Today's glass artists are engaging in cross-media platforms to express themselves, curator Davira Taragin said Tuesday night.
The glass scholar and author spoke about a shift in glass art from traditional to conceptual. Taragin said the shift is a positive step and does not foresee a turnaround.
"I don't see the demise of it," she said. "It is changing in terms of presentation. We're all moving along and doing what we can to embrace this generation."
Taragin also talked about the history of the glass movement.
The birth of the glass movement started in the 1950s with Harvey Littleton's workshops through the Toledo Museum. Littleton sought new paths outside the limits of the industry eventually opening a glasshouse similar to those in Italy at the time.
Taragin said traditional studio glass movement died in the '90s, merging social and political commentary with strong emphasis on narrative.
Some examples of conceptual artists Taragin used were Israeli social activist Dafna Kaffeman, who utilizes glass, lamp work, embroidery, and fabric to make political statements; glass artist Matt Eskuche, who portrayed commentary on American consumerism by combining packaging waste such as lids, bottles, and wrapping with framework glass; and Luke Jerram, who created a series of glass-blown scientific imagery of viruses named "Infectious Beauty."
Senior painting major Andy Hinck said he also supports the movement for conceptual art.
"Glass being such a traditional form is leaving tradition behind," he said. "With painting, there is less focus on the portrait but more conceptual on the idea behind the portrait."
Not everyone, however, shares the same views as Taragin and Hinck. Collectors and buyers are not receptive to modern conceptualism as they seek traditional works like those in the '70s and '80s, Taragin said.
For students in the art field, Taragin stresses learning the basics of glass technique to be successful.
"We don't learn to run without learning to walk," she said. "While you're learning to walk in glass, pay attention to what's going on in other materials. You're not in a bubble."
Hinck plans to pursue glass in his two remaining semesters.
"I'm taking baby steps. Without traditional ways, you can't succeed in modern concepts," he said.