Hot Glass, Cold Glas, All Glass

I recently had the opportunity to interview Ken Saunders, a co-owner of the Marx-Saunders Gallery (www.marxsaunders.com) in Chicago—a gallery that is dedicated to glass art and only works with a couple dozen or so artists. While the gallery’s artwork isn’t cheap (sometimes $40,000), Ken told me the great thing about glass is that it really is available at any price point.

“There are wonderful, marvelous pieces available at any price,” he said.


One thing I found particularly interesting was the fact that a number of the gallery’s pieces are on loan to the Glass Experience exhibition at Chicago’s Museum of Science and Industry. I asked Ken about this and he said:


“Because we are an artist’s gallery and because we are very intensely associated with the couple dozen artists we represent, it is a part of our mission to seek out these opportunities for greater exposure. So we are often involved with museums, and museums know we are available to assist them with loans and other support to make exhibitions possible.”


If you get the chance to visit the exhibition (which I wrote about a few weeks ago; scroll down to read if you missed it) you can see works from some of the most renowned artists including Lino Tagliapietra (http://www.linotagliapietra.com/) and Jon Kuhn (www.kuhnstudio.com). Both artisans have worked with Marx-Saunders and both create astonishing works. However, the way by which they each approach glass is different. Tagliapietra is a hot-glass (blown glass) artist while Kuhn works with cold glass. Kuhn says his work involves grinding, polishing and laminating repeatedly.


Back to my interview with Ken Saunders … we also talked about how a number of artists who start out creating works for galleries often make the transition to large-scale and/or architectural work. BJ Katz from Meltdown Glass (www.meltdownglass.com) is an example of such an artist. You can read more about her in the Decorative Glass section of the August 2008 USGlass (http://www.usglass-digital.com/usglass/200808/?u1=texterity).



One of the reasons more artists are going the architectural route, Ken told me, is because they’ve found ways to create larger and larger glass art pieces.

“Once they were able to figure that out and began casting humongous objects then there was the ability for the architects to really draw some inspiration and work with some of these artists,” Ken said.


Considering the fact that architects are challenging the primaries and flat glass fabricators to create larger pieces of glass it’s no surprise, really, that the decorative side of glass is getting larger. Going forward, it will be exciting to see what other trends make the crossover.