Herding Individualists NOW MAKING GAFFER

Transcription

january
february
2006
Glass Art Society
Board of Directors 2005-2006
President
Anna Boothe
Treasurer
Robin Cass
Vice President
Shane Fero
Secretary
Beth Ann Gerstein
Eddie Bernard
Shara Burrows
(Student Rep.)
Shane Fero
Ki-Ra Kim
Jeremy Lepisto
Jutta-Annette Page
Kirstie Rea
Chris Rifkin
Tommie Rush
Elizabeth Swinburne
Pamina Traylor
Harumi Yukutake
Staff
Pamela Figenshow Koss, Executive Director
Sarah Bak, Executive Assistant /Registrar
Shannon Borg, Communications Director
Kathleen Lester, Bookkeeper
Karen Skrinde, Database Manager
3131 Western Avenue, Suite 414
Seattle, Washington 98121 USA
Phone: (206) 382-1305 Fax: (206) 382-2630
info @ glassart.org
www.glassart.org
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Contribute to GAS NEWS
vo l u m e 17
issue 1
GLASS
COLOR ROD
FRIT & POWDER
I N S I D E
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.
KUGLER COLORS©
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.
The Glass Art Society (GAS), its Board of Directors, members, and
employees, are not responsible in any capacity for, do not warrant
and expressly disclaim all liability for any content whatsoever herein.
All such responsibility is solely that of the authors or the advertisers
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
O F
T H E
G L A S S
A R T
S O C I E T Y
REICHENBACH
LOETZ by ULLMANN
NOW MAKING
GAFFER BATCH
R E G U L A R F E AT U R E S
1
President’s Letter:
Herding Individualists
2
Student Profile:
Minako Shirakura
2
4
Member Profile: Jane Gavan
International Window:
The World According to
Sybren Valkema
Empire of Glass 2005
5
Technical Article: Coldworking
with Diamond Tools
9
GAS Line
FROM THE PRESIDENT:
SPRUCE PINE
BATCH COMPANY
2
3
5
P.O. BOX 159
SPRUCE PINE, NC 28777
(828) 765-9876
www.sprucepinebatch.com
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Herding
Individualists
artist’s expression. The role of an organization is to bring together a variety of such
perspectives that, hopefully, enrich each invested party. And, should an organization
succeed adroitly in serving, and thus satisfying, its members,
GAS is one such artist-based organization that thrives
affect or are affected by the multiplicity of one material.
I converse with GAS members on a daily basis. And,
through each conversation I attempt to read a “GAS
satisfaction pulse”. Recently, I have had a number of
Student Scholarship Opportunity
illuminating discussions with members. Compliments
Call for Donations:
Annual Auction at the GAS
2006 Conference, St. Louis
are often profuse and re-affirming; naturally, praise feels
good. However, as in the critical assessment of art, constructive
criticism is often what instigates reflection and engenders improvement.
A Talk with Maestro
David Salvadore
In general, each of these conversations has questioned GAS’ inclusiveness. It has
been pointed-out that for an organization which began strictly with artist participation,
GAS 36th Annual Conference:
Glass Gateways
Meet in the Middle:
that we have perhaps deviated from and diluted our original purpose by expanding our
membership to include other separate-issue groups. In effect, the question was posed:
Main Conference Venues
(at a members’ gathering), “. . . can artists really speak honestly while mingling with
Conference Presenters
those on whom they depend for their very livelihood? And, conversely, . . . ?”
The other issue that repeatedly rears its head addresses the old (so very old) “art vs.
Get Involved !: Goblet Grab,
craft” argument. Obviously, the argument remains current, despite the fact that many of
us who recognize and respect differences in artistic approach, need to move beyond this
“bone” to a more tenable topic. The crux of the argument seems to suggest that both
“fine artists” and “crafters” cannot co-exist peacefully in one organization. And, the larger
Exhibitions
version of this question speaks to our ever-growing, diversifying membership, due to our
Special Conference Events:
policy of inclusion, and questions of how and if GAS can satisfactorily address each of its
Technical Display
International Student Exhibition
member sub-group concerns.
These are all healthy issues appropriately conferred on our fast-growing organizaBen Edols at the 2005 GAS Conference
in Adelaide, Australia
tion. In addition to other pertinent matters, they attempt to define the GAS mission to
educate the international glass community and will be scrutinized at the Board’s January
strategic planning retreat. As I have said repeatedly in the past, feel free to offer your
Pre- & Post-Conference
Workshops
suggestions and constructive criticism to any of our Board or staff members whenever
you are stirred.
LISTINGS
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but who respect, revere, and judge its makers are, ultimately, necessary cohorts to an
on its ability to be inclusive, to invite all factions who
Pre-Conference Reception,
Stained Glass Tour, Gallery Hop,
Closing Night Party
10
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regardless of cultural core. Those who laud the arts, those who are not artists themselves,
the result can be synergistic.
Visual Exchange, Gallery Forum,
International Forum for
Glass Organizations,
Artist Portfolio Review,
Education Resource Center
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An organization of artists is just short of oxymoronic, a contradiction in terms.
Artists, by definition, are rugged individualists, often accused of hermetic behavior
S P E C I A L F E AT U R E S
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.
N E W S L E T T E R
by
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
T H E
We attempt to “herd” all of you to our annual conferences so that we may compare
Classes and Workshops
notes from our various corners of the world. Be sure to check out the rest of this issue
Resources, etc.
and your pre-conference brochure which are dedicated to wooing you to St. Louis in
Exhibitions
June. I hope to see all of you there with bells on!
Seminars, Conferences, Events
GAS NEWS is published
six times per year as a benefit
to members.
Publications Committee:
Scott Benefield, Eddie Bernard,
Shara Burrows, Robin Cass,
Beth Lipman, Kirstie Rea,
Managing Editor: Shannon Borg
Graphic Design: Ted Cotrotsos
Anna Boothe
January / February 2006, volume 17-1
THE GLASS ART SOCIETY
Seattle, WA 98121
CHANGE SERVICE REQUESTED
The Glass Art Society
Seattle, WA 98121 USA
Phone: (206) 382-1305
Fax:
(206) 382-2630
E-mail: info @ glassart.org
Web:
www.glassart.org
© 2005 The Glass Art Society, a nonprofit organization. All rights reserved.
Publication of articles in this newsletter
prohibited without permission from
the Glass Art Society, Inc.
Non-Profit Org.
U.S. Postage
PAID
Seattle, WA
Permit #150
STUDENT PROFILE
ESTONIA
Tallinn, Estonian Museum of Applied Art & Design,
Tel: +372 -6411-927, Fax: +372 -6411-937, E-mail: [email protected],
Web: www.trtr.ee, 4th Tallinn Applied Art Triennial:
Two Close Ones, March 17 - May 21, 2006
Minako Shirakura
Alfred University, Alfred, NY
Minako Shirakura was brought up in Tokyo.
She studied glass and received her bachelor’s
degree with honors and postgraduate diploma from
Edinburgh College of Art in Scotland. Since then
she has shown her work in United Kingdom,
Germany, Italy, Japan and United States. She has
participated in Pilchuck Glass School and Haystack
Mountain School of Crafts both as a student and
as a Teaching Assistant. Currently she is a first year
master of fine arts student at Alfred University.
FRANCE
Barbara Koppelstätter (left) with artist Josepha Gasch-Muche
at Galerie B, Baden Baden, Germany
GERMANY
ENGLAND
Factory Light Structure maquette, test series.
300 mm h x 50 mm w x 50 mm d
Artist Statement:
I would like to take any materials that best
suit the expression of my ideas, but I am strongly
attracted to the rich vocabulary glass offers me.
Transparency, fragility, softness of its lines, potential
danger, reflectivity, and the play between light and
shadow– glass often holds contradictory natures in
one, and it is almost human to me.
My interest in recent years is becoming more
mixed media oriented. However, glass still remains
a very important means of communication to me
and I would like to pursue and develop my language
of glass further.
“Rest,” 2000, glass and metal, 15 x 20 x 36 in. h.
“Perfect Gift,”
(detail) 1999, glass,
acrylics, wood.
Photo: Hiroyasu
Fujimoto
Students: Don’t Miss this Scholarship Opportunity!
If you are a student and need financial support
to attend the GAS conference in St. Louis this year,
be sure to apply for our student scholarships.
Scholarships are open to full-time student members
of GAS, current through June 2006. The application
process is juried.
General Scholarship
All full-time student members of GAS are
eligible for this scholarship.
Send:
1. Letter of intent, two (2) pages maximum, stating
why you would like to attend the conference.
Please indicate the school you are currently
attending.
2. Five (maximum) slides of your work, labeled with
your name.*
3. Slide sheet with the following details about
each slide:
a.
b.
c.
d.
e.
Takako Sano Scholarship
Students living outside Australia are eligible
for assistance through the Takako Sano Scholarship
Fund. One award of $1,000 USD will be given.
Becky Winship Flameworking Scholarship
Students whose work uses flameworking techniques are eligible for this scholarship, generously
funded by Winship Designs.
Your name
Title of the piece
Year of creation
Materials and technique used
Dimensions of the piece
*Slides should be numbered to correspond with
the slide sheet.
How to apply:
One application allows you to be considered for
all scholarships, if eligible.
To: Student Scholarship, Glass Art Society,
Seattle, WA 98121, USA
Deadline for applications: February 15, 2006
Notification by: March 15, 2006
MEMBER PROFILE
Jane Gavan
Australian glass artist Jane Gavan is interested
in exploring and challenging the parameters of
glass. As head of the Glass Studio at Sydney College
of the Arts and through her studio practice, she has
created works that show her interest in how light,
space and visual communication combine and
recombine in each project, where an emphasis on
formal or conceptual concerns is mediated through
processes and materials.
In one current major project, the Factory Light
Project, she explores the synergies between a factory
and the processes of makers of contemporary
craft, emphasizing the role of glass as a material in
contemporary object art and design.
“I want to describe “factory light,” Gavan says.
The exhibition will include a room with a series of
10-12 glass maquette style structures that attempt
to capture the ambience of an industrial building
from the modernist period as it appears to us today.
The devitrified glass in these old buildings make
them contemporary for us, the time passing is
embodied on their outer skin.
For this exhibit, Gavan has been developing
small viewing boxes and a series of objects that
reflect the muted light and each floor inside the
building. “With these smaller scale structures,” she
says,“we can carry the light around with us, it will
be accessible, a distilled essence of the current
sense of the monumental building.”
Each object will examine different elements of
the relationship through its treatment and structure.
Iron green tinted window glass and soft grey and
ivory thin 2mm bullseye glass will be pre-glued,
invested in a mould, then kiln fused in several
different architecturally reminiscent structures.
For Gavan, this project revolves around the joy of
discovering and developing new techniques for
making and examining materials, objects and
phenomena in society.
We want to hear
from you!
2
GAS NEWS invites Letters to the Editor
from all GAS members. Submit your opinions,
comments, and thoughts to: Glass Art
Society, Attn: GAS NEWS, 3131 Western Ave.,
Suite 414, Seattle, WA 98121, USA, E-mail:
[email protected]
Guidelines for submission of Letters to
the Editor: We encourage all GAS members
to express their opinions in letters to the
editor, and ask that the following guidelines
be adhered to when submitting letters:
Paris, Luniverre Gallery, Tel: +33-1-4461-0481, Fax: +33-1-44617062, Web: www.luniverre.com, “Circe’s Garden” Oeuvres in
Verre: Hanneke Fokkelman, through January 29, 2006
E R R ATA
1. Letters will be selected for publication based on space availability, topical interest, number of letters
received on the same topic or area, and adherence to our guidelines. Only letters from Glass Art
Society members will be published.
2. Letters containing potentially libelous matter, profanity, or that attack the character or reputation
of a person or company will not be printed.
3. Letters may be edited for language and length.
4. Letters should be limited to 200 words.
5. Letters submitted for publication by regular mail or e-mail must include the author’s first and last
name, address and phone number for verification purposes. Anonymous letters will be disregarded.
If your letter is published, your first and last name will be printed. Your city and state will be included
(unless you ask that it not be), but your address and phone number will not be included.
6. When writing, faxing, or e-mailing a letter to the editor, use the subject line or heading “Letter to
the Editor.”
7. When responding to a specific article, state the article title and include the date in parenthesis.
8. Frequency of submissions may need to be restricted. If we receive multiple letters on one subject or
from one writer, we will attempt to sample a variety of opinions, but may apply the general standard
of one letter per writer per three newsletters.
Last month we
neglected to list
Jane Gavan’s
contributions to the
2005 GAS Auction.
Thank you Jane!
Clitheroe, Lancashire, The Platform Gallery, Tel: +44 01200
443071, E-mail: [email protected],
Web: www.ribblevalley.gov.uk, Selection Box: Mixed Media
Exhibition including Wayne Charmer, Jenny Cork, Maggie
Hamlyn Williams, Sarah Hayhoe, Ian MacDonald, Kathryn
Pearce, Tom Petit, Will Shakespeare, The Glass Studio at
Denby (Paul Barcroft and Tom Petit), through January 7, 2006
Gateshead, Shipley Art Gallery, Tel: +44 (0191) 477 1495, Fax:
+44 0191 478 7917, E-mail: [email protected],
Web: www.twmuseums.org.uk/shipley/, Traversing: Four
Person Touring Exhibition with John Buron, Eva Engström,
Sally Fawkes, Richard Jackson, January 21 - March 19, 2006
London, Victoria & Albert Museum, Tel: +44 (0) 20 7942 2069,
Fax: +44 (0) 20 7942 2071, E-mail: [email protected],
Web: www.vam.ac.uk, Collect: Craft Council International Art
Fair For Contemporary Objects, Located in the Temporary
Exhibition Galleries, February 9 - 13, 2006
Sunderland, Tyne & Wear, Glass Gallery at the National Glass
Centre, Tel: +44 (0) 191 515-5555, Fax: +44 (0) 191-515-5556,
E-mail: [email protected], Web: www.nationalglass
centre.com, Wearing Glass, May 12 - July 9, 2006, Observations:
Ann Wolff, through January 29, 2006
Surrey, Royal Botanic Gardens Kew, Tel: +44 020 8332 5655,
Fax: +44 020 8332 5197, E-mail: [email protected], Web: www.kew.org,
Gardens of Glass: Chihuly at Kew, through January 15, 2006
West Midlands, Broadfield House Glass Museum,
Tel: +44-1384-812749, Fax: +44-1384-812746, E-mail:
[email protected], Web: www.glassmuseum.org.uk,
Modern Glass: The Glass Designs of Ronald Stennett-Willson,
through January 28, 2006
Baden-Baden/Sinzheim, Galerie B, Tel/Fax: +49 7221 85585
[email protected], www.galerieb.de, Josepha Gasch-Muche
through February 28, 2006
Coburg, Kunstsammlungen der Veste Coburg, Tel: +49 09561/
8790, Web: www.kunstsammlungen-coberg.de, Coburger
Glaspreis 2006 Für Zeitgenossische Glaskunst In Europa,
April 2 - June 30, 2006
Coesfeld-Lette, Glasmuseum Alter Hof Herding, Tel: +49 25 46
93 050, Fax: +49 25 46 93 0550, E-mail: [email protected],
Web: www.ernsting-stiftung.de, Sybille Peretti and Lieve Van
Stappen, through January 22, 2006
Frauenau, Galerie am Museum Glasobjekte und Graphiken,
Tel: +49 (0)9926 180868, Fax: +49 (0)9926 189250, E-mail:
[email protected], Web: www.eisch.de, Tafel-Lust Prunk und Prost
(Delights of the Table Pomp and Cheers): James Vella, Artist
in Residence, through March 4, 2006
JAPAN
Kamo-gun, Shizuoka-ken, Koganezaki Crystal Park Glass
Museum, Tel: +81 558 55 1516, Fax: +81 558 55 1522,
E-mail: [email protected], Web: http://www.kuripa.co.jp/,
10th Glass ‘05 in Japan, through April 5, 2006
SCOTLAND
Glasgow, The Lighthouse, Tel: +44 (0)141 221 6362, Fax:
+44 (0)141 221 6395, E-mail: [email protected],
Web: www.thelighthouse.co.uk, The Bombay Sapphire Sutdent
Designer Glass Competition Touring Exhibition, January 24 March 8, 2006
Galleries/Museums/Artists
Please send images of work in upcoming exhibitions! We prefer digital images if possible ( jpeg, tiff ).
Digital images must be high-resolution. We also accept prints and 35mm slides. E-mail to: [email protected] or
mail a disk to: Glass Art Society, Attn: Communications Coordinator, 3131 Western Ave., # 414, Seattle, WA 98121 USA
seminars, conferences, events
2006 American Craft Council Southeast Regional Conference
March 23-25, 2006, in Louisville, KY. The Spotlight exhibit and
many of the conference sessions will be held at the Kentucky
Museum of Art and Craft along with other local venues.
For more information contact: Craft Marketing Program,
2100 Capital Plaza Tower, Frankfort, KY, 40601, Tel: 502-564-8110
ext. 488, [email protected], www.kycraft.ky.gov
2006 Biennial Conference “The Object as an Eloquent
Statement” March 4 - 5 in Auckland, New Zealand. For more
information contact: New Zealand Society of Artists in Glass,
PO Box 68805, Newton, Auckland, New Zealand, Tel: +64 021
1179584, [email protected], www.nzsag.co.nz
2006 CRAFTBOSTON March 31 - April 2, 2006 at the Seaport
World Trade Center, Boston, MA. CRAFTBOSTON 2006 is
produced by The Society of Arts and Crafts and will feature
the work of 175 of the world’s finest craft artists. For more
information contact: The Society of Arts & Crafts, 175 Newbury
St, Boston, MA, 02116, Tel: 617-266-1810, Margaret Pace DeBruin,
CRAFTBOSTON Show Director, [email protected]
North Lands Creative Glass 10th Annual International
Conference ‘The Skilful Hand and Eye’ September 2 - 3 2006.
This two-day conference will explore the issue of skill in
contemporary art and craft practice. Speakers confirmed at this
date include Masterclass leaders (excluding Marquis), Glenn
Adamson, head of the Victoria & Albert Museum’s Graduate
Studies program (keynote presentation) and Louise Butler,
independent curator of traditional Scottish crafts. For further
information contact: Lorna MacMillan, North Lands Creative
Glass, Quatre Bras, Lybster, Caithness KW3 6BN Scotland,
Tel/Fax: 44-1593 721229, [email protected],
www.northlandsglass.com
2006 International Flameworking Conference March 17-19,
2006, in Carney’s Point, NJ and will feature artist Ginny Ruffner.
For more information contact: Salem Community College Glass
Center, 460 Hollywood Ave, Carneys Point, NJ, 08069-2799,
Tel: 856-351-2611, [email protected], www.salemcc.org
5th Annual Flame Off February 3, 2006, at the Sonoran
Glass Art Academy, Tucson, AZ. For more information contact:
Sonoran Glass Art Academy, 633 W. 18th St, Tucson, AZ, 85701,
Tel: 520-884-7814, Fax: 520-623-9680, [email protected],
www.sonoranglass.org
CODA Conference 2006 June 1- 4 in Portland, OR. The
conference includes guest speakers Lloyd Herman and Michael
Monroe, many conference sessions, a reception at Bullseye
Connection, and much more. For more information contact:
CODA, PO Box 51, Onia, AR, 72663, Tel: 870-746-4396,
[email protected], www.codacraft.org
Glass Art Society 36th Annual Conference Glass Gateways:
Meet in the Middle, June 15-17, 2006, St. Louis, Missouri.
Conference brochures with details will be mailed Fall 2005.
For more information: Glass Art Society, 3131 Western Ave., Suite
414, Seattle, WA, 98121, Tel: 206-382-1305, Fax: 206-382-2630,
[email protected], www.glassart.org
Glass India 2006: The Leading Trade Exhibition Jan. 10 -11,
2006 in Mumbia, India. Glass India is the leading trade
exhibition for the glass manufacturing industry in the Indian
sub-continent and will include a panel of international
speakers presenting papers on key elements of the glass
manufacturing process. For more information contact:
All India Glass Manufacturing Federation, Tel: +91 (22)
24937200, [email protected], www.glassmediaonline.com
GlassBuild America: The Glass, Window, & Door Expo
Sept. 20-22, 2006 at the Las Vegas Convevention Center,
Las Vegas, NV. For more information contact: GlassBuild
America, 8200 Greensboro Dr Ste 302, McLean, VA, 22102
-3881, Tel: 866-342-5642 ext. 300, Fax: 703-442-0082,
www.GlassBuildAmerica.com
International Commission on Glass 2007 July 2- 6, 2007 in
Strasbourg, France. For more information contact: International
Commission on Glass, ICG 2007 - CRITT Materiaux Alsace,
Schiltigheim Cedex, F67305, France, Tel: + 33 3 88 19 15 10,
Fax: + 33 3 88 19 15 14, [email protected]
Middle East Glass Trade Fair March 13 - 16, 2006, Kuwait
International Fair Ground, Kuwait City, Kuwait. The Fifth
International Trade Fair For The Glass Processing Machinery,
Equipment, Raw Materials & End Products (MEG) is the only
gateway into Kuwait, Iraq & the Middle East region. This annual
event has contributed significantly to the growth of the glass
industry in the region it serves. For more information contact:
Middle East Glass Expo, Tunis St., Bldg. 10, 2nd Floor, Hawalli,
Kuwait City, Kuwait, Tel: +965 2649177/ 88, Fax: +965 2649199,
[email protected], www.kubec-fairs.com
Philadelphia Buyers Market of American Craft Feb. 17-20
and July 21-23, at the Pennsylvania Convention Center,
Philadelphia, PA. The Buyers Market of American Craft is a
wholesale trade show that provides artists a professional
venue to build relationships with craft buyers from all across
the country. Approximately 2,000 artists exhibit annually to
more than 8,000 buyers from 3,000 companies from across
the United States and Canada. For more information contact:
The Rosen Group, 3000 Chestnut Ave Ste 300, Baltimore,
MD, 21211, Tel: 410-889-2933 ext. 218, Fax: 410-889-1320,
[email protected], www.americancraft.com
UrbanGlass Auction and Glassblowers Ball April 29, 2006,
Pier 60, Chelsea Piers, NY. For more information contact:
Urban Glass, 647 Fulton St 3rd Floor, Brooklyn, NY, 11217-1112,
Tel: 718-625-3685 x 225, Fax: 718-625-3889, www.urbanglass.org,
[email protected]
15
Call for Donations:
exhibitions
Auction Jurors
The Annual GAS Auction at the GAS 2006 Conference, St. Louis, MO
Saturday, June 17, 5 pm • Millennium Hotel, Grand Ballroom
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 , 3131 Western Avenue, # 414, Seattle, WA 98121 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 2006 issue
February 1 for the April / May 2006 issue
We look forward to hearing from you.
U N I T E D S TAT E S
ARKANSAS
Glendale, The Bead Museum, Tel: 623-931-2737, E-mail:
[email protected], Web: www.beadmuseumaz.org,
Trajectories: An Exploration of Contemporary Glass
Beadmaking. This exhibition is presented in cooperation
with the International Society of Glass Beadmakers,
through March 16, 2006
Tucson, Philabaum Glass Gallery, Tel: 520-884-7404 (studio)/
520-299-1939 (gallery), E-mail: [email protected],
Web: www.philabaumglass.com, Spouting Off Again!: Teapots
by 11 Artists in Glass, Clay and Polymer. Artists include
Laura Balombini, Valerie Bunnell, Stephan Cox, Paul Allen
Counts, Susan Filley, Wes Hunting, Elaine Hyde, Laura Jean
McLaughlin, Laura Peery, Harry Stuart, and Christian Thirion,
through January 28, 2006; Mark Fowler: Cast Glass Sculpture.
Exhibition located at: St. Philip’s Plaza, 4280 N. Campbell Ave.
Suite 105, Tucson, February 4 - March 25, 2006
CALIFORNIA
Desert Hot Springs, Bighorn Glass Studio, Tel: 760-329-4344,
Fax: 760-329-4360, E-mail: [email protected],
Web: www.bighornglassstudio.com, Art in Glass 2005: Michael
Sudderth, Mike Loftus, Joey Fernando, Jerry Hirschman,
San Francisco, San Francisco Airport Museum, Tel: 650-821-6700,
E-mail: [email protected], Web: www.sfoarts.org,
Beyond Tradition: Contemporary Glass Arts: Julie Alland,
Lisa Aronzon, Cheryl Derricotte, Erik Eiserling, Jaime Guerrero,
Guido Gurlitz, David Hering, Ed Kirshner, Mitch LaPlante,
John Leighton, John Lewis, Susan J. Longini, Candace A.
Martin, Treg Silkwood, Nancy Otto, Clifford Rainey, Amy
Rueffert, David Ruth, Nadine Saylor, Johnathon Schmuck,
and Mary Bayard White, through January 31, 2006
Studio City, D & A Fine Arts, Tel: 818-760-7583, E-mail:
[email protected], Susan Stinsmuehlen-Amend &
Richard Amend: Solo Exhibitions, through January 15, 2006
GEORGIA
Macon, Mercer University, Tel: 478-301-2591, Web:
www.mercer.edu, Architecturally Themed Exhibit at the
Swilley Library to Benefit the Foundation for Community Arts,
February 13 - March 31, 2006
ILLINOIS
Chicago, Marx-Saunders Gallery, Tel: 312-573-1400,
Web: www.marxsaunders.com, Richard Whiteley, December 3,
2005 - January 7, 2006
KANSAS
Lawrence, Lawrence Arts Center, Tel: 785-843-2787,
Fax: 785-843-6629, E-mail: [email protected], Web:
www.lawrenceartscenter.com, 18th Annual Outdoor
Downtown Sculpture Exhibition, through March 31, 2006
14
Wichita, Wichita Art Museum, Tel: 316-268-4921,
Fax: 316-268-4980, Web: www.wichitaartmuseum.org,
Tiffany By Design, through January 8, 2006
Preview: Friday, June 16, 4 - 8 pm • Saturday, June 17, 9 am - 5 pm Millennium Hotel, Grand Ballroom
Brockton, Fuller Craft Museum, Tel: 508-588-6000 ext. 114,
Fax: 508- 587-6191, E-mail: [email protected],
Web: www.fullercraft.org, Fur, Fins and Feathers: Glass from
the Rifkin Collection, through January 2, 2006
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 we have two ways that
you can participate:
MAINE
The Silent Auction
MASSACHUSSETTS
Boston, The Society of Arts & Crafts, Tel: 617-266-1810,
Web: www.societyofcrafts.org, Artcessorize: a show with funky,
original and eclectic accessories. Features 25 artists who
create innovative jewelry, scarves, belts, purses, hats, shoes
and other creative body accessories, through January 22, 2006
Round Pond, The Library Art Studio, Tel: 207-529-4210,
The Almost Season: Sally DeLorme Pedrick, December 1, 2005
- December 31, 2006
NEW YORK
Corning, The Corning Museum of Glass, Tel: 607-937-5371,
Web: www.cmog.org, Decades in Glass: The ‘60s. The show
explores early years of Harvey Littleton, Dale Chihuly, other
studio glass pioneers, through April 2, 2006, Splitting the
Rainbow: Cut Glass in Color, April 11 - November 1, 2006,
Glass of the Maharajahs: European Crystal Furniture for
Indian Royalty, May 19 - November 30, 2006
New York, Heller Gallery, Tel: 212-414-4014, Fax: 212-414-2636,
E-mail: [email protected], Web: www.hellergallery.com,
Art Miami: Christina Bothwell, Nicole Chesney, Gregory
Grenon, Susan Taylor Glasgow, Sibylle Peretti, Miles Van
Rensselaer, January 6 - 9, 2006, palmbeach 3: Nicole Chesney,
Susan Taylor Glasgow, Anja Isphording, Therese Lahaie, Karen
LaMonte, Ivana Sramkova, Ales Vasicek, January 13 - 15, 2006,
This is Glass, February 4 - March 4, 2006, Susan Taylor Glasgow,
Ales Vasicek, March 11- April 4, 2006
New York, Museum of Arts & Design, Tel: 212-956-3535,
Web: www.madmuseum.org, Changing Hands: Art Without
Reservation, Part 2 - Contemporary Native North American
Art from the West, Northwest & Pacific. Artists include Brian
Barber, Susan Point, and Preston Singletary, through January
22, 2006
Niagara University, Castellani Art Museum of Niagara
University, Tel: 716-286-8286, Fax: 716-286-8289, E-mail:
[email protected], Web: www.niagara.edu/cam,
Exquisite Corpse: Contemporary Figurative Flameworkers
Play a Surrealist Game, through February 12, 2006
OREGON
Portland, Bullseye Connection Gallery, Tel: 503-227-0222,
Web: www.bullseyeconnectiongallery.com, Winter Games:
Bennett Battaile, Steven Easton, and Erika Tada, December
16, 2005 - January 14, 2006, Bullseye at Collect 2006:
Location: Victoria & Albert Museum, London, England,
February 9 - 13, 2006, Giles Bettison: Threads 1996 - 2005,
January 20 - February 18, 2006
Andrew Shea, “Topaz Swirl,”
at Kittrell/Riffkind Art Glass, Dallas, TX
VIRGINIA
Richmond, Virginia Commonwealth University, Tel: 804-828-8462,
Fax: 804-828-8210, E-mail: [email protected], Web:
www.vcu.edu/artweb/Crafts/, . . . and the levee broke:
meditations on the power of water: An Exhibition of Artwork
Examining the Power of Water; Proceeds to Benefit the
Youngest Victims of Hurricane Katrina, through January 3, 2006
WASHINGTON
Bellevue, Bellevue Arts Museum, Tel: 425-519-0770, Fax: 425637-1799, Web: www.bellevueart.org, David Chatt: Two Hands,
Twenty Years, and a Billion Beads, through January 1, 2006.
Taking Shape: Pilchuck Glass School in the ‘70s. Seventy-five
pieces representing both early and later work by Dale Chihuly,
James Carpenter, Fritz Dreisbach, Erwin Eisch, Mary Ann
“Toots” Zynsky, Italo Scanga (1932-2001), Benjamin Moore,
Paul Marioni, the team of Flora Mace and Joey Kirkpatrick,
William Morris, Lino Tagliapietra, Richard Marquis and others,
through January 29, 2006, Looking Forward Glancing Back:
Northwest Designer Craftsmen at 50, through February 26, 2006
La Conner, Museum of Northwest Art, Tel: 360-466-4446,
E-mail: [email protected], Web: www.museumofnwart.org,
Lisa Zerkowitz: Growth, through January 8, 2006
Seattle, William Traver Gallery, Tel: 206-587-6501, Fax: 206-5876502, E-mail: [email protected], Web: www.travergallery.com,
Kathy Venter: Immersion, January 6 - 29, 2006, Tom Fairbanish:
Glass and Mixed Media Sculpture, February 3 - 26, 2006
Tacoma, Museum of Glass: International Center for
Contemporary Art, Tel: 253-396-1768, Fax: 253-396-1769,
E-mail: [email protected], Web: www.museumofglass.org,
Gathering the Light: Cappy Thompson, Ongoing, Paul
Stankard: A Floating World, Forty Years of an American
Master in Glass, through January 15, 2006, Debora Moore:
Natural Reflections, through January 15, 2006, Karen LaMonte:
Absence Adorned, December 10, 2005 - September 4, 2006,
Czech Glass, 1945 -1980: Design in an Age of Adversity,
January 18 - June 18, 2006
I N T E R N AT I O N A L
PENNSYLVANIA
AUSTRALIA
Pittsburgh, Morgan Contemporary Glass Gallery,
Tel: 412-441-5200, Fax: 412-441-0655, E-mail: [email protected],
Web: www.morganglassgallery.com, Figure It Out: Mark
Abildgaard, Wendy Saxon Brown, Judi Charlson, Hartmann
Greb, Gregory Grennon, Carmen Lozar, Koichi Matsufuji,
Gregory Nangle, Masayo Odahashi, Pat Owens, Jeff
Sarmiento, through February 5, 2006
Canberra, National Gallery of Australia, Tel: +61-2-6240-6483,
Fax: +61-2-6240-6529, E-mail: [email protected],
Web: www.nga.gov.au, Transformations: The Language of
Craft, through January 29, 2006
Pittsburgh, Pittsburgh Glass Center, Tel: 412-365-2145 ext 203,
Web: www.pittsburghglasscenter.org, Well Hung: Chandeliers
Revealed. A variety of artists will stretch the boundaries of
the traditional chandelier and present new works in glass
chandeliers. Artists in residence Daniel Spitzer, Jill Reynolds,
Katherine Gray, James Mongrain, Emilio Santini, and Ginny
Ruffner will create chandeliers in the studio at PGC. Other
artists contributing to the exhibition are James Minson,
Gavin Benjamin, Kathleen Mulcahy and Ron Desmett,
Wagga Wagga, Wagga Wagga Art Gallery, Tel: +61 02 6926 9660,
Fax: +61 02 6926 9669, E-mail: [email protected],
Web: www.waggaartgallery.org, The Cutting Edge: Cut &
Engraved Glass: Robert Knottenbelt, Mel Douglas, Richard
Whiteley, Ben Edols and Kathy Elliott, Brian Hirst, Tony
Hanning, Fiona Hall, Ann Dybka and Kevin Gordon, through
January 15, 2006
BELGIUM
Bruges, Art-O-Nivo Gallery, Tel: +32 50 33 50 61, Fax: +32 51 20
33 93, E-mail: [email protected], East Meets West: Expo 6:
Wild Flow, December 3, 2005 - January 22, 2006
CANADA
TEXAS
Kirstie Rea,“Reclining Rake,” 2004, kilnformed and cold-worked
glass, 3 x 14.5 x 14 in. at Bullseye Connection Gallery, Portland, OR
Photo: R. Watson
Dallas, Kittrell/Riffkind Art Glass, Tel: 972-239-7957/ 888-8652228, Fax: 972-239-7998, E-mail: [email protected],
Web: www.kittrellriffkind.com, 13th Annual Scent Bottle
Invitational: Featuring one-of-a-kind and limited edition
perfume bottles from over 50 contemporary glass artists
nationwide, February 3 - March 5, 2006
St. Hyacinthe, Cassandre Glass Studio, Tel: 450-799-1599,
Fax: 450-799-1599, Cassandre Sand casting studio 10th
anniversary exhibition, through January 14, 2006
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 25% or 50% of the winning bid or elect to
make a 100% donation to GAS. This fun, casual,“instant”
auction provides conference attendees and the public
an opportunity to see and purchase glass and glassrelated items in a wide variety of price ranges.
How to donate to the Silent Auction:
1. Contact the GAS office to obtain a Silent Auction
donation form or find it on the GAS website at
www.glassart.org
2. Complete and return the Silent Auction donation
form, fax a copy to the GAS office and hand-deliver or
ship the form with your donation.
3. Bring your donated piece to the conference.
Drop it off at: Millennium, Lewis & Clark Rooms,
Wed., June 14, 1 - 5 pm; Thurs., June 15, 9 am - 5 pm;
Fri., June 16, 9 am - 12 pm
The Juried Live Auction
For the GAS International Juried Auction Exhibition
jurors will select 35 of the finest works for presentation
at the live auction. Prior to the auction, these pieces will
be showcased on the GAS website and featured in a
special exhibition onsite during the conference. We will
supplement the juried work with select pieces created
during conference demonstrations.
Eligibility
The International Juried Auction Exhibition is open
to all glass artists; you do not need to be a member of
GAS. Glass artists can submit up to three works for jurors
to consider. 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. Only one work per artist
may be accepted. For jurying purposes all slides will be
anonymous. All work must be designed by the artist.
Entry Procedure for Juried Live Auction
Slide deadline: February 1, 2006; no entry fee.
Participating artists may choose to receive 25% or 50%
of the winning bid or elect to make a 100% donation to
GAS. The list of donors will appear both in the auction
catalog and on the GAS website. These donations are
tax-deductible to the extent allowed by law, and each
donor will receive a receipt for the auction selling prices.
The jurying process will take place digitally. Photos
and transparencies will be scanned for the jury process.
The decision of the jurors is final. Images of accepted
works will be retained for publicity and catalog purposes;
no substitutions permitted.
Fill out the entry form below and submit with
your slides, artist statement, bio, and SASE to GAS by
February 1, 2006.
If interested in shipping (at your own expense)
see shipping information below.
This is a great opportunity to have your work seen
and appreciated by a discerning community of glass
enthusiasts! See you at the Auction!
Shipping for Auction
Donating Artists: Artists donating to the Silent
Auction or whose work is accepted to the Live
Juried Auction and who are attending the conference are encouraged to hand-deliver their work
to the conference packed well enough for carryout.
If interested in shipping, contact the GAS office for
shipping details. Shipped work must be received
in St. Louis by June 12, 2006. GAS assumes no
responsibility for the shipping of donations. GAS
promises to handle your piece with the utmost
respect and care, and to update you on the status
and sale of your donation, but we are not responsible for breakage, theft, or loss. If your donation
does not sell, GAS will keep it to place in the next
fundraiser or event to benefit GAS.
Buyers: Professional packers and shippers will be
available after the auction on Saturday evening to
take care of shipping your purchases. All purchases
are final and must be paid for and removed from
the premises during the evening. Items that are not
removed will be shipped to the purchaser at the
purchaser’s expense. No exchanges or refunds are
allowed. GAS assumes no responsibility for the
shipping of purchases or for those items not picked
up immediately after the Auction. Once you have
made arrangements with a shipping vendor, GAS
is not responsible for your piece, and cannot, by
shipping regulations, intervene on your behalf
with the shipper. You must resolve any concerns
regarding artwork damaged or lost during shipping
by contacting the shipping vendor directly.
William Carlson is the chair of the Department of
Art and Art History in the College of Arts and Sciences
at the University of Miami, and formerly Professor of Art
and head of the Crafts and Sculpture programs at the
University of Illinois, Urbana-Champaign. He was a recipient of a National Endowment for the Arts Fellowship,
and his work is in numerous museum collections around
the world, including the Metropolitan Museum of Art,
New York; the Art Institute of Chicago; and the Hokkaido
Museum of Art in Sapporo, Japan. William Carlson is
widely considered one of the most important figures
in the studio glass movement and has impacted the
movement as an artist and as an educator.
Ginny Ruffner is a former Glass Art Society Board
member, president, and conference site coordinator.
She received both her BFA and MFA from the University
of Georgia, Athens, GA, in 1974 and 1975 respectively.
She has exhibited her work at the Laumeier Sculpture
Park, St. Louis; the Renwick Gallery of the Smithsonian
American Art Museum, Washington, D.C.; and the MH
de Young Memorial Museum, San Francisco. Her work
is included in the collections of the American Craft
Museum, New York; the Detroit Institute of Arts; and the
Metropolitan Museum of Art, New York. She lives and
works in Seattle creating mainly bronze, stainless steel,
and glass sculpture, as well as large-scale public art.
Ruth Summers has been Executive Director of
Grove Arcade Public, Asheville, NC, since September
2004. She was Executive Director of Southern Highland
Craft Guild, 1996-2004; Director of Kurland/Summers
Gallery, Los Angeles, CA, 1982-1993. She was a trustee
on the American Craft Council, 1996-2003; and was
Vice-Chair, 1997-1999; Chair, Nominating Committee,
1999-2003. She was on the Glass Art Society Board
of Directors, 1994-2000; and Chair of the Leadership
Committee, 1994-1998. She was on the Board of
Trustees of Creative Glass Center of America, Millville,
NJ, 1990-1997; 2nd Vice-President, 1992-1995; President,
1996-1997; Chairperson, Glassweekend ‚1995; and
Chairperson of the Fellowship Selection Committee,
1989-1993.
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: February 1, 2006
Notification of acceptance will be mailed by March 6, 2006
Name
Address
City
State
E-mail
Zip
Phone (day)
Signature
1. Title of Entry
Size
Value
Description
2. Title of Entry
Size
Value
Description
3. Title of Entry
Size
Value
3
Description
•
If your entry is not selected as one of the 35 pieces for the juried exhibition / live auction,
would you be interested in placing it in the St. Louis GAS silent auction?
Yes
No
•
•
Donation Level
Full Donation
25% to Artist
50% to Artist
Attach an artist statement and brief biographical statement (100 words maximum) for the auction catalog, and
include a SASE for the return of your images.
Mail to: Glass Art Society, GAS Auction, 3131 Western Ave., Suite 414, Seattle, WA 98121, USA
international window
“De wereld volgegns Sybren Valkema
(The World According to Sybren Valkema)”
For Sale or Rent
Complete Hot Glass Studio all tools, equipment, and
supplies, FREE to school or non-profit. You dismantle and haul.
For more information contact: 7209 Carosan Lane, Charlotte,
NC, 28270-6536, Tel: 704-366-7717, Fax: 704-366-7717,
[email protected].
Nationaal Glasmuseum, Leerdam, Netherlands by Scott Benefield
I recently had the opportunity to attend the
opening of an exhibition at the Nationaal Glasmuseum
in Leerdam, Holland. The occasion was a retrospective
of the work and life of Sybren Valkema, founder of the
studio glass movement in the Netherlands and a seminal figure in the establishment of a European network
of educators and artists involved in studio glass.
The exhibition provided an excellent contextual
look at studio glass in Holland, complete with historical
background on industrial glass in Leerdam in the early
20th century as well as the rise of a global studio glass
movement in the 60s. Valkema’s early commitment
to the education of the workers in Leerdam during
wartime, providing them with a more holistic program
that included fine arts and physical education as well
as the more traditional vocational curriculum, indicated
an innovative and experimental approach that would
become a lifelong pattern. As a member of the
generation who lived through the war years and its
deprivations, Valkema exhibited the spirit of invention
and self-reliance in many areas of his professional life
that would become so indicative of the later studio
glass movement.
The exhibition also gives insight into the enlightened administration of the Leerdam factory during
those years, as the director P. M. Cochius—in a parallel
effort with his peers at Orrefors and Venini and other
European factories—steered industrial glass production away from the traditions of the past and towards
a design-oriented golden age of mid-century icons.
At Leerdam, Valkema’s design work followed in the
footsteps of Chris Lebeau and was contemporaneous
with that of Andries Copier. These are the years that
gave rise to the Serica (limited edition) and Unica
(unique art pieces) series, in what might be considered
a precursor to the idea of glasswork that is not conceived of in unlimited multiples.
The historical part of the show also details what
could be termed the Big Bang of the European studio
Empire of Glass 2005
Glass art rules a Dutch town
for five days every year
glass movement: the World Crafts Council conference
of June, 1964. Held in New York, this was the event
where Harvey Littleton first demonstrated the small
furnace designed by Nick Labino to an audience
that included Erwin Eisch and Valkema, many of
whom would return to their homes to found regional
and national movements, and maintain the peer
communication that would later grow into the
international network of artists working in glass
that exists today.
What I came to realize by looking at this exhibit
—which also includes early work by Littleton, Labino,
Marvin Lipofsky and others—was that the truly revolutionary achievement of the studio glass movement
lay not in objects or technology or even an aesthetic
manifesto but was, rather, conceptual in nature. The
invention of the small furnace is often celebrated as
the turning point that made studio glass possible.
Indeed, this exhibition recognizes the critical role of
that technology by having a replica of the first Labino
furnace on hand (there were demonstrations of
glassblowing using it at the opening reception). But
small furnaces had existed for some time before that
as test melters in the factories, as both Eisch and
Valkema would have been aware of.
Early glass work from the 60s is too often dismissed as being technically clumsy and poorly crafted,
a judgment that entirely misses the point of work that
was made in a spirit of rebellion against the virtuoso
skill of traditional glasswork. The essence of the studio
glass movement, the inspiration that all of those artists
and educators took away from that first encounter, was
an idea: that artists could have direct access to a unique
material without the mediation of a factory or a system
that divorced craftsman from designer. That single
idea was the real spark that led to university-level glass
departments, which in turn disseminated information
to and inspired private studios across America and
Europe and that would later spread around the world.
The author demonstrates glassblowing from the replica
1964 Labino-style furnace at the opening reception in
Leerdam, assisted by Marc Barreda. Photo: Wyke Valkema
The Leerdam exhibition underlines the importance
of understanding our history, which can serve as a
touchstone even today for maintaining contact with
that fundamental idea. These days when glass work
is made with such technical assurance, when objects
have such impressive presence, when all of the formal
elements of color, scale and form are so much more
easily commanded, it is important to keep searching
for that earlier spirit of discovery and that ineffable
sense of liberation that was present at the beginning.
At the opening, Åsa Brandt, Valkema’s first student in
glass at the newly-established Gerrit Reieveld Academy,
spoke movingly of encountering rusty glass tools for
the first time (scavenged from factory discards) that
seemed to her then like magic wands. After 40 years,
can we still say the same?
“De wereld volgens Sybren Valkema (The World
According to Sybren Valkema)”, curator Job Meyhuizen.
Nationaal Glasmuseum at Leerdam, October 16, 2005
to March 6, 2006. Bilingual (Dutch/English) catalogue
available from the museum, Contact: www.nationaalglasmuseum.nl
Scott Benefield is the former editor of GAS NEWS,
and frequent contributor to the newsletter. He owns and
operates a production studio on Camano Island, Wash.
Studio Rental Bighorn Glass Studio is a complete glass arts
center located minutes from Palm Springs, California with hot,
warm and cold shops for blown, cast and kiln-fired glass artists.
We offer a 130# electric furnace with Phillips Electroglass 90
COE, 18” glory hole, front loading and clamshell annealer/kilns,
all basic tools and blocks, 18” diamond grinder and sandblaster.
For rates and more information please visit our website or
contact Michael Sudderth at: Bighorn Glass Studio, 65265 San
Jacinto Ln #2, Desert Hot Springs, CA, 92240, Tel: 760-329-4344,
Fax: 760-329-4360, [email protected],
www.bighornglassstudio.com
Diamond Grinder Kit for Sale 18” Diamond Grinder Kit $700,
welding and assembly required. Complete Grinder (already
assembled) $1350. For more information contact Tom at:
Whitehead Glass Studio, PO Box 1112, Port Orford, OR, 97465,
Tel: 541-332-2300, [email protected]
Your Own Studio in Crafts Community The Rochester Folk
Art Guild is looking for a glass worker to revitalize its hot glass
studio. The Guild, a not-for-profit educational community
located on a 350 acre farm in the beautiful Finger Lakes of
western NY since 1967, has a long history in the traditional
crafts. We have a modestly equipped hot glass studio in a
beautiful facility. We are looking for a hot glass worker
who is: interested in a craftsmanly approach to glassblowing;
capable of the responsible operation and maintenance of
a studio; seriously motivated to develop and produce functional
art glass. There are two options: 1) rent the studio for
$400/month + utilities; 2) work out an arrangement where
you make saleable work to be sold under the Guild’s name
and the profits are shared. The Guild can offer some
commercial outlet for blown glass through it’s gallery and
seasonal sales events. Contact Bill at: [email protected]
or 585-924-9579.
Digital 120-Volt Glass Kiln Paragon Industries has released
the F-130 Elite, a kiln designed to anneal 11” tall glass figurines.
It will also fuse and slump glass and anneal glass beads.
The firebrick interior is 11” wide, 13” high, and 11” deep.
Maximum temperature is 1700°F. The spring-assisted door
opens vertically. A punty rod can extend outside the firing
chamber through a secondary 2 1/2” high door. Heating
elements are mounted in the roof with pinless element
grooves. The kiln uses the Sentry Xpress digital temperature
controller, which is located in the base. The kiln plugs into
a 20 amp, 120 volt outlet. Shipping weight is 160 pounds.
For moreinformation contact: Paragon Industries, L.P.,
2011 S. Town East Blvd, Mesquite, TX, 75149, Tel: 800-876-4328 /
972-288-7557, Fax: 972-222-0646, [email protected],
www.paragonweb.com
Giant Kiln for Sale in DC Our deadline for moving is getting
closer and closer. We cannot take this huge kiln to our new
space. It measures approx 8’ x 10’ on the outside, and has a
5’ x 7’ bed. The bed is refractory brick, and the walls and ceiling
are HD and LD insulation. It comes with a Digitry controller,
that monitors 5 thermocouples for even heating. It can do
a complete production run of plates, or huge cast pieces in
one firing. You can see a picture of Mike sitting in it on our
home page: http://washingtonglassstudio.com/WGStudio/
about.html. This kiln was built by Jim Richards, and he tested
and used it for many years, before completely refurbishing
and installing it our studio. We’ve reduced the price to $6000,
which is much less than what we’ve invested. For more
pictures and info, please email: [email protected],
or call 202.744.8222 and ask for Erwin. For more information
please contact: Washington Glass Studio, 1338 Half St SE,
Washington, DC, 20003, Tel: 202-744-8222, [email protected],
www.washglass.com
Glass, Supplies, and Equipment for Sale One of the U.S.’s
oldest and largest family-owned stained glass studios is
liquidating thousands of pieces of stained glass (much of
it is 130 years old of Murano, French, Flemmish, English,
West German, and USA glass); thousands of pounds of lead,
bronze and brass stained glass channeling; and cold working
equipment. For more information please contact: Chicago
Hot Glass, 6635 N. Leroy, Lincolnwood, IL, 60712, Tel:
Lee at 773-742-0100, Fax: 847-933-0539, [email protected],
www.harmonyapartments.com
Entire Hot Shop Equipment for Sale An electric furnace
(130 lbs.) and whisper burner glory holes make this a
quiet shop to work in. The furnace melts excellent glass.
Annealer, color box, pipe warmer, garage, benches, rolling
yolks, and much more. Located in Tacoma area. For more
information, contact Jenifer Holmes: [email protected] or
call 253-984-7872.
Art glass in the green
environment. Photo:
Marcus Thielen
4
John Lewis vessels
John Lewis Glass for Sale These two hand blown glass vessels
were created in 1981 by renowned glass artist John Lewis.
They are Dark Navy on the inside and a gorgeous swirl of blues
and peach on the outside. The top rim is delicate and thin and
the pieces get very thick towards the base. Each is hand signed
and dated on the bottom. They have been appraised by
Sotheby’s to be sold at auction at 7-10 k each. I can’t afford
to wait for the auction so, I want to sell them now and will
entertain any offer. I will sell them as a pair or separately.
The larger piece is 6 1/2 inches high and 8 inches across at its
widest point. The edges curve inward to create an opening
that is 5 1/2 wide. The piece measures 24 inches around when
measured at it’s widest point. The smaller piece is 6 inches high
and 7 inches across at its widest point. The top curves slightly
to create a 6 inch opening. When piece measures 20 3/4 inches
around when measured at its widest point. Contact Nancy
Glass at [email protected].
For the 10th anniversary event in 2006, the festival
won’t just grow further, but also more special events are
planned. Rumors were heard that 2006 prize may be
handed over by her Majesty the Queen herself. Then
Glasrijk Tubbergen will become a real event of the Empire.
Contact for the festival: www.glasrijk.nl
Marcus Thielen is a physicist who lives and works in
Duisburg, Germany, and owns and operates a technical
consulting business/test laboratory for neon signs and
gas discharge lamps. Since 1996 he has been author of
the monthly column “Neon Techniques” in the magazine
Signs of the Times, published in Cincinnati, Ohio, and
has authored articles in seven other languages.
ArtsLink 2005 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
US 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. 2006 ArtsLink
Projects awardees will not be eligible to apply again until 2008.
Invididuals or organizations that have received three ArtsLink
Projects awards are not eligible. Past ArtsLink Projects awardees
who have not submitted a final report are not eligible. In
2006, applications in visual and media arts are not eligible.
Applications must be postmarked by January 16, 2006. The
earliest project start date is May 1, 2006. Projects must be
completed by April 30, 2007. ArtsLink Projects awards will be
announced in late April 2006. For more information contact:
CEC ArtsLink, 435 Hudson St, New York, NY, 10014, Tel: 212643-1985 x22, [email protected], www.cecartslink.org
Fellowship Opportunities in American Craft The Smithsonian
American Art Museum and its Renwick Gallery invite applications for research fellowships in art and visual culture of the
United States. Fellowships are residential and support full-time
independent and dissertation research. January 15 is the
application deadline for fellowships to begin on or after
June 1, 2006. For more information contact: Smithsonian
American Art Museum, MRC 970 PO Box 37012, Washington,
DC, 20013, Tel: 202-257-1557, [email protected],
www.si.edu/research+study
Travel
Craft Tour of India This craft tour of India is led by GAS
member Lloyd Herman, Feb. 13 - 28, 2006. Glass bangle-making
and beadworking are featured along with textiles, stone inlay
and other traditional crafts. Includes Delhi, Agra (Taj Mahal),
Firozabad, Khajuraho, Varanasi, Lucknow, Bhopal and Sanchi.
$4980 pp double occupancy. For more information contact:
Travel Concepts International, Inc., 5500 Bucks Bar Road,
Placerville, CA, 95667, Tel: 530-621-3007, 800-762-4216,
Fax: 530-621-3017, [email protected], www.tci-travel.com
Publications
Mt. Washington and Pairpoint Glass is a beautifully illustrated,
comprehensive book on the history of these two companies
and their products from 1837 to the present. The book is by
Kenneth M. Wilson, a noted glass historian and former museum
curator known as ‘Mr. American Glass,’ and will be published
by Antique Collectors’ Club. ISBN: 185149491X. For more
information contact: Antique Collector’s Club Ltd.,
Tel: 800-252-5231/ 845-297-0003, Fax: 845-297-0068
The Complete Bead Resource Book 10th Edition, containing
over 2800 bead resources, is now available. For more
information contact: The Complete Bead Resource Book,
4432 Sandburg Wy, Irvine, CA, 92612, Tel: 949-786-4371,
Fax: 949-786-7081, [email protected],
by Marcus Thielen
“Glasrijk” is Dutch for “Empire of Glass,” the title of
the annual glass art festival that turns the small Dutch
town of Tubbergen (near the city of Almelo) into a huge
glass gallery every first weekend in October. Originated
from the fifth generation of the glass painter family
Nicolas in town (famous for their church windows)
and held for the ninth time in 2005, the event has
developed into the largest European glass event, with
more than 40,000 visitors and more than 70 volunteers.
Beside nine official galleries who exhibit in public
space, nearly every shop in town turns into a glass
gallery; even butchers, bakers, general stores or
electronic shops exhibit and sell glass artwork.
The festival is financed by sponsored by local
businesses and a few big external sponsors, including
PEBEM, a real estate broker, who funds the “PEBEM Art
Glass Prize” for outdoor glass art objects in the garden
environment. This year the prize was awarded to
Masumi Igarashi of Japan by the Dutch prime minister,
J. Balkenende.
Galleries alone do not make such an event; the
extensive program contains hot glass demonstrations
on the street, glass painting by Diego Semprun Nicolas,
bead making, fusing, and more. There are also concerts
played on glass instruments, artist’s meetings, lectures,
including information on glass object taxation by
experts from Sotheby’s, and a rally for historic “Glas”
brand cars.
Fellowships
Exterior (top) and interior (above) views of this year's prize
winning object by Masumi Igarashi. Photo: Marcus Thielen
Artists Survey SAC will be organizing the jury for the 2006
Artists Awards grants as well as curating upcoming exhibitions.
In order to understand how artists are documenting their
work, we are asking you to participate in a one-minute poll.
Please click on the link below to answer four questions. These
responses will help SAC answer the digital vs. slide questions.
Please go to www.societyofcrafts.org/artist-survey.asp.
For more information contact: The Society of Arts & Crafts,
175 Newbury St, Boston, MA, 02116, Tel: 617-266-1810,
[email protected], www.societyofcrafts.org.
Job Listings
Casting and Blowing Studio Assistant Position Available
in Tampa Florida. Housing and benefits optional. Pay commensurate with experience. Contact Susan Gott, 813-267-1762.
Call or send resume to Phoenix Studio, 811 East Knollwood St.,
Tampa FL, 33604.
Jobs in the Arts Listings The New York Foundation of the
Arts’ Jobs in the Arts is a national online listing of classifieds for
creative professionals. Galleries, museums, universities, and arts
organizations alike have all turned to NYFA to fill important
positions. Listings for full-time, part-time, freelance/consultant
jobs and internships can be posted from $25/week with no
character limit, and discounts start after 2 weeks. The website
offers other resources. For more information contact: New York
Foundation of the Arts, 155 Avenue of the Americas, 14th Floor,
New York, NY, 10013, Tel: 212-366-6900, Fax: 212-366-1778,
[email protected], www.nyfa.org
13
resources, etc.
after the deadline.
Calls to Artists
COMPETITIONS
4th Annual Ugly Necklace Contest 2006, A Jewelry Design
Competition With A Twist. Yes, an UGLY Necklace Contest.
Can you put together a well-designed and functional, yet UGLY,
necklace? The Fourth Annual Ugly Necklace Contest for 2006
is offering a first prize of a $992.93 shopping spree on the Land
of Odds website (www.landofodds.com), and a Runner-Up prize
of a $399.07 shopping spree on the website. To enter, take
three good color snapshots or scans of your necklace, and
write a short poem about it, and submit by March 15, 2006.
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).
For more information contact: Land of Odds, 522 E Iris Dr,
Nashville, TN, 37204. Tel: 615-292-0610, Fax: 615-460-7001,
[email protected], www.landofodds.com.
Best of Artists America Book Series Kennedy Promotions
is producing its second unique new book series, The BEST OF
AMERICA: GLASS ARTISTS 2005, 200+ winners featured in a
beautiful soft cover book listed with major online booksellers.
Cash prizes awarded to five best in show. Open to all U.S. glass
artists. Also included is a special Emerging artist category.
$30/3 slides, 4 x 6 photos, or CD entries, $5 for each additional
entry. Deadline: February 15, 2006. For more information
contact: Kennedy Promotions Best Of, P. O. Box 6876,
Williamsburg, VA 23188, Tel: 757-564-6261, [email protected],
www.bestofartists.com.
Glass Competition The Glass Axis, in Columbus, OH is hosting
a juried glass commission competition. The projects submitted
are for sites in the headquarters of a large telecommunications
company. To download a prospectus and pictures, go to our
website at: www.glassaxis.org/west_proposal/. Deadline for
submission is March 1, 2006. Please call 614-291-4250 or send
an e-mail for further information ([email protected]).
For more information contact: Glass Axis, 1341 Norton Ave Ste
B, Columbus, OH, 43212, Tel: 614-291-4250, Fax: 614-291-0122,
[email protected], www.glassaxis.org.
North American Glass 2006 The Guilford Art Center presents
the biennial glass exhibit North American Glass 2006. Artists
may submit up to three pieces. Applications are due January
27, 2006. Notifications will be mailed February 21. Exhibit runs
May 14 through June 25, 2006. Cash awards totaling $1,000 will
be awarded. For more information contact: Guilford Art Center,
411 Church Street, PO Box 589, Guilford, CT, 06437, Tel: 203453-5947, Fax: 203-453-6237, [email protected],
www.guilfordartcenter.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.
Luniverre Gallery, 20 rue des Coutures St. Gervais, Paris,
75003, France, Tel: +33-1-4461-0481, Fax: +33-1-4461-7062,
www.luniverre.com.
Good Things | Small Packages: An Intimate Look at Small
Glass Public Glass, San Francisco’s center for creation and
education in glass, invites all glass artists who work on a small
scale to apply for this juried exhibit and publication which will
feature small sculpture, paperweights, scent bottles and glass
beads. All pieces must be no larger than four inches in any
dimension. Jury fee is $25 for three works. Entries due
January 24, 2006. For more information and to download
an application, please visit www.publicglass.org. or e-mail
[email protected] with questions.
OTHER
Call for Papers: Space Exploration Within and Beyond the
Image aims to examine ways space is constructed in visual
representation and through social experience from a range
of cultural, historical and methodological perspectives. We
invite graduate students to submit papers addressing issues
of space, specifically ways it has been framed, activated or
otherwise produced in visual culture. Papers might address
such media as sculpture, dioramas, landscape, installation art,
performance, architecture and urban design, film, or tableaux
vivants, etc. Other areas of inquiry might include display,
the plinth, theatricality and absorption, spatial schematics,
interiors, ritual spaces, borders, and virtual space. We welcome
submissions from all areas of art history and related fields.
In addition, we invite submissions from practicing artists and
filmmakers engaged with ideas and problems of space in
their work. Papers should be between 15 and 20 minutes in
length. Abstracts of no more than 500 words, a current CV,
and contact information should be submitted by Monday,
January 16, 2006, via e-mail or post to the address below.
Some travel funding is available. Graduate Symposium
Committee, Department of Art History, University of Southern
California, VKC 351- MC 0047, Los Angeles, CA, 90089.
Contact: [email protected].
technical article
Shows + Fairs
10th Annual Craft As Art Festival Sept. 29, 30, and Oct. 1 at
the Nassau County Museum of Art, Roslyn Harbor, NY. Work
must be original. Applicants must submit five color slides
and an SASE with 65 cents postage. Deadline is Jan. 4, 2006.
After this date, applications will be reviewed periodically
until the show is filled. For more information contact:
American Concern for Artistry and Craftsmanship, PO Box 650,
Montclair, NJ, 07042, Tel: 973-746-0091, Fax: 973-509-7739,
www.craftsatlincoln.org.
1st Annual Craft as Art Festival Oct. 14, 15 and Oct. 21, 22
at the Brooklyn Museum, Brooklyn, NY. Work must be original.
Applicants must submit 5 color slides and an SASE with 65
cents postage. Deadline is January 4, 2006. After this date,
applications will be reviewed periodically until the show is
filled. For more information contact: American Concern for
Artistry and Craftsmanship, PO Box 650, Montclair, NJ, 07042,
Tel: 973-746-0091, Fax: 973-509-7739, www.craftsatlincoln.org.
21st Annual Autumn Crafts Festival Sept. 9-10, 16-17 at
Lincoln Center for the Performing Arts, New York, NY. Work
must be original. Applicants must submit 5 color slides
and an SASE with 65 cents postage. Deadline is January 4,
2006. After this date, applications will be reviewed
periodically until the show is filled. Artists may apply for one
or both weekends. For more information contact: American
Concern for Artistry and Craftsmanship, PO Box 650,
Montclair, NJ, 07042, Tel: 973-746-0091, Fax: 973-509-7739,
www.craftsatlincoln.org.
30th Annual American Crafts Festival June 3 - 4, 10 -11 at
Lincoln Center for the Performing Arts, New York, NY. Work
must be original. Applicants must submit 5 color slides and
an SASE with 65 cents postage. Deadline is January 4, 2006.
After this date, applications will be reviewed periodically until
the show is filled. Artists may apply for one or both weekends.
For more information contact: American Concern for Artistry
and Craftsmanship, PO Box 650, Montclair, NJ, 07042,
Tel: 973-746-0091, Fax: 973-509-7739, www.craftsatlincoln.org.
Coldworking
with Diamond Tools
By Jiyong Lee
In the long history of glass making, the use of
diamond as an abrasive medium appears to be a
relatively recent development, before which emery
(natural black corundum) or crushed garnet was used
as abrasive material. Modern diamond tools are high
precision grinding tools made to exacting limits not
only for glassmakers, but also for scientists and engineers as well. There are two different types of diamond
tools, with the distinction being the way the diamonds
are bonded to the body of the tool. These two bonding
methods are known as “sintering” and “plating.”
Sintered diamond tools have diamond mixed into
the bronze metal (usually mix of copper + tin or nickel)
and bonded by means of heat and pressure. They are
longer lasting than plated tools but are also more
expensive. Using and redressing sintered diamond
tools wears away the bonding material to expose new
diamonds. There are different alloys used as bonding
substrates for use in various applications. For example,
a harder bonding alloy should be chosen for tools
intended to cut harder materials because the harder
the material being cut, the faster it will wear away the
tools’ bonding alloy, thus tending to release diamonds
before they are spent. Conversely, a very hard bonding
alloy is used on a tool to cut a soft material, then the
diamonds tend to become dull and not released easily
enough to expose new sharp diamonds.
Over time, sintered tools’ profiles can change but
can be re-profiled by their manufacturers, who recom-
Sunfest 2006 SunFest of Palm Beach County, Inc. is currently
seeking artists for the 24th annual Fidelity Federal Fine Art &
Craft Show, scheduled for May 4 through May 7 of SunFest
2006. SunFest, Florida’s largest music, art and waterfront festival,
takes place along the Intracoastal Waterway in downtown
West Palm Beach. Participants in the show are eligible to win
one of 22 awards totaling $16,000. Approximately 165 artists
will display works in 11 categories including drawing, fiber
textiles, fine art sculpture, glass, jewelry/metal, mixed media
(2D & 3D), painting, photography, pottery/ceramics and wood.
Applications and entry qualifications are available from the
SunFest website. To receive an application by mail send a
self-addressed stamped envelope to Sunfest. Completed
applications must be received no later than February 3, 2006.
For more information contact: SunFest of Palm Beach
County, Inc., 525 Clematis St, West Palm Beach, FL, 33401,
Tel: 561-659-5980, Fax: 561-659-3567, www.sunfest.com.
12
Kiln Processes Using Recycled Glass: A Juried Competition
and Exhibition for Fine Art, Crafts, and Industrial Products
The purpose of this competition is to showcase exemplary
artistic glass, ceramics and industrial products using recycled
glass. Deadline is February 15, 2006. For more information,
a set of guidelines, or an application packet contact: Center
for Environmental Economic Development, PO Box 4167,
Arcata, CA, 95518-4167, Tel: 707-822-8347, Fax: 707-822-4457,
[email protected], www.ceedweb.org/glass.
In modern glass cold-working studios, both types
of tools are commonly used. Many studios have
grinding machines that use interchangeable diamond
discs, fiberglass plated with nickel and diamonds and
adhered to rubberized magnetic backing pads. Most
diamond saw blades are sintered. Core drill bits and
cutting, carving and engraving wheels are commonly
found in either sintered or plated types.
All diamond tools require the use of water.
Insufficient use of water increases the risk of destroying
both your tools and your glass. All scientific optic glass
companies use synthetic or semi-synthetic coolants
diluted in water to help with cleansing and lubricating
the cutting surface, and to extend diamond tool life.
Using coolant presents several issues, such as reusing
the coolant/water mixture, filtering the mixture as it is
re-circulated in use, and recycling or disposing of the
mixture when spent.
Factors such as the amount of water used, type
of glass materials being processed, how the tools
have been maintained and used, etc., will play a role
in the life and performance of your diamond tool.
Reading operators’ manuals, asking questions of
manufacturers and experts, choosing the proper
tools, and good maintenance will extend the life
of the diamond tools and enhance your working
efficiency as well as your safety.
I would like to thank to Rakow Research Library
of Corning Museum of Glass and Kurt Merker Kelheim
for providing reference.
Jiyong Lee, Assistant Professor
Glass Program, School of Art and Design
Southern Illinois University Carbondale
A Talk with Maestro Davide Salvadore
Written by Beth Lipman from an interview with Davide Salvadore in July 2005
EXHIBITIONS
Courthouse Gallery Call to Artists Artists are invited to
submit slides of recent work for the Lake George Arts Project’s
Courthouse Gallery 2007 exhibition season. The Courthouse
Gallery presents five to seven exhibitions yearly of regional
and national contemporary visual artists in all media. Strong
preference given to work created within the last two years.
Submission Guidelines: Ten to twelve 35-mm slides of recent
work in a plastic slide sheet (marked with artist’s name, top of
slide, medium, date and dimensions), slide list, resume and
artist’s statement, and self-addressed-stamped-envelope for
slide return. At this time the Gallery Committee cannot accept
CDs, emailed submissions, or links to websites in lieu of slide
submissions. Deadline for submission is January 31, 2006. For
more information contact: Lake George Arts Project, 1 Amherst
St, Lake George, NY, 12845, Tel: 518-668-2616, Fax: 518-668-3050,
[email protected], www.lakegeorgearts.org.
mend using these tools in one direction only because
of what is known as “comet tail”. The bronze that does
not get worn away from behind each diamond particle
forms what resembles a comet tail and supports the
diamond, holding it in place as it cuts away material.
Initially, the decision of which direction is forward or
reverse is arbitrary, but the user should remain committed to that direction for the life of the tool. If the tool is
used in reverse, the diamonds on the surface are easily
be knocked out because the comet tail is in front of
them instead of behind them. With the diamonds
knocked out, the existing bronze comet tail, now facing
the wrong way, must be worn away before new diamonds will be exposed to continue cutting. Essentially,
the malpractice of using sintered diamond tools in
opposing directions not only wastes the time of not
cutting material at an optimal rate, but it also shortens
the life of the tools dramatically by prematurely
knocking out unspent diamonds.
Plated diamond tools have diamonds electroplated
to a surface using a bonding agent (usually nickel).
Since plated diamond tools have only one layer of diamonds, they do not last as long. The positive side is
that plated diamond tools are low-cost. As diamonds
wear out or fall out, the cutting and grinding process is
slowed down, much like what happens with sandpaper.
Theoretically, plated tools can be re-electroplated by
the manufacturer, but unless you have a special, custom
designed tool to re-plate, the process is not cost effective. Plated diamond tools can be used in opposing
directions because the nickel that holds the diamonds
on the surface of plated tools is much more durable
than the bronze in sintered tools and is therefore not
expected to be worn away in normal use to release
spent diamonds.
Advertise in the
2006 Resource Guide
The annual GAS Resource Guide is a collection of
ads from manufacturers and suppliers of glass-related
goods and services, organizations, publications, schools,
galleries and museums from around the world, and is
used by GAS members as a reference guide year-round.
The 2006 Resource Guide will be distributed to each
conference attendee at the Glass Art Society's 36th
Annual Conference in St. Louis, Missouri, June 15 -17,
2006. Following the conference, the Resource Guide
will be mailed to all GAS members who did not attend
the conference.
That's a total distribution of almost 3,000 GAS
members in over 50 countries!
Don’t miss the opportunity to gain visibility for
your company or program in this useful reference
guide. Reserve your space in the Glass Art Society
2006 Resource Guide today! Reservations and payment
are due February 15, 2006. Advertising artwork is due
March 1, 2006.
Also, make sure to reserve your space for
the Technical Display at the GAS Conference by
February 15. See our website at www.glassart.org
for more information.
The Venetian Maestro Davide Salvadore never
really studied glass. Glass has always been a part
of his family history; his first memories are from
the glass factory where his father and uncle
worked, and from his house where his mother and
grandmother made beads. When his school day
finished at noon he would come home, eat lunch,
and go to the factory. Davide was eight years old
when he was given his first important responsibility: stoking the furnaces with wood all afternoon
each day. He remembers himself as a “wild child”
someone who was mischievous; this chore kept
him from getting into trouble. At age ten he
started working on the factory floor.
The young Davide knew he wanted to
become a Maestro because he wanted to be like
his godfather, Cesare. His mother’s brother, Cesare
Mantoan, was a Maestro who had a dynamic
personality and dressed impeccably. Despite his
untimely death at an early age he left a deep
impression on Davide. When Davide was a small
child, he was one of 13 family members living
in the house. The Maestro always received special
treatment; his clothes were always laundered with
special care and he was always served first at the
dinner table. His grandmother loved all of her
sons very much but always made sure the Maestro
had everything he needed.
Another event made Davide aware of the
Maestro’s importance. A Maestro known as the
“Beautiful Grape” lived across the street from
Davide. They were friends and used to joke and
play. Once, when he was walking down the street
with his grandmother, Davide greeted the Maestro
with an informal “Ciao Ciao!” His grandmother
squeezed his hand hard and whispered,“That
is not how you salute a Masestro!” When they
arrived home his grandmother told his parents
who scolded him and put him to bed without
eating supper.
Once he decided he was going to become a
Maestro he pushed himself to work harder, faster,
and more accurately. At age 17 he was able to
create extremely complex forms with great speed
and difficulty and earned the title of Maestrino
(young master). One of his first jobs was in the
Dabronzo factory. He worked on a team with
approximately 12 glassworkers; Dabronzo typically
had 15 teams working at once. During the 1960s,
Italians from all regions could find work on
Murano but only Muranese could be Maestros.
He never felt very competitive, although the faster
he worked the more money he earned.
A Maestro is judged by the speed and efficiency with which he works on the production
line. In Murano, Maestrini always earned a certificate of accomplishment which entitled them the
title Maestro. The process began with an emerging
artist exhibition, Premio Murano, in which maestrini
exhibited works of glass such as a reticello vessel,
or an extremely thin tumbler. The most prominent
Mastroes and owners of the factories judged the
exhibition and decided who was to earn the certificate. This tradition died shortly after Davide was
awarded his certificate. A version of the Premio
Murano still continues and the most important
Maestro still attend the exhibition to view emerging talent. He was awarded his certificate 15 years
ago at age 37. Davide marks this moment in his
life as the moment he felt he was a Maestro.
Beth Lipman is an artist living and working in
southern New Jersey. Her work,“Bancketje,” was
recently exhibited at SOFA Chicago and the Fuller
Craft Museum in Brockton, Mass. She is the Studio
Director of Education and Artist Services at
Wheaton Village.
5
GAS 36th Annual Conference
MAIN CONFERENCE VENUES
CONFERENCE
PRESENTERS
Millennium Hotel
after the deadline.
Opening Ceremonies and Reception,
Lectures, Technical Display, Auction,
Goblet Grab, Student Exhibition
Located in the heart of downtown
on the banks of the Mississippi River, the
Millennium Hotel St. Louis overlooks the
city’s signature landmark, the Gateway
Arch. Many of the area’s best attractions,
dining, and sports venues are within
minutes of the hotel, making it the ideal
central location for accommodations
and many of the GAS conference events.
Mauro Bonaventura:
Demonstration:
Flamework: Men in the Tower
U N I T E D S TAT E S
Sarawut Chutiwongpeti:
Lecture: At the Dawn of the
21st Century: Lighting and Sound
Photo: “The Red Window,” 2004
Third Degree Glass Factory
Demonstrations, Southern Illinois University’s Aunt Gladys,
The Corning Museum of Glass Hot Glass Roadshow
Third Degree Glass Factory was founded in 2002 by Jim McKelvey and
Douglas Auer. The not-for-profit studio serves the St. Louis community
as the only public access glassblowing facility in the area, and in its first
three years has ignited and inspired an emerging young community
of glass artists. Third Degree offers beginning and intermediate glassblowing and flameworking classes, community demonstrations, and a
gallery featuring work by local glass artists.
Sonoran Glass Art Academy, 633 W 18th St, Tucson, AZ,
85701-2553, Tel: 520-884-7814, Fax: 520-623-9680,
[email protected], www.sonoranglass.org
Feb. 13 - Apr. 19:
Beginning Furnace Glassblowing I*
Feb. 14 - Apr. 20:
Beginning Furnace Glassblowing II*
Jan. 9 - 27:
Glassblowing Intensive*
May 8 - 26:
June 12 -30:
* College credit available
Workshops:
Jan. 14 - 15:
André Gutgesell:
Demonstration:
Flamework: Play with Lines
Photo: “Differentiation”
Student Demonstrations
Painting with Glass (the non-traditional way)/
Bronwen Heilman
Feb. 6 - 10:
Flameworking Using Ultimate Details/
Loren Stump
Feb. 11 - 126:
Inspiration from Everything: Working with
Glass in a New Way/Laura Donefer
Mar. 2 (eve.), 3, 4, 5: Women Only Glassblowing/Debra May
Mar. 25 - 26:
Unconventional Vessels/Bandhu Dunham
Jan. 8 - 29:
A Month of Sundays: An Introduction
to Glassblowing
CALIFORNIA
Frantisek Janák:
Demonstration: Kilnwork:
Molds for Mold-melted Sculpture
Photo: “Capricorn II,” 2005
Stumpchuck.com, 8901 Sheldon Rd, Elk Grove, CA, 95624,
Tel: 916-739-0912, [email protected], www.stumpchuck.com
2006 Class Schedule
Jan. 4 - 8:
Loren I/Loren Stump
Jan. 25- 29:
In the Jungle/Loren Stump
Mar. 29 - April 2: Murrini/Loren Stump
May 3 - 7:
Loren II/Loren Stump
May 10 - 14:
Under the Sea/Loren Stump
June 2- 4:
Paperweight Weekend/Loren Stump
July 12-16:
In the Sky/Loren Stump
Sept. 20 -24:
In the Desert/Loren Stump
Oct. 25 - 29:
Loren I/Loren Stump
Nov. 3 - 5:
Paperweight Weekend/Loren Stump
Bighorn Glass Studio, 65265 San Jacinto Ln #2, Desert Hot
Springs, CA, 92240, Tel: 760-329-4344, Fax: 760-329-4360,
[email protected], www.bighornglassstudio.com
Jan. 7, 8:
Beginning Glassblowing
Jan. 9, 16, 23, 30:
Introduction to Fusing and Slumping
Jan. 11, 18, 25, Feb. 1: Intermediate Fusing and Slumping
Jan. 21, 22:
Intermediate Fusing and Slumping
Feb. 4, 5:
Beginning Glassblowing
Feb. 6, 13, 20, 27:
Feb. 8, 15, 22, Mar. 1: Intermediate Fusing and Slumping
Feb. 18, 19:
2006 AWARD RECIPIENTS
Each year, the Glass Art Society honors and acknowledges the individuals
who have made outstanding contributions to the development of the
glass arts worldwide. The 2006 recipients of these awards are:
Penny Berk
Honorary Lifetime Membership
Award for outstanding service
to the Glass Art Society
6
Tommy Elder:
Lecture: Photographing Glass:
Reflections on Reflections in Glass
Tom Krepcio:
Demonstration: Flat Glass:
Stained Glass - Making it Original
Photo: “Eight Faces,” (detail)
in beautiful Kailua town, we are 5 minutes from the beach and
located next to a Protected Hawaiian Bird Sanctuary. Call for
information regarding beginning/intermediate/advanced
classes and studio rentals. Come and blow glass in paradise!
Session 2:
Aug. 23 - 31:
Aug. 26 - 31:
ILLINOIS
Ed Hoy’s International, 27625 Diehl Rd, Warrenville, IL, 60555,
Tel: 800-323-5668/ 630-836-1353, Fax: 630-836-1362,
[email protected], http://www.edhoy.com
Jan. 20: How to Teach Glass Fusing/Larry Cimaglio
Session 3:
Sept. 5 - 10:
MAINE
Haystack Mountain School of Crafts, PO Box 518 GL,
Deer Isle, ME, 04627, Tel: 207-348-2306, Fax: 207-348-2307,
[email protected], www.haystack-mtn.org
2006 Summer Workshops:
July 2 -14:
The Retticello Channel/Anthony Schafermeyer
& Claire Kelly
July 16 - 28:
Hot Glass Sculpting/Karen Willenbrink
July 30 - Aug. 18: Introduction to Glassblowing/Kiara Pelissier
Aug. 20 - Sept. 1: Searching for a Useful Form or Two/Nick Mount
Sept. 3 - 9:
Glass workshop/Peter Houk
NEW YORK
The Studio of The Corning Museum of Glass, One Museum
Way, Corning, NY, 14830, Tel: 607-974-6467, Fax: 607-974-6370,
[email protected], www.cmog.org
WINTER CLASSES
Session One
Jan. 9 - 14:
Challenging the Vessel/Jane Bruce
Jan. 9 - 14:
An Introduction to Venetian Goblet making at
the Torch/Emilio Santini
Jan. 9 - 14:
Kiln-Cast Sculpture: Positive: Negative: Positive/
Irene Frolic
Session Two
Jan. 16 - 21:
Graphic and Color Systems in Glass/
Mark Matthews
Jan. 16 - 21:
Flameworking Using Ultimate Details/
Loren Stump
Jan. 16 - 21:
Windows to Creativity/Tony Serviente
Jan. 16 - 21:
Enhance Your Glass/Martha Biggar
Session Three
Jan. 23 - 28:
Beginning Glassblowing: Building a Foundation/
Harry Seaman
Jan. 23 - 28:
Ideas Expressed in Flameworked Glass/
Paul J. Stankard
Jan. 23 - 28:
Thicker, Deeper, Better Fused Glass/Mark Ditzler
Jan. 23 - 28:
Cold Construction/Martin Rosol
Session Four
Jan. 30 - Feb. 4: An In-Depth Introduction to Venetian
Techniques/ William Gudenrath
Jan. 30 - Feb. 4: An Introduction to Flameworking /
Alex Hamilton
Jan. 30 - Feb. 4: Kiln-Cast Glass/Lucartha Kohler
Jan. 30 - Feb. 4: Next Steps in Glassblowing/George Kennard
Session Five
Feb. 6 - 11:
An In-Depth Introduction to Venetian
Techniques/William Gudenrath
Feb. 6 - 11:
Bead Intensive/Caitlin Hyde
Feb. 6 - 11:
The Roll Up for Kilnformers/Johnathan Schmuck
Session Six
Feb. 13 - 18:
Great Venetian Glassblowing/Elio Quarisa
Feb. 13 - 18:
Advanced Marble Making /Drew Fritts
Feb. 13 - 18:
Painting the Void: Sandblasting and Vitreous
Painting/Denise Stillwaggon Leone
WASHINGTON
Sept. 5 - 13:
Kiln Casting Masterclass with Tessa Clegg
and British ceramist Carol McNicoll, exploring
collaboration and lost wax casting.
Glassblowing Masterclass with Dante Marioni
and Janusz Pozniak focusing on refining ageold, Venetian off hand glass making techniques.
Cold-working Masterclass, with Alison Kinnaird,
an intensive six-day class (inc. copper wheel
engraving) connecting blown forms to the
possibilities available when the cold working
is taken into account from the beginning of
the creative process. The talented Australian
glassblower Tom Rowney will be working with
Kinnaird and students to realise their ideas in
hot glass.
Kiln Forming Masterclass, instructor to be
confirmed.
GERMANY
Bild-Werk Frauenau, Postfach 105, Frauenau, D-94258,
Tel: +49-9926-180895, Fax: +49-9926-180897,
[email protected], www.Bild-Werk-Frauenau.de
Master Classes offered in conjunction with “Glass in Context
2006: Art - Image - Industry.”
March 29 - April 6: Classes offered are: hot glass, lampworked
glass, kiln casting, stained glass/flat glass, glass engraving, acid
etching, and glass cutting. Instructors include: Mary Angus,
Lucio Bubacco, Silvia Levenson, Jiri Harcuba, Vladimir Klein,
Petr Novotny, and Dana Zamecnikova.
ITALY
Scuola Bubacco, Fondamenta da Mula 148, Murano, 30141,
Tel: +39 (0)41 736544, Fax: +39 (0)41 527 6721,
[email protected], www.luciobubacco.com
Workshops offered:
Jan. 9 -14:
with optional extention Jan. 16 - 18
Jan. 9 -14:
with optional extention Jan. 16 -18
Jan. 20 - Feb. 4: with optional extention Feb. 6 - 8
Feb. 13 -18:
with optional extention Feb. 20 - 22
Feb. 27 - Mar. 4: with optional extention Mar. 6 - 8
All optional extention classes are taught by Vittorio Costantini.
Cesare Toffolo’s Studio Opportunities are available to study
lampworking in Cesare Toffolo’s in Murano, Venice. Contact the
studio for information: [email protected]
CANADA
Red Deer College, PO Box 5005, Red Deer, AB, T4N 5H5,
Tel: 403-342-3130, Fax: 403-347-4041, [email protected],
http://www.rdc.ab.ca/continuingeducation/
Red Deer College offers classes in glassblowing, flameworking
in both Borosilicate and Moretti, and glass fusing from May to
Sept every year. Some scholarhips are available. The 2006
brochure will be available Dec. 2005 with registration starting
mid-January. Many of our classes fill quickly so make sure you
get a brochure. Call 402-342-3504 to be added to the mailing
list. Website: www.rdc.ab.ca/continuingeducation.
Canadian Glass Conference Workshops:
May 15-24:
Forces of Nature/Bandhu Scott Dunham
May 20 -24:
Hot-Cold-Hot-Cold/Jane Bruce
May 22 -24:
Borosilicate Bead Blast/Lauri Copeland
May 29 - June 3: From Fundamentals to Fabulous!/
Cindy Jenkins
May 29 - June 9: The Dirty South-An Approach to the Hotshop/
Jamex & Einar de la Torre
May 29 - June 9: Lost Wax: Casting in Glass/Stephen Paul Day
FLORIDA
ENGLAND
Newy Fagan Studio, PO Box 336, Ocklawaha, FL, 32183-0336,
Tel: 352-288-1426, [email protected], www.newyfagan.com
Jan. 20 - 21: Introduction to Kilnformed Glass/Newy Fagan
London Glassblowing Workshop, 7 The Leather Market,
Weston St, London, SE1 3ER, Tel: +44 207 403 2800,
Fax: +44 207 403 7778, [email protected],
www.londonglassblowing.co.uk
Jan. 28 - 29: Creative Glass Jewelry
Alberta College of Art & Design, 1407 14 Ave NW, Calgary, AB,
T2N 4R3, Tel: 403-284-7600, Fax: 403-289-6682. In conjunction
with the Canadian Glass Conference being held in Red Deer,
Alberta, May 25-28, The Alberta College of Art & Design glass
program in Calgary will be offering the following workshops:
Pre-conference workshops:
May 18 - 24:
Glass Blowing: An In-Depth Introduction to
Venetian Techniques/William Gudenrath
May 29 - June 4: Glass Casting: 100% Natural Light/
Emma Camden.
Post-conference workshops:
May 29 - June 6: Glass Casting: Wish in a Box/ Tessa Clegg
May 29 - June 6: Coldworking Techniques/Aesthetics: Breaking
the Skin/Jane Bruce
College credit equivalency can be arranged for all ACAD glass
courses offered.
SCOTLAND
MEXICO
North Lands Creative Glass, Quatre Bras, Lybster, Caithness,
KW3 6BN, Tel/Fax +44 1593 721 229, [email protected],
www.northlandsglass.com
Masterclass Programme 2006: ‘The Skilful Hand & Eye’
Session 1:
July 26 - Aug. 3: Bullseye Masterclass with Dick Marquis.
Working between kiln forming and hot working
students will have full access to the hot shop
and full access to all the fusing, slumping, and
casting ovens.
Hacienda Mosaico, Calle Milan #274, Col. Versalles, Puerto
Vallarta, Jalisco, Tel: +52-322-225-8296/ 866-263-9717,
[email protected], www.haciendamosaico.com
March 5 -11: Just Let Me Bead Workshop/ Laura McCabe
Intensive 4 day workshop at Hacienda Mosaico in Puerto
Vallarta, Mexico. Along with the 4 days of class, we will also
have 1 free day to “see the town”. Price includes workshop,
lodging, breakfast and lunch on workshop days. For more
information, contact Laura directly at [email protected]
or contact the Hacienda Mosaico.
FlameTree Glass, Inc., 11761 S Orange Blossom Trl Ste A,
Orlando, FL, 32837, Tel: 1-888-FLAMETREE, Fax: 407-240-0272,
[email protected], www.flametreeglass.com
Jan. 14 -15: Kimberly Affleck Workshop
Nov. 17-18: Kate Fowle Meleney Workshop
Nov. 19-20: Kate Fowle Meleney Workshop
HAWAII
Ann Robinson
Lifetime Achievement Award for
exceptional achievement in the
field of glass art
ARIZONA
Jan. 21 - 22:
Beginning Lampworking
Feb. 10 - Mar. 17 (no class Mar. 3): Five Fridays!
Feb. 18 - 19:
Mar. 18 - 19:
Mar. 24 - Apr. 21:
Five Fridays!
Apr. 15 - 16:
Intermediate Lampworking
Apr. 24 - May 16:
Continuing Glassblowing
May 20 - 21:
June 17 - 18:
Sam Drumgoole:
Demonstration:
Hot Glass: Living Glass
Photo: “Blue Form
w/ Stripe Head On”
Aunt Gladys–Southern Illinois University (SIU)
Mobile Glassblowing Studio
SIU’s mobile glassblowing studio,
affectionately known as “Aunt Gladys,”
is a fully equipped facility specifically
designed to bring the art and craft of
working molten glass to audiences
interested in experiencing first-hand
the techniques and processes related
to contemporary glassmaking.
The mobile glass studio was designed
and created in 1969. Its first public
out-of-state demonstration was held at Spring Arbor College in Michigan
in 1972, and, after more than 30 years of demonstrations and workshops
throughout the United States, it is still “on the road.”
classes + workshops
Glass Gateways: Meet in the Middle
Island Glassworks, 171-A Hamakua Dr, Kailua, HI, 96734,
Tel: 808-263-4527/ 808-392-6482, Fax: 808-263-4525,
[email protected], www.islandglassworks.com
Oahu’s only glassblowing studio open to the public. Located
Trovata Creative Adventures, 10415 NE 32nd Pl Ste E-102,
Bellevue, WA, 98004, Tel: 206-612-2378, Fax: 425-963-8627,
[email protected], www.trovataonline.com
Classes with Larry Brickman offered in Coldigioco and Venice,
Italy: May 4 - 13, Sept. 13 - 22, and Sept. 24 - Oct. 3, 2006.
I N T E R N AT I O N A L
11
GAS 36th Annual Conference
St. Louis, Missouri, June 15-17, 2006
Glass Gateways: Meet in the Middle - St. Louis, Missouri, June 15-17, 2006
CONFERENCE
PRESENTERS
February 15, 2006: Display space reservation
and 50% deposit due
March 1, 2006:
Final Technical Display payment
and press-ready art for
Resource Guide ad due
Ken Leap:
Glass Painting for the Artist
Photo: “For Heroes Proved,” 2005
Millennium Hotel, Exhibit Hall
Open to the public: Wednesday, June 14, 12 - 5 pm;
Thursday, June 15, 1 - 6 pm; Friday, June 16, 1 - 6 pm;
Saturday, June 17, 9 - 2 pm
Visit GAS’s annual Technical Display to see and
purchase the newest and best equipment, supplies,
services, publications, and educational materials, located at the Millennium Hotel Exhibit Hall in the midst of
conference activities.
Interested in exhibiting?
Technical Display packages will be available at
$875 and $1,100 and include one 8 x 10 foot square
booth, one half-page Resource Guide ad and two
conference passes. For information on how to reserve
your space or on our display allocation system, please
contact the GAS office or check the website at
www.glassart.org.
David Chatt: Where Glass Meets Fiber,
There Sits Beadwork
Delbert Day: Labino Lecture: Glass–From Outer Space to Inner Space
John Drury: Are We Going to Get it, Together?
Tommy Elder: Photographing Glass: Reflections on Reflections in Glass
Sidney Goldstein: Keynote Lecture: Meet in the Middle: Ancient or Modern–
Call it Medieval!
Millennium Hotel, Mississippi Room
Friday, June 16, 4 - 8 pm; Saturday, June 17, 9 - 4 pm
The Marketplace for Glass Artists
Nick Cave: Willson Lecture: “Soundsuits”:
the Beginning, the Middle, and the. . .
Sarawut Chutiwongpeti: At the Dawn of the
21st Century: A View Through “The Red Window”
International
Student Exhibition
Technical Display
Doreen Balabanoff: From the Four Corners
Penny Berk: Lifetime Membership Award Lecture:
Reflections on Herding Cats
Deadlines:
The International Student Exhibition invites all
Glass Art Society student members who are currently
enrolled full-time in an accredited degree-seeking
program to participate. All work must be current,
original, professionally crafted, and contain glass as
the main element.
How to participate: Deliver your student work to
the Millennium Hotel, Mississippi Room, Wed., June 14,
1 - 5 pm; Thurs., June 15, 10 am - 5 pm. The official
opening will be on Fri., June 16, at 4 pm. Students are
encouraged to hand-carry their work to the conference.
Insurance and shipment of the artwork are the
responsibility of the artist. Neither GAS nor the
Millennium Hotel are responsible for theft or damage
to artwork. Please ensure that your work is delivered
in reusable packaging.
Restrictions: No more than three items may be
submitted by each student. Each piece must not
exceed 30 lbs. (15 kg) or 20 in. (50 cm) in any dimension. Installations or groupings may be submitted,
but each element within the grouping must adhere
to weight and size restrictions. Clear installation
instructions must accompany each work. Work cannot
be hung from the ceiling or walls in the exhibition.
LECTURERS
Henry Grimmett and Edwin King: The Exposed Artist: New Data and Review of
Toxicities in Lampworking
Janet Koplos: Strattman Lecture: Reconsidering Glass
Chuck Lopez and Flo Perkins,
Nick Davis and Charlotte Potter:
Demonstration: Hot Glass: Bowling for Glass
Photo: Bowled Over
John Lewis: Cast Glass in Architecture
Karen Mulder: Glass as a Gateway to Understanding History: Reassessing the Impact
of Postwar Neues Glas Installations from Germany
Tina Oldknow: Trends and Influences in Contemporary Czech Glass Sculpture
Flo Perkins: New Work /New Mexico
Pike Powers: Imagery
Ann Robinson: Lifetime Achievement Award Lecture: Ramp @ off to 420c Degrees
Sam Stang: History of Studio Glass in the St. Louis Area
Michael Taylor: Commercial Value vs. Content: Is there a Survivable Balance?
Brynhildur Thorgeirsdottir: The Continuing Dialogue–Sculpture and Glass
Awards: Previously, more than $12,000
in cash and supplies has been awarded. The first prize
winner will receive a $1,000 cash award from the
Corning Museum of Glass. All award winners will be
acknowledged in the 2005 Glass Art Society Journal.
Sales: We encourage sales at this event by cash or
check made directly to GAS. Artists will receive 80%.
Fred Tschida: Crossroads
Flo Perkins:
Lecture: New Work/New Mexico
Photo: “Conepassion,” 2005
Hank Murta Adams: Hot Glass
Bennett Battaile: Flamework: Flameworked Stringer: All the Methods, Some of
the Madness
Mauro Bonaventura: Flamework: Men in the Tower
Daniel Clayman: Kilnwork Lecture / Demonstration: Twenty Years of Casting Projects
Sam Drumgoole: Hot Glass: Living Glass
Eric Goldschmidt: Flamework: A Contemporary American Take on Venetian Technique
John Reyntiens:
Texture and How to Get It:
Slumping, Gilding, and Painting
Photo: “Evolution” Millennium
Window, 2000
The Glass Art Society publicizes these workshops as a benefit to members. The workshops are not planned, organized,
or administered by GAS. For more information or to register, contact the appropriate school.
Mark Zirpel: Glass Works
DEMONSTRATORS
Buyers must make their own arrangements for
shipping work. Payments, purchases, and all unsold
artwork must be picked up and removed Sun., June 18,
11 am - 5 pm. Pieces left after Sun., June 18, 5 pm will
become the property of the Glass Art Society.
PR E - + PO S T - CO N F E R E N C E W O R K S H O P S
Dana Zamecnikova: Mirroring
André Gutgesell: Flamework: Play with Lines
Kazuyo Hashimoto: Flamework: Brilliant Woven Glass
Judy Hill: Kilnwork: Material as Metaphor, Using Clay and Glass: How These Materials
Are Used as I Make My Objects
Deborah Horrell: Kilnwork: Transforming Line into Form
Contact: Michael Hayes
5200 Delmar Blvd., St. Louis, MO
314.367.4527, www.stlglass.com
Pre-Conference Workshops:
Blown Abstract Forms
June 9 - 11 / Taught by Chuck Lopez
Move beyond the vessel to create blown glass sculpture
using a combination of traditional and innovative
techniques. Prerequisite: at least one year of recent
hot shop experience.
Two Techniques, One Goal:
Sand Casting and Glass Mosaic for the Artist
June 10 - 14 / Taught by John Drury
A fast-paced intensive workshop, approaching the
sculptural exploration and application of glass through
the employment of mosaic and sandcasting, with an
eye to creation as a reflection of self and place.
10
Figuratively in the Middle
June 12 - 14 / Taught by Richard Jolley
Bring the extremes into focus and decrease the distance
while working figuratively, using a variety of glass
sculpting techniques for personal expression.
Post-Conference Workshops:
Exploring the Middle: Painting within Hot Glass
June 18 - 20 / Taught by Bridget Boss
Painting and layering glass to create interesting
simple blown forms that include layered paint and
symbols. Prerequisite: basic glass knowledge.
Let’s Make Good Shapes
June 19 - 21 / Taught by David Levi
Intensive study of form and technique. Blow better
bubbles; add better bits. Prerequisite: two years hot
shop experience recommended.
Marble Making Workshop
June 14 / Taught by Greg Kramer
Make your own marbles by learning to heat hard glass
with a torch and rolling the glass into marble shapes–
from small to “shooter” size.
Frantisek Janák: Kilnwork: Molds for Mold-melted Sculpture
Thinking in Glass, Working in Color
June 21 - 23 / Taught by Sam Drumgoole
Explore the fundamentals of glass with a focus on
various color applications including overlays, murrini,
and bits. Prerequisite: basic glass knowledge.
Post-Conference Workshops:
David Levi and Sam Stang: Hot Glass: Glassblowing Demonstration
Beads Too Good To Be True!
June 18 / Taught by Karen Woodward
Back by popular demand, lampworking artist Karen
Woodward teaches how to create your favorite foods in
glass. Experience is helpful, but not necessary.
Chuck Lopez and Flo Perkins, Nick Davis and Charlotte Potter: Hot Glass:
Bowling for Glass
Five-day Glass Workshop
June 19 - 23 / Taught by Loren Stump
Course divided into three parts: murrine, sculptural
techniques, and encasement.
Liz Mears: Flamework: Sculpting with Opened Tubing
Craft Alliance
Contact: Luanne Rimel
314.725.1177, www.craftalliance.org
Pre-Conference Workshops:
Ruth King: Hot Glass: Simple Solids
Sabrina Knowles and Jenny Pohlman: Hot Glass: Sculpting a Hot Bubble
Tom Krepcio: Flat Glass: Stained Glass–Making it Original
Ken Leap: Flat Glass: Glass Painting for the Artist
Charles Lowrie: Hot Glass
Carmen Lozar: Flamework: Vignette
Koichi Matsufui: Kilnwork: A Japanese Approach to the Lost Wax Casting Mold
Petr Novotny: Hot Glass: A Czech Way of Glassblowing
Michael Plane: Flamework
Ché Rhodes:
Demonstration: Hot Glass: Abstract Blown Sculpture
Photo: Ché Rhodes with Jes Julius and Dan Cutrone
John Reyntiens: Flat Glass: Texture and How to Get it: Slumping, Gilding, and Painting
Ché Rhodes: Hot Glass: Abstract Blown Sculpture
Text and Imagery on Glass
June 10 - 11 / Taught by Susan Taylor Glasgow
Learn a variety of methods for applying images and text
onto glass with low- and high-fire glass enamels and
oven-fired paints.
SURROUNDING EVENTS
Wednesday, June 14, Noon - 6 pm or until the beer
is gone
Janusz Walentynowicz: Kilnwork: A Presentation of Casting Techniques
Crazy Canes – A Glass Workshop
June 12 / Taught by Erin Taylor
Take your beads to the next level by learning to make
compound twist canes, working with color and overlays
to pull canes and explore a variety of decorative
techniques to incorporate into beads. Prerequisite:
prior glass experience.
Douglass School Art Place
900 Douglass St., Murphysboro, IL
618.687.3791, www.artapult.com, [email protected]
Dave Walters: Hot Glass: The Vessels are Narrative
Silver Core Glass Beads
June 13 - 14 / Taught by Deborah Katon and Peg Fetter
Learn to make colorful glass beads with large diameter
holes and coat the core with sterling silver tubing for a
dazzling effect.
Loren Stump: Flamework: St. Louis Arch Commemorative GAS Murrini
Takeshi Tsujino: Hot Glass: Blowing from the Far East
DO U GLASS Hot Shop Open Studio
Cameron Smith and Jan Thomas of DO U GLASS
Hot Shop invite you to visit their studio for open
glassblowing, a demonstration of their new casting
facility, and a visit by the ARTAPULT. The open studio
is held in conjunction with the Southern Illinois
University’s (SIU) Glassblowers reunion being hosted
by SIU-Carbondale. They are located in southern
Illinois two hours from St. Louis and six miles from
SIU-Carbondale.
Randy Walker: Hot Glass: Sculpting Nature
7
PANELISTS
Douglas Auer: Gas vs. Electric
Loren Stump:
Demonstration: Flamework:
St. Louis Arch Commemorative
GAS Murrini
Photo: “Exquisite Male”
Cornelia Carey: The Insurance Show, Starring Craig Nutt
Suellen Fowler: Myth of the Burner
Henry Halem: Moderator: Glass Education: A Gateway to Success or Failure
Janis Miltenberger: Myth of the Burner
Roger Parramore: Myth of the Burner
Dana Zamecnikova:
Lecture: Mirroring
Photo:“Woman/ Man/ Torso,” 2005
Sally Prasch: Myth of the Burner
Steve Stadelman: Gas vs. Electric
Doug Ohm: Gas vs. Electric
GAS Conference preview
continues on next page
GAS 36th Annual Conference – Glass Gateways: Meet in the Middle
G E T I N VO LV E D !
12th Annual Goblet Grab
Gallery Forum
Artist Portfolio Review
Millennium Hotel, by Grand Ballroom,
Friday, June 16, 1- 2 pm
(begins promptly at 1 pm)
Millennium Hotel, Chouteau Room
Saturday, June 17, 1 - 4 pm
Hosted by participating galleries
Millennium Hotel, Soulard Room
Saturday, June 17, 1 - 2:45 pm
Goblet Grab is a fundraiser for the Craft Emergency
Relief Fund (CERF), which offers aid to GAS artist
members in times of need. The fast-paced, spontaneous
Goblet Grab is an event full of excitement and fun!
Contribute to Goblet Grab by donating a drinking
glass and be entered to win one free conference
registration for the GAS 2007 conference.
The Gallery Forum is an 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 1 to sign up and be listed in
the conference program book.
How to donate:
1. Blow a goblet, mug, tumbler, or some kind of
drinking glass.
2. Price it at $50, $100, $150, or $200.
3. Bring your drinking vessel with you and drop it off
at the Goblet Grab receiving area at the Millennium
Hotel, Shaw Room, Wed., June 14, 1 - 5 pm;
Thurs, June 15, 9 am - 5 pm; Fri., June 16, 9 - 11 am.
If you want to ship your piece (at your own expense),
please see shipping information on our website at
www.glassart.org.
Visual Exchange
Millennium Hotel, by Lewis & Clark Rooms
Show your artwork at Visual Exchange, a slide
show on view for everyone. All slides will be donated
to the Rakow Research Library at the Corning Museum
of Glass after the conference. Bring four slides–three
of your work and one title slide with your name on the
slide film–to the conference and give to a GAS board
member at the information desk at conference registration. For more information, contact the GAS office.
4th International Forum
for Glass Organizations
Education Resource Center
Millennium Hotel, Field Room
Wednesday, June 14, 3 - 3:45 pm
Millennium Hotel, Soulard Room
We’d like to extend an invitation to all international
GAS member glass organizations to send one or two
representatives to participate. Anyone interested in
becoming an international liaison is also invited.
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:
The Education Resource Center will be a space
where students and those interested in continuing
their pursuit of glass education may come to pick up
materials and information. All educational facilities:
universities, colleges, public access studios, summer
programs, studios, etc., who offer instruction in
glass-working 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 and drop them off early at the
Education Resource Center at the Millennium Hotel,
Soulard Room, or ship materials ahead of time.
Contact the GAS office for shipping information.
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 St. Louis.
Your ideas and comments are appreciated.
3. Bring your ideas to the forum: How do you think
international glass organizations could best liaise to
benefit all? What form could such a network take?
What opportunities could come from such
interaction (i.e. artist-in-residence exchanges, studio
exchanges, information sharing, etc.)?
SPECIAL EXHIBITIONS
The following galleries will host glass exhibitions ongoing during the GAS conference:
R. Duane Reed Gallery 7513 Forsyth, Clayton, MO
Art Dimensions
415 Tucker, St. Louis, MO
www.artdimensions.org
Art St. Louis
917 Locust, St. Louis, MO
www.artstlouis.org
Atrium Gallery
7638 Forsyth Blvd., Clayton, MO
www.atriumgallery.net
Barucci Gallery
8101 Maryland Ave., Clayton, MO
www.baruccigallery.com
Baseline Gallery
1110 Washington, St. Louis, MO
www.baselineworkshop.com
City Museum
701 N. 15th St., St. Louis, MO
www.citymuseum.org
Componere
www.componere.com
Craft Alliance
www.craftalliance.org
Foundry Arts Center
520 North Main Center, St. Charles, MO
www.foundryartcentre.org/coming.html
Jacoby Arts Center
627 East Broadway, Alton, IL
www.madisoncountyartscouncil.org/html/upcoming.html
Mad Art
2727 S. 12th St., St. Louis, MO
www.madartgallery.com/website/index.htm
Millennium Hotel
200 S. 4th St., St. Louis, MO
Neon Lounge, lower level
Museum of Neon Art: “Traveling Light”
R. Duane Reed
7513 Forsyth, Clayton, MO
www.rduanereedgallery.com
Regional Art Center
6128 Delmar, St. Louis, MO
www.art-stl.com/main.cfm
Rowhouse Gallery
911 N. Tucker, St. Louis, MO
www.rowhousevisuals.com/RHVgallery.html
Samuel Cupples House
3673 West Pine Mall, St. Louis, MO
www.slu.edu/the_arts/cupples
St. Louis University Museum of Art
3663 Lindell Blvd., St. Louis, MO
http://sluma.slu.edu
www.stlglass.com
Thomas Sappington House Museum
1015 Sappington Rd., Crestwood, MO
www.ci.crestwood.mo.us/departments/parks/
sapp_house.aspx
Xen Gallery
401 North Euclid, St. Louis, MO
www.xengallery.com
SPECIAL CONFERENCE EVENTS
Gallery owners, curators, educators, and artists will
be available to review portfolios of GAS conference
attendees. Artists should bring either a slide, photograph, or electronic portfolio (electronic portfolios may
be viewed on the reviewer’s or the artist’s computer).
A sign-up sheet with the list of reviewers will be
available at the conference registration area. Reviews
will last 10 -15 minutes each. A limited number of slots
will be available on a first-come, first-served basis.
EXHIBITIONS
3rd Floor Gallery
1214 Washington Ave., St. Louis, MO
8
There are many opportunities to get involved with the GAS conference, and to contribute to keeping
GAS a vital, growing organization. GAS counts on your support !
St. Louis, Missouri, June 15-17, 2006
Features an exhibition of Ann Robinson’s work as well
as a group exhibition created for the conference by
gallery artists, including Jenny Pohlman/Sabrina
Knowles, Ginny Ruffner, Marvin Lipofsky, Dale Chihuly,
William Morris, Ross Richmond, Crooks and Beers,
Cassandria Blackmore.
Stained Glass Tour
Wednesday, June 14, 9 am - 4 pm
Rendezvous on the River:
The Pre-Conference Reception
Becky Thatcher Riverboat
Wednesday, June 14, 7 - 10 pm
Located directly across from the Millennium Hotel
at the Gateway Arch Riverfront, climb on board the
Becky Thatcher Riverboat to meet, mingle, dance, and
dine as you cruise the mighty Mississippi River and
enjoy the St. Louis skyline.
A replica of a 19th century steamboat, the Becky
Thatcher combines the traditional charm of days gone
by with modern conveniences. During this spectacular
three-hour cruise you will get a chance to view various
points of interest along the riverfront both north and
south of the Gateway Arch. Enjoy live entertainment
and a delicious feast of traditional St. Louis-style fare.
The cruise boards at 7 pm and leaves at 7:30 pm with
a return time of 10 pm.
Cost: $90 Maximum capacity: 250
The Pre-Conference Reception is a fundraiser that
supports low conference registration fees for student
members of GAS.
You must be registered in advance for the PreConference Reception in order to attend.
On the Stained Glass Tour, first visit Congregation
Shaare Emeth to witness the morning light pass
through stained glass windows created by Dale
Chihuly–his first architectural commission for a public
space– and view glass sculpture by Ian Gilula and Aaron
Frankel. Travel on to St. Mark’s Episcopal Church to
see the Art Deco-style windows designed by Robert
Harmon for Frei Studios; then to Union Station to view
remarkable Tiffany-style windows and the Whispering
Wall. Following lunch, visit Cathedral Basilica to view
the largest mosaic collection in the world created by
20 different artists and covering 83,000 square feet.
The installation, containing 41.5 million pieces of glass
tesserae employing over 7,000 colors, began in 1912
and was completed in 1988 by the Ravenna Mosaic Co.
Also at Cathedral Basilica visit the Mosaic Museum, with
information on the construction of the New Cathedral
and the installation of the mosaic artwork. Concluding
the tour will be a visit to Second Presbyterian to view
11 Tiffany windows.
Cost: $80, includes transportation to/from the
Millennium Hotel and lunch
Max. attendance: 54
You must be registered in advance to attend the
Stained Glass Tour.
Gallery Hop
Friday, June 16, 6 - 10 pm
During the St. Louis Gallery Hop, a shuttle will
escort attendees on an eclectic tour of some of
St. Louis’ finest galleries hosting glass exhibitions.
Galleries open for Gallery Hop will be noted in the
conference program book, distributed onsite at
the conference.
Encounter. Experience. Engage:
The Closing Night Party
City Museum
Saturday, June 17, 8 pm - 2 am
Explore the unexpected! Dance the night away to
live St. Louis jazz and blues, enjoy great food and spirits,
and meet and mingle with other GAS participants at
the unique City Museum. The City Museum has been
called a warehouse of adventure for people of all ages
and a museum unlike any other. With an enchanted
forest, secret caves and passageways, a giant aquarium,
a small circus, an architectural museum, a museum
of oddities, and plenty of slides, City Museum is a
delight for people of all ages. Housed on three floors
of the former International Shoe Company building
in a space equal to two-and-a-half football fields, the
museum was born of the vision of several creative
artists. It’s a wacky place where a school bus hangs
off the roof and airplane parts appear to fly over the
parking lot in the outdoor creation called MonstroCity.
City Museum is a recycler’s paradise with many of the
exhibits constructed from products that were made
for other uses.
For the Closing Night Party, GAS participants will
board a shuttle bus from the Millennium hotel to the
City Museum for a private party in Architecture Hall.
All GAS participants are free to roam the museum and
discover the many wonders the museum has to offer.
GAS Conference preview
continues on next page
Craft Alliance 6640 Delmar Blvd., St. Louis, MO
Glass + Metal, May 19 - July 9
This exhibition features the works of artists creating
jewelry from the pairing of metal and glass, including
pieces by Robert Ebendorf, Geoff Giles, and C. James
Meyer. Artists are asked to investigate the relationship
between the two materials while considering adornment.
C. James Meyer will be giving a lecture and workshop
on May 20 and 21, in the Craft Alliance studios.
GAS LINE
GLASHAUS
The International Magazine
of Studio Glass
David and Jacqueline Charak Gallery
Sewn Glass – New Work by Susan Taylor
Glasgow, June 9 - July 16
Susan Taylor Glasgow’s sewn glass technique embraces
the domestic act of sewing in an unexpected medium.
Combining text with 1950’s etched imagery, Susan
explores the “complex dichotomy of women’s roles
within the household.” Once a seamstress, she now
sews glass panels together to create translucent
vessels and sculptures.
Missouri Botanical Gardens
4344 Shaw Blvd., St. Louis, MO
Glass in the Garden: Chihuly at the Missouri Botanical
Gardens, April 30 - Oct. 31
View a custom-designed, stunning show of glass
sculptures by Dale Chihuly at this show that juxtaposes
fine art with nature.
German/ English, 4 issues p.a. 39 EUR
(including air mail postage)
Advertising/Subscription:
Dr. Wolfgang Schmölders
Glashaus-Verlag, Stadtgarten 4
D-47798 Krefeld (Germany)
Tel:
+49-2151-77 87 08
Fax: +49-2151-97 83 41
Email: [email protected]
www.glasshouse.de
We are saddened by the passing of GAS member
Robert W.“Bud” Hurlstone, 53, or Perrysburg, Ohio.
Bud was a professor at Bowling Green State University
for 28 years, and was head of the glass department.
His work was recognized internationally, with works in
permanent collections including the Corning Museum
and the Rahr-West Museum in Germany. If you were a
student or colleague of Bud’s, please share your stories
with us at [email protected] … GAS member
Kristina Logan has been honored by the ISGB Hall of
Flame – Congratulations, Kristina! … Get your copy of
the 2006-2007 Contemporary Marble Calendar,
with specially made marbles gracing its pages by
members and former members, including Daniel
Benway, Bert Cohen, Cathy Richardson and others.
Both the marbles and the calendars will be listed on
eBay for sale. Find out more at www.glasschefstudio.com
… Another way you can help artists affected by
hurricanes Katrina, Rita and Wilma is to make a tax
deductible donation to the Americans for the Arts
Emergency Relief fund at www.AmericansForTheArts.org.
To date, this fund has assisted over 30 arts organizations, but more requests come in every day, and the
need for funding will continue. Thank you, and we
hope the new year brings good things!
9

Herding Individualists NOW MAKING GAFFER

Transcription

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