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Gary Beecham | |
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Born | April 21, 1955 |
Nationality | U.S. citizen |
Occupation | Glass artist |
Gary Beecham is a studio glass artist of North Carolina.
Beecham's attended the University of Wisconsin–Madison, where he was awarded a Bachelor of Science in Art in 1979. He worked for a year in 1978 at the J. & L. Lobmeyr glassworks in Vienna, Austria before returning to the United States to settle in Spruce Pine, North Carolina. There he worked from 1980 to 1985 as an assistant to Harvey Littleton. Thereafter Beecham began his own career in glass, creating in the techniques of free-blowing, fusing and carving glass.
Beecham's work has been collected by the Glasmuseet Ebeltoft, Ebeltoft, Denmark; Düsseldorf Art Museum in Ehrenhof, Düsseldorf; Frauenau Glass Museum, Germany; Asheville Art Museum, Asheville, North Carolina; High Museum of Art, Atlanta, Georgia and Mint Museum of Art, Charlotte, North Carolina.
Ebeltoft is an old port town on the central east coast of Denmark with a population of 7,204. It is located in Syddjurs municipality in Region Midtjylland on the larger Djursland peninsula of Jutland.
František Janák is a Czech glass artist. He creates glass sculptures and commission works, and also does series production design for different Czech glassworks.
Harvey Littleton was an American glass artist and educator, one of the founders of the studio glass movement; he is often referred to as the "Father of the Studio Glass Movement". Born in Corning, New York, he grew up in the shadow of Corning Glass Works, where his father headed Research and Development during the 1930s. Expected by his father to enter the field of physics, Littleton instead chose a career in art, gaining recognition first as a ceramist and later as a glassblower and sculptor in glass. In the latter capacity he was very influential, organizing the first glassblowing seminar aimed at the studio artist in 1962, on the grounds of the Toledo Museum of Art. Imbued with the prevailing view at the time that glassblowing could only be done on the factory floor, separated from the designer at his desk, Littleton aimed to put it within the reach of the individual studio artist.
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