Steven Maslach is a prolific glass artist - a San Francisco native who took part in the Bay Area glass movement. He studied under Marvin Lipofsky and Sam Herman while attending CCA when it was the California College of Arts and Crafts. This movement helped initiate the recognition of glass as a fine art.
As a master glass sculptor, Maslach has focused his investigation of the medium in designing a personal technique for crucible cast glass. He uses a variety of molds, with sand molds as a particular preference to achieve rich textural finishes. He has lectured widely as a highly sought-after expert in the field, and is an active board member of the Glass Art Society and American Crafts Council.
Maslach’s work is part of very distinguished collections including the Smithsonian, Corning Museum of Glass - NY, Oakland Museum of Art, and American Craft Museum - NY, among many others.
I am drawn to forms that exist as a result of purpose. The human body, the vessel, and the boat take shape from the result of use, of efficiency, and of grace. I involve myself, as an artist, with the representation and evolution of these forms.
Sculpture exists in reality – in space and dimension – and can convey meanings and experiences beyond words. Our memories and responses are invoked by the validity of forms that involve us, delight us, and touch our humanity.
Every artist must define their intentions, the requirements of their art. I intend to make art that contains life, conveys purpose, requires the uniqueness of glass, and is of human scale – large enough to provoke a visceral response.
I work in a scale larger than most pieces made on a blowpipe. I develop my techniques in an effort to achieve sculptural forms without sacrificing the qualities of glass. I utilize the transparency and depth of glass in my work, and found that ladle or kiln-casting, with veils, bubbles, and opaque surfaces detracted from my artwork. My process is to direct cast using refined molten glasses, often poured into graphite, resulting in a clear surface and a cast of higher quality.
My work explores the human condition and brittle nature of our lives. I am concerned with the process of damage and repair. I have chosen glass figurative work to provoke a visual response, a visceral relationship. We accept the manifestation of a human form and relate to it. I keep my work around me in my studio and sense the presence of these incomplete figures. In time, the sculpture is accepted, grows familiar and gains humanity. The glance over the shoulder, the sudden glimpse, allows a moment in which the work reflects ourselves.
2015-2016 “Steven Maslach: New Light,” Jon and Lillian Lovelace Gallery, Bainbridge Island Museum of Art, Bainbridge Island, WA
2015 "25th Anniversary," Sculpturesite Gallery, Glen Ellen, CA
2015 “FIRED: Glass,” Arvada Center for the Arts and Humanities, Arvada, CO
2013 "Black, White, Red," a new leaf gallery | sculpturesite, Sonoma, CA
2008 "5 Contemporary Masters," Society for Contemporary Craft, Pittsburgh, PA
2008 “Function and Form: Art that Works,” Bainbridge Arts & Crafts, Bainbridge Island, WA
2007-2008 "Cheers! A Mad Collection of Goblets," Museum of Arts and Design, New York, NY
2007 "CCA: A Legacy in Studio Glass Honoring the 100th Anniversary of the California College of the Arts," San Francisco Museum of Craft and Design, San Francisco, CA
1998 "Cold Fusion," Prefectural Aichi Museum of Ceramics, Seto, Japan
1997 "L'Chaim: A Kiddish Cup Invitational," Jewish Museum of San Francisco, San Francisco, CA
1995 "Light Interpretations," Jewish Museum of San Francisco, San Francisco, CA
1994 "Collective Brilliance: Contemporary Glass," Albany Museum of Art, Albany, GA
1992 "More Than One: Contemporary Studio Production," American Craft Museum, New York, NY
1991 "Studio Glass: Selections from the David J Chodorkoff Collection," Detroit Institute of Arts, Detroit, MI
1990-1993 "Art that Works: The Decorative Arts of the Eighties, Craft in America," Toured at the Mint Museum of Art, Charlotte, NC; Huntsville Museum of Art, Huntsville, AL; Albany Institute of History and Art, Albany, NY; Minnesota Museum of Art, St. Paul, MN; Philbrook Museum of Art, Tulsa, OK; Birmingham Museum of Art, Birmingham, AL; DeCordova and Dana Museum, Lincoln, MA; Dayton Art Institute, Dayton, OH; Arkansas Art Center, Little Rock, AR; Hunter Museum of Art, Chatanooga, TN; Portland Art Museum, Portland, ME; Lowe Art Museum, Coral Gables, FL; Columbus Museum of Art, Columbus, GA
1989-1993 "Craft Today USA," European Tour, Musee des Arts Decoratifs, Paris, France; Taidetollisuumuseoi, Helsinki, Finland; Museum fur Kunsthandwerk, Frankfurt, Germany; Zacheta Gallery, Warsaw, Poland; Moscow, USSR; Zurich, Switzerland; Stockholm, Sweden; Ataturk Cultural Center, Ankatar, Turkey; Veletrani Palace of the National Gallery, Prague, Czechoslovakia; Brussels, Belgium; Milan, Italy; East Berlin, Germany
1986-1988 "Craft Today: Poetry of the Physical," Toured at the American Craft Museum, New York, NY; Denver Art Museum, Denver, CO; Laguna Art Museum, Laguna Beach, CA; Milwaukee Art Museum, Milwaukee, WI; J. B. Speed Art Museum, Louisville, KY; Virginia Museum of Fine Arts, Richmond, VA
1983 "Sculptural Glass," Juried Invitational, Tucson Museum of Art, Tucson, AZ
1980 “For the Tabletop,” American Craft Museum, New York, NY
2006 “Kitsap Boat,” Kitsap County Public Administration Building, Port Orchard, WA.
1997 Suspended glass ceiling sculpture, completed in partnership with artist Gayle Bard, Bainbridge Island Public Library, Bainbridge Island, WA.
1993 Dichroic sculpture, Nestle Corporation, Glendale, CA.
1992 “The Signal,” Emerald Shapery Center/Pan Pacific Hotel, San Diego, CA.
1992 Dichroic flame sculpture, Southern California Gas, Los Angeles, CA.
1990 Two glass sculptures, A Portman/Barry Architects project, Riverwood Building, Atlanta, GA.
1990 “The Precipice,” Northern Trust Bank, Phoenix, AZ.
1976 2,900 pressed glass lighting tiles, City of San Francisco Market Street Renovation Project, San Francisco, CA .
1975 Chandelier Series, Hotel Utah, Salt Lake City, UT
1991 David Jacob Chodorkoff Collection, Gift to the Detroit Institute of Arts, Detroit, MI
1990 Arizona State University, Tempe, AZ
1988 American Craft Museum, New York, NY
1986-1987 Oakland Museum of Art, Oakland, CA
1986 Chrysler Museum, Norfolk, VA
1986 High Museum of Art, Atlanta, GA
1983, 1986 Corning Museum of Glass, Corning, NY
Smithsonian Institute, Washington, DC
Awards and Honors
1990 The Denji Takeiuchi Prize: “The International Exhibition of Glass, Kanazawa," one of twelve prize winners from 385 juried entries, Kanazawa, Japan
1990 Prize Winner: “Essence of the Nineties: Celebrating the Art and Design of Perfume Bottles,” perfume bottle competition sponsored by St. Louis Glass, Indol, Preface, and Bloomingdale’s
1988 Grand Prize Winner: “A Glass For Wine," Grand Prize Winner, Goblet competition sponsored by Baccarat Crystal and Taittinger Champagne, Purchase award: American Craft Museum
1985 Merit Award: “Feet of Glass," The Art Glass Alliance of Maryland
Education and Professional Experience
1999-2003 Member – Board of Directors, Craft Emergency Relief Fund
1992 Glass Art Society conference participant, Corning, NY
1986-1992 Member – Board of Trustees, American Crafts Council
1986 Glass Art Society conference participant, Los Angeles, CA
1984-1986 Member – Board of Directors, Glass Art Society
1983 Glass Art Society conference participant, Tucson, AZ
1977 Glass Art Society conference participant, Madison, WI
1973 Glassblowing Instructor, University of California Extension
1971 Founded Maslach Art Glass corporation (President)
1971 Toured American glass factories and schools
1969-1970 Studied glassblowing at California College of Arts and Crafts under Marvin Lipofsky and Sam Herman