Emergence XII

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Emergence XII

Artist Dominick Labino American, 1910-1987

Date1972

DimensionsH: 22.9 cm (9 in.); W: 13 cm (5 1/8 in.); D: 8.6 cm (3 3/8 in.)

MediumColorless and colored glass, tooled, enclosing air bubble and veil forms

ClassificationGlass

Credit LineGift of the Museum Ambassadors (formerly Art Museum Aides) in memory of Harold Boeschenstein

Object number

1973.3

On View

Toledo Museum of Art Glass Pavilion (2444 Monroe Street), Glass Pavilion Gallery, 2

Collections

Glass

Published References"Insight," House Beautiful, vol. 115, no. 4, April 1973, p. 42, repr.

White, Edmund, "Sculptures in Glass," Saturday Review of the Arts, vol. 1, no. 4, April 7, 1973, p. 75, repr.

"American Glass Now," Carnegie Magazine, vol. XLVII, no. 4, April 1973, p. 144, repr.

George, Diana, "The Decade: Glass," Craft Horizons, vol. 33, no. 1, Fe. 1973; repr. p. 33.

Labino, Elizabeth, Dominick Labino, Toledo, Ohio, 1973; repr. (col.) back cover.

"Treasures for Toledo," Toledo Museum News, vol. 19, nos. 2 & 3, 1976, p. 82, repr.

Hollister, Paul, "Remembering Labino," New Work, no. 29, Spring, 1987, repr. p. 8 (col.)

Reich, Paula, Toledo Museum of Art: Map and Guide, London, Scala, 2005, p. 61. repr. (col.).

Page, Jutta-Annette, The Art of Glass: Toledo Museum of Art, Toledo, Ohio, Toledo Museum of Art, 2006, p. 199, repr. (col.).

Page, Jutta-Annette, Peter Morrin, and Robert Bell, Color Ignited: Glass 1962-2012, Toledo, OH, 2012, pp. 85-86, repr. (col.) p. 87, pl. 45.

Exhibition HistoryToledo Museum of Art; New York, Museum of Contemporary Crafts; Pittsburgh, Carnegie Institute; Corning Museum of Glass; Washington, D.C., Renwick Gallery, Smithsonian Institution; San Francisco Museum of Art; Santa Barbara Museum of Art, American Glass Now, 1972-1974; cat. no. 51, repr. p. 34.

Toledo Museum of Art, Color Ignited: Glass 1962-2012, June 14-September 9, 2012.

Toledo Museum of Art, Color Across the Spectrum, May 13-July 30, 2017.

Label TextDominick Labino, a glass technologist for Toledo’s Johns-Manville Fiber Glass, Inc. before he retired to become a glass artist, was one of the first to successfully combine technological innovation and aesthetics in his studio-made glass. Labino had a lifetime curiosity about how glass items were made and felt that understanding the practical fabrication process was critical to making “glass art.” Emergence XII is casually formed, perhaps because he was working at the extreme edge of capability at the time. The organic form of the clear glass, its trapped elongated air bubble, and veils of color seem to manifest the liquid state inherent in all hot glasswork.