A selection of articles about Alex Bernstein:
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Alex Gabriel Bernstein: Contemplative Reduction.
From American Craft, 2010. The article reviews the exhibition "Alex Gabriel Bernstein: Contemplative Reduction" at the Traver Gallery in Seattle, Washington from June 4-27, 2010.
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Demo: Carving Your Own Path' Finding a Voice Through Process and Exploration.
From Glass Art Society Journal, 2009. The article offers the author's insights on glassblowing and the attitude of glass artists towards making glass art. He states that glassblowing involves various styles which include the Czech style of casting and cold working and ceramic and steel molds. He relates his experience at the Rochester Institute of Technology (RIT) where he learned about cognitive dissonance and blown vessels manipulation. He also poses his various works which he exhibited in New York including carved glass sculptures and optical lead crystal.
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Carol Milne
Personal website for glass artist Carol Milne.
A selection of articles about Carol Milne:
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in the studio.
From Surface Design Journal, 2016. The author reflects on her passion for glass knitting. She discusses how she learned knitting, her work as a sculptor working in cast glass and cast metal, description of the wax she uses in her artworks and consistency of molten glass. Examples of her artworks include "You and Me," "Okay" and "Knit Knot".
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Knitting with Glass.
From Fiberarts, 2011. The author describes the method she uses to knit glass by using the art of lost-wax casting. The steps in the process are described, including knitting something in wax, placing melted glass around the space of melted wax, and destroying the mold to reveal the knitted-glass piece within. The author explains her reasons for being compelled to knit in glass, such as her fascination with the structure of the material. She also describes how knitted glass is a metaphor for the fragility of life and for social structure.
A selection of articles about Matt Eskuche:
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Matt Eskuche Adds Plastic to the Mix in New Museum Exhibition.
From Glass Quarterly, 2010. The article reports on the move of flameworker Matt Eskuche in expanding his scale to fit the massive display spaces inside the six windows at the Racine Art Museum in Wisconsin.
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Matt Eskuche.
From American Craft, 2007. This article offers update on glass artist Matt Eskuche. His most recent work features white sculptural pieces of garbage, which relate to convenient, wasteful consumer habits. He explained that the work came of his interest in creating forms out of the dented cans, crushed water bottles, groups of beer bottles and similar items.
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Shane Fero
Link to personal website for glass artist Shane Fero.
A selection of articles on Shane Fero:
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Exotic Hummingbirds.
From Glass Art Society Journal, 2012. In a brief personal narrative, glass artist Shane Fero describes his experience of giving a presentation at the 2012 conference of the Glass Art Society (GAS), during which he created flameworked glass sculpture of a hummingbird.
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The Evolution of Flameworking in 20th-Century America.
From Glass Art Society Journal, 2004. The article presents the text of the speech "Performance Art in Carnivals, the Circus, World's Fairs, and Tourist Attractions," by flameworker Shane Fero, given at the 2004 Glass Art Society (GAS) conference in New Orleans, Louisiana, in which he discussed the history of demonstrations of flameworking (or lampworking), and the exhibition of art produced by flameworkers at various venues, such as at county fairs, malls, and theme parks.
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Robert Burch
Link to personal website for glass artist Robert Burch.
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Carmen Lozar
Link to the personal website of glass artist Carmen Lozar.
A selection of articles on Carmen Lozar:
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Carole Freve
Link to the personal website of glass artist Carole Freve,
A selection of articles on Carole Frève:
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Carole Frève: Interstices.
From Glass Quarterly, 2004. The article presents the life and glass works of Carole Frève in Rouyn, Quebec. She was born in Gatinueau, Quebec and is the only one of the famous blacksmith's grandchildren who follow his footsteps by taking up a manual trade and working with fire. She specializes in mixing copper with fired glass and fascinated by the way materials can be combined and transformed. During her studies at Saint-Joseph Convent School, she amused her friends by creating three-dimensional characters from tissues. Due to her experience in industrial design, she began mixing various materials with glass. Her first pieces incorporated clear blown glass and wire screening. In 1997 she received the Houdé-Mendel grant for research in kiln casting and such technique became the basis of all her work.
Einar and Jamex de la Torre:
A selection of articles on the de la Torre Brothers:
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The potent practice of the De la Torre brothers makes a case for artistic license and irreverence.
From Glass Quarterly, 2014. The article offers the author's insights on the hot-sculpted work entitled "Flyboy," by Jamex de la Torre and Einar de la Torre. Topics discussed include art glass that deals with cultural history, the inspiration from cultural traditions, and brother's brand of interpretation.
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de la Torre Brothers and Border Baroque.
From American Craft, 2009. The article reports on Guadalajaran artists Jamex and Einar de la Torre and their artwork. Both artists work in sculpture and glassblowing and their art is being featured at the Museum at the National Hispanic Cultural Center. De la Torre artwork incorporates blown glass, cast-resin, and many different found objects like wrappers in vibrant colors.
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Einar & Jamex de la Torre.
From American Craft, 2011. An interview is presented with glass artists Einar and Jamex de la Torre, who describe the kind of work that they create, their creative process, and the biggest influences on their work.
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Shayna Leib
Link to the personal website of the glass artist Shayna Leib.
A selection of articles on Shayna Leib:
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Fear & Fascination.
From American Craft, 2012. The article examines the life and work of the American glass artist Shayna Leib. Particular focus is given to how her Wind and Water series of glass wall sculptures have been influenced by the interplay of light, color and movement. Additional topics discussed include insights on her studio space in Madison, Wisconsin, her studies at the University of Wisconsin-Madison and how her work reflects her fear of deep water.
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Decadent Pastries Formed From Porcelain and Glass by Shayna Leib
Article on Colossal about Shayna Leib's pastry-inspired glass works.
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Dean Allison
Link to the personal website of glass artist Dean Allison.
Harvey K. Littleton - A Life in Glass
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The son of a Corning Glass Works scientist, Harvey Littleton (born 1922) first studied physics and industrial design, before becoming a teaching ceramicist. In the late 1950s, he turned to glassblowing, which was then restricted to the factory floor: devising a small furnace, he introduced hot glass into the artist's studio. In 2012, exhibitions at the Corning Museum of Glass, the Chazen Museum of Art, Madison, and elsewhere will mark the fiftieth anniversary of the two historic Toledo Museum glassblowing workshops that Littleton led in spring 1962. At those workshops Littleton put the ancient medium of glass into the hands of today's artists. Benefiting from close access to the artist and his personal archives, the engaging text is illuminated by many unpublished archival photographs and a detailed chronology. Littleton's early ceramic and glass vessels and his richly colorful glass sculptures, among them the late "Lyrical Movement" series--twisting, twirling forms--illustrate this beautifully designed book. It also includes work by his close friend and European counterpart Erwin Eisch and his former student and much-celebrated glass artist Dale Chihuly. Littleton's work is represented in museum collections worldwide, including: the Museum of Modern Art and the Metropolitan Museum of Art, New York; Smithsonian American Art Museum, Washington, D.C.; Los Angeles County Museum of Art; and the Victoria and Albert Museum, London.
Harvey K. Littleton: A Retrospective Exhibition
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The catalogue of an exhibiton at the Renwick Gallery, National Museum of American Art, March 30 - September 3, 1984, and 5 other museums subsequently.
