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Challenging boundaries: The history...

Lynn, Martha Drexler.

Challenging boundaries: The history and reception of American studio glass 1960 to 1990.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Challenging boundaries: The history and reception of American studio glass 1960 to 1990.
作者:	Lynn, Martha Drexler.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, 2000
面頁冊數:	335 p.
附註:	Source: Dissertation Abstracts International, Volume: 62-06, Section: A, page: 1968.
附註:	Adviser: John Pollini.
Contained By:	Dissertation Abstracts International62-06A.
標題:	Art history.
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3018102
ISBN:	9780493288093

Challenging boundaries: The history and reception of American studio glass 1960 to 1990.
Lynn, Martha Drexler.

Challenging boundaries: The history and reception of American studio glass 1960 to 1990. - Ann Arbor : ProQuest Dissertations & Theses, 2000 - 335 p.

Source: Dissertation Abstracts International, Volume: 62-06, Section: A, page: 1968.

Thesis (Ph.D.)--University of Southern California, 2000.

This dissertation addresses the dilemma facing the American studio glass movement after World War II: Can art be fashioned out of glass, or do the utilitarian associations embedded within the medium preclude it from being considered an acceptable art medium? This dissertation is the first to examine this question that reveals both the early history of the movement and the clash of ambitions and power that mark the relationship between the craft and high art worlds.

ISBN: 9780493288093Subjects--Topical Terms:

766010
Art history.

Challenging boundaries: The history and reception of American studio glass 1960 to 1990.
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245 1 0 $a Challenging boundaries: The history and reception of American studio glass 1960 to 1990.
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500 $a Source: Dissertation Abstracts International, Volume: 62-06, Section: A, page: 1968.
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520 $a This dissertation addresses the dilemma facing the American studio glass movement after World War II: Can art be fashioned out of glass, or do the utilitarian associations embedded within the medium preclude it from being considered an acceptable art medium? This dissertation is the first to examine this question that reveals both the early history of the movement and the clash of ambitions and power that mark the relationship between the craft and high art worlds.
520 $a The Introduction frames the question, defines the terms used, and reviews the sparse literature found in the craft and high art worlds. Part I (three chapters) presents the early history and distinctive characteristics of the movement to 1975. Chapter 1 analyzes the evolving terminology (from art glass to studio glass), the effects of production practice (factory or studio), and the adoption of high art customs. Chapter 2 reviews not only philosophical and circumstantial factors that shaped studio glass, the state of glassmaking practice before the proto-studio glassmakers, the emergence of pioneering practitioners, the importance of the Asilomar conference of 1957, early institutional support, the founding of The Corning Museum of Glass, the Glass 1959 exhibition, but how each benefited from the resolution of technical issues, permitting expanded artistic expression. Chapter 3 covers the contested history (1955--62), the influential exhibitions, and pre-1975 marketing and collecting patterns. Also recounted is the movement of glass into university curricula, the impact of the Object USA exhibition of 1969 and early collector behavior. The tentative movement of glass into museums and the challenge of creating content-driven art conclude Part I.
520 $a Part II (three chapters) moves to the period 1975 to 1990 period and addresses the increased commodification and expanding patronage for American studio glass. Chapter 1 outlines market development through craft fairs, multimedia craft shops, glass-only galleries, dealers, and the secondary market. Escalating prices attest to the creation of higher perceived value that resulted from increased publications, exhibitions, and critical reviews. Chapter 2 examines private and public (institutional and corporate) collecting. Chapter 3 assesses the degree to which American studio glass has challenged the boundaries between craft and high art.
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