Contemporary Glass Society

The Contemporary Glass Society (CGS) is a United Kingdom-based membership association for people and organisations involved in contemporary glass. Its community includes glass artists, makers, students, collectors, educators, trade participants and educational establishments, with activity extending beyond Britain through international conferences and professional exchange. Rather than selling a conventional consumer product, CGS functions as a representative, networking, publishing and development organisation for the glass field. The society was established in 1997 by Peter Layton, founder of the London Glassblowing workshop, together with Colin Reid and Tessa Clegg. Layton became its first chairman. CGS emerged after the decline of British Artists in Glass, an informal association founded in 1976 by artists including David Reekie. When that earlier group ceased operating in 1992, British glass artists no longer had a single national body representing their interests. Layton and other practitioners identified a need for an organisation that could support not only specialist glass artists but also a wider community of people interested in glass as an artistic, educational and professional medium. The society's early public programme included a first conference at the University of Wolverhampton. More than 100 people attended, and speakers included Keith Cummings, Diana Hobson and Alison Kinnard. This established a pattern that has remained central to CGS: combining professional discussion, practical learning, public engagement and opportunities for artists to present their work. CGS became a non-profit-making limited company in 2005. Its activities are supported by member subscriptions and charitable contributions, and it has also operated with support from Arts Council England. The organisation is run by a voluntary committee composed largely of makers, alongside an administrator. Its work includes maintaining a network for practitioners, publishing information about contemporary glass, organising conferences and symposiums, and arranging practical workshops in techniques such as glassblowing, hot glass, architectural glass, engraving, casting and kiln work. Publishing is an important part of the society's role. CGS produces Glass Network, a digital magazine and quarterly newsletter intended to share information about artists, events and developments in the field. It also produces the New Graduate Review magazine and presents an annual graduate review prize, giving emerging glass artists a platform at an early stage of their careers. Through its website and other communications, the society showcases work by glass artists from across the United Kingdom. The organisation's identity is therefore based on professional community-building rather than commercial branding. It connects established practitioners such as Katharine Coleman, Emma Woffenden, Anna Dickinson, Fiaz Elson, Catherine Hough, David Reekie, Colin Reid and Tessa Clegg with newer makers, students and audiences. In 2022, trustee Fiona Fawcett curated an exhibition at Stourbridge Glass Museum marking the society's twenty-fifth anniversary. CGS remains an active specialist association whose principal contribution is the promotion, representation and development of contemporary glass practice.

The Contemporary Glass Society was formed in 1997 during a period when British glass artists lacked a single organisation representing the field. Its immediate historical predecessor was British Artists in Glass, an informal association founded in 1976 by a group that included glass sculptor David Reekie. That organisation focused largely on artists working in blown and kiln glass and ceased operating in 1992. The resulting gap encouraged renewed discussion about a national body with a broader remit. Peter Layton, who founded the London Glassblowing workshop, led the initiative to create CGS. He established the society with Colin Reid and Tessa Clegg and became its first chairman. The new organisation was intended to represent glass interests more broadly than an informal craft guild, bringing together practitioners, enthusiasts and other participants in the national and international glass community. CGS's first conference took place at the University of Wolverhampton and attracted more than 100 attendees. Speakers included Keith Cummings, Diana Hobson and Alison Kinnard. The conference helped define the society's role as a forum for professional exchange and learning. In subsequent years, CGS developed programmes including international conferences, one-day symposiums and hands-on workshops in glassblowing, hot glass, architectural glass, engraving, casting and kiln-based techniques. In 2005, the organisation became a non-profit-making limited company. It has been funded through member subscriptions and charitable contributions and has also received support from Arts Council England. Its governance model is based on a voluntary committee made up mainly of makers, supported by an administrator. This structure reflects the society's community-based character and its close connection to working glass practitioners. Publishing and artist development became central parts of the society's work. CGS publishes Glass Network as a digital magazine and quarterly newsletter, using it to circulate information about artists, events and the wider glass sector. It also publishes New Graduate Review and awards an annual graduate review prize. These activities give emerging artists visibility while maintaining an ongoing record of contemporary glass practice. The society's membership expanded beyond professional glass artists to include makers, collectors, students, trade participants and education establishments. It also uses its website and public programmes to showcase artists throughout the United Kingdom. Notable members associated with the society include Katharine Coleman, Emma Woffenden, Anna Dickinson, Fiaz Elson, Catherine Hough, David Reekie, Colin Reid and Tessa Clegg. In 2022, trustee Fiona Fawcett curated an exhibition at Stourbridge Glass Museum to commemorate the society's twenty-fifth anniversary. The exhibition represented the organisation's continuing role in preserving the history of British glass practice while presenting contemporary work. CGS remains an active association focused on representation, education, networking, publishing and public engagement in contemporary glass.

• 2022

  Twenty-fifth anniversary exhibition

  [1]Contemporary Glass Societyen.wikipedia.org

  Trustee Fiona Fawcett curates a commemorative exhibition at Stourbridge Glass Museum.

• 2005

  CGS becomes a non-profit-making limited company

  [1]Contemporary Glass Societyen.wikipedia.org

  The society adopts a formal non-profit company structure.

• 1997

  Contemporary Glass Society is established

  [1]Contemporary Glass Societyen.wikipedia.org

  Peter Layton, Colin Reid and Tessa Clegg establish CGS, with Layton serving as its first chairman.

• 1997

  First CGS conference is held

  [1]Contemporary Glass Societyen.wikipedia.org

  The first conference takes place at the University of Wolverhampton with more than 100 attendees and speakers including Keith Cummings, Diana Hobson and Alison Kinnard.

• 1992

  British Artists in Glass ceases operating

  [1]Contemporary Glass Societyen.wikipedia.org

  The earlier informal organisation ends, leaving British glass artists without an overall representative body.

• 1976

  British Artists in Glass is founded

  [1]Contemporary Glass Societyen.wikipedia.org

  An informal association of British glass artists, including David Reekie, is established and later serves as an important predecessor to CGS.

A specialist, member-supported professional and cultural association representing and developing contemporary glass practice in the United Kingdom and internationally.

• Publication

  Glass Network

  CGS's digital magazine and quarterly newsletter. It provides a communication channel for the society's membership and wider glass community, covering artists, events, activities and developments in contemporary glass.

• Publication and artist-development programme

  New Graduate Review

  A publication focused on emerging glass artists and graduates. It forms part of CGS's support for early-career practitioners and is linked to the society's annual graduate review prize.

• Education and training

  Glassmaking workshops

  Practical learning sessions covering techniques including glassblowing, hot glass, architectural glass, engraving, casting and kiln work. The workshops support skill development and knowledge exchange among members and participants.

1. 1Contemporary Glass Societyen.wikipedia.org