Hot Glass

Is glass the last of the traditional craft mediums to be meaningfully folded into contemporary art? Much of what was once confined to the “craft” category has seen universal interest across the collectible art and design marketplace over the last ten years. Ceramics and textiles specifically have flourished with a proliferation of exhibitions around the country. Fine art gallery representation of artists working in these materials has also exploded. It seems like the hierarchical pedestal normally reserved for painting has once again made room for others. There is still a long way to go, and I am not implying these platforms are yet equal or ever will be, but the game has certainly changed. Matthew Marks brought Ken Price and Ron Nagle forward. James Cohen has helped make Toshiko Takaezu a household name, as David Zwirner has done with Ruth Asawa. Jeanne Greenberg reintroduced us to Betty Woodman and Ruth Duckworth. Now, these are all historical figures, but this movement is inspiring confidence in the contemporary makers toeing the line today. Recent exhibitions of artists Kathy Butterly, Roberto Lugo and Liz Collins are furthering this conversation and breaking down the barrier between art, design, and craft—or, better yet, merging these practices to the point where the material is simply a choice of the artist, not a definition of the work itself.