Studio glass is the modern use of glass as an artistic medium to produce sculptures or three-dimensional artworks in the fine arts. The glass objects created are typically intended to make a sculptural or decorative statement, rather than fulfill functions (other than perhaps as vases) such as tableware. Though usage varies, the term is properly restricted to glass made as art in small workshops, typically with the personal involvement of the artist who designed the piece. This is in contrast to art glass, made by craftsmen in factories, and glass art, covering the whole range of glass with artistic interest made throughout history. Both art glass and studio glass originate in the 19th century, and the terms compare with studio pottery and art pottery, but in glass the term "studio glass" is mostly used for work made in the period beginning in the 1960s with a major revival in interest in artistic glassmaking.

Pieces are often unique, or made in a small limited edition. Their prices may range from a few hundred to hundreds of thousands of dollars (US). For the largest installations, the prices are in the millions.

Modern glass studios use a great variety of techniques in creating glass artworks, including:

From the 19th century, various types of fancy glass started to become significant branches of the decorative arts. Cameo glass was revived for the first time since the Romans, initially mostly used for pieces in a neo-classical style. The Art Nouveau movement in particular made great use of glass, with René Lalique, Émile Gallé, and Daum of Nancy important names in the first French wave of the movement, producing colored vases and similar pieces, often in cameo glass, and also using lustre techniques. Louis Comfort Tiffany in America specialized in secular stained glass, mostly of plant subjects, both in panels and his famous lamps. From the 20th century, some glass artists began to class themselves as sculptors working in glass and as part of the fine arts.

In the early 20th century, most glass production happened in factories. Even individual glassblowers making their own personalized designs would do their work in those large shared buildings. The idea of "art glass" grew – small decorative works in small production runs, often with designs or objects inside.

By the 1970s, there were good designs for smaller furnaces, and in the United States this gave rise to the "studio glass" movement of glassblowers, who worked outside of factories, often in their own buildings or studios. This coincided with a move towards smaller production runs of particular styles. This movement spread to other parts of the world as well.

Modern glass studios use a great variety of techniques in creating their pieces. The ancient technique of blown glass, where a glassblower works at a furnace full of molten glass using metal rods and hand tools to blow and shape almost any form of glass, is one of the more popular ways to work. Most large hollow pieces are made this way, and it allows the artist to be improvisational as they create their work.

Another type is flame-worked glass, which uses torches and kilns in its production. The artist generally works at a bench using rods and tubes of glass, shaping with hand tools to create their work. Many forms can be achieved this way with little investment into money and space. Though the artist is somewhat limited in the size of the work that can be created, a great level of detail can be achieved with this technique. The paperweights by Paul Stankard are good examples of what can be achieved with flame-working techniques. In the 21st century, flame-worked glass became commonly used as adornments on functional items. The glass conductor's baton, commissioned by Chandler Bridges for Dr. Andre Thomas, is a clear example of flame-working being used to transform a traditional item into an artistic statement.