Changes - Glass Art Society

Transcription

january
february
2004
vo l u m e 15
issue 1
I N S I D E
T H E
R E G U L A R F E AT U R E S
Letter from
the President:
Changes
1
1
Letter from the President
2
2
2
3
Members’ Update
6
Technical Articles
Glass Art and Glass Science
Sol-Gel Glasses
8
Student Corner
GAS Board Student Rep
Call for Self-Nominations
GAS Student Liaisons
School Profile:
Emporia State University
Student Profile: Amanda King
9
Critical Issues: Views from
SOFA Chicago
Member Profile: Alison Ruzsa
GAS Line
International Window
African Student Fund
International Forum for Glass
Organizations
Workshops: The Worcester
Center for Crafts’ New Street
Glass Works
S P E C I A L F E AT U R E S
4
7
10
GAS 34th Annual Conference,
New Orleans, LA
International Forum
Call for Participation
Gallery Forum
Education Resource Center
Glass Fashion Show
GAS Auction Call for Artists’
Support and Entry Form
Louisiana Art Works
GAS 35th Annual Conference
Call for Presentation Proposals
LISTINGS
11
12
14
15
Classes and Workshops
Resources, Etc.
Exhibitions
Seminars, Conferences, Events
N E W S L E T T E R
It is my pleasure to introduce you to what
represents a new approach to editing the content
of GAS NEWS. Our newsletter is going through
some changes, and the new structure involves a
Publications Committee, with topic editors who
solicit articles from knowledgeable people in the
field of glass, and on occasion write articles themselves. We hope this new structure will spread a
wide net and cover a variety of topics important
to GAS members.
We are fortunate to have a great group of
editors on the Publications Committee. Previous
GAS President and past Newsletter Editor Scott
Benefield covers miscellaneous topics and acts
as a valuable advisor. Current GAS Vice President
Anna Boothe concentrates on educational issues.
GAS Student Representative Laura Luttrell covers
issues important to students, including student
profiles. GAS Board member Kirstie Rea covers
topics in the international arena. Board member
Durk Valkema edits the “Technical Articles”
column; and Robin Cass, a faculty member of
the glass program at Rochester Institute of
Technology, is the editor of the new “Critical
Issues” column.
On occasion we will also have articles that
pertain to the operations of GAS as an organization, covering topics such as our nominations
process, how to propose lectures or demonstrations for future conferences, where your
membership dollar goes, and other areas of
interest to GAS members.
GAS Communications Coordinator Tamara
Childress is facilitating the work of the Publications
Committee, and any ideas for articles can be sent
directly to Tamara at the GAS office. Tamara will
be gathering any suggestions or comments you
have, and will relay that information to the editors.
So, please send us your thoughts and let’s give
change a chance.
. . . . . . .
Michael Rogers
GAS NEWS is published
six times per year
as a benefit to members.
Publications Committee:
Scott Benefield, Anna Boothe,
Robin Cass, Laura Luttrell,
Kirstie Rea, Durk Valkema
Managing Editor: Tamara Childress
Graphic Design: Ted Cotrotsos
The Glass Art Society
1305 Fourth Avenue, Suite 711
Seattle, WA 98101-2401 USA
Phone: (206) 382-1305
Fax:
(206) 382-2630
E-mail: info @ glassart.org
Web:
www.glassart.org
© 2004 The Glass Art Society,
a non-profit organization.
All rights reserved. Publication of
articles in this newsletter prohibited
without permission from the Glass
Art Society, Inc.
O F
T H E
G L A S S
A R T
S O C I E T Y
CRITICAL ISSUES
Which artists or designers do you admire and why? How do you make decisions
about your own work as you create it? What criteria do you consider in selecting
pieces for your gallery, exhibitions or collection?
This is the first of the new “Critical Issues” column in GAS NEWS. For our purposes
“criticism” is defined as the practice of analyzing, classifying, interpreting, or evaluating
artistic works involving glass. All communities need to analyze themselves through
self-reflection and discussion in order to remain vital. Ideally, this space should serve
the glass community as a forum for this type of discourse. Your input will shape this
section; everything’s on the table and all suggestions are welcome! – Robin Cass
Views from
SOFA Chicago
Edited by Robin Cass
“The focus at SOFA, with respect to
glass, is in my opinion, the same [as] one
encounters in the glass world in general.
It is technical prowess, economic activity.
It is not art, idea, communication or
growth…” – Richard Meitner
On the SOFA Chicago website, the
event’s founder, Mark Lyman states,
“[SOFA] has blossomed into a vibrant
international art community, with its
own developing critical discourse…”
With this in mind, I asked several
questions of a few professionals who
participated in SOFA in various capacities:
an art dealer, two collectors, and two
artists working in glass, one showing
vessels and the other sculpture.
Kate Elliott, Doug & Dale Anderson,
Kait Rhoads and Richard Meitner all
graciously agreed to participate. Although just a sampling of attitudes, perhaps these
responses can provide some insight into both this event and issues currently being
discussed in the wider glass community.
What percentage of the glass displayed at SOFA would you consider strong and
effective according to your own critical analysis? Please explain.
Doug & Dale Anderson, Collectors
Most of it…call it 75%. I like sculpture. I like to have my art well crafted. I can
appreciate something done purely as an exercise in skillful technique. SOFA was filled
to the brim with things for me to look at that fell into each of these categories.
I appreciate good quality. There was a lot of good quality at Navy Pier ... From my
point of view, the best thing in the show was made in Tasmania ... a group of cabinets
that were spectacular. They were gorgeously crafted and blended visual art and
poetry and wisdom…
(continued on page 6)
Send your article ideas and comments for “Critical Issues” or other articles to: Communications Coordinator, Glass Art Society,
1305 Fourth Avenue, Suite 711, Seattle, WA 98101; Tel: 206-382-1305, Fax: 206-382-2630, commcoord@ glassart.org
January/ February 2004, vol. 15-1
THE GLASS ART SOCIETY
Seattle, WA 98101-2401
CHANGE SERVICE REQUESTED
Non-Profit Org.
U.S. Postage
PAID
Seattle, WA
Permit #150
MEMBERS’ UPDATE
MEMBER PROFILE
Check out the New and Improved
Members Only Section of the GAS Web Site
Alison Ruzsa,
Brooklyn, NY
New Features include:
Alison Ruzsa began working in glass in
1991 at a small glass school in her hometown of
Cincinnati, Ohio. She moved to New York shortly
afterwards to pursue her career at the New York
Experimental Glass Workshop, where she was
exposed to the technique of paradise paint
inclusion in glass by Fred Kahl. During a class at
Pilchuck Glass School with Fred Kahl and Pike
Powers, she attempted her first multi-layered piece.
This would turn into a decade long exploration of
the techniques used in her work today. Beginning
with images drawn from her experience as a
printmaker, she used black paint and concentrated
on the information conveyed by the gestures of
the human form in silhouette.“ The main idea
was to use the glass as a way to create a three
dimensional space in which the figures could
interact,” Alison says.
Over the last eight years Alison has been
working at Pier Glass in Brooklyn, New York, with
Kevin and Mary Ellen Buxton Kutch. “Working in
a small studio, with good friends, has been an
essential situation to the progress of these pieces,”
Alison states. “I realized early on that the glass
had to be exactly the same for each gather or the
illusion is destroyed.” During this time she has
introduced color to her work, as well as various
coldworking techniques. The environments
of the figures have become more and more
complex, and the figures remain in silhouette.
The information they are meant to convey is
• GAS NEWS in Adobe PDF format, starting with
the January/ February 2004 issue
• GAS Journal tables of contents and articles
• Updates to the message board that make it
easier to use
At press over 750 GAS members have signed
up for access to the Members Only section of the
GAS website by creating their own user name and
password. GAS currently has over 3,800 members in
more than 50 countries. If all GAS members signed
up for the Members Only section, imagine the contacts
you could make with other glass enthusiasts all over
the globe!
If you have already signed up for access go to:
www.glassart.org/portal/login.aspx
If you have not yet signed up for access go to:
www.glassart.org/memberonly.shtml
Take advantage of the new and improved
message board to post announcements of job
openings, studio rentals, calls to artists, technical
issues, educational topics, and to simply connect
with other glass artists and enthusiasts.
Check out the Members Only section of
www.glassart.org, and take advantage of the GAS
network! Share information, learn new things, get
answers to your questions – enjoy one of the many
benefits of being a GAS member!
GAS LINE
AWARDS and HONORS
The Contemporary Crafts Museum and
Gallery's 2003 Excellence in Craft Awards were
presented in September, with Judy Hill of Portland,
OR, receiving the honor of Artist of the Year,
and Bullseye Glass receiving the Ruth Patterson
Hart Award.
NEW LOCATIONS
William Traver Gallery and Vetri International
Glass, based in Seattle, opened in November at an
additional location in Tacoma, adjacent to the
Museum of Glass: International Center for
Contemporary Art and the Tacoma Art Museum.
William Traver Gallery, Tacoma location, tel: 253383-3685; Vetri International Glass, Tacoma location,
tel: 253-383-3692.
The Bullseye Connection Resource Center
is moving to a new location at 3610 SE 21st Avenue,
Portland, OR 97202, immediately adjacent to the
Bullseye factory. The Resource Center is closed
Wednesday, December 24 - Monday, January 5,
when it reopens at the new location. The Resource
Center phone numbers will remain the same:
tel: 503-227-2797, fax 503-227-3130, e-mail:
[email protected].
NEW POSITIONS
2
Pittsburgh Glass Center (PGC) announced
Karen Block Johnese as executive director. Karen
has been committed to PGC since founding the
board in 1998 and comes to PGC after seven years
of successfully directing community affairs for the
Pittsburgh Post-Gazette. PGC also announced
Lissa Rosenthal as development director, primarily
responsible for fundraising for the organization.
Lissa brings to PGC more than 10 years of fundraising, advocacy, community development and
social change initiative management experience
in the nonprofit sector.
“Allegory”, Alternating layers of glass and paradise paints,
hot sculpted, 4 x 8” diameter; photo: George Erml
“The Wheels on the Magic Bus Go Round and Round”,
Glass, paradise paint, acrylic paint, airplane wheels,
hot sculpted, sandblasted, 8.5 x 4 x 6”; photo: George Erml
relayed only through gesture.
Most recently Alison has been spending part
of each summer working and studying with various
artists in Venice, Milano and Balzano, Italy; and
continues her work in Brooklyn.
Memorial to Hal Berger
Hal David Berger, a 20-year glass art veteran,
passed away suddenly and unexpectedly on October
18, 2oo3. Hal touched the lives of many young glass
artists, as well as many veteran glass artists, throughout
the country. Hal was blessed with a great wit and sense
of humor, and as all his friends know, he loved a good
time and communion with fellow glassblowers.
Hal was the sole breadwinner for his family – he
was generous to a fault. Hal gave his time, as well as his
beautiful glass, to every cause that touched his heart,
including the Emporia State University and Emporia
High School glass programs, the Arts Council, and many
other civic organizations. It is time now for us to help
out a glass art family in need. I’m asking for glass artists
throughout the world to send a signed piece of glass
to be auctioned in the spring of 2004 in honor of this
good man. Hal is survived by his wife of 32 years,
Joanne; a daughter Lindsey, a freshman at Kansas
University; and son Brian, a junior and glassblower at
Emporia High School.
Glass art donations to the family can be sent to:
Robert McKinney, 1630 Road M5, Emporia, KS 66801.
Monetary donations can be sent to the Hal David
Berger fund, c/o Robert, Blue, and Barnett Funeral
Home, 605 State St. Emporia, KS 66801.
Alan Keck is a glassblowing teacher at Emporia High
School in Emporia, Kansas.
international window
The International
Forum for
Glass Organizations
by Kirstie Rea
Above and Right:
The studio in Kitengela, Kenya.
African Student Fund
by Anthony Schafermeyer
In 1996 I met a man named Anselm Croze, who
owns and operates the only glassblowing studio in
East Africa. Three years ago he asked me to come to
the studio in Kitengela, Kenya, and blow glass. Since
then, I have travelled to Kenya for several weeks each
year to work with the glassblowers there, and my visits
have proved to be one of the greatest experiences of
my life. Although I had seen photographs of the studio
beforehand, nothing could have prepared me for what
a singular place Kitengela is.
The studio uses a recycled potpourri of wine bottles and window glass. The furnace runs on a bizarre
system of steam injected diesel oil. Where engineering
ingenuity does not suffice, they employ sheer numbers
of local workers. For instance, there are no computer
controllers on the kilns: a man simply stands there
and opens the door when the annealer looks too hot.
Three benches share one pair of tweezers. In Africa,
“pipes” mean plumbing pipes.
Over the course of three years, I have gotten to
know the workers very well. I take meals at their
homes; we discuss matters of state. I teach them
how to make ovolios and they teach me how to play
checkers. It is much more complicated than you might
think – checkers that is.
When I was offered the opportunity to teach
the glass concentration class at Penland this spring,
I sensed an opportunity to share with these workers
some of my culture and the glass community that
exists in the U.S. by bringing them over. I have been
soliciting donations from anyone and everyone to raise
tuition and airfare for two of them. Claire Kelly and
I will also be teaching at Pilchuck Glass School this
summer and would like to bring two of the African
artists to Pilchuck, as well. We are still short of our goal,
but well on our way, thanks to generous donations
from many individuals. If you are interested in contributing to this project, you can send your donation
to African Artist Fund, c/o the Glass Art Society,
1305 Fourth Ave., Ste. 711, Seattle, WA 98102.
Or contact me at [email protected].
Anthony Schafermeyer is a studio artist working in
New Orleans.
The 2nd International Forum for Glass Organizations
will be held at the 2004 GAS Conference in New Orleans,
and glass organization representatives from all over the
world are invited to attend. Over 40 representatives
from glass organizations around the globe attended
the first International Forum for Glass Organizations,
held at the 2003 GAS Conference in Seattle. The forum
is an opportunity for international organizations to
openly discuss how they could liaise and communicate,
and to explore their needs and ideas.
The International Forum was created to gather and
gauge interest from international glass organizations
in establishing a network, and to decide what form this
network should take and what it’s role and function
would be. The goal was to develop such a network as
an autonomous group, not directly linked to GAS, and
without placing any burden of cost or facilitation on
any one organization.
The first forum discussed what the benefits of a network could be, and how this network could become a
place to discuss important issues that face glass organizations as part of a global community. It was stressed
that this established network should be kept simple,
allowing ideas and communication to flow easily.
As a result of the forum, an e-group was established
as a means of communication, with the goal of
a representative from each organization participating
and then disseminating information to his or her
organization and its members. The e-group could be
extended by “meeting” electronically a few times a year,
where issues of concern are put forward for debate.
( See International Forum call for participation on page
4 for details on joining the e-group.)
Debate was active at the first forum in Seattle,
and many questions and ideas were brought forward.
The goal of the 2nd International Forum in New
Orleans is to move significantly forward in establishing
something concrete, accessible and helpful to all
organizations involved.
We hope to see you there!
Kirstie Rea is on the GAS Board of Directors and
Publications Committee, and is an artist residing in
Australia.
3
GLASS ART SOCIETY’S 34th ANNUAL CONFERENCE
2nd International Forum
for Glass Organizations:
Call for Participation
LOOK for the 2004 GAS Conference brochure
in your mailbox in January. The brochure contains
details on conference events and a registration
form. If you do not receive a brochure, you can
All international GAS member glass organizations
are invited to send one or two representatives to
participate in the International Forum for Glass Organizations, to take place at the 2004 GAS Conference in
New Orleans, June 12 at 9 am.
Following the 1st International Forum, an e-group
was created as a means of communication for glass
organizations. If you would like to participate in
networking /sharing international issues:
find all the information online at www.glassart.org
(click on 2004 GAS Conference in New Orleans).
Or contact the GAS office at 206-382-1305,
[email protected].
1. Write to [email protected] to request an
e-group invitation.
2. Send your ideas to the e-group. Issues raised
from the e-group will be discussed at the
Forum in New Orleans. Your ideas and
comments are appreciated.
The Blue Room at the Fairmont Hotel,
site of the 2004 GAS Goblet Grab
(a fundraiser for the Craft Emergency
Relief Fund).
3. Bring your ideas to the forum in New Orleans:
How do you think international glass
organizations could best liaise to benefit all?
What opportunities could come from such
interaction ( i.e. artist-in-residence exchanges,
studio exchanges, information sharing, etc.) ?
We appreciate your participation in the
International Forum!
Gallery Forum
Saturday, June 12, 10 am
Hosted by participating galleries
The Gallery Forum is an exciting opportunity for
galleries and artists from around the world to meet,
talk, and exchange information and ideas.
Galleries: $125 for a table and listing as host.
Coffee and rolls provided. Galleries please contact the
GAS office by February 15 to sign up and be listed in
the conference Program Book.
The 2003 GAS Auction in Seattle;
photo: Roger Schreiber
Education Resource Center:
Call for Materials
The Education Resource Center in New Orleans
will be a space where students and those interested
in continuing their pursuit of glass education may pick
up informational materials. All educational facilities:
universities, colleges, public access studios, summer
programs, studios, etc., who offer instruction in glassworking and wish to be represented in the Education
Resource Center are requested to provide literature.
Each school is also encouraged to send a representative
to be present to answer questions during the conference.
Bring your handouts to the conference and drop
them off early at the Education Resource Center at
the Fairmont Hotel (conference headquarters), or ship
materials ahead of time. (See the March 2004 issue
of GAS NEWS, or contact the GAS office for the
shipping location.)
Wet Dog Glass, site of several 2004
GAS Conference demonstrations.
New Orleans Museum of Art,
site of the 2004 GAS Pre-Conference Reception.
Glass Fashion Show
at the Closing Night Party
4
Would you like to participate in a crazy event?
Create a costume out of any type of glass out there
and then wear it at the Glass Art Society’s wild, wild
conference down in New Orleans!
Be daring, be bold, be part of the Closing Night
Party, and the hottest Glass Fashion Show yet!
If you’re interested, do not delay – contact Laura
Donefer at 613-372-0377, [email protected].
The 2003 GAS Gallery Forum in Seattle;
photo: Roger Schreiber
NEW ORLEANS, LOUISIANA, JUNE 10 -12, 2004
International
Juried Auction Exhibition
Conditions and Liabilities
The Glass Art Society will not be responsible for
loss or damage to any artwork submitted.
CALL FOR ARTISTS’ SUPPORT
Auction Jurors
The annual GAS Auction offers conference attendees the opportunity to support GAS by donating
and/or purchasing beautiful works of glass art. We
encourage donations of collaborative glasswork, innovative and experimental one-of-a-kind creations, and
those signature pieces that define an artist’s career.
With so much wonderful work to bid on, and so much
fun to be had, this is an event you won’t want to miss!
The GAS Auction has become one of the highlights of the annual conference, and this year we have
two ways that you can participate:
1. The Silent Auction
As in past years, we will present our popular silent
auction. Silent auction donations may be in the form
of artwork, books, classes, tools, services, or any other
items relating to glass. Participating artists may choose
to receive up to 50% of the winning bid. This fun,
casual,“instant” auction provides conference attendees
and the public an opportunity to see and purchase
glass and glass-related items in a wide variety of price
ranges. Ship or bring your donations along with you
to the conference and join in on the fun.
2. The Juried Live Auction
This year we are adding a new and exciting GAS
International Juried Auction Exhibition to our live
auction. Jurors will select 35 of the finest works for
presentation during the live auction. Participating
artists may choose to receive up to 50% of the winning
bid. Prior to the auction, these pieces will be showcased on the GAS website (www.glassart.org) and
featured in a special exhibition onsite during the
conference. The list of donors will appear both in the
auction catalogue and on the GAS website. We will
supplement the juried work with select pieces created
during conference demonstrations, and add a few
intriguing surprises.
All auction donations are tax-deductible to the
extent allowed by law, and each donor will receive a
receipt for the auction selling prices.
Eligibility
The International Juried Auction Exhibition is
open to all glass artists; you do not need to be a member of GAS For jurying purposes all slides will be
anonymous. All work must be designed by the artist.
You do not have to attend the conference to
donate, and donating work is a great way to support
GAS if you aren’t able to attend.
Entry Procedure
Entries must be postmarked by March 1, 2004.
There is no entry fee.
• Glass artists can submit up to three works for
jurors to consider. Only one work per artist may be
accepted.
• All entries must be scans, photos or transparencies (35mm slides in standard plastic or cardboard
format). Send scans in either TIF or EPS format at 300
dpi, approx. 3 x 5 inches. The jurying process will take
place digitally. Photos and transparencies will be
scanned for the jury process.
• Clearly and legibly label your scans, photos or
transparencies with the artist name, title of work, date
and size. Indicate top with an arrow.
• Indicate if there are special exhibition or
installation requirements.
• Include a brief artist statement (100 words maximum) to be used in the exhibition catalog if accepted.
The decision of the jurors is final. Images of
accepted works will be retained for publicity and catalog purposes; no substitutions permitted. Photos and
transparencies not selected for the exhibition will be
returned to the artist in the SASE provided by the artist.
Entries with incomplete information will not
be juried.
Kate Elliott has been involved in the field of contemporary glass since 1971 when she was a student in
the art department at the University of Wisconsin,
Madison. She has been a dealer and gallerist since
1981, following a decade of working for Dale Chihuly,
RISD, Pilchuck and other arts organizations.
Joel Philip Myers is a past president and Honorary
Lifetime Member of GAS In 1963, he became Director of
Design for Blenko; in 1970 he established the glass program at Illinois State University in Normal, IL;
co-chaired WCC Kyoto Conference Glass Program with
Kyohei Fujita; and received NEA Craftsmens’ Fellowships
in ‘76 and ‘84. Appointed Distingushed Professor at
ISU, he is now retired from teaching to concentrate
on his own art.
Susan Stinsmuehlen-Amend is a past board
member, an Honorary Life Member, and past president
of GAS (1982-86). Her work in glass and mixed media,
architectural glass, hot glass and public art is included
in many private collections and public institutions.
She is a past recipient of two National Endowment
for the Arts Fellowships, and her first solo museum
exhibition is scheduled for June 2004 at the Carnegie
Museum in Ventura County.
Shipping
Donating Artists: Artists whose work is accepted
may elect to ship their work to the conference at
their expense. Instructions will be provided for the
shipment of your work. Shipped work must be
received by June 8, 2004. Those artists attending the
conference are encouraged to hand-deliver their work
to the auction venue packed well enough for carryout.
Buyers: Professional packers and shippers will
be available after the auction to take care of shipping
your purchases. GAS assumes no responsibility for the
shipping of purchases or for those items not picked
up immediately after the auction.
This is a great opportunity to have your work seen
and appreciated by a discerning community of glass
enthusiasts!
See you at the auction!
I N T E R N AT I O N A L J U R I E D AU C T I O N E X H I B I T I O N E N T RY F O R M
Submission deadline: postmarked by March 1, 2004
Name
1. Title of Entry
Address
Size
City
Description
State
Notification of acceptance: mailed by April 15, 2004
Value
Zip
Country
2. Title of Entry
Phone (day)
Size
E-mail
Description
Value
Signature
If your entry is not selected as one of the 35 pieces
for the juried exhibition would you be interested in
placing it in the New Orleans GAS Silent Auction?
Yes
No
Donation Level:
Full Donation
25% to Artist
5
3. Title of Entry
Size
Value
Description
50% to Artist
Artist statement (100 words maximum) enclosed
for the auction catalog.
Deadline: Entry must be postmarked by March 1, 2004.
Notification of acceptance will be by mailed by April 15, 2004.
SASE for the return of images enclosed.
Mail to:
Glass Art Society, GAS Auction, 1305 Fourth Ave., Suite 711, Seattle, WA 98101
technical articles
Glass Art and Glass Science
A Mutually Beneficial Partnership
by Margaret Rasmussen
6
In the early days of glassmaking, glass artist and
glass scientist were one and the same. Well versed
in the nature and properties of the molten material,
glassblowers created objects with the skill of their
hands and the breath of their bodies. This harmony
of art and science in glassmaking was disrupted at
the onset of the Industrial Revolution, when the
continuous glass melting furnaces and development
of mold technology were developed.
A snapshot of the
IN THE AGE of advanced
U.S. glass industry today
glass, scientists also
suggests the need to
have much to contribute
revive the beneficial
to the making of
partnership of glass
excellent glass art.
artist and glass
technologist. Industrial glass manufacturing in the U.S.
is much in need of new energy to design and develop
new applications for traditional glasses, new products
for advanced glass compositions, new processing
methods, and new uses for equipment. Profit margins
have shrunk to levels that cause much discomfort for
CEOs and corporate board members. Glass plants and
equipment are aging, yet investors are reluctant to
provide capital to build or rebuild facilities because
return on investment is slow. Imported glass products
and plastics that mimic glass at low cost flood the
U.S. consumer market.
If these trends continue, what will the snapshot of
the U.S. glass industry depict in 30, 20 or even 10 years
if nothing is done? An infusion of artistic creativity
into the scientific laboratory could do much to equip
the glass artist with advanced technology and improve
glass art works with exciting high-tech properties
for self-cleaning or strengthening properties and to
re-energize the stagnant glass industry.
When mid-19th
THE BENEFITS that
century England found
could be derived by
itself in a similar state
the glass industry and
of lackluster industrial
the glass artist from a
development, Queen
formalized partnership
Victoria’s German consort,
between a creative,
Prince Albert, devised a
right-brained artist
plan to upgrade the
and an analytical,
industrial arts of his
left-brained scientist
adopted country. With
have yet to be tapped.
the Crystal Palace Exhibition of 1851, Prince Albert revitalized England’s glass
industry that had lagged seriously behind that of other
European countries. Museums were established for
artists and scientists to study classical art and to inspire
new designs and glass art products. The British government established schools throughout the English
industrial districts to educate consumers to a taste for
English wares. Science and art classes were taken into
the factories to educate men and women on the job.
Throughout glassmaking history, artists have
contributed much to advance glass technology. Take
for example the contributions of glass artist Frederick
Carder at Corning, New York. His iridescent “Aurene”
glass developed in the early 1900s proved to be an
excellent conductor of electricity, when silver oxide was
drawn to the surface of a formed object and sprayed
with stannous (tin) chloride. When his chemist
colleague Jesse Littleton was searching for a glass
coating that would eliminate the build-up of electricity
in glass insulators that caused undesirable buzzing
and squawking in early radio transmission, he resorted
to Carder’s technology.
As early as 1500 B.C., Roman glassmakers
developed millefiori glass by bundling rods of colored
glasses with compatible thermal expansion coefficients
and then pulling the glass out in a ribbon to miniaturize
the design. Scientists adapted this same forming
process 500 years later, when they developed optical
fibers of ultra-pure glass for the technology of the
Information Age.
Millefiori lid on crystal box with sterling trim, designed by
Frederick Carder and Paul Vickers Gardner.
Alfred glass artist Jackie Pancari(L) with glass scientists and
glass artist Fred Tschida (R) work in the laboratory to develop
molds for high-tech sol-gel glasses.
In the age of advanced glass, scientists also have
much to contribute to the making of excellent glass art.
Glass scientists have developed ionic exchange technology to strengthen glasses for safe display in public
places. By mimicking nature, scientists have developed
self-cleaning glasses that repel water and dirt naturally,
much like the leaf of the lotus plant.
But the benefits
THIS PROJECT embodies
that could be derived
what philosopher of
by the glass industry
science Ranier Maria Rilke
and the glass artist
has called a “Conflagration
from a formalized
of Clarity” – a partnership
partnership between a
of artists and scientists
creative, right-brained
who will see what none
artist and an analytical,
before them has ever seen
left-brained scientist
for scientific, artistic,
have yet to be tapped.
economic and spiritual
High-tech glasses await
benefit of all glassmaking.
transformation into
exotic glass forms, while traditional glasses await
designs for new application in the twenty-first century.
In a pilot project at the New York State College of
Ceramics at Alfred University, glass scientists and glass
artists reunited in an academic classroom to devise
new shapes for high-tech sol-gel glasses. Glass
scientists William LaCourse and Suhas Bhandarkar
introduced the use of sol-gel glass to students in
instructor Jackie Pancari’s cast glass class. The scientists
suggested that the liquified sol-gel glass could be
cast at room temperature, colored, sculptured, spot
fired and manipulated into innovative glass art forms.
As the process unfolded, the roles of scientists and
artists reversed. The uninhibited artists developed
mold shapes and mold coatings that the scientists
might never have envisioned for the sol-gel glasses.
To encourage collaborations between glass art
with glass science so that artists might become
informed of advances in glass science, and scientists
might benefit from the creativity of artists, the Glass
Manufacturing Industry Council, along with the Paul
Vickers Gardner Glass Center, has launched a campaign
to reunite art and science in commercial glassmaking.
Following a nationwide lecture series launched in
October 2003, a brainstorming workshop for leading
glass scientists and accomplished glass artists will be
scheduled to explore effective means to formalize
the reunion of art and science for excellence in
glassmaking. This project embodies what philosopher
of science Ranier Maria Rilke has called a “Conflagration
of Clarity” – a partnership of artists and scientists
who will see what none before them has ever seen
for scientific, artistic, economic and spiritual benefit
of all glassmaking.
Margaret Rasmussen is the Executive Director
of the Paul Vickers Gardner Glass Center at New York
State College of Ceramics at Alfred University in Alfred,
New York.
Sol-Gel Glasses – Technology’s Gift to the Artist
Labino Lecture at the 2004 GAS Conference in New Orleans
by William C. LaCourse
Glasses formed using sol-gel processes have
become relatively common in high-tech applications
primarily due to the possibility of very low temperature
processing, and very high purity and optical quality.
The process, which is similar to making Jello®, involves:
1. Forming a colloidal suspension of nano-scale
particles (sol) or small molecules of the
desired composition.
2. Allowing the particles (and/or molecules) to
react until a 3 dimensional network of particles
is formed, leading to gelation.
3. Removing the liquid to leave a porous solid.
4. Heating to allow viscous flow, which removes the
pores and strengthens the product. The maximum
temperature required to form a bubble-free, solid
glass is typically no higher than the glass transition
temperature. A normal lead crystal composition
thus needs to be heated to near 900 -1000º C.
The process is particularly suited to forming
thin coatings, but recent developments have allowed
production of extremely large glass castings used as
pre-forms for the production of optical fiber. These
objects can be a few feet in length and perhaps a
foot in diameter. Since they are made from essentially
pure SiO2, they have a near zero thermal expansion
coefficient, which makes the process particularly
attractive to artists wishing to create large scale castings with little danger of cracking during production,
display in a sunny environment, or where temperatures
can change rapidly.
Several other applications of interest to artists are
possible. Anti-reflection, or for that matter, reflective
coatings can be easily formed on surfaces. Other
interesting optical effects are also possible. Other
coatings offer high chemical resistance, and essentially
prevent environmental degradation of the glass
surface. In fact the technology has progressed to a
point where its potential in the hands and mind of
a creative artist are almost unlimited.
Dr. William LaCourse is the Krusen Distinquished
Professor of Glass Science and Associate Director of the
NSF Center for Glass Research at the New York State
College of Ceramics at Alfred University in Alfred, NY.
Dr. LaCourse will be presenting
the Labino Lecture on sol-gel
at the 2004 G.A.S. Conference
in New Orleans.
A Project of the Arts Council of New Orleans
by Kimberlye P. Hunicke
Louisiana ArtWorks, when completed in spring
2004, will provide a working artists' studio facility
and cultural destination. The 90,000 square-foot
resource facility will provide artists access to state-ofthe-art equipment in open studio settings for glass,
clay, metal and print. An Art Yard will provide an
outdoor workspace for foundry, forging metal, and
raku and wood kilns for ceramics. Guest artist workshops and residencies will serve artists locally,
regionally and nationally. Nineteen individual artist
studios will be available for lease to artists working
in all media, increasing their visibility and interaction
with the public.
The $26 million Louisiana ArtWorks project of the
Arts Council of New Orleans is an architectural project
combining new construction with the preservation
of two historic buildings. A unique retail store will
offer distinctive artful objects with emphasis on
contemporary design by recognized artists. A bistrostyle café will be open during visitor hours.
Louisiana ArtWorks anticipates that over 200,000
visitors will experience first-hand the creative process
and enjoy one-on-one interactions with artists in their
studios. Louisiana ArtWorks will also provide a forum to
participate in engaging discussions with artists about
their work, their processes, and their materials.
The inclusion of themed exhibitions, lectures,
presentations, and workshops will anchor Louisiana
ArtWorks and advance the city's reputation as a visual
arts mecca.
Views from SOFA Chicago
For more information contact Kimberlye Hunicke,
Interim Director, Louisiana ArtWorks at 504-523-1465,
or [email protected]. Please visit
our website at www.artscouncilofneworleans.org.
Kimberlye Hunicke is the Interim Director for
Louisiana ArtWorks, a project of the Arts Council of
New Orleans.
During the GAS Conference in
New Orleans, Louisiana ArtWorks
will be open to conference attendees
for Gallery Hop, June 11, 6 - 9 pm,
for a VIP behind-the-scenes tour
of the glass and metal studios, access to the rest of the
facility, and a reception.
U r b a n G l a s s
Louisiana ArtWorks
Classes
workshops
intensives
private lessons
The UrbanGlass Summer School
UrbanGlass Abroad
GLASS Quarterly
The Store at UrbanGlass
On and Off Site Exhibitions
The Bead Project
The Glassblowers Ball & Auction
The UrbanGlass Awards Dinner
UrbanGlass
647 Fulton Street
Brooklyn, NY 11217
Phone: 718.625.3685 x.0
FAx:
718.625.3889
URBANGLASS.COM OR URBANGLASS.ORG
(cont. from page 1)
Kait Rhoads, Artist
For vessels I looked for originality, how long that
piece had been in production, its beauty and its unusualness. For sculptural work I asked if it could escape the
“glass aesthetic” – does it solely rely on beauty, fluidity
and light bearing qualities, or does it make me think?
Kate Elliott, Art Dealer
I often base my opinions on what I would personally
like to own and live with, which makes my criteria quite
stringent as I am not a glass collector per se. If I had no
budgetary concerns … I could have quite easily
acquired about 18 pieces at SOFA Chicago…
Richard Meitner, Artist
20% if I wish to err on the side of generosity.
My own standards have nothing to do with salability,
but rather with artistic intent, and content. The work
at SOFA is overwhelmingly and undeniably directed
at generating income for the makers through sales.
There is very little development or new exploration
from one year to the next in the work of most of the
makers. New ways, ideas or syntheses are not,
as a rule, being explored.
Do you believe your assessment criteria are shared by
others at the event in roles different from your own?
D. & D. A.
I would think / hope so.
K.R.
I believe that my position is [very] different than
most of the people at SOFA, as a participating artist new
on the scene . . . I did not look at the work in terms of its
current or future market value, but only at its effect
upon me.
K.E.
K.E.
I came away from SOFA this year thinking that many
glass collectors came to the expo with a list of artists
they required to fill out their collections … While this
way of buying is understandable, it is unfortunate
because it limits the focus to the known artists …
Dealers/gallerists have a dual responsibility in bringing
a balance of work to the fair: we must show work which
we expect to sell so that we can pay the high costs of
the venue, thus affording to return each year; and to
introduce NEW work and artists to this great audience.
Often anything new takes a few years to sink into the
conscientiousness of the collectors … We as dealers
have taken a risk, and hope the collectors will join us.
SOFA is for exhibiting for the purpose of acquiring.
While there is certainly critical discourse, I believe it
tends to be within each of the individual groups, and
even there in small factions, and not so much among
the various groups. It is not necessarily the correct
arena for critical discourse because there is so much
competition for sales . . . Critical discourse happens
when there is less at stake financially, and within an
educational environment. The curators educate the
collectors in other forums; the artists tend to talk to
each other after SOFA is over … Oddly enough, I don’t
remember ever speaking with a critic at SOFA. I believe
they tend to stay away from sales venues.
R.M.
Almost all other visitors or participants, to the
extent that I am aware of them, have different interests
and criteria of quality than mine. They are not there for
art; they are there for commerce. They are not seeking
new insights; they are seeking new acquisitions, new
“talent”, new contacts.
R.M.
NO, I believe that there is clearly nothing of the
sort. I saw no critics there; read no criticism … SOFA
is a commercial fair. Its primary audience is glass, crafts
and some art collectors. It serves them very effectively.
At the same time, it is a wonderful opportunity for those
wishing to meet such collectors, to show them, at a
dignified level, effectively what one does… It serves
that purpose very intelligently and fully…
The focus at SOFA, with respect to glass, is in my
opinion, the same [as] one encounters in the glass world
in general. It is technical prowess, economic activity.
It is not art, idea, communication or growth. It is this
that most hampers real advancement in cultural quality
in the use of this material in my opinion. There are not
enough people out there effectively enough promoting
these last goals …This is what I hope we can slowly
begin to change.
Do you believe that there is a healthy critical discourse
at SOFA among glass-oriented artists, curators, critics,
gallery owners, and collectors?
D. & D. A.
If you believe, as I do, in the business model of
“management by bumping into people”, the answer is
clearly yes. Then too, if you admire Ann Meszko for the
program she puts on each year, there is surely plenty of
opportunity for everyone to hear stimulating lectures
and panel discussions and to chat people up afterwards
whilst thoughts are still mind fresh.
K.R.
…I am not sure that I witnessed it. I had a chance
to initiate a type of critical discourse in discussing these
questions with others at the show and in discussing
with a few gallerists and artists some of the work that
I had seen, but mostly away from the show, in the
evening … I spoke more with other artists…
7
student corner
GAS Board Student Representative
Call for Self-Nominations
The Glass Art Society Board Student Representative
is a vital position on our Board and we encourage all
students to apply.
For students to nominate themselves for the
Student Representative:
1. Read the GAS Board Student Representative
Requirements for Nomination and Job
Description / Duties.
2. Write a letter of intention explaining what you
think you can offer to the Glass Art Society and
how you think you could best serve the GAS
student membership.
3. Include two letters of recommendation.
4. Send to the Glass Art Society office by
February 21. Nominations sent after this date
will not be considered.
Student Rep. Nominations
Glass Art Society
Seattle, WA 98101-2401
GAS Board Student Representative
Requirements for Nomination
and Job Description /Duties
Any nominee for the position of GAS Board
Student Representative must be a student who is
matriculated in a college-level degree-granting
program that is focused in, but not restricted to, the
field of glass. (Note: The student must be enrolled in
a college program during their tenure on the Board.)
It is recommended that the student has had a beginning relationship with GAS as his/her school’s student
liaison to the organization. (See “GAS Student Liaisons”
below for more information.) Also recommended is
that the student represent a different school than that
of the previous year’s student representative.
The post requires a minimum one-year commitment and a strong sense of responsibility for the duties
the elected student is assigned. (The student may run
for reelection for a potential maximum term of 3 years.)
During the year, the student is expected to attend
the Conference planning meeting and the Annual
Conference (along with the other Board members),
in addition to participating in regular conference calls
and the Board e-group dialogue.
Basically, the student representative functions as
the primary intermediary (and liaison) between that
part of the GAS membership that is comprised of
students and the general membership (as represented
by the standing board). Once on the Board, the student
is placed on the Board’s Education Committee and
works closely with the committee’s chairperson. When
possible, the incoming student representative will be
mentored by the outgoing student member. The new
student member is strongly encouraged to further
develop his/her role on the Board as the position
strives to identify and satisfy general student needs.
While on the Board, the student representative is
assigned various duties (some of which are performed
in tandem with other Education Committee members).
Many of the responsibilities are in preparation for the
annual conference:
1. The solicitation of one student liaison from each
GAS member school. The student rep. funnels
all information about the conference, etc.,
through the liaison to interested students at
each school. (This will require one letter of
introduction to be written at the beginning of
the school year, with a follow-up letter later.)
2. The regular maintenance of the GAS student
e-group (primarily set-up for the student liaisons
to communicate with the student rep. about
news/opportunities/questions of specific
interest to students).
3. The organization of student demonstrations
for the GAS conference.
4. The organization of school presentations for
the GAS conference.
5. Communication through the GAS newsletter
about student-focused opportunities or
interests. (The maintenance/development of
a regular column for students.)
6. Helping to organize the International Student
Exhibition at each conference.
7. General participation in and organization of
the Education Resource Center (student and
continuing education venue) at the conference.
GAS Student Liaisons
8
At the beginning of each school year, GAS asks
each accredited school with a glass program to choose
a student to serve as a GAS liaison. In this position,
the student acts as a liaison to pass along pertinent
information from the Glass Art Society to the school’s
student body, as well as to bring the students’
questions or concerns to GAS’ attention.
The student liaison position lasts for one year,
and is a recommended position if planning to run for
the position of student representative on the GAS
Board of Directors. He /she must be a current GAS
member. Graduates as well as undergraduates are
welcome to apply.
Below are the schools with GAS student liaisons
for 2003-2004, as of November 15, 2003. If your school
is not included please contact the GAS office and
let us know your school with the name of your liaison
representative.
Laura Luttrell
GAS Student Representative
Appalachian Center for Crafts, Smithville, TN:
Ann Stenson
Bucks County Community College, Newtown, PA:
Tony Patti
California State University, Chico, CA: Carrie Lara
California State University, Fullerton, CA: Adam Mostow
Columbus College of Art & Design, Columbus, OH:
Jason R. Antol
Edinburgh College of Art, Edinburgh, Scotland:
Jane Tweedie
Espace Verre, Montreal, Quebec, Canada:
Nancy Landreville
Glas + Keramikskolen (Glass + Ceramics School),
Bornholm, Denmark: Anne Kalsgaard
Jacksonville University, Jacksonville, FL: Andrew Peters
Longwood College, Farmville, VA: Avni Patel
Massachusetts College of Art, MA: Daisy Gibson
Ohio State University, Columbus, OH:
Samantha Hookway
Rochester Institute of Technology, Rochester, NY:
Steve Leetch
Salisbury University, Salisbury, MD: Tim McFadden
San Francisco State University, San Francisco, CA:
Elisa Harms
Sheridan College, Oakville, ON, Canada: Denise Ing;
Cheryl Dunsmore (first year liaison)
Southern Illinois University, Carbondale, IL: Joe Falzone
The University of the Arts, Philadelphia, PA:
Jean Prominski
University of Hawaii, Honolulu, HI: Allison Hoag
University of Nebraska at Kearney, Kearney, NE:
Justin Chick
Virginia Commonwealth University, Richmond, VA:
Laura Luttrell
“Untitled” by Patrick Martin, glass and metal
SCHOOL PROFILE
The Glass Program
at Emporia State University
by Patrick Martin
Located in Emporia, Kansas, the heart of the
famous Bluestem Region of the Flint Hills, Emporia
State University is a comprehensive Regents university
primarily serving residents of Kansas by providing
leadership in quality instruction-related scholarship
and service. The ESU art department currently has
190 majors among its seven areas of concentration
and offers four-year degrees in studio art, art education,
and pre-art therapy.
The glass program is the only university glass
program in the state of Kansas and has provided
education and training for over thirty years. The
glass studio is adjacent to the sculpture studio and is
uniquely intertwined so those students can work freely
within both areas to achieve their goals with access
to a wide range of materials. Students pursuing the
BFA degree with an emphasis in glass forming may
choose from a comprehensive curriculum that includes
blowing, solid sculpting, hot casting, kiln casting,
slumping, fusing, cold-working, and mixed media
assemblage.
Over the years, the program has graduated
numerous students that are now working as professional artists, and the program benefits greatly from
its association with several glass studios in the area
owned and operated by ESU graduates. The Glass
Guild (a student organization) has become an integral
part of the glass program. Guild members raise
money through auctions and sales to help provide
funding for new equipment and supplies, visiting
artists, and field trips. The Guild also sponsors the
end of the school year Glass Blowout, which has
previously featured artists such as Stephen Rolfe
Powell, Karen Willenbrink-Johnsen, Anthony
Schafermeyer and Claire Kelly.
ESU glass facilities encompass over 3,500 square
feet. Hot shop equipment includes four annealing
ovens, two day tanks, three glory holes, pipe warmer,
two marvers, garage, and three blowing benches.
Cold working equipment includes a sand blaster, two
cut-off saws, flat grinder, belt sander, lathe, and three
kilns for casting, slumping, and fusing.
For more information contact:
Patrick Martin, Assistant Professor of Art,
1200 Commercial, Emporia, KS 66801
www.emporia.edu
Patrick Martin, an Assistant Professor of Art, has been
teaching glass and three dimensional design at Emporia
State University for five years.
Worcester Center for Crafts
WORKSHOPS
The Worcester Center
for Crafts’
New Street Glass Works
by Beth Lipman and David Leach
STUDENT PROFILE
Amanda King,
Alfred University, New York
Artist’s Statement
There is just something about glass that makes me
want to work, and work, and work. I wish I could say
what makes me want to hang out in front of a blazing
furnace, hung over at 7 am; or watch molds I’ve spent
too much time and money on blow out into sticky
messes; or wait for adhesives that never fully bind; or
cut myself picking up the shards of a final project that
was broken minutes before a critique. Glass has so
many possibilities as a part of my sculptural vocabulary,
while having the potential to stand by itself brilliantly.
I am excited about being relatively new to the material,
and I approach my work from that perspective. I like
watching the guy at the next bench making a threefoot dragon goblet-trophy and wondering what my
naivete and awkwardness could produce that would
be completely different.
I came to Alfred University three years ago
hoping to get my BFA concentrating in photography
and digital print, but got sucked into glass after
taking a beginning blowing class to fill studio credit
hours. I would be lying if I said that after three
semesters of studies, my finished work in glass had
any heavy conceptual direction; but I am just as
happy continuing to produce the results of my formal
experiments. Maybe it’s juvenile, but I am still too
engrossed in playing with the material, finding out
the ways it holds light, color, and weight, and especially
how it sits aesthetically with different materials, to
Clockwise from upper left:
"Over", 2003, Pate de Verre, sand cast glass, 8 x 4 x 11"
"Experiment with Living Lamp", 2003, neon, glass, rubber,
and fiber, 20 x 3 x 8"
"Four and One with Orange", 2002, blown glass, 15 x 5 x 10"
worry about what I’m saying to the world. It won’t be
too far down the road, though, that I’ll develop the
skills and hopefully the maturity to fully articulate
my ideas through glass and art in general. It is
exciting for me to think about.
Amanda King won 1st Place in the 2003 GAS
International Student Exhibition, held at the GAS
Conference in Seattle.
The Massachusetts-based Worcester Center
for Crafts, a leader in multi-studio craft education,
has established a major new studio glass program,
New Street Glass Works, for students of all ages
and experience levels, from novice to professional.
This new facility serves 300 adults in continuing
education, 5 artists-in-residence, hosts youth
programs, and provides new opportunities for
professional artists in the New England area.
The New Street Glassworks is the only
comprehensive glass facility in the central New
England area, and is supported by an active Glass
Advisory Committee composed of artists, gallerists,
collectors and educators, including Alice Chappell,
Bernie D’Onofrio, Sally Prasch, Beth Lipman, and
Hank Murta Adams.
Previously, the school offered classes in kilnforming, kilncasting, flameworking, enameling,
and stained glass in a small 970 square-foot studio.
The expansion now enables the Center for Crafts
to offer classes and rental in glassblowing, sculpting, casting, and coldworking. All facilities are
available for daily rental, and studio spaces will
be available. Artists-in-residence have the opportunity to help shape the program and be a part
of the educational vision.
New Street Glass Works’ 8,000 squarefeet
houses designated studios for all similar techniques, and features a 400 lb. tank furnace and
three gloryholes of various sizes built by Ohm
Equipment of Millville, NJ.
The Center for Crafts bought Michael and
Vladena Pavlik’s entire cold shop when they
moved to the Czech Republic. Five lap wheels
(including pumice and cerium), two lathes, two
belt sanders, and five Reciprolaps were purchased,
including a rare selection of horsehair wheels from
the Czech Republic. The shop also includes a sandblaster and diamond saw. The Pavlik’s generously
donated their casting kilns and a large selection of
Blenko casting glass.
The New Street Glass Works’ flameworking
studio incorporates stations for 10 Carlisle CC
burners and minor bench burners with tool box
kilns for beadmaking and a front loader for
borosilicate.
For more information, please contact
Beth Lipman at 508-753-8183, ext. 3025.
Beth Lipman is the Head of Glass at the
Worcester Center for Crafts. She was the Education
Director at UrbanGlass from 1997-2000 and has
taught extensively at home and abroad. David Leach
is Director of Development for the Worcester Center
for Craft and has a broad range of experience in
variety of positions with conservation and arts
organizations. David also serves as the co-chair
of the Worcester Arts District Partnership.
9
Glass Art Society’s 35th Annual Conference
GAS@Ausglass: Matters of Substance
Adelaide, Australia, May 7-10, 2005
The Glass Art Society’s 35th Annual Conference will be held in Adelaide, Australia, May 7-10, 2005,
and hosted by Ausglass. It promises to be an interesting and informative adventure in a beautiful city in
an amazing country, combining the best of GAS and Ausglass events.
GAS is working with Qantas Airlines and Abel Tasman Tour Company to offer a special travel package
price that you won’t be able to pass up; watch for details in future issues of the GAS newsletter.
Call for Presentation Proposals
Deadline for proposals: May 1, 2004
The Conference theme,“Matters of Substance,” is directed at discovering, illuminating, discussing, and
understanding matters that are of importance to glass artists. GAS is requesting proposals for
lectures, demonstrations, and panels. The broad, almost limitless theme allows for a wide range of
topics, including presentations on important historical, technical and scientific research in the field.
To Submit a Proposal
1. a) Fill out the presentation proposal form
or
b) Go to the GAS website at www.glassart.org and click on
“GAS 2005 Conference in Australia” on the main page,
or
c) Write up your own proposal form to include:
• your name
• address
• phone, fax and e-mail
• a brief description of the presentation idea (1-5 paragraphs)
• proposed format (lecture, discussion group, panel, demonstration, other)
• support materials – include resumes or credentials and up to 5 slides or other materials.
2. Send the completed form and support materials no later than May 1, 2004 to the Glass Art Society
office, 1305 Fourth Ave., Ste. 711, Seattle, WA, 98101, USA
If you wish to use the form for simply suggesting ideas for topics or presenters you’d like to hear,
or subjects you think should be addressed, please feel free to do so.
If you have questions please contact: the GAS office,
tel: 206-382-1305, fax: 206-382-1305, [email protected].
Students and Educators:
GAS encourages all schools to work with students to support their attendance at the 2005 Conference in
Australia. This may mean flexibility in North American university schedules as we balance seasons and
schedules in the southern hemisphere. Students and faculty members should begin making plans now
so that interested students and faculty members can attend. GAS will offer a low-priced travel packages
with students in mind.
Presentation Proposal for the 35th Annual GAS Conference
Adelaide, Australia, May 7-10, 2005
Name /Company
Address
City
State
Zip
Country
Phone
Fax
E-mail
Web Site
Title of Presentation
Proposed Format of Presentation:
Lecture
Discussion Group
Demonstration
Other
Panel Discussion
Brief Description of Presentation Idea (attach additional pages if needed)
10
INSTRUCTIONS: Please mail this form to GAS along with the following:
•
•
•
•
•
Resume and credentials for topic proposed
Names and brief resumes of others on your panel (if appropriate)
No more than 5 slides (if appropriate)
Other supporting materials or information that may be appropriate
If you wish your materials returned, please enclose self-addressed, stamped envelope
Send this completed form by May 1, 2004 to:
The Glass Art Society, 1305 Fourth Avenue, Suite 711, Seattle, WA 98101 USA
classes + workshops
PLEASE NOTE: Publication of notices is for information
purposes only and does not necessarily indicate endorsement
by the Glass Art Society.
We are happy to include information as supplied to us by
various sources. Please send us your press releases and notices
including specific, current facts as far in advance as possible to:
G A S , 1305 Fourth Ave., # 711, Seattle, WA 98101 or e-mail to
[email protected]. GAS NEWS is a bi-monthly publication.
Members receive their newsletters approximately 6 - 8 weeks
after the deadline.
Upcoming Newsletter Deadlines:
December 15 for the March 2004 issue
February 1 for the April / May 2004 issue
April 1 for the June /July/ August 2004 issue
We look forward to hearing from you.
MASSACHUSETTS
WASHINGTON
Diablo Glass and Metal, LLC, 1514 Tremont Street, Roxbury,
MA, 02120, Tel: 617-442-7444, Fax: 617-442-3623,
www.diabloglassandmetal.com
Beginning and intermediate classes in glass blowing, lampworking, stained glass, glass casting, and slumping and fusing.
Frantz Art Glass & Supply, 130 W. Corporate Rd, Shelton,
WA, 98584, Tel: 360-426-6712, Fax: 360-427-5866,
[email protected], www.frantzartglass.com
Jan. 22-24: Sculptural Lampworking /Lucio Bubacco
Jan. 27-29: Sculptural Lampworking /Lucio Bubacco
Feb. 13-17: Sculptural Lampworking /Lucio Bubacco
Mar. 26-28: Gardens of Glass /Leah Fairbanks
Apr. 6-14:
Sculptural Lampworking /Lucio Bubacco
Apr. 20-28: Sculptural Lampworking /Lucio Bubacco
April:
Is This Glass?/ Kate Fowle
July 9-10:
Sculptural Beadmaking I /Sharon Peters
July 11-12: Mural Beads I /Sharon Peters
Sept. 17-18: Sculptural Beadmaking I /Sharon Peters
Sept. 19-20: Mural Beads I /Sharon Peters
Horizons to Go, PO Box 634, Leverett, MA 01054,
Tel: 413-367-9200, Fax: 413-367-9522, www.horizons-art.com,
[email protected]
May 1-8:
Workshops in Flameworked Glass and Mosaics
in Tuscany, Italy
May 15-22: Workshop in Fused Glass in Ireland
NORTH CAROLINA
U N I T E D S TAT E S
Penland School, PO Box 266, Penland, NC 28765,
Tel: 828-765-0755, Fax: 828-765-7389
Mar. 14 - May 7: Blown Mosaics /Claire Kelly
& Anthony Schafermeyer
ALASKA
NEW JERSEY
Glass Art Center of the Arctic, PO Box 75061, Fairbanks, AK
99707, Tel: 907-490-5977
Ongoing glassblowing classes available, beginning to advanced
levels. Instructor: Pete Lanigan. Developing youth programs.
Call for further information.
Salem Community College Glass Center, 460 Hollywood Ave.,
Carneys Point, NJ 08069, Tel: 856-935-1100, Fax: 856-351-2662,
[email protected], www.salemcc.org
July 7-10: Flameworking Beads, Bottles & Goblets/ Doni Hatz
July 14 -17: Flameworking Fundamentals /Sally Prasch
July 23-25: Venetian Glassblowing / Emilio Santini
Aug. 13-15: Introduction to Beads and Marbles / Karen Federici
CALIFORNIA
Loren Stump Studios, 8901 Sheldon Rd, Elk Grove, CA 95624,
Tel: 916-739-0912, Fax: 916-736-1123, [email protected]
Flamework Classes: Loren’s classes are technique-oriented with
plenty of hands on instruction using innovations and tools that
he developed for working soft (Moretti/Effetre) glass. The classes will be held at Loren’s studio in Elk Grove about 10 miles
south to Sacramento, CA. Most classes are five days starting on
Wednesday and cost $800. People who take his class go home
tired but happy.
Feb. 18-22:
Loren I Class
Mar. 3-7:
Loren III Class
Mar. 31 - Apr. 4: Loren I Class
Apr. 14-18:
Loren II Class
July 23-27:
Loren I Class
Sept. 1-5:
Loren I Class
Oct. 6-10:
Loren II Class
Nov. 3-7:
Loren I Class
FLORIDA
Art Glass House Inc., 3650 N. US Highway 1, Cocoa, FL 32926,
Tel: 866-631-4477, Fax: 866-631-9565, [email protected],
www.artglasshouse.com
Jan. 23-25:
Intro to Kilnformed Glass / Newy Fagan
Feb. 13-15:
Advanced Kilnforming / Newy Fagan
Mickelsen Studios, Inc., 700 Atlantis Rd. #304, Melbourne, FL
32904, Tel: 321-956-1222, E-mail: [email protected]
Classes will be held from January - April 2004 and will include
such subjects as sculpting hollow forms, organic glass, goblets,
photography, and a beginner class. All classes will use primarily
borosilicate glass. All materials and tools will be supplied.
Curriculum includes slide presentations, in-depth discussions,
many demonstrations, and extensive hands-on instruction
from Robert Mickelsen. For details and application information
go to www.mickelsenstudios.com/Workshops/workshop.htm
Mickelsen is an internationally reknown lampworker with more
than 30 years experience and 10 years teaching experience.
His workshops are praised for their cohesiveness, preparation,
and goal-oriented methodology. To learn more about Robert
Mickelsen, go to www.mickelsenstudios.com/about_me.htm
Newy Fagan Studio, PO Box 336, Ocklawaha, FL 32183,
Tel: 352-288-1426, [email protected]
Feb. 6-8:
Intro to Kilnformed Glass /Newy Fagan
and Marianne Gamble
Feb. 27-29: Advanced kilnforming/Newy Fagan and
Marianne Gamble
INDIANA
Inspired Fire Glass Studio & Gallery, 2124 State Rd. 25 West,
Lafayette, IN 47909, Tel: 765-474-1981, Fax: 765-474-3578,
[email protected]
Ongoing: Beginning Glass Classes/Sharon Owens
Ongoing: Fusing classes/Mike Byers
Intermediate classes available
LOUISIANA
Wet Dog Glass, PO Box 19328, New Orleans, LA 70179,
Tel: 504-483-1195, Fax: 504-483-3059, www.wetdogglass.com,
[email protected]
Pre-GAS Conference Workshops in New Orleans:
May 31 -June 4: Intermediate Glassblowing / Pamina Traylor
June 4 - 8:
Moretti Madness Beadmaking Workshop –
Beginning and Intermediate/ Jen Zitkov
Post-G.A.S Conference Workshops in New Orleans:
June 14 -18:
Intermediate Glassblowing /
Anthony Schafermeyer & Claire Kelly
NEW YORK
Blue Moon Press, 262 Moul Rd, Hilton, NY 14468,
http://www.milontownsend.com
Flameworking classes with Milon Townsend in his studio.
Small 2-day classes, 4 students only, first come, first serve basis.
Classes will focus on one of the following topics: Human Figure;
Extreme Flameworking; Color, Cane, Dichroics; Tricks of the
Trade; Critters & Other Objects; and Coldworking (grinding,
polishing & adhesives). Class fee: $500-$600, includes: materials,
room, home cooking and career counseling sessions.
More Fire Glass Studio, 80 Rockwood Pl, Rochester, NY 14610,
Tel: 585.242.0450, Fax: 585-242-0911, [email protected],
www.morefireglass.com
For a complete listing of classes and events visit the website or
contact the studio for a brochure.
UrbanGlass, 647 Fulton St 3rd Floor, Brooklyn, NY 11217,
Tel: 718-625-3685 x 225, Fax: 718-625-3889,
[email protected], http://www.urbanglass.org/
For complete listing of classes, contact the school.
Jan. 14-17: The Integration of Hot and Cold Working
Techniques with Jane Bruce
Feb. 2-5:
Lampworking with Lucio Bubacco
Feb. 7-8:
Paperweight Workshop
Feb. 21-22: Glassblowing Weekend
Mar. 6-7:
Beginning Lampworking Weekend
Mar. 6-7:
Incalmo Workshop
Mar. 22-26: Beginning Glassblowing Intensive
Mar. 27-28: Paperweight Workshop
Apr. 3-4:
Sun Catcher Workshop
Apr. 3-4:
Beginning Bead Weekend
Apr. 12-16: Fusing, Finishing and the Design Secrets
of Patty Gray
Apr. 17-18: Beginning Glasblowing weekend
Apr. 17-18: Introduction to Neon Weekend
WASHINGTON, D.C.
Washington Glass School, 1338 Half St. SE, Washington, DC
20003, Tel: 202-744-8222, [email protected],
wwww.washingtonglassschool.com
Ongoing classes focusing on the sculptural and architectural
aspects of glass.
Jan. 6-27:
Steel and Glass Sculptural Development
Feb. 12-16:
Beginning glassblowing trip
Feb. 22 - Mar. 7: Glass Casting / Lea Topping
Feb. 24 - Mar. 2: Making Glass Sinks
I N T E R N AT I O N A L
IRELAND
Pangur Bawn Crafts, 40 Finglas Business Centre Jamestown Rd.,
Dublin, 11, Tel: +353 1 8568191, Fax: +353 1 8568468,
[email protected], www.pangurbawn.com
Apr. 1-2: Stack Firing Glass Blocks /Jayne Persico
Apr. 3:
Kiln Formed Bracelets /Jayne Persico
Apr. 4:
Pate de Verre/Jayne Persico
Apr. 5:
Pattern Bar Designing
ITALY
Vetrate Artistiche Toscane, via della Galluzza, n. 5, Siena,
53100, Tel: +39 0577 48033, [email protected],
www.glassisland.com
June 1-4:
Basic Mosaic
June 7-11:
Painting on Glass I
June 14-18:
Painting on Glass II
June 21-25:
Glass Fusing
Aug. 31 - Sept. 3: Basic Mosaic
Sept. 6 -10:
Painting on Glass I
Sept. 13-17:
Painting on Glass II
Sept. 20-25:
Glass Fusing
The workshops will take place in our studio in the very center
of Siena (Tuscany) and will be conducted in English.
PENNSYLVANIA
Pittsburgh Glass Center, 5472 Penn Ave., Pittsburgh, PA 15206,
Tel: 412-365-2145 x203, Fax: 412-365-2140,
www.pittsburghglasscenter.org,
[email protected]
Jan. 13 - Mar. 7; Mar. 9 - May 2:
Hot Glass Classes
Introduction to Hot Glass I
Hot Glass II (Formerly Intermediate Hot Glass)
Hot Glass III (Formerly Advanced Hot Glass)
Painting and Blowing
Flameworking Classes
Flameworking FUNdamentals I
Flameworking FUNdamentals II – Molding Moretti
Flameworking FUNdamentals II – Blowing Boro
Beginner Beadmaking
Beadmaking II
Flat & Cold Glass Classes
The Art of Stained Glass
Cold Working the Surface
Apr. 17-18: Fusing Workshop with Ingelena Klenell of Sweden
May 10 -16: Workshop with John Drury & Robert Miller
Ongoing: Hot Glass – Paperweights at the Furnace,
4 -hour workshop on Saturdays
Ongoing: Flameworking – Bodacious Beads and Marvelous
Marbles, 4 -hour workshop on Sundays
11
resources, etc.
after the deadline.
Calls to Artists
COMPETITIONS
Call for Entries: The Ugly Necklace Contest Yes, an UGLY
Necklace Contest. Here’s your opportunity to show your design
skills, your visual acumen, your senses and sensibilities. Can you
put together a well-designed and functional, yet UGLY, necklace?
The Second Annual Ugly Necklace Contest for 2004 is offering a
first prize of a $992.93 shopping spree on the Land of Odds
web-site (www.landofodds.com), and a Runner-Up prize of a
$399.07 shopping spree on the web-site. To enter: take three
good color snapshots or scans of your necklace, and write a
short poem about it. Deadline: March 15, 2004. Entries will be
judged by a panel from The Center for Beadwork & Jewelry Arts.
These distinguished beadwork and jewelry artist instructors
will judge based on the hideousness of the necklace, its shape,
color and use of materials, its functionality and wearability, how
well the artist has shown an understanding of good design
principles (and how to violate them) to achieve this “ugly” end,
and the quality of the accompanying poem. 10 finalists will be
selected, and photos of their necklaces will be placed on the
Land of Odds web site. Visitors will determine a Grand Finalist
and a Runner-up. For information contact: Land of Odds, 522 E.
Iris Dr, Nashville, TN 37204, Tel: 615-292-0610, Fax: 615-460-7001,
warren @landofodds.com, www.landofodds.com
EXHIBITIONS
18th Annual Juried Fine Art Exhibition with agricultural themes.
Submission deadline: February 9, 2004. For prospectus,
send a SASE to: New Visions,“Culture & Agriculture”,
1000 N. Oak Avenue, Marshfield, WI 54449, Tel: 715-387-5562,
[email protected]
Call to Artists - Furniture The Furniture Society is soliciting
entries for a juried exhibition,“Curv-iture” which opens on June
10, 2004 at Savannah College of Art and Design in conjunction
with the Furniture 2004 conference. Furniture in all media is
eligible. Entry deadline is Jan. 15, 2004. Remember: whether
you bend, carve, laminate, twist, roll, slump, throw, spin, or melt,
if you use the curve in furniture, then this is the exhibit for you.
The Furniture Society, PO Box 18343, Asheville, NC 28814,
www.furnituresociety.org
GALLERIES
Luniverre Gallery in Paris seeks emerging and established
artists working in cast glass and/or mixed media for our
biannual group shows, December to February and July to
September. Please send CV and artists statement with 10-20
slides, dimensions, and price of works, together with SASE to:
Glenmagus, 272 Glen Farm Road, Portsmouth, RI 02871.
SHOWS + FAIRS
12
19th Annual Autumn Crafts Festival at Lincoln Center for
the Performing Arts, New York City. September 4, 5 & 11,12.
The Festival has demonstrated that New York City is one of
America’s most hospitable craft markets. This year we are again
expecting an attendance of more than 150,000 visitors. Craftartist’s earning potential is unusually high in the two weekend
event, with many artisans having reported sales in excess of
$15,000 per weekend. Work must be original, handcrafted and
expertly executed. Applicants are asked to submit (5) color
slides for juried selection. Participants are limited to 80 per
weekend. Application deadline: Jan. 4. After this date applications will be reviewed periodially until the show is filled. For
more information contact: Raya Zafrina, Director of Operations
American Concern for Artistry and Craftsmanship, PO Box 650,
Montclair, NJ 07042, Tel: 973-746-0091, Fax: 973-509-7739,
[email protected], www.craftsatlincoln.org
28th Annual American Crafts Festival at Lincoln Center for the
Performing Arts, New York City, NY June 5, 6 & 12,13. Expecting
an attendance of more than 150,000 visitors. Work must be
original, handcrafted and expertly executed. Applicants are
asked to submit (5) color slides for juried selection. The number
of participants is limited to 80 per weekend. Application deadline: Jan. 4. After this date applications will be reviewed until
the show is filled. For information contact: Raya Zafrina, Director
of Operations, American Concern for Artistry & Craftsmanship,
PO Box 650, Montclair, NJ 07042, Tel: 973-746-0091,
Fax: 973-509-7739, [email protected], www.craftsatlincoln.org
Nassau County Museum of Art Show 8th Annual Craft as Art
Festival at the Nassau County Museum of Art, Roslyn Harbor, NY.
Sept. 17-19. The Festival is a prestigious and beautiful environment in one of the wealthiest communities in the United States.
A paid attendance of more than 12,000 highly educated and
prosperous consumers are expected. Craft artist’s earning
potential is unusually high in this event due to the nature of
it’s clientele. Work must be original, handcrafted and expertly
executed. Applicants are asked to submit (5) color slides for
juried selection. The number of participants is limited to 80
per weekend. Application deadline: January 4. After this date
applications will be reviewed periodially until the show is filled.
For more information contact: Raya Zafrina, Director of
Operations, American Concern for Artistry and Craftsmanship,
PO Box 650, Montclair, NJ 07042, Tel: 973-746-0091,
Fax: 973-509-7739, [email protected], www.craftsatlincoln.org
OTHER
Another wild and wacky Glass Fashion Show! Would you like
to participate in a crazy event? Create a costume out of any
type of glass out there and then wear it at the Glass Art
Society’s wild, wild conference down in New Orleans, June10-12,
2004! Be daring, be bold, be part of the Closing Night Party!
June 12, 2004 is the date! The hottest Glass Fashion Show yet!
Do not delay. Please contact Laura Donefer right now! Call
613-372-0377 or e-mail [email protected]. See y’all there, chere!
XOX Laura Divine Diva Fashion Deluxe, www.lauradonefer.com
Artist Trust Seeks Nominations for 2004 Twining Humber
Award for Lifetime Artistic Achievement. The annual award of
$10,000 is given to a Washington State woman visual artist, age
60 or over, who has dedicated 25 years of her life creating art.
Nominations deadline: Jan. 23. For more information or an
application contact: Artist Trust, 1835 12th Ave, Seattle, WA
98122, Tel: 206-467-8734, 866-218-7878, [email protected],
[email protected], www.artisttrust.org
Call for Entries: Photos of Teapots for a new book titled
Teapots, Makers and Collectors, for Schiffer Publishers. I visualize
a coffee table type book of about 500 photos similar to my
recent books, Art Jewelry Today and Wood Art Today.
I have written several other art books that you can check at
www.schifferbooks.com under my name (Dona Z. Meilach).
The teapots can be any medium, size, and technique, from
practical to super funky, but they must be current and sculptural.
I would like to include: shots showing how the object progresses,
the artist at work, sketches or maquettes, thought processes
as to how the idea evolved, and how teapot collections are displayed. If you know who is collecting your teapots, I’d appreciate
the contact. The emphasis will be on modern expressions, but
something in another style idiom or influenced by earlier work is
encouraged. Photos can be 35mm slides, transparencies, prints,
high quality computer prints, or high resolution digital images.
Slides and transparencies reproduce the best. I will need
materials, sizes, idea, inspiration, collector and gallery credit
where applicable, and photo credit. If you know of other artists
whose work should be included, please send me their contact
information or ask them to contact me before submitting and
receiving a “permission to use” form. Deadline: March 1, 2004.
For information contact Dona Z. Meilach at: Meilach Features,
2018 Saliente Wy, Carlsbad, CA 92009, Tel: 760-436-4395,
Fax: 760-436-1402, dmeilach.msn.com, www.schifferbooks.com
Call for papers: Emile Gallé Centenary: La Lorraine Artiste
Conference. Gallé was an extraordinary polymath: artist, author,
critic, political activist, educator, and botanist. Upon the centenary of his death, this conference to be held on Sept. 18 -19 will
explore the rich cultural milieu of his native Nancy and Lorraine.
Papers are invited on a range of themes relevant to the artistic,
literary, historical and scientific cultures of this complex region.
This conference is organized under the auspices of the
Centre for the Study of Visual and Literary Cultures in France
at the University of Bristol. Conference proceedings will be
published in an RAE accredited internet journal Art on the line
(www.waspjournals.com/AOTL/). For further details visit:
www.bris.ac.uk/Depts/ArtHistory/. Send paper proposals by
e-mail or post by Mar. 31, 2004 to: [email protected],
or Dr. Claire O’Mahon, Department of History of Art, University
of Bristol, 43 Woodland Rd, Bristol, BS8 1UU, United Kingdom
Creativity in Glass History & Heritage April 23, 2004, at the
University of Liverpool, in conjunction with the Annual Meeting
of the Society of Glass Technology. The History and Heritage
Group of the SGT has in collaboration with the Association for
the History of Glass arranged a study day where the focus will
be “Creativity in Glass History & Heritage”. The organizers
invite papers or posters for presentation on that day. Oral presentations will be balanced in the program by opportunities to
meet and interact with other delegates, and there will be time
allocated for poster authors to present their work less formally.
The more posters we have, the richer the diet will be for the day,
so we cordially invite contributions which bear on any aspect
of creativity in the history and heritage of glass. Contact Sara
Lindley at: Society of Glass Technology, Don Valley House, Savile
Street East, Sheffield, South Yorkshire, S4 7UQ, United Kingdom,
Tel: +44 (0)114 263 4455, Fax: +44 (0)114 263 4411,
[email protected] / [email protected], www.sgt.org
Proposals Sought for Guest Artist Program by the Southwest
School of Art & Craft for 2004-2005, to provide opportunities for
artists and non-artists to work together and connect through
the process of creating a work of art. Selected projects will
emphasize new and/or under-served audiences as well as collaborative and/or interdisciplinary approaches. Collaborations
might include social service agencies, schools, health workers,
government groups or any other group or entity. Selected
artists will receive a stipend, a materials budget and access to
studio facilities, equipment and tools, as well as housing and
reimbursement for transportation. Proposals will be accepted
from any artist living in North America. Proposals must take
into consideration the goals of the program. Applicants should
send: current resume, 10-20 slides and/or CD of recent work,
1 page project description, pertinent supplemental materials,
2 or 3 letters of reference. Deadline: Feb. 1. Notification: March
29. Submit proposal to: Director of Public Programs, Southwest
School of Art & Craft, 300 Augusta, San Antonio, TX 78205,
Tel: 210-224-1848, [email protected], www.swschool.org
Apprenticeships
Three and Two-Month Apprenticeships in Italy Vetrate
Artistiche Toscane is a company based in Siena, Italy which
specializes in the creation of stained, painted and fused glass.
The studio handles original commissions and restoration work
in both religious and secular subjects. Fused glass projects are
also a part of our production. There are two apprenticeships
lasting three months (March to May - October to December)
and two lasting two months (January to February - July to
August). Although the scheme is of particular benefit to the
beginner and intermediate; advanced and professional glass
artists have found the apprenticeship to be useful to enhance
their skills and exchange ideas. Topics covered: techniques,
materials, tools, design of cartoons and patterns, glass cutting,
experience in using and matching different types of glass,
basics of painting technique: grisaille, enamels, media, tracing,
matting, leading, soldering and cementing, kiln operating, glass
fusing, combining leaded, fused and painted glass, installation
on site. English is spoken in the studio. Intensive hands on
courses available. For information contact: Vetrate Artistiche
Toscane, via della Galluzza, n. 5, Siena, 53100, Italy, Tel: +39 0577
48033, [email protected], www.glassisland.com
For Rent
Available Studio Space in Seattle 300-400 sq. ft. of working
space (no live in) with concrete floors, 10’ high ceilings, & 3
clerestory windows. Electricity is 80 amps with its own meter
& water is not metered. Natural gas is available in this secure
modern building. Artist-landlord looking for stable, reliable
tenant who is quiet. Access to a very nice glass cold shop.
$1.00/sq. ft. Contact Michael at 206-860-9748.
Glass Studio Rental. All of your glass needs fulfilled in Boston,
MA. Hot shop is equipped with two 250 lb. furnaces, two 14”
glory holes, one 21” inch glory hole, a garage and three annealers.
We also have a basic cold shop, lampworking torches, a slumping and fusing kiln, a flat shop and studio spaces for individual
artists. Tel: 617-442-7444 or [email protected].
Hot Shop and Torch Rental, Rochester, NY More Fire Glass
Studio offers hot shop rental to qualified glass blowers. Basic
day rate (6 hours) 12” glory hole $150 per day, 18” glory hole
$200 per day. Make your work in a beautiful, spacious, quiet,
clean studio. Studio rental available for extended periods of
time, days to weeks. Torch rental available at $12 per hour.
Please contact the studio for more information at 585-242-0450,
or visit our web site www.morefireglass.com
Shop Rental in Idaho Very spacious shop in the woods of
Robie Creek, ID (just outside of Boise). Hot shop includes 150 lb.
pot furnace, 3 glory holes (12”, 18”, 28”), 2 top loading annealers,
2 front-loading annealers, and garage. Other areas include lamp
work stations and cold working area. Also offering: classes,
workshops, and private lessons. Please contact: Zion or Colbie
at Zion Mountain Art Glass (208)395-8807 61 Tollgate Rd.,
Boise, ID 83716, [email protected]. zionartglass.com.
Time slots fill up quick. Call and reserve!
Studio Rental Just North of Boston studio rental. Tiny shop,
big equipment. Large glory hole, annealler, 200# furnace,
sandblaster, grinder. $30/hr., able assistance/ lessons available.
Right off the train. Mark Hursty, Tel: 978-468-0626, e-mail:
[email protected]
Studio Rental We offer studio rental in our studio/gallery
located in downtown Asheville, NC. Please contact us for more
information at: The Crucible Glassworks, 106 N. Lexington Ave,
Asheville, NC 28801, Tel: 828-236-0920, [email protected]
Studio time available in Atascadero, California. Rates: $75 for
3 hours using small glory hole/ $90 for 3 hours using large glory
hole (3 to 6 hour time slots). We melt CBG (Seattle Batch Co.)
and have molten cobalt, aqua, white, green, and amber for your
use. We continually offer private lessons for $50/ hr. (all costs
included). Contact us for group workshop info. Our cold working equipment is accessible for $6/ hr. Contact Ken Peterson:
805-674-1182 / [email protected] or Eric Dandurand:
805-924-1428 / [email protected] for information.
For Sale
Job Opportunities
Diamond Lap Wheel for Sale 18”, almost new, with 1 hp. motor
and water system. True to within 0.006 inch. Can ship. $1,000.
Call Tom at 541-332-2300
Assistant Needed in Prague I am looking for an energetic and
adventurous studio assistant who would be willing to move to
Prague to work for a minimum commitment of six months.
Studio work consists primarily of working on very large scale
wax positives that will be cast in glass. You must have
experience with both wax work and glass casting. If interested
please send images of work, a resume and two references to:
[email protected]. If you would like to see what my
work looks like go to www.karenlamonte.com.
GAS Mailing Lists for Sale One of the benefits of GAS
membership is access to information on our 19,000+ record
database. Members can order mailing lists or labels of our
entire membership (around 3,800 names), or the following
categories: artists, collectors, manufacturers/suppliers, galleries,
museums, educational institutions, libraries/organizations.
We custom-create every list, so we can work with you to get a
mailing list as big or as small as you want, and we can sort it
however you like (alphabetically, geographically, etc.) Call, write,
e-mail or fax the GAS office for prices or more information.
Merker Engraving Lathe for Sale with motor, table, and belt.
Brand new, never been used. Contact Alex Bernstein at the
Cleveland Institute of Art, 216-421-7353 or [email protected]
Silver Foil 9 for Sale Silver foil 9” x 9” sheets. This stuff is
thick and easy to handle. 50 sheets $175, 100 sheets $300.
Free 3” x 3” samples available. Send SASE to Jeff Price Art Glass,
1208 E. Walnut, Unit D, Santa Ana, CA 92701, 949-378-7193.
Grants/Residencies
Artist in Residence: Glass Department Cleveland Institute of Art
to provide an opportunity for emerging artist, with community
support, facilities, time and space to develop and complete new
bodies of work. The residence provides: a nominal stipend of
$300 to help cover the cost of materials, studio space as one of
the majors in the glass department, hot glass contact time,
general use of the glass department facilities, access to the CIA
library and other resources. The Artist in Residence will be
expected to: give at least one public presentation to the community at CIA, to be active in the department, communicating
with students during formal critiques and during normal studio
activities, be available for one day per week for demonstrations,
lectures, and studio maintenance. Duration: a minimum of four
weeks and up to one semester, depending on the length of the
project proposed. To apply, please submit: letter of intent
and/or project proposal, 20-slide page of current work with
description sheet, resume, two letters of recommendation.
Please direct inquiries or send applications to: Alex Bernstein or
Brent Kee Young, Glass Department, Cleveland Institute of Art,
11141 East Boulevard, Cleveland, Ohio 44106, (216)-421-7353 or
[email protected]
ArtsLink 2004 Projects provide support to U.S. artists, curators,
presenters and arts organizations undertaking projects in
Central Europe, Russia and Eurasia. Applicants must be working
with an artist or organization in that region and projects should
be designed to benefit participants and audiences in both the
U.S. and the host country. Students, scholars, administrators,
critics, and amateur groups are not eligible to apply. In addition,
projects focusing solely on research, or the production of an
audio recording are not eligible. Applicants must be citizens or
permanent residents of the United States. Projects awardees
will not be eligible to apply again until 2006. Invididuals or
organizations that have received three ArtsLink Projects awards
are not eligible. In 2004, applications in the visual and media
arts are not eligible. Past ArtsLink Projects awardees who have
not submitted a final report are not eligible. Applications must
be postmarked by Jan. 15, 2004. Project start date is May 1,
2004, completion by April 30, 2005. Awards will be announced
in late April 2004. ArtsLink, 12 W. 31st St., New York, NY 10001
Helen Drutt Fellowship Houston Center for Contemporary
Craft announces the establishment of the first fellowship for an
Artist in Residence. This prestigious fellowship honors one of
the foremost names in craft and provides vital support for
selected Artists in Residence at the craft center. The program
provides a rent-free studio, utilities, telephone, high-speed
internet access, use of kilns and other equipment, and a modest
monthly stipend. It also offers opportunities to interact with
others as colleagues, teachers and mentors through the craft
center’s wide array of educational programs. Contact Lee
Herrick at: Houston Center for Contemporary Craft, 4848 Main
St., Houston, TX 77002, Tel: 713-529-4848 ext. 107, Fax:
713-529-1288, [email protected], www.crafthouston.org
Visual Arts Residency Program The Bemis Center for
Contemporary Art, one of the world’s leading visual arts organizations, announces deadlines to apply for its visual arts residency
program. Artists applying for residencies by Feb. 28, 2004
will be considered for residencies beginning in January of 2005.
For information contact: Bemis Center for Contemporary Arts,
724 S. 12th St, Omaha, NE 68102, Tel: 402-341-7130,
Fax: 402-341-9791, [email protected], www.bemiscenter.org
Diablo Glass and Metal is hiring visiting gaffers to produce
and/or design vessels. This is an ideal opportunity for emerging
artists who need access to an excellent hot shop and assistance
in distributing their work. Come to Boston and blow glass with
us! For details, email [email protected].
Glass Studio Assistant Needed Studio specializing in blown
and cast glass sculptures looking for assistance in a variety of
cold working techniques ranging from grinding and polishing,
to sandblasting and electroplating copper. Full- or part-time
position available immediately. Experience with glassblowing
preferred but not required. An ability to work on detail oriented work a must. Pay and benefits commensurate on
experience. Direct inquiries to: José Chardiet Studio, 250
Esten Ave. Suite 202, Pawtucket, RI 02860, Tel: 401-725-0880,
Fax: 401-725-0632, [email protected]
Public Communications Manager Job Summary: Manages
specific public communications programs and projects.
Supervises assigned staff. Accountabilities: Plans, implements
and manages specific public relations events and activities.
Participates in development of public relations goals, plans and
strategies. Develops, writes, edits, produces and distributes
informational materials. Represents USC School of Fine Arts at
professional meetings, conferences, and other events. Develops
and maintains contacts with University officials, media representatives, community leaders and professional colleagues.
Administers department public relations calendar. Monitors
schedules, production, and distribution arrangements and other
details to ensure timely, successful completion of public relations materials, events, etc. Negotiates licenses and/or vendor
contracts. Qualifications: Preferred Experience: 5 years and
Bachelor’s Degree. Good writing skills a must. Knowledge of art
world a major asset. Salary commensurate with experience.
USC offers a competitive benefits package. To apply, visit the
USC job site at: www.usc.edu/bus-affairs/ers/search.html,
search for requisition #15567.
Studio Manager, Shop Technician, Instructor More Fire Glass
is a privately owned public access studio in Rochester, NY that
provides studio rental to artists, classes for the local and greater
glass communities, has a high school glass program, and produces a small line of production work. Applicants should have
solid glassblowing and or flameworking skills, some teaching
experience, solid knowledge of equipment maintenance and
repair, and the ability to help produce simple production items.
Seeking someone who has vision who would like to help develop the studio’s potential. Are you highly motivated and do you
have the ability to look around and see what needs to be done
and then follow through? Will you get up in the middle of the
night if the furnace goes out? Are you willing to do the grunt
work with enthusiasm? Studio space and use of the facility for
the production of your own work can be negotiated. Pay is
commensurate with experience. Applicants should send a
resume, 3 references, 15 slides, qualifications and skills. Please
include a SASE for return of slides. Send to: Elizabeth Lyons,
More Fire Glass Studio, 80 Rockwood Place, Rochester, NY 14610.
For information contact Elizabeth at 585-242-0450, or visit our
web site www.morefireglass.com.
Writing the Artist Statement: Revealing the True Spirit of
Your Work Writer/Consultant Ariane Goodwin, Ed.D. shows
artists how to present their work with confidence and credibility.
Her new book is the first resource book for art students, artists,
and professionals on how to create sophisticated, authentic
connections with a convincing personal statement. For a free
article, special reports, and info on the book, visit: www.artiststatement.com, or e-mail [email protected].
Two Books About Marbles The newest marble book available,
Antique Glass End-of-Day Marbles by Stanley A. Block. Contains
nearly 900 color photographs on 192 pages and features mosaic
and millefiori marbles 2,000 - 4,000 years old from my own
personal collection. $39.00 - postage included. Contemporary
Marbles and Related Art Glass by Mark Block. This is the newest
book on contemporary marbles. It features the work of 125
artists/craftsmen from the U.S., Canada & Germany. Hard cover
w/over 800 photographs. Issue Price - $59.99 - Special Price
$50.00 + $5.00 shipping (book rate) or add an additional $5.00
for priority mail. Great American Marble Co., 169 Marlborough
St., Boston, MA 02116, Tel: 617-247-4754, Fax: 617-247-9093,
[email protected], www.marblebert.com/index.html
Seeking Employment
MFA Grad Seeks Employment Glass MFA graduate seeks
employment with professional glassblower. Experience in all
hot applications; specialty in canework and blown sculpture.
Additional background in tank, annealer, and glory hole construction and maintenance. Full-time preferred with possible
trading for shop time. Willing to relocate. For portfolio and CV
contact: [email protected]. 109 N. Butler St. #5, Madison,
WI 53703, Tel: 608-256-1581, [email protected]
Seeking Something
Seeking Sponsorship for a 20’ x 25’ blown glass and stainless
steel wall sculpture for the new terminal building at the Bradley
International Airport in Windsor Locks, Connecticut. The airport
has approved the project. Contact Peter Greenwood for the
details: 860-677-7020, www.petergreenwood.com
Wanted: Slides of Production Glass Slides of production glass
wanted for a presentation to be given at the New Orleans GAS
conference. Send 2-3 slides of work designed to be made in
multiples for consideration to be included in “A Survey of North
American Production Glass.” Slides will be returned in June ‘04
if accompanied by a SASE. Send to: Production Glass Lecture,
941 Passage Lane, Camano Island, WA 98282 by May 1, 2004.
Something to Offer
New York Studio: Opportunity to become part of a glassblowing/
stained glass studio in New York City. 2000 sq. ft. 400 lb. pot
furnace, two glory holes, garage, pipe warmer, two upright
annealers 24” x 24” x 54”, one top loading annealer 45”x 45” x 24”,
two lap wheels 24”, one belt grinder, one glass lathe, sandblaster,
two 4’ x 8’ tables for stained glass, 15-foot ceilings, lots of natural
light, views of brick, ivy-covered cobblestone court yard.
Call Michael Davis 718-383-3712, e-mail: [email protected].
See studio at www.michaeldavisstainedglass.com
It’s not the size that matters.
We can do it all.
Publications
“Flameworking with Dichroic Glass” The 3rd videotape in
Milon Townsend’s ‘“Focus on Flamework” series is now available.
You will learn how changing the axis of reflection changes the
appearance of dichroic color; how to embed dichroic color
without burning it out; how to flamepolish etched patterns; and
many other new techniques. Available through your favorite
distributor, or directly from Milon Townsend’s Blue Moon Press,
at 866-564-4848 or online at www.thebluemoonpress.com
The Legend of Bohemian Glass This new book is an exclusive
publication, documenting the history and present of glassmaking
in the Czech lands (Bohemia), and featuring brilliant photography. To find out more about “The Legend of Bohemian Glass”,
please visit the web site: www.tigris.cz/tigris/sklouk.htm
Master Class Video Series #6 “Kiln Formed Glass with Rudi
Gritsch”. Other videos in the series include: “Cane working with
Lino Tagliapietra”, “An Introduction to Venetian Techniques with
William Gudenrath”, “Engraving on Glass with Jiri Harcuba”,
“Pate de verre with Shin-ichi & Kimiake Higuchi”, “Flameworking
with Cesare Toffolo”. The series is available on DVD, VHS, or PAL.
For more info: The Corning Museum of Glass, One Museum Way,
Corning, NY 14830, Tel: 800-723-9156, Fax: 607-974-7365,
E-mail: [email protected], http://glassmarket.cmog.org
From biz cards to large format posters.
We can handle every phase of
your job in our one-stop service,
from digital photography, pre-press,
through bindery to delivery,
and we’d love to work with you.
13
The Color Group
206-281-1630
1407 S. Dearborn Street
Seattle, WA 98134
www.thecolorgroup.com
exhibitions
after the deadline.
MASSACHUSETTS
Boston, The Society of Arts & Crafts, Tel: 617-266-1810,
Fax: 617-266-5654, E-mail: [email protected],
Web: www.societyofcrafts.org, Domesticated Animals:
Featuring artists in all medias, including glass artists Caitlin
Hyde, Daniel Maher, Nancy Nicholson, and Jen Violette,
11/1/2003 - 1/19/2004
NORTH CAROLINA
Charlotte, Mint Museum of Craft & Design, Tel: 704-337-2009,
Web: www.mintmuseum.org, Spectrum: The Sculpture of
Jon Kuhn, 12/6/2003 - 3/21/2004
NEW JERSEY
Millville, Museum of American Glass at Wheaton Village,
Web: www.wheatonvillage.org, 20/20 Vision, 6/1/2003 -1/4/2004
NEW YORK
Corning, The Corning Museum of Glass, Tel: 607-937-5371,
Fax: 607-974-8470, Web: http://www.cmog.org,
Decades in Glass: The 50’s, 9/22/2003 - 2/15/2004
New York, Leo Kaplan Modern, Tel: 212-872-1616,
Web: www.LKModern.com, Dan Dailey, 11/15/2003 - 1/17/2004
New York, Museum of Arts and Design, Tel: 212-956-3535,
Fax: 212-459-0926, Web: www.americancraftmuseum.org,
Private Passions: New York Collects, 10/9/2003 - 1/5/2004;
Corporal Identity - Body Language, 11/14/2003 - 6/4/2004
Rochester, Maitlins, Tel: 585-586-4660, Fax: 585-586-5502,
E-mail: [email protected], Nancy Gong: The Character
Series, 11/20/2003 - 4/1/2004
PENNSYLVANIA
Jon Kuhn, at Mint Museum of Craft & Design,
Charlotte, NC
Pittsburgh, Morgan Contemporary Glass Gallery,
Tel: 412-441-5200, Fax: 412-441-0655, E-mail: [email protected],
Web: www.morganglassgallery.com,
in petto: featuring Masayo Odahashi, Alex Bernstein,
Gregory Nagle, 11/7/2003 - 1/31/2004
Pittsburgh, Pittsburgh Glass Center, Tel: 412-365-2145 x203,
Web: www.pittsburghglasscenter.org, Glass Birthday Suit
Exhibition, 1/16 - 2/29/2004; Summer Instructor Exhibit,
3/5 - 4/25/2004; John Drury and Robert Miller, 5/17 - 9/19/2004
U N I T E D S TAT E S
ARIZONA
Tucson, Philabaum Glass Gallery, Tel: 520-884-7404 (studio);
520-299-1939 (gallery), Fax: 520-884-0679; 299-1996, E-mail:
[email protected], Web: www.philabaumglass.com/;
www.sonoranglass.com, Meditations in Glass: Sculptural
Flamework: Elizabeth Mears, Robert Mickelsen, Milon
Townsend, 9/22/2003 - 1/24/2004
Dan Dailey, “Sparklers”, 30 x 17 x 15”,
at Leo Kaplan Modern, New York, NY
I N T E R N AT I O N A L
CANADA
Victoria, B.C., West End Gallery, Tel: 250-388-0009, E-mail:
[email protected], 7th Annual Canadian Glass
Show: featuring David Thai. Other artists: Gilles Payette,
Rachel Wong, Cathy Strokowsky, Gordon Webster, Francis
Muscat, Catherine Hibbits, Don MacLennan, Tyler Rock, and
Andrew Kuntz, 7/1/2003 - 9/30/2004
DENMARK
Ebeltoft, Glasmuseet Ebeltoft, Tel: +45-86-34-17-99, Fax: +4586-34-60-60, E-mail: [email protected], Web: www.glass.dk,
What’s New. . . Danish Glass 2004, 1/17/2003 - 4/18/2004
FRANCE
Paris, Luniverre Gallery, Tel: +33-1-4461-0481, Fax: +33-1-44617062, Web: www.luniverre.com, Susan Edgerly & Ranna McNeil:
“Second Nature,” cast glass and pate de verre, 10/23/2003 1/24/2004
Sars-Poteries, Musée Atelier du Verre de Sars-Poteries,
Tel: +33-(0)-3-27-61-61-44, Fax: +33-(0)-3-27-61-65-64,
E-mail: [email protected], [email protected],
Giampaolo Amoruso, 10/24/2003 - 2/9/2004
TENNESSEE
GERMANY
Knoxville, Knoxville Museum of Art, Tel: 865-525-6101,
Web: http://www.knoxart.org/, William Morris: Myth, Object,
and the Animal, 9/5/2003 - 1/4/2004
Düsseldorf, Museum Kunst Palast, Tel: +49-0211-899-2461,
Fax: +49-0211-892-9173, E-mail: [email protected],
Glas Des Wiener Jugendstils: aus der Sammlung Ernst Ploil,
11/9/2003 - 2/15/2004
CALIFORNIA
TEXAS
Schleswig, Stadtmuseum, Finlandia. Vanguardia En Vidrio
Finnish glass art, 9/28/2003 - 1/11/2004
Palm Springs, Palm Springs Desert Museum, Tel: 760-325-7186,
Web: www.psmuseum.org, 35th Annual Juried Exhibition,
2/24 - 3/28/2004
Dallas, Kittrell/Riffkind Art Glass, Tel: 972-239-7957; 888-865-2228,
Web: artglass.guidelive.com, 11th Annual Scent Bottle
Invitational, 1/30 - 2/28/2004
Sinzheim /Baden-Baden, Galerie B, Tel: +49-7221-85585,
Fax: +49-7221-85585, E-mail: [email protected], Web:
www.galerieb.de, Paolo Martinuzzi, 10/19/2003 - 1/31/2004
KENTUCKY
Louisville, Tobin-Hewett Gallery, Tel: 502-992-3055,
[email protected], www.tobinhewettgallery.com,
Sheridan Glass, 11/7/2003 - 1/3/2004
Franz Hofstötter,
Vase, 1900
at Museum Kunst
Palast, Düsseldorf,
Germany
WASHINGTON
Sea-Tac, Seattle-Tacoma International Airport, Glorious Glass:
Color and Form: A group glass exhibition of Northwest Glass
Masters, 3/31/2003 - 3/31/2004
Seattle, The Blenko Museum of Seattle, Tel: 206-628-3117,
Fax: 206-292-8176, E-mail: [email protected], Studio
Sensibility & Specialty Lines: Winslow Anderson, Wayne
Husted, Joel Philip Meyers, John Nickerson, Don Shepherd,
Hank Murta Adams, Matt Carter, 6/13/2003 - 3/31/2004
IRELAND
Waterford City, Municipal Art Gallery, Tel: +353 51 384323,
Fax: +353 51 384905, E-mail: [email protected], Contemporary
Irish Glass Art - 1st Major Exhibition of the 21st Century,
9/19/2003 - 9/19/2005
UNITED KINGDOM
London, Victoria & Albert Museum, Tel: (0) 20 7942 2069,
Fax: (0) 20 7942 2071, E-mail: [email protected], Gothic: Art
for England 1400-1547, 10/9/2003 - 2/18/2004
Tacoma, Museum of Glass: International Center for
Contemporary Art, Tel: 253-284-2124, Fax: 253-396-1769,
Web: www.museumofglass.org, Glass of the Avant-Garde:
From Vienna Secession to Bauhaus, 6/10/2003 - 1/4/2004;
Moving Through Nature: Michael McKenna – Japan, The
Visual Poetry of Mayme Kratz, Stacy Neff – Becoming,
10/4/2003 - 3/7/2004; Gathering the Light: Cappy Thompson,
ongoing
WISCONSIN
14
Sheboygan, John Michael Kohler Arts Center, Tel: 920-458-6144,
Web: www.jmkac.org, Beth Lipman: Still Life in Glass,
10/26/2003 - 2/15/2004
Galleries/Museums/Artists:
Please send images of work in upcoming exhibitions!
We prefer digital if possible. (JPEG, TIFF, PICT, EPS )
We also accept prints and slides, but please no
tranparencies larger than 35mm (slide size).
E-mail to [email protected] or mail disk to
Glass Art Society, Attn: Communications Coordinator,
1305 Fourth Ave., #711, Seattle, WA 98101 USA
Paolo Martinuzzi, “Schwarze Kugel”, at Galerie B,
Sinzheim/Baden Baden, Germany
seminars, conferences, events
10th Annual UrbanGlass Auction and Glassblowers Ball,
Brooklyn, NY, April 17. Please join honorary chair Toots Zynsky
in helping keep this vital resource available and affordable by
purchasing tables, tickets and/or congratulatory catalog ads to
the 10th Annual UrbanGlass Auction and Glassblowers Ball.
For more information contact Brooke Benaroya at 718-625-3685
ex. 239, or email [email protected].
2004 International Flameworking Conference: March 19-21,
2004, with featured artist Cesare Toffolo. For more information
contact: Salem Community College Glass Center, 460 Hollywood
Avenue, Carneys Point, NJ 08069, Tel: 856-351-2753,
Fax: 856-351-2662, [email protected], www.salemcc.org
28th Annual American Crafts Festival at Lincoln Center for the
Performing Arts, New York City, NY June 5, 6 & 12,13. For more
information contact: Raya Zafrina, Director of Operations
American Concern for Artistry and Craftsmanship, PO Box 650,
Montclair, NJ 07042, Tel: 973-746-0091, Fax: 973-509-7739,
[email protected], www.craftsatlincoln.org
3rd Annual Great Glass Auction The annual Bay Area Glass
Institute auction begins with an artist reception and preview,
followed by a silent and live auction and catered dinner Feb. 7,
at SRI International, Menlo Park. For more info: Bay Area Glass
Institute - BAGI, 431 E. Taylor St, San Jose, CA 95112, Tel: 408993-BAGI, Fax: 408-549-9871, [email protected], www.bagi.org
8th Annual Craft as Art Show Sept. 17-19, at the Nassau County
Museum of Art, Roslyn Harbor, NY. Contact: Raya Zafrina,
Director of Operations American Concern for Artistry and
Craftsmanship, PO Box 650, Montclair, NJ 07042, Tel: 973-7460091, Fax: 973-509-7739, [email protected], www.craftsatlincoln.org
COLLECT, the new art fair for contemporary objects is being
launched by the British Crafts Council at the V&A, London in
February 2004. COLLECT will showcase an important selection
of work by internationally renowned artists, presented by some
of the world’s top applied art galleries and dealers. For further
information please contact Kate Enters at Brunswick Arts, Tel:
+ 44 (0) 20 7936 1297 or e-mail: [email protected]
College Art Association Conference 2004 Feb. 18-21, 2004 in
Seattle, WA. Sessions will be chaired by artists and professionals
in the region. For information contact: College Art Association,
275 - 7th Ave., New York, NY 10001, Tel: 212-691-1051, Fax:
212-627-2381, [email protected], www.collegeart.org
Craft in the Digital Age: A conference of national interest that
addresses the bridging of handmade methods with technologydriven craft techniques is being presented by the League of
New Hampshire Craftsmen on April 24, 2004, in collaboration
with the Rhode Island School of Design, the New Hampshire
Institute of Art, and the New Hampshire State Council on the
Arts. Entitled “Craft In the Digital Age: Exploring Technology’s
Role in Fine Craft”, this one-day event will be held at the New
Hampshire Institute of Art in Manchester, New Hampshire, and
is open to individual craft artisans, art teachers and instructors,
art museum and gallery curators, art association administrators,
government officials, and businesses that sponsor the arts.
Pre-registration is required. For more information, contact
Joanne Wise at [email protected] or the League of New
Hampshire Craftsman, 205 North Main St., Concord, NH 03301,
Tel: 603 224-3375, www.nhcrafts.org
CRAFTBOSTON May 21-23, 2004 at the World Trade Center,
Boston, MA. New England’s premiere exhibition and sale of contemporary craft, featuring the work of 170 of the world’s finest
craft artists, CRAFTBOSTON also features exhibits by emerging
artists from leading schools and universities, a craft bookseller,
exhibits by non-profit craft organizations, fourteen educational
lectures, tours for the blind and visually impaired, and tours
for other special interest groups. Now entering its third year,
CRAFTBOSTON has received rave reviews from exhibitors
and patrons alike. Contact: The Society of Arts & Crafts, 175
Newbury St, Boston, MA 02116, Tel: 617-266-1810, Fax: 617-2665654, [email protected], www.craftboston.org
Creativity in Glass SGT Annual Conference April 21-23, 2004,
Liverpool, United Kingdom, at the Carnatic Conference Park,
University of Liverpool organized by the Society of Glass
Technology. Incorporating: new researchers’ forum on glass,
creativity in glass, history and heritage of glass. Contact:
Society of Glass Technology, Don Valley House, Savile Street
East, Sheffield, South Yorkshire, S4 7UQ, United Kingdom,
Tel: +44 (0)114 263 4455, Fax: +44 (0)114 263 4411,
[email protected] / [email protected], www.sgt.org
Fiesta Arts Fair April 17-18, 2004, on the grounds of the
Southwest School of Art & Craft, overlooking San Antonio’s
River Walk, San Antonio, TX. The annual fundraiser for the
school is in its 31st year, expected to draw 10,000 people to
see 125 exhibitors of ceramics, drawings, fibers, furniture, glass,
jewelry, metalsmithing, mixed media, painting, photography,
printmaking, sculpture, surface design and wearable art.
For more information contact: Southwest School of Art & Craft,
300 Augusta, San Antonio, TX 78205, Tel: 210-224-1848 ext. 328,
[email protected], www.swschool.org
Glass Art Society 34th Annual Conference, June 10-12, 2004
in New Orleans, Louisiana. Demonstrations, lectures, panel
discussions, technical display, technical and education
resource centers, tours, exhibitions, an auction, glass fashion
show, parties and more! Conference brochure was mailed
in December 2003; registration begins in Jan. 2004.
Contact the Glass Art Society, 1305 Fourth Ave., Ste. 711,
Seattle, WA 98101, Tel: 206-382-1305, Fax: 206-382-2630,
[email protected], www.glassart.org.
Offinger’s Handcrafted Marketplace Jan. 17-18, Mar. 20-21,
Aug. 21-22, Veterans Memorial Building, Columbus, OH. Trade
only. Nov. 6-7, Ohio Expo Center (Celeste Center), Columbus,
OH. Trade only. For more info: www.offinger.com/handcrafted.
Offinger Management Co., 1100-H Brandywine Blvd,
PO Box 3388, Zanesville, OH 43702, Tel: 740-452-4541,
Fax: 740-452-2552, www.offinger.com
palmbeachcontemporary, the International Contemporary Art
& Design Fair, Jan. 8-13, Palm Beach County Convention Center,
West Palm Beach, FL. Event will feature some of the world’s
most important galleries, exhibiting 20th and 21st century art
with a special emphasis on classical modern and classical contemporary art. For more info: International Fine Art Expositions
- IFAE, 1555 Palm Beach Lakes Blvd, Suite 200, West Palm Beach,
FL 33401, Tel: 561-209-1300, Fax: 561-209-1301, [email protected],
www.ifae.com
Projections d’Argile 4th International Festival of Films on
Ceramics. March 13-14, Montpellier, France. The festival
includes a prize for the 2004 guest theme: glass. For more
information: Ateliers d’Art de France, 4 Passage Roux, Paris,
75017, France, Tel: +33 44 01 08 30, Fax: +33 44 01 08 35,
[email protected], www.ateliersdart.com
Society of Crafts and Designers Educational seminar,
Sept. 8-11, 2004, Hyatt Regency Albuquerque, Albuquerque,
NM. Members and non-members. For more info: Offinger
Management Co., 1100-H Brandywine Blvd, PO Box 3388,
Zanesville, OH 43702, Tel: 740-452-4541, Fax: 740-452-2552,
[email protected], www.CraftDesigners.org, www.offinger.com
The ACCI Show: The Craft and Creative Marketplace.
July 16-18, 2004, Donald E. Stephens Convention Center,
Rosemont (Chicago), IL. Trade only. Exhibits and classes.
For info: www.ACCICrafts.org, Offinger Management Co.,
1100-H Brandywine Blvd, PO Box 3388, Zanesville, OH 43702,
Tel: 740-452-4541, Fax: 740-452-2552
The Art Glass Show July 9-11, 2004, Oregon Convention Center,
Portland, OR. Trade and consumer exhibits and classes.
For info: www.ArtGlassShow.com, Offinger Management Co.,
1100-H Brandywine Blvd, PO Box 3388, Zanesville, OH 43702,
Tel: 740-452-4541, Fax: 740-452-2552
The International Bead Expo: bazaar, symposium and workshops, March 17-21, 2004, Santa Fe, NM. For more info or to
register: Bead Expo, 826 Camino del Monte Rey, A3, Santa Fe,
NM 87505, Tel: 800-732-6881, Fax: 505-982-7125,
[email protected], www.beadexpo.com
Trip to Sweden: Stockholm and more, July 23 -30, 2004, on
Scandinavian design: includes visits to glassblowers studios.
For more information: Horizons to Go, PO Box 634, Leverett,
MA 01054, Tel: 413-367-9200, Fax: 413-367-9522,
[email protected], www.horizons-art.com
Palm Beach Classic Jan. 29 - Feb. 8, Palm Beach County
Convention Center, West Plam Beach, FL. The 8th International
Fine Art & Antuque Fair opens with gala benefit for Norton
Museum of Art. The Fair will have some of the world’s most
important galleries exhibiting works of art from antiquity
through the 1900’s. For more info: International Fine Art
Expositions - IFAE, 1555 Palm Beach Lakes Blvd Suite 200, West
Palm Beach, FL 33401, Tel: 561-209-1300, Fax: 561-209-1301,
[email protected], www.ifae.com
15
Glass Art Society
Board of Directors 2003-2004
President
Michael Rogers
Treasurer
Robert Mickelsen
Vice President
Anna Boothe
Secretary
Beth Ann Gerstein
Dinah Hulet
Laura Luttrell
Michael Schunke
Wayne Strattman
Pamina Traylor
Durk Valkema
Harumi Yukutake
(Student Rep)
Kirstie Rea
Chris Rifkin
Tommie Rush
Staff
Penny Berk, Executive Director
Tamara Childress, Communications Coordinator
Sarah Bak, Administrative Assistant/Registrar
Elizabeth Jackson, Membership Services Director
Kathleen Lester, Bookkeeper
Karen Skrinde, Database Manager
Seattle, Washington 98101 USA
Phone: (206) 382-1305
Fax: (206) 382-2630
www.glassart.org
info @ glassart.org
Reach Your Target Market
with a GAS Display Ad!
For information on advertising in GAS NEWS
or other GAS publications, please contact
the GAS office at 1305 Fourth Avenue,
Suite 711, Seattle, Washington 98101, USA.
Tel: 206-382-1305; Fax: 206-382-2630;
[email protected]; or check out our web site at
www.glassart.org and click on “Advertising”
Contribute to GAS NEWS
GAS NEWS is for the members of the Glass Art Society.
There are several ways to contribute:
1. Listings: Every issue has 100s of listings and
classified ads, free to members
2. Member Profile: Gives members an opportunity
to share their work, experience and thoughts with other
members. Images and text welcomed.
3. Student Profile: Students, send artist’s statement,
a brief bio, images of your best, most recent work,
your name, address and contact information.
4. School Profile: Students or educators of accredited,
degree-offering schools, send a brief article about your
school and what it offers, and a few images.
5. Workshops: Non-degree schools, send a brief
article about your program and a few photos.
6. International Window: GAS has members in
over 50 countries. Each issue we highlight 1 or
more countries or events outside the U.S. Images
and text welcomed.
7. Critical Issues: Submit your ideas for an article that
analyzes, interprets, or evaluates artistic works in glass.
For more information on submissions, go to
http://www.glassart.org, click on “Newsletter” or
contact the Communications Coordinator at the
GAS office. E-mail: [email protected]
The Glass Art Society reserves the right to edit
submissions for any reason deemed necessary by
the editor, including clarity, length or grammar.
Submission of material is not a guarantee that
it will be published. Please include a SASE for
return of materials sent via mail.
A copy of the Glass Art Society’s annual financial report may be obtained, upon request, from the GAS office, or from the
Office of the Attorney General, Charities Bureau, 120 Broadway, New York, NY 10271

Changes - Glass Art Society

Transcription

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