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The Art & Architecture Thesaurus (AAT) (r) is a structured vocabulary for generic concepts related to art and architecture. It was developed by The Getty Research Institute to help research institutions become consistent in the terminology they use.Learn More

Object Name: 
Accession Number: 
(a) Larger Vessel H: 12.9 cm, L: 75 cm, D: 11.2 cm; (b) Smaller Vessel H: 12.9 cm, L: 56.3 cm, D: 9.2 cm
Not on Display
Credit Line: 
Gift of Lani McGregor and Daniel Schwoerer
Primary Description: 
Vessels "Hollows." Colorless, opaque white and brown glass; fused and slumped; cold-worked. Pair of canoe-shaped vessels with brown and white vertical stripes on the sides. (a, larger) (b, smaller).
Schwoerer, Dan, Source
McGregor, Lani, Source
Links: Australian Glass and the Pacific Northwest
Museum of Glass 2013-05-17 through 2014-01-26
Wichita Art Museum 2014-05-31 through 2014-09-14
Palm Springs Art Museum 2014-10-18 through 2015-01-25
Links: Australian Glass and the Pacific Northwest tells two related stories that began in the 1970s. In 1974, American artist Richard Marquis travelled to Australia to lecture, demonstrate and build glass studios at the invitation of the Australia Council for the Arts. Marquis’ relationship with Australian artist Nick Mount initiated a lineage of blown glass artists in Australia. The second story centers on kiln-formed glass and the relationship between Klaus Moje, founder of the glass workshop at Australian National University in Canberra, and the Bullseye Glass Company in Portland, OR. In 1979 Moje met Boyce Lundstrom, co-founder of Bullseye Glass Company, while at a workshop at Pilchuck Glass School in Stanwood, WA. At Moje’s instigation, Bullseye Glass Company developed a line of compatible, fusible glass that solved long-standing technical problems. This glass is widely used by Australian artists today. Vicki Halper, Curator of Links: Australian Glass and the Pacific Northwest, notes, “The connections between Australia and the Pacific Northwest are longstanding and fascinating, but the differences between the art of the two regions are just as intriguing. Australians excel in fused and cold worked glass, which are not as prevalent in the Pacific Northwest. Opaque surfaces and muted colors are likewise more dominate in Australian glass than in the Pacific Northwest. Expect to be awed by what you see.” “This exhibition is long overdue given the excellence of the work being produced in Australia, and the interest in it shown by important American museums and collectors,” states Susan Warner, Executive Director of Museum of Glass. “The museum is proud to have organized this exhibition.” The artists represented by this exhibition include: Clare Belfrage, Giles Bettison, Gabriella Bisetto, Jane Bruce, Scott Chaseling, Cobi Cockburn, Nadège Desgenétez, Mel Douglas, Ben Edols and Kathy Elliott, Tim Edwards, Brendan Scott French, Mel George, Steve Klein, Jessica Loughlin, Dante Marioni, Richard Marquis, Klaus Moje, Tom Moore, Nick Mount, Stephen Proctor, Kirstie Rea, Tom Rowney, April Surgent, Janice Vitkovsky and Richard Whiteley. Approximately four pieces from each artist will be in the exhibition for a total of 92 pieces.
Treasures from The Corning Museum of Glass (2014-12) illustrated, April;
Links: Australian Glass and the Pacific Northwest (2013) illustrated, pp. 147-148, no. 20; BIB# 135258
Recent Important Acquisitions (New Glass Review 32) (2011) illustrated, p. 104, top; BIB# AI95695