Vertical Lines 2

Notice of Upcoming Content and Access Change

The Museum is working on the future of our online collections access. A new version will be available later in 2023. During this transition period, the current version of the Collections Browser may have reduced functionality and data may be not be updated. We apologize for any inconvenience this may cause. For any questions or concerns, please contact us.

What is AAT?

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: 
Vertical Lines 2
Accession Number: 
Overall H: 159.3 cm, W: 142.4 cm
Not on Display
Credit Line: 
Gift in part of Daniel Greenberg, Susan Steinhauser, and The Greenberg Foundation, and Robert H. Cole and E. Marie McKee
Web Description: 
"Drifting between surfaces, between the private interior, between the eternal landscape, at one In a still place. My work aims to evoke the simplicity of space and bring together my private internal space with the vast external space of our land." --Jessica Loughlin. The Australian artist Jessica Loughlin is a graduate of the well-known glass program at the Canberra School of Art of the Australian National University. She was one of four artists chosen to participate in the Bullseye Glass Company’s first International Young Artists in Glass Program in 1998. This program offers residencies at the Bullseye Glass factory in Portland, Oregon, where artists explore and experiment with the company’s glass, which is particularly suited to kiln forming processes. Kiln forming (and other methods of sagging and casting glass) are referred to as “warm” rather than “hot” processes because the glass is not worked in a molten state, directly from the furnace. (Glassblowing, for example, is a “hot” process.) Loughlin uses simple sculptural forms, often partly covered with text, to explore concepts of landscape and time, focusing on the undefined space where land and sky meet. Vertical Lines 2 is the largest work that Loughlin has attempted. With its quiet color and balanced forms, this sculpture communicates a feeling of infinity, or perhaps a memory of serenity. The long vertical ribs, which gradually disappear, are like the eternal line of the horizon, conveying a sense of endless time.
Bullseye Connection Gallery (1999-2015), Source
Greenberg, Daniel, Source
Steinhauser, Susan, Source
Greenberg Foundation, Source
Cole, Robert H., Source
McKee, E. Marie, Source
Back panel (i) Appears to be signed but is illegible due to surface treatment.
Vertical Lines Jessica Loughlin Part 1
Engraved Back panel (g) in script
Vertical Lines / Jessica Loughlin 2002 / Part 2?
Signature and date
Engraved On back panel (c) in script
Vertical Lines / Jessica Loughlin 2002 / Part 5
Signature and date
Engraved On back panel (a) in script
Vertical Lines / Jessica Louglin 2002 / Part 3
Signature and date
Engraved On back panel (e) in script
Primary Description: 
Multi-colored glass, kiln formed, ground, polished, assembled.. Sculpture consisting of 10 rectangular panels (a-j). Five back panels (a,c,e,g,i) and five front panels (b,d,f,h,j). Each of the back panels consist of 3 layers of glass to form a rectangular shape all with a protruding ridge down the center except for (e) which has a channel down the center. All five back panels have metal brackets attached to the reverse for hanging and metal pins on the front top to hang the front panels. The front panels consist of rectangular transparent sections that curl at the bottom and cover the back pieces. All front pieces have a center ridge except (f) which has a groove.
Jessica Loughlin Landscape: Mindspace
Bullseye Connection Gallery
Contemporary Glass Sculptures and Panels: Selections from the Corning Museum of Glass (2008) illustrated, p. 39, 192-193 (fig. 79, plate 72); BIB# 107478
Recent Important Acquisitions (2004) illustrated, p. 89; BIB# AI63129
The Corning Museum of Glass Annual Report 2003 (2004) illustrated, pp. 4-5; BIB# AI93746
The Gather (2003) illustrated, p. 6;
Jessica Loughlin at Bullseye Glass (2002) illustrated, pp. 30-31, 36-37; BIB# 74275