Working with handblown glass, Josiah McElheny, whose studio is in New York City, first became interested in glassblowing when he was a student at the Rhode Island School of Design and apprenticed... Read full biography
Working with handblown glass, Josiah McElheny, whose studio is in New York City, first became interested in glassblowing when he was a student at the Rhode Island School of Design and apprenticed with master glassblowers Lino Tagliapietra in Italy and Jan-Erik Ritzman and Sven-Ake Carlsson in... Read full biography
Working with handblown glass, Josiah McElheny, whose studio is in New York City, first became interested in glassblowing when he was a student at the Rhode Island School of Design and apprenticed with master glassblowers Lino Tagliapietra in Italy and Jan-Erik Ritzman and Sven-Ake Carlsson in Sweden. His working method is to create the objects himself rather than employing a staff of technical assistants, and he often uses techniques that date back many centuries. He mixes historical eras in... Read full biography
Working with handblown glass, Josiah McElheny, whose studio is in New York City, first became interested in glassblowing when he was a student at the Rhode Island School of Design and apprenticed with master glassblowers Lino Tagliapietra in Italy and Jan-Erik Ritzman and Sven-Ake Carlsson in Sweden. His working method is to create the objects himself rather than employing a staff of technical assistants, and he often uses techniques that date back many centuries. He mixes historical eras in his themes and often combines utilitarian glass vessels that go together only in his imagination and that, for many viewers, convey pure aesthetic beauty. A theme of a 2006 New York exhibition, "Twentieth Century Modernism, Mirrored and Reflected... Read full biography
Working with handblown glass, Josiah McElheny, whose studio is in New York City, first became interested in glassblowing when he was a student at the Rhode Island School of Design and apprenticed with master glassblowers Lino Tagliapietra in Italy and Jan-Erik Ritzman and Sven-Ake Carlsson in Sweden. His working method is to create the objects himself rather than employing a staff of technical assistants, and he often uses techniques that date back many centuries. He mixes historical eras in his themes and often combines utilitarian glass vessels that go together only in his imagination and that, for many viewers, convey pure aesthetic beauty. A theme of a 2006 New York exhibition, "Twentieth Century Modernism, Mirrored and Reflected Infinitely", was "modernism's utopian promise, disarray and ultimate failure." (Volk, 168) The cen... Read full biography
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