Collecting Contemporary Glass

The Heineman Collection at the The Corning Museum of Glass in Corning, New York, is one of the largest collections of studio glass sculptures and vessels in the United States. Given to The Corning in 2006, this is the first publication documenting this vast new addition to the Museum's collections. The Collection reflects historical developments in the field of contemporary studio glass, and it explores the broad themes of abstraction and material. SELLING POINTS: *Reflecting a deep respect for, and commitment to, artists and their work, the Heineman Collection demonstrates the versatility of one material -- glass -- in exploring and expressing a wide range of ideas in art * The collection includes 240 objects, dating from 1969 to 2005, by 87 artists from the United States, Europe, Australia, and Japan 529 colour & 116b/w illustrations

Presents an illustrated overview of contemporary studio-glass. Full-color reproductions of works by noted American artists and distinguished European artists are accompanied by detailed discussions of each artist's career and glassforming techniques.

They’re the very best in contemporary glass beadmaking, 1000 dazzling and unique examples by an international array of artists. This color survey has it all: the beads come single or in multiples, in jewelry or sculptural pieces, flameworked and kilnformed; and their diversity and beauty are amazing. Julia Skop’s intriguing Secret Surprise showcases clear glass beads with millefiori slices at the ends. Bruce St. John crafts his beads out of diachroic glass, then fuses and coldworks them at the lapidary well after completion. Nebula Black Necklace, from Rene Roberts, features an organic-looking focal bead adorned with fine metal leaf, glass shards, and a subtle dot decoration. An artist’s comment and detail image accompany many of the photos. A Selection of the Crafters Choice Book Club.

"Glass can be decorative or utilitarian, and its forms often reflect technological innovations and social change. Drawing on an insightful selection from the Yale University Art Gallery and other collections at Yale, American Glass illuminates the vital and often intimate roles that glass has played in the nation's art and culture. Spectacularly illustrated, the publication showcases eighteenth-century mold-blown vessels, nineteenth-century pressed glass, innovative studio work, and luminous stained-glass windows by John La Farge and Louis Comfort Tiffany, the latter reproduced as a lush gatefold. These are considered alongside beguiling objects that broaden our expectations of glass and speak to the centrality of the medium in American life, including one of the oldest complex microscopes in the United States, an early Edison light bulb, glass-plate photography, jewelry, and more. With an essay on the history of collecting American glass and discussions of each object that present new scholarship, this engaging book tells the long and rich history of glass in America--from prehistoric minerals to contemporary sculptures"--Dust jacket front flap.

South Florida is home to some of the world's premier private collections of studio glass, collections whose abundance, diversity, and quality are celebrated in Fire and Form. This volume features more than 100 works by 31 of the best-known American and European glass artists of our time, including Jaroslava Brychtova, Dale Chihuly, Dan Dailey, Stanislav Libensky, William Morris, Tom Patti, Lino Tagliapietra, and many others. William Warmus identifies four prominent themes in the relatively recent development of studio glass (since 1960) that provide a framework for exploring the rich variety of works presented in this book. The first theme is what Warmus has called the particular affinity between nature and the making of glass: Where nature creates a heart, the glass artist creates a heart-felt vessel. The second is the ability of glass, equally to that of painting and sculpture, to convey the power of abstraction and color. A third theme is the prevalent use of glass - sometimes called the new bronze - to depict the human figure and animal forms. The final section deals with the theatrical nature of installations and environmental sculptures, demonstrating the surprising capability of glass to impose itself physically and emotionally on the space we inhabit, altering our very perception of it. ancient Egypt, and places contemporary glass within the context of contemporary art and theory at large. In addition, the book includes selected artists' bibliographies and a chronological bibliography of contemporary glass that lists key historical events, general trends and developments, and important publications. Fire and Form offers a unique perspective on this vital and intoxicating medium, and its publication is a welcome event for all lovers of glass - those who make it, those who collect it, and those who admire it.

For five thousand years, artisans have worked in glass to create forms that serve and delight. But only recently have artists turned their hands and minds to this traditionally utilitarian and decorative material. Clearly Inspired: Contemporary Glass and Its Origins contrasts the work of contemporary glass artists with examples of earlier glass that have inspired them to rediscover or reinvent forgotten techniques. Transforming an ancient craft into a contemporary art, they honor the past while making visual statements that are very much of our time.

This publication commemorates the public unveiling of the Sherwin and Shirley Glass Glass Collection at the Flint Institute of Arts in its new wing, dedicated to contemporary craft. Amassed during a ten-year period by Atlanta-based collectors Sherwin and Shirley Glass, this contemporary glass collection represents the greatest achievements by a large and diverse group of important international artists. With glass masterworks by more than 85 artists representing 19 countries around the world, this collection shows an explosion of creativity in the medium of glass from the late 20th through the early 21st century. In this catalog, FIA Executive Director John Henry demonstrates why Flint, Michigan, is an ideal location for a contemporary craft wing; Habatat Galleries founder Ferd Hampson discusses how the Glasses' collecting interests represented a "quest for the best"; and Patricia Grieve Watkinson contextualizes the Glass Glass Collection within international and American glass movements.