Has been working in glass in California since the 1960’s.
Val Sanders taught at Palomar College from 1968 to 1998. He retired from Palomar as the Chair of the Art Department. Val was a pioneer of glass blowing in Southern California and started the Palomar glass program in 1971. The glass blowing program at Palomar was one of the first in Southern California and is well known throughout the state.
Started working in glass in the 1960’s.
Larry Anderson studied with Joe Hawley at San Jose City College and went on to study glass and ceramics at SJSU under Herbert Sanders and Dr. Fritz. He was hired to teach at Fresno State University in 1971 by the head of the Art Department, who had seen the SJSU glass program and wanted a program started at Fresno. The Fresno glass studio was completed by 1973 and Anderson ran the program until he retired as Chair of the Art and Design Program in 2004.
Started working in glass in 1964 in Boston, MA. Has been working in glass in California for 44 years.
www.petermollica.com
I was born in Newton, MA in 1941. In 1964, I apprenticed to Chris Rufo in Somerville, MA to learn all aspects of stained glass craft. We made windows , mostly for churches in traditional Gothic style. We occasionally made “modern” windows which meant in Mondrian style. Bored with cutting and glazing these styles, I started looking around for more interesting possibilities. In 1965, I found a book by Robert Sowers which opened my eyes to windows made in Germany since the end of the war. I knew then that I had to learn to design. In 1968 I left Massachusetts and moved to Berkeley where I opened a studio to make windows for homes and free-hanging panels for myself.
In 1979, I moved my studio to my garage in Oakland. In 1988, I was commissioned to fabricate two large clerestory windows, designed by Rowan LeCompte for the National Cathedral in Washington, D.C.. I needed a bigger studio so I moved to the studio I still have in Oakland where I continue to make windows for libraries, churches, a synagogue, homes and free-hanging panels for myself and a handful of faithful collectors.
“Catherine of Siena Chapel”
Peter Mollica”
2000
Traditional stained glass techniques using hand-blown glass from Fremont Antique Glass Co.
H 8′-6″ x W 2′-9″
“Untitled 1”
Peter Mollica
1993
Traditional stained glass techniques using hand-blown “Antique” glass & machine made “fluted” glass
H 19″ x W 26″
Started working in glass in the 1960’s.
www.johnlewisglass.com
As a graduate student in architecture at the University of California at Berkeley, John Lewis was introduced to blown glass by professor Marvin Lipofsky. Lewis founded the first private hot glass studio in California and later received his MA in design in 1970. His early work in blown glass led to an interest in glass casting. With the help of an NEA grant, he built an experimental facility to explore the possibilities of cast glass. At his state-of-the-art casting studio in Oakland, CA, Lewis designs and produces cast glass sculpture, tables, vessels and site specific architectural projects. He has completed numerous commissions for private and corporate clients and is represented internationally by galleries.
“COPPER Y VESSEL”
John Lewis
2010
Cast Glass with Copper Patina
11″L X 7″W X 8″H
“RUST PATINA DINING TABLE”
John Lewis
2008
Cast Glass with Patinaed Steel
104″ X 44″ X 30″
Started working in glass in 1967 at UCLA in Los Angeles, CA.
www.luebtow.com
Birthed into a ghetto and a family environment of alcoholism…gifted with the ability to render…pencils and paper were my only available media for expression. I drew objects I saw and things I felt … always looking for avenues to portray life’s dichotomies, the internal and external obstacles before me. Athletic ability opened the doors of higher education with scholarship. There my interests were allowed to explore 3-D materials. I found home. After marrying, having a son, and completing a M.A. Degree in Art (clay and glass) from UCLA in 1969, I accepted a position in Delft, Netherlands being employed by “de Porcelyne Fles” to build architectural murals and sculpture in clay. After 6 months I was made Director of the Architectural Ceramics Department. Some of my projects involved collaborating on commissions with Leerdam Glass in Amsterdam. Here my interest in glass was finalized. Marital incongruities arose and in 1971 I returned to Los Angeles, divorced, got custody of my son, a teaching position, a studio space, a MFA in glass from UCLA and began focusing my art using glass, visually expressing the bifurcations that confronted me. One venue of form is aesthetically pleasing, linear, surface embellished, technically perfect, work that denies my past and the overt realities of life’s struggles that surrounded me. The other re-addressed the always apparent questions …“Why are we here?…Where are we going?…What have we done to get where we are?”… The resultant pieces were of glass, steel and braided cable, some of glass alone and some in the form of glass American flags. These were realized in 1500 Fahrenheit kiln formed with cable wrapped tormented images, echoing the cry of Langston Hughes…”What becomes of a dream deferred”…
This duality continues in my work today and is now more politically relevant than ever.
“Ventus Vitae” (Winds of Life)
John Luebtow
2008
Glass, Water, Granite, Light, Sound
55’ x 15’ x 12’
“Ventus Vitae” (Winds of Life)
John Luebtow
2008
Glass, Water, Granite, Light, Sound
55’ x 15’ x 12’
Started working in glass in 1968 at the California College of Arts and Crafts (now CCA) in Oakland, CA.
www.jaymusler.com
Born in 1949 in Sacramento, CA, Jay Musler has been recognized as an innovative force in the glass arts for over four decades, having been awarded fellowships by the National Endowment for the Arts and California Arts Council. He studied in Oakland at the California College of Arts and Crafts (now CCA) in the late 1960s and worked as a glassblower for nearly a decade. He has developed his own distinctive approach through lampworking, cutting, assembling and painting his works. In 2012, Jay was invited to be the featured artist at the World Lampworking Conference in Salem, New Jersey. Jay will be demonstrating his lampworking techniques at the Crucible in this demonstration.
“Sad but Funny”
Jay Musler
2007
Glass, flameworked and painted
5” x 9”
“Cloud Nine”
Jay Musler
2009
Glass, flameworked, assembled, painted
24” x 15.5” x 9”
Keynote Speaker
Started working in glass in 1965 at UC Berkeley, in Berkeley, CA, and worked in California from 1965-1982.
www.richardmarquis.com
Dick Marquis has been working in glass since 1965 (when he was seven years old) and has influenced an entire generation who aspire to his technical mastery and originality of voice. It is not easy being Dick.
“Razzle Dazzle Boats” (group shot)
Dick Marquis
2012
Fused and wheel carved glass; slab technique
approx 5” x 19” x 5” (each)
“Razzle Dazzle Boat #12-2”
Dick Marquis
2012
Fused and wheel carved glass; slab technique
approx 5” x 19” x 5”
Keynote Speaker
Started working in glass in 1962 in Madison, WI and has worked in California for 48 years.
www.marvinlipofsky.com
As a member of Harvey Littleton’s initial glass program, Marvin Lipofsky earned an MS and MFA in Sculpture from the University of Wisconsin, Madison. He went on to found and head glass departments at the University of California, Berkeley (1964-1972) and the California College of Arts and Crafts (1967-1987). He was a founding member of the Glass Art Society; has been a board member of NCECA and the American Craft Council. Awarded two National Endowment for the Arts fellowships, he was also named a Living Treasure of California, and elected to the American Craft Council College of Fellows. In his travels, he collaborates with glassmasters from around the world. His unique sculptures are included in numerous private collections and more than 90 museums and corporate collections throughout the world.
“IGS II 1985 #2”
Marvin Lipofsky
1985
mold blown, cut, sandblasted and acid etched
15 1/2” x 20” x 15”
Marvin Lipofsky working with Stefan Stefko and team at the International Glass Symposium (IGS) II, 1985. Crystalex Glass Factory, Novy Bor, Czechoslovakia.
1985
Started working in glass in 1968 at UC Berkeley.
www.cohnstone.com
Michael set up his first studio in 1973 in Berkeley, California, and has been operating glassblowing studios continuously since that time. He is currently co-owner of Cohn-Stone Studios in Richmond, Ca. Started working in glass in the 1970’s.
For as long as I can recall, I have made things with my hands. It is what I do. It is one of my primary forms of expression. I am also completely fascinated by fire — by its incredible power to destroy as well as to create. It is appropriate then, that I have devoted the greater part of my life to the creation of objects of glass (or primarily glass).
The act of glass making is elemental — it involves earth, air, fire and water. It is a series of choreographed steps — a fiery fluid dance frozen in motion. Even after working so closely with this material for so many years, I am still amazed that a pile of what appears to be basically sand can be shoveled into the furnace and the next day can be transformed into essentially anything ones imagination, skill and strength will allow. Physics, alchemy and magic each play a part in the process.
I am inspired by the purity of the classical forms and the beauty and diversity of the natural world, as well as by the ingenuity and functionality of machinery. I derive equal satisfaction in the creation of high quality decorative and/or sculptural glasswork as well as in the design and construction of the furnaces, ovens and other equipment which make the work possible.
Selected Collections
“Space Cup”
Michael Cohn
“Roll over Mondrian and tell Brancusi the news_ #49”
Michael Cohn
Ruth Tamura graduated with a MA from CCAC (now CCA) in 1969. She was the first person at CCA to receive a MA in glass. In 1971, Ruth with Dale Chihuly, co-founded the Pilchuck Glass School in Stanwood, Washington. She taught at the summer programs there in 1971 and 1972. Ruth received a Rockefeller Fellowship from the de Young Museum 1974. The program trained professionals in the field of museum work who have either curatorial or community-bases interests. After this fellowship, Ruth worked at the SF Airport Museum. This began her move from art studio work to museum and community programming.
While pursuing her MA from CCAC 1967-68, Ruth worked as a technical Teaching Assistant (TA) in the CCAC glass studio, teaching first time students. When Marvin Lipofsky went on sabbatical, Ruth Tamura was the acting head of the Glass Program, teaching all the CCAC glass classes while he was away. During that period, Ruth developed and proposed the CCA graduate glass degree curriculum that was later adopted. A version of this curriculum is still used today. Ruth Left CCA upon Marvin Lipofsky’s return.
For more information about the founding of Pilchuck, see the following publication:
American Studio Glass: 1960-1990
Martha Drexler Lynn (Aug 12, 2004)
Hudson Hills, 2004
ISBN-10: 1555952399
ASIN: B005M4S0B0