?), Makoto Shimazakis schones Glas- ei, Gun Lindblads Glas- und Bleistern (oder ist es ein Bodenstuck?), Gareth Noel Williams Leder- und Glasflasche Booster und Arlon Bayliss und Jason Knapps Arbeit The Crystal Arch (oder ist es Architektur?). Eine weitere Kategorie aus der Kunstwelt, die Geschichte zu bieten hat, ist die Korperkunst. Es ist deshalb hilfreich Ji Sook Mins BH aus pate de verre, Alison Gordons Arbeit Belly in a Box und Christine Cholewas Arbeit Glass Armour als solche zu bezeichnen. Die Arbeit von Jane D'Arensbourg aus meinen „Extra-Entries" - ein Emailfingerab- druckverfahren - konnte man ebenfalls als Korperkunst bezeichnen. Tae-gon Kims Apparat ..Untitled", der zwei Menschen sozusagen aus derselben Flasche atmen lasst, und Liam Bowers's Arbeit Device for Self-Communication konnte man als Korperkunst betrachten, obwohl sie auch als Performance durchgehen konnten. Glass-Performance ist ebenfalls ein legitimes Genre, was hier anhand der von mir ausgewahl­ ten „Extra-Entry"-Arbeit von Kanik Chungs Geyser- wo vor Publikum, geschmolzenes Glas in Wasser getropft wird um ein „Dampf-Event" zu kreieren - noch deutlicher wird. Chung hat auch Bilder gefertigt, indem er Glas in Tinte getraufelt hat. Der bekannte und immer kontroverse Richard Posner, der selbst die Moglichkeiten von Glas immer wieder erweitert hat, stellte ein Dia der gegossenen Glasbuchstaben fur seine projizierte Arbeit Seven Forbidden Names for God as Anthrax Letters zur Verfugung. Glaube ich wirklich, dass Glaskunst in „Handwerk-inspiriert" und „Kunstwelt-inspiriert" unterteilt werden kann? Oder besteht die Untertei- lung in Wirklichkeit zwischen schon und kreativ? Ja. Aber nur wenn die Unterteilungen hilfreich sind. Sie sind nur heuristisch und wenn man sie einmal wirklich betrachtet, fallen meine Unterteilungen auseinander, breiten sich aus, verwandeln sich auf wunderbare Weise. Das macht nichts, denn was zahlt, ist dass man hinschaut und nachdenkt. Zwi- schenzeitlich sollte es sehr klar sein, wie sehr die Glaswelt, die sich heute groBtenteils aus an Kunstschulen trainierten Glasschaffenden zusammensetzt, den Formen der Kunstwelt verpflichtet ist. Wird Glas, befreit von Funktion und funktionalen Formen, einfach mit dem der restlichen Suppe eins werden?

John Perreault (JP) Independent Critic and Curator New York, New York

A Recipe for Almost Certain Disaster (Averted) Ein fast sicheres Rezept fur eine (abgewendete) Katastrophe

ombine in one sequestered lecture hall covered in semidarkness: an kombiniere Folgendes in einer abgeschiedenen, ins Halbdunkle Cfour eager and concerned jurors, three whirring slide projectors Mgehullten Vorlesungshalle: vier tatkraftige und engagierte Juroren, working overtime, almost 2,600 slides submitted by more than 950 drei Uberstunden machende surrende Diaprojektoren, fast 2600 Dias, artists, three curatorial angels keeping everything on track, coffee and die von mehr als 950 Kunstlern eingereicht wurden, drei engelsgleiche platters of high-fat pastries for fuel, bottles of water for conscience, and Kuratoren, die alles im Griff haben, Kaffee und Tabletts mit kalorienrei- two days to choose 100 works of art. Is it a recipe for disaster or the chem Geback als Treibstoff, Wasserflaschen, um das Gewissen zu be- standard operating procedure for jurying a competition? ruhigen und zwei Tage, um 100 Kunstwerke auszusuchen. Ist das ein There is no perfect system for this insane self-imposed kind of jurying Rezept fur eine Katastrophe Oder der normale Ablauf eines Juryverfah- process: four strong-willed jurors with four distinct artistic sensibilities. It rens bei einem Wettbewerb? is an admirable judging format honed by Corning over the past two Es gibt kein perfektes System fur diese irrsinnige, selbstauferlegte Art decades, and somehow, magically, it all works. In the end, after the von Juryverfahren: vier Juroren mit starkem Willen und vier Arten von empty water bottles and the Excedrin, the chosen works of art emerge, kunstlerischem Gespur. Es ist ein bewundernswertes Bewertungsfor- and we lean back in our chairs, more admiring than relieved. The works mat, das von Corning uber die vergangenen zwei Jahrzehnte hinweg are stunning. They span countries and transcend trends. Hard choices ausgefeilt wurde - und irgendwie, auf magische Weise, funktioniert were made, and a checklist is assembled: 100 works. immer alles. Zum Schluss, nach den leeren Wasserflaschen und Exce­ This is why we are here: drin (Kopfschmerztabletten), werden die ausgewahlten Arbeiten enthullt Glass has muscle. Glass is sexy. Glass still has the power to awe. und wir lehnen uns, mehr bewundernd als erleichtert, in unseren Stuh- I have been drawn to it since the early 1970s, while I was attending the len zuruck. Die Arbeiten sind phanomenal. Sie umspannen Lander und Rhode Island School of Design as a printmaker and glass was ex­ gehen uber die Trends hinaus. Eine schwere Wahl ist getroffen worden ploding. Fast-forward through 25 years in the art world, and I remain und eine Checkliste ist zusammengestellt: 100 Arbeiten. seduced. Darum sind wir hier: Aside from the 100 artists whose works were selected in the competi­ Glas hat Macht. Glas ist sexy. Glas floBt noch immer Ehrfurcht ein. tion, eight artists burrowed under my skin this past year—well, 11 when Seit ich in den 70er Jahren als Grafiker die Rhode Island School of you count Flora C. Mace, Joey Kirkpatrick, and Kelly McLain, all of Design besuchte und die Glasszene formlich explodierte, fiihle ich mich whom I was fully prepared to bring forward as my juror's choice for New davon angezogen. 25 Jahre durch die Kunstwelt vorgespult, und sie Glass Review 24, only to happily find that they had submitted indepen­ verlockt mich immer noch. dently. Neben den 100 Kunstlern, deren Arbeiten im Wettbewerb ausgesucht wurden, gibt es weitere acht Kunstler, die sich bei mir in diesem letzten Jahr eingepragt haben - nun, sogar elf, wenn man Flora C. Mace, Joey The 100: A Partial Musing Kirkpatrick und Kelly McLain mitzahlt, die ich alle ganz bestimmt mit There was an impressive number of installation-based submissions meiner Jurorenauswahl fur die New Glass Review24 fordern wollte, nur that snapped my curatorial nerves to attention. In Untitled Field (church, um erfreut festzustellen, dass sie selber Arbeiten eingereicht hatten. detail), Sharyn O'Mara transforms an abandoned interior space into a magical field of light, using optical fiber. Artists such as Chizuko Oguchi, Die 100: Ein paar Gedanken Birgitta Ahlin and Sirkka Lehtonen, Adam Holtzinger, Catherine Vam- Eine beeindruckende Zahl von den eingereichten Arbeiten, die sich vakas Lay, and Jon F. Clark continue to mine the rich possibilities of auf Installationen begrundeten, brachten meine Kuratorennerven in creating environments with glass. Habachtstellung. In Untitled Field (church, detail) verwandelt Sharyn Kelly McLain's Anthem is a witty and stunning work of art. McLain has O'Mara einen verlassenen Innenraum durch optische Fasern in ein created a heroic wall of cast and manipulated glass whisk brooms that magisches Lichtfeld. Kunstler wie Chizuko Oguchi, Birgitta Ahlin und are stacked in an abstract pattern that cleverly calls to mind pattern and Sirkka Lehtonen, Adam Holtziger, Catherine Vamvakas Lay und Jon F. decoration painting, minimalist sculpture, and a whole lot of domestic Clark schopfen immer wieder die reichen Moglichkeiten aus, mit Glas tedium. Umgebungen zu schaffen. Single objects clustered in groups take on a different visual impact. Kelly McLains Anthem ist ein geistreiches und phanomenales Kunst- Deborah Horrell's monochromatic Still Life—Lineage of White is a werk. McLain hat eine heroische Wand aus gegossenen und manipu- spectral homage to the mid-century tonalist painter Giorgio Morandi. lierten glasernen Reisigbesen, die in einem abstrakten Muster gestapelt Other artists creating compelling works with multiple objects include sind, kreiert, das clever an Muster- und Dekorationsmalerei, minimalisti- Clare Belfrage, Rachael Woodman, Sophia Emmett, and Nicole Lucas. schen Skulpturen und ganz schon viel hausliche Langeweile erinnert. For the past two decades, Flora C. Mace and Joey Kirkpatrick have Einzelne Objekte, die in Gruppen gebundelt sind, hinterlassen einen pushed the boundaries of glass by integrating it with classical sculptural anderen visuellen Eindruck. Deborah Horrells monochromatische Arbeit materials such as wood and bronze. With their most recent "First Facts" Still Life - Lineage of White ist eine spektrale Hommage an Giorgio series, they have confined themselves to glass alone. "First fact" is a Morandi, einen Ton-in-Ton-Maler aus der Mitte des vergangenen Jahr- 19th-century ornithological term for the removal of birds from their hunderts. Andere Kunstler, die faszinierende Arbeiten mit mannigfalti- natural settings in order to truly see them for their physical attributes. gen Objekten geschaffen haben, sind beispielsweise Clare Belfrage, Mace and Kirkpatrick have used this same technique with Land Birds: Rachael Woodman, Sophia Emmett und Nicole Lucas. First Facts, employing isolation as a visual key to capturing a kind of Wahrend der letzten beiden Jahrzehnte haben Flora C. Mace und truth. There is an elegance to the vessels and an exquisiteness to the Joey Kirkpatrick die Grenzen des Materials Glas erweitert, indem sie es drawings without a trace of preciousness. The viewer isn't meant to mit klassischen Skulpturmaterialien, wie Holz und Bronze, integriert marvel at the technical feat of drawing on glass, merely to drink in the haben. Mit ihrer jungsten „First Facts"-Serie haben sie sich nur auf Glas purity and charm of the line. beschrankt. „First Fact" ist ein ornithologischer Begriff aus dem Meanwhile, the solitary object still holds its own. Katherine Gray and 19. Jahrhundert fur die Entfernung von Vogeln aus ihrer naturlichen Nancy Callan tweak mass culture and marry it to elegant form. Gray's Umgebung, um sie nur nach ihren physischen Eigenschaften zu beur- Wonder Vases reference the Boomers' "Leave It to Beaver" lunch, in teilen. Mace und Kirkpatrick haben mit Land Birds: First Facts die which a highly enriched white bread can somehow build a strong body gleiche Technik benutzt und Isolation als visuellen Schlussel eingesetzt, 12 ways. Callan's Pin-up Girls hurls us back into the swinging 1960s, um eine Art Wahrheit einzufangen. Die GefaBe sind elegant und die but these cheeky pinup girls cavort on a trio of funereal black vessels. Zeichnungen exquisit, ohne gekunstelt zu sein. Der Betrachter soli nicht There were stunning submissions that could be appreciated for their die technische Meisterleistung des Zeichnens auf Glas bestaunen, sheer beauty and technique. Sally Prasch's flameworked Splash is a sondern vielmehr die Reinheit und den Charme der Linienfuhrung in riveting example of animating the inanimate, like a stop-action Harold sich aufsaugen. Edgerton photograph of an exploding water drop. Carrie Gustafson, Wahrenddessen behauptet sich das einzelne Objekt immer noch. Katarzyna Krej, and Mark Thiele create strong solitary objects, stunning Katherine Gray und Nancy Callan nehmen die Massenkultur auf den and magical in their form and technique. Arm und verknupfen sie mit eleganter Form. Grays Arbeit Wonder Vases bezieht sich auf den „Leave It to Beaver"-Lunch der Boomers, wo The Eight (Jurors' Choice) ein hochst angereichertes WeiBbrot irgendwie auf zwolf verschiedene Donna Tauscher incorporates glass as a component in her eloquent Aden einen starken Korper aufbauen kann. Callans Pin-up Girls ver- and evocative installations and performances. A Rare Stillness Beckons setzt uns zuruck in die „Swinging Sixties", diese frechen Pinup-Girls utilizes glass that was reclaimed by the artist from an abandoned medi­ tanzen jedoch auf einem Trio von grabschwarzen GefaBen herum. cal supply warehouse. Imprisoned within the glass is vital information Es gab tolle Arbeiten, die man fur ihre schiere Schonheit und ihre regarding identity—abstracted thin slivers of a portrait. Confetti self- technische Ausfuhrung zu schatzen wusste. Sally Praschs flammenge- portraits reveal themselves piecemeal, and only by stepping back does arbeitete Arbeit Splash ist ein fesselndes Beispiel, wie man das Leblose the viewer take in the whole. Tauscher explores the meaning of the beleben kann, genau wie auf einem Stop-Action-Foto eines explodie- portrait by presenting a fractured self, indicating that we can grasp a renden Wassertropfens von Harold Edgerton. Carrie Gustafson, Katar­ slippery truth only in bits of information and visual flashes. zyna Krej und Mark Thiele haben ausdrucksstarke Einzelobjekte, in An empty dress can also be a kind of portrait. During the past two magischer und phantastischer Form und Technik kreiert. decades, artists such as Leslie Dill and Beverly Semmes have mined the subtle and symbolic meanings that imbue the archetype of the Die Acht (Jurors' Choice) empty dress. Encountering the work of Karen LaMonte is to witness an Donna Tauscher setzt Glas in ihren eloquenten und evokativen Instal- original approach to this theme and its metaphoric possibilities. The lationen und Performances als Komponente ein. Bei der Arbeit A Rare ghostlike figure entrapped within the dress form reveals itself as holo­ Stillness Beckons benutzt die Kunstlerin Glas, das sie aus einem ver- graphic and sensual. lassenen Lager fur Medizinbestand regeneriert hat. Im Glas einge- Mining similar metaphoric territory, Kathleen Holmes slyly confronts schlossen ist eine wichtige, die Identitat betreffende Information - abs- the issue of the multiple stereotypes embedded in concepts of tradition­ trakte dunne Splitter eines Portrats. Konfettiahnliche Selbstportrats al women's work. Holmes's 2002 sculpture Spring Frock is a clever enthullen sich stuckchenweise, und mit nur einem Schritt zuruck kann marriage of found objects and glass. It subversively examines concepts der Betrachter das Ganze erkennen. Tauscher erforscht die Bedeutung of confinement and repression in traditional women's craftwork such as des Portrats, indem sie ein fragmentiertes Selbst zeigt, als Zeichen, das lacemaking and sewing. The sculpture itself incorporates the ironic, wir wie eine heikle Wahrheit nur in Form von Informationsbruchteilen playing on the tension between the fabricated steel of the skirt and the und visuellen Blitzen begreifen konnen. fragility of the lace-patterned glass. Ein leeres Kleid kann auch eine Art von Portrat sein. Wahrend der Robbie Miller retools the concept of the ready-made with his evoca­ letzten beiden Jahrzehnte haben Kunstler wie Leslie Dill und Beverly tive and luminous kiln-cast sculpture Block. The lowly cinder block is Semmes die subtilen und symbolischen Bedeutungen von denen der transformed into something minimal and monumental—a ravishing Archetyp eines leeren Kleides durchdrungen ist, ausgenutzt. Den Ar­ assault on high and low art. beiten von Karen LaMonte zu begegnen, bedeutet die originelle An- Is Josiah McElheny the most conceptually motivated artist working in naherung an dieses Thema, und an seine metaphorischen Moglich- glass, or does it just seem that way? In Ornament and Crime: Loos, keiten, zu erleben. Die gespenstische Figur, gefangen in der Kleidform, Haerdtl and Hoffmann (White), he takes on our design heroes, remaking enthullt sich als holographisch und sinnlich. a series of classic modernist forms in white glass. We are never quite Kathleen Holmes schopft ein ahnliches metaphorisches Gebiet aus, sure just how far McElheny is tweaking our assumptions about the wenn sie still und leise das Thema der multiplen Stereotypen, die der modernist canon, but in the end, he always delivers a visually arresting Vorstellung traditioneller Frauenarbeit zugrunde liegen, aufwirft. Holmes and mysterious installation. Skulptur Spring Frock aus dem Jahre 2002 ist eine clevere Verschmel- Beth Lipman also turns her eye toward our art-historical assumptions, zung von gefundenen Objekten und Glas. Die Skulptur untersucht auf traveling back to 17th-century Dutch still-life painting. In Stilleven (after subversive Art und Weise die Konzepte des ans Haus Gebundenseins Willem Claesz Heda), the artist creates the form of a traditional still life und der Repression im traditionellen Frauenhandwerk, zum Beispiel in colorless glass. Willem Claesz Heda (1594-71681) favored the dem Spitzenmachen und dem Nahen. Die Skulptur selbst tragt Ironie in depiction of aristocratic breakfast pictures that included oysters, meat sich, da sie mit der Spannung zwischen dem hergestellten Stahl des pies, and hams. Lipman recalls this abundance in colorless glass, an Rockes und der Zerbrechlichkeit des Glases mit dem Spitzenmuster ice coating that freezes the moment, a witty reference to the original spielt. maker's subtext of the inevitability of fragility and decay. Robbie Miller verleiht mit seiner evokativen und leuchtenden heifBver- Mildred Howard's Blackbird in a Red Sky (a.k.a. Fall of the Blood formten Skulptur Block dem Begriff Ready-made neuen Zundstoff. Das House) was installed at the Museum of Glass in Tacoma, Washington, primitive Stuck Kohle wird in etwas minimales und monumentales um- for its grand opening in July 2002. At the risk of nepotism, I feel com­ gewandelt - ein atemberaubender Angriff auf die Hohe und die „weni- pelled to include it in my favorites column. I lived with the installation ger hohe" Kunst. over the past six months, and its power has shifted, refracted, and 1st Josiah McElheny der konzeptuell motivierteste Glaskunstler oder expanded during that time. More than 500 red blown glass apples bob scheint dies nur so zu sein? In seiner Arbeit Ornament and Crime: in the reflecting pool, and the red glass-shingled house is sited perfectly Loos, Haerdtl and Hoffmann (White) nimmt er sich unserer Design- to frame Mount Rainier through the doorway. It casts a vibrant red helden an, indem er eine Serie von Remakes klassischer und moderner shadow across the plaza floor and water's surface. Visitors approaching Formen in weiRem Glas herstellt. Wir sind nie ganz sicher inwiefern this jewel step up with pleasure. Upon finally entering the house, how­ McElheny unsere Vermutungen uber die Grundsatze des Modernismus ever, the viewer is plunged into a sense of disorientation. The world auf den Arm nimmt, aber zum Schluss liefert er immer eine visuell glows, but this is not a rosy glow of contentment. It is, rather, a sort of fesselnde und mysteriose Installation. claustrophobic hallucination. This house is not a safe haven, but a Beth Lipman richtet ihr Auge ebenfalls auf unsere kunsthistorischen stage in which some varieties of serious family dysfunction are played Annahmen, indem sie sich in die niederlandische Stilllebenmalerei des out. Things can happen here that you don't want to happen, and you 17. Jahrhunderts zuruckversetzt. In ihrer Arbeit Stilleven (after Willem step out into the colorless air again with relief. Claesz Heda) kreiert die Kunstlerin die Form eines traditionellen Stille- Danger is most definitely an element of Jan Ambruz's body of work, bens in farblosem Glas. Willem Claesz Heda (1594-71681) bevorzugte and he uses it. Fragility, beauty, lightness, and heft all play a role. die Abbildung aristokratischer Fruhstucksbilder mit Austern, Fleisch- Ambruz's installations are operatic in scale; the way they occupy a pasteten und Schinken. Lipmann ruft diesen Uberfluss in farblosem space employs every element—air, light, and environment. Ambruz is Glas ins Bewusstsein; ein Eisuberzug, der den Moment einfriert, ein one of my choices as much for his body of work as for any specific geistreicher Bezug auf den Subtext des Erschaffers des Originals, von installation or sculpture. His use of glass, both formed and flat, is a der Unvermeidlichkeit der Fragilitat und des Zerfalls. breathtaking testament to the medium itself. Mildred Howards Arbeit Blackbird in a Red Sky (a.k.a. Fall of the Blood House) wurde vor dem Museum fur Glas in Tacoma, Washington Endings zu seiner grof3en Eroffnung im July 2002 installiert. Ich komme nicht For the past two years, I have had the privilege of being the inaugural umhin, sie in meine Lieblingsrubrik mit einzubeziehen, das Risiko der chief curator for the Museum of Glass: International Center for Contem­ Vetternwirtschaft nehme ich dabei in Kauf. Die letzten sechs Monate porary Art. Opening this dynamic new facility in Tacoma, Washington, lebte ich mit der Installation, und ihre Kraft hat sich in dieser Zeit ver- has placed me squarely at the center of the creative maelstrom that is lagert, gebrochen und ausgedehnt. Mehr als 500 rote geblasene Glas- the glass world. What a ride it has been! As I write this, I am completing apfel tanzeln auf dem reflektierenden Pool und das mit roten Glasschin- my tenure at the Museum of Glass and will soon take up the reins as deln bedeckte Haus ist perfekt platziert, um durch den Eingang den executive director at the Delaware Center for the Contemporary Arts in Berg Mount Rainier einzurahmen. Es wirft einen vibrierenden roten Wilmington. I will carry my awe and admiration for glass and the artists Schatten uber den Boden der Plaza und der Wasseroberflache. Besu- with me when I travel. cher die sich diesem Schmuckstuck annahern, gehen mit Freude darauf zu. Wenn er jedoch daraufhin schlieGlich das Haus betritt, ist der Be- Neil Watson (NW) trachter in Desorientierung getaucht. Die Welt gluht, dies ist jedoch kein Chief Curator rosiger Schimmer der Zufriedenheit. Es ist vielmehr eine Art klaustro- Museum of Glass phobische Halluzination. Dieses Haus ist kein sicherer Hafen, aber eine Tacoma, Washington Buhne auf der einige Varianten einer ernsthaften Familienfehlfunktion ausgespielt werden. Hier konnen Dinge passieren, von denen man nicht will, dass sie passieren, und man tritt mit Erleichterung wieder hinaus in die farblose Luft. Gefahr ist mit absoluter Sicherheit ein Element von Jan Ambruzs Werken und er nutzt sie auch. Zerbrechlichkeit, Schonheit, Leichtigkeit und Schwere spielen alle eine Rolle. Ambruzs Installationen haben opernhafte AusmaRe; die Art, wie sie einen Raum einnehmen, setzt alle Elemente ein - Luft, Licht und Umgebung. Ambruz ist wegen seines Gesamtwerks sowie einzelner Installationen oder Skulpturen unter meinen „Auserwahlten". Seine Art mit Glas, ob geformt oder flach, zu arbeiten, ist ein atemberaubendes Zeugnis fur das Medium selbst.

Zum Schluss: Schlusse? Die letzten zwei Jahre hatte ich das Privileg, seit dessen Grundung, Chefkurator des Glasmuseums (International Center for Contemporary Art) in Tacoma zu sein. Diese dynamische neue Einrichtung in Tacoma, Washington, zu eroffnen, hat mich in das Auge des kreativen Wirbel- sturms - der Glaswelt - versetzt. Was war das fur ein Ritt! Nun, wo ich dies niederschreibe, beendige ich meine Anstellung am Glasmuseum und werde bald mein Amt als Geschaftsfuhrer des Delaware Centre for the Contemporary Arts in Wilmington aufnehmen. Meine Ehrfurcht und Bewunderung fur Glas und Glaskunstler werde ich auf dieser Reise in mir tragen.

Neil Watson (NW) Chief Curator Museum of Glass Tacoma, Washington Note Schlussbemerkung

n 2002, more than 6,000 copies of the New Glass Review 24 prospec­ 002 sind mehr als 6000 Einladungen fur die New Glass Review 24 tus were mailed. Each entrant could submit a maximum of three slides. 2versandt worden. Jeder Teilnehmer konnte bis zu drei Dias einrei- A total of 958 individuals and companies representing 42 countries sub­ chen. Insgesamt schickten 958 Einzelpersonen und Firmen aus 42 Lan- mitted 2,584 slides. The 100 objects illustrated in this Review were se­ dern 2584 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 Research Library of The Corning Museum of Glass, where they may be Rakow-Bibliothek des Corning Museums of Glass gesammelt, wo sie viewed by the public. Copies of slides published in any of the past der Offentlichkeit zur Ansicht zuganglich sind. Kopien von Dias, die in Reviews may be purchased by special order from the Museum's Buying den vergangenen Reviews erschienen sind, konnen durch Sonder- Office. Copies of New Glass Review 3 (1982), 19 (1998), 22 (2001), and bestellung bei der Verkaufsabteilung des Museums erworben werden. 23 (2002), are still available from the Buying Office, which can also Ausgaben der New Glass Review 3 (1982), 19 (1998), 22 (2001) und supply all back issues of the Review in black-and-white microfiche. 23 (2002) 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 Reviewior con­ Das Corning Museum of Glass mochte sich bei alien Kunstlern und sideration. Special thanks are due to those who made this publication Designern bedanken, die ihre Dias zum Wettbewerb eingereicht haben. possible: Peter Bambo-Kocze, Mary Chervenak, Brandy Harold, Richard Besonderer Dank gilt jenen, die diese Ausgabe ermoglicht haben: Peter Price, Joan Romano, Jacolyn Saunders, Gretchen Strong, Nick Williams, Bambo-Kocze, Mary Chervenak, Brandy Harold, Richard Price, Joan and Violet Wilson. Romano, Jacolyn Saunders, Gretchen Strong, Nick Williams und Violet Wilson. Jurors' Choice

This section of New Glass Review allows jurors to pick up to 10 Dieser Teil der New Glass Review erlaubt es den Juroren, bis zu 10 examples of work in glass, either recent or historical, that impressed Arbeiten von entweder zeitgenossischem oder historischem Glas aus- them during the year. While the jurors' main responsibility is to review zuwahlen, die sie im Laufe des Jahres beeindruckt haben. Wahrend es and make selections from submitted slides, the additional choices allow die Hauptaufgabe der Juroren ist, die eingereichten Dias durchzusehen them the freedom to show whatever glass is currently of particular und eine Auswahl zu treffen, gestattet ihnen die zusatzliche Wahl die interest to them. In this way, New Glass Review can incorporate sculp­ Freiheit, das aus Glas zu zeigen, was im Moment fur sie von besonde- ture, vessels, installations, design, exhibitions, and architecture that rem Interesse ist. Auf diese Weise konnen in die New Glass Review might never be submitted to the annual competition. Skulpturen, Gefaf3e, Installationen, Design, Ausstellungen und Architek- One of the goals of New Glass Review is to present the widest tur aufgenommen werden, die gar nicht fur den jahrlichen Wettbewerb possible range of art (and architecture and design) using glass. It is our eingereicht worden sind. hope that "Jurors' Choice" will add significantly to our knowledge of the Eines der Ziele der New Glass Review ist es, das groBtmogliche diversity of work being made with this inspiring material. Spektrum von Kunst (und Architektur und Design), bei der Glas verwen- det wird, zu zeigen. Wir hoffen, dass die „Wahl der Juroren" Entschei- dendes zu unserem Wissen uber die Vielfalt der Arbeiten beitragen kann, die aus diesem inspirierenden Material gemacht sind.

Selections/Ausgewahlte Arbeiten

William Gudenrath (WG) John Perreault (JP) Ennion Kanik Chung Josef Hoffmann Jane D'Arensbourg Beth Lipman Tina Oldknow (TO) Christine Borland Neil Watson (NW) Iran do Espirito Santo Jan Ambruz Kazuo Kadonaga Kathleen Holmes Stanislav Libensky and Jaroslava Brychtova Mildred Howard Liza Lou Karen LaMonte J. B. Murry Beth Lipman Jerry Pethick Josiah McElheny Ginny Ruffner Robbie Miller Laura de Santillana Donna Tauscher Buster Simpson Ribbed bowl Roman Empire, perhaps Italy, third quarter of the first century A.D. Sagged, lathe-cut, and polished glass Gesenktes, herausgeschnittenes und poliertes Glas H. 9.7 cm, D. 19.6 cm The Corning Museum of Glass (67.1.21, gift of Mrs. Joseph de F. Jun- kin) Photo: Nicholas Williams WG

Three goblets Italy, Venice, about 1600 Blown glass Geblasenes Glas ;'4.. H. (tallest/hochstes) 17.8 cm The Corning Museum of Glass (61.3.135, 60.3.17, 70.3.8) Photo: Nicholas Williams WG

Jan Ambruz (Czech, b. 1956) Ctverce (Square) Czech Republic, Hranice, 1991 Plate glass, string Spiegelglas, Schnur H. 500 cm, W. 500 cm, D. 230 cm NW

Christine Borland (Scottish, b. 1965) Spirit Collection: Hippocrates Scotland, Glasgow, 1999 100 glass vessels, preservative liquid, skeleton leaves, wire 100 GlasgefaBe, flussiges Konservierungsmittel, Skelettflugel, Draht Each vessel/jedes GefaB: H. 20.5 cm, D. 14 cm Photo: courtesy Sean Kelly Gallery, New York TO Kanik Chung (American, b. 1968) Geyser United States, Brooklyn, New York, 2002 Plaster, steel, glass Gips, Stahl, Glas H. 101.6 cm, W. 60.9 cm JP

Jane D'Arensbourg (American, b. 1971) Fingerprint Series United States, Brooklyn, New York, 2001-2002 Fired enamel fingerprints on glass; metal Emaillierte Fingerabdrucke auf Glas; Metall L. 91.4 cm, H. 11.4 cm, W. 3.8 cm JP

Ennion (active mid-first century A.D.) Cup (signed) Roman Empire, mid-first century A.D. Mold-blown glass; applied handles Formgeblasenes Glas; Griffe H. 6.0 cm, D. (rim) 9.7 cm The Corning Museum of Glass (66.1.36) Photo: Nicholas Williams WG

Ennion (active mid-first century A.D.) Ewer (signed) Roman Empire, mid-first century A.D. Mold-blown glass; applied handle Formgeblasenes Glas; Griffe H. 23.8 cm The Corning Museum of Glass (59.1.76) Photo: Nicholas Williams WG Iran do Espirfto Santo (Brazilian, b. 1963) Restless 17 Brazil, Sao Paulo, 2002 Sandblasted glass; bitumen Sandgestrahltes Glas, Bitumen H. 210 cm, W. 129 cm Photo: courtesy Sean Kelly Gallery, New York TO

Josef Hoffmann (Austrian, 1870-1956) Tableware set Austria, Vienna, designed for the Wiener Werkstatte about 1915 Blown glass Geblasenes Glas H. (tallest/hochstes) 32.8 cm The Corning Museum of Glass (74.3.24) Photo: Nicholas Williams WG

Mildred Howard (American, b. 1945) Kathleen Holmes (American, b. 1953) Blackbird in a Red Sky (a.k.a. Fall of the Blood House) Spring Frock United States, Los Angeles, California, 2002 United States, Lake Worth, Florida, 2002 Sheet glass, wood, blown glass, light Cast glass; metal Glasscheibe, Holz, geblasenes Glas, Licht Gegossenes Glas, Metall Photo: Duncan Price, courtesy Museum of Glass: International Center H. 43.1 cm for Contemporary Art, Tacoma, Washington NW NW Kazuo Kadonaga (Japanese, b. 1946) Glass No. 4 J Japan, Kanazawa, 1999 Melted glass Geschmolzenes Glas D. 87 cm Photo: courtesy Greg Kucera Gallery, Seattle TO

Karen LaMonte (American, b. 1967) Dress 6 Czech Republic, Zelezny Brod, 2001 Cast glass Gegossenes Glas Stanislav Libensky (Czech, 1921-2002) and H. 129.5 cm, W. 43 cm, D. 60.9 cm Jaroslava Brychtova (Czech, b. 1924) Photo: courtesy Heller Gallery, New York Imprint of an Angel I NW Czech Republic, Zelezny Brod, 1997-1998 Mold-melted glass Formgeschmolzenes Glas H. 78.7 cm, W. 109.2 cm, D. 34.2 cm Photo: Gabriel Urbanek, Prague, courtesy Heller Gallery, New York TO

Beth Lipman (American, b. 1971) Cupboard Picture with Flowers, Fruit, and Goblets (after Flegel) United States, Rindge, New Hampshire, 2002 Glass, mixed media Glas, Mixed Media JP Beth Lipman (American, b. 1971) Stilleven (after Willem Claesz Heda) United States, Rindge, New Hampshire, 2001 Glass, mixed media Glas, Mixed Media H. 109.2 cm, W. 157.4 cm, D. 68.5 cm Photo: courtesy Heller Gallery, New York Liza Lou (American, b. 1969) NW Man United States, Los Angeles, California, 2002 Mixed media, glass beads Mixed Media, Glasperlen H. 193 cm, W. 180 cm, D. 114 cm Photo: Tom Powell Imaging, New York, courtesy Deitch Projects, New York IPWI TO

Josiah McElheny (American, b. 1966) Ornament and Crime: Loos, Haerdtl and Hoffmann (White) United States, Brooklyn, New York, 2002 Painted wood cabinet, blown glass, electric lights Bemalter Holzschrank, geblasenes Glas, elektrische Beleuchtung H. 129.5 cm, W. 213.3 cm, D. 30.4 cm Photo: courtesy Brent Sikkema Gallery, New York NW

Robbie Miller (American, b. 1958) Block United States, Seattle, Washington, 2000 Kiln-cast glass Ofengegossenes Glas H. 39.3 cm, W. 17.1 cm, D. 19.6 cm Photo: courtesy William Traver Gallery, Seattle NW J. B. Murry (American, 1908-1988) Spirit Water United States, Sandersville, Georgia, late 20th century Glass bottle, metal lid, water Glasflasche, Metalldeckel, Wasser H. 12.7 cm American Folk Art Museum, New York (1998.10.34, Blanchard-Hill Collection, gift of M. Anne Hill and Edward V. Blanchard Jr.) photographed with J. B. Murry (American, 1908-1988) Abstract Figures on Paper United States, Sandersville, Georgia, about 1984 Tempera and felt-tip pen on paper Tempera und Filzstift auf Papier H. 71.1 cm, W. 55.8 cm American Folk Art Museum, New York (1985.35.20, gift of Elizabeth Ross Johnson) Photo: John Parnell, New York TO

Jerry Pethick (Canadian, b. 1935) Le Semeur (The sower) Canada, Hornby Island, British Columbia, 2002 Glass bottles, assembled Glasflaschen, montiert H. 277 cm Photo: Michael McNamara TO

Ginny Ruffner (American, b. 1952) Color Poem of a Vertical Landscape United States, Seattle, Washington, 2002 Bronze, steel, glass Bronze, Stahl, Glas H. 355 cm, W. 165 cm, D. 188 cm Photo: Davis Freeman, Seattle TO Laura de Santillana (Italian, b. 1955) ti I, II, III, IV, V, VI Italy, Murano, 2002 Blown glass; silver Geblasenes Glas, Silber Largest: H. 45 cm, W. 37 cm Photo: courtesy Barry Friedman Ltd., New York TO

Buster Simpson (American, b. 1942) Incidence United States, Seattle, Washington, 2002 Tempered glass, stainless steel, Trex Gehartetes Glas, rostfreier Stahl, Trex H. 244 cm, L. 365 cm Photo: Duncan Price, courtesy Museum of Glass: International Center for Contemporary Art, Tacoma, Washington TO

Donna Tauscher (American, b. 1947) A Rare Stillness Beckons (detail) United States, Seattle, Washington, 2001 Glass, metal, cork, color photocopies Glas, Metall, Kork, Farbkopien H. 12.7 cm, W. 241.3 cm, D. 3.1 cm NW Jurors for the New Glass Review Competitions*

Representatives of The Corning Museum of Glass who have served 1991: Bruce Chao, artist, head of the Glass Department, Rhode Island as jurors for the New Glass Review competitions are Thomas S. Buech- School of Design, Providence, Rhode Island; Janet Kardon, director, ner (1980-2001), William Warmus (1980-1984), Susanne K. Frantz American Craft Museum, New York, New York. (1986-1998), and Tina Oldknow (2001-2003). Visiting jurors are: 1992: Douglas Heller, director, Heller Gallery, New York, New York; Elmerina and Paul Parkman, collectors, craft historians, Kensington, Maryland.

1993: Erwin and Gretel Eisch, artists, Frauenau, Germany; Paul J. 1977: Paul Smith, director, Museum of Contemporary Crafts of the Smith, director emeritus, American Craft Museum, New York, New York. American Crafts Council, New York, New York. 1994: Judith Schaechter, artist, Philadelphia, Pennsylvania; Yoriko 1978: Paul Smith, director, Museum of Contemporary Crafts of the Mizuta, associate curator, Hokkaido Museum of Modern Art, Sapporo, American Crafts Council, New York, New York. Japan.

1979: James Carpenter, artist, New York, New York; Paul Smith, 1995: Donald Kuspit, critic, professor of art history and philosophy, director, Museum of Contemporary Crafts of the American Crafts Coun­ State University of New York, Stony Brook, New York. cil, New York, New York. 1996: Arthur C. Danto, art critic and Johnsonian Professor Emeritus of 1980: Dan Dailey, artist, head of the Glass Department, Massachusetts Philosophy at Columbia University, New York, New York; Toots Zynsky, College of Art, Boston, Massachusetts; J. Stewart Johnson, curator, artist, Amsterdam, The Netherlands. Department of Architecture and Design, The Museum of Modern Art, New York, New York. 1997: Kiki Smith, artist, New York, New York; Geoffrey Edwards, curator of international sculpture and glass, National Gallery of Victoria, 1981: Andrew Magdanz, artist, assistant professor, Rochester Institute Melbourne, Australia. of Technology, Rochester, New York; William S. Lieberman, chairman, Department of Twentieth-Century Art, The Metropolitan Museum of Art, 1998: Lino Tagliapietra, artist and glassblower, Murano, Italy; David R. New York, New York. McFadden, chief curator, American Craft Museum, New York, New York. 1982: Dale Chihuly, artist in residence, Rhode Island School of Design, Providence, Rhode Island; Henry Geldzahler, curator, commissioner of 1999: Lois Moran, editor and publisher, American Craft, New York, cultural affairs of the City of New York, New York. New York; Dana Zamecnfkova, artist, Prague, Czech Republic.

1983: Robert Kehlmann, artist, critic, and editor of The Glass Art 2000: Mary Douglas, curator, Mint Museum of Craft + Design, Char­ Society Journal, Berkeley, California; Clement Greenberg, critic, New lotte, North Carolina; Derek Ostergard, associate director and founding York, New York. dean, The Bard Graduate Center for Studies in the Decorative Arts, New York, New York; Michael E. Taylor, professor, College of Imaging 1984: Susan Stinsmuehlen, artist, Austin, Texas; Ronald D. Abram- Arts and Sciences, Rochester Institute of Technology, Rochester, New son, collector, Washington, D.C. York. 1985: Thomas Patti, artist, Plainfield, Massachusetts; David Revere 2001: Jane Adlin, curatorial assistant, modern art, The Metropolitan McFadden, curator, Cooper-Hewitt Museum, New York, New York; Museum of Art, New York, New York; Kate Elliott, director, Elliott Brown Helmut Ricke, curator, Kunstmuseum Dusseldorf, Germany. Gallery, Seattle, Washington. 1986: Bertil Vallien, artist, Kosta Boda Glassworks, Afors, Sweden; Abram Lerner, founding director, Hirshhorn Museum and Sculpture 2002: Peter Aldridge, vice president and creative director, Steuben, Garden, Smithsonian Institution, Washington, D.C. Corning, New York; Pike Powers, artistic director, Pilchuck Glass School, Stanwood, Washington; Jack Wax, associate professor, Illinois 1987: Stanislav Libensky, artist, former professor, Academy of Applied State University, Normal, Illinois. Arts, Prague, Czechoslovakia; Lloyd E. Herman, independent curator, founding director of the Renwick Gallery of the National Museum of 2003: William Gudenrath, resident adviser, The Studio of The Corning American Art, Smithsonian Institution, Washington, D.C. Museum of Glass, Corning, New York; John Perreault, independent critic and curator, New York, New York; Neil Watson, chief curator, 1988: Wayne Higby, artist, professor of ceramics, Alfred University, Museum of Glass: International Center for Contemporary Art, Tacoma, Alfred, New York; Jean-Luc Olivie, curator, Centre du Verre, Musee Washington. des Arts Decoratifs, Paris, France.

1989: Richard Marquis, artist, Freeland, Washington; Timo Sarpa- * Jurors are listed according to the years in which the competitions were held and neva, artist, littala Glassworks, Nuutajarvi, Finland. the results of those competitions were published. In each case, the glass selected by the jurors was made one year earlier. 1990: Ginny Ruffner, artist, Seattle, Washington; Michael W. Monroe, * Die Juroren sind nach den Jahren aufgefiihrt, in denen der Wettbewerb statt- curator in charge, Renwick Gallery of the National Museum of American fand und die Ergebnisse veroffentlicht wurden. In jedem Fall wurde das von den Art, Smithsonian Institution, Washington, D.C. Juroren ausgewahlte Glas im Laufe des vorherigen Jahres gefertigt. Bibliography OF RECENTLY PUBLISHED ARTICLES AND BOOKS ON GLASS Bibliographie KURZLICH VEROFFENTLICHTER ARTIKEL UND BUCHER UBER GLAS

This list includes publications added to the Rakow Library of The Cor­ Diese Liste enthalt Veroffentlichungen, die seit der Bibliographie in der ning Museum of Glass since the bibliography for New Glass Review 23. New Glass Review 23 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 zahlenmaBig 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).

NOTE TO READERS BEMERKUNG FUR DEN LESER

The "Bibliography of Recently Published Articles and Books on Die Bibliographie „Bibliography of Recently Published Articles and Glass" will go online in 2003. Books on Glass" geht 2003 online. Since the publication of New Glass Review 3 in 1982, the "Biblio­ Seit der Veroffentlichung von New Glass Review 3 in 1982, hat die graphy" has informed readers of books and periodical articles added to „Bibliography" die Leser von Buchern und Zeitungsartikeln informiert; im the collection of the Rakow Research Library of The Corning Museum vergangenen Jahr wurde sie in die Sammlung der Rakow Research of Glass during the preceding year. The electronic version of the "Biblio­ Library des Corning Museum of Glass aufgenommen. Die elektronische graphy" will permit readers to perform keyword searches and to access Version der „Bibliography" wird den Lesern ermoglichen ein „Keyword- tens of thousands of bibliographic records with a few keystrokes Suchprogramm" durchzufuhren und mit nur wenigen Mausklicks im Jahr throughout the year. zehntausende bibliographische Aufzeichnungen zuganglich machen. The "Bibliography" is making its final appearance as part of the Die „Bibliography" wird 2003 zum letzten Mai als Teil der gedruckten printed New Glass Review in 2003. However, the Rakow Library will New Glass Review erscheinen. Auf Verlangen wird die Rakow Library continue to supply, upon request, a printed list of entries generated by a jedoch weiterhin eine gedruckte Stichwortliste herausgeben, die durch subject-limited search. eine themenbegrenzte Suche herausgefiltert wird. For more information about services to those who lack online access, Weitere Serviceinformationen fur diejenigen, die keinen Onlinezu- please write to Peter Bambo-Kocze, Bibliographer, Rakow Research gang haben, erhalten Sie bei: Peter Bambo-Kocze, Bibliographer, Library, The Corning Museum of Glass, Five Museum Way, Corning, Rakow Research Library, The Corning Museum of Glass, Five Museum New York 14830-2253. The bibliographer can also be reached by tele­ Way, Corning, New York 14830-2253. Den Bibliographen konnen Sie phone at (607) 974-8235 and by e-mail at [email protected]. auch telefonisch (6 07) 9 74-82 35 und per e-mail [email protected] erreichen. CONTEMPORARY GLASS (after 1945)/ZEITGENOSSISCHES GLAS (nach 1945)

1 Anonymous. 14 "Biot, Verriales d'ete." 28 "Creer au pluriel." "Aimable rentree." Verre & Creation, no. 27, May 2002, pp. 2-3, Metiers d'Art, no. 205, Sept./Oct. 2002, Verre, v. 8, no. 5, Oct. 2002, p. 55, ill. ill. English summary, p. 12. pp. 36-40, ill. New collection by designers Elisabeth Gonzo Exhibition preview. Includes cast and blown glass by Catherine and Alessandro Vicari. Sintes, Nicolas Morin, Jean-Pierre Baquere, 15 "Bormioli Rocco, une nouvelle fagon de and others. 2 "Ana Thiel." boire." Cuadernos del Vidrio (Fundacion Centro Table & Cadeau, no. 452, April 2002, p. 28, ill. 29 "A Dazzling Display." Nacional del Vidrio, Real Fabrica de Cristales Drinking glass designs. Tableware International America, v. 4, no. 3, de La Granja, Escuela del Vidrio), no. 3, Oct. July 2002, p. 23, ill. 2001, p. 77, ill. In Spanish and English. 16 "Ceska sklarska spolecnost: 76. Nemecka "Jazz" and "Generation" collections by Jo­ Interview with the artist. sklarska konference." hanna Grawunder. Sklara Keramik, v. 52, nos. 7/8, July/Aug. 3 "Another Year, Another Collection." 2002, pp. 197-198, ill. 30 "Deborah Hopkins." The Caithness Report, v. 26, no. 1, Winter Members of the Czech Glass Society attend Glashaus/Glasshouse (Internationales Maga- 2002, pp. [1-2], ill. conference in Germany. zin fur Studioglas), no. 3, 2002, p. 14, ill. In New paperweight designs by various artists. German and English. 17 "A Change in the Balance." The artist talks about her recent works. 4 "Arte: Dos Artistas Regiomontanos = Tableware International America, v. 4, no. 3, Two Artist[s] in Monterrey." July 2002, p. 24, ill. 31 "Departement du Nord: Les Activites Vitrix, no. 2, Winter 2001, pp. 40-43, ill. In New products by MGIass. automne-hiver de Sars-Poteries." Spanish and English. Offrir International, no. 385, Oct. 2001, Brief profiles of Ana Montes de Oca and Fidel pp. 70-71, ill. de la Garza. 18 "Chihuly Takes Chicago." Glass Focus, v. 17, Feb./March 2002, New studio at Sars-Poteries. pp. 19-20. 5 "Arte Paises Bajos: La luz de los cielos Exhibition at Garfield Park Conservatory. grises oscuros = The Light Dark Grey Skies." 32 "Escuela de Artesanias del I. N. B. A." Vitrix, no. 3, Spring 2002, pp. 32-36, ill. In Vitrium, no. 7, 2000, pp. 10-11, ill. Spanish and English. 19 "Collections de printemps." Profile of the school. Includes brief profiles of 10 Flemish glass Verre, v. 8, no. 2, May 2002, pp. 7-9, ill. artists. New designs by Grawunder, Lalique, Bacca­ 33 "L'Envol des musees europeens." rat, Daum, and Cristal Saint-Louis. Verre & Creation, no. 27, May 2002, pp. 6-7, 6 "Artist to Artist..." ill. English summary, p. 12. The Crafts Report, v. 27, no. 311, March 2002, 20 "Colleoni: Venetian Spirit." Brief profiles of six European museums. pp. 13-15, ill. Glass Style, v. 5, no. 1, Jan. 2002, pp. 84-85, Brief profiles of Vee Osvalds, Ashley Watson, ill. 34 "Les Etains du Manoir: Une nouvelle Sue Hubbard, Karen Reed, Donna M. Cas- Profile of glassworks. histoire de matieres." sidy, and Lee D. Ring; includes marketing tips. Offrir International, no. 385, Oct. 2001, 21 "Coming to Terms...Glassically Speak­ pp. 71-72, ill. 7 "Artist to Artist..." ing!" New blown glass products. The Crafts Report, v. 28, no. 319, Nov. 2002, The Caithness Report, v. 25, no. 3, Fall 2001, pp. 16-20, ill. p. [4], ill. 35 "Etienne Leperlier at Home." Tips from 16 artists on making and selling Hot cap, a term used by paperweight makers. Verre & Creation, no. 27, May 2002, pp. 2-3, kaleidoscopes. ill. 22 "Coming to Terms...Glasstically Speak­ Exhibition preview. 8 "An Artist's Hand with Glass Dots." ing!" New England Crafts Connoisseur, v. 3, no. 2, The Caithness Report, v. 26, no. 1, Winter 36 "G.A.S. in Seattle 2003: Community Winter 1999-2000, p. 6, ill. 2002, p. [4], ill. Catalyst, June 12-15, Seattle, Washington." Glass beads by Kristina Logan. Tools and terms used by glassmakers. GAS News (Glass Art Society), v. 13, no. 6, Nov./Dec. 2002, pp. 4-5, ill. 9 "Asfour Crystal: From Ancient Skills ... 23 "Comments by GAAC Founders and Conference preview. to Everlasting Crystal." Past Presidents." Glass Style, v. 5, no. 2, July 2002, Glass Gazette (Glass Art Association of 37 "Genoveva Garcia." pp. 110-113, ill. Canada), v. 3, no. 50, Oct. 2002, pp. 33-38. Products of the company. Cuadernos del Vidrio (Fundacion Centro Na­ cional del Vidrio, Real Fabrica de Cristales de La Granja, Escuela del Vidrio), no. 3, Oct. 10 "L'Atelier, un an deja!" 24 "The Contemporary Glass Gallery. 2001, p. 32, ill. Verre & Creation, no. 27, May 2002, p. 4, ill. Inflammatory Expression: The Hot Glass of Randall Grubb." Exhibition preview. English summary, p. 12. The Journal of Antiques and Collectibles, v. 2, Glassworks rendezvous at Sars-Poteries. no. 11, Jan. 2002, p. 43, ill. 38 "Gerhard Ribka." 11 "Baccarat, le cristal dans toute sa Glashaus/Glasshouse (Internationales Maga- modernite." 25 "Contemporary Glassmakers." zin fur Studioglas), no. 3, 2002, pp. 4-5, ill. In Table & Cadeau, no. 452, April 2002, The Glass Society of Ireland Newsletter, German and English. pp. 25-26, ill. no. 28, Dec. 2001, p. 12, ill. Interview with the artist. Designers Ettore Sottsass and Emmanuel Features artists Gerlinde Kugler and Cathe­ Babied. rine Wilcoxson. 39 "Glass Art Gallery, Londres: La Preuve par neuf." 12 "Barbara Nanning en passant par I'objet." 26 "Contemporary Showcase: The Latest Verre & Creation, no. 27, May 2002, p. 3, ill. Verre & Creation, no. 25, Dec. 2001, p. 2, ill. Creations from Today's Paperweight Artists." English summary, p. 12. English summary, p. 8. Annual Bulletin of the Paperweight Collectors Exhibition by nine established and nine Brief profile of the artist. Association Inc., 2002, pp. 73-77, ill. emerging glass artists.

13 "Berting Glass." 27 "The Corning Museum of Glass An­ 40 "La Glass Art Society s'invite a Amster­ Glass Gazette (Glass Art Association of nounces New Benefits for G.A.S. Members." dam." Canada), v. 3, no. 50, Oct. 2002, p. 9, ill. GAS News (Glass Art Society), v. 13, no. 6, Verre & Creation, no. 27, May 2002, p. 8, ill. Cast glass installations by the artist. Nov./Dec. 2002, p. 3. English summary, p. 12. 41 "Glass Collector Donates Chandelier." 55 "A Kaleidoscope of Novelties." 71 "Monika Nilsson ny i ombyggt Kungs- Antique Trader, v. 45, no. 49, Dec. 5, 2001, Glass Style, v. 5, no. 2, July 2002, massan." p. 8, ill. pp. 126-129, ill. Glas & Porslin, v. 70, no. 5, 2001, p. 10, ill. Chandelier by Dale Chihuly. Designer glass tableware at the Casaidea fair Swedish designer. in Rome. 42 "Glass in a Historical Light: Enjoyment 72 "Mu.dac: Coupes, vases et calice." Clear as Glass." 56 "Kim Yeun-Kyung: Un verre a la main." This Side Up!, no. 18, Summer 2002, pp. 3-4, This Side Up!, no. 18, Summer 2002, pp. 2-3, Verre & Creation, no. 25, Dec. 2001, p. 3, ill. ill. ill. English summary, p. 8. Exhibition in Lausanne by European, Ameri­ International exhibition in and around the Brief profile of the artist. can, Japanese, and Australian artists. castle of Horn, the Netherlands. 57 "Laura de Santillana, souffle mineral." 73 "Muurla Finland: The Beauty of Finland 43 "Glass Spares No Dimensions." Verre & Creation, no. 27, May 2002, p. 2, ill. Reflected in Hand-Made Glass." Glass Style, v. 5, no. 2, July 2002, pp. 46-49, English summary, p. 12. Glass Style, v. 5, no. 1, Jan. 2002, pp. 42-43, ill. Profile of the artist. ill. Review of the second International Glass Profile of glassworks. Triennial. 58 "Leonardo Acosta Sanchez." Vitrium, no. 9, 2001, pp. 12-14, ill. 74 "New for 2002." Reflections (Caithness Glass Paperweight 44 "Glass Way: The Rooms of Glass." Profile of the artist. Collectors Society), no. 21, Autumn/Winter This Side Up!, no. 18, Summer 2002, pp. 4-5, 2001, p. 8, ill. ill. 59 "I Lirici: Glass and Crystal at the Service Preview of newest paperweight designs. Exhibition at the Regional Archaeological of Art and Passion." Museum, Aosta. Glass Style, v. 5, no. 1, Jan. 2002, 75 "New: Leon Salet/Arte Moda." pp. 114-119, ill. This Side Up!, no. 17, Spring 2002, p. 23, ill. Profile of glassworks and its two art direc­ 45 "Glassmaker Focus." New gallery for contemporary glass art. Glass, Monthly Journal of the European Glass tors/designers. Industry, v. 79, no. 8, Sept. 2002, p. 289, ill. 76 "New Museum of Glass." Profile and products of Dartington Crystal. 60 "Lucio Bubacco, pieces montees." This Side Up!, no. 16, Winter 2001, p. 17, ill. Verre & Creation, no. 25, Dec. 2001, pp. 2-3, Museum of Glass, Tacoma, Washington, 46 "GlassStyle." ill. English summary, p. 8. devoted to contemporary art. Glass: The UrbanGlass Art Quarterly, no. 86, Brief profile of the artist. Spring 2002, pp. 46-47, ill. 77 "Nouvel atelier, nouveau souffle." Private glass art collection. 61 "Manuel Rodriguez." Verre & Creation, no. 25, Dec. 2001, pp. 4-5, Vitrium, no. 7, 2000, pp. 12-14, ill. ill. English summary, p. 8. 47 "Glasveredlerpreis 2002: Ideen fur die Profile of the artist. Inauguration of new glass workshop at Sars- Zukunft." Poteries. Glas + Rahmen, v. 53, no. 11, Nov. 2002, 62 "Marco Romero + Debora Gurman." pp. 65-67, ill. Vitrix, no. 2, Winter 2001, pp. 19-26, ill. In 78 "Olivier Gagnere, fugue venitienne." Prize winners are Wolfgang Klee, Rainer Eul, Spanish and English. Verre & Creation, no. 28, Oct. 2002, pp. 2-3, and Alexandra Lesch. Profile of the artists. ill. Brief profile of the artist. 48 "The Glow of Glass." 63 "Mats Jonasson, Maleras: The Warmth Form Function Finland, no. 84 (4), 2001, of Northern Imagination." 79 "Orchestrating a Mastery of Glass- p. 62, ill. Glass Style, v. 5, no. 2, July 2002, pp. 94-95, blowing." Preview of exhibition by Kerttu Nurminen. ill. New England Crafts Connoisseur, v. 3, no. 2, Profile and designers of company. Winter 1999-2000, p. 7, ill. 49 "Hanneke Fokkelman, dame de verre." Glassblower Matthew Buechner. Verre & Creation, no. 28, Oct. 2002, p. 4, ill. 64 "Meditaties IV: The Powers of a Figure/ English summary, p. 12. Masters in Glass." 80 "Parade: The Spirit of Volunteers." Profile of the artist. This Side Up!, no. 18, Summer 2002, p. 2, ill. Ontario Craft, v. 27, no. 1, Summer 2002, Exhibition by European glass artists at the p. 20, ill. The Spirit of Volunteers by Stephen Kitras. 50 "In the Making." Mariska Dirkx gallery. Reflections (Caithness Glass Paperweight Collectors Society), no. 21, Autumn/Winter 65 "Member Profile: Jiyong Lee." 81 "Perrin & Perrin, parole de verre." 2001, pp. 6-7, ill. GAS News (Glass Art Society), v. 13, no. 6, Verre & Creation, no. 27, May 2002, pp. 4-5, Step-by-step illustration of the creation of a Nov./Dec. 2002, p. 2, ill. ill. English summary, p. 12. paperweight. Includes artist's statement. Exhibition review. 82 "Philadelphia Museum of Art Craft Show 66 "Member Profile: Matthew Urban." 51 "Inner Light." Presents 26th Annual Exhibition and Sale." Object Magazine, no. 39, 2002, p. 10, ill. GAS News (Glass Art Society), v. 13, no. 2, Glass Art, v. 18, no. 1, Nov./Dec. 2002, Preview of exhibition by Libensky and March 2002, p. 8, ill. pp. 36-37, ill. Brychtova. Exhibition preview. 67 "Member Profile: Nancy Gong." 52 "Isabelle Poilprez, Hubert Crevoisier: GAS News (Glass Art Society), v. 13, no. 5, 83 "Portfolio No 195: Julian Bamping." Portraits croises." Sept./Oct. 2002, p. 5, ill. Craft Arts International, no. 53, 2001, p. 80, ill. Verre & Creation, no. 25, Dec. 2001, p. 4, ill. Includes artist's statement. Brief profile of the glass artist. English summary, p. 8. Brief profile of the artists. 68 "Member Profile: Taliaferro Jones." 84 "Portfolio No 202: Andrew Lavery." GAS News (Glass Art Society), v. 13, no. 4, Craft Arts International, no. 56, 2002, p. 112, ill. 53 "JG Durand, redonner envie de con- June/July/Aug. 2002, p. 4, ill. Brief profile of the glass artist. sommer." Table & Cadeau, no. 452, April 2002, 69 "Member Profile: Taylor Lominick." 85 "Portfolio: William Couig." pp. 31-32, ill. GAS News (Glass Art Society), v. 13, no. 3, American Craft, v. 62, no. 6, Dec. 2002/Jan. Includes a profile of designer Johanna Gra- April/May 2002, p. 5, ill. 2003, p. 63, ill. wunder. Includes artist's statement. Brief profile of the artist.

54 "Jubilation: David James's Solo Show." 70 "Member Profile: Tsai l-jen, Taipei, Tai­ 86 "Preciosa: Glittering Beauty." Glass Gazette (Glass Art Association of wan." Glass Style, v. 5, no. 2, July 2002, pp. 56-58, Canada), v. 3, no. 48, April 2002, p. 29, ill. GAS News (Glass Art Society), v. 13, no. 1, ill. Exhibition preview. Jan./Feb. 2002, p. 3, ill. Products of the Bohemian company. 87 "The Queen's Golden Jubilee, 1952- 102 "Tra fantascienza e fiaba: Deboni e 116 "Zwischen Gefuhl und Natur = Sense, 2002." Decobert alia 'Junck 3' = From Science Spirits and Nature." Reflections (Caithness Glass Paperweight Fiction to Fairytale: Deboni and Decobert at Glashaus/Glasshouse (Internationales Maga- Collectors Society), no. 21, Autumn/Winter the 'Junck 3.'" zin fur Studioglas), no. 2, 2002, p. 15, ill. In 2001, pp. 4-5, ill. Vetro (Centro Studio Vetro, Murano), v. 4, German and English. Paperweights and art glass by Colin Terris. no. 13, Oct.-Dec. 2001, p. 48, ill. In Italian Profile of glass artist Effie Halkidis. and English. 88 "Rendez-vous a Sars-Poteries." Exhibition review. 117 "VIII Concurso nacional de artesania. Verre, v. 8, no. 2, May 2002, p. 63, ill. San Isidro 2001." Preview of exhibition by Martine and Jacki 103 "Transparences plurielles." Cuadernos del Vidrio (Fundacion Centro Na­ Perrin. Table & Cadeau, no. 452, April 2002, cional del Vidrio, Real Fabrica de Cristales de pp. 50-57, ill. La Granja, Escuela del Vidrio), no. 3, Oct. 89 "Salviati, luxe d'ltalie." Contemporary designs by 25 glassmaking 2001, p. 32, ill. Table & Cadeau, no. 452, April 2002, companies. Brief report on the competition, with mention pp. 30-31, ill. of the finalists. Designs by Luca Nichetto, Adam Aranson, and Tom Dickson. 104 "Tucson!: A Passion for Glass." GAS News (Glass Art Society), v. 13, no. 6, 118 "Le 70 Corolle di Rex." Nov./Dec. 2002, p. 8, ill. Ottagono, no. 146, Oct./Nov. 2001, 90 "Sardinia Crystal: Transforming an The Sonoran Glass Institute and Art Founda­ pp. 146-149, ill. In Italian and English. Island's Culture into Captivating Works of Art." tion. Drawings of Murano glassmakers. Glass Style, v. 5, no. 2, July 2002, pp. 134-136, ill. 119 "2001 Glass Art Society Student 105 "Tutti i numeri della 31a Conferenza Profile, products, and designers of company. Awards." Annuale della Glass Art Society = All Num­ The Glass Art Society Journal, 2001, bers of the 31st Glass Art Society Annual 91 "School Profile: Sheridan College, Onta­ pp. 27-30, ill. rio, Canada." Conference." GAS News (Glass Art Society), v. 13, no. 1, Vetro (Centro Studio Vetro, Murano), v. 4, 120 "2001 Honorary Lifetime Member: Mark Jan./Feb. 2002, p. 9. no. 12, July-Sept. 2001, pp. 34-35, ill. In Italian and English. Peiser." The Glass Art Society Journal, 2001, 92 "Seminario arte y formacion en vidrio." pp. 21-26, ill. Cuadernos del Vidrio (Fundacion Centro Na- 106 "Le Verre a I'honneur." Introduction by Henry Halem, and "What, No cional del Vidrio, Real Fabrica de Cristales de Verre, v. 7, no. 5, Nov. 2001, p. 63, ill. More Dues?" by Mark Peiser. La Granja, Escuela del Vidrio), no. 3, Oct. Glass artists among prize winners. 2001, pp. 80-84, ill. Includes profiles of 10 artists. 121 Aastrup, Use. 107 "Le Verre dans I'espace." "Turen til Finlands glasskatte." Verre & Creation, no. 28, Oct. 2002, pp. 6-7, Glasposten, no. 2, Aug. 2001, pp. 8-9, ill. 93 "La Sensualite, jardin des delices." ill. English summary, p. 12. English summary, p. 14. Form Forum, no. 2, 2002, p. 8, ill. Large-scale works in and around the new Visit to Finnish glass studios. Review of exhibition by glass artists Yann Tacoma Museum. Oulevay and Gilles Boss. 122 Aav, Marianne; Viljanen, Eeva; and 94 "SMASH: Tradition Meets Innovation in 108 "Verre Slovaque, questions d'optique." D'Alton, Martina, eds. Murano." Verre & Creation, no. 28, Oct. 2002, p. 3, ill. Tapio Wirkkala: Eye, Hand and Thought. Art Review, v. 53, Feb. 2002, p. 78, ill. English summary, p. 12. Helsinki: Taideteollisuusmuseo: Werner Collaboration of an international team of Exhibition of contemporary Slovak glass. Soderstrom Osakeyhtio, 2000, 407 pp., ill. artists and designers. Includes glass designed by Wirkkala. 109 "Le Verre: Un avenir plein de promes- 95 "Sources of Inspiration: A Follow Up on ses." 123 Adams, Erica H. the G.A.S. Conference in Amsterdam." Le Courrier des Metiers d'Art, no. 200, Nov./ "Thinking through Glass: A Theory of Memory GAS News (Glass Art Society), v. 13, no. 5, Dec. 2001, pp. 10-11, ill. through Light, Surface, Form." Sept./Oct. 2002, pp. 4-5, ill. Overview of the past and future of French This Side Up!, no. 18, Summer 2002, contemporary glass. pp. 26-27, ill. 96 "Student Profile: Damon MacNaught." Includes glass by Roni Horn. GAS News (Glass Art Society), v. 13, no. 6, 110 "Verrerie de Brehat, couleurs et style." 124 Adams, Erica H. Nov./Dec. 2002, p. 8, ill. Table & Cadeau, no. 452, April 2002, p. 48, ill. "Thinking through Glass: Infinitely Just: Giving Includes artist's statement. New designs by the company. Peace a Chance." 97 "Student Profile: Holly Grace, Monash This Side Up!, no. 17, Spring 2002, pp. 26-27, University." 111 "Verriales 2002, feminin pluriel." ill. GAS News (Glass Art Society), v. 13, no. 1, Verre & Creation, no. 28, Oct. 2002, p. 2, ill. Yoko Ono uses glass in some of her works. Jan./Feb. 2002, p. 9, ill. English summary, p. 12. Report on Biot exhibition. 125 Adlerova, Alena. 98 "Student Profile: James Knox." "Cesta do stredu zeme." GAS News (Glass Art Society), v. 13, no. 5, 112 "Verriales d'ete." Atelier, no. 20, Oct. 10, 2002, p. 5, ill. English Sept./Oct. 2002, p. 8, ill. Verre, v. 8, no. 2, May 2002, p. 49, ill. summary, p. 15. Includes artist's statement. Exhibition preview. Exhibition includes works by Jan Exnar, Jaroslav Matous, Jaromir Rybak, Bohumil Elias, and Leifur Breidfjord. 99 "Student Profile: Jennifer Conroy - Staf­ 113 "Vitrocristal: Innovation in Design." fordshire University, England." Glass Style, v. 5, no. 1, Jan. 2002, pp. 54-55, GAS News (Glass Art Society), v. 13, no. 4, ill. 126 Alba, Benny. June/July/Aug. 2002, p. 3, ill. Profile of glassworks. "Great Show in California." Glass on Metal, v. 21, no. 5, Dec. 2002, 100 "Swarovski, chercheur insatiable." pp. 116-118, ill. Table & Cadeau, no. 452, April 2002, 114 "Wouter Bolangier, in situ." Enameling exhibition at Richmond Art Center. pp. 33-35, ill. Verre & Creation, no. 25, Dec. 2001, p. 2, ill. Brief profile of the artist. Brief history of the company. 127 Alfano, Nancy. "Ladies in Weighting." 101 "Times Square: A Hope for Healing." 115 "Zecchin, I'art et les manieres." Annual Bulletin of the Paperweight Collectors Waterford Reflections, v. 7, nos. 3/4, 2001, Verre & Creation, no. 28, Oct. 2002, pp. 2-3, Association Inc., 2002, pp. 89-93, ill. p. 9, ill. ill. Profiles of Karen Federici, Melissa Ayotte, and Two new collectible ornaments. Brief profile of Vittorio Zecchin. Emiko Sawamoto. 128 Allan, Lois. 140 Anderson, Kathie Jackson. 152 Barovier, Rosa and Rhoads, Kait. "Reviews: Oregon - Deborah Horrell and "A House Built for Craft." "International Window: New School Opens on Sean Healy at Elizabeth Leach Gallery." American Style, v. 7, no. 4, Summer 2001, Murano." Artweek, v. 33, no. 8, Oct. 2002, pp. 25-26, ill. pp. 62-71, ill. GAS News (Glass Art Society), v. 13, no. 3, Private collection includes works by well- April/May 2002, p. 2, ill. known glass artists. 129 Alonso, Barbara. "Maria Lugossy: El compromiso de una artista." 153 Basel. Galerie von Bartha. Cuadernos del Vidrio (Fundacion Centro Na- 141 Appert, Valerie. Anna Dickinson (Text: Jennifer Hawkins Opie). cional del Vidrio, Real Fabrica de Cristales de "Verreries de Brehat: L'lle au tresor." Basel, [Switzerland]: the gallery, 2001, 64 pp., La Granja, Escuela del Vidrio), no. 3, Oct. Ateliers d'Art, no. 39, May/June 2002, ill. 2001, p. 69, ill. In Spanish and English. pp. 20-22, ill. English text, p. 39. Profile of the artist. Profile of the studio. 154 Bawa, Hemi. Elements. New Delhi: Vis-a-Vis Art & Design Centre, 130 Alonso, Barbara. 142 Archibald, Marg. "Sante Pizzol: Con Studio Pizzol, Sante ha "Brian Hall: Die Rocky Mountains - Inspiration [2001], [27] pp., ill. Catalog of an exhibition by Hemi Bawa. llevado la vidriera artistica a la arquitectura y fur einen jungen Kanadier = Brian Hall: Rocky decoracion." Mountains Inspire Young Canadian." Cuadernos del Vidrio (Fundacion Centro Na- Glashaus/Glasshouse (Internationales Maga- 155 Bayly, Mark. cional del Vidrio, Real Fabrica de Cristales de zin fur Studioglas), no. 4, 2002, pp. 6-7, ill. In "Eau sauvage = Wild Water." La Granja, Escuela del Vidrio), no. 3, Oct. German and English. Object Magazine, no. 39, 2002, pp. 19-21, ill. 2001, pp. 67-68, ill. In Spanish and English. Profile of the artist. Profile of artist Timothy Horn. Brief profile of the artist and his studio. 143 Augustijn, Piet. 156 Beaumont, Thierry de. 131 Alvarez, Andres. "Bernardine de Neeveprijs voor jong talent." "Borek Sipek: Partition ornementaliste." "Kazue Taguchi." Glasbulletin, Vereniging van Vrienden van La Revue de la Ceramique et du Verre, Cuadernos del Vidrio (Fundacion Centro Na- Modern Glas, v. 16, no. 2, 2002, pp. 25-26, ill. no. 126, Sept./Oct. 2002, pp. 42-44, ill. cional del Vidrio, Real Fabrica de Cristales de Exhibition by the nominees of the prize. English summary, p. 44. La Granja, Escuela del Vidrio), no. 3, Oct. Profile of the artist, followed by an interview. 2001, pp. 28-29, ill. 144 Augustijn, Piet. Profile of the artist; includes illustrations of 157 Beaumont, Thierry de. "In memoriam: Stanislav Libensky [sic]" project involving more than 2000 bottles. "Dusseldorf, le souffle de I'apres-guerre." Glasbulletin, Vereniging van Vrienden van La Revue de la Ceramique et du Verre, Modern Glas, v. 16, no. 2, 2002, pp. 6-7, ill. no. 123, March/April 2002, p. 47, ill. 132 Alvarez, Andres. Review of exhibition held at Kunst Palast, "Vesa Varrela." 145 Augustijn, Piet. Dusseldorf. Cuadernos del Vidrio (Fundacion Centro Na- "Japanse glaskunstenaars presenteerden zich cional del Vidrio, Real Fabrica de Cristales de op de Rietveld Academie - SandBox: De La Granja, Escuela del Vidrio), no. 3, Oct. 158 Beaumont, Thierry de. Japanse versie van het zandgieten." 2001, p. 27, ill. "Etienne Leperlier, horizon vertical." Glasbulletin, Vereniging van Vrienden van Brief profile of the artist. Verre, v. 8, no. 3, June 2002, pp. 54-57, ill. Modern Glas, v. 16, no. 3, 2002, pp. 19-21, ill. English summary, p. 54. Exhibition by 11 Japanese glass artists; in­ Profile of the artist. 133 Amelar, Sarah. cludes brief profiles. "Tunneling into the Depths of Color and Light." 159 Beaumont, Thierry de. Architectural Record, v. 190, no. 9, Sept. 146 Augustijn, Piet."Oostenrijkse glasstad "Exposition. Pierre Charpin: Rayons de verre." 2002, pp. 110-114, ill. zoekt naar samenwerking en expansie: Verre (Institut du Verre, Paris), v. 7, no. 4, Oct. Underground light installation in Munich by Tiroler Rattenberg in teken van glas." 2001, pp. 54-56, ill. artist Keith Sonnier. Glasbulletin, Vereniging van Vrienden van Designer experiments with glass. Modern Glas, v. 16, no. 2, 2002, pp. 9-13, ill. 134 Ament, Deloris Tarzan. Visit to Austrian glass centers. 160 Beaumont, Thierry de. "Tacoma's Museum of Glass: The Northwest "Jean-Pierre Baquere: Le Flambeau de la Tribute to Glass." 147 Augustijn, Piet. flamme naissance." Art Guide Northwest, April-Oct. 2002, "Sunny van Zijst: En het drama van een La Revue de la Ceramique et du Verre, pp. 16-18, ill. ruimte." no. 121, Nov./Dec. 2001, pp. 48-51, ill. Glasbulletin, Vereniging van Vrienden van Profile of the artist. 135 Amsterdam. Braggiotti Gallery. Modern Glas, v. 16, no. 1, 2002, pp. 17-21, ill. Giampaolo Amoruso. Amsterdam: the gallery, Profile of the artist. 161 Beaumont, Thierry de. [2001], [9] pp., ill. "John de Wit: La Couleur verre." Exhibition catalog. 148 Augustijn, Piet. La Revue de la Ceramique et du Verre, "Terugblik op activiteit tijdens GAS Conferen­ no. 121, Nov./Dec. 2001, pp. 45-47, ill. 136 Amsterdam. Braggiotti Gallery. ce - Battle of the Giants: De dans van de Profile of the artist. Mari Meszaros: 23 maart-11 mei 2002. glasmakers." Amsterdam: the gallery, 2002, [9] pp., ill. Glasbulletin, Vereniging van Vrienden van 162 Beaumont, Thierry de. Cast glass figural forms by the artist. Modern Glas, v. 16, no. 3, 2002, pp. 4-6, ill. "Laura de Santillana: Clair-obscur mineral." Report on the conference. La Revue de la Ceramique et du Verre, no. 125, July/Aug. 2002, pp. 44-45, ill. 137 Amsterdam. Braggiotti Gallery. English summary, p. 45. Richard Meitner: 15 december 2001-12ja- 149 Baines, Robert. Profile of the artist, followed by an interview. nuari 2002. "Standing Up for Jewellery." Amsterdam: the gallery, [2001], [9] pp., ill. Craft Arts International, no. 54, 2002, Exhibition catalog. pp. 98-99, ill. 163 Beaumont, Thierry de. Jewelry by Kathryn Wardill incorporates glass. "Libensky for Ever." Verre (Institut du Verre, Paris), v. 8, no. 1, 138 Amsterdam. Braggiotti Gallery. March 2002, pp. 44-46, ill. English summary, 14th Anniversary Celebration. Amsterdam: the 150 Bajcurova, Katarina. p. 44. gallery, [2001], [22] pp., ill. "Zora Palova: 'Som tu.'" Exhibition catalog. Atelier, no. 12, June 13, 2002, p. 3, ill. 164 Beaumont, Thierry de. Exhibition review. "Lucio Bubacco: Comedia del vetro." 139 Amy, Michael. La Revue de la Ceramique et du Verre, "John Duff." 151 Baker, Cozy. no. 124, May/June 2002, pp. 38-39, ill. Sculpture, v. 21, no. 2, March 2002, p. 61, ill. Kaleidoscope Artistry. English summary, p. 39. Review of artist's fiberglass works. Lafayette, CA: C&T Pub., 2002, 144 pp., ill. Profile of the artist. 165 Beaumont, Thierry de. 177 Benefield, Scott. 189 Bowey, Angela. "Perrin & Perrin: Correspondances verrieres." "A Conversation with Neil Watson of the Mu­ "Cast Glass by Shona Firman." La Revue de la Ceramique et du Verre, seum of Glass: International Center for Con­ Glass News from Angela, Aug. 17, 2002, no. 125, July/Aug. 2002, pp. 41-43, ill. temporary Art." pp. [1-4], ill. English summary, p. 43. GAS News (Glass Art Society), v. 13, no. 4, Profile of the artist. Fused glass by Martine and Jacki Perrin. June/July/Aug. 2002, p. 1+, ill. Opening of the Museum of Glass in Tacoma, 190 Brady, Lee. Washington. 166 Beaumont, Thierry de. "Artist Profile: Lee Brady - Notes from the "Peter Layton, Gentleman verrier." Bush." Verre, v. 8, no. 5, Oct. 2002, pp. 58-61, ill. 178 Benefield, Scott. Glass Gazette, v. 3 [5], no. 46, Oct. 2001, English summary, p. 58. "From the Editor: The Reinvention of Tra­ pp. 4-6, ill. Profile of the artist. dition." GAS News (Glass Art Society), v. 13, no. 3, 167 Beaumont, Thierry de. April/May 2002, p. 1. 191 Brayham, Angela. "Sars-Poteries: Un rendez-vous a couper le Reflections on American studio glass. "Installations - Miyuki Shinkai = Installations souffle." de Miyuki Shinkai." Verre, v. 8, no. 3, June 2002, pp. 60-62, ill. Glass Gazette (Glass Art Association of 179 Benefield, Scott. Canada), v. 3, no. 49, July 2002, pp. 18-19. In English summary, p. 60. "G.A.S. in Seattle - June 12-15, 2003: Gathering of 15 glassblowers. English and French. A Conference Preview." Profile of the artist. GAS News (Glass Art Society), v. 13, no. 5, 168 Beaumont, Thierry de. Sept./Oct. 2002, p. 6, ill. "Sottsass: Hymne au cristal." 192 Brendstrup, Dagmar. La Revue de la Ceramique et du Verre, "Hun har noget pa hjerte." 180 Benefield, Scott. no. 123, March/April 2002, pp. 48-49, ill. "Perception and Politics." Glasposten, no. 3, Nov. 2001, p. 13, ill. English summary, p. 49. English summary, p. 14. GAS News (Glass Art Society), v. 13, no. 4, New collection for Baccarat by the designer. June/July/Aug. 2002, p. 2. Forthcoming exhibition by Toots Zynsky. The role of G.A.S. 169 Beaumont, Thierry de. 193 Brendstrup, Dagmar. "Cristal et design, rencontre au sommet." "Salute to an Old Technique." Verre (Institut du Verre, Paris), v. 8, no. 1, 181 Benefield, Scott. Neues Glas/New Glass, no. 4, 2002, pp. 36- March 2002, pp. 40-42, ill. "San Servolo Experience." 41, ill. In German and English. Designers Ettore Sottsass and Emmanuel Vetro (Centro Studio Vetro, Murano), v. 4, Exhibition of works utilizing the reticello tech­ Babied featured. no. 13, Oct.-Dec. 2001, pp. 20-21, ill. In Italian and English. nique. 170 Beaumont, Thierry de. "Le Verre en reseau (1): Musees, centres et 182 Benefield, Scott and others. 194 Brust, Gerda. institutions." "A Tribute to Professor Stanislav Libensky, "De Bernardine de Neeveprijs 2002." La Revue de la Ceramique et du Verre, no. 1921-2002." Glasbulletin, Vereniging van Vrienden van 124, May/June 2002, pp. 40-41, ill. English GAS News (Glass Art Society), v. 13, no. 4, Modern Glas, v. 16, no. 2, 2002, pp. 27-29, ill. summary, p. 41. June/July/Aug. 2002, pp. 6-7, ill. History and most recent winners of the prize. Internet resources of museums, centers, and 'Anecdotal obituary' by Libensky's friends. institutions. 195 Bruton, Dean. 183 Bergamini, Alessandra. "Glas der Gegenwart in der Architektur: Gerry 171 Beaumont, Thierry de. "Berengo, la fornace e un atelier = Berengo, King = Contemporary Glass in Architecture: "Le Verre en reseau (2): Galeries et artistes." the Furnace Is an Atelier." Gerry King." La Revue de la Ceramique et du Verre, Ottagono, no. 153, Sept. 2002, pp. 44-47, ill. Glashaus/Glasshouse (Internationales Maga- no. 125, July/Aug. 2002, pp. 46-47, ill. In Italian and English. zin fur Studioglas), no. 4, 2002, pp. 12-13, ill. Internet resources of galleries and artists. Berengo collection dedicated to works by In German and English. artists from outside the world of glass. 172 Beaumont, Thierry de. 196 Bruycker, Tania de. "William Velasquez: Secrets et confidences." 184 Black, Paul. "Artist's Portret: Koen Vanderstukken." Verre, v. 8, no. 2, May 2002, pp. 54-56, ill. "Reviews: Oxford - 'Experiment Experiencia.'" English summary, p. 54. This Side Up!, no. 16, Winter 2001, pp. 10-12, Sculpture, v. 21, no. 1, Jan./Feb. 2002, ill. Profile of the artist. pp. 71-72, ill. Installation by Tunga includes glass. 173 Beeh-Lustenberger, Suzanne. 197 Burgess, Jillian. "Neue Arbeiten mit Glas von Ursula Huth = "Student Corner: A Student's Aspect on 185 Blackburn, Janice. New Works in Glass by Ursula Huth." Glass." "Milan in a Sedan." Glashaus/Glasshouse (Internationales Maga- Glass Network (Contemporary Glass Society, Art Review, v. 53, June 2002, pp. 84-87, ill. zin fur Studioglas), no. 3, 2002, pp. 6-7, ill. In U.K.), special issue, Nov. 2002, pp. 6-7, ill. Glass by Vignai, Boontjie, and Swarovski at German and English. Report on the Contemporary Glass Society's the Milan Furniture Fair. symposium, September 2002. 174 Bell, Greg, ed. 186 Blauensteiner, Charlotte. Clearly Brilliant: A Decade of Pilchuck Glass 198 Burght, Angela van der. School's Emerging Artists in Residence. "Die Internationale Schmuckschau." Kunsthandwerk & Design, no. 1, Jan./Feb. "Menno Jonker: Storming Talent." [Tacoma]: Tacoma Art Museum, 2000, 31 pp., This Side Up!, no. 18, Summer 2002, ill. 2002, pp. 10-15, ill. Includes work by Stanislava Grebenickova. pp. 18-19, ill. Profile of the artist. 175 Bellini, Andrea. "The Immaterial Dimension: Federica Maran- 187 Borgward, Monica. goni." "Visionary Worlds: Stanislaw Borowski and 199 Burght, Angela van der. Sculpture, v. 21, no. 8, Oct. 2002, pp. 24-25, ill. Edward Leibovitz." "Metamorphosis as Metaphor." Artist uses glass in her works. Neues Glas/New Glass, Fall 2002, pp. 10-17, Craft Arts International, no. 56, 2002, ill. In German and English. pp. 37-40, ill. Profile of glass artist Peter Bremers. 176 Benefield, Scott. Joint exhibition by the artists. "Conferenza del 'GAS' a Corning, NY: Vista da dietro le quinte = 'GAS' Conference in 188 Bowey, Angela. 200 Burght, Angela van der. Corning, NY: From the Backstage." "Art Glass by Greg Smith." "De techniek van het vormgeven." Vetro (Centro Studio Vetro, Murano), v. 4, Glass News from Angela, Aug. 17, 2002, Glasbulletin, Vereniging van Vrienden van no. 12, July-Sept. 2001, pp. 32-33, ill. In pp. [1-3], ill. Modern Glas, v. 16, no. 3, 2002, pp. 22-27, ill. Italian and English. Profile of the artist. Glossary of art and design terms. 201 Campbell, Carol Jane and Holmwood, 213 Clinking-Beard, Brion. 224 Cowie, B. Jane. Jeff. "Millennium Glass: Rassegna internazionale "Feeling Isolated? Then Collaborate!" "Studio Profile: Glass Happens Inc." dello Studio Glass Museo Hunter di Arte Ame­ Craft Arts International, no. 56, 2002, Glass Gazette, v. 3 [5], no. 46, Oct. 2001, ricana, Chattanooga, Tennessee, Stati Uniti, pp. 105-106, ill. pp. 10-11, ill. 22 giugno-2 settembre 2001 = Millennium Preview of the 2003 International Ausglass Glass: An International Survey of Studio Conference; includes illustrations of works Glass, Hunter Museum of American Art, from previous events. 202 Carley, Darren. Chattanooga, Tennessee, USA, "Thoughts on Mixed Media." June 22-September 2, 2001." Glass Gazette (Glass Art Association of 225 Cowie, B. Jane. Vetro (Centro Studio Vetro, Murano), v. 4, Canada), v. 3, no. 49, July 2002, pp. 6-7, ill. "GlassState 2001." no. 12, July-Sept. 2001, pp. 50-53, ill. In Definition of mixed-media glass artist. Glashaus/Glasshouse (Internationales Maga- Italian and English. zin fur Studioglas), no. 1, 2002, p. 11, ill. In German and English. 203 Castro, Jan Garden. 214 Cochrane, Grace. Review of exhibition by 22 South Australian "One Who Sees Space: A Conversation with glass artists. Maya Lin." "Nick Mount: Scents and Sensibility." Sculpture, v. 21, no. 7, Sept. 2002, pp. 36-43, Glass: The UrbanGlass Art Quarterly, no. 86, ill. Spring 2002, pp. 32-35, ill. 226 Cowie, B. Jane. Artist uses glass in her works. "Treibsand - David Hay = Shifting Hands - David Hay." 215 Cocker, Mark, ed. Glashaus/Glasshouse (Internationales Maga- 204 Chattopadhyay, Collette. David Reekie. [Norwich, England]: D. Reekie, zin fur Studioglas), no. 3, 2002, p. 15, ill. In "Cultural Structures: Becky Guttin." 2001,39 pp., ill. German and English. Sculpture, v. 21, no. 8, Oct. 2002, pp. 20-21, Cast glass human figures. Profile of the artist. ill. Artist uses glass in her installations. 216 Collischan, Judy. 227 Crafts Council (Great Britain). "Reviews: Roni Horn." Out of This World: The Influence of Nature in 205 Chattopadhyay, Collette. Glass (The Urban Glass Art Quarterly), no. 86, Craft and Design 1880-1995 (Foreword: "Reviews: Los Angeles - Melissa Kretschmer." Spring 2002, p. 49, ill. Jacqueline Ford). Sculpture, v. 21, no. 5, June 2002, pp. 65-66, London: Crafts Council Gallery, [1995], 64 pp., ill. ill. Artist utilizes sheet glass in installations. 217 Collischan, Judy. Includes glass artists. "Tom Patti." Glass (The Urban Glass Art Quarterly), no. 85, 206 Cheek, Lawrence W. 228 Cristal d'art: Inspiration orientale, Winter 2001, p. 53, ill. "Tacoma's Cone." execution occidentale. Exhibition review. Architecture, v. 91, no. 8, Aug. 2002, Paris: Unesco, 1956, 11 pp., ill. pp. 80-87, ill. Designs by contemporary Asian artists en­ Museum of Glass "celebrates the Pacific 218 Coltri, Marcella. graved on Steuben crystal; exhibition at the Northwest's native glass artistry." "Un tuffo nel blu: Creature marine trasformate National Gallery of Art, Washington, and The in oggetti d'arte." Metropolitan Museum of Art, New York, 1956. 207 Cherry, Robert. Antiquariato, no. 255, July 2002, pp. 13-14, ill. "Marbles from a Higher Sphere: Playthings Includes glass objects inspired by marine life. 229 Croci, Valentina. Grow Up to Become Fine Art." "Koskinen, I'idea del vetro e il quotidiano = The Plain Dealer (Cleveland, OH), April 12, Koskinen, Glass and Day-to-Day Living." 219 Corning Museum of Glass. 2001, p. 1-E+, ill. Ottagono, no. 153, Sept. 2002, pp. 40-41, ill. Contemporary American Glass. Works by artist Mark Matthews. In Italian and English. [Washington, D.C.]: National Gallery of Art, Profile of the designer. [1956], [3] pp. 208 Chicago. Marx-Saunders Gallery. David Schwarz: February 15-March 19, 2002: 230 Croci, Valentina. Focal Points and Broken Boundaries (Text: 220 Corning Museum of Glass. "Variazioni, colore, superfici = Variations, James Yood). Glass behind the Iron Curtain: Czech Design, Colour, Surface." Chicago, IL: the gallery, [2002], pp., ill. 1948-1978. Ottagono, no. 150, May 2002, pp. 106-109, ill. Exhibition catalog. [Corning, NY: the museum, 2002], [loose-leaf], In Italian and English. ill. Includes iridescent polycarbonate installation Reference materials relating to the exhibition lit with micro glass elements. 209 Chicago. Marx-Saunders Gallery. held May 16-October 21, 2002, at The Mary Shaffer: Reflected Light and Other Corning Museum of Glass. Friends (Text: John Brunetti). 231 Crompton, Helen. Chicago, IL: the gallery, [2002], [9] pp., ill. "Gordon Studio Glass." Exhibition catalog. 221 Corning Museum of Glass. Craft Arts International, no. 56, 2002, New Glass: A Worldwide Survey. pp. 45-50, ill. [Japan: Seibu Museum of Art], 1982, [28] pp., Profiles of Alasdair, Kevin, Eileen, and Rish 210 Chicago. Marx-Saunders Gallery. ill. In Japanese. Gordon, and of Grant Donaldson. Paul J. Stankard: Revelation (Text: James Exhibition held at the Seibu Museum of Art, Yood). September 18-28, 1982. Chicago: the gallery, [2001], [8] pp., ill. 232 Culler, Rene. Exhibition catalog. "Aktuell und schon: Glas und Mosaik = Moder­ nism: A Celebration of Glass and Mosaics, a 222 Corning Museum of Glass. Course Review." 211 Cho, Simsa. Pilkington Presents New Glass: A Worldwide Glashaus/Glasshouse (Internationales Maga- "'Medi(ta)tions.'" Survey. Exhibition Guide. zin fur Studioglas), no. 1, 2002, pp. 16-17, ill. Glashaus/Glasshouse (Internationales Maga- [England: Pilkington, 1983?], [46] pp. In German and English. zin fur Studioglas), no. 1, 2002, p. 2, ill. In Checklist of an exhibition at the Victoria and Instruction in glass and mosaic technique at German and English. Albert Museum, organized by The Corning the Fundacio Centre del Vidre, Barcelona, Cast glass piece as work of art and tool for Museum of Glass. Spain. meditation. 223 Cowie, B. Jane. 233 Culler, Rene. 212 Clemens, Justin. "Ausglass FLAIR." "Philippa Beveridge and Anna Marco: Dialegs "The Everlasting Story." Glashaus/Glasshouse (Internationales Maga- en Vidre - Dialogues in Glass." Object Magazine, no. 40, 2002, pp. 80-81, ill. zin fur Studioglas), no. 2, 2002, p. 14, ill. In Glass (The Urban Glass Art Quarterly), no. Preview of cast glass exhibition by Ian Mow­ German and English. 85, Winter 2001, p. 56, ill. bray. Review of the Perth exhibition. Exhibition review. 234 Curtis, Mark. 246 Doyle, Louise. 259 Engerer, Alfred. "Glass Shows of Passion and Vision: Design "The Ranamok Glass Prize 2001." "Motion and Stillness: The Art of Francis Mus­ Exchange Showcases Canadian and Interna­ Craft Arts International, no. 54, 2002, cat." tional Designers." pp. 83-86, ill. Glass Gazette, v. 3, no. 47, Feb. 2002, p. 34, Glass Gazette (Glass Art Association of Australian and New Zealand contemporary ill. Canada), v. 3, no. 49, July 2002, pp. 26-27, ill. studio glass. Works by Tapio Wirkkala and Brad Copping 260 Ernould-Gandouet, Marielle. featured. 247 Duncan, Sally Anne. "Les 'Vanites' d'Antonio Cagianelli." Otto Wittmann: Museum Man for All Seasons. La Revue de la Ceramique et du Verre, 235 Deans, Alexa R. Toledo, OH: Toledo Museum of Art, 2001, no. 126, Sept./Oct. 2002, pp. 52-53, ill. "John Nutter Glass Studio." 32 pp., ill. Profile of the designer. Glass Gazette (Glass Art Association of Wittman and the Studio Glass Movement: Canada), v. 3, no. 48, April 2002, p. 21, ill. pp. 28-29. 261 Espai Vidre. Monika Uz. 248 Duve, Thierry de. Barcelona, Spain: Espai Vidre, Fundacio Cen­ 236 Derrien, Christelle. Look, 100 Years of Contemporary Art. tre del Vidre de Barcelona, [2001], 16 pp., ill. "Sars-Poteries: Le Village du verre." Ghent-Amsterdam: Ludion, 2001, 318 pp., ill. Exhibition catalog. Verre Actualites, no. 178, Dec. 2001/Jan. Some installations include mirrors; one in­ 2002, p. 9, ill. cludes neon. New studio opens in Sars-Poteries. 262 Fabritius, Ruth. "First International Glass-Art Prize of the Town 249 Drabeck, Bernard A. of Rheinbach - Endowed Prize for Young 237 Desaulniers, France. "Pond Reflections." Artists." "Carole Pilon: La Force de la transparence." Annual Bulletin of the Paperweight Collectors Neues Glas/New Glass, no. 4, 2002, Glass Gazette (Glass Art Association of Association Inc., 2002, pp. 78-84, ill. pp. 42-45, ill. In German and English. Canada), v. 3, no. 49, July 2002, pp. 11-12, ill. Paperweights by artist Rick Ayotte. Profile of the artist. 263 Fadat, Manuel. 250 Drake, Jeanette Wenig. "Vladimir Zbynovsky: La Lumiere et I'em- 238 Desaulniers, Gilles. "Glass City Artists: Through the Looking preinte." "Verre dans la masse = Solid Glass." Glass..." La Revue de la Ceramique et du Verre, Glass Gazette, v. 3, no. 47, Feb. 2002, Dialogue: Voicing the Arts, v. 22, no. 6, Nov./ no. 124, May/June 2002, pp. 36-37, ill. pp. 14-16, ill. In French and English. Dec. 1999, pp. 43-45, ill. Profile of the artist. Retired professor/glass artist looks back on Beginnings of the Studio Glass movement in Toledo, Ohio. his career. 264 Fadat, Manuel. "Yan Zoritchak: L'universo in rappresentazione 251 Dreyer, Robin. 239 Devienne, Elisabeth. = The Universe in Representation." "Workshop Profile: Penland School of Crafts." "Curtiss Brock ou la Metamorphose du Verre." Vetro (Centro Studio Vetro, Murano), v. 4, GAS News (Glass Art Society), v. 13, no. 5, La Revue de la Ceramique et du Verre, no. 13, Oct.-Dec. 2001, pp. 22-26, ill. In Sept./Oct. 2002, p. 7, ill. no. 124, May/June 2002, p. 52, ill. Italian and English. Exhibition review. 252 East, Pam. 265 Fenton, Susan. "Trends in Glass Bead Making." "The Connoisseur Effect." 240 Devienne, Elisabeth. Glass on Metal, v. 21, no. 3, June 2002, Tableware International, v. 32, no. 10, Nov. "Des objets qui ont une ame a I'American pp. 62-63. 2002, pp. 18-20+, ill. Craft Museum." Contemporary wineglasses. La Revue de la Ceramique et du Verre, 253 Edwards, Geoffrey. no. 125, July/Aug. 2002, pp. 48-49, ill. "Transparent Things: Expressions in Glass." Exhibition includes handmade glass objects. 266 Fenton, Susan. Object Magazine, no. 40, 2002, p. 88, ill. "Objects of Desire and the Pursuit of Joy." Review of exhibition launched in December Tableware International, v. 32, no. 8, Sept. 241 Devienne, Elisabeth. 2001 in Wagga Wagga, Australia. 2002, pp. 20-21, ill. "Etsuko Nishi: Quand la pate de verre devient Designs for Kosta Boda by Ann Wahlstrom, un enchantement." 254 Eisch, Erwin. Goran Warff, and Olle Brozen. La Revue de la Ceramique et du Verre, "'Small Is Beautiful.'" no. 125, July/Aug. 2002, p. 59, ill. The Glass Art Society Journal, 2001, 267 Fernandez, Kay Harwell. Exhibition review. pp. 46-49, ill. "Splendor in the Glass." Autobiography of the artist. American Style, v. 9, no. 1, Fall 2002, 242 Devienne, Elisabeth. pp. 66-75, ill. "Le Verre a Amsterdam: Sources d'inspiration." 255 Elliott, Moyra. Private collection includes works by well- La Revue de la Ceramique et du Verre, "The Cast: Recent New Zealand Glass." known glass artists. no. 126, Sept./Oct. 2002, pp. 48-49, ill. Object Magazine, no. 40, 2002, pp. 44-47, ill. English summary, p. 49. 268 Ferraguti, Maria Lucia. Speakers and exhibition highlights from the 256 Elliott, Moyra. "Franco Vian: Promemoria = A Reminder." 2002 Glass Art Society conference. "New Zealand Cast Glass 2001: A Small Vetro (Centro Studio Vetro, Murano), v. 5, Opus in Four Segments." no. 14, Jan-March 2002, p. 53, ill. In Italian 243 Dixon, Heather. Neues Glas/New Glass, no. 1, 2002, and English. "Glorious Glass." pp. 26-35, ill. In German and English. Profile of the artist. Collect It! (U.K.), no. 65, Dec. 2002, pp. 22-24, ill. 257 Enbom, Carla. 269 Fiell, Charlotte and Fiell, Peter, eds. Collection of unusual pieces, 1950 to present. "Kaj Franck (1911-1989): A Designer Who Designing the 21st Century = Design des 21. Practised What He Preached." Jahrhunderts = Le Design du 21e siecle. Form Function Finland, no. 84 (4), 2001, Koln: Taschen, 2001, 576 pp., ill. 244 Domenech, Ignasi. pp. 10-12, ill. Includes glass designers Tom Kirk, Harri Kos- "Barcelona's Commitment to Glass." kinen, Ross Lovegrove, Enzo Mari, Ingegerd This Side Up!, no. 16, Winter 2001, pp. 2-7, ill. 258 Engerer, Alfred. Raman, and Arnout Visser. "Centennial Theatre Project, City of North 245 Donefer, Laura. Vancouver, British Columbia." 270 Filipiak, Kristina. "Donald Robertson: Renaissance Man in 2001." Glass Gazette, v. 3, no. 47, Feb. 2002, p. 28, "Master of the House." Glass Gazette, v. 3, no. 47, Feb. 2002, ill. American Style, v. 7, no. 4, Summer 2001, pp. 17-19, ill. Luminescent art work by SWON, a neon art p. 28, ill. Profile of the artist. group. Brief profile of Lino Tagliapietra. 271 Finch, Peter. 284 Gaillard, Claire. 295 Gibbins, Skye. "Arc International: Globalizing Tableware "Musee Made in U.S.A." "Glass with an Altitude! A Stained Glass Tour Quality." Verre (Institut du Verre, Paris), v. 8, no. 1, of Santa Fe." Glass Style, v. 5, no. 2, July 2002, March 2002, pp. 48-49, ill. English summary, Glass Craftsman, no. 172, June/July 2002, pp. 182-186, ill. p. 48. pp. 18-22+, ill. Profile and products of company. Museum of Glass in Tacoma, Washington. Glass by Catherine Weser, Peter VanderLann, George O'Grady, Mary Beth Bliss, Richard 272 Finch, Peter. Mole, Robert Hillman, and Skye Gibbins. "A Taste for Winetasting." 285 Gaillard, Claire. Glass Style, v. 5, no. 2, July 2002, "Thomasine Giesecke: Verre sans frontieres." 296 Gilbert, Deborah. pp. 188-194, ill. Verre, v. 8, no. 2, May 2002, pp. 58-59, ill. "Pilchuck: Deborah Gilbert's Experience." Includes wine tasting glasses and decanters. English summary, p. 58. Glass Network (Contemporary Glass Society, Profile of the artist. U.K.), special issue, Nov. 2002, pp. 7-8, ill. 273 Finnerty, Bernadette. "Making a Living as a Kaleidoscope Artist." 286 Galerie Aspekt. 297 Gilchrist, Lucie. The Crafts Report, v. 28, no. 319, Nov. 2002, Bohumil Elias: Malby - stely = Paintings - "The Guiding Hand of Daniel Crichton: Shap­ pp. 21-22, ill. Stelae (Text: Ivo Kren). ing the Glass Programme at Sheridan College Interview with Jan Haber. [S.I.]: Galerie Aspekt, 2001, [32] pp., ill. Text in as an Educator and a Mentor." Czech and English. Ontario Craft, v. 27, no. 1, Summer 2002, 274 Fitzpatrick, Kirsten. pp. 4-7, ill. "Less Is More/Less Is a Bore: Brisbane City Gallery, 21 June-11 August, 2002. 287 Gandolfi, Emiliano. 298 GlassState 2001. Craft Arts International, no. 56, 2002, "Babied, il designer prestato al vetro = Babied, Adelaide, SA, Australia: JamFactory Contem­ pp. 98-103, ill. a Designer with a Feel for Glass." porary Craft and Design, [2001], [31] pp., ill. Exhibition includes glass. Ottagono, no. 153, Sept. 2002, pp. 36-39, ill. Includes works by 22 contemporary glass In Italian and English. artists. 275 Florez, Fernando Castro. "Folding and Speculation." 299 Glowen, Ron. Arconoticias, no. 23, Spring 2002, p. 15, ill. 288 Garfoot, Stuart. "John H. Hauberg Fellowship Inaugural Ex­ Review of work incorporating glass by "School Profile: The School of Art and Design hibition." Fernando Sinaga. at the University of Wolverhampton." American Craft, v. 62, no. 1, Feb./March 2002, GAS News (Glass Art Society), v. 13, no. 3, pp. 60-63, ill. 276 Fogarty, Kate Hensler. April/May 2002, p. 7, ill. "Bead Generation." 300 Gopnik, Blake. Glass (The Urban Glass Art Quarterly), no. 87, "Dale Chihuly's Feats of Sand." Summer 2002, pp. 52-55, ill. 289 Gamier, Martine. The Washington Post, Oct. 15, 2001, The "Bead Project" training program. "Sculptural Glass in Quebec = La Verre sculp­ tural au Quebec." pp. C1-C2, ill. Glass Gazette (Glass Art Association of 277 Foti, Renato. Canada), v. 3, no. 49, July 2002, pp. 14-17. "Warm Glass, Yes. Just a Bit Cooler Than Hot 301 Gorrochotegui, Sonia and Sarrin, In English and French. Glass." Jacqueline. Review of book with same title. Glass Gazette (Glass Art Association of "Vibrando en octava superior." Canada), v. 3, no. 48, April 2002, p. 22, ill. Vitrum (Grupo de Investigacion), no. 1, March Profile of glass artist Renato Foti. 2002, pp. [12-14], ill. 290 Gauntlett, Pat. Visit to New York City and Corning. "An Exhibition of Work by the Northern 278 Frankel, Elana. Branch." 302 Greenberg, Cara. "Constant Illumination." The Guild of Glass Engravers Newsletter, "Heart of Glass." Glass (The Urban Glass Art Quarterly), no. 85, Spring 2002, p. 10. Winter 2001, pp. 36-41, ill. Art & Auction, v. 24, no. 11, Dec. 2002, New trends in contemporary glass design. pp. 110-119, ill. Renewal of contemporary Venetian glass- 291 Gherardi, Lisa. making. 279 Frantz, Susanne K. "Amsterdam." "GlassNotes: North Lands - Scotland's Gift to This Side Up!, no. 17, Spring 2002, pp. 2-7, ill. the Glass World." The glass scene in Amsterdam, including brief 303 Grenon, Ariane. Glass: The UrbanGlass Art Quarterly, no. 86, profiles of Deborah Hopkins, Gareth Noel Wil­ "Anne-Lise Riond Sibony: Le Verre peint en Spring 2002, p. 48, ill. liams, Jelena Popadic, Meza Rijsdijk, Elizabeth ronde-bosse." Swinburne, Carl van Hees, Richard Price, La Revue de la Ceramique et du Verre, 280 Friedman, Jane. Simsa Cho, Bibi Smit, Effie Halkidis, and Lisa no. 124, May/June 2002, p. 56, ill. "Kindred Spirits." Gherardi. Exhibition review. American Style, v. 8, no. 4, Summer 2002, pp. 68-77, ill. 304 Grenon, Ariane. Dan Dailey and Linda MacNeil. 292 Giacoppo, Pierantonio. "Coupes, vases et calices: Le Recipient en "Ponte d'artista = Artist's Bridge." tete au mu.dac de Lausanne." Domus, no. 853, Nov. 2002, p. 32, ill. In Italian 281 Friedman, Jane. La Revue de la Ceramique et du Verre, and English. "Making Magic." no. 124, May/June 2002, pp. 52-53, ill. Chihuly's Bridge of Glass. American Style, v. 7, no. 4, Summer 2001, Exhibition review. pp. 80-87, ill. Profile of glass artist Tom Patti. 293 Giannini, F. Candida. 305 Grenon, Ariane. "Glass Inspiration: Dreams Come True." "Etienne Leperlier et le verre contemporain a 282 Frolic, Irene. Glass Style, v. 5, no. 1, Jan. 2002, pp. 88-95, Conques." "Casting About in and around Toronto." ill. La Revue de la Ceramique et du Verre, Glass Gazette, v. 3, no. 47, Feb. 2002, Profile of the Kosta Boda glassworks and no. 126, Sept./Oct. 2002, p. 62, ill. pp. 25-26, ill. several of its designers. Exhibition review. Toronto-based kiln artists. 306 Grenon, Ariane. 283 Gaillard, Claire. 294 Giannini, F. Candida. "Ghislene Jolivet, un verre fluide - Martine "Au four et a la flamme." "Venetian Glass in Milan." Damas, le corps de la couleur." Verre, v. 7, no. 5, Nov. 2001, pp. 54-57, ill. Glass Style, v. 5, no. 1, Jan. 2002, pp. 62-64, La Revue de la Ceramique et du Verre, English summary, p. 54. ill. no. 124, May/June 2002, p. 56, ill. Glass jewelry designers. Works from the Olnick Spanu collection. Exhibition review. 307 Grenon, Ariane. 319 Haneson, Christian. 331 Higgins, Edward. "La Verre: Vendanges aux salons." "Ulrica & Bertil - Ett par i ur och skur." "Regions Wealth of Glass Art Celebrated at La Revue de la Ceramique et du Verre, Glas & Porslin, v. 70, no. 4, 2001, pp. 28-32, ill. City Hall: 'Images in Glass.'" no. 121, Nov./Dec. 2001, pp. 52-53, ill. Interview with the artists. Art Matters, Dec. 2001, p. 10, ill. Brief profiles of six young glass artists. Exhibition in Philadelphia by 13 glass artists. 320 Hannes, Alfons. 308 Gritsch, Rudi. "'Mannerhaut': Kreativitat aus traditionellen 332 Hinchliffe, Meredith. "Helmut Hundstorfer - Die Kunst im Griff, die Wurzeln = 'Mannerhaut': Creativity from Tradi­ "Multiple Idioms in Metal & Glass." Hand im Werk = Helmut Hundstorfer - His Art tional Roots." Craft Arts International, no. 54, 2002, within His Grasp, His Hand in the Works." Glashaus/Glasshouse (Internationales Maga- pp. 34-39, ill. Glashaus/Glasshouse (Internationales Maga- zin fur Studioglas), no. 2, 2002, pp. 4-5, ill. In Glass by Helen Aitken-Kuhnen. zin fur Studioglas), no. 1, 2002, pp. 12-13, ill. German and English. In German and English. Glassmaking in the Bavarian Forest. 333 Hinchliffe, Meredith. "New Glass - New Talent." 309 Groot, Mieke, ed. 321 Hans Erode: Neon ism 2000. Craft Arts International, no. 54, 2002, Glasmuseum Alter Hof Herding - Glassamm- [Hishult, Sweden]: Konsthallen i Hishult, 2000, pp. 87-88, ill. lung Ernsting Erwerbungen 2000-2001 = 62 pp., ill. In Swedish, English, and German. Exhibition of Australian and New Zealand Glass Museum Alter Hof Herding - Glass Neon used to light glass sculptures and paint­ contemporary studio glass. Collection Ernsting Acquisitions 2000-2001. ings incorporating glass. Coesfeld-Lette, Germany: Ernsting Stiftung Alter Hof Herding, 2001, 70 pp., ill. 334 Hinchliffe, Meredith. Includes a listing of glassworking techniques, 322 Harcuba, Jiri and others. "New Talent - New Glass." a glossary of terms, and artists' biographies. "Engraving." Glass: The UrbanGlass Art Quarterly, no. 86, The Glass Art Society Journal, 2001, Spring 2002, p. 51, ill. pp. 86-91, ill. 310 Gugenheim, Helene. Exhibition review. "Les Moulins de Paillard, un lieu d'echanges." Metiers d'Art, no. 205, Sept./Oct. 2002, p. 41, 323 Harned, Richard. 335 Hinchliffe, Meredith. ill. "Glass, the Thought Motor.'" "Nick Mount: II sereno minimalismo di un pio- Includes blown glass by Peter Briggs. The Glass Art Society Journal, 2001, niere = The Serene Minimalism of a Pioneer." pp. 74-77, ill. Vetro (Centro Studio Vetro, Murano), v. 5, 311 Guidi, Chiara, ed. Installations utilizing the properties of glass, no. 14, Jan.-March 2002, pp. 12-16, ill. In Fashion Glass: Silvia Levenson. technology, and light. Italian and English. Milano: Galleria Maria Cilena Arte Contempo- Scent bottles by the artist. ranea, [1999], 39 pp., ill. Text in English and 324 Harvey, Kathleen S. Italian. "Guido Glass - El prensado: Un proceso anti- 336 Hipp, Courtney. guo con aplicaciones actuales = Pressing: An "Artist Spotlight: An Interview with Jennifer Old Process Applied to Contemporary Pro­ 312 Guillot, Craig. Geldard." ducts." "The Art of Gene Koss." The Bead Release, v. 9, no. 4, Fall 2002, Vitrix, no. 3, Spring 2002, pp. 7-9, ill. In Where Y'at, v. 4, no. 8, June 2002, pp. 6-7, ill. pp. 24-25, ill. Spanish and English. Profile of the glass sculptor. Lampworked beads by the artist. Includes a brief profile of the family-owned 313 Hadge, Evelyn. shop. "CERFAV: Dix ans de formation." 337 Hishult, Sweden. Konsthallen i Hishult. Le Courrier des Metiers d'Art, no. 200, Nov./ 325 Hawes, Rika. Color of Music. Hishult, Sweden: the gallery, 2000, 15 pp., ill. Dec. 2001, p. 23, ill. "Glass at NSCAD - New Ventures." Text in English and Swedish. CERFAV's 10-year anniversary. Glass Gazette, v. 3, no. 47, Feb. 2002, Glass by Hans Frode and Tokiko Ishiguro. pp. 30-31, ill. 314 Hadge, Evelyn and Gugenheim, Glass art and art schools in Canada. Helene. 338 Hlaves, Milan. "Verriers en activite(s)." 326 Helebrant, A.; Kasa, S.; and Matousek, J. "Prolinam: Praha, Galerie Pokorna, Le Courrier des Metiers d'Art, no. 200, Nov./ "VI. Evropska konference o skle (6th ESG 17. 5.-9. 6." Dec. 2001, p. 22, ill. Conference) - Montpellier." Atelier, no. 21, Oct. 24, 2002, p. 7, ill. English Works by Jean-Frangois Wiart, Herman Sklara Keramik, v. 52, no. 9, Sept. 2002, summary, p. 15. Kampman, Patrick Lepage, and Christian pp. 231-234, ill. Exhibition of recent works by designer and Andre-Acquier. Report on the conference. glassmaker Vladimir Bachorik.

315 Hall, Sarah. 327 Helgeson, Susanne. 339 Hlaves, Milan. "Wind's Eye Gallery: Featuring the Work of "Sprangverkan = Explosive Effect." "Stanislav Libensky a jeho skola." Mimi Gellman." Form, v. 98, no. 4, 2002, pp. 78-81, ill. In Atelier, no. 23, Nov. 22, 2001, p. 12, ill. Glass Art, v. 17, no. 1, Nov./Dec. 2001, Swedish and English. English summary, p. 15. pp. 12-13, ill. Brief profile of glass artist Jan Lambert Kruse. Exhibition of works by Libensky's students. Brief profile of the artist. 340 Hoban, Sally. 316 Hane, Clara Block. 328 Helsinghoff, Helle. Miller's Collecting Modern Design (Alexander "Att bo i glashus." "Pres citronen! - Udviklingen af en citrus- Payne, ed.). Skona Hem, no. 10, 2002, pp. 80-85, ill. presse." London: Millers, 2001, 240 pp., ill. Profile of designer Ann Wahlstrom. Glasposten, no. 2, Aug. 2001, p. 13, ill. English summary, p. 14. Includes chapters on glass and lighting. Glass lemon squeezer by Helle Helsinghoff. 317 Haneson, Christian. "Altarskapet i Vaxjo domkyrka gor Valliens 341 Hoffmann, Wolfgang. konst ododlig." 329 Hettes, Karel. "Thomas Kruck." Glas och Porslin, v. 71, no. 5, 2002, pp. 12-13, "Sklarske dilo Frantiska Zemka." Glashaus/Glasshouse (Internationales Maga- ill. Tvar, v. 11, no. 7, 1959, pp. 195-205, ill. zin fur Studioglas), no. 2, 2002, pp. 8-9, ill. In Glass altarpiece by Bertil Vallien. Russian, English, and French summaries. German and English. Life and works of the artist. Profile of the artist. 318 Haneson, Christian. "Johansfors lever igen - Lyckade varvningar 330 Hiebert, Joan. 342 Holm, Aase. skapar optimism." "Playtime on the Prairies." "Holmegaard inviterer vaerkstedskunstnere." Glas & Porslin, v. 70, no. 4, 2001, pp. 44-46, ill. Glass Gazette (Glass Art Association of Glasposten, no. 3, Nov. 2001, pp. 10-11, ill. Four designers featured at the 110th anniver­ Canada), v. 3, no. 49, July 2002, pp. 23-24, ill. English summary, p. 14. sary of Johansfors glassworks. Autobiography of the artist. Works by young Danish glassmakers. 343 Holm, Aase. 354 Ivana Sramkova: Robo-Animals. 365 Jeursen, Franz. "Kampmann-slaegten pa besog." [Prague: Trico, 2002], [39] pp., ill. "Richard Meitner - 'Magister Ludi'?" Glasposten, no. 2, Aug. 2001, p. 11, ill. Exhibition catalog. Neues Glas/New Glass, no. 4, 2002, pp. 8-15, English summary, p. 14. ill. In German and English. Opening of the Hack Kampmann exhibition. Preview of solo exhibition by the artist. 355 Iwata Toshichi, Hisatoshi ten: Nihon no kindai garasu kogei no senkushatachi: 344 Holm, Aase. Amerika ten kikoku kinen = Toshichi Iwata 366 Jeursen, Franz. "Side om side med arkitekten." and Hisatoshi Iwata: Pioneers of Japanese "The Rietveld Glass-Department." Glasposten, no. 3, Nov. 2001, p. 12, ill. Modern Glass Art. Neues Glas/New Glass, no. 2, 2002, English summary, p.14. Tokyo: Asahi Shinbunsha, 1999, 98 pp., ill. pp. 10-17, ill. In German and English. Talk by Viki Koefoed about the present and Preface also in English. future of studio glass. Catalog of 1999 exhibition. 367 Jirasek, Ivana. 345 Holte, Denmark. Sollerod Kunst- "National Art Glass Collection." forening. 356 Iwata Toshichi, Iwata Hisatoshi: Gindai Ausglass Newsletter (.Australian Association Nordiske glaskunstnere. nihon garasu nininten. of Glass Artists), Winter 2002, p. [3], ill. [Holte, Denmark: the union, 1997], [36] pp., ill. [S.I.: s.n., 1996, u.p.], ill. In Japanese and Permanent display at Wagga Wagga Regional Works by Danish, Finnish, Icelandic, Nor­ English. Art Gallery. wegian, and Swedish glass artists. Album to accompany traveling exhibition. 368 Jirasek, Ivana. 346 Horn, Helena. 357 Jackson, Lesley. "Relationships in Form: Moving between "Art Design Tendencies." "Keith Murray - Glass Designer." Dimensions." Glass Style, v. 5, no. 1, Jan. 2002, Crafts, no. 175, March/April 2002, pp. 51-52, Craft Arts International, no. 54, 2002, pp. 160-172, ill. ill. pp. 18-22, ill. Contemporary German glass artists. Exhibition review. Profile of glass artist Brian Hirst.

347 Horn, Helena. 369 Jonsson, Love. "Eva Moosbrugger: Im Dialog mit dem Glas = 358 Jackson, Lesley. "Keramik Glas: Familjeutstallning = Ceramics Eva Moosbrugger: A Dialogue with Glass." "Reviews/Exhibitions: 9 by 9 - An Exhibition of Contemporary Glass." Glass: Family Exhibition." Glashaus/Glasshouse (Internationales Maga- Form (The Swedish Design Magazine), v. 97, zin fur Studioglas), no. 4, 2001, pp. 8-9, ill. In Crafts, no. 178, Sept./Oct. 2002, pp. 59-60, ill. Exhibition by nine established and nine emer­ no. 5 (737), 2001, p. 25, ill. In Swedish and German and English. English. Profile of the artist. ging glass artists. Includes glass sculpture by Paul Grahs.

348 Horn, Helena. 359 James, David. "Grete Fasswald: Faszination - Intuition - "Champions of Contemporary Art Glass - The 370 Juarez, Concha. Komposition." Mendels of Montreal." "Marcos Lutyens." Glashaus/Glasshouse (Internationales Maga- Glass Gazette, v. 3 [5], no. 46, Oct. 2001, Cuadernos del Vidrio (Fundacion Centro Na- zin fur Studioglas), no. 2, 2002, p. 17, ill. In pp. 20-22, ill. cional del Vidrio, Real Fabrica de Cristales de German and English. Canada's leading contemporary art glass La Granja, Escuela del Vidrio), no. 3, Oct. Profile of the artist. collectors. 2001, pp. 30-31, ill. Profile of the artist.

349 Horn, Helena. 360 James, David. "Murano: What's New at the Lagoon? Part 1." "Champions of Contemporary Art Glass - The 371 Juarez, Concha; Alvarez, Andres; and Neues Glas/New Glass, Winter 2001, Mendels of Montreal." Cebrian, Diego. pp. 26-33, ill. In German and English. This Side Up!, no. 17, Spring 2002, pp. 14-15, "Jiff Harcuba...o el arte de retratar en vidrio = Brief profiles of Andrea Zilio, Oscar Zanetti, ill. Jiri Harcuba...or the Art of Portraits in Glass." Carlo Scarpa, Davide Salvadore, Yoichi Ohira, See also article in Glass Gazette, v. 3 [5], Cuadernos del Vidrio (Fundacion Centro Na- Tsuchida Yasuhiko, Massimo Micheluzzi, Sil­ no. 46, Oct. 2001, pp. 20-22. cional del Vidrio, Real Fabrica de Cristales de van Rubino, Orlando Zennaro, and Massimo La Granja, Escuela del Vidrio), no. 3, Oct. Nordio. 2001, pp. 63-64, ill. In Spanish and English. 361 Janak, Frantisek. Profile of the artist. 350 Horn, Helena. "Sklo na Americke univerzite." "Murano: What's New at the Lagoon? Part 2." Sklara Keramik, v. 52, no. 3, March 2002, Neues Glas/New Glass, no. 1, 2002, pp. 58-59, ill. 372 Juarez, Concha; Alvarez, Andres; and Cebrian, Diego. pp. 36-41, ill. In German and English. Profile of the School for American Crafts, "Marvin Lipofsky." Artists combining fusing with hot work Rochester Institute of Technology. (Michele Burato, Claudio Tiozzo, Franck Cuadernos del Vidrio (Fundacion Centro Na- Ehrler, Andrea Morucchio, Cristiano Bianchin, cional del Vidrio, Real Fabrica de Cristales de 362 Janak, Frantisek. Isabelle Poilprez, Franco Deboni, Laura de La Granja, Escuela del Vidrio), no. 3, Oct. "Storming Talent: Yasue Maetake." Santillana, Alessandro Diaz de Santillana, 2001, pp. 65-66, ill. In Spanish and English. This Side Up!, no. 17, Spring 2002, pp. 18-19, Luigi Benzoni, and Maria Grazia Rosin). Profile of the artist. ill. Profile of the artist. 351 Hulet, Dinah. 373 Juarez, Concha; Alvarez, Andres; and "La murrina figurativa negli Stati Uniti = Figu­ Cebrian, Diego. rative Murrina in the United States." 363 Jantunen, Paivi. "Massimo Lunardon." Vetro (Centro Studio Vetro, Murano), v. 5, "Chihuly at Vapriikki." Cuadernos del Vidrio (Fundacion Centro Na- no. 14, Jan.-March 2002, pp. 30-32, ill. In Form Function Finland, no. 87, 2002, cional del Vidrio, Real Fabrica de Cristales de Italian and English. pp. 52-57, ill. La Granja, Escuela del Vidrio), no. 3, Oct. Exhibition at the Vapriikki Museum Centre, 2001, pp. 75-76, ill. In Spanish and English. 352 The International Design Yearbook 16. Tampere, Finland. Interview with the artist. New York: Abbeville Press, 2001, ill. Includes lighting (pp. 86-125) and tableware 364 Jeursen, Franz. 374 Juarez, Concha; Alvarez, Andres; and (pp. 126-157). "Funf Nachwuchstalente = Five Young Cebrian, Diego. Talents." "Rudi Gritsch." 353 Isles, Geoff. Neues Glas/New Glass, no. 2, 2002, Cuadernos del Vidrio (Fundacion Centro Na- "From U-Haul to Art Center: A Look Back at pp. 18-27, ill. In German and English. cional del Vidrio, Real Fabrica de Cristales de 25 Years of UrbanGlass." Profiles of Dafna Kaffeman, Elmarie van der La Granja, Escuela del Vidrio), no. 3, Oct. GAS News (Glass Art Society), v. 13, no. 3, Merwe, Reiko Nakada, Caroline Prisse, and 2001, pp. 73-74, ill. In Spanish and English. April/May 2002, p. 6, ill. Gareth Noel Williams. Interview with the artist. 375 Juarez, Concha; Alvarez, Andres; and 386 King, Gerry. 399 Klotz, Uta. Cebrian, Diego. "2002 Shin Kong Mitsukoshi International "Heart of Glass." "Rudi Gritsch." Glass Arts Festival." Neues Glas/New Glass, no. 4, 2002, pp. 16- Cuadernos del Vidrio (Fundacion Centro Na- Craft Arts International, no. 56, 2002, 21, ill. In German and English. cional del Vidrio, Real Fabrica de Cristales de pp. 88-90, ill. Interview with Valerie Smith about upcoming La Granja, Escuela del Vidrio), no. 3, Oct. Report on the festival. exhibition by seven glass artists at the Crafts 2001, pp. 70-71, ill. In Spanish and English. Council in London. Profile of the artist. 387 King, Loren. "Etsuko Nishi's Woven Glass." 400 Klotz, Uta. ArtsMedia, March 15—April 15, 2001, p. 18, ill. "Ivo Rozsypal." 376 Kalthoff, Norbert. Profile of the artist. Neues Glas/New Glass, no. 2, 2002, "Entdeckungs-reisen in Glas: Christian pp. 40-43, ill. In German and English. Schmidt = A Journey of Discovery in Glass: Interview with the artist. Christian Schmidt." 388 Kirkland, Washington. Thomas R. Riley Glashaus/Glasshouse (Internationales Maga- Galleries. 401 Klotz, Uta. zin fur Studioglas), no. 4, 2001, pp. 14-15, ill. Nick Mount: 19 May-30 June 2002. "A Symposium Is a Symposium, a Conference In German and English. Kirkland, WA: the galleries, [2002], [11] pp., ill. Profile of the artist. Exhibition catalog. Scent bottles by the artist Is a Conference." made in 2002. Neues Glas/New Glass, Fall 2002, pp. 42-43, ill. In German and English. G.A.S. conference in Amsterdam. 377 Kalthoff, Norbert. 389 Klasova, Milena. "Glas vom Kap = Glass from the Cape." Stanislav Libensky, Jaroslava Brychtova. Glashaus/Glasshouse (Internationales Maga- 402 Kofoed, Kristian F. Praha: Gallery, 2002, 278 pp., ill. zin fur Studioglas), no. 4, 2002, pp. 10-11, ill. "The Spirit of Equus." Retrospective of the couple's work from In German and English. Craft Arts International, no. 53, 2001, 1953-2002. South African artists Nelius Britz and Sue pp. 69-71, ill. Meyer. Profile of glass artist David Bennett. 390 Klein, Dan. "The Art and Magic of Paul J. Stankard." 403 Korach, Alice. 378 Kamras, Barbro, ed. Neues Glas/New Glass, no. 1, 2002, "Lampworker Extraordinaire." Global Art Glass Triennial. pp. 18-25, ill. In German and English. Bead & Button, no. 52, Dec. 2002, pp. 78-81, Borgholm, Sweden: Olandstryckarna AB, ill. 1999, ill. Essays in English and Swedish. 391 Klein, Dan. Beads by Andrea Guarino Slemmons. Exhibition catalog. Artists in Glass: Late Twentieth Century Masters in Glass. 404 Korach, Alice. London: Mitchell Beazley, 2001, 240 pp., ill. 379 Kamras, Barbro, ed. "They Do It All." Global Art Glass Triennial: Live, Summer Bead & Button, no. 51, Oct. 2002, pp. 82-85, 1999. 392 Klein, Dan. ill. Oland, Sweden: Borgholms Slott, 2001, [72] "The Bombay Sapphire Prize." Glass by Jesse Taj and Jared DeLong. pp., ill. In English and Swedish. Neues Glas/New Glass, no. 4, 2002, Exhibition catalog. pp. 22-27, ill. In German and English. 405 Kren, Ivo. Winners of the prize. "The Glass Sculptures of Jaroslav Matous." Neues Glas/New Glass, Fall 2002, pp. 24-29, 380 Kamras, Borge, comp. 393 Klein, Dan. ill. In German and English. Bertil Vallien (Barbro Kamras, ed.). "II vetro creativo di North Lands = North Lands [Borgholm, Sweden: Galleri Kamras], 1999, Creative Glass." 406 Kriz, Jan. 56 pp., ill. In English and Polish. Vetro (Centro Studio Vetro, Murano), v. 5, "The Glassmaker: Jan Fisar." Exhibition catalog. no. 14, Jan.-March 2002, pp. 22-25, ill. In Neues Glas/New Glass, Winter 2001, Italian and English. pp. 20-25, ill. In German and English. Profile of the studio. 381 Kamras, Borge, comp. Bertil Vallien (Text: Gunnar Lindqvist). 407 Kroucharska, Margarita. "Neon Art: Flussi vettoriali." [Kosta, Sweden]: Kosta Boda, [2001], 75 pp., 394 Klotz, Uta. Neon Light e Sign, no. 100, Jan./Feb. 2002, ill. Swedish and English in parallel columns. "Bert van Loo." Exhibition catalog. Neues Glas/New Glass, no. 2, 2002, pp. 48-50+, ill. pp. 34-39, ill. In German and English. Interview with architect Marco Rivolta. Profile of the artist, followed by an interview. 382 Kangas, Matthew. 408 Langhamer, Antonin. "Aktuality: Rytec skla Ladislav Jezek." "Steven Fuller." 395 Klotz, Uta. Glass (The Urban Glass Art Quarterly), no. 85, Sklar a Keramik, v. 52, nos. 1-2, Jan./Feb. "Filet-de-verre: Toots Zynsky ... An Interview." Winter 2001, p. 54, ill. 2002, pp. 20-22, ill. Neues Glas/New Glass, no. 1, 2002, Exhibition review. Report on exhibition by the artist. pp. 10-17, ill. In German and English. 409 Langhamer, Antonin. 383 Kangas, Matthew. 396 Klotz, Uta. "Karlovarsky festival umeleckeho skla." "Up Against the Sky: Alessandro Diaz de San- "Glass - In Architecture and in the Land­ Sklar a Keramik, v. 52, no. 11, Nov. 2002, tillana." scape: Maria Lugossy." p. 286. Glass: The UrbanGlass Art Quarterly, no. 86, Neues Glas/New Glass, no. 1, 2002, Report on the festival. Spring 2002, pp. 20-23, ill. pp. 42-45, ill. In German and English. 410 Langhamer, Antonin. 397 Klotz, Uta. 384 Kaufman, Marty. "Nepravem zapomenutky sklar Miloslav Klin- "Glass - In Architecture and in the Land­ "Influence of the Canadian Landscape." ger." scape: Peter Layton." Glass Gazette (Glass Art Association of Sklar a Keramik, v. 52, no. 11, Nov. 2002, Neues Glas/New Glass, Fall 2002, pp. 30-35, Canada), v. 3, no. 49, July 2002, pp. 22-23, ill. pp. 283-285, ill. ill. In German and English. Reflections by the artist. Report on exhibition by the artist. Interview with the artist. 411 Langhamer, Antonin. 385 Kehlmann, Robert. 398 Klotz, Uta. "Ohlednuti za 20. stoletim v ceskem sklarstvi "Libensky and Brychtova: Gazing upon the "Global Art Glass II at Borgholm Castle on (3)." Soul of Glass." Oland." Sklar a Keramik, v. 51, no. 9, Sept. 2001, Fuse, Fall 2001, p. 4, ill. Neues Glas/New Glass, no. 2, 2002, pp. 243-245, ill. Interview with the artists. pp. 28-33, ill. In German and English. Contemporary Czech glass artists. 412 Langhamer, Antonin. 424 Leonard, Martine. 437 Lyons, Tanya. "Olivovi spolecne vystavovali sklo." "Transexim, un nouveau nom: TX." "A Reflection..." Sklar a Keramik, v. 51, nos. 11-12, Nov./Dec. Table & Cadeau, no. 452, April 2002, Glass Gazette (Glass Art Association of 2001, pp. 326-327, ill. pp. 38-39, ill. Canada), v. 3, no. 49, July 2002, pp. 7-8, ill. Oliva family exhibition in Kamenicky Senov. New directions for the company. Artist talks about her art and influences.

413 Langhamer, Antonin. 425 Lin, Galatea. 438 Macfadyen, Malcolm. "Pocta Janu Jankovcovi." "La nuova via della seta dell'arte vetraria = "Red Deer: In Glass We Trust." Sklar a Keramik, v. 52, no. 9, Sept. 2002, The New Silk Road of Glass Art." Glass (British Columbia Glass Arts Associa­ pp. 219-220, ill. Vetro (Centro Studio Vetro, Murano), v. 4, tion), v. 14, no. 1, Feb. 2002, p. 4, ill. Exhibition by Antonie and Jan Jankovcova; in­ no. 13, Oct.-Dec. 2001, pp. 45-46, ill. In cludes profiles of the artists. Italian and English. Muranese exhibition in Taiwan. 439 Makovsky, Paul. "Fluid Forms: Francisco Vieira Martins Talks 414 Langhamer, Antonin. about His Cabaga Container." "Sklo Pavla Wernera." 426 Linnell, Bjorn. "Vida Museum." Metropolis, v. 22, no. 4, Dec. 2002, p. 68, ill. Sklar a Keramik, v. 52, nos. 7/8, July/Aug. Includes brief profile of the designer. 2002, pp. 177-178, ill. This Side Up!, no. 17, Spring 2002, p. 13, ill. Exhibition review; includes profile of the artist. New museum and art gallery to feature works of glass artists. 440 Maloney, Mark. "Master's Touch Creates Beauty." 415 Langhamer, Antonin. 427 Litell, Richard. "Zemrel profesor Stanislav Libensky." Lexington Herald-Leader, Feb. 20, 2002, "Karim Rashid: Glass According to Me." p. B1+, ill. Sklar a Keramik, v. 52, no. 6, June 2002, Glass (The Urban Glass Art Quarterly), p. 150. Demonstration by Stephen Powell in Salt no. 85, Winter 2001, pp. 12-19, ill. Lake City. Obituary of the artist. Interview with the designer.

416 Laulajainen, Tuula. 428 Littman, Brett. 441 Marier, Elisabeth. "Ten Years of Kaj Franck Design Prizes." "The Spectacular Glass Dresses of Karen "Flow = Voyage au long cours." Form Function Finland, no. 84 (4), 2001, LaMonte." Glass Gazette (Glass Art Association of pp. 13-15, ill. Glass: The UrbanGlass Art Quarterly, no. 86, Canada), v. 3, no. 48, April 2002, pp. 15-19, ill. Includes glass designers Oiva Toikka and Spring 2002, pp. 24-31, ill. The artist looks back on her career. Kerttu Nurminen. 429 Liu, Robert K. 442 Marsak, Nathan and Cox, Nigel. 417 Leblanc, Michael C. "Leah Fairbanks." Los Angeles Neon. "Review: Embody - Karli Sears." Ornament, v. 25, no. 4, Summer 2002, Atglen, PA: Schiffer Pub., 2002, 175 pp., ill. Glass Gazette (Glass Art Association of pp. 14-15, ill. Historical survey of landmark signs. Canada), v. 3, no. 49, July 2002, pp. 4-5, ill. Lampworked glass beads by the artist. Profile of the artist. 443 Marshall-Jones, Muriel. 430 Lockwood, Howard J. "Focus on." "Yoichi Ohira: Windows to the Soul of Glass." 418 Lebow, Edward. Collect It!, no. 63, Oct. 2002, pp. 26-27, ill. Vetri: Italian Glass News, v. 8, no. 2, Spring "The Sculpture of Peter Ivy and Michael Studio glass by Jonathan Harris. Scheiner." 2002, pp. 12-16, ill. American Craft, v. 62, no. 3, June/July 2002, pp. 44-47, ill. 431 Lomny, Antonia. 444 Martel, Jean-Paul. "Top Enamel Honours Won in Japan." "Pate de verre et alchimie = Pate de verre and Alchemy." 419 Leiden, the Netherlands. Museum Craft Arts International, no. 56, 2002, pp. 93-94, ill. Glass Gazette, v. 3, no. 47, Feb. 2002, Boerhaave. pp. 9-11, ill. In French and English. Richard Meitner in Museum Boerhaave: Cold Exhibition review. Fusion. Leiden, the Netherlands: the museum, 1997, 432 Los Angeles. Del Mano Gallery. 445 Maschal, Richard. 36 pp., ill. In Dutch and English. MiIon Townsend 2001. "The Fine Art of Friendship." Exhibition catalog. Los Angeles: the gallery, 2001, [30] pp., ill. Carolina Living, November 11, 2001, p. 1G+, Exhibition catalog; includes price list. ill. 420 Leigh, Bobbie. Unveiling of architectural work by Libensky "Temples of Glass: Yoichi Ohira Weaves Jap­ 433 Losch, Ursula and others. and Brychtova in Charlotte, NC. anese Sensibilities into Venetian Glass." Formdesign - Farbdesign: Finnisches und ita- Art & Antiques, v. 25, no. 9, Oct. 2002, p. 88+, lienisches Glas der Sammlung Losch = De­ sign of Form - Design of Color: Finnish and 446 Mason, Brook S. ill. "Hot Italian Art Glass." Profile of the artist. Italian Art Glass from the Losch Collection. Dusseldorf: Museum Kunst Palast, Glas- Art & Antiques, v. 25, no. 11, Dec. 2002, museum Hentrich, 2002, 112 pp., ill. p. 72+, ill. 421 Leighton, John and others. Exhibition catalog. "Blowpipe for Hire." 447 May, Mike. The Glass Art Society Journal, 2001, 434 Louie, Elaine. "Carrying the Torch." pp. 92-97, ill. "A Vase That Carries Itself with Grace." Pittsburgh, Feb. 2002, p. 22, ill. Five glass artists talk about their art and The New York Times, July 7, 2002, Section 9, Show by torchworking artists at the Pittsburgh careers. p. 7, ill. Center for the Arts. Vase by Anzolo Fuga. 422 Lemieux, Lisette. 448 McCormick, Carlo. "Lisette Lemieux." 435 Lowe, Jennifer. "CUD: Wild in the Glass Menagerie." Glass Gazette (Glass Art Association of "House of Glass." Glass: The UrbanGlass Art Quarterly, no. 86, Canada), v. 3, no. 50, Oct. 2002, pp. 4-8, ill. Santa Fe Trend, v. 3, no. 1, Summer/Fall Spring 2002, pp. 36-41, ill. In French and English. 2002, pp. 32-35, ill. John Drury and Robbie Miller. Artist talks about glass and her works. Profile of glass artist John Healey.

423 Leonard, Martine. 436 Luxembourg. Jean-Claude Chapelotte 449 McDaniel, Lynda. "Daum, le monde a portee de main." Galeriev "Points of Departure." Table & Cadeau, no. 452, April 2002, Gizela Sabokova. American Style, v. 8, no. 4, Summer 2002, pp. 36-37, ill. [Luxembourg: the gallery, 2000], [18] pp., ill. pp. 30+, ill. Short history and new products. Glass sculptures by the artist, 1998-2000. Victor Chiarizia. 450 McFadden, David. 461 Millis, Christopher. 474 New York. Heller Gallery. "Glass Works: Inside Giles Bettison's Crystal "Mary Shaffer's Tools of the Trade." Ivana Sramkova: Robo-Animals (Text: Su- Kingdom." ArtsMedia, March 15-April 15, 2001, p. 20, ill. sanne K. Frantz). Object Magazine, no. 39, 2002, pp. 25-32, ill. New York: the gallery, 2002, 42 pp., ill. Profile of the artist, followed by an interview. 462 Milne, Victoria. Exhibition catalog. "Glass of the Avant Garde." 451 McHugh, Sarah. Glass (The UrbanGlass Art Quarterly), no. 85, 475 New York. National Academy of Design. "Review: Christy Haldane and Darren Carley Winter 2001, pp. 42-47, ill. The New York Ceramics Fair. [New York: the - Recent Works." Review of exhibition of early 20th-century academy], 72 pp., ill. Glass Gazette, v. 3, no. 47, Feb. 2002, p. 27, glass. Chapter on studio glass: pp. 21-25. ill. 463 Milon Townsend: The Body Language 476 Nichols, Sarah and Taragin, Davira S. 452 Meitner, Richard. Series. Contemporary Directions: Glass from the "Trying to Do Something Important in Glass [Hilton, NY]: Blue Moon Press, 2001, 15 pp., ill. Maxine and William Block Collection. When My Aunt Discovered Nuclear Fission II." Pittsburgh, PA: Carnegie Museum of Art; The Glass Art Society Journal, 2001, 464 Miro, Marsha. Toledo, OH: Toledo Museum of Art, 2002, pp. 66-69, ill. "Mary Shaffer: Catching the Light." 82 pp., ill. The artist's thoughts on science and art. Glass (The UrbanGlass Art Quarterly), no. 86, Works by 49 glass artists. Spring 2002, pp. 14-19, ill. 453 Melkisethian, Angela. 477 Nick, Didier. "Dale Chihuly: Bridge of Glass." 465 Mishev, Dina. "Verre: Matiere en representation." Sculpture, v. 21, no. 10, Dec. 2002, p. 23, ill. "Romanian Designer Shows Art Glass." Le Courrier des Metiers d'Art, no. 200, Nov./ Commission of the artist's largest public dis- Stepping Out, Jackson Hole News, Aug. 29, Dec. 2001, pp. 16-19, ill. play. 2001, p. 7, ill. Exhibition review. Exhibition of works by Romanian glass- 454 Merker, Gemot H. blowers. 478 Nordenfelt, Eva. "Erich Bulin: Glas mit Schliff/Glass with Cut." "Ann Wolff: 'Mitt glas ar valdigt kroppsligt.'" Glashaus/Glasshouse (Internationales Maga- 466 Morgan, Jessica. Antik & Auktion, no. 12, Dec. 2002, pp. 68-72, zin fur Studioglas), no. 1, 2002, p. 17, ill. In "Gartensozialismus." ill. German and English. Parkett, no. 64, 2002, pp. 40-49, ill. Profile of the artist. Profile of the glass cutter. Artist Olafur Eliasson uses glass in his instal­ lations. 479 Nouvel objet = New Objects. 455 Merker, Gemot H. Seoul: Design House, 1996, ill. In Korean and "Die feine Art Glas zu machen: Bernhard 467 Morrison, Rosalyn J. English. Schagemann = The Fine Art of Glass Making: "Quarter Century of Achievement." In six volumes. Includes profiles of numerous Bernhard Schagemann." Ontario Craft, v. 26, no. 2, Winter 2001/2002, glass artists, with illustrations of their works. Glashaus/Glasshouse (Internationales Maga- pp. 20-21, ill. zin fur Studioglas), no. 4, 2001, pp. 10-11, ill. Artist donates glass-scapes to Ontario Crafts In German and English. Council. 480 Novy Bor. Sklarske Muzeum v Novem Profile of the artist. Boru. Glass Museum in Novy Bor (Text: Vladislav 468 Mount, Christopher. Jindra and Eva Ransova). 456 Merker, Gemot H. "Smashing Tradition." Novy Bor: the museum, 1993, 20 pp., ill. "Das Glas des Malers - Erwin Eisch = The Glass (The UrbanGlass Art Quarterly), no. 85, Includes brief history of the museum. Painter's Glass - Erwin Eisch." Winter 2001, pp. 28-35, ill. Glashaus/Glasshouse (Internationales Maga- Experimental works by nine designers. zin fur Studioglas), no. 4, 2002, pp. 4-5, ill. In 481 Novy Bor. Spala Gallery. Jiff Suhajek: Eighteen Years of Cooperation German and English. 469 Mudranincova, Monika. with the Crystalex State Corporation Novy Bor Blown glass self-portraits of the artist. "Krasa zrozena z ohne = Unique Beauty Born and the Moser Glassworks Karlovy Vary (Text: of Fire." The Prague Tribune, no. 72, Sept. 2001, Miroslav Klivar). 457 Merker, Gemot H. Novy Bor: Crystalex State Corporation, 1989, pp. 28-31, ill. In Czech and English. "Glas mit Ernst, Franz X. Holler = Serious 1 v. (unpagedj, ill. Profile of the northern Bohemian glass studio about Glass: Franz X. Holler." Exhibition at Spala Gallery, May-June 1989. Glashaus/Glasshouse (Internationales Maga- Ajeto. zin fur Studioglas), no. 1, 2002, pp. 6-7, ill. In German and English. 470 Munn, Brian. 482 Odille, Pascal. Profile of glass artist Franz X. Holler. "Mel Munsen: Murrine Master." "Exceptionnelle donation Niki de Saint-Phalle Glass Gazette (Glass Art Association of a Nice." L'Estampille/L'Objet d'Art, no. 368, April 2002, 458 Merker, Gemot H. Canada), v. 3, no. 48, April 2002, pp. 23-24, ill. pp. 50-55, ill. "Glaspreis Uelzen = Uelzen Glass Prize." Profile of the artist. Includes sculpture covered with glass mosaic. Glashaus/Glasshouse (Internationales Maga- zin fur Studioglas), no. 3, 2002, pp. 16-17, ill. 471 Nakagawa, Motoko. In German and English. "Hiromi Masuda: L'espansione della forma: 483 Oldknow, Tina. The competition and its winners. The Expansion of Form." "Collectors as Advocates - Dale and Doug Vetro (Centro Studio Vetro, Murano), v. 5, Anderson." 459 Merker, Gemot H. no. 14, Jan.-March 2002, p. 49, ill. In Italian American Craft, v. 62, no. 3, June/July 2002, The Magic of Kitsch: Das romantische Glas. and English. pp. 60-66, ill. Kummersbruck [Germany]: Bergbau- und In- Artist uses the technique of layering plates of dustriemuseum Osterbayern, 2002, 87 pp., ill. glass. 484 Oldknow, Tina. In German and Italian. "II vetro e la musa: L'arte di Ginny Ruffner = Includes works by Veronika Beckh, Ann Wen- 472 New Orleans. Newcomb Art Gallery. Glass and the Muse: The Art of Ginny Ruff­ zel, Torsten Schubert, Meredith Wenzel, Trial by Fire: Glass as a Sculptural Medium. ner." Thedor G. Sellner, Ursula Merker, and others. New Orleans: the gallery, [1997], [6] pp., ill. Vetro (Centro Studio Vetro, Murano), v. 4, Exhibition of works by Howard Ben Tre, Jon no. 12, July-Sept. 2001, pp. 14-18, ill. In 460 Merker, Gemot H. Clark, Ruth King, and Robert Willson. Italian and English. "Mehr als Glas - Charles Bray = More Than Glass - Charles Bray." 473 New York. Heller Gallery. 485 Oldknow, Tina; Baker, Gary; and Lauria, Glashaus/Glasshouse (Internationales Maga- In the Presence of Angels: Stanislav Libensky, Jo. zin fur Studioglas), no. 2, 2002, pp. 12-13, ill. Jaroslava Brychtova. "Glass and/or Art: Museums and Collecting." In German and English. New York: the gallery, 2000, [19] pp., ill. The Glass Art Society Journal, 2001, Profile of the artist. Exhibition catalog. pp. 54-60, ill. 486 Oropeza, Claudia Sanchez. 497 Petrova, Sylva. 511 Preijde, Mieke. "What Is Design? Design Is Everywhere!" Czech Glass. "Glas aan het spaarne." Vitrix, no. 2, Winter 2001, pp. 28-29, ill. In Praha: Gallery, 2001, 283 pp., ill. Glasbulletin, Vereniging van Vrienden van English and Spanish. Modern Glas, v. 16, no. 3, 2002, pp. 14-18, ill. 498 Petrova, Sylva. Profiles of 11 galleries. 487 Osborne, Margot. "Obituary: Stanislav Libensky [sic]." "Seattle Report." Crafts, no. 178, Sept./Oct. 2002, p. 64, ill. 512 Raban, Josef. Object Magazine, no. 40, 2002, pp. 70-71, ill. "Jubilejni soutez 1960." Brief updates about Dale Chihuly, Lino Taglia- 499 Pierpaoli, Francesca. Tvar, v. 11, nos. 9-10, 1960, pp. 284-325, ill. pietra, Toots Zinsky, Amy Rueffert, Nick "Sottsass by Glass." Russian, English, and French summaries. Mount, Richard Marquis, Giles Bettison, Ben Ottagono, no. 153, Sept. 2002, pp. 42-43, ill. Jubilee competition includes glass. Edols, and Cathy Elliott. In Italian and English. Additions to Baccarat (2002) and Venini (1994) 513 Ranamok Glass Prize 2002. collections by the designer. 488 Osimani, Eduardo. [Sydney, Australia: s.n., 2002], 74 pp., ill. "Introduccion - Un gran paso adelante en la Glass artists from Australia and New Zealand. 500 Pina, Leslie. concepcion de un nuevo campo: La escultura Blenko Catalogs Then and Now: 1959-1961, en vidrio = Introduction - A Great Step For­ 1984-2001. 514 Renzi, Jen. ward in the Conception of a New Field: Glass Atglen, PA: Schiffer Pub., 2002, 160 pp., ill. "Prime Time." Sculpture." Interior Design, v. 72, no. 12, Oct. 2001, Cuadernos del Vidrio (Fundacion Centro Na- 501 Pinworm, Mavis. pp. 188-197, ill. cional del Vidrio, Real Fabrica de Cristales de Venetian glass objects part of design. La Granja, Escuela del Vidrio), no. 3, Oct. "Glass Fashion Odyssey 2001." The Glass Art Society Journal, 2001, 2001, pp. 58-59, ill. In Spanish and English. Report on the seminar. pp. 41-44, ill. 515 Resource Finance Corporation Ltd. Resource Finance Corporation Ltd. Prize: Ex­ 502 Pioselli, Alessandra. hibitions 1995. 489 Palata, Oldrich. "Reviews: Liliana Moro." [Sydney: Resource Finance Corp., 1995], [6] "Retrospektiva Stanislava Libenskeho a Artforum, v. 40, no. 6, Feb. 2002, pp., ill. Jaroslavy Brychtove." pp. 137-138, ill. Glass artists from Australia and New Zealand. Atelier, no. 8, April 18, 2002, p. 1, ill. English Glass installation. summary, p. 15. 516 RFC Glass Prize 1996. Exhibition on the occasion of Libensky's 80th 503 Pitts, Julia. Sydney: Resource Finance Corporation, birthday. "Holding Up a Glass to Human Nature." 1996, 16 pp., ill. Art Review, v. 52, Nov. 2001, pp. 78-79, ill. Glass artists from Australia and New Zealand. 490 Palata, Oldrich and Keprta, Pavel. Profile of artist Emma Woffenden. Stanislav Liben sky a jeho skola = Stanislav 517 RFC Glass Prize 1998. Libensky and his school = Stanislav Libensky 504 Posner, Richard. Sydney: Resource Finance Corporation, und seine Schule = Stanislav Libensky et son "Nachruf auf Libensky [sic] = Libensky Eu- 1998, 40 pp., ill. ecole. logy." Glass artists from Australia and New Zealand. Prague: POPI S.R.O., 2001, 174 pp., ill. Es­ Glashaus/Glasshouse (Internationales Maga- say in Czech, English, German, and French. zin fur Studioglas), no. 2, 2002, p. 2, ill. In German and English. 518 Richard Meitner. Ghent, [Belgium]: Snoeck-Ducaju & Zoon, 491 Palm Desert, CA. Imago Galleries. 505 Posner, Richard. 2001, [104] pp., ill. Text in English and French. Italo Scanga & Dale Chihuly. Works created between 1978 and 2001. Palm Desert, CA: the galleries, 2002, 55 pp., "Stanislav Libensky [sic]: 1922-2002." ill. This Side Up!, no. 18, Summer 2002, p. 20, ill. Individual and collaborative works by the two Obituary of the artist. 519 Ricke, Helmut. artists. "Isgard Moje-Wohlgemuth." 506 Pospech, Tomas. Neues Glas/New Glass, Winter 2001, "Tvar a svetlo." pp. 42-43, ill. In German and English. 492 Paris. Galerie I'Eclat du Verre. Atelier, no. 20, Oct. 10, 2002, p. 5, ill. English Profile of the artist. Jean-Paul Raymond: Galerie I'Eclat du Verre summary, p. 15. - 1999(Text: Uta Klotz). Installation by Miloslav Fekar includes glass. Paris: the gallery; Koln: UK Galerie Uta Klotz, 520 Riendeau, Isabelle. [1999], [12] pp., ill. In English, French, and "Susan Edgerley: Une ceuvre feconde = 507 Pospiszyl, Tomas. German. Susan Edgerley: Fertile Ground." "Eva Hesse ve Wiesbadenu." Exhibition catalog. Glass Gazette (Glass Art Association of Atelier, no. 20, Oct. 10, 2002, p. 1, ill. English Canada), v. 3, no. 49, July 2002, pp. 9-10, ill. summary, p. 15. In French and English. 493 Pattani, Shital. Installations include glass. Profile of the artist. "Glass Education: Is There a Future?" Glass Network (Contemporary Glass Society, 508 Preijde-Meijer, Mieke. 521 Robinson, Michael. U.K.), special issue, Nov. 2002, pp. 5-6. "Collectie Carina Riezebos: Bridging the Gap "Glass in the Garden." between Art & Appliance." Craft Arts International, no. 56, 2002, Glasbulletin, Vereniging van Vrienden van 494 Pavey, Ruth. pp. 32-36, ill. Modern Glas, v. 16, no. 1, 2002, pp. 25-27, ill. "Hardy Perennials." Profile of glass artist Neil Wilkin. Crafts, no. 178, Sept./Oct. 2002, pp. 34-37, ill. Profile of the artist. Installations by glassmaker Neil Wilkin. 509 Preijde-Meijer, Mieke. 522 Rochester, NY. The Gallery at One "Het nieuwste lid: Hanneke Felix." Bausch & Lomb Place. 495 Pavey, Ruth. Glasbulletin, Vereniging van Vrienden van Visionary Women: An Exhibition of Glass "Reviews/Exhibitions: Diversion." Modern Glas, v. 16, no. 1, 2002, p. 8, ill. Sculpture. Crafts, no. 179, Nov./Dec. 2002, p. 62, ill. Profile of the artist. Rochester, NY: the gallery, 2001, 15 pp., ill. Installation by Emma Woffenden includes Catalog of an exhibition by 16 glass artists. glass. 510 Preijde, Mieke. "Eindexamenkandidaten Rietveld gieten woor- 523 Rosolowski, Tacey A. 496 Peters, Tessa. den en gedachten in glas." "Instruments of Imagination: The Jewelry of "Steven Newell: Figures de redemption." Glasbulletin, Vereniging van Vrienden van Gina Pankowski." La Revue de la Ceramique et du Verre, Modern Glas, v. 16, no. 2, 2002, pp. 30-31, ill. Metalsmith, v. 22, no. 5, Fall 2002, pp. 30-39, no. 124, May/June 2002, p. 52, ill. Exhibition at the Gerrit Rietveld Academy by ill. Exhibition review; includes brief profile of the graduating students Dana Lindzon and Elma- Some of the jewelry incorporates glass, boro- artist. rie van der Merwe. silicate glass, and rock crystal. 524 Roy, Sebastien. 536 Save, Colette. 547 Schmolders, Wolfgang. "Nathalie Hillman Uses the Force = Nathalie "Un rendez-vous manque." "Nicht furs EGO: Richard Meitner = Not for the Hillman utilise la force." Verre (Institut du Verre, Paris), v. 8, no. 1, EGO: Richard Meitner." Glass Gazette (Glass Art Association of March 2002, p. 52, ill. Glashaus/Glasshouse (Internationales Maga- Canada), v. 3, no. 48, April 2002, pp. 27-28, Works by Antoine Leperlier and Zora Palova. zin fur Studioglas), no. 4, 2001, pp. 4-5, ill. In ill. In English and French. German and English. Brief profile of the artist. Exhibition review. 537 Save, Colette. 525 Ruiz, Nacho. "START 2002: Le Verre en fuite?" La Revue de la Ceramique et du Verre, 548 Schmolders, Wolfgang. "Public - Private: The Lights of Turin." "Norwegens Glasszene = Norway's Glass Arconoticias, no. 25, Fall 2002, pp. 52-54, ill. no. 124, May/June 2002, p. 51, ill. Exhibition review. Scene." Contemporary art projects involve neon lights. Glashaus/Glasshouse (Internationales Maga- zin fur Studioglas), no. 4, 2001, pp. 18-19, ill. 526 Santese, Enzo. 538 Save, Colette and Beaumont, Thierry de. In German and English. "Alessandro Cadamuro." "A Moulins, le verre fait ecole." Vetro (Centro Studio Vetro, Murano), v. 4, Verre, v. 8, no. 2, May 2002, pp. 50-53, ill. no. 13, Oct.-Dec. 2001, pp. 42-43, ill. In 549 Schmolders, Wolfgang. English summary, p. 50. "Von Schafen und Schweinen = Of Sheep and Italian and English. Profile of Lycees Jean Monnet, glass school. Profile of the artist. Pigs." Glashaus/Glasshouse (Internationales Maga- zin fur Studioglas), no. 4, 2002, pp. 16-17, ill. 527 Sapporo. Hokkaidoritsu Kindai Bijutsu- 539 Scardamalia, Paula Chaffee. "John Cheer: An Echo Within." In German and English. kan. Report on the International Biennial 'Glas- The Glass Skin: Garasu no shinseiki: Sekai The Crafts Report, v. 27, no. 311, March 2002, plastik und Garten' in Munster. 20-sakka no chosen (Text: Helmut Ricke, Su- pp. 18-21, ill. sanne K. Frantz, and Yoriko Mizuta). Profile of the artist. [Sapporo]: the museum; Corning, NY: The 550 Schou-Christensen, Jorgen. Corning Museum of Glass, 1997, 143 pp., ill. "Artist's Portrait: Finn Lynggaard." Exhibition catalog. 540 Schilo, Ann. This Side Up!, no. 17, Spring 2002, pp. 10-12, "The One That Grabs the Eye." ill. Object Magazine, no. 40, 2002, pp. 42-43, ill. 528 Sarpellon, Giovanni. Glass artist Benjamin Sewell among winners "Un'arte che rivive: Le murrine di Mario Dei of the City of Perth Craft Award. 551 Schrijvers, Dirk. Rossi = The Revival of an Art: Murrine by "Glasroute 2000: Tussen Lier en Hove." Mario Dei Rossi." Glasbulletin, Vereniging van Vrienden van Vetro (Centro Studio Vetro, Murano), v. 5, 541 Schmitt, Eva. Modern Glas, v. 16, no. 1, 2002, pp. 4-5, ill. no. 14, Jan.-March 2002, pp. 27-29, ill. In "First Uelzen Glass-Art Prize 'Caspar Lehman' Hubert Carpentier, Willy Thaey, Hennie van Italian and English. for Glass Engraving and Glass Cutting 2002." Engeland, Odette Vermeire, and Patrick van Neues Glas/New Glass, Fall 2002, pp. 36-41, Tilborgh, organizers of "Glasroute 2000." 529 Sasaki, Akiko. ill. In German and English. "Le Tao de la pate de verre = The Tao of Pate Description and winners of the prize. 552 Schrijvers, Dirk. de verre." Glass Gazette, v. 3, no. 47, Feb. 2002, "De nieuwe docent aan het IKA: Jelena Popa- pp. 20-21, ill. In French and English. 542 Schmolders, Wolfgang. dic." "'Glas Aktuell.'" Glasbulletin, Vereniging van Vrienden van Modern Glas, v. 16, no. 2, 2002, pp. 14-18, ill. 530 Sato, Ryoko. Glashaus/Glasshouse (Internationales Maga- zin fur Studioglas), no. 4, 2001, p. 2, ill. In Profile of IKA's new instructor; also includes "Ka ta ma ri Glas: Glasguss in Amsterdam = brief profiles of seven students. Ka ta ma ri Glass: Solid Glass in Amsterdam." German and English. Glashaus/Glasshouse (Internationales Maga- Review of exhibition featuring glass by Lothar zin fur Studioglas), no. 4, 2002, p. 2, ill. In Goebels, Hartmann Greb, Angela Willeke, 553 Schrijvers, Dirk. German and English. and Susanne and Ulrich Precht. "Wat mag een kunstwerk kosten?" Members of Sandbox (sand-casting group) Glasbulletin, Vereniging van Vrienden van guests at the conference in Amsterdam. Modern Glas, v. 16, no. 3, 2002, pp. 10-11. 543 Schmolders, Wolfgang. Discussion about the investment value of "'Glas erleben.'" studio glass. 531 Saunders-Watson, Catherine. Glashaus/Glasshouse (Internationales Maga- "Christopher Radko - How the Crash of '83 zin fur Studioglas), no. 2, 2002, p. 16, ill. In Led to His Revival of a Lost Art: European German and English. 554 Scott, Joyce, comp. Blown-Glass Ornaments." Exhibition review. Stop Asking: We Exist: 25 African-American Antiques and The Arts Weekly, v. 34, no. 51, Craft Artists. Dec. 21, 2001, p. 68H, ill. Pittsburgh, PA: The Society for Contemporary 544 Schmolders, Wolfgang. Crafts, [1998], 60 pp., ill. 532 Save, Colette. "Glasborse Horn = Glassmarket Horn." Some works include beads and glass. "Biot: Noces d'or du verre." Glashaus/Glasshouse (Internationales Maga- Verre, v. 8, no. 3, June 2002, pp. 62-63, ill. zin fur Studioglas), no. 4, 2002, p. 18, ill. In 555 Scott, Rebekah. Profile of the studio. German and English. Report on the three-day event. "Artist Knows Niche: Marble Maker Molds Magnificent Orbs." 533 Save, Colette. The Blade (Toledo, Ohio), Aug. 14, 2001, "Cine-verre." 545 Schmolders, Wolfgang. section B, p. 1+, ill. Verre, v. 8, no. 2, May 2002, p. 62, ill. "Horn in historischer Umgebung = Horn in Profile of glassmaker Mark Matthews. Review of the festival "Projections d'Argile." Historic Surroundings." Glashaus/Glasshouse (Internationales Maga- 556 Seattle. Marquand Books, Inc. 534 Save, Colette. zin fur Studioglas), no. 4, 2001, pp. 16-17, ill. "Formation. Montreal [s/'c]: L'Ecole du verre." William Morris: Cinerary Urn Installation. In German and English. Seattle: the gallery, 2002, 47 pp., ill. Verre (Institut du Verre, Paris), v. 7, no. 4, Oct. Review of Horn's fourth glass market. 2001, pp. 62-64, ill. Exhibition catalog. Includes urns made of Interview with director of school. glass. 546 Schmolders, Wolfgang. 535 Save, Colette. "'Ich spiel mich noch' - Helga Seimel = 'I Still 557 Seattle. William Traver Gallery. "Gravure de I'extreme [sic]: Philip Baldwin - Play' - Helga Seimel." Lino Tagliapietra: "La ballata del vetro sof- Monica Guggisberg." Glashaus/Glasshouse (Internationales Maga- fiato": An Exhibition Marking the Italian La Revue de la Ceramique et du Verre, zin fur Studioglas), no. 4, 2002, pp. 14-15, ill. Maestro's Achievement in the World of no. 124, May/June 2002, pp. 26-29, ill. In German and English. Studio Glass (Text: Daniel Kany). Interview with the artists. Lampworked bead jewelry by the artist. Seattle, WA: the gallery, 2002, 79 pp., ill. 558 Seidel, Miriam. 570 Soleau, Antje. 581 Streitfeld, L. P. "Images in Glass." "Hein van de Water: Glas-Werke = Hein van "Interior/Exterior Vision: A Conversation with Glass: The UrbanGlass Art Quarterly, no. 86, de Water: Works of Glass." Howard Ben Tre." Spring 2002, p. 50, ill. Glashaus/Glasshouse (Internationales Maga- Sculpture, v. 21, no. 9, Nov. 2002, pp. 44-49, Exhibition review. zin fur Studioglas), no. 2, 2002, pp. 10-11, ill. ill. In German and English. Profile of the artist. 582 Studer, Robert. 559 Seince, Frangoise and Gugenheim, "This Is It - Going with the Flow." Helene. Glass Gazette (Glass Art Association of 571 Soleau, Antje. "Prix Liliane Bettencourt, 'Pour 1'intelligence Canada), v. 3, no. 48, April 2002, pp. 25-27, ill. "Jean-Paul van Lith - der Magier = Jean-Paul de la main.'" Profile of the company. Le Courrier des Metiers d'Art, no. 200, Nov./ van Lith - The Magician." Dec. 2001, pp. 12-15, ill. Glashaus/Glasshouse (Internationales Maga- 583 Sydney. Volvo Gallery. Eight recipients of the Bettencourt prize. zin fur Studioglas), no. 2, 2002, pp. 6-7, ill. In Ranamok Glass Prize 2001. German and English. [Sydney, Australia: the gallery, 2001], 72 pp., ill. Profile of the artist. 560 Simpson, Josh and Simpson, Cady Glass artists from Australia and New Zealand. Coleman. Traveling exhibition also includes sites in "Our Life in Science and Art." 572 Soleau, Antje. Perth and Wagga Wagga. The Glass Art Society Journal, 2001, "Trolle, Gnome und andere Wirklichkeiten = pp. 70-73, ill. Trolls, Gnomes and Other Realities." 584 Tagliapietra, Silvano. Artist inspired by science. Glashaus/Glasshouse (Internationales Maga- "Le lacrime di Eun Jung = The Tears of Eun zin fur Studioglas), no. 1, 2002, pp. 4-5, ill. In Jung." German and English. Vetro (Centro Studio Vetro, Murano), v. 5, 561 Sirlin, Deanna. Profile of glass artist Otmar Alt. no. 14, Jan.-March 2002, p. 51, ill. In Italian "Reviews - International: Dublin." and English. Art Papers Magazine, v. 26, no. 5, Sept./Oct. Brief profile of the artist. 2002, pp. 52-53, ill. 573 Soucek, Jan. "Budiz svetlo!" Exhibition by Corban Walker includes glass. 585 Tagliapietra, Silvano. Atelier, nos. 16/17, Aug. 29, 2002, p. 4, ill. "Vittorio Costantini." English summary, p. 15. Vetro (Centro Studio Vetro, Murano), v. 4, 562 Skelly, Heather. Installations by Lada Semecka and Dagmar no. 13, Oct.-Dec. 2001, pp. 29-31, ill. In "Gallery Profiles: Pismo Galleries." Subrtova include glass. Italian and English. The Crafts Report, v. 27, no. 310, Feb. 2002, Profile of the artist. pp. 52-53, ill. 574 Spiegel, Laurie S. "'Glass Behind the Iron Curtain: Czech De­ 586 Takeda, Atsushi. 563 Skelly, Heather. sign 1948-1979' at The Corning Museum of "The First Contemporary Glass Triennial in "Gallery Profiles: William Traver Gallery." Glass." Toyama 2002 and a Look behind the Scenes The Crafts Report, v. 27, no. 309, Jan. 2002, Art Times, v. 18, no. 11, July 2002, p. 5, ill. of Competitive Exhibitions in Japan." pp. 58-59, ill. Neues Glas/New Glass, Fall 2002, pp. 18-23, ill. In German and English. 575 Stafford, Barbara Maria. "Keynote Lecture: Leibniz's Cosmology: 564 Sklo = Glass: Frantisek Vizner (Text: 587 Takeda, Atsushi. Reflections in a Kircherian Mirror." Karel Holesovsky). "The International Exhibition of Glass, Kana- The Glass Art Society Journal, 2001, [Praha: Nakladatelstvi Fortuna, 1994], [74] zawa, 2001 ... and the Development in the pp. 35-40, ill. pp., ill. Text in Czech and English. World of Contemporary Glass." Neues Glas/New Glass, Winter 2001, 576 Stavis, Amy. pp. 34-41, ill. In German and English. 565 Slodounik, Aaron M. "Glass Houses." "Reviews: Brooklyn - Marsha Pels." Tableware Today, v. 8, no. 1, Dec. 2002/Jan. 588 Takenouchi, Naoko. Sculpture, v. 21, no. 7, Sept. 2002, pp. 85-86, 2003, pp. 24-25, ill. "Naoko Takenouchi." ill. Lamaison, a new collection of cut glass by Glass Gazette (Glass Art Association of Exhibition includes cast crystal objects in John Lunt. Canada), v. 3, no. 49, July 2002, pp. 20-21, ill. glass display cases. Autobiography of the artist. 577 Steklo obraz prostranstvo: A. Bokotei, 589 Tampa. Tampa Museum of Art. 566 Smrcek, Antonin. F. Ibragimov, A. Ivanov, G. Ivanova, L. River Myths: An Installation by Therman "Sklarna ajeto vystavuje ve sklarskem museu Savel'eva. Statom for the Tampa Museum of Art, v Novem Boru." [S.I.]: Tipografia Ministerstva Kul'tury SSSR, January 17-April 7, 2002, Organized by the Sklar a Keramik, v. 52, no. 9, Sept. 2002, [1981?], [40] pp., ill. Tampa Museum of Art. p. 221, ill. Glass from the 1970s by five Russian artists. Review of exhibition by Czech artists. Tampa: the museum, 2002, 30 pp., ill. Exhibition catalog. 578 Stenros, Anne. 567 Smrcek, Antonin. "Saga of Silence - The Images of Iceland." 590 Tanguy, Sarah. "Vystava del absolventu skoly v Kamenickem Form Function Finland, no. 84 (4), 2001, "Reconstructing History: A Conversation with Senove." pp. 24-29, ill. Julian Laverdiere." Sklar a Keramik, v. 52, nos. 7/8, July/Aug. Includes glass designers Sigrun and Soren. Sculpture, v. 20, no. 10, Dec. 2001, pp. 38-45, 2002, p. 183, ill. ill. Exhibition by the graduates of the school. Installations include glass. 579 Stewart, Mary. Launching the Imagination: A Comprehensive 591 Tanguy, Sarah. 568 Smrckova, Ludvika. Guide to Basic Design. "Reviews: Baltimore - 'Body Space.'" "Spoluprace Vaclava Platka s Jabloneckymi New York: McGraw-Hill, 2002, (various Sculpture, v. 20, no. 10, Dec. 2001, pp. 69-70, sklarnami." pagings), ill. ill. Tvar, v. 11, no. 8, 1960, pp. 244-249, ill. Rus­ Includes glass. sian, English, and French summaries. Includes installation by Josiah McElheny. The artist's designs for Jablonec Glassworks. 580 Stredni Umeleckop/umyslova Skola 592 Tarlow, Lois. Sklarska v Kamenickem Senove, ed. "Profile: Josiah McElheny - Glassworks and 569 SOFA New York: Sculpture, Objects & The Secondary Glass School of Applied Arts Installations That Address Their Historical Functional Art. at Kamenicky Senov(Tex\: Antonin Lang- Context." [Chicago]: Expressions of Culture-NY Inc., hamer). Art New England, v. 23, no. 5, Aug./Sept. 2000, 177 pp., ill. Kamenicky Senov: the school, 1991, [30] pp., 2002, pp. 21-23+, ill. Includes works by contemporary glass artists. ill. Interview with the artist. 593 Tarsitano, Debbie. 605 Thorkelsson, lone. 617 Toso Fei, Alberto. "The Artist Collector Connection." "Sculptural Musings." "Sogni a incastro: II vetrointarsio di Gianni De Glass Art, v. 17, no. 5, July/Aug. 2002, p. 42+, Glass Gazette (Glass Art Association of Carlo = Interlocked Dreams, Inlaid Glass by ill. Canada), v. 3, no. 49, July 2002, pp. 24-25, ill. Gianni De Carlo." Surmoulage, or casting from a live model. Vetro (Centra Studio Vetro, Murano), v. 5, 594 Tarsitano, Debbie. no. 14, Jan-March 2002, pp. 18-19, ill. In "Ed Poore: The Evolution of Cold Work to 606 Tickner, Lisa. Italian and English. Sculptural Glass." "Mediating Generation: The Mother-Daughter Glass Art, v. 18, no. 1, Nov./Dec. 2002, Plot." 618 Toso, Gianni. pp. 44-48+, ill. Art History, v. 25, no. 1, Feb. 2002, pp. 23-46, "Search for a Legacy: Reflections on a Half- Profile of the glass cutter. ill. Century in Glass." Fiberglass sculpture by Eva Hesse (p. 35). The Glass Art Society Journal, 2001, 595 Tarsitano, Debbie. pp. 50-53, ill. "Glitter, Glamour and Glass at the UrbanGlass 607 Tipthorp, Peter. Autobiography of the artist. Glassblowers Ball." "A Reasonable Offer." Glass Art, v. 17, no. 5, July/Aug. 2002, Tableware International, v. 32, no. 10, Nov. 619 Townsend, Milon. pp. 12-15, ill. 2002, pp. 14-15, ill. Patriot Dreams: Answers to the Question Profile of the Salviati company; includes new "What Can I Do?" designs. 596 Tarsitano, Debbie. Hilton, NY: Blue Moon Press, 2001, 63 pp., ill. "Ribbons of Remembrance." Glass figural sculptures illustrating inspira­ Glass Art, v. 17, no. 2, Jan./Feb. 2002, 608 Tognon, Paola. tional text. pp. 16-17+, ill. "Richard Marquis e gli oggetti del desiderio = Works inspired by September 11. Objects of Desire." 620 Turcajova, Marie. Vetro (Centra Studio Vetro, Murano), v. 4, "Nejlepsi dila mezinarodnich sklarskych sym- no. 13, Oct.-Dec. 2001, pp. 8-13, ill. In Italian pozii 1982-2000 Novy Bor vystavena v upm v 597 Taylor, Gay LeCleire. and English. For Show Not Play: Glass Chess Sets. Praze." Millville, NJ: Museum of American Glass at Sklar a Keramik, v. 51, no. 9, Sept. 2001, Wheaton Village, 2002, 19 pp., ill. 609 Tognon, Paola, ed. pp. 249-250, ill. Vocazioni: Arte e vita come necessita. international glass symposium at Novy Bor. Cinisello Balsamo (Ml): Silvana Editoriale, 598 Taylor, Michael Estes. 2000, 53 pp., ill. "East Glass Meets West Glass." 621 Turner, Ian and Hajdamach, Charles. Glass installations by Silvia Levenson, "Chihuly at the V & A." GAS News (Glass Art Society), v. 13, no. 6, pp. 36-39. Nov./Dec. 2002, p. 6, ill. The Glass Cone, no. 58, Fall/Winter 2001, The Glass Furnace Foundation in Istanbul, p. 8, ill. 610 Toivanen, Pekka. Turkey. Exhibition review. "Timo Sarpaneva: Aesthetic Industry." Form Function Finland, no. 87, 2002, 599 Tazlari, Marianne. 622 Tye, Anne. pp. 20-25, ill. "How Glassmakers Are Getting Support in the "Ein-Aus-Durch-Blicke: Glasturbilder und Profile of the designer. Glasobjecte von Jorg F. Zimmermann = UK." Glass-door Images and Glass Objects by Jorg GAS News (Glass Art Society), v. 13, no. 4, 611 Tora Urup. F. Zimmermann." June/July/Aug. 2002, p. 4, ill. Copenhagen: T. Urup, 2002, [36] pp., ill. Glashaus/Glasshouse (Internationales Maga- Artist's series of circular glass bowls. zin fur Studioglas), no. 3, 2002, pp. 8-9, ill. In 623 Uzelac, Ellen. German and English. "Enamel Rising." Exhibition review. 612 Tosi, Andrea. American Style, v. 9, no. 1, Fall 2002, "Miriam Di Fiore: II fascino dell'illusione = The pp. 92-95, ill. Charm of Illusion." Tips for collectors. 600 Teodori, Sofia Jennifer. Vetro (Centra Studio Vetro, Murano), v. 4, "The Art of Murano in Sweden." no. 13, Oct.-Dec. 2001, pp. 32-35, ill. In Glass Style, v. 5, no. 2, July 2002, Italian and English. 624 Vaclav Zajfc. pp. 102-109, ill. Profile of the artist. [S.I.]: Sklo Union K. P. Obas, [1983?], [25] pp., Muranese master Josef Marcolin takes his ill. craft to Sweden. Exhibition of pressed glass works by the artist. 613 Tosi, Andrea. "II paradiso di Orfeo: L'eleganza del vetro oltre 601 Teodori, Sofia Jennifer. il tempo = Orfeo's Heaven: The Elegance of 625 Valdman, Stanislav. "French Artists on Show." Glass over the Time." "Novoborske sklarske uciliste provozuje skolni Glass Style, v. 5, no. 2, July 2002, Vetro (Centra Studio Vetro, Murano), v. 4, hut Danusi." pp. 196-200, ill. no. 12, July-Sept. 2001, pp. 20-21, ill. In Sklar a Keramik, v. 52, nos. 7/8, July/Aug. Exhibition at the Rossella Junck Gallery in Italian and English. 2002, p. 185, ill. Venice features Anne-Lise Riond Sibony, Isa- Profile of Muranese glass master Ennio Cam- Opening of a new facility. belle Poilprez, and 10 other leading French pagno. glass artists. 626 VanderLaan, Pete. 614 Tosi, Andrea. "A Manifesto." 602 Terraroli, Valerio. "San Servolo International Workshop 2001." GAS News (Glass Art Society), v. 13, no. 1, Skira Dictionary of Modern Decorative Arts, Vetro (Centra Studio Vetro, Murano), v. 4, Jan./Feb. 2002, p. 2+. 1851-1942. no. 13, Oct.-Dec. 2001, pp. 15-18, ill. In Author's "statement of principles" regarding Milano: Skira Editore, 2001, 223 pp., ill. Italian and English. glass art. Includes glass artists, designers, and firms. 615 Toso Fei, Alberto. 627 VanderLaan, Pete. 603 Theophilus, Jeremy and Klein, Dan. "Kimiake e Shinichi Higuchi." "Technical Article: Testing for Compatibility." "Galia Amsel: Passage to a Space Beyond." Vetro (Centra Studio Vetro, Murano), v. 4, GAS News (Glass Art Society), v. 13, no. 6, Object Magazine, no.^0, 2002, pp. 25-32, ill. no. 12, July-Sept. 2001, pp. 8-12, ill. In Italian Nov./Dec. 2002, p. 9. Profile of the artist, followed by an interview. and English. Mixing different color and glass types within a piece. 604 Thiel, Ana. 616 Toso Fei, Alberto. "Sculptural Glass in Mexico." "Seconda mostra del bicchiere = The 2nd 628 Vergano, Benedetta Gallizia di. This Side Up!, no. 18, Summer 2002, pp. 8-9, Goblet Exhibition." "Fifty Years of Art around the Table." ill. Vetro (Centra Studio Vetro, Murano), v. 4, Glass Style, v. 5, no. 1, Jan. 2002, pp. 34-41, Brief profile and contact information of 10 no. 12, July-Sept. 2001, pp. 24-30, ill. In ill. Mexican glass artists. Italian and English. Glass tableware. 629 Vreeland, Vanessa Somers. 640 Washington, DC. Maurine Littleton 650 Wojtkielo, Tina, ed. "Mosaic Matters - An Artist's View." Gallery. "Beads & Beyond: An AJM Special Section." The Glass Art Society Journal, 2001, Therman Statom: April 23-May 15, 2002. AJM (The Authority on Jewelry Manufactur­ pp. 101-103, ill. Washington: the gallery, 2002, [11] pp., ill. ing), no. 4, 2000, pp. 63-83, ill. Exhibition catalog. Includes profiles of four glass bead makers 630 Waggoner, Shawn. and a glossary of bead terms. "Best of Show: Delores Taylor's Work in Pate 641 Weathersby, William, Jr. de Verre" "Rockwell Group Guides Native American Glass Art, v. 18, no. 1, Nov./Dec. 2002, Narratives into Abstract Territory at the Mohe- 651 Wolff-Wintrich, Brigitte. pp. 56-61, ill. gan Sun Casino." "Transparenz und Materialitat = Transparency Interview with the artist. Architectural Record, v. 190, no. 3, March and Materiality." 2002, pp. 186-190, ill. Glashaus/Glasshouse (Internationales Maga- zin fur Studioglas), no. 4, 2001, pp. 12-13, ill. 631 Waggoner, Shawn. Building incorporates glass-bead panels; In German and English. "A Conversation with Tina Oldknow, Curator of glass sculpture by Dale Chihuly. Profile of the artist Ruth Schroer. Modern Glass at The Corning Museum of Glass." 642 Weaver, Jim. Glass Art, v. 17, no. 3, March/April 2002, "Glass Art Sparkles in Exhibit at Philadelphia 652 Woolf, Diana. pp. 6-10+, ill. City Hall." "The Women's Library." Philadelphia Public Record, Nov. 29, 2001, Crafts, no. 175, March/April 2002, pp. 16-19, 632 Waggoner, Shawn. p. 15, ill. ill. "The Legacy of a Beloved Gypsy Artist, Exhibition by 13 glass artists. New commissions; two works include glass. Teacher: Italo Scanga Remembered." Glass Art, v. 17, no. 1, Nov./Dec. 2001, 643 Weiss, Ruth Palombo. pp. 48-53, ill. "Conducting a Symphony in Glass." 653 Wright, Benjamin. American Style, v. 7, no. 4, Summer 2001, "School Profile: Appalachian Center for 633 Waggoner, Shawn. pp. 34-36+, ill. Crafts." "The Marvelous in the Mundane: Karen La- Sally Hansen, founder of The Glass Gallery. GAS News (Glass Art Society), v. 13, no. 6, Monte." Nov./Dec. 2002, p. 8, ill. Glass Art, v. 17, no. 4, May/June 2002, 644 White, Fran. pp. 6-12, ill. "Break-Through." 654 Yood, James. Interview with the artist. Lapidary Journal, v. 50, no. 10, Jan. 1997, "Christopher Ries: Crystal Logic." pp. 36-39+, ill. Neues Glas/New Glass, Winter 2001, 634 Waggoner, Shawn. Profile of beadmaker Kristina Logan. pp. 12-19, ill. In German and English. "Smartsville to Clarksville: Astral Glass Studio Retrospective at Columbus Museum of Art. and the Provenance Project." 645 Whiteley, Richard and others. Glass Art, v. 17, no. 5, July/Aug. 2002, "Emerging Artists." pp. 60-62+, ill. The Glass Art Society Journal, 2001, 655 Yood, James. pp. 61-64, ill. "Linda Dolack." 635 Wagner, David. Richard Whiteley, Eric Starosielski, Karin Tor- Glass (The UrbanGlass Art Quarterly), no. 85, "Storming Talent: Lutz Haufschild, Custodian nell, and Norwood Viviano. Winter 2001, p. 55, ill. of Light." Exhibition review. This Side Up!, no. 16, Winter 2001, pp. 18-19, 646 Whiting, David. ill. "Sensitive Touch - Contemporary Czech 656 Yood, James. Glass Sculpture." "Reviews: Christopher Wilmarth." 636 Walker, Brad. Crafts, no. 175, March/April 2002, p. 48, ill. Artforum, v. 40, no. 6, Feb. 2002, pp. 134-135, "Glass: A Fairly Pure Rock: The Art of Bob Exhibition review. ill. Leatherbarrow." Glass and steel installation. Glass Gazette (Glass Art Association of 647 Wichert, Geoff. Canada), v. 3, no. 48, April 2002, pp. 5-6, ill. "Haus eines Clan: Preston Singletary bei William Traver, Seattle = Clan House: Preston 657 Yood, James. 637 Warmus, William. Singletary at William Traver in Seattle." "William Carlson." Frantisek Vfzner: Sklo/Glass, 1951-2001. Glashaus/Glasshouse (Internationales Maga- American Craft, v. 62, no. 6, Dec. 2002/Jan. New York: Barry Friedman Gallery, 2001, zin fur Studioglas), no. 4, 2001, pp. 6-7, ill. In 2003, pp. 36-39, ill. [u.p.] ill. Text in Czech and English. German and English. Profile of the artist. Tlingit ornamental techniques. 638 Warmus, William. 658 Young, Butch and Long, Rita. "L'estetica urbana di Erika Tada = The Urban 648 Williams, Marcus. "Why I Hate Prestige Pieces: Or Give Me a Aesthetic of Erika Tada." "Beyond the Looking Glass." Good Old Shower Door Anytime." Vetro (Centra Studio Vetro, Murano), v. 5, Craft Arts International, no. 53, 2001, Glass Art, v. 17, no. 1, Nov./Dec. 2001, no. 14, Jan.-March 2002, pp. 8-10, ill. In pp. 42-50, ill. pp. 40-43, ill. Italian and English. British sculptor David Reekie. Making a commissioned piece. 639 Washington, DC. Maurine Littleton 649 Wilson, Ellen. Gallery. "Color, Light at Play in Exhibit." 659 Zimmer, Jenny. Joel Philip Myers: November 6-November 27, Pittsburgh Post-Gazette, Oct. 16, 2001, "Pamela Stadus: Stilled Moments." 2001. p. D-1+, ill. Craft Arts International, no. 54, 2002, Washington: the gallery, 2001, [12] pp., ill. Review of exhibition held at Morgan Contem­ pp. 46-51, ill. Exhibition catalog. porary Glass Gallery Profile of the artist. FLAT GLASS (after 1945), including Architectural, Mosaic, Painted, and Stained Glass FLACHGLAS (nach 1945), einschlieBlich architekturbezogenes Glas, Mosaikglas, Glasmalerei und Buntglas

660 Anonymous. 673 "Hotel de ville, Alphen-sur-Rhin, Pays- 683 "Portfolio of New Work by Fellows and "All-Glass House Sold for $850,000; Made of Bas = Town Hall at Alphen aan den Rijn, Associates 2001." 13,000 Glass Lites." Netherlands." The Journal of Stained Glass (British Society USGIass, Metal and Glazing, v. 37, no. 6, L'Architecture d'Aujourd'hui, no. 342, Sept./ of Master Glass Painters), v. 25, 2001, June 2002, p. 32, ill. Oct. 2002, pp. 70-71, ill. In French and pp. 130-144, ill. English. Stained glass by 13 artists. 661 "Big Top Crowns Jordan Hotel." Design by Erick van Egeraat Associated Glass Age, v. 44, no. 12, Dec. 2001, p. 40, ill. Architects; walls are made of double curved 684 "Serre scientifique pour papillons tro- Stained glass dome by Andy Thornton Ltd. tempered glass panels. picaux, Musee de zoologie, universite de Catane, Italie = Green House, Museum of 662 "Cafeteria Conde Nast, New York, Zoology, University of Catania, Sicily." Etats-Unis = Conde Nast Cafeteria, NY." 674 "Judith Schaechter: Inclusion in Whit­ ney Museum's Biennial Sparks Mid-Career L'Architecture d'Aujourd'hui, no. 342, Sept./ L'Architecture d'Aujourd'hui, no. 342, Sept./ French and English. Retrospective." Oct. 2002, p. 73, ill. In Oct. 2002, p. 66, ill. In French and English. Design by Manfredi Nicoletti. Design by Frank O. Gehry and Associates; Glass Art, v. 17, no. 4, May/June 2002, pp. 36-37, ill. innovative use of curved glass partitions. 685 "Solar Tube, maison familiale, Vienne, Autriche = Solar Tube, Family Home, Vienna, 663 "Les Cartons de vitraux d'lngres au 675 "Maison de verre, Leerdam, Pays-Bas = Austria." Louvre." Glass House at Leerdam, NL." L'Architecture d'Aujourd'hui, no. 342, Sept./ L'Estampille/L'Objet d'Art, no. 370, June 2002, L'Architecture d'Aujourd'hui, no. 342, Sept./ Oct. 2002, pp. 68-69, ill. In French and p. 6, ill. Oct. 2002, pp. 94-97, ill. In French and English. Exhibition review. English. Design by Georges Driendl. Design by Gerard Kruunenberg and Paul Van 664 "Centre communautaire, Mason's Bend, der Erve; all-glass house made of 13,000 686 "Solutia lance la marque 'Vanceva.'" Alabama, Etats-Unis = Community Center, glued plates. Mason's Bend, Alabama, USA." Verre, v. 7, no. 5, Nov. 2001, p. 6, ill. L'Architecture d'Aujourd'hui, no. 342, Sept./ Solutia launches new, highly resistant glass. Oct. 2002, p. 72, ill. In French and English. 676 "Maison Hermes, Tokyo, Japon = Design by The Rural Studio; scale-like roof Hermes Building in Tokyo." 687 "Steven Purdy: Stained Glass Painter." made of recycled windshields. L'Architecture d'Aujourd'hui, no. 342, Sept./ Stained Glass (Quarterly of the Stained Glass Oct. 2002, p. 76, ill. In French and English. Association of America), v. 97, no. 2, Summer 665 "Chagall, peintre de verre." Design by Renzo Piano Building Workshop; 2002, pp. 126-128, ill. Verre, v. 8, no. 2, May 2002, p. 61, ill. 15-floor tower faced with glass blocks. Stained glass windows by the artist at the 688 "Toiture de verre sur des ruines Musee d'Art et d'Histoire du Judaisme. Chateau de Schloss Juval, Haut-Adige, Italie 677 "Mobiliers en verre lumineux et colore, = Glass Roof over the Ruins of Schloss Juval 666 "La Chiesa Herz-Jesu." Firme Emdelight = Emdelight, Coloured Lumi­ Castle, Tyrol, Austria." Flare (Architectural Lighting Magazine), nous Glass Furniture." L'Architecture d'Aujourd'hui, no. 342, Sept./ no. 29, April 2002, pp. 64-67, ill. In Italian and L'Architecture d'Aujourd'hui, no. 342, Sept./ Oct. 2002, p. 82, ill. In French and English. English. Oct. 2002, p. 83, ill. In French and English. Design by Robert Danz. Church built of concrete-framed glass blocks. Exhibition at the Cologne Furniture Fair, January 2002. 689 "Tour de bureaux, Dusseldorf, Alle­ 667 "College, Mader, Autriche = Junior High magne = Office Tower in Dusseldorf." School, Mader, Austria." 678 "New Work by Fellows and Associates L'Architecture d'Aujourd'hui, no. 342, Sept./ L'Architecture d'Aujourd'hui, no. 342, Sept./ 2000." Oct. 2002, p. 77, ill. In French and English. Oct. 2002, pp. 78-79, ill. In French and The Journal of Stained Glass (British Society Design by William Alsop Architects Ltd.; English. of Master Glass Painters), v. 24, 2000, colored glass used on facades. Design by Baumschlager + Eberle. pp. 123-131, ill. 690 "Tour d'escalier du siege de la Deut­ 668 "Concours Glasshouse, 2002." sche Post, Bonn, Allemagne, projet." L'Architecture d'Aujourd'hui, no. 342, Sept./ 679 "Patricia Hernandez y Laura Angelica L'Architecture d'Aujourd'hui, no. 342, Sept./ Oct. 2002, pp. 84-87, ill. In French and Miranda." Oct. 2002, p. 103, ill. In French and English. English. Vitrium, no. 10, 2002, pp. 12-14, ill. Building's walls consist of custom laminated Designs by the winners of the competition. glass panels. 669 "Les Couleurs du ciel." 680 "Pavilion pour le college technique du Verre, v. 8, no. 2, May 2002, p. 61, ill. verre, Reinbach, Allemagne = Pavilion for 691 "Umbrella, auvent de verre, Culver City, Exhibition by major 20th-century artists at the Technical College, Reinbach, Germany." Californie = Umbrella Awning." Centre International du Vitrail. L'Architecture d'Aujourd'hui, no. 342, Sept./ L'Architecture d'Aujourd'hui, no. 342, Sept./ Oct. 2002, pp. 98-99, ill. In French and Oct. 2002, p. 67, ill. In French and English. 670 "Una cupola floreale a Sapporo: A English. Design by Eric Owen Moss Architects; layered Dome Flowers [in Sapporo]." Design by Jorg Hieber and Jurgen Marquardt; glass panels mounted on tubular steel struc­ Domus, no. 842, Nov. 2001, pp. 28-29, ill. In six glass boxes main feature of building. tures. Italian and English. 692 "Velum de verre, Bad Neustadt, Alle­ Fully opening glass dome, first of its kind. 681 "Pere Canovas Aparicio: Maestro vitra- magne = Glass Velum at Bad Neustadt, Ger­ lista, pintor y artista." many." 671 "Les Enterprises de trempe et bombage." Revista del Vidrio Piano, no. 72, July 2002, L'Architecture d'Aujourd'hui, no. 342, Sept./ Verre, v. 7, no. 5, Nov. 2001, pp. 8-9, ill. pp. 46-55, ill. Oct. 2002, pp. 80-81, ill. In French and Uses of curved glass in architecture. Profile of the stained glass artist. English. 672 "Entrepots de stockage Erco, Luden- Design by Werner Sobek; top made of glass scheid, Allemagne = Erco Storage Depot, 682 "Plafond en lentille, palais de justice, plates carried by stainless steel stirrups. Ludenscheid, Germany." Phoenix, Arizona, Etats-Unis, 2000." L'Architecture d'Aujourd'hui, no. 342, Sept./ L'Architecture d'Aujourd'hui, no. 342, Sept./ 693 "Vidrieros y vidrieristas contempora- Oct. 2002, pp. 74-75, ill. In French and Oct. 2002, p. 102, ill. In French and English. neos: El artista: Carlos Munoz de Pablos." English. Design by Richard Meier and Partners in­ Cuadernos de Vidrio, no. 1, 1998, pp. 4-5, ill. Design by Schneider + Schumacher. cludes large suspended lens. Profile of the artist. 694 "Les Vitrages de demain." 706 Betsky, Aaron. 717 Carpenter, James. Verre, v. 7, no. 5, Nov. 2001, p. 7, ill. "Civic Akimbo." "La Transparence entre memoire et reve = Self-cleaning and other innovative glasses. Architecture, v. 91, no. 6, 2002, pp. 108-115, Transparency between Memory and Dream." ill. L'Architecture d'Aujourd'hui, no. 342, Sept./ Glass a main feature of new town hall in Oct. 2002, pp. 100-101, ill. In French and 695 "Vitrail sur mer." Scharnhauser Park, Germany. English. Verre, v. 8, no. 2, May 2002, p. 60, ill. Reflections on role of architectural glass. Stained glass window by Robert Morris for medieval church. 707 Bishop, Annette. "Celebrating a Life." 718 Carther, Warren. House & Garden, v. 57, no. 12, Dec. 2002, 696 "Windows of Enduring Beauty. Fea­ "Warren Carther." pp. 134-137, ill. turing: Preston Studios." Glass Gazette (Glass Art Association of Stained glass windows designed by Marc Glass Art, v. 17, no. 5, July/Aug. 2002, Canada), v. 3, no. 50, Oct. 2002, pp. 19-21, ill. Chagall for church in Kent. pp. 40-41, ill. Large-scale works by the artist.

697 Adriaensen, Ann. 708 Blackstock, Terri. 719 Chouinard, Joanne. Armand Blondeel: Glasschilder. Emerald Windows. "Under Construction: Waldock Puts Many Brussel, [Belgium]: Vizo; Oostkamp, [Bel­ Grand Rapids, Ml: Zondervan, 2001, 252 pp. Talents under One Roof." gium]: Stichting Kunstboek, 2001, 80 pp., ill. A stained glass artist returns to her hometown Glass Craftsman, no. 170, Feb./March 2002, Survey of the art of the Belgian glass painter to design new windows for the church. pp. 22-24, ill. Armand Blondeel. Profile of artist David Waldock. 709 Bouniol, Mireille. "Croisillons, vitrail, serigraphie...: Quand le 698 Andreani, Carole. 720 Christoph Dahlhausen. Glassworks: vitrage isolant devient decoratif." "Lea Sham's: De I'email au vitrail." Fotoarbeiten, Installationen (Text: Carsten Ah- Verre Actualites, no. 174, April/May 2001, La Revue de la Ce rami que et du Verre, rens, Markus Lepper, and Claudia Schmuckli). pp. 26-29, ill. no. 123, March/April 2002, pp. 43-46, ill. Gottingen, Germany: Kunstverein Gottingen Ornamental insulation glazing. English summary, p. 46. e.V., [2000], 99 pp., ill. Text in German and Commission of stained glass windows for English. church in Saint-Hilaire de Lastours. 710 Bourguet, Virginie. Laminated photo surfaces on sheets of glass. "Une fagade en verre serigraphiee: Sablee 699 Andreani, Carole. translucide." Verre Actualites, no. 181, June/July 2002, 721 Corrin, Adelle. "Les Vitraux de Wim Delvoye." "Prizes and Awards from the Worshipful Com­ La Revue de la Ceramique et du Verre, pp. 20-22, ill. Facade of Le Palatin office building. pany of Glaziers and Painters of Glass: 2002." no. 124, May/June 2002, p. 54, ill. The Journal of Stained Glass (British Society Exhibition review. of Master Glass Painters), v. 25, 2001, 711 Bovard, Ron. pp. 120-122, ill. 700 Augustijn, Piet. Windows for the Soul: Ecclesiastic Art Glass "Theatre and Fine Art with Glass and Steel." at Bovard Studio. This Side Up!, no. 18, Summer 2002, Fort Lauderdale, FL: Wardell, 2001, 159 pp., 722 Cumming, Elizabeth. pp. 10-11+, ill. ill. "The Newman Window, Oriel College, Univer­ De Maatschap (the partnership) uses flat Illustrates the work of the studio. sity of Oxford." glass in experimental projects. The Journal of Stained Glass (British Society of Master Glass Painters), v. 25, 2001, 712 Bowe, Nicola Gordon. pp. 123-126, ill. 701 Bardi, Una Bo and Ferraz, Marcelo "Meg Lawrence: Stained Glass Painter Designed by Vivienne Haig, made by Douglas Carvalho. Working from Wales." Hogg. Casa de vidro = The Glass House: Sao Paulo, Stained Glass, v. 96, no. 4, Winter 2001, Brasil, 1950-1951. pp. 282-289, ill. Lisboa, Portugal: Editorial Blau; Sao Paulo 723 Currimbhoy, Nayana. "Fiber Optics Animate a Curved Glass Wall to [Brazil]: Instituto Lina Bo e P. M. Bardi, 1999, 713 Broderson, Deborah. Enhance the Lobby of a San Francisco Firm." [31] pp., ill. Portuguese and English. "The Tarot Garden of Niki de Saint Phalle." Architectural Record, v. 189, no. 8, Aug. 2001, Glass house designed by Lina Bo Bardi and Sculpture, v. 21, no. 10, Dec. 2002, pp. 16-17, p. 149, ill. built in 1951. ill. Glass wall designed by Joel Hendler and Theme park sculptures covered with glass David Malman. 702 Barreneche, Raul A. and mirror mosaics. "Apple Store: New York City, SoHo." Architectural Record, v. 190, no. 10, 2002, 714 Bruggemann, Alexander and Oppitz, 724 Czarnecki, John E. pp. 156-161, ill. Harald. "In Boston, Diller + Scofidio Design Waterfront "Signature element" of building is glass. "'Soziale Kunst' Oder 'biirgerliche Traum- Jewel for ICA." reise'?" Architectural Record, v. 190, no. 10, Oct. 703 Barreneche, Raul A. GFF, Zeitschrift fur Glas, Fenster, Fassade, 2002, p. 31, ill. "Hermes: Tokyo, Japan." no. 12, Dec. 2001, pp. 39-42, ill. Building has glass-enclosed cantilevered gallery. Architectural Record, v. 190, no. 10, 2002, Followers of the "Nancy school." pp. 166-170, ill. Glass blocks are building's main feature. 715 Burght, Angela van der. 725 Daniels, Denis R. "New Art in Amsterdam." "Carved Glass Destined for the Lands' End." 704 Baxter, Brian. This Side Up!, no. 18, Summer 2002, Glass Art, v. 17, no. 5, July/Aug. 2002, "Ruminations on Installations." pp. 14-15, ill. pp. 52-53, ill. Glass Gazette (Glass Art Association of Works by Jan Beutener, Paul Vendel, Hans Glass by Woodland Glass Arts. Canada), v. 3, no. 50, Oct. 2002, pp. 21-22. van Houwelingen, Berend Strik, and Amster- Autobiography and list of works by the artist. dams Fonds voor de Kunst. 726 Dean, Andrea Oppenheimer and Free­ man, Allen. 705 Bensard, Eva. 716 Capezzuto, Rita. "Kohn Pedersen Fox's Architecture and Leh­ "Vitraux du XXe siecle dans les cathedrales "L'architettura diventa vetrina = Architecture man-Smith + McLeish's Interior Design Create de France." as a Showcase." a Small City Beyond the Beltway for Gannett." L'Estampille/L'Objet d'Art, no. 370, June 2002, Domus, no. 841, Oct. 2001, pp. 46-57, ill. In Architectural Record, v. 190, no. 5, May 2002, pp. 4-5, ill. Italian and English. pp. 212-221, ill. Stained glass windows by Alberola, Viallat, Hermes building in Tokyo features glass brick Glass fins on reflective facades by glass artist Chagall, Collot, Morris, and other artists. walls. Jamie Carpenter. 727 Derrien, Christelle. 739 Gilongos, Gwen and Ghaniabadi, 750 Hall, Sarah and Kraegel, Jeffrey. "Le France a Neuilly (Hauts-de-Seine): Un Dianna. "The Window's Tale." cone en verre inverse." "Studio Profile: Hossein Ghaniabadi: An Inter­ Glass Art, v. 17, no. 2, Jan./Feb. 2002, Verre Actualites, no. 174, April/May 2001, rupted Journey." pp. 44-47, ill. pp. 20-21, ill. Glass Gazette, v. 3 [5], no. 46, Oct. 2001, p. 9, Inverted cone-shaped glass facade. ill. 751 Hamon, Maurice. "Le Mobilier en verre de Rene Coulon = Rene 728 Derrien, Christelle. Coulon Glass Furniture." 740 Giovannini, Joseph. "Un restaurant en Alsace: Vitraux au plomb et Verre (Institut du Verre, Paris), v. 8, no. 1, "Art with Attitude." sablage a profusion." March 2002, pp. 28-33, ill. English summary, Architecture, v. 84, no. 9, Sept. 1995, Verre Actualites, no. 178, Dec. 2001/Jan. p. 28. pp. 90-101, ill. 2002, pp. 24-25, ill. Groninger Museum's decorative arts pavilion Sandblasted and leaded windows. features freestanding glass cases and wall of 752 Hart, Sara. glass vitrines. "Buckminster Fuller's Dreams of Spanning 729 Derrien, Christelle. Great Distances Are Being Realized in Big "Verrissima: Le Vitrail en etendard." Projects." Verre Actualites, no. 176, Aug./Sept. 2001, 741 Glander, Tony. Architectural Record, v. 190, no. 5, May 2002, pp. 16-18, ill. "Profile." pp. 267-272+, ill. Profile of the studio. Glass Craftsman, no. 174, Oct./Nov. 2002, Includes the Great Glass House at the Nation­ pp. 65-67, ill. al Botanic Garden of Wales. 730 Elenes, Cristina. Stained glass artist John Calligan. "Vistiendo los espacios en cristal = Decorating 753 Hartmann, Kristiana. Spaces with Glass." "'Sans un pavilion de verre/La Vie serait un Vitrix, no. 3, Spring 2002, pp. 23-25, ill. In 742 God's Revelation to Man: Presenting the Christian Faith from Beginning Creation to enfer' = 'Without a Glass Pavilion/Life Would Spanish and English. Be Hell.'" Innovative glass sculpture installed in Monter­ Final Consummation. L'Architecture dAujourd'hui, no. 342, Sept./ rey, Mexico. Jacksonville, FL: Riverside Park United Methodist Church, [n.d.], [17] leaves, ill. Oct. 2002, pp. 108-115, ill. In French and English. 731 Freeman-Jurney, Roberta. Windows mainly by Willet Stained Glass Studios. Pavilion designed by Bruno Taut for 1914 "Stained Glass Goes to College! Getting the Cologne exhibition. Credit Our Art Deserves." Glass Craftsman, no. 170, Feb./March 2002, 743 Grace Cathedral (San Francisco, CA). 754 Hayward, John. pp. 73-75, ill. The Willet Windows of Grace Cathedral in Profile of Flagler College. "'It Seems Like a Lifetime.'" San Francisco. San Francisco, CA: Grace The Journal of Stained Glass (British Society Cathedral Publications, [1966?], [10] pp., ill. 732 Freeman-Jurney, Roberta. of Master Glass Painters), v. 24, 2000, Windows by Willet Stained Glass Studios, pp. 117-122, ill. "Love in Bloom: The Story behind a Special installed in 1966. Commission." Based on a talk at the BSMGP Symposium, Glass Craftsman, no. 173, Aug./Sept. 2002, London, May 2000. pp. 73-75, ill. 744 Grenon, Ariane. "L'Atelier Michel Petit a Chartres." 755 Holloway, Marguerite. 733 Gaillard, Claire. La Revue de la Ceramique et du Verre, "The Glass House in the Desert." "Alexander Beleschenko, batisseur de lumiere." no. 123, March/April 2002, pp. 50-51, ill. Scientific American, v. 286, no. 1, Jan. 2002, Verre, v. 8, no. 5, Oct. 2002, pp. 56-57, ill. Profile of the stained glass studio. pp. 90-92, ill. English summary, p. 56. Biosphere 2, an experimental glass structure Architectural stained glass by the artist. built in the late 1980s. 745 Grenon, Ariane. "Marc Chagall: Des vitraux pour Jerusalem." 734 Gaillard, Claire. 756 Jacobson, Ruth Taylor. La Revue de la Ceramique et du Verre, "Michel Guevel, le vitrail eclaire." "Masks for a Purimspiel." no. 125, July/Aug. 2002, p. 53, ill. Verre, v. 8, no. 3, June 2002, pp. 58-59, ill. The Journal of Stained Glass (British Society Exhibition review. English summary, p. 58. of Master Glass Painters), v. 25, 2001, Profile of the stained glass artist. pp. 127-129, ill. 746 Hall, Sarah. Stained glass by the author. 735 Gandolfi, Emiliano. "Stained Glass: An Art of Impassioned "Forma e luce = Form and Light." Crystallization." 757 Jonson, Lotta. Ottagono, no. 150, May 2002, pp. 78-85, ill. Glass Gazette (Glass Art Association of "Upplev & lar = Experience and Learn!" In Italian and English. Canada), v. 3, no. 50, Oct. 2002, pp. 10-14, ill. Form (The Swedish Design Magazine), v. 97, Unique structure housing two Rodin sculp­ Artist describes her installations. no. 5 (737), 2001, pp. 42-49, ill. In Swedish tures has glass walls. and English. Glass a major component of the experimental 736 Geneva Presbyterian Church. 747 Hall, Sarah. building Universeum. Laguna Hills, CA: the church, [n.d.], [12] pp., "Wind's Eye Gallery: Featuring the Work of ill. Windows by Willet Stained Glass Studios. Darko Lesjak." Glass Art, v. 17, no. 2, Jan./Feb. 2002, 758 Karisola, Juha. "Bent Glass Usage Continues to Gain in 737 Geran, Monica. pp. 48-51, ill. Profile of the artist. Popularity." "Bolt of Lighting." Glass Magazine (National Glass Association, Interior Design, v. 73, no. 8, Aug. 2002, McLean, VA), v. 52, no. 10, Oct. 2002, p. 32+, pp. 156-163, ill. 748 Hall, Sarah and Kraegel, Jeffrey. ill. Twelve-story-high solar light pipe is partly glass. "Swansea: Light Years Ahead." Glass Gazette, v. 3 [5], no. 46, Oct. 2001, 738 Geron, Jean-Marie and Moxhet, Albert. 759 Klotz, Uta. pp. 16-18, ill. "Conversations with the Sun: Ray King." Le Vitrail contemporain: "Comme un chant de Stained glass program at Swansea, Wales, lumiere": Le Role des peintres dans le renou- Neues Glas/New Glass, no. 4, 2002, U.K. Reprinted from Glass Art Magazine, pp. 28-35, ill. In German and English. veau du vitrail frangais contemporain et leur v. 16, no. 4. influence au-dela des frontieres. Interview with the artist. Bruxelles: Dexia; Tournai, Belgique: Renais­ sance du Livre, 2001, 221 pp., ill. 749 Hall, Sarah and Kraegel, Jeffrey. 760 Krampen, Martin and Schempp, Dieter. Historical background and evolution of stained "Variations on a Theme." Glasarchitekten: Konzepte, Bauten, Perspekti- glass in France since World War II; also in­ Glass Art, v. 17, no. 1, Nov./Dec. 2001, ven = Glass Architects: Concepts, Buildings, cludes influential works from Germany, the pp. 6-10, ill. Perspectives. Low Countries, Switzerland, Great Britain, and Themes of stained glass windows; works by Ludwigsburg [Germany]: Avedition, 1999, 223 Italy. German artist Tobias Kammerer illustrated. pp., ill. In German and English. 761 Langley, Warren. 773 Oesterle, Eberhard and others. 785 Save, C. "The Application of Large-Scale Kiln-Forming Double-Skin Facades: Integrated Planning: "Atelier: Un trio creatif." Processes for Glass in Architecture." Building Physics, Construction, Aerophysics, Verre (Institut du Verre, Paris), v. 7, no. 4, Oct. The Glass Art Society Journal, 2001, Air-Conditioning, Economic Viability. 2001, pp. 60-61, ill. pp. 116-118, ill. Munich and New York: Prestel, 2001, 207 pp., Family-owned stained glass studio. ill. 762 Lapointe, Michele. Includes architectural glass. 786 Save, Colette. "Michele Lapointe." "Les Avancees de la transparence." Glass Gazette (Glass Art Association of 774 Peterson, Chris. Verre, v. 7, no. 5, Nov. 2001, p. 62, ill. Canada), v. 3, no. 50, Oct. 2002, pp. 15-18, "The Kokomo Lady: Bogenreif Studio Creates Review of stained glass exhibition. ill. In French and English. an Autumnal Beauty." Artist talks about his works. Glass Craftsman, no. 174, Oct./Nov. 2002, 787 Soleau, Antje. pp. 10-13, ill. "Harmonie und farbiges Licht: Der Glasgestal- 763 Lascurain, Guadalupe Aleman. Stained glass window by Mark Bogenreif. ter Joachim Klos wird 70 = Harmony and "Jose Antonio Rage: Un domador de luz = Coloured Light: Joachim Klos the Glass Artist Jose Antonio Rage: The Tamer of Light." 775 Place, Jean-Michel. Is Approaching 70." Vitrix, no. 3, Spring 2002, pp. 19-22, ill. In "Le Souffle de I'art = The Breath of Art." Glashaus/Glasshouse (Internationales Maga- Spanish and English. L'Architecture d'Aujourd'hui, no. 342, Sept./ zin fur Studioglas), no. 1, 2002, pp. 8-10, ill. Profile of the stained glass artist. Oct. 2002, pp. 104-107, ill. In French and In German and English. English. 764 Lawrence, C. Z. Stained glass windows designed by Martial 788 Soleau, Antje. "A Glass Rendering of N. C. Wyeth's 'Nativity.'" Raysee and made by Jean-Dominique Fleury. "Mit Licht und Glas gemalt - Paolo D'Orazio = Glass Art, v. 17, no. 5, July/Aug. 2002, Painted with Light and Glass - Paolo D'Ora­ pp. 54-58, ill. zio." 776 Pommy, Bill. Glashaus/Glasshouse (Internationales Maga- "Stained Glass Class Goes Back to High zin fur Studioglas), no. 4, 2002, pp. 8-9, ill. In 765 Machin Designs (USA) Inc. School." German and English. Machin Conservatories. Glass Craftsman, no. 170, Feb./March 2002, Conversation between the author and Gott­ Wilton, CT: Machin Designs, [1986], 31 pp., ill. pp. 10-13+, ill. Architecture in glass. fried Stracke about the works of the artist.

777 Porcelli, Joe. 789 Stained Glass Association of America. 766 Mahlamaki, Rainer. "Paul Jackson's Tiger Spot: The World's "Glass: The Material of Modern Architecture." Sourcebook 2002. Largest Single Image Mosaic." Kansas City, MO: the association, 2002, ill. Glass Digest, v. 81, no. 9, Sept. 15, 2002, Glass Craftsman, no. 172, June/July 2002, p. 12+, ill. pp. 42-43, ill. Paper originally appeared in Glass Processing 790 Taffera, Tara. Days. "Winners of the 2001 Dupont Benedictus 778 Porcelli, Joe. Awards for Innovative Uses of Laminated "Preston Studio Entryways." 767 Mavor, Anna. Glass." A Pilgrimage of Windows to God: All Saints Glass Craftsman, no. 172, June/July 2002, Kahch (All India Glass Manufacturers' Feder­ pp. 6-9, ill. Church, Winter Park, Florida. ation), v. 9, no. 3, Sept. 2001, p. 20, ill. Decorative door installations. Winter Park, FL: Winter Park Printers, 1974, 80 pp., ill. 791 Verhagen, Marcus. Windows made mainly by the Willet Stained 779 Posner, Richard. "Sacred, and a Bit Profane." Glass Studios of Philadelphia, 1946-1973. "Glassroots Architecture Trilogy, 1970-2001 Art Review, v. [51], Oct./Nov. 2002, [and Other Stories]." pp. 100-101, ill. 768 Mayer, Gabriel. The Glass Art Society Journal, 2001, Nine stained glass windows by Wim Delvoye "Architectural Glass: International Artists pp. 108-111, ill. created for Manchester Art Gallery. Working with an International Studio." The Glass Art Society Journal, 2001, 780 Pratt, Charles W. and Pratt, Joan C. 792 Vleeschouwer, Olivier de. pp. 112-115, ill. "An Interview with Jacques Loire." Greenhouses and Conservatories. Stained Glass (Quarterly of the Stained Glass [Paris]: Flammarion, 2001, 171 pp., ill. 769 The Memorial Windows: Riverside Association of America), v. 97, no. 2, Summer Includes architectural glass. Presbyterian Church, Jacksonville, Florida. 2002, pp. 129-133, ill. Shawnee Mission, KS: Inter-Collegiate Press, 793 Vollers, Karel. 1975, [22] pp., ill. "Fagades de verre a double courbure: Un defi 781 Reed, Karen. Windows designed by Henry Willet of the technologique = Blob&Build, Bridging the Gap "The Glass Mosaic Fantasy Art of David Ward." Willet Studios. to Materialise Doublecurved Fagades." Glass Craftsman, no. 169, Dec. 2001/Jan. L'Architecture d'Aujourd'hui, no. 342, Sept./ 2002, pp. 65-68, ill. 770 Min, Maarten. Oct. 2002, pp. 58-65, ill. In French and "Meesterproef schilder-glazenier Jaap Min English. bedreigd." 782 Roberts, Eileen. Glasbulletin, Vereniging van Vrienden van "Christopher Webb and Orchard House 794 Waggoner, Shawn. Modern Glas, v. 16, no. 2, 2002, p. 24, ill. Studio." "Sculptural Intelligence Gracefully Unfurled: Large-scale work by the glass painter. The Journal of Stained Glass (British Society Dick Weiss' Screens." of Master Glass Painters), v. 25, 2001, Glass Art, v. 17, no. 2, Jan./Feb. 2002, pp. 79-94, ill. 771 Miret, Ellen. pp. 6-11, ill. "A Surrealist Totem: Serious Fun and Games Profile of the artist, followed by an interview. in New Hampshire." 783 Rothrock, Jenni. Glass Craftsman, no. 170, Feb./March 2002, "Decorative Glass: A Unique Way to Custom­ 795 Waggoner, Shawn. pp. 6-9+, ill. ize Your Home." "WD40+: The Painted Glass and Prints of Collaborative work by seven glass painters. Glass Magazine, v. 51, no. 12, Dec. 2001, Walter Lieberman and Dick Weiss." pp. 30-32, ill. Glass Art, v. 18, no. 1, Nov./Dec. 2002, 772 Nutter, John. pp. 6-11+, ill. "Architectural Installations: Getting There and 784 Rutberg, Donald Paul. Getting Them." "There's a Light Shining Through: An Inter­ 796 Waggoner, Shawn and Millard, Dick. Glass Gazette (Glass Art Association of view with Stained Glass Artist Maurice "The Painted Glass of John Hayward." Canada), v. 3, no. 50, Oct. 2002, pp. 23-24, ill. Gareau." Glass Art, v. 17, no. 5, July/Aug. 2002, Author talks about his colorless and carved Stained Glass, v. 96, no. 4, Winter 2001, pp. 6-8+, ill. glass projects. pp. 290-298, ill. Profile of the artist, followed by an interview. 797 Watt, Joanna. 800 Wichert, Geoffrey. 803 Young, Butch and Long, Rita. "Heart of Glass." "Whatever Happened to Stained Glass?" "Interpretation. Part 1: It's Your Call." IDFX, no. 42, April 2002, pp. 22-24+, ill. Glass: The UrbanGlass Art Quarterly, no. 86, Glass Art, v. 17, no. 2, Jan./Feb. 2002, p. 12+, Profile of stained glass artist Graham Jones. Spring 2002, pp. 42-45, ill. ill. Designing patterns. 801 Wigglesworth, Sarah. 798 Weis, Helene. "La Maison de verre ou la modernite 804 Younger, Alan. "Cedar Prest: A Leading Australian Artist, accouchee in vitro = The Maison de Verre or "Glazing the Clerestory: The East Window of Part 2: Community Projects in Stained Glass." Modernity in vitro" the Henry VII Chapel, Westminster Abbey." Stained Glass (Quarterly of the Stained Glass L'Architecture d'Aujourd'hui, no. 342, Sept./ The Journal of Stained Glass (British Society Association of America), v. 97, no. 2, Summer Oct. 2002, pp. 88-93, ill. In French and of Master Glass Painters), v. 24, 2000, 2002, pp. 118-125, ill. English. pp. 108-116, ill. Design by Pierre Chareau.

799 Wichert, Geoffrey. 802 Wilde, David. "The Pilchuck Triangle, Chapter 1: The John "The Abbaye de Bonmont, Cheserex, Switzer­ H. Hauberg Fellowship and Painted Glass." land." Glass Art, v. 17, no. 2, Jan./Feb. 2002, Stained Glass, v. 96, no. 4, Winter 2001, pp. 40-41, ill. pp. 273-277, ill.

TECHNOLOGY (after 1945)/TECHNOLOGIE (nach 1945)

805 Anonymous. 815 "The First Glass School in Turkey." 826 Abbott, Linda. "Allegement dans les composites: Les Micro­ Glass Line, v. 16, no. 3, Oct./Nov. 2002, p. 15, "Living Your Dreams ... At Least Developing a spheres de verre creuses." ill. Floor Plan!" Verre, v. 8, no. 2, May 2002, p. 10, ill. Profile of The Glass Furnace, international Glass Craftsman, no. 170, Feb./March 2002, Microspheres of hollow glass. center for glass and fine arts. pp. 17-19+, ill. Tips for starting up a studio. 806 "Ask Clarence." 816 "How to Make Plaster Molds and Cast Glass Messenger (Fenton Art Glass), no. 4, Glass." Dec. 2001, p. 7, ill. Batch (Supplement to Glass Craftsman, 827 Abbott, Linda. Description of a pot furnace and a glory hole no. 174, Oct./Nov. 2002), v. 1, no. 2, 2002, "Pushing the Glass Envelope: The Creative furnace at Fenton. p. 16, ill. Journey of Dan Cummings." Step-by-step instructions. Glass Craftsman, no. 174, Oct./Nov. 2002, 807 "Baccarat: Le Verre des records." pp. 6-9, ill. Carved and laminated plate glass works. Verre, v. 8, no. 3, June 2002, p. 63, ill. 817 "La Laine de verre: Un materiau ancien Blowing of a giant wineglass. plein d'avenir = Glass Wool: An Old Material with a Great Futur [sic]" 828 Adler, Alan. 808 "Capitulo III: Grabado del vidrio." Verre, v. 8, no. 2, May 2002, pp. 30-32, ill. "Thermal Management in Newtonian Reflec­ Cuadernos del Vidrio (Fundacion Centro Na- tors." cional del Vidrio, Real Fabrica de Cristales de 818 "New Glass for Precision Optics." Sky & Telescope, v. 103, no. 1, Jan. 2002, La Granja, Escuela del Vidrio), no. 3, Oct. Scientific American, v. 167, Dec. 1942, pp. 132-136+, ill. 2001, u.p. [8] pp., ill. pp. 252-253, ill. Telescope technique. Engraving and etching techniques. Compacted glass.

809 "Cristalleria Toscana: The Titan Glass- 819 "New: K-Glass Pellets." 829 Almeyda, Diane Echnoz. blowers." This Side Up!, no. 17, Spring 2002, p. 17, ill. "Plique-a-jour Pierced Heart Pendant." Glass Style, v. 5, no. 2, July 2002, pp. 44-45, Pre-molten pellets for fusing, kiln casting, and Lapidary Journal, v. 56, no. 9, Dec. 2002, ill. other techniques. pp. 52-54, ill. Contains illustrations of the phases of the Step-by-step enameling project. blowing process. 820 "Q&A: For Beginners Only." Stained Glass News, no. 57, 2002, p. 16. 830 Bachtik, Stanislav and Pospichal, 810 "Decorator Profile: Lyre Art." Various topics. SGCD Newsletter (Society of Glass and Vlastimil. Ceramic Decorators), v. 40, no. 4, May 2002, Zuslechtovanf skla. 821 "Q&A: For Beginners Only." p. 9, ill. Praha: Statni nakl. technicke literatury, 1964, Stained Glass News, no. 58, 2002, p. 14+. Mention of decorating techniques. 295 pp., ill. Various topics. Czech coldworking and chemical working pro­ cesses of glass decoration. 811 "Demonstrations." The Glass Art Society Journal, 2001, 822 "El Vidrio Moldeado. 2a. Parte." pp. 120-138, ill. Vitrium, no. 9, 2001, pp. 4-6, ill. Lost wax method. 831 Barreneche, Raul A. Twenty glass artists demonstrate a variety of "Exploring the Boundaries of Laminated techniques at the 2001 G.A.S. conference in Glass." Corning. 823 "El Vidrio Moldeado. 3a. Parte." Vitrium, no. 10, 2002, pp. 4-6, ill. Architecture, v. 83, no. 9, Sept. 1994, Molded glass. pp. 117-123, ill. 812 "Direct from the Factory." Innovative glazing technique uses pvb resin Stained Glass News, no. 57, 2002, p. 14, ill. sandwiched between glass sheets. Tips on plating and framing. 824 "Vitrification as a Way of Cleaning Up Polluted Soil: An American Experiment." 813 "Les Fibres de renforcement." Kahch (All India Glass Manufacturers' Fed­ 832 Barrett, John. Verre, v. 8, no. 2, May 2002, pp. 21-23, ill. eration), v. 9, no. 4, Dec. 2001, p. 5, ill. "Re-Inventing Glass." Glass fibers used in reinforcement. The Journal of Stained Glass (British Society 825 "Working Deep: Stack Firing for Im­ of Master Glass Painters), v. 24, 2000, 814 "Les Fibres d'isolation." bedded Imagery." pp. 136-140, ill. Verre, v. 8, no. 2, May 2002, pp. 18-20, ill. Tipsheet (Bullseye Glass Co., Portland, OR), "Flattened" bottle used as replacement for flat Glass fibers used in insulation. no. 3, 2001, pp. 1-6, ill. glass. 833 Bates, Kenneth F. 846 Chorvat, Chris. 858 Davis, Marcie. The Enamelist. "Magnified Canvas: Inside-Out Borosilicate, "Discover Borosilicate Beads." Middlebourne, WV: Wooden Porch Books, Demonstration of the Teacup Method.'" Glass Patterns Quarterly, v. 18, no. 2, 1991, 1967, 246 pp., ill. Glass Art, v. 18, no. 1, Nov./Dec. 2002, Summer 2002, pp. 22-25, ill. Advanced enameling techniques. pp. 16-17+, ill. Includes step-by-step instructions.

834 Beaumont, Thierry de. 847 Chorvat, Chris. 859 Davis, Marcie. "Patrick Desserme: L'CEil du bombeur." "'Vitra Luna': Understanding and Using Lu- "An Interview with Suellen Fowler: The Queen Verre, v. 7, no. 5, Nov. 2001, pp. 50-53, ill. naris Powder." of Color." English summary, p. 50. Glass Line, v. 16, no. 3, Oct./Nov. 2002, p. 1+, Glass Line, v. 15, no. 4, Dec. 2001/Jan. 2002, Family-owned glass bending workshop. ill. p. 1+, ill.

835 Bergamini, Alessandra. 848 Coleman, Katharine. 860 Davis, Marcie. "Glass & Packaging." "Belated Raffle Prize." "Roger Parramore Speaks Out." Ottagono, no. 153, Sept. 2002, pp. 48-50, ill. The Guild of Glass Engravers Newsletter, Glass Line, v. 16, no. 1, June/July 2002, In Italian and English. Spring 2002, pp. 11-13, ill. pp. 14-16. Characteristics and uses of glass. Includes a demonstration by engraver Tracey Interview with the artist. Sheppard. 836 Bianchini, Franco Geotti and Dall'lgna, 861 Davison, Sandra. Roberto. "Restoration of a Cloisonne Glass Ceiling "In che misura I'acqua nel vetro influenza la 849 Conway, Judith. Light." lavorabilita e le proprieta del vetro industriale? "The Act of Fusing: Balancing Heat, Time and Glass Technology, v. 42, no. 3, June 2001, Contributi della SSV." Temperature." pp. 74-76. Rivista della Stazione Sperimentale del Vetro, Glass Craftsman, no. 169, Dec. 2001/Jan. 2002, pp. 12-14+, ill. v. 31, no. 5, Sept./Oct. 2001, pp. 125-130. 862 Day, Julie Bishop. Water content and workability of glass. "Mosaics & Stepping Stones: All About the 850 Conway, Judith. Latest Rage in Glass." 837 Bloch, Thomas. "Creating Your Own Designer Glass." Stained Glass News, no. 58, 2002, p. 12, ill. "Historical Glass Harmonica Discovered in Batch (Supplement to Glass Craftsman, Mosaics on clear glass. Colmar, France." no. 174, Oct./Nov. 2002), v. 1, no. 2, 2002, Glass Music World, Spring 2002, p. 5, ill. pp. 5-7, ill. 863 Derrien, Christelle. Fused glass project. "La Lumiere de la dalle de verre." 838 Bocquet, Jean-Pierre. Verre Actualites, no. 179, Feb./March 2002, "Etudes fours/fusion dans le pole verrier du 851 Conway, Judith. pp. 26-27, ill. Groupe Saint-Gobain = Studies Concerning "Frits, Powders, Confetti, Stringers and Noo­ Glass tiling techniques. Furnace/Melting in the Glass Sector of Saint- dles." Gobain Group." Batch (Supplement to Glass Craftsman, 864 Derrien, Christelle. Verre, v. 7, no. 5, Nov. 2001, pp. 11-15, ill. no. 172, June/July 2002), v. 1, no. 1, 2002, "Mode d'emploi: Sablage a I'ancienne." English summary, p. 11. pp. 5-7, ill. Verre Actualites, no. 180, April/May 2002, pp. 30-31, ill. 839 Bolt, Gary. 852 Copeland, Cousette. Sandblasting techniques. "The Casting Process." "Lampworking Tips." Glass Gazette, v. 3, no. 47, Feb. 2002, Lapidary Journal, v. 50, no. 10, Jan. 1997, 865 Dugger, Pamela. pp. 4-6, ill. p. 88+, ill. "Answers to the 10 most frequently "Flameworking: Getting Started." asked questions about lampwork bead- Batch (Supplement to Glass Craftsman, 840 Bracciali, Gianni. making." no. 172, June/July 2002), v. 1, no. 1, 2002, "The FSG Technique: Metal-less Came and pp. 12-13, ill. Mortar-less Mosaics!" 853 Corning Glass Works. Laboratory Glass Craftsman, no. 173, Aug./Sept. 2002, Glassware Dept. 866 Dugger, Pamela. pp. 47-48+, ill. Laboratory Glass Blowing with Coming's "Lampworked Christmas Ornaments." Glasses. Batch (Supplement to Glass Craftsman, 841 Burght, Angela van der. Corning, NY: Corning Glass Works, Labora­ no. 174, Oct./Nov. 2002), v. 1, no. 2, 2002, "De Techniek van kleurmiddelen." tory Glassware Dept., 1961, 32 pp., ill. pp. 10-11, ill. Glasbulletin, Vereniging van Vrienden van Step-by-step instructions. Modern Glas, v. 16, no. 1, 2002, pp. 9-10+, ill. The technique of colorants. 854 Correll, Charlie. "Recuperation in Glassmaking." 867 Dunham, Bandhu S. GAS News (Glass Art Society), v. 13, no. 3, Contemporary Lampworking: A Practical 842 Burght, Angela van der. April/May 2002, p. 4, ill. Guide to Shaping Glass in the Flame "De techniek van kleurmiddelen." (Foreword: Ginny Ruffner). 3rd ed. 2vv. Glasbulletin, Vereniging van Vrienden van Prescott, AZ: Salusa Glassworks, 2002, 511 Modern Glas, v. 16, no. 2, 2002, pp. 19-23, ill. 855 Craig, Brock. pp., ill. Glossary of color-related technical terms. "Bullseye Teacher Forum." Glass Art, v. 17, no. 1, Nov./Dec. 2001, 868 Emberger, Maria. 843 Burght, Angela van der. pp. 22-23+. "Fotografische Materialien." "The Techniques of Design." Description of a workshop at Bullseye Glass PapierRestaurierung, v. 3, no. 2, 2002, This Side Up!, no. 18, Summer 2002, factory. pp. 25-30, ill. English summary, p. 25. pp. 30-33, ill. Preservation of glass plate negatives. Theory and practical tips. 856 Cummings, Keith. Ofengeformtes Glas: Geschichte, Techniken, 869 Engerer, Alfred. 844 Burght, Angela van der. Objekte. "Glass - Blow, Cast, Fuse, Slump, Break, "The Techniques of Mosaic Glass, Millefiori Bern: Verlag Paul Haupt, 1998, 174 pp., ill. Glue, Blast, So Many Choices." and ... Filigree: Paperweights." Techniques of kiln-formed glass. Glass Gazette, v. 3, no. 47, Feb. 2002, This Side Up!, no. 17, Spring 2002, pp. 21-22, pp. 12-14, ill. ill. 857 Dancu, luliana and Zidaru, Gheorghe. Continued from no. 16, Winter 2001, pp 21-25. "Metode de restaurare a picturii populare pe 870 Evans, Robin. sticla." "Outdoor Courtyard Wall Mosaic Part I: Fea­ 845 Caba, Randall L. Revista Muzeelor, v. 4, no. 6, 1967, turing Uroboros System '96 Fusible Glass." The Neon Superguide: Complete How-to pp. 525-530, ill. Contents in Romanian, Glass Craftsman, no. 174, Oct./Nov. 2002, Manual. Russian, French, and English. pp. 29-33, ill. [Gresham, OR]: Neon Press, 2001, 216 pp., ill. Restoration methods in folk glass painting. Includes step-by-step instructions. 871 Evans, Robin. 881 Giberson, Dudley. 893 Howard, Arnold. "Trilogy: Spectrum SilverCoats, Mirror Dance "Technical Article: My Core Vessel Video." "Installing an Electric Kiln." and Me." GAS News (Glass Art Society), v. 13, no. 5, Batch (Supplement to Glass Craftsman, Glass Craftsman, no. 173, Aug./Sept. 2002, Sept./Oct. 2002, p. 3, ill. no. 172, June/July 2002), v. 1, no. 1, 2002, pp. 23-27, ill. Ancient core vessel technology. pp. 2-4, ill. Author uses a new product in her work. 882 Gloc, Marie. 894 Irwin, Kathryn. 872 Fenton, Dan. "Patrimoine industriel de I'Est mosellan: Les "Fused Glass in Art Zone Windows = Le Verre "Temperature Measurement and Control for Verreries du pays de Bitche." fusionne dans les fenetres d'art zone." Firing Glass: Part 1 Conservation Restauration des Biens Cul- Glass Gazette (Glass Art Association of Glass Art, v. 17, no. 1, Nov./Dec. 2001, turels, no. 15, Sept. 2000, pp. 39-41, ill. Canada), v. 3, no. 48, April 2002, pp. 7-11, ill. pp. 44-47, ill. English and Spanish summaries, p. 39. In English and French. Part 2: v. 17, no. 2, Jan./Feb. 2002, pp. 30-31+. How to find suitable preservation methods. 895 Jarry, Luc and Perrin, Vincent. 883 Gritsch, Rudi. "Le Four Oxygene affiche ses differences = 873 Finn-Conway, Judith. "Kilncarving: Some Notes on a Simple Kiln- Oxygen Furnace Shows Its Differences." "Creating Fused Glass Tiles." forming Technique." Verre, v. 8, no. 2, May 2002, pp. 11-15, ill. Glass Craftsman, no. 174, Oct./Nov. 2002, pp. Tipsheet (Bullseye Glass Co., Portland, OR), English summary, p. 11. 18-21, ill. no. 1, 1993, pp. [1-4], ill. Oxy-combustion technology.

874 Fontaine-Hodiamont, Chantal. 884 Gritsch, Rudi. 896 Johnson, Donna. "Ongeveer driehonderd glasraamfragmenten, "Working with Accessory Glasses: Fused "Christmas Tree Bead: Lampwork Bead." merendeels grisaille geschilderd, gevonden in Patterns Using Frits and Stringers." Lapidary Journal, v. 56, no. 9, Dec. 2002, het vroegere dominikanenklooster (Pand) te Tipsheet (Bullseye Glass Co., Portland, OR), pp. 62-63, ill. Gent, 2de helft 13de - midden 15de eeuw." no. 2, 1993, pp. [1-4], ill. Step-by-step instructions. Bulletin (Institut Royal du Patrimoine Artistique/Koninklijk Instituut voor het Kunst- 897 Juarez, Concha. 885 Gross, Richard. patrimonium), v. 25, 1993, pp. 280-282, ill. "Cuentas de vidrio." "Photographing Stained Glass." Restoration/conservation of medieval stained Cuadernos del Vidrio (Fundacion Centro Na- Stained Glass, irregular series, v. 96, no. 1, glass. cional del Vidrio, Real Fabrica de Cristales de Spring 2002-v. 97, no. 4, Winter 2002. La Granja, Escuela del Vidrio), no. 3, Oct. 2001, pp. 25-26, ill. 875 Fontaine-Hodiamont, Chantal. Includes glass beadmaking tips. "Quatre-vingt-neuf verres tres fragmentaires 886 Halem, Henry. provenant du site de Khirbet Qumran (Cisjor- "The Electric Melt Furnace." danie), ler siecle ap. J.-C." GAS News (Glass Art Society), v. 13, no. 4, 898 Kenny, Megan J. Bulletin (Institut Royal du Patrimoine June/July/Aug. 2002, p. 5. "Simple Solutions: Keeping a Kiln Log." Artistique/Koninklijk Instituut voor het Kunst- Includes element characteristics and basic Glass Gazette, v. 3, no. 47, Feb. 2002, p. 24, patrimonium), v. 25, 1993, pp. 277-280, ill. furnace design. ill. Restoration/conservation of ancient glass. 887 Harvey, Kathleen S. 899 Kervin, Jim. "El vidrio estirado: La tecnica de trabajar con "Setting Up Your Own Glass Beadmaking 876 Frischat, G. H. and others. un soplete = Flameworking: Art Produced at "Mystery of the Libyan Desert Glasses." Studio." the Torch." Batch (Supplement to Glass Craftsman, Physics and Chemistry of Glasses (Society of Vitrix, no. 3, Spring 2002, pp. 38-40, ill. In Glass Technology), v. 42, no. 3, June 2001, no. 172, June/July 2002), v. 1, no. 1, 2002, Spanish and English. pp. 14-16, ill. pp. 179-183, ill. Works by Milon Townsend featured. 900 King, Candice. 877 Frolic, Irene. 888 Helwig, Bill. "Icicles and Stocking Stuffers." "Toiling on the Slopes of the Learning Curve." "'Stone Stories': Insight and Adventure with Glass Line, v. 15, no. 4, Dec. 2001/Jan. 2002, Glass Gazette, v. 3, no. 47, Feb. 2002, p. 33. 533 Liquid Form Enamel." pp. 16-17. Working with wax and molds. Glass on Metal, v. 21, no. 5, Dec. 2002, Flameworking tips. pp. 108-113, ill. 878 Gaillard, Claire. 901 Klopsch, Bill. "Les Colles de I'art." 889 Henderson, J. and Warren, S. E. "Working Large: Tips for Tackling Bigger Verre (Institut du Verre, Paris), v. 8, no. 1, "Analysis of Prehistoric Lead Glass." Windows." March 2002, pp. 37-39, ill. English summary, Proceedings of the 22nd Symposium on Stained Glass News, no. 58, 2002, p. 10, ill. p. 37. Archaeometry, 1983, pp. 168-180. Cold adhesive bonding techniques for glass. Held at the University of Bradford, U.K., 902 Koerber, Jeffrey and Slaton, Deborah. March 30—April 3, 1982. "Surrealist Vision and Cold Reality: Restora­ tion of Marc Chagall's 'Les Quatre Saisons.'" 879 Georges, Antony. APT Bulletin, v. 29, no. 2, 1998, pp. 13-19, ill. "Practical Experience of Screen Printing Di­ 890 Herman, Peter. rectly on Glass with RevTech'organic UV Ink - "A Clear Look at Flat-Glass Screen-Printing Envirogluv™ = Experience pratique de seri- Technology." 903 Kohl, Jesse. graphie directe sur le verre avec I'encre Screen Printing, v. 92, no. 10, Sept. 2002, "Tips and Tricks from Northstar." organique UV Envirogluv™ de RevTech." pp. 44-46+, ill. Glass Line, v. 16, no. 2, Aug./Sept. 2002, Verre (Institut du Verre, Paris), v. 8, no. 1, p. 1+, ill. March 2002, pp. 62-64, ill. French summary, 891 Hosmer, Helen R. Color combinations and overlay. p. 62. "Interview w/Bandhu Scott Dunham." Glass Line, v. 16, no. 1, June/July 2002, p. 7+. 904 Kohl, Jesse. The artist talks about his forthcoming book, 880 Germain-Bonne, Dominique; Burck, "Tips and Tricks from Northstar." Contemporary Lampworking (third ed.). Jean-Jacques; and Geronazzo, Delphine. Glass Line, v. 16, no. 1, June/July 2002, p. 1+. "Les Resines de collage et de comblement Flame setting, striking, and color tips. utilisees en restauration de vitrail = Bonding 892 Howard, Arnold. and Filling Resins Used for Stained Glass "The Biggest Glass Cross in Texas." 905 Komar, Charlene and Storey, Gregory D. Restoration." Batch (Supplement to Glass Craftsman, "Packaging & Shipping Stained Glass: Tough Verre (Institut du Verre, Paris), v. 8, no. 1, no. 174, Oct./Nov. 2002), v. 1, no. 2, 2002, ... but Possible." March 2002, pp. 34-36, ill. English summary, pp. 14-15, ill. Stained Glass, v. 97, no. 2, Summer 2002, p. 34. Description of the project. pp. 112-115+, ill. 906 Kuhnt, Achim. 918 Miller, Arthur. 931 Reynolds, Gil. "Ein altes Handwerk - der Glasblaser." "Introduction to Large Panel Fabrication & "Kiln Crafting: Hot Tips for Fusing and Slump­ Heimatbuch Dubendorf, no. 52, 1998, Installation: Greater Challenges, Greater Re­ ing." pp. 69-80, ill. sponsibilities." Stained Glass News, no. 57, 2002, p. 12, ill. Lampworking techniques. Glass Craftsman, no. 170, Feb./March 2002, p. 14+, ill. 932 Reynolds, Gil. 907 Kupper, H. Tom. "96er Glas (Schluss) = Gil Reynolds System "Conservation of Historic Plain Leaded Lights 919 Munoz, Sergio. 96TM (End)." and Quarried Windows." "Termofundido (Fusing) y Termoformado." Glashaus/Glasshouse (Internationales Maga- Glass Technology, v. 42, no. 3, June 2001, Cuadernos del Vidrio (Fundacion Centra Na- zin fur Studioglas), no. 4, 2002, pp. 20-21, ill. pp. 70-73, ill. cional del Vidrio, Real Fabrica de Cristales de In German and English. La Granja, Escuela del Vidrio), no. 3, Oct. 908 Lee, Judy and Johnson, Darlene. 2001, pp. 23-24, ill. 933 Ricci, Haydee Bello de. "Cones Are Not Just for Ice Cream." "Moldes de arena." Batch (Supplement to Glass Craftsman, 920 Nitchie, Mary Kay. Vitrum (Grupo de Investigacion), no. 1, March no. 174, Oct./Nov. 2002), v. 1, no. 2, 2002, "Designing Your Own Art Glass: An Introduc­ 2002, p. [11], ill. pp. 2-4, ill. tion to Painting with Light." Firing projects. Tipsheet (Bullseye Glass Co., Portland, OR), 934 Rice, Christop. no. 4, 2001, pp. [1-4], ill. "Working inside the Tube: How to Make a 909 Mabie, Janet. Switchback Spiral." "Protecting America's Trove of Stained Glass." 921 Oakley, Victoria. Glass Line, v. 16, no. 2, Aug./Sept. 2002, The Christian Science Monitor, March 7, 1942, "Fighting the Inevitable: The Continuing p. 13+, ill. p. 7+, ill. Search for a Solution to Glass Decay at the includes tips for conservation and restoration V&A." 935 Romero, Marco A. and Gurman, of church windows. Glass Technology, v. 42, no. 3, June 2001, Debora. pp. 65-69. "Vidrio piano en caliente = Warm Glass Tech­ 910 Martlew, David. niques for Float Glass." "The Science of Glass." 922 Padjen, Elizabeth. Vitrix, no. 2, Winter 2001, pp. 30-31, ill. In The Journal of Stained Glass (British Society "Repairing Historic Windows." Spanish and English. of Master Glass Painters), v. 25, 2001, Architecture, v. 84, no. 11, Nov. 1995, pp. 146-154, ill. pp. 151-153, ill. 936 Rossing, Thomas D. Anatomy, strength, and durability of glass. Science of Percussion Instruments. 923 Parker, Rick. Singapore; River Edge, NJ: World Scientific, 911 McCartney, Aron. "Inexpensive Ways to Get Started. [Part 1]." 2000, 208 pp., ill. The Development and Utilization of the Glass Line, v. 16, no. 2, Aug./Sept. 2002, Glass instruments: pp. 182-191. Ceramic Shell Mould Technique and Mould pp. 10-11+, ill. Surface Release Agents in the Design and How to set up a lampworking shop. Part 2: 937 Sherry, Alan. Forming of Small Scale Studio Hot Glass. v 16, no. 3, Oct./Nov. 2002, pp. 16-17+, ill. "A Lead-Free World Is Almost Here: The London: Central Saint Martins College of Art & Latest on the Pending Anti-Lead Legislation." Design, 2001, 226 pp., ill. Glass Craftsman, no. 170, Feb./March 2002, 924 Peterson, Chris. Doctoral thesis. pp. 34-35, ill. "Lead Overlays: Freedom from the Line." Glass Craftsman, no. 173, Aug./Sept. 2002, 912 McGregor, Lani. pp. 6-9, ill. 938 Smircich, James. "The Tale of the Tool." "Raised Combed Bead: Decorative Lamp- The Bullseye Bulletin (Bullseye Glass Co., working Technique." Portland, OR), Winter 2000, pp. 18-19, ill. 925 Petitjean, Anne. Lapidary Journal, v. 56, no. 5, Aug. 2002, Interview with Rudi Gritsch; includes illustra­ "Vitrail contemporain." pp. 54-55, ill. tions and descriptions of tools. Verre Actualites, no. 181, June/July 2002, pp. 26-27, ill. Glass painting techniques. 939 Smith, Sandra. 913 McGregor, Lani. "General Insight into Vessel Glass Conserva­ "Working the Problem: Ray Ahlgren's Fusing tion and Its Ethics." 'Air-robics.'" 926 Pollak, Michael. Glass Technology, v. 42, no. 3, June 2001, Glass Craftsman, no. 172, June/July 2002, "Glass, Wet Fingers and a Mysterious Dis­ pp. 63-64. pp. 48-51, ill. appearance." Glass Music World, Spring 2002, p. 5+, ill. Firing large stacks of sheet glass. 940 Stokes, Will. Glass harmonica maker Gerhard Finken- Thompson, Sharon Elaine. beiner. 914 Merker, Gemot H. "Glass Flowers: Lampworked Components for Silbergalvano: Ein Glas der Josephinenhutte. Beads, Buttons or Pendants." Germany: the author, 1991, 5 leaves, ill. 927 Powning, Peter. Lapidary Journal, v. 55, no. 11, Feb. 2002, Paper presented on silvering of glass at meet­ "Casting About for Answers." pp. 44-47, ill. ing of Deutsche Glastechnische Gesellschaft Glass Gazette, v. 3, no. 47, Feb. 2002, Step-by-step instructions. in Dresden, September 27, 1991. pp. 22-23, ill. 941 Stone, Sheena. 915 Millard, Dick. 928 Powning, Peter. "Cosmetics and Perfume Bottles: Making "Glass Class - Reinforcement, Part 2." "Outdoor Sculpture." Scents of It All." Common Ground: Glass (Newsletter of the Glass Gazette (Glass Art Association of Glass, Monthly Journal of the European Glass International Guild of Glass Artists), v. 9, no. 3, Canada), v. 3, no. 49, July 2002, p. 25, ill. Industry, v. 79, no. 7, Aug. 2002, p. 269, ill. Summer 2002, pp. 12-13, ill. Practical tips from the artist. Production process of perfume bottles. Guidelines for structure and reinforcement of leaded glass. 929 Prokop, Diane. 942 Sullivan, C.C. "Pam Dugger's Fish Bead: Lampwork Bead." "Hearth and Cone." 916 Millard, Richard. Lapidary Journal, v. 56, no. 8, Nov. 2002, Architecture, v. 91, no. 8, Aug. 2002, "Glass Class - Reinforcement." pp. 40-43, ill. pp. 89-91, ill. Common Ground: Glass (Newsletter of the Step-by-step instructions. Technical specifications for Tacoma's new International Guild of Glass Artists), Spring Museum of Glass. 2002, pp. 6-7, ill. 930 Rasmussen, Margaret. "Glass Art Reflects the Future." 943 Thompson, Sharon Elaine. 917 Miller, Arthur. American Ceramic Society Bulletin, v. 81, "Cathedral Colors." "Installing Your Masterpiece: The Final Touch." no. 9, Sept. 2002, pp. 30-32, ill. Lapidary Journal, v. 56, no. 9, Dec. 2002, Glass Craftsman, no. 173, Aug./Sept. 2002, Exhibition of works incorporating scientific pp. 22-27, ill. pp. 16-19, ill. principles. Plique-a-jour enameling technique. 944 Thorkelsson, lone. 952 Vogt, Lisa. 960 Woolley, Frank and Gudenrath, William. "Free-Form Glass Casting." "Kiln Formed Glass as Art and as Accent." "The Dominick Labino Lecture: Technology Glass Gazette, v. 3, no. 47, Feb. 2002, Glass Art, v. 18, no. 1, Nov./Dec. 2002, Helping Art: Making Glass the Way It Wants to pp. 7-8, ill. pp. 32-35, ill. Be Made." Glass fusing techniques used by the author. The Glass Art Society Journal, 2001, 945 Townsend, Milon. pp. 78-84, ill. "Advanced Flameworking Volume I." 953 Vogt, Lisa. Common Ground: Glass (Newsletter of the "Red Hot! Kiln Comparison." 961 Young, Butch. International Guild of Glass Artists), Spring Batch (Supplement to Glass Craftsman, "Adding Character and Personality to Your 2002, pp. 9-10, ill. no. 172, June/July 2002), v. 1, no. 1, 2002, Blanks." Excerpt from book with the same title. pp. 8-10, ill. A&E (The Magazine for Awards & Engraving Professionals), v. 14, no. 10, Dec. 2001, 946 Townsend, Milon. 954 Waggoner, Shawn. p. 26+, ill. "Flameworking with Teamwork, Technology, "The Fusion of Brock Craig and Avery Ander­ Glass cutting tips. and Scale." son: Collaborative Workshops Inspired by In­ The Glass Art Society Journal, 2001, dividual Works." 962 Young, Butch. pp. 98-100, ill. Glass Art, v. 17, no. 3, March/April 2002, "The Old Dog Still Learning New Tricks." pp. 52-54+, ill. Glass Art, v. 17, no. 5, July/Aug. 2002, 947 Townsend, Milon. pp. 18-22+, ill. "Hands." 955 Wardell, Randy. Glass carving techniques. Glass Art, v. 17, no. 3, March/April 2002, "Working with Stained Glass: Hints & Tips for pp. 32-33+, ill. Hobbyists." 963 Young, Butch. Step-by-step instructions for flameworking. Stained Glass News, no. 57, 2002, p. 8. "The Sandwitch Just Got Sandier, or a Tale of Tips on set-up and adjustments. Two Students.'" 948 Trudel-Marion, Nicole. Glass Art, v. 18, no. 1, Nov./Dec. 2002, "Fun with Glass = La Fusion du verre, tout un pp. 22-26+, ill. 956 Watkins, Eileen. plaisir!" Includes details of several of the students' "Taking the Best Approach: Jewelry, Wrapped Glass Gazette (Glass Art Association of projects. Canada), v. 3, no. 48, April 2002, pp. 12-14, to Go!" Glass Craftsman, no. 172, June/July 2002, ill. In English and French. 964 Young, Butch and Long, Rita. Fusing and other techniques. pp. 24-28, ill. Includes step-by-step instructions. "Have Nozzle, Will Travel." Glass Art, v. 17, no. 3, March/April 2002, 949 Vanderlaan, Pete. pp. 48-51, ill. "Reviewing the Choices: Choosing the Right 957 Weiner, Kay Bain. Tips for glass carving project. Furnace Design for You." "Cast Away: Making Molds to Cast Solder." Glass Craftsman, no. 173, Aug./Sept. 2002, GAS News (Glass Art Society), v. 13, no. 2, 965 Zumwalt, Jeff. pp. 10-15, ill. March 2002, pp. 6-7. "Stained Glass Painting 101: An Overview and Primer for the Uninitiated." 950 Vogt, Lisa. 958 Weiner, Kay Bain. Glass Craftsman, no. 174, Oct./Nov. 2002, "Engineering Artistry: Making Music with "Solder Sculpting and Beyond..." pp. 24-27, ill. Glass ... Harmony." Glass Craftsman, no. 172, June/July 2002, Basic techniques, materials, and tools. Glass Craftsman, no. 170, Feb./March 2002, pp. 30-31+, ill. pp. 57-58+, ill. 959 Wheeler, William J. 951 Vogt, Lisa. "Trash to Treasure." "Glass Fusing: It's Hot, It's Now!" Fusion (Journal of the American Scientific Glass Craftsman, no. 172, June/July 2002, Glassblowers Society), v. 49, no. 4, Nov. pp. 60-62, ill. 2002, pp. 37-39+, ill. Specially formulated fusing products. Tips for converting bottles into usable glasses.

FILMS AND VIDEOTAPES/FILME UND VIDEOKASSETTEN

966 Advanced Glass Blowing, Volume II. 969 Beyond Lighting 2000. 972 The Corning Museum of Glass Guides' Humboldt Films, 2000. Schonbek, 2000. Training Series 2002. 90 min., sound, color. 16 min., sound, color. Tape 2: Magic of the Lamp. "Learn how to make inside/out glass, ham­ This video tells the story of Schonbek crystal The Corning Museum of Glass, 2002. mers, sidecars, bubblers, and water pipes, as chandeliers, from the forests of Bohemia in 60? min., sound, color. well as techniques such as millefiori and pull­ 1870 to the ballrooms of Versailles to the fac­ Review of the exhibition of lampworked ob­ ing filigranas." tories of the New World. It presents Schonbek jects at the museum. designs from the classic to the contemporary. 967 [Alessandro Moretti at Work]. 970 Blenko Retro: Three Designers of 973 The Corning Museum of Glass Guides' [S.n., 1990]. American Glass. Training Series 2002. 75 min., silent, color. Witek & Novak, 2001. Tape 4: Studio Glass. Moretti is shown working at Pilgrim Glass 60 min., sound, color. The Corning Museum of Glass, 2002. Company. Techniques include blowing, The people and the ideas behind glass pro­ 60? min., sound, color. gathering, marvering, using an optic mold and duced by Blenko after World War II. Twentieth-century glass in the museum. punty, and heat polishing. 971 [Chihuly—Jerusalem]. 968 Answers, Ideas and Troubleshooting [Northwest Recording Company?, n.d., 974 The Corning Museum of Glass Guides' Kiln Fired Glass. 1999-2000]. Training Series 2002. Dragon Glass, 2001. 18 min., sound, color. Tape 5: Sculpture Gallery. 2 videocassettes, sound, color. Preparations for the installations of several The Corning Museum of Glass, 2002. Includes detailed firing programs for various Chihuly sculptures in Jerusalem in 2000. Also 60? min., sound, color. types of glass, as well as advice on the use of shows a Hebron glassmaking studio, which An introduction to the museum's Sculpture pottery kilns for glassworking. makes blue vials and spheres for Chihuly. Gallery. 975 The Corning Museum of Glass Guides' 985 Crystal Arch Video Clips. 998 Intermediate Beadmaking: Pattern Training Series 2002. Covenant Productions, [n.d., 2000?]. Cane from Optic Molds. Tape 6: Everything You Need to Know about 9 min., sound, color. Kate Fowle Meleney, 2001. Glass. Includes interviews with Jason Knapp and 70 min., sound, color. The Corning Museum of Glass, 2002. Arlon Bayliss, production of the colored The artist uses star, heart, and several saw­ 60? min., sound, color. crystals by students at Anderson University, tooth molds to produce canes, then shows Adam Ellison, a scientist at Corning Incor­ and testing in a wind tunnel. two ways to apply them to beads. porated, discusses properties, characteristics, chemistry, structure, and the making of glass. 986 Dudley Giberson's Core Vessel Video 999 Intermediate Beadmaking: The Bells Presented to the 2001 GAS Conference, and Whistles. Corning, New York, June 15, 2001. Kate Fowle Meleney, 2001. 976 The Corning Museum of Glass Recent Joppa Glassworks, 2001. 70 min., sound, color. Acquisitions. 1 videocassette, sound, color. How to pull aventurine rods and stringers; The Corning Museum of Glass, 2002. how to make and apply encased twisted 65 min., sound, color. canes. Includes two Chinese reverse paintings on 987 Emile Galle: Art, Industry, Justice. glass, American cut glass, late 19th-century Distributed by ARTIS, 1999. Art Glass, and late 20th-century studio glass. 65 min., sound, color. 1000 The Jimmy & Rosalyn Carter Award Discusses the artist's involvement in social Video, 4/16/97. and political issues, as well as his writings, [S.n., 1997]. 977 The Corning Museum of Glass 2002 casting a new light on his compositions in 4 min., sound, color. Seminar. glass and wood. The Carters received the first Award for Tape 5: Iridescent Art Glass: Historical and Humanitarian Contributions to Mankind, Scientific Perspectives. 988 Enamel Bead Making with Pam East. established by the National Foundation for The Corning Museum of Glass, 2002. Pamela R. East, 2000. Infectious Diseases. Includes views of the 60? min., sound, color. 30 min., sound, color. Carters' volunteer activities and the making of Pam East, a beadmaker, presents step-by- the Steuben object that was given as the step instructions concerning what to buy, how award. 978 The Corning Museum of Glass 2002 to follow safety precautions, beadmaking, and Seminar. application of a glass powder to a copper 1001 Jose Chardiet: Sand Casting, Glass Tape 7: Designing the Avant-Garde: Czech foundation. Blowing. Glass, 1900-1970. Franklin Mills Press, 2001?. The Corning Museum of Glass, 2002. 45 min., sound, color. 60? min., sound, color. 989 Experience Fenton Handcrafted Glass Artistry Since 1905. Workshop on glass casting at Kent State Uni­ Fenton Art Glass Co., 2001. versity in 1992. Includes blown glass objects 979 The Corning Museum of Glass 2002 23 min., sound, color. by the artist. Seminar. Tape 8: Czech Glass: A New Beginning. 990 Extraordinary Celebrations. 1002 The Legacy of Glass. The Corning Museum of Glass, 2002. [S.nJ, [1997?]. WGTE-TV, 2000. 60? min., sound, color. 5 min., silent, color. 51 min., sound, color. Photos of presentations of Steuben to various History of the Studio Glass movement, be­ public figures from 1950 to 1997. ginning with leaders Littleton and Labino. In­ 980 The Corning Museum of Glass 2002 cludes profiles of three contemporary artists: Seminar. Baker O'Brien, Shawn Messenger, and Mark 991 Georg Michael Gausling Spuren in Tape 9: Curator's Choice, The Rakow Com­ Matthews. mission. Glas. The Corning Museum of Glass, 2002. Friedhelm Sonderhoff, 2001. 15? min., sound, color. 1003 Light and Space Art by Ray Howlett. 90? min., sound, color. [S.n., 1996?]. Part 1: David Whitehouse, Jutta Page, Jane 18 min., sound, color. 992 Glass, a Material for Artists. Spillman, and Tina Oldknow on research and The artist assembles interpyramid sculptures, Keating Productions, 2001. objects at The Corning Museum of Glass. which he calls "a structural art form using light 13 min., sound, color. Part 2: Rakow Commission presentation by and glass." Jill Reynolds. Introduction to glass terms and techniques, in­ cluding stained glass, fusing, blowing, casting, and flameworking. Video cover contains a 1004 Luminous Impressions Vitreographs: 981 The Corning Museum of Glass 2002 glossary of glass terms. Printing from Glass Plates. Seminar. Stuart Grasberg, 1997. 25 min., sound, color. Tape 10: Czech Glass after 1970. 993 Glass Sculpture: Raquel Stolarski- The process of vitreography is described by The Corning Museum of Glass, 2002. Assael. Harvey Littleton, Sandy Wilcox, Judith 60? min., sound, color. [S.n.], 200?. O'Rourke, and others. Includes brief state­ 1 videocassette, sound, color. ments from the artists Laura Grosch, John 982 Creating Your Own Patterns from Indi­ Thein, Dan Welden, Claire Van Vliet, and vidual Elements. 994 Glass, the Perfect Dance. Herb Jackson. Hot Flash Glass Studio, 200?. [S.n.], 2002. 6 min., sound, color. 1 videocassette, sound, color. 1005 The Master Class Series, Volume 5: Builds on skills taught in Creative Surface Cesare Toffolo. Etching, incorporating many elements to 995 Harvey K. Littleton from Artseen! The Studio of The Corning Museum of Glass, create entire scenes. [S.n.], 1997. 2002. 9 min., sound, color. 30? min., sound, color. The artist discusses his creation of multiple 983 Creative Surface Etching. The artist makes a simple footed bowl and an overlays of concentric parabolas that are intricate goblet. He also hosts a brief tour of Hot Flash Glass Studio, 200?. stretched and shaped. 1 videocassette, sound, color. flameworked objects in the museum's collec­ "Includes the four elements of surface etching: tion, and discusses his philosophy of teach­ 996 Helga Seimel: Glass Beadmaking. levels, solid frosting, shading, and clear." ing, learning, and creating. [S.n.], 1996. 1 videocassette, sound, color. 1006 Modern Marvels Then & Now: History 984 The Crystal Arch Project: Arlon Bayliss The artist is shown making glass beads in the of Glassmaking. & Jason Knapp. traditional Bohemian way. History Channel?, 2001. Arlon Bayliss, 2002?. 50 min., sound, color. 11 min., sound, color. 997 The History of the Glass Works Olovi. Topics include fiber optics, properties of glass, An arch with 360 crystals (L. 36 feet, H. 15 [S.n.], 2000. the beginning of glassblowing, flat glass, feet) on a plaza in Anderson, Indiana. 13 min., sound, color. lenses, and 20th-century glass production. 1007 Muran e i so lavori. 1012 Secrets to Making Hand Blown Water 1016 [Steuben: Harry Phillips]. Nane Ferro, [n.d., 196?]. Pipes. [Turner Broadcasting, 1988]. 110 min., sound, color. Humboldt Films, 2000. 8 min., sound, color. Features Italian glassblowers. 90 min., sound, color. Hal Holbrook narrates a presentation about "Advanced techniques for pulling filigranas, the Steuben gaffer Harry Phillips and the de­ 1008 The Restoration: Kneeling Angel with working with dichroic, and crafting double- signer David Dowler. Phillips is shown making Cherubim. walled pull bowls." Techniques include twisting the Cloud Bowl, then a design by Dowler. Hal Kirn and Portia Productions, 2000. cane, making tubes, and silvering. 50 min., sound, color. 1017 Tanja Pak: Searchings. Tiffany's Kneeling Angel with Cherubim win­ 10? min., sound, color. dow was installed at the First Unitarian 1013 Secrets to Making Sherlocks, Volume 1. Glass artist's work. Church of Philadelphia in 1887. This video Humboldt Films, 2001. documents the restoration work done by Art 60 min., sound, color. Femenella, Kathy Jordan, George Kreier, and How to create a two-piece bubbler Sherlock 1018 [Toshiko Kubota] on NHK (Japan Vern Knapp. It includes commentaries by all water pipe. Includes how to pull color, drill Broadcasting Corporation). four restorers. pulled filigranas (using a cordless drill), and NHK, 1999. making a chalice. 1 videocassette, sound, color. 1009 Secrets to Making Glass Jars, Volume I. The artist makes fused lamps, objects, and Humboldt Films, 2000. panels for buildings. 60 min., sound, color. New techniques for "pulling filigranas, ribbon 1014 Secrets to Making Sherlocks, Volume 2. 1019 Where the Earth Meets the Sky: The filigranas, and color." Humboldt Films, 2001. 90 min., sound, color. Glassworks of Josh Simpson. WGBY, 2001. 1010 Secrets to Making Glass Jars, Volume II. "New techniques for pulling dicro cane and 38 min., sound, color. Humboldt Films, 2000. color. Step-by-step making of a five-piece op­ Explores the world and work of the glass artist 60 min., sound, color. posing spiral Sherlock, using purple dichroic Josh Simpson, who creates one of his "Mega- "Covers more on sculpturing and forming of glass, mallard, and cobalt blue." Includes worlds" and shows some of his other work. the base, body, and rim." montage spirals (switchbacks), preparation work, points, stringers, and silvering. 1011 Secrets to Making Glass Pipes, 1020 World on a String. Volume I. Zepra International, 2000. Humboldt Films, 2000. 1015 Secrets to Making Wine Goblets, 23 min., sound, color. 50 min., sound, color. Volume 1. The title refers to the universality of beads in Basics of blowing and forming borosilicate Humboldt Films, 2000. all cultures and religions. Beads in the follow­ glass spoon pipe, using silvering, color appli­ 55 min., sound, color. ing religions and regions are included in this cation, punties, and pulling. Includes safety A goblet in three parts is made by pulling brief documentary: Buddhism, Hinduism, tips (ventilation, oxygen storage), torches, points, making filigranas, casing, and silver­ Nepal, Egypt, Venice, Africa, and contempo­ kilns, and tools. ing. rary Japan.

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 24. The num­ Sachregister zur „Bibliographie" der New oder Orte behandelt werden. bers following the names below are Glass Review 24. 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

Aitken-Kuhnen, Helen, 332 Bremers, Peter, 199 D'Orazio, Paolo, 788 Alt, Otmar, 572 Britz, Nelius, 377 Ehrner, Anna, 293 Amsel, Galia, 603 Brozen, Olle, 293 Eisch, Erwin, 254, 456 Appalachian Center for Crafts, 653 Brychtova, Jaroslava, 489 Eliasson, Olafur, 466 Babied, Emmanuel, 287 Bubacco, Lucio, 164 Engman, Kjell, 293 Backstrom, Monica, 293 Cadamuro, Alessandro, 526 Escuela de Artesanias del I. N. B. A, 32 Baldwin, Philip/Guggisberg, Monica, 535 Carlson, William, 657 Fagiolo, Dario, 59 Bamping, Julian, 83 Carther, Warren, 718 Felix, Hanneke, 509 Baquere, Jean-Pierre, 160 Chagall, Marc, 665, 745 Fisar, Jan, 406 Beleschenko, Alexander, 733 Chiarizia, Victor, 449 Fowler, Suellen, 859 Ben Tre, Howard, 581 Chihuly, Dale, 41, 292, 363, 453, 621 Franck, Kaj, 257 Bennett, David, 402 Costantini, Vittorio, 585 Fuga, Anzolo, 434 Berting, Jacqueline, 13 Couig, William, 85 Fuller, Steven, 382 Bettison, Giles, 450 Crichton, Daniel, 297 Giesecke, Thomasine, 285 Borowski, Stanislaw, 187 Dailey, Dan, 280 Glass Art Society, 36, 95, 176 Brady, Lee, 190 Diaz de Santillana, Alessandro, 383 Glass Furnace, 815 Bray, Charles, 460 Di Fiore, Miriam, 612 Goodman, Jeff, 467 Gritsch, Rudi, 374, 375 Matous, Jaroslav, 405 School of Art and Design (University of Wol­ verhampton), 288 Grubb, Randall, 24 McElheny, Josiah, 591, 592 Hall, Brian, 142 Meitner, Richard, 365, 452, 547 Schroer, Ruth, 651 Hall, Sarah, 746, 750 Meyer, Sue, 377 Shaffer, Mary, 461, 464 Harcuba, Jiff, 371 Moje-Wohlgemuth, Isgard, 519 Sheridan College (Ontario, Canada), 91 Haufschild, Lutz, 635 Moosbrugger, Eva, 347 Sibony, Anne-Lise Riond, 601 Hayward, John, 754, 796 Moro, Liliana, 502 Singletary, Preston, 647 Healey, John, 435 Mount, Nick, 214, 335 Sipek, Borek, 156 Higuchi, Kimiake, 615 Mowbray, Ian, 212 Sonnier, Keith, 133 Higuchi, Shinichi, 615 Munsen, Mel, 470 Sottsass, Ettore, 11, 168, 499 Hirst, Brian, 368 Museum of Glass (Tacoma, WA), 177 Stadus, Pamela, 659 Holler, Franz X., 457 Nishi, Etsuko, 241, 387 Stankard, Paul, 390 Horn, Roni, 216 Nurminen, Kerttu, 48, 416 Straffi, Luigi, 59 Hundstorfer, Helmut, 308 Ohira, Yoichi, 420, 430 Tada, Erika, 638 Huth, Ursula, 173 Oliva, Ladislav, 412 Tagliapietra, Lino, 270 Hydman-Vallien, Ulrica, 293, 319 Pablos, Carlos Munoz de, 693 Takenouchi, Naoko, 588 Jankovcova, Antonie, 413 Palova, Zora, 150, 536 Taylor, Delores, 630 Jankovcova, Jan, 413 Patti, Tom, 217 Thiel, Ana, 2 Jones, Graham, 797 Peiser, Mark, 120 Thorkelsson, lone, 944 Jonker, Menno, 198 Pels, Marsha, 565 Toikka, Oiva, 416 King, Gerry, 195 Penland School of Crafts, 251 Toso, Gianni, 618 King, Ray, 759 Perrin, Jacki, 81, 88, 165 Townsend, Milon, 596, 946 Klos, Joachim, 787 Perrin, Martine, 81, 88, 165 Tsai, l-jen, 70 Koskinen, Harri, 229 Pilon, Carole, 237 UrbanGlass, 353 Koss, Gene, 312 Vallien, Bertil, 293, 317, 319 Kruck, Thomas, 341 Pismo Galleries, 562 Vanderstukken, Koen, 196 Kruse, Jan Lambert, 327 Platek, Vaclav, 568 Velasquez, William, 172 LaMonte, Karen, 428, 633 Poilprez, Isabelle, 601 Wahlstrom, Ann, 293, 316 Layton, Peter, 166, 397 Powell, Stephen, 440 Leibovitz, Edward, 187 Powning, Peter, 927 Water, Hein van de, 570 Lemieux, Lisette, 422 Prest, Cedar, 798 Webb, Christopher, 782 Leperlier, Etienne, 35, 158, 305 Rage, Jose Antonio, 763 Weiss, Dick, 794, 795 Lesjak, Darko, 747 Reekie, David, 648 Werner, Pavel, 414 Libensky, Stanislav, 144, 177, 339, 415, 489, Ribka, Gerhard, 38 Wilkin, Neil, 521 498, 505 Ries, Christopher, 654 William Traver Gallery, 563 Libensky, Stanislav/Brychtova, Jaroslava, 51, Riezebos, Carina, 508 Wilmarth, Christopher, 656 385, 445 Robertson, Donald, 245 Wirkkala, Tapio, 234 Lieberman, Walter, 795 Wit, John de, 161 Lin, Maya, 203 Rozsypal, Ivo, 400 Woffenden, Emma, 503 Lipofsky, Marvin, 372 Ruffner, Ginny, 484 Lith, Jean-Paul van, 571 Ryotte, Rick, 249 Wolff, Ann, 478 Loire, Jacques, 780 Santillana, Laura de, 57, 162 Yasue, Maetake, 362 Loo, Bert van, 394 Sarpaneva, Timo, 610 Zbynovsky, Vladimir, 263 Lugossy, Maria, 129, 396 Scanga, Italo, 632 Zemek, Frantisek, 329 Lycees Jean Monnet, 536 Schagemann, Bernhard, 455 Zijst, Sunny van, 147 Lynggaard, Finn, 550 Scheiner, Michael, 418 Zimmermann, Jorg F., 599 Marquis, Richard, 608 Schmidt, Christian, 376 Zoritchak, Yan, 264 Martel, Jean-Paul, 444 School for American Crafts, 361 Zynsky, Toots, 395 EINLADUNG / INVITATION /INVITATION ZUM/TO/AU CORNING MUSEUM OF GLASS WETTBEWERB/COMPETITION/CONCOURS New G lass Review 25 in NEUES GLAS / NEW GLASS

Jedes Jahr veranstaltet das Corning Museum Each year, The Corning Museum of Glass, Chaque annee, le Corning Museum of Glass, of Glass, N.Y./USA, einen internationalen Wett- New York, U.S.A., conducts a worldwide com­ N.Y./U.S.A., organise un concours international bewerb, um 100 Dias von innovativen Glasar- petition to select 100 slides of innovative works afin de choisir 100 diapositives d'innovations beiten auszuwahlen. in glass. The selection is made by an inter­ d'ourvrage en verre. Un jury international se Eine internationale Jury trifft die Auswahl. Die national jury. The 100 works chosen will be preoccupe de la choix. Les 100 ouvrages choi- 100 ausgewahlten Arbeiten werden im Fruh- published in the magazine NEUES GLAS/ sis seront publies dans la revue NEUES jahr 2004 in der Zeitschrift NEUES GLAS/NEW NEW GLASS in Spring 2004. All participants GLAS/NEW GLASS en printemps 2004. Tous les participants recevront un exemplaire (Au GLASS veroffentlicht. Alle Teilnehmer erhalten will receive a copy. (If you do not receive your cas ou vous n'auriez pas regu un exemplaire, ein Exemplar. (Falls Sie kein Exemplar erhal­ copy, please write directly to: NEUES GLAS/ ecrivez directement a NEUES GLAS/NEW ten, schreiben Sie direkt an NEUES GLAS/ NEW GLASS, Ritterbach Verlag GmbH, GLASS, Ritterbach Verlag GmbH, Rudolf-Die- NEW GLASS, Ritterbach Verlag GmbH, Ru- Rudolf-Diesel-StraBe 5-7, 50226 Frechen, Germany.) sel-StraBe 5-7, 50226 Frechen, Allemagne). dolf-Diesel-StraBe 5-7, 50226 Frechen.) Participants: Tous les createurs et firmes Participants: All artists and companies, from Teilnehmer: Alle Glasgestalter sowie Firmen dans le monde entier se preoccupant du verre. all over the world, making glass objects. aus aller Welt. Objets: Ne sont admises que les oeuvres qui Objekte: Zugelassen sind nur Arbeiten, die Objects: Only works which have been sont ete congues et realisees entre le 1er Oc- zwischen dem 1. Oktober 2002 und dem designed and made between October 1, 2002, tobre 2002 et le 1er Octobre 2003. 1. Oktober 2003 entworfen und gemacht wor- and October 1, 2003, are eligible. Admission: On pourra presenter des reci­ den sind. Permitted entries: Vessels, objects, environ­ pients, des objets, des environnements, des Zulassung: Eingereicht werden konnen Ge- ments, glass pictures, glass windows, architec­ Images en verre, des vitraux, des verres refees faBe, Objekte, Environments, Glasbilder, Glas- ture-related glass, and glass designs may be a I'architecture, ainsi que des dessins en verre. fenster und architekturbezogenes Glas sowie submitted. All works should be of excellent Tous les ouvrages devralent representer un Glas-Design. Alle Arbeiten sollten unter jedem standard from every point of view - function, standard excellent de tous les points de vue, Gesichtspunkt - Funktion, Asthetik und Tech- aesthetics, and technique. soit de la fonction, de I'esthetique et de la nik - einen exzellenten Standard aufweisen. Conditions: Participants must complete the technique. Conditions: Les participants devront remplir Bedingungen: Teilnehmer mussen das nach- attached entrance form in full and enclose a le formulaire d'ouverture suivant a la presente folgende Ausschreibungsformular in alien total of 3 color slides illustrating one work or sur tous les points et y annexer max. 3 diapo­ Punkten ausfullen, max. 3 Farbdias beifugen, design series. The size of the slides should be sitives en couleur presentant un ouvrage ou die eine Arbeit oder eine Designserie enthal- 35 mm, 5,1 x 5,1 cm. The slides must be la­ une serie de dessins. Les diapositives auront ten. Die Dias sollen eine GroBe von 35 mm, beled with an identification number and the une dimension de 35 mm, 5,1 x 5,1 cm. lis se­ 5,1 x 5,1 cm haben. Die Dias mussen einen title of the piece, and must also indicate "top" ront munles d'une etiquette adhesive portant Aufkleber mit einer Identifikations-Nr. und den and "bottom" of object. The quality of the re­ un numero d'identification et le titre, ainsi que Titel tragen sowie die Angabe „oben" und „un- productions in the magazine NEUES GLAS/ NEW GLASS depends on the quality of the I'indication «en haut» et «en bas». La qualite ten" enthalten. Die Qualitat der Abbildungen in des reproductions dans la revue NEUES GLAS/ slides. All slides become the property of The der Zeitschrift NEUES GLAS/NEW GLASS NEW GLASS depend de la qualite des diaposi­ Corning Museum of Glass. They will be added hangt von der Qualitat der Dias ab. Alle Dias tives. Toutes les diapositives seront la propriete to the world's largest slide collection, which is werden Eigentum des Corning Museums of du Corning Museum of Glass. Elles trouveront made available to any interested person, stu­ Glass. Sie werden in die weltgroBte Dia- un bon accuell a la plus grande collection du dents, dealers, collectors, and artists in glass. Sammlung aufgenommen, die alien Interes- monde qui est a disposition de tous les interes- senten, Studenten, Handlern, Sammlern, Glas- Fee: US $15. Payment may be made by Unit­ ses, les etudiants, les marchands, les collec- gestaltern zur Verfugung steht. ed States check (foreign checks will not be ac­ tionneurs et les createurs d'buvrages en verre. Gebiihr: 15 US-$. Zahlungen konnen in U.S. cepted), United States Postal Money Order, or Droit: US $ 15. Le paiement peut etre effectue Schecks erfolgen (Auslandsschecks werden credit card (Visa, MasterCard, American Ex­ par cheque-U.S., (Les cheques etrangers ne nicht akzeptiert.), per U.S. Postanweisungen press, or Discover). seront pas acceptes) par mandat postal U.S., oder Kreditkarte (Visa, MasterCard, American Closing date: All entries must be postmarked ou par carte de credit (Visa, MasterCard, Express oder Discover). not later than October 15, 2003, and ad­ American Express ou Discover). Termin: bis spatestens 15. Oktober 2003 dressed to: Detals: Au plus tard jusqu'au 15. Octobre 2003 (Poststempel). Unterlagen an: (Timbre de la poste). Envoyez le materiel justi- vicatif a:

NewGlass Review, Curatorial Department, The Corning Museum of Glass, One Museum Way, Corning, New York 14830-2253, USA, URL: http://www.cmog.org ANMELDUNG/APPLICATION/DECLARATION Deadline: October 15, 2003 Name/Nom • Frau/Ms./Madame • Herr/Mr./Monsieur

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

Adresse/Ad dress (Please feel free to include your e-mail and/or web address.)

Telephone Nationalitat/Nationality/Nationalite

Bitte nur 35-mm-Dias einreichen (ohne Glasrahmen). nioc/Qlirloc/nianncitiimc Please submit 35 mm slides only (no glass mounts). Ulclo/OIIU6o/L/lapOolII VCo Priere de presenter des diapositives de 35 mm seulement (pas encadrees de verre). Titel/Title/Titre Technik/Technique-Mat./medium MalBe/Dimensions/Mesures Hohe/Height/ Breite/Width/ Tiefe/Depth/ 1. Hauteur Largeur Profondeur

cm cm cm 2.

cm cm cm 3.

cm cm cm

Ich bestatige, dass ich die oben beschriebene(n) Ar- I certify that I designed •/made • (check one or Je certifie que j'ai dessine •/execute • la ou les beit(en) zwischen dem 1. Oktober 2002 und dem both) the work(s) described above between October 1, oeuvres (marquez d'une croix un ou les deux) qui est 1. Oktober 2003 entworfen •/gestaltet• (eins oder 2002, and October 1, 2003. I understand that my (sont) descrit(s) ci-dessus, entre le 1er Octobre 2002 beides ankreuzen) habe. Ich bin damit einverstanden, entry cannot be considered if it is postmarked after et le 1er Octobre 2003. J'approuve que ma sollici- dass meine Bewerbung nicht berucksichtigt werden the October 15, 2003, deadline and that the U.S. tation ne sera pas consideree si elle est obliteree kann, wenn sie nach dem 15. Oktober 2003, Bewer- Copyright Act, effective January 1, 1978, requires that apres le 15e octobre 2003 - fin de solicitation - et bungsschluss, abgestempelt ist, und dass es die U.S. I sign this document to permit The Corning Museum j'approuve que le decret de l'U.S. copyright, valide Copyright-Bestimmung, gultig seit 1. Januar 1978, of Glass to reproduce in any form slides of my objects depuls le 1er janviers 1978, exige que je signe le erforderlich macht, dass ich dieses Formular unter- submitted for New Glass Review 25, and to sell those formulaire afin que The Corning Museum of Glass schreibe, damit The Corning Museum of Glass in reproductions in any form on the Museum's behalf puisse reproduire les diapositives de mes ouvrages jeder Form Dias mit meinen Arbeiten, die ich fur New and without compensation to me. This permission is que j'ai remises pour New Glass Review 25 en tout Glass Review 25 eingereicht habe, reproduzieren und granted on a nonexclusive basis to protect the artist's genre et que le musee puisse les vendre en chaque in jeglicher Form und ohne Vergutung an mich fur das right of use. I also understand that all slides submitted fagon et sans compensation a moi. Cette autorisation Museum verkaufen kann. Diese Genehmigung wird become the property of The Corning Museum of est donnee sur une base non-exclusive pour proteger nicht uneingeschrankt erteilt, um die Nutzungsrechte Glass. les droits de joussance de la part de I'artiste. J'ap­ des Kunstlers zu schutzen. Ich bin weiterhin damit prouve aussi que toutes les diapositives soumises einverstanden, dass alle eingereichten Dias in den seront la propriete du Corning Museum of Glass. Besitz des Corning Museum of Glass ubergehen.

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

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