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The studio glass movement first arose in the United States in the early 1950s, and was characterized by practitioners who wanted to divorce glass from its industrial associations and promote it as a fine arts medium. This movement began in a few cities in the eastern part of the country, and in Los Angeles, but gradually emerged as an art form strongly associated with the city of Seattle and the Puget Sound region. This research studies the emergence and growth of the studio glass movement in the Puget Sound region from 1970 to 2003. It examines how glass artists and Seattle’s urban elites interacted and worked separately to build the support structures and “art world” that provided learning and mentoring opportunities, workspaces, artistic validation, audience development, critical and financial support, which helped make glass a signature Puget Sound art form, and the role that artist social networks, social capital, cultural capital and cultural policy played in sustaining this community. In particular, the research seeks to explore the factors that nourish a new art form and artist community in second-tier cities that do not have the substantial cultural and economic support structures found in the “arts super cities” such as Los Angeles, New York City, and San Francisco. This study contributes to the growing literature on artist communities, and the roles played by social capital, cultural capital, urban growth coalitions and policy at different stages of community development. Results can assist policymakers in formulating policies that incorporate the arts as a form of community development. ii Acknowledgements I would like to express my sincere thanks to and acknowledge the following people who helped me throughout this process. My committee chair, Carl Abbott, along with Karen Gibson, and Charles Heying, for encouraging me to explore my interests in artists and art in the context of urban studies. The friends who supported and encouraged me wholeheartedly through this long and difficult process: Mary Ratcliff, Laura Freeman, Ellen Walkley, Christy Bailey, Leslie Young, Mi Dove, Kathy Schneller, Randy King, Jane Waddell, Ed Menze, Flora Dalglish, and Tony Daniel. The members of the writing interest group, who listened to, discussed and challenged my ideas in ways that helped me during the writing of the many drafts that went into the making of this document: Arlie Adkins, Lisa Bates, Lauren Larin, Moriah McSharry McGrath, Gretchen Luhr, and Jackie Kohon. I would also like to acknowledge the financial support I received from the Maurie Clark family, Nancy Chapman, and the PSU Laurels program, for which I am grateful. iii Table of

Forming a New Art in the Pacific Northwest: Studio Glass in the Puget Sound Region, 1970-2003