Marvin Lipofsky
Color into Form
Introduction: As one of the early pioneers in using glass as an art form, Marvin Lipofsky has pushed the possibilities of the medium. Introduced to glass by Harvey Littleton in 1962, Lipofsky has developed his technique and abstractionist style by drawing and expanding on the expertise of master artisans and glass blowers encountered during his many travels around the world. He gradually formed his unique style by incorporating both the technical aspects of glass blowing with his personal interpretations of the cultural environments and landscapes in which he worked. While his glassblowing process may be determined by what materials are available to him at the moment, the arrangement of color and his combinations of different hues is conscious and precise, inspired by his surroundings: the environment, flowers, mountains, trees, forests, weather and cultural conditions. He often uses hand made wood tools to guide the glass, manipulate it and bring it to his desired abstracted form. Once the work is cooled, it is returned to his Berkeley, CA, studio where he spends many hours cold-working it by cutting, grinding, and sandblasting the shapes into the final sculptural work.
San José Group 2004-06 #3 - 2006 (cover) San José State University, San José, CA 11 x 17.5 x 11.5” Blown Glass Cover title “Color into Form” courtesy of James Yood from his article on Marvin Lipofsky published in Arts Ltd Magazine May/June 2015
San José Group 2004-06 #1 - 2006 (above)
Marvin Lipfosky, 2006. Marvin Lipofsky studio, Berkeley, CA
San José State University, San José, CA 10 x 18.5 x 12” Blown Glass All glass photos throughout by M. Lee Fatherree
Fratelli-Toso, Murano Italy: In the summer of 1972, I attended the First International Glass Symposium at the Museum Bellerive, Zurich, Switzerland, which was organized by Roberto Niederer along with the Museum and the City of Zurich. I had visited Roberto on an earlier trip and he asked me to attend an appointment in the Mayor of Zurich’s office. Roberto speaking in German had a long conversation, turning to me once in a while, asking for my approval. Having not understood the majority of the conversation, I was surprised when we left the office and Roberto said that the City of Zurich is going to help sponsor an international symposium on glass and he thanked me for my help. All I had done was nod and say yes. After attending the conference, Roberto invited me to spend a weekend at the factory Veteria Buzzoni, Gessata, Italy, where I worked with a factory Master and made 3 or 4 large clear sculptures. This was the first factory that I worked in in Italy. I had accepted an invitation by Ludovico Diaz de Santillana to visit and work at the Venini factory. By good fortune, I had met Gianni Toso at the Zurich Conference. He offered me to visit his flameworking studio when I got to Venice. At Venini I was given a time in the afternoon to work with a helper by the name of Serano. We worked a few days together and things were okay, though it was a little difficult communicating with him. Gianni knew him and offered to come to the Venini factory and work with me himself. This was the first time I found out that Gianni was a respected Master Glass Blower. I was a little but worried about Gianni coming to the factory and disrupting the work flow, but when we walked in to the factory the next morning everyone stopped working and shouted out, “Ciao Gianni, Ciao!” I then saw what a close knit family the glass workers are in Murano. Gianni and I worked together for a few days. I had met Livio Seguso and we became friends. During the lunch breaks, while I was working at Venini in 1972, I crossed the canal to the Seguso factory and blew some small glass pieces by myself. In 1975 I worked again with Gianni at Venini and we worked together once more at the Fratelli-Toso factory in 1976, where one of Gianni’s relatives was in the factory’s management. 1980 I did a few pieces at the end of the work day with Lino Tagliapietra at Effetre International, Murano (only bringing one piece back to the States). – Marvin Lipofsky
Fratelli-Toso 1976-77 A - 1977 Fratelli-Toso, Murano Italy 13.5 x 15 x 13” Blown Glass
Marvin Lipfosky and Gianni Toso, 1976. Fratelli Toso Factory, Murano, Italy
Marvin Lipfosky and Eric Bladholm, 1987. Haystack Mountain School of Crafts, Deer Isle, ME
Haystack Summer Series 1987 #11 - 1987 Haystack School, Deer Isle, Maine 10 x 13� Blown Glass
On Traveling: Since my graduate studies in the mid-60s, I have explored the use of glass as a sculptural material. Initially, seeking to explore and learn the technical aspects of working with blown glass I tried to push the glass into an abstract sculptural expression. In 1970, I began working in various glass factories and studios throughout the world. Through lectures and workshops, I’ve been able to share the excitement and knowledge I found in these situations; at times, being the first American to work in a factory or country. My interest in foreign countries and their cultures influenced how I developed my sculptures. Working with individual glass workers challenged me to push cultural and technical barriers to develop my sculptures through the use of color and form. Each series of work incorporates the special techniques and environment of the factory and the local natural environment. The glass forms are sent back to my studio where I reshape and finish the pieces by myself. The work develops slowly because of the time needed for the finishing process required to refine my ideas. – Marvin Lipofsky
GA Series 1994 #2 (IGS V) - 1994 Novy Bor, Czech Republic 11 x 17 x 14” Blown Glass
Lauscha Group 1997 #4 - 1997 Farblahutte, Lauscha, Germany 11 x 21 x 16” Blown Glass
Dalian, China In 1996 and 1999, Marvin Lipofsky traveled to China to develop a sculptural series in Chinese glass factories. Arranged by long time friend, Willy Andersson, international Swedish glass consultant, and Intra Development Co., Lipofsky became the first American to create a series of glass sculptures — “China Group 1996-97,” and China Group II 1999-2000 — in a Chinese factory. He worked at the Dalian Glassware Factory with the assistance of Glassmaster Wong Cheung Yun and Willy Andersson. The organic sculptures try to capture the overwhelming sense of history and power of China and its dynamic people by using strong red colors mixed with shades of blues and yellows.
China Group 1996-97 # 3 - 1997 Dalian Glassware Factory, Dalian, China 16 x 13 x 11” Blown Glass
China Group II 1999-2000 #12 - 2000 Dalian Shengdao, Dalian, China 11.5 x 12.5 x 13” Blown Glass
Marvin Lipfosky, 1996. Dalian Glass Factory, Dalian, China
Marvin Lipfosky and Richard Meitner, 1990. Claude Morin Studio (Le Pontil), Dieulefit, France
Dieulefit, France 1990: On the occasion of the 20th Anniversary of the glass studio “Le Pontil,” Marvin was invited by Claude Morin to work, celebrate, and exhibit along with artists Harvey Littleton, Erwin Eisch, Sybren Valkema, and Claude Morin.
Dieulefit Group Wall Piece 1990-96 #3 - 1996 Le Pontil Studio, Dieulefit, France 12.75 x 12.5 x 4” Blown Glass
Violetta Series 1992-96 #17 - 1996 Violetta Glass Factory, Stronie Slaskie, Poland 9 x 13” Blown Glass
Marvin Lipfosky and Skiba, 1992. Violetta Glass Factory, Stronie Slaskie, “Violetta”
Otaru Series 1987 #26 - 1987
Marvin Lipfosky, 1987. The Glass Studio in Otaru, Otaru, Japan
Glass Studio in Otaru, Otaru, Hokkaido, Japan 8.5 x 14 x 9.5� Blown Glass
Seattle Series 1990 #2 - 1990 (above) Ben Moore Studio, Seattle, WA 16 x 17” Blown Glass
IGS II 1985-93 #3 Crystalex Hantich, Novy Bor, Czechoslovakia 15.5 x 20” Blown Glass
Pilchuck Summer Series 1988-1989 # 8 - 1988-1989 (back cover) Pilchuck Glass School, Stanwood, WA 14 x 16” Blown Glass