Three Dimensions of Studio Glass Art
Art has many dimensions and studio glass art has three dimensions. This type of art is the work of involving glass with a medium that is dedicated to art and what comes from mimicking their aesthetic beauty of natural surroundings, living phenomena, sculpting objects and utilizing the results in adorning the rooms in homes.
With glass, not only does the artist have to have a command of depth, perspective, movement and structure of the bodies and items it is to mimic, but the artist must have a mastery of skill at knowing how to use the kiln or other process techniques such as lost wax, to successfully make creations that others will admire and become attracted and attached to.
Artists Making Statements with Glass
These finished art pieces are meant for making sculptural impressions on those who will view them and even purchase them. The art market for glass sculptures and decorations is lively with pieces claiming prices from one hundred to several thousands of dollars. Glass workers, artisans and craftsmen have thrived from the early ancient times in the 6th century with teams of workers manipulating hot glass from furnaces with very large heavy portions of glass. In modern glass works of today things have changed somewhat.
Studio Glass Processes
The furnaces have been updated after the 1960s with specialty glass designers masterfully creating intricately crowned perfume bottles. Those studio glass artists such as Tiffany, Steuben and Gallé, along with Hoya Crystal in Japan and Swedish Kosta Boda glass makers moved the process forward to a four-team scenario that evolved from large teams in the foundries to small four team hand glass blowers.
Garage Studio Glass Beginnings
Although there were already studio glass artists, the movement spread rapidly after 1962 when the potter, Harvey Littleton and Otto Wittmann, in Toledo, Ohio made a study in a garage of The Toledo Museum of Art on how studio glass worked with molten glass in small studios. They engineered the first ‘Studio Furnace prototype.’
They had a tough time at first, with many failures, until they invited Dominick Lambino of John Manville Fiber Glass manufacturing to give them some advice. With glass marbles, the furnace became a successful tool for glass studio art instruction. By 1969, the first Glass Crafts Building was christened at the Toledo Museum of Art and opened up for studio glass art instruction. It was the first of its kind to offer training studio glass artistry.
Once the kinks were out of the prototype phase and class fully underway, glass blowers came to demonstrate their talents, such as Libby Glass’s retired glass blower, Harvey Leafgreen.
The Toledo Museum of Art now hosts its Glass Pavilion that is home of one of the world’s most significant glass art collections. Those who wish to learn this ancient art of glass art, more specifically, studio glass art, flock to Toledo’s Glass Pavilion to study.