Art Glass Research Articles

Solution-oriented development of the sound environment in industrial workplaces

Objectives. Research literature has not given much evaluation to why the proposed noise control actions in workplaces are not being implemented. There are views of the different personnel groups in the workplace and the reasons why the possibilities for solutions have not been examined. Methods. The companies under study were a welding machine shop, an assembly plant, a heavy steel company and an art glass factory. Noise management was approached by combining the perspectives of technology, acoustics and occupational safety with the examination of sociocultural factors at the workplace level. Results. Noise was not well represented in occupational safety practices. The productivity aspect was strongly emphasized. The use of personal protective equipment created the illusion that everything possible has been done and noise controlled. Conclusion. The study developed a model in which experts in the field of acoustics and sociocultural researchers together evaluated the state and development needs of noise abatement. The results of the project show that successful noise control solutions require a process involving all staff in the workplace.

Glass in fine art: Contemporary approaches in the 21st century in the Portuguese panorama

Art glass is a pioneering form of art that is open to investigations and distinct applications. The technological developments in science combined with novel esthetic concepts allow new artistic interpretations of this material that can be transparent, translucid, crystal, and opaque. Glass is an art material prevalent in Portugal territory, which has been historically connected particularly with glassblowing and stained glass. Many Portuguese artists are now integrating glass into the conception of their art pieces. This article aims to present the panorama of Portuguese contemporary glass and the importance of education programs that have emerged in the past years contributing to the increase of artists working with glass as a fine art material. Research conducted in universities, as well as numerous synergistic projects, also represents key factors leading to the increased convergence between art, science, and the production of original materials. This paper also presents works from young-generation artists, projects, and events.

Aspects of Coexistence between Art Glass and Architecture—Façade Graphics

Aspects of Coexistence between Art Glass and Architecture—Façade Graphics

Preserving Authentic Decoration in the Entrance Spaces of Residential Buildings in Eastern Galicia from the late 19th to the First Third of the 20th Century: Restoration Experience

The special role in shaping the entrance spaces of buildings, their artistic expressiveness belonged to decorative art, as architects used such materials as artistic wood, artistic metal, artistic glass, artistic ceramics, artistic paintings, sculptural forms, decorative stone and other elements for decorating entrance spaces. Sometimes, one motif could be the main focus in the decor of entrance spaces, echoing with artistic paintings, decor on ceramic tiles, etched pseudo-stained glass, supraports and wrought ironwork of stair railings according to the principle of interaction of arts. However, there are cases of staircases, artistic paintings or stained-glass windows that are not continued in the patterns of ceramic tiles, decor of walls and ceilings, railing enclosures, or artistic solutions of entrance gates. In such cases, these decorative elements act as an accent in the interior. Natural studies allow to systematize the typology of doors based on a number of characteristics: material of manufacture, stylistic execution, principles of decorative solution, location of artistic decoration, type of ornament of wrought iron grilles and so on. However, alongside negative examples of the state of entrance spaces, there is also positive experience of their preservation and restoration.

РОЛЬ ВІТРАЖІВ В СУЧАСНОМУ ОЗДОБЛЕННІ ІНТЕР’ЄРІВ ЖИТЛОВИХ ПРИМІЩЕНЬ

Stained glass has attracted the attention of art critics and scientists for centuries. Stained glass art plays a special artistic role in decorating windows, doors, and ceilings. In addition to the traditional use of stained glass windows, they are used in the design of modern interiors. Although stained-glass windows are not a common design solution in interior design, they are increasingly used for their individualization in modern decoration. In the process of researching decorative decoration of modern interiors with the use of stained glass, new techniques and technologies of their implementation, compositional solutions, their color range were considered, and the main features of artistic expression were revealed. In modern interiors of residential premises, you can find stylized decorative and ornamental stylized stained-glass compositions, which are characterized by a linear division of the glass canvas with the use of faceted glass elements. With the help of stained glass windows, the space of the living room is filled with warm or cold, monochrome or polychrome colors, which enhances the visual perception of certain interior elements. Stained glass compositions using traditional and modern production technologies were analyzed and their role in modern interior design was determined.

PENGARUH GAYA KEPEMIMPINAN OTORITER, GAJI DAN INSENTIF TERHADAP KINERJA KARYAWAN PADA CV. SURYA ART GLASS KABUPATEN KEDIRI

The competition among companies in the era of globalization is increasingly intense in both the trade and service industries. Therefore, companies need to improve their performance in all areas. It has been proven that companies that survive are those with reliable human resources and good performance. The aim of this study is to examine the influence of authoritarian leadership style (X1), salary (X2), and incentives (X3) on employee performance (Y) at CV. Surya Art Glass Kediri. The sample size in this study is 55 people, consisting of all employees of CV. Surya Art Glass in Kediri Regency. The sampling technique used in this study is saturated sampling. Data analysis in this study utilizes Validity Test, Reliability Test, Multiple Linear Regression Test, including t-test and f-test. The results of this study indicate that the variables of Authoritarian Leadership Style, Salary, and Incentives have a positive and significant effect on the Employee Performance variable. From the t-test results, the Authoritarian Leadership Style variable has a value of 0.003, which is less than 0.05, indicating that the Authoritarian Leadership Style variable has a positive and significant effect on employee performance. The Salary variable has a result of 0.033, which is less than 0.05, making it positive and significant. The Incentives variable has a result of 0.003, which is less than 0.05, making it positive and significant. The F-test results show that the calculated F is 7.629 with a sig. F value of 0.001 < 0.05, indicating that Authoritarian Leadership Style, Salary, and Incentives together have a significant effect on the employee performance variable.

New Coating Paradigm to Boost Performance and Durability of Solar Receivers

The development of renewable energy sources is nowadays of enormous importance, not only for the climate change fight but also for the security of the energy supply. The latest geopolitical unfortunate events in Europe have highlighted our energy dependency on foreign fossil fuels. In this context, solar technologies are already playing an essential role in shifting towards neutral carbon economies, ensuring a reliable energy supply. In this regard, dispatchability provided by CSP plants is key to pave the way towards energy transition. It is worth noting that the long-term durability and performance of solar components in arid regions are crucial to increase the reliability and performance of CSP plants while reducing O&M costs. In this work, an innovative approach based on nano-structuring the solar receiver tube glass is presented, which provides improved anti-reflective (AR) and anti-soiling (AS) properties, also showing good durability with respect to abrasion. Spectral transmittance improvement, soiling rate decrease, and durability measurements are presented for nano-structured glasses, comparing with current state of the art glass performance. The achieved experimental results suggest that the new structured glasses would be good candidates for CSP applications

"The Universe Is a Quiet Catastrophe": Alan Glass's Late Assemblages

Abstract: This article examines a selection of the assemblage artist Alan Glass's art made during the COVID-19 pandemic. In either direct or oblique ways, many of Glass's works from 2020 to 2022 allude to the pandemic and other ongoing crises including war and ecological catastrophe. Drawing on archival material and interviews with the artist, the article emphasizes the significance of poetry and esotericism for his art, and interprets the works under consideration as examples of gnosopoetics, or the pursuit of higher knowledge and radical transformation through surrealist art. After outlining Glass's trajectory from drawing and painting to the medium of assemblage and situating his art in the context of Surrealism in Canada, France, and Mexico, the author proceeds to a thematic discussion of Glass's pandemic-era works. These alternate between, on the one hand, depicting a broken world and thematizing death, and, on the other, calling forth possibilities of transformation through a surrealist poetics of the ascendant sign as well as imaginary forms of communication.

Research on the New Era Aesthetic Transformation of Traditional Chinese Arts and Crafts: The Cases Focusing on Glass Art

Traditional craftsmanship maps out the Chinese philosophy of creation, but it has suffered during the rapid transformation of the aesthetic of industrialised, urbanised modernity. Glass art has a long history in China, but for a long time it has not been able to integrate deeply with science, but has existed as an imitation or substitute for nearby materials, so the several changes in glass art are closely linked to the entry of Western art into the Chinese art world, which is why it is defined as 'imported'. After the initial imitation of Western glass art, modern China has come to recognise the importance of its own cultural identity, which is at the heart of Eastern art's standing on the world stage and its dialogue with the world.

THE ROLE OF FRENCH PRESSED GLASS IN THE DEVELOPMENT OF THE MEISSEN PORCELAIN MANUFACTORY

The purpose of the study is to reveal the history of Europe's first porcelain manufactory from a little-known aspect and show how non-standard solutions helped Meissen manufactory stay afloat, despite wars and crises. The article examines the history of the manufactory's turn to works of glass art - the allied decorative and applied art. The experience of using pressed glass products clearly reflects the high role that technologies, revolutionary for their time, played in design at the manufactory and its history, and how the histories of the two directions of decorative and applied art, which usually do not intersect, are closely connected. The scientific novelty lies in the interdisciplinary consideration of the issue using rare entries from catalogues of glass and Meissen porcelain products. As a result, it was determined that although the Meissen manufactory management tried to minimise the amount of evidence about the period of copying glass products, this period, nevertheless, turned out to be necessary for the manufactory’s survival in the European porcelain market. Largely owing to craftsmen’s willingness to move away from the usual models of production methods, as well as the use of the latest technologies of the first third of the 19th century, Meissen continued to create world-class porcelain masterpieces in the following years.

CIE color coordinates for the design of luminescent glass materials

AbstractNew photoluminescent materials have numerous possibilities in many different areas from technological applications to contemporary glass art and design, encouraging the development of new forms and products. Glass luminescent materials, known for their exceptional durability and recyclability, position glass as an ideal solution for fostering a more sustainable future. In recent years, white luminescence in glass and ceramics has been the subject of several investigations about its possible application in white light‐emitting diodes (WLED). Color coordinates and CIE chromaticity diagrams serve as valuable tools to represent and define the range of luminescent colors achievable in a particular composition. These aid in understanding wheter a composition can be used to produce white luminescence or various other colors. In this study, a soda‐lime silicate glass composition was doped with a mixture of different lanthanide oxides to increase the luminescence color palette. The same glass sample can also present different colors by changing the excitation light, allowing higher tunability of luminescent colors. It was effectively demonstrated the extensive spectrum of colors produced, which was represented through luminescence color coordinates for all synthesized glasses. Moreover, the possibility of detecting if an excited state process is occurring was studied by calculating the lanthanides factors and comparing them with those used in the glass synthesis. Nevertheless, it is shown that the energy transfer process has to be significant to influence the color coordinates and the calculation of the factors.

Post-Studio Tendencies of the World Glass Art: Role of Institutional Influence

The main objective of the study is to initiate a discussion in the art environment regarding actualizing stylistic features according to the gradual domination of conceptual art practices in the creative work of the active generation of glass artists. The question of assuming a significant era in the development of artistic glass – the International Studio Glass Movement – arises with the emergence of a world art discourse of a growing array of practices built on the principles of conceptual arts. The study reveals the role of the most influential institutions in stimulating young artists to use rather non-classical instruments of creative realization for the studio glass artistic expression. The exhibition and information activities of the leading institutions of three continents – America, Europe, and Asia: the Glass Art Society, the glass museums in Corning (USA), Ebeltoft (Denmark), and Shanghai (China) are taken into account. The brightest examples of art pieces by artists from different countries where the artistic idea and conceptual metaphor play a critical role despite aesthetics or unique design have been selected and analyzed. The recently realized projects of two Ukrainian artists of different generations – Professor Andriy Bokotey (Lviv) and his student Viktor Melnychuk (Uzhhorod) – are also considered in the article. Several installations, performances, and works with a multimedia or interactive component, exhibited as a final work by foreign artists and participants of the International Blown Glass Symposiums in Lviv, are described here. The performance by the famous world-known Czech glass artist Jiri Suhajek in the framework of the II International Blown Glass Symposium, 1992, is stressed as the first performative creative realization for the Ukrainian audience. His intuitive activity set a precedent for a new direction in artistic glassmaking. It is concluded that according to the broad set of features, a significant part of the 2010-2020 glass artists’ activities goes far beyond the accepted canons for studio glassmaking. Thus, summing up, it is stated that the significant stage in modern culture – the International Studio Movement, which brought the generally accepted artistic means for decorative art into the domain of fine arts – became the basis for the development of the next direction in the civilizational ladder.

Lamps by Andrii Bokotey (co-authored) in the interiors of public buildings of the 1970s and 1980s: the first creative experiments with glass

The article deals with the glass lighting compositions by Andriy Bokotey, created in collaboration in 1970-1980 for the interiors of public buildings in the former USSR. The article outlines the historical and socio-cultural prerequisites for changing the chosen medium. First of all, the beginning of the artist's work with glass and his first creative searches in the new material are comprehensively studied. The cause-and-effect relationships of the implemented functional and technological solutions are clarified. The evolution of forms and approaches to the creation of constructive design of lighting systems in the interiors of public buildings of that time is traced. It is determined how customers and architects influenced the implementation of projects. Ten three-dimensional compositions are analysed. The artistic and functional value of the realised objects is outlined. Main objective of the study is to identify the artistic and technical features of the lighting compositions made by the creative team with the participation of Andrii Bokotey and the socio-historical determination of artistic decisions. Methodology: the article uses both general scientific and specific research methods. In particular, analytical, systematic, descriptive, comparative, formal, cultural and historical methods. An interview with the author was also conducted. All the images used and the bibliography of works were provided by Andriy Bokotey from his personal archive for the creation of the research paper. Results and conclusions: Andrii Bokotey is an iconic artist in the field of art glass. His creative achievements are the subject of research by a number of eminent art historians. However, a significant layer of three-dimensional lighting compositions has remained outside their attention. The period of creating lamps in the work of Andrii Bokotey is fruitful and bright, it became a turning point in the choice of the main creative medium, but not dominant, and therefore little studied. For the first time, illustrative materials on this topic are comprehensively published and the author's creative practices are considered in the social context of the time.

The Power of Glass: Craft Scotland Conference, 2022

In 2022, the UN marked the International Year of Glass, celebrating the essential role glass has, and will continue to have, in society. One element of this celebration was the importance of glass within art and its history, which the Craft Scotland 2022 Conference: The Power of Glass looked to explore. The aim of the conference was to allow a range of individuals, be they academics, researchers, or students of glass and art history within Scotland and the UK, to access contemporary thought within an under-represented field in the UK craft sector. In this paper, we look to highlight the links between the aims of the International Year of Glass and the proceedings of The Power of Glass Conference, demonstrating how glass artists, makers, and designers are part of a growing international body of creatives who are using the communicative possibilities of glass as a vehicle in which to raise pertinent questions and platform unheard and overlooked narratives. Moreover, they seek to overturn perceived biases of what glass is and its future potential by placing their craft within an arena of judgement beyond discussions of process and technique and by elevating socio-political glass art on par with other forms of artistic protest and commentary.

GLASS OF THE KAMIANETS-PODILSKYI REGION: SOURCE BASIS AND RESEARCH PROSPECTS

The existing source base and research prospects of the development of art glass in the territory of the Kamianets-Podilskyi region are examined in this article. The work of V. Gagenmeister “Huta glass of Podillya” (1931), as a source for the contemporary art criticism studies of art glass of the Kamianets-Podilskyi region and a modern base for the prospects of its further research, is characterized. The work of V. Gagenmeister “Huta glass of Podilya”, as an art history source which allows a comparative analysis of the first collection and the description of the Kamianets-Podilskyi region glass with the modern collections available from the foundations, is studied and systematically analysed. In the work of V. Gagenmeister “Huta glass of Podillya”, unique in its identity, the first attempt to analyse and systematize the glassware available at foundations of the Kamianets-Podilskyi Museum of Antiquities at that time was performed. It can be argued that at that time this work was the only one of its kind art attempt to appeal to the study of the glass products from the Kamianets- Podilskyi region, and further fundamental for scientists who addressed the topic of study of Ukrainian glass and glass of the Kamianets-Podilskyi region particularly. Relevant and important remains the work of an outstanding teacher and scientist for contemporary art historians, local historians and teachers of disciplines from the cycle of decorative and applied arts. The object of the article is to consider the source base and research prospects of the development of art glass in the territory of the Kamianets-Podilskyi region. An attempt to analyse the work of V. Gagenmeister “Huta glass of Podillya” (1931), as a source for the contemporary art criticism studies of art glass of the Kamianets-Podilskyi region and a modern base for the prospects of its further research, was made. The study and system analysis of the work of V. Gagenmeister “Huta glass of Podillya”, as an art history source which allows a comparative analysis of the first collection and the description of the Kamianets-Podilskyi region glass with the modern collections available from the foundations, was done. The research methodology includes the study and system analysis of the work of V. Gagenmeister “Huta glass of Podillya” as an art history source, which allows a comparative analysis of the first collection and the description of the Kamianets-Podilskyi region glass with the modern collections available from the foundations. The scientific novelty of the research lies in the fact that for the first time the description of the glass collection available at the Kamianets-Podilskyi Museum and its foundations is introduced into a scientific circulation. Its modern typology and systematization according to the morphological features with a comparative analysis of the work of V. Gagenmeister “Huta glass of Podillya” is presented. The artistic and stylistic features of glass as a research subject are considered. The work of V. Gagenmeister “Huta glass of Podillya” (1931) remains unique and distinctive, fundamental and informative when it comes to the study of decorative and applied arts in our region. V. Gagenmeister made the first attempt to analyse and systematize the glassware available at foundations of the Kamianets-Podilskyi Museum of Antiquities at his time.

The creation of contemporary glass mosaics inspired by ancient Burmese glass art

This research studies glass decorations used in religious buildings from nineteenth-century Burma. It focuses on artworks found along the inner walls of the Buddhist shrine at Shwe Yan Pyay in Nyaungshwe City. Dating from the early nineteenth century, the shrine still serves as a Buddhist learning centre in the village and is thus an invaluable source of knowledge on Burmese and Asian art. Ancient glass artworks employed different techniques, many of which have since faded from practice, such as painting under glass or using lacquer. Their study can inform art education, promote art conservation and open new creative pathways for contemporary artists. This study has researched these ancient techniques through practice-based research and offers examples of its contemporary application.

Glass art: A discussion of the impact of digital manufacturing processes on craft practice

The traditional glass art industry has changed over time and technological renovation, and its forging and forming methods have been fused with the latest technologies that began to prevail ten years ago 3D printing and laser cutting in terms of production processes. The involvement of machines in the process has greatly saved the time needed to make crafts, and the changes behind it have had a series of impacts on the lowering of the manufacturing threshold of the industry, the liberation of beginners in terms of skill acquisition, The changes behind this have had several implications in terms of the lowering of the manufacturing threshold for the industry, the liberation of beginners in learning skills, and the scarcity of skilled craftsmen in the artisanal field. This paper will focus on the ethical issues and considerations behind the changes and richness of the glass art industry.

Features of the use of art glass in the design of architectural space

Features of the use of art glass in the design of architectural space

STUDIO MOVEMENT IN THE UNITED STATES OF AMERICA: INFLUENCE OF KEY FIGURES AND LEADING CENTERS ON THE WORLD GLASS ART

The article reveals the activities of the key institutions and the most prominent figures in the glass art of the United States of America, contributed to the development and spread of the international glass studio movement worldwide. Particular attention is paid to the work of one of the most influential museum and research centers in the field of glass art research in the world – the Glass Museum in Corning, NY. Attention is also drawn to the work of the Glass Art Society, a public organization that brings together hundreds of artists, scientists, manufacturers and amateurs of art glass and pays considerable attention to the accumulation of informational resources. The work of the leading artists of the American art glass, pioneers of the world studio movement G. Littleton, M. Lipofsky, D. Chiguli, T. Patti, R. Marquis, T. Zinski and many others is analyzed. The stylistic and technological features of the artists individual compositions are indicated, and the basic typological characteristics of contemporary American art glass are determined on their basis. It is concluded that understanding of the concept of a studio glass from the beginnings of origin in the United States lies in the following planes: decorative, technological and experimental, conceptual and figurative. The activities of key centers, including museum, educational and industrial institutions, are outlined as well as their level of influence on the development of contemporary glass art is outlined. The description of one of the leading manufacturers of art glass in the USA, a company with centuries-old tradition of glass making Steuben Glass is show in the article. The influence for the international studio movement and development of the glass industry is made basing on the selected samples of the product range. The analysis of scientific sources is proposed and special attention is paid to their authors, who belong to the most prominent personalities of the world art history. The aim of the study is to highlight the activities of key educational, museum, production and organizational clusters, individual artists and scholars in the United States, which have contributed to the development of the international studio glass movement. Methodology of the research: methods of diachronic and synchronous description of artistic phenomena, method of formal analysis and synthesis, structural-functional and stylistically typological methods are used in the article. Relevance and scientific novelty. Ukrainian art studies considered the issue glass art mainly in the context of decorative and applied arts. With the advent of the concept of "fine glass" the question of a thorough rethinking of the terminological system and its introduction into scientific circulation raises. Actually the appeal to the original sources of the studio movement birth in the American art of the second half of the 20th century, as well as a thorough analysis of conceptual principles and a clear understanding of its functioning in the general context of world art will contribute to solving of this key problem. It is concluded that it was thanks to the American artists the international studio glass movement, the powerful artistic phenomena, began to spread in the world. The artistic centers and individual personalities of the United States continue to actively and successfully influence the overall development of contemporary world decorative and fine arts, glass art in particular.

How Can We Understand the Relationship Between Artists and Their Materials in the Production of Art Glass Through Modern Technology?

This essay explores the relationship between the artist and their materials in the production of glass art through modern technology, and the role of glass as a medium in art rather than as a form of craft. It includes a brief history of glass as an artistic medium, the development of glass techniques and their application in the field of art. It reflects on the uniqueness of glass as a sculptural medium because of its optical properties and transparency. The rise of the American Studio Glass movement, a landmark in the history of glass art at the time, changed the tradition of using glass, and many artists began to use it to express their own artistic ideas and aesthetic views, enriching the language of glass art and making it an independent material for artistic expression. With the development of glass as a fine art media and the removal of technical limits on its use, we are seeing an increasing number of artists take use of the aesthetic and conceptual possibilities it provides. The essay uses case studies to show some artists started from materials and made some new attempts to combine works with new media.