Toots Zynsky talks about studio glass artists bringing information from Europe and the subsequent development of larger-scale works. Oral history interview with Toots Zynsky, March 22, 2018, Bard Graduate Center. Clip length: 01:41.

Toots Zynsky: But so much information came back with all those different people, just—you know, ways of handling glass, you know, [laughs]. We were still, like, mucking around, like reinventing the wheel, you know. And then Jamie came back and he was marvering these huge pieces. No one was marvering then, everyone was using wooden blocks. Now everyone uses everything but having that possibility, as a new possibility to handle larger amounts of glass changed the face of what was made in America. If you—when the Ben Heineman collection was donated to Corning [The Corning Museum of Glass, Corning, New York], Tina [Oldknow] asked me if I’d, you know, participate in a walkthrough, and what impressed me and what for me was so obvious was because Ben had been collecting—Ben and his wife—have been collecting since the very beginning so there were very early pieces; Mark Peiser’s, they were like, this big. I mean they’re jewels in a nutshell, you know. But then by the time you get to the other side of the gallery, you’re talking about stuff like that, and I said, you know, the thing that I think it’s important for everyone to pay attention to in this exhibition is how the scale changed, in what people—because the skill levels change, new techniques and skills emerged, people started combining blowing pâte de verre, casting, all kinds of things. And that is a very short period of time for so much growth to happen.