The year 2012 marks the 50th anniversary of Studio Glass in America, and theMuseum of Arts and Design has made an unusual choice to observe this occasion through its upcoming exhibition “Glasstress New York: New Glass from the Venice Biennales.” The decision for an American museum that helped put Studio Glass on the cultural map with major exhibitions of Chihuly and others (in the days it was known as the American Craft Museum) is quite provocative. After all, one could easily point to the under-representation of Studio Glass artists at both GLASSTRESS shows in 2009 and2011 and wonder how such an exhibition relates to the institution’s own historical role in the advancement of sculpture made from glass.
(Editor’s note: Since this item was initially published, the museum has alerted us to a second exhibition honoring Studio Glass called “Playing with Fire” and drawing from the permanent collection of the museum that it is planning to open in October 2012.Look for a follow-up article when more details become available. ) And GLASSTRESS creator Adriano Berengo is an outspoken critic of some aspects of Studio Glass, which he feels suffers from too much focus on the material. In an interview published in the Fall 2011 issue of GLASS Quarterly magazine, Berengo said, “If the Studio Glass movement made a mistake, it was to make a world apart, to engage in an insularity that created, if I may, a kind of material masturbation, more interested in how things are made than about what is made.” Continue reading →