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

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Challenging boundaries:/
Reminder of title:	The history and reception of American studio glass 1960 to 1990.
Author:	Lynn, Martha Drexler.
Description:	1 online resource (335 pages)
Notes:	Source: Dissertation Abstracts International, Volume: 62-06, Section: A, page: 1968.
Contained By:	Dissertation Abstracts International62-06A.
Subject:	Art history. -
Online resource:	click for full text (PQDT)
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. - 1 online resource (335 pages)

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

Thesis (Ph.D.)

Includes bibliographical references

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.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780493288093Subjects--Topical Terms:

1180038
Art history.
Index Terms--Genre/Form:

554714
Electronic books.

Challenging boundaries: = The history and reception of American studio glass 1960 to 1990.
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100 1 $a Lynn, Martha Drexler. $3 1182587
245 1 0 $a Challenging boundaries: $b The history and reception of American studio glass 1960 to 1990.
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300 $a 1 online resource (335 pages)
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500 $a Source: Dissertation Abstracts International, Volume: 62-06, Section: A, page: 1968.
500 $a Adviser: John Pollini.
502 $a Thesis (Ph.D.) $c University of Southern California $d 2000.
504 $a Includes bibliographical references
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.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
650 4 $a Art history. $3 1180038
650 4 $a American studies. $3 1179345
650 4 $a American history. $3 1179188
650 4 $a Design. $3 595500
655 7 $a Electronic books. $2 local $3 554714
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710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a University of Southern California. $3 1182588
773 0 $t Dissertation Abstracts International $g 62-06A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3018102 $z click for full text (PQDT)