Currently, I am working on a solo exhibition that opens in April at the Heller Gallery. I am working full time on a series of three dimensional clear glass still lives, which are interpretations from 17th and 18th century paintings. How did my career unfold? Before graduating from school, I applied and was accepted to an apprenticeship at The Fabric Workshop & Museum in Philadelphia. As I was participating in the apprenticeship, I applied to other jobs, exhibitions, residencies. Despite countless rejections, I was awarded a few more opportunities. In this way, I looked forward to new endeavors, all of them resume builders.

You've exhibited your work at many museums, galleries and events in the last five years. How has this contributed to your success in glass art?

I never really wanted to be successful as a "glass artist." I do want to be successful as an artist who makes work in glass and other materials. Each exhibit and event I have participated in has been a learning experience. For example, I've learned that I should always come prepared to fully install my own work. Never assume that the site will have the tools you need. Another experience taught me that I should have my work fully documented before it ever leaves the studio, in case the curator needs images for PR. So, each experience is a valuable asset in teaching me how to be more successful.

What are some of the favorite projects that you've completed in your career and why?

In 1999, I created a public art event using glass. I blew functional vessels, wrapped them as gifts and labeled them with the following info: To: you From: a Brooklyn artist, the Brooklyn Arts Council and Department of Cultural Affairs. ( I was able to list these organizations because they partially sponsored the project.) This series of events was really fulfilling. I have always been interested in creating work that has a strong common denominator. It is important that almost anyone can approach my art and take away some understanding. I would place the gifts around my neighborhood and walk away. Sometimes I would see who picked up the gift, most times I did not. It was exhilarating to give a gift with absolutely no strings attached.

Waterfall II: Cut white glass & plaster, from a series based on water.

Well, its always exciting to receive financial support for what I am doing. It reaffirms that I am on the right track. It is very hard to win grants and awards. I know the stakes because I have been a panelist on several occasions. For every award I have received, I probably have applied to five others from which I was rejected. Receiving a grant opens doors to receive more grants. Foundations see that others have been willing to support you.

Who have been the biggest inspirations for your career?

At Tyler School of Art (Temple University), I met and studied under my mentor, Lewis Knauss, who incidently taught Fibers, not Glass. Knauss was extremely critical of my work and addressed each piece on all levels: formally, conceptually, historically. The object needs to be able stand next to any other piece of art (painting or sculpture) and hold its own. In so far as being inspired by artists who work in glass, I am inspired by the collaborative team CUD, individually known as John Drury and Robbie Miller, and the de la Torres brothers, Einar and Jamex. These pairs of artists are very free with the material and are dynamite!

THE ACTUAL WORK

What exactly do you do? Describe a typical day of work for you.

Any given day you will find me traveling to HUB Consolidated to blow glass from 10 to 5; or coldworking the pieces that have come out of the annealer; or glueing the pieces together; or lampworking details of the pieces; or labeling my slides and updating my resume for the next deadline or rewriting my artist statement; or reading reviews of the current exhibitions.

Using a propane torch to apply spot heat to a bird sculpture. Working with different areas requires specific heating.

I use whatever process is the most appropriate for an idea. I have used kilnforming (slumping and fusing), glassblowing and sculpting, lampworking, stained glass, casting and neon. The more techniques you know, the larger the vocabulary for your work.

You were recently the Education Director for UrbanGlass, a nonprofit organization for glass artists. Are there any other professional organizations for glass art?

UrbanGlass is a non profit artist access facility for glassworking. The organization offers studio rental and classes and has the most comprehensive facilities in the country. Public Glass is located in California, Glass Axis is located in Ohio, and Pratt Fine Arts Center is located in Washington. These facilities offer similar opportunities for artists working in glass.

Using a Tagliol (an Italian glass spatula) to push and pat the glass.

Is it important to collaborate with your colleagues?

Collaborating with others in glass is different than any other material. You are not only collaborating with them, you are depending on them. It is crucial in the process to work with at least one other skilled blower. Some people work with up to seven people to make their work. This is very different than the reclusive painter or sculptor.

What are some common myths about your profession?

There was a myth in art school that, if you were able to sell work, you were selling out. It's taken me years to reprogram my brain, and I am still struggling with it.

EDUCATION INFORMATION & ADVICE

Tell us about your art education. What did you like and dislike about your glass art education?

I attended Massachusetts College of Art for two years and transferred to Tyler School of Art at Temple University for a remaining 3½ years. I was a perpetual student who majored in Fibers and Glass. Mass Art is a great school, but during my attendance they began to revamp and move the entire glass department to another building. I decided I couldn't sacrifice the studio access for my remaining years and transferred to Tyler. Likes and dislikes… I learned skills which made me employable in my field. (That's a new one for the arts!) What I really liked about Tyler were the requirements. Tyler is a part of Temple University, which had a basic core curriculum. Art students were required to take math, science, philosophy, and foreign language. This was very annoying for most students, but I'm glad I got a well-rounded education.

How can prospective art students assess their skill and aptitude for glass art?

The only way a student can assess their skill in the material is to try it out. Some students pick up skills very quickly, others take years longer. I was in the latter group. I just perservered.

What factors should prospective students consider when choosing an art school? Are there any different considerations for those who know that they want to specialize in glass art?

When I looked for schools, I could easily narrow my search to schools which had both Glass and Fiber departments. There are only about five schools in the country which carry both. Then, I looked at location and cost. I knew I wanted to be in an urban environment, and I didn't want to be in debt for the rest of my life. If a student is undecided about which field they are most interested in, I would pick schools that have the most diverse offerings. If a student is sure that they want to specialize in Glass, I would look at the faculty and the facilities. If the faculty is making work which resonates for the student, chances are they can excel in that department.

Based on what you hear in the industry, what do you think are the most respected and prestigious glass art schools, departments or programs?

"Still Life with Fruit" can be seen at the Brooklyn Museum of Art.

I have heard great things about:

• Alfred University
• Rhode Island School of Design
• California College of Arts and Craft
• Tyler School of Art
• Massachusetts College of Art
• Ohio State University

• Pilchuck Glass School
• UrbanGlass
• Haystack Mountain School of Crafts
• Penland School of Crafts

JOB INFORMATION & ADVICE

Who are three of the most renowned glass art professionals in the world right now? How did they get to the top of the profession?

Three of the most renowned glass art professionals: Dale Chihuly, Paul Stankard, and the husband and wife team Stanislav Libensky and Jaroslava Brychtova.

Dale Chihuly is a household name at this point. He has brought tremendous attention to the field, and he is located in Seattle.

Paul Stankard is known for his miniature botanical scenes encased in clear glass. He is located in Mantua, NJ.

The Libensky-Brychtova team is known for their monumental cast glass. They are located in the Czech Republic.

What is the average salary for your field? What are people at the top of the profession paid?

Glassblowing assistants make $11-$50 an hour depending on the skill level. The gaffer (the blower or lampworker who is in charge of the making of the piece) will make $20-$100 an hour, perhaps more. Coldworkers (workers who finish the glass by grinding and polishing) make $15-$25 an hour, approximately. Kilncasting and kilnforming artists are probably getting paid anywhere from $25-$75 an hour. Let me point out - a skilled glass artist can get paid to work in their chosen field. What a concept.

What are the best ways to get a job in the field of glass art?

The best way to get a job in glass is to put yourself in the public access facilities, schools, private studios. Make your intentions known, be willing to volunteer and pay your dues.

Water II: Slumped glass mounted directly on the wall.

Not necessarily. Graduating from a good school prepares you for seizing the job opportunity when it is presented to you.

How available are internships in glass art?

Internships are AVAILABLE! Everyone is desperate for help for no or little cost. It really helps to have a basic knowledge of the material. No one wants to spend all their time training someone from the ground up, only to have them leave in a month or two. Interns should be prepared to spend a minimum of three months in the position.

How is the job market now in the glass art industry? How do you think it will be in 5 years?

The job market is thriving. Unlike other craft fields, glass is enjoying an unprecedented expansion. Everyone and their mother is making glass and selling it. Glass is a very expensive material to work in, I suppose the heyday depends on the economy. It's hard to say exactly how long the market will hold out. As in every field, there is a core group of collectors who will continue to support new and established artists.

INDUSTRY TRENDS

Do glass art professionals typically use any specialized computer programs? If so, how important is it for graduating students to be well-versed with these programs?

Transferring partially-sculpted bird from one pontil to another; assisted here by her husband, Frederic Chelminski.

If you have any questions for Ms. Lipman related to glass art and/or this interview, please contact her directly at CRM@monad.net.