

Fueled by a culture of experimentation and sharing of new techniques, glassblowing is a collaborative process where each piece requires a team to create. Building on that spirit of cooperation, in 2009, Museum of Glass and Pilchuck Glass School partnered to present the Visiting Artist Summer Series, which continues in 2026. The series combines the Artist in Residence Program at Pilchuck with the Visiting Artist Residency Program at Museum of Glass to provide artists a comprehensive experience with glass.
Artists are first invited to participate in the Artist in Residence Program at Pilchuck. Beginning in 1980, the program was inspired by Pilchuck co-founder Dale Chihuly’s vision for a place where artists teach other artists, with the goal of inspiring an international exchange of ideas and introducing perspectives beyond the glass community. Every year, Pilchuck invites noted artists to experiment with glass on campus. Paired with expert glass fabricators and artist assistants, residents can experiment with glass in their practice and add it to their vocabulary of work. The program is one of the pillars of the Pilchuck Glass School educational experience.
After their sessions at Pilchuck, several Artists in Residence are invited to Museum of Glass for five-day residencies in the Museum’s Hot Shop. These residencies allow artists to expand on ideas started at Pilchuck, complete new works, and continue to push the boundaries of the medium in collaboration with the Museum of Glass Hot Shop Team.
This partnership has resulted in two joint exhibitions at Museum of Glass. First, in 2017, Northwest Partners in Glass presented works in the Museum’s Visiting Artist Collection made by artists who benefited from dual opportunities at the Museum and Pilchuck. Later, 2021’s What Are You Looking At? highlighted the unique experiments and prototypes pursued during artist residencies in the context of each artist’s larger artistic practice. The diversity of creative voices and the collective wonder that was generated exemplified the objectives of the residency programs at both Pilchuck Glass School and Museum of Glass.
"The partnership between the Museum of Glass and Pilchuck Glass School is a natural one. Pilchuck is a place where the glass world comes together, and Museum of Glass is a strong part of that community. Between our Artist in Residence program and our educational workshops taught by world-renowned artists, Pilchuck has been pushing the medium of glass into new territory since 1971. Guest artists, residents, and gaffers come to Pilchuck to explore and experiment with new bodies of work. Through our partnership, they can continue this exploration during their residency at Museum of Glass. It is through this collaboration that two pillars of Pacific Northwest glass are helping artists define the future of the medium," said Michael Endo, Pilchuck Glass School Artist Director.
The partnership between Museum of Glass and Pilchuck Glass School is a testament to how foundational glass is to the Pacific Northwest. Much more than just art, it is a cultural force that connects our region to the world. Museum of Glass and Pilchuck Glass School are the pulse of this legacy, and this partnership highlights our collective leadership in the medium.
“When Museum of Glass opened, everyone involved had strong admiration for the Artist in Residence program at Pilchuck, which, at that point, had already been in place for over two decades. One of the ways in which we grew our Visiting Artist Program was by partnering with Pilchuck. This allowed us to access artists who weren’t necessarily on our radar and establish a stronger connection to the fine arts community. It helped us grow our reputation in both the artist community and the larger glass community. The impact of hosting artists at both institutions is often most tangible when those artists don’t necessarily work in glass. These artists spend valuable time at Pilchuck establishing a foundation in the material and understanding how it can be incorporated into their existing practice. Once they have learned a few things, they come to the Museum and are able to hone their skills and work on those specific ideas and projects that began to take shape at Pilchuck. This arrangement is so beneficial for these artists, and we are honored to play a part in their growth,” added Ben Cobb, Hot Shop Director at Museum of Glass.

Lonnie Holley was born on February 10, 1950 in Birmingham, Alabama. From the age of five, Holley worked various jobs: picking up trash at a drive-in movie theatre, washing dishes, and cooking. He lived in a whiskey house, on the state fairgrounds, and in several foster homes. His early life was chaotic and Holley was never afforded the pleasure of a real childhood.
Since 1979, Holley has devoted his life to the practice of improvisational creativity. His art and music, born out of struggle, hardship, but perhaps more importantly, out of furious curiosity and biological necessity, has manifested itself in drawing, painting, sculpture, photography, performance, and sound. Holley’s sculptures are constructed from found materials in the oldest tradition of African American sculpture. Objects, already imbued with cultural and artistic metaphor, are combined into narrative sculptures that commemorate places, people, and events. His work is now in collections of major museums throughout the country, on permanent display in the United Nations, and been displayed in the White House Rose Garden. In January of 2014, Holley completed a one-month artist-in-residence with the Robert Rauschenberg Foundation in Captiva Island, Florida, site of the acclaimed artist’s studio.

Anya Gallaccio creates site-specific installations, often using organic materials as her medium. Due to the nature of these materials, her works undergo natural processes of transformation and decay, often with unpredictable results. Gallaccio lives between London and San Diego. In 2024, she had a solo show at Turner Contemporary in Margate, UK, was awarded the commission for the first London Aids Memorial in 2024, and is currently a Kenneth Armitage Fellow, London (2023-2025). She is also Professor Emerita at UC San Diego.
