Glass art

Imperfect for You, knitted glass by Carol Milne

The first uses of glass were in beads and other small pieces of jewelry and decoration. Beads and jewelry are still among the most common uses of glass in art and can be worked without a furnace.

It later became fashionable to wear functional jewelry with glass elements, such as pocket watches and monocles.

Starting in the late 20th century, glass couture refers to the creation of exclusive custom-fitted clothing made from sculpted glass. These are made to order for the body of the wearer. They are partly or entirely made of glass with extreme attention to fit and flexibility. The result is usually delicate, and not intended for regular use.

Starting in the Middle Ages, glass became more widely produced and used for windows in buildings. Stained glass became common for windows in cathedrals and grand civic buildings.

The invention of plate glass and the Bessemer process allowed for glass to be used in larger segments, to support more structural loads, and to be produced at larger scales. A striking example of this was the Crystal Palace in 1851, one of the first buildings to use glass as a primary structural material.

In the 20th century, glass became used for tables and shelves, for internal walls, and even for floors.

In the early 20th century, most glass production happened in factories. Even individual glassblowers making their own personalized designs would do their work in those large shared buildings. The idea of "art glass", small decorative works made of art, often with designs or objects inside, flourished. Pieces produced in small production runs, such as the lampwork figures of Stanislav Brychta, are generally called art glass.

Glass sculptures by Karen LaMonte.

By the 1970s, there were good designs for smaller furnaces, and in the United States, this gave rise to the "studio glass" movement of glassblowers who blew their glass outside of factories, often in their own studios. This coincided with a move towards smaller production runs of particular styles. This movement spread to other parts of the world as well.

Examples of 20th-century studio glass:

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  Vortex Vase
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  Wind Song Glass
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  Merletto canework
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  Murrine Foglio
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  Murrine detail
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  Picking up murrine

There has been a massive explosion in the underground art scene revolving around functional glass art. Many people agree that Bob Snodgrass was the first to popularize glass smoking vessels as well as fume (melting gold and silver to color glass), followed by his apprentices, including Jason Harris, founder of Jerome Baker Designs (company).[4] Harris led efforts to create the largest functional glass piece ever, called "Bongzilla."As Snodgrass traveled with the Grateful Dead he was able to share his techniques to many different people in many different communities before settling down in Oregon and creating the Eugene Glass School. As time went on, more and more artists got involved with pipe making and with the introduction of social media the market exploded. Top artists such as Quave, Banjo, and Sagan are able to bring in upwards of one hundred thousand dollars per piece with the market only expanding as the prohibition on marijuana slowly comes to an end.

Harris, under the Jerome Baker Designs brand, crafted the world’s largest bong in 2018, which is 24-feet high and weighs 800 pounds.[5]

Water Walk by Paul Housberg

Combining many of the above techniques, but focusing on art represented in the glass rather than its shape, glass panels or walls can reach tremendous sizes. These may be installed as walls or on top of walls, or hung from a ceiling. Large panels can be found as part of outdoor installation pieces or for interior use. Dedicated lighting is often part of the artwork.

Techniques used include stained glass, carving (wheel carving, engraving, or acid etching), frosting, enameling, and gilding (including Angel gilding). An artist may combine techniques through masking or silkscreening. Glass panels or walls may also be complemented by running water or dynamic lights.

The earliest glass art paperweights were produced as utilitarian objects in the mid 1800s in Europe. Modern artists have elevated the craft to fine art. Glass art paperweights, can incorporate several glass techniques but the most common techniques found are millefiori and lampwork—both techniques that had been around long before the advent of paperweights. In paperweights, the millefiori or sculptural lampwork elements are encapsulated in clear solid crystal creating a completely solid sculptural form.

In the mid 20th century there was a resurgence of interest in paperweight making and several artist sought to relearn the craft. In the US, Charles Kaziun started in 1940 to produce buttons, paperweights, inkwells and other bottles, using lampwork of elegant simplicity. In Scotland, the pioneering work of Paul Ysart from the 1930s onward preceded a new generation of artists such as William Manson, Peter McDougall, Peter Holmes and John Deacons. A further impetus to reviving interest in paperweights was the publication of Evangiline Bergstrom's book, Old Glass Paperweights, the first of a new genre.

A number of small studios appeared in the middle 20th century, particularly in the US. These may have several to some dozens of workers with various levels of skill cooperating to produce their own distinctive "line". Notable examples are Lundberg Studios, Orient and Flume, Correia Art Glass, St.Clair, Lotton, and Parabelle Glass.[6]

Starting in the late 1960s and early 70s, artists such as Francis Whittemore,[7] Paul Stankard,[8] his former assistant Jim D'Onofrio,[9] Chris Buzzini,[10] Delmo[11] and daughter Debbie Tarsitano,[12] Victor Trabucco[13] and sons, Gordon Smith,[14] Rick Ayotte[15] and his daughter Melissa, the father and son team of Bob and Ray Banford,[16] and Ken Rosenfeld[17] began breaking new ground and were able to produce fine paperweights rivaling anything produced in the classic period.

Knitted glass is a technique developed in 2006 by artist Carol Milne, incorporating knitting, lost-wax casting, mold-making, and kiln-casting. It produces works that look knitted, though they are made entirely of glass.

Chinese artists Zhengcui Guo and Peng Yi premiered a technique of felted glass or "glelting", with positive critical reviews, at the 2015 Ha You Arts Festival.[21]

In 2015, the Mediated Matter group and Glass Lab at MIT produced a prototype 3D printer that could print with glass, through their G3DP project. This printer allowed creators to vary optical properties and thickness of their pieces. The first works that they printed were a series of artistic vessels, which were included in the Cooper Hewitt's Beauty exhibit in 2016.

Glass printing is theoretically possible at large and small physical scales and has the capacity for mass production. However, as of 2016 production still requires hand-tuning, and has mainly been used for one-off sculptures.

Methods to make patterns on glass include caneworking such as murrine, engraving, enameling, millefiori, flamework, and gilding.

Methods used to combine glass elements and work glass into final forms include lampworking.