|Title: ||A History of Glassforming|
|Publisher: ||London: A & C Black|
|Issue Date: ||2002 |
|Additional Links: ||http://www.wlv.ac.uk/Default.aspx?page=15336|
|Abstract: ||Cummings asks in what ways do the final forms of glass artefacts and products relate to the specific nature of glass and the methods invented over its history to shape it? The research involved an examination of the conventional taxonomic approaches in written accounts of glass artefacts; with the intent to expose the presumptions and gaps that prevent a fuller understanding of the material history. The work moves to expose the forces involved in the evolution of glass as a series of individual and collective creative decisions. The author examined the relationships between the unique material properties of glass, and the methods and processes used to shape it; with specific focus upon technology, tools, and equipment. The focus is upon the fact that glass becomes more and less liquid in relationship to temperature, furthermore glass acts as a universal solvent allowing artists to experiment with a range of materials that affect colour, transparency, opacity and the relationship between surface and body|
|Description: ||This book presents a history of the development of glass. Chapters discuss the nature of the material, the evolution of tools and technologies, and the development of the processes and techniques of glassmaking. The historic evolution is examined from the ancient past (from the Bronze age forward) to the modern era after 1830. The final chapters examine glass as the focus of contemporary design (defined by factory reproduction) and the evolution of studio-art practices where production is defined by singular artefacts.|
Development of glass
|Appears in Collections: ||Contemporary Design and Applied Art|
|Files in This Item:|
There are no files associated with this item.
All Items in WIRE are protected by copyright, with all rights reserved, unless otherwise indicated.