Tina Oldknow talks about the significance of studio glass in the 1960s and 1970s. Oral history interview with Tina Oldknow, March 22, 2018, Bard Graduate Center. Clip length: 01:31.

Tina Oldknow: The one thing I really focus on is access to glass. So, in the beginning, in the sixties, you have very limited access. It’s a small group of artists. They’re beginning to create things in their—using small furnaces in their studios, ver—a new development. So the technology kind of led that as furnace technology has always led glass development to a certain degree. But now, I think especially in the nineties, the kind of end of the studio glass movement comes with increased access to the material. So the new phenomenon in the 1990s of open access studios and glassblowers, casters, flameworkers for hire, for anyone who can—who wants, has an idea to express in glass, they can have it made. But this was not possible before. I mean, if you wanted to work in glass you had to be like oh, Maurice Marinot in the thirties went into his friend’s factory after hours, you know, and worked in glass. Or you had a very primitive set up like Jean Sala in Paris, where he had a bellows-operated furnace and he kind of batched his own glass in small amounts. And I am really talking about hot processes here. So it really has changed very dramatically in terms of now anyone, any artist can access the material. Anybody can take a class, you know, in glass fusing. You know, it’s just so much more available now.