So how does one determine which works should be part of a glass art collection? At Glas – Museum of Glass Art in Ebeltoft, the answer lies in a combination of artistic quality, relevance, and historical perspective. According to exhibitions coordinator Sandra Blach, the museum’s collection – now comprising over 1,600 works – has been built entirely through donations and loans, not acquisitions.
‘We’ve never really had a formal acquisitions budget. But that’s something the board has begun to consider. Things may change a bit going forward,’ she explains.
A recent addition to the collection is The Last Supper by glass artist and craftsperson Micha Karlslund, who has been associated with the museum since its inception. The piece consists of nine glass panels made from recycled glass, fused with plant matter, copper and silver leaf, and one image derived from a photograph. The work was previously exhibited in New York before being offered to Glas. The museum accepted the donation, as it represents the first of its kind by this artist within the collection, according to Blach.
Contemporary glass art
In the museum’s early years – from its founding in 1986 – nearly everything was accepted, from experimental studio glass to works by well-established artists. But times have changed.
‘In the past, we accepted everything with open arms. Now, we’re more selective. Quite simply, we no longer have the space – and we want to ensure that what we accept holds significance for our collection and points toward the future.’
An artistic advisory board evaluates the donations offered to the museum. Whereas the collection once included works of varying quality, the focus today is clearly on artistic merit, relevance, and creative progression.
‘We want to reflect current trends and showcase works of high quality and fine craftsmanship. That also means we prioritise works that experiment with techniques or perspectives that aren’t yet represented in the collection.’
For Sandra Blach, it’s not just about aesthetics and technical skill, but about expanding the perception of what glass can be as an artistic medium. As such, the museum increasingly opens its doors to contemporary artists who do not typically work with glass but are invited to experiment with the material in the museum’s own workshop. The goal is to broaden glass as an artistic medium across disciplines and communities.
‘We work across both art and craft. In recent years, we’ve acquired more large-scale works with a conceptual approach. But craft still holds a central place in our collection – that remains a clear priority.’
Diversity is also a key concern in both the collection and the exhibitions. ‘The glass community is incredibly diverse, in terms of both nationality and gender. Today, the museum represents works by around 700 artists from 53 different countries,’ says Sandra.
A museum for the public – and for the development of glass
As a self-governing institution, Glas – Museum of Glass Art is dependent on attracting visitors. Naturally, this means that both collecting and exhibiting are guided in part by the potential to provide an engaging audience experience.
‘We are, of course, committed to offering our visitors a great experience – but we don’t select works solely to please the public. If, for example, we encounter a new technique or format we haven’t previously presented, and it is artistically relevant, then that’s the direction we take.’
