letter from the GAs President from the

m a rc h
2009
vo l u m e 2 0
issue 2
i n s id e
t h e
R e gul a r Fe at ures
Letter from the GAS President
1
President’s Letter
2
GASLine
2
Letter to the Editor
9
Critical Isues: Thinking Through Craft - Glenn Adamson
s p e cia l F e atures
1
Letter from the 2009 GAS Conference Co-Chairs
3
Why is Glass Still Ignored in
the Mainstream Art World?
3
Change is Happening at the
Glass Art Society!
4
Preview: GAS 39th Annual Conference, Local Inspiration, Global Innovation, Corning, NY,
June 11-13, 2009
Li s ti ng s
10
11
Resources, etc.
12
Classes and Workshops
15
Exhibitions
Seminars, Conferences, Events
Thanks,
Shane Fero
The Glass Art Society
Managing Editor: Kate Dávila
Graphic Design: Ted Cotrotsos
CHANGE SERVICE REQUESTED
© 2009 The Glass Art Society, a non-
profit organization. All rights reserved.
Publication of articles in this newsletter
prohibited without permission from
the Glass Art Society Inc.
t h e
g l a s s
a r t
s o c i e t y
From the 2009 Corning, NY
Conference Co-Chairs
We’re passionate about
glass in Corning, NY. We have
the world’s most comprehensive glass museum, the library
of record on glass and glassmaking, the headquarters and
research facilities of the leading
glass and ceramics company,
the renowned Steuben Glass
factory, and a region full of glass
artists, collectors, scientists and
historians who think glass is the
most magical state of matter.
We like to think of the town
as a “glass campus.” You’ll find
Corning an incredibly walkable,
friendly town. The conference
here is intimate, with most
venues a short walking distance or free shuttle bus ride from
each other.
Surrounding Corning is the beautiful Finger Lakes Wine
Country: the largest wine-producing region east of the
Mississippi, hundreds of gorges and waterfalls, many quaint
small towns, and lots of outdoor activities. We are 2½ hours SE
of Niagara Falls and 4½ hours NW of New York City.
Corning is full of local inspiration that has launched global
innovation: the perfect spot for this year’s theme. Glass for light
bulbs, television bulbs, LCDs and optical fiber for telecommunications – just a few glass innovations developed here in Corning.
Explore The Corning Museum of Glass (or its Studio or
Rakow Research Library) and see our major exhibition “Voices of
Contemporary Glass: The Heineman Collection,” and our special
exhibition of “Favorites from the Contemporary Glass Collection.”
Watch live glassmaking at studios and sites throughout town,
have a drink and a delicious meal at any of a number of fine
restaurants in Corning’s downtown Gaffer District, attend a
legendary 2300° event, or tour the glass research facilities of
Corning Inc.
It’s a small town with big ideas. Let us inspire you.
We look forward to seeing you in Corning!
Nancy Earley
Marshall Hyde
Rob Cassetti
2009 GAS Conference continues on page 4
March 2009, volume 20-2
Publications Committee:
Scott Benefield, Eddie Bernard,
Taliaferro Jones, Debra Ruzinsky,
Drew Smith
The Glass Art Society
6512 23rd Avenue NW, Suite 329
Seattle, WA 98117 USA
Phone: (206) 382-1305
Fax:
(206) 382-2630
E-mail: info @ glassart.org
Web:
www.glassart.org
o f
As I write this, I am sitting on the side of a mountain in Tasmania
at Richard Clements’ house and studio overlooking the beautiful Huon
River Valley. I am here to teach a workshop and lecture at the Ausglass
conference in Hobart. Interacting with the glass community here ‘under,
down under’, I am struck with the global issues facing our glass art
community. Energy and economic issues areat the forefront of everyone’s
mind. Connecting with different people and communities around the
world is what GAS is all about. Trying to network, discuss, and come up
with solutions to our common problems is of great value to us all.
I have been thinking of the importance of the connections between
artists, collectors, galleries, critics, curators, and museums as all vital links in
this chain of community. Without these crucial elements our community
and movement would falter. I view it as a circularity starting with the artist
and running through to the museum, which exhibits glass in a cultural
context and elevating its significance.
My intention is to focus on these vital issues by addressing them
independently through a series of commentary, and currently I would like
to speak about the role of the collector. I hear people sometimes complain
about collectors, their views and purchasing choices, but unless you have
independent means and you are going to collect your own work we are in
a symbiotic relationship with them. We need them and we need to nurture
and educate them and they need to inform us about their perspectives.
I want to create a productive dialogue to enhance our relationship.
Our organization’s mission statement encompasses the education of
people to what we do and are all about. Without the proper education of
collectors and the public, as well as the work of galleries and museums, we
would be hermits working in our studios. We need to acknowledge the
role of the collector or patron in our lifestyle system. Besides buying our
work directly, they also buy our work in auctions, which can give artists a
higher profile and provide much needed income for the institutions the
auction is for. Fortuitously, the pieces in their collections are often then
donated to museums and therefore complete the circle. We can then
produce more work and fuel our creative impulses, skills, and ambitions.
In addition to exhibitions, collector tours are a productive way to
educate as they have the opportunity to visit artist’s studios, galleries, and
museums in different glass communities geographically. It enables them
to see the context, inspirations, and ambiance of where our work is created.
GAS’s own collectors’ tours have been very successful and we will continue
to expand their scope and promote them as we can. Other collectors’ tours
have traveled the world and provided a global perspective. I would like to
thank collectors for their continued support and I look forward to seeing
you in Corning in June for which this issue is mostly dedicated to.
GAS news is published
six times per year as a benefit
to members.
n e w s l e tt e r
6512 23rd Avenue NW, Suite 329
Seattle, WA 98117
Non-Profit Org.
U.S. Postage
PAID
Seattle, WA
Permit #150
GAS LINE
Master Glassblower Drew Smith
passed away from cancer on December 21, 2008 in
his home in Pacific Beach, near San Diego, California.
His very loving and caring fiancée, Linda Livingston
was by his side throughout the entire passage.
Smith graduated with his B.A. from Ashland
University in Ohio. He learned glass making from
Henry Halem at Kent State University where he was
a graduate assistant. He taught glassblowing at
Columbus College of Art and Design from 1981
to 1986.
Drew was a very well known figure in the
American Crafts field from 1971 to 2002 where
he was a regular exhibitor at the American Craft
Council shows, The Buyers Market of American
Crafts, and The Ohio Designer Craftsmen shows,
among many others.
Drew was one of the leading glass blowers
to come out of Ohio, and was highly regarded
throughout the world for his creative genius with
the medium of hand blown glass. His studio was
based in the Hocking Hills-Logan area, just outside
of Columbus, Ohio for many years before he moved
it to Tampa, Florida. Drew received a lot of recognition in the Tampa community for upgrading his
neighborhood with a truly magnificent art gallery
and studio. From there he went to Jamaica, and
then to Pacific Beach, San Diego.
In Drew’s early career, he specialized in lamps,
vases, and tableware. Later on, he moved to larger
scale work in sculpture, metal and glass furniture
and ornamental iron and glass gates. In 1999,
he was featured in an issue of Glass Art magazine
as one of the four leading glass furniture makers in
the world. Smith cast glass into metal pieces like
doing large cloisonné. Smith called his technique
“Ferro Vitro.”
Drew’s hand blown glass and sculptural works
have been exhibited at numerous shows and
galleries throughout the U.S., Europe, and Japan,
with permanent collections in various art museums
including the Corning Museum of Glass and the
Smithsonian Institution.
Remembering Paul Arthur Dufour
2
Paul Arthur Dufour, Professor Emeritus of
Art at Louisiana State University and founder of
Dufour/Corso Studios, passed away Saturday,
September 6, 2008 at The Baton Rouge General
Hospital following complications with pneumonia.
He is survived by his beloved wife of 59 years,
Rita McCue Dufour, son Jay Zoel Dufour and wife
Jamie, son Paulo Dufour and wife Jo Ellen, daughter
Stephanie Dufour Dixon; grandchildren Jay Paul
Dufour and wife Nicole, Shelby Dufour, Jacques
Dufour, Marc Dufour, Elyse Dufour, Camille Dufour,
Elizabeth Richardson, Alex Richardson, Jeannine
Dixon, Melissa Dixon; great-grandchildren Paul
Dufour and Sophia Rodriquez; sister Lucille Roddy
and brother Philip Dufour. He is preceded in death
by his parents, Jay Zoel and Beatrice Dufour, and
his daughter, Julia Dufour Richardson.
Paul was born on August 31, 1922 in
Manchester, New Hampshire, where he spent his
early life before entering the United States Navy
in 1943. He served active duty in World War II and
received a World War II Victory Medal. Upon an
honorable discharge, he enrolled at Yale University
receiving his BFA in studio arts in 1952. After
teaching at St. Johns’s University, he was hired to
join the painting faculty at LSU in 1959, eventually
starting the only stained glass school in the
United States. While at LSU, he received several
research grants and sabbaticals, including work/
study in Italy and Japan. His strong commitment
to education earned him the H. E. “Hub” Cotton
Award for Faculty Excellence in 1970. In 1965 after
receiving a commission to design the stained glass
windows for the Bishop’s Chapel for the Dioceses
letter to the editor
Daniel
Schreiber, a
glass artist
who studied
with Drew said:
“Drew taught
me almost
everything I
know about
working
professionally as a glass artist, and operating a
glass studio. Apprenticing to him in his studio in
Logan, Ohio, was the richest and most rewarding
period in my artistic development and I will always
fondly remember not only the art and the glass,
but the food and drink, the stories and experiences,
and most of all his friendship, generosity and his
very positive attitude about his life, despite its
challenges.”
Chuck Feil, professional photographer, author
of 11 books, and co-owner of Panterra Gallery along
with his partner, Maralyce Ferree, was one of Drew’s
best pals for over 25 years and said the following
motto sums Drew up best: “Life should not be a
journey to the grave with the intention of arriving
safely in an attractive and well preserved body, but
rather to skid in sideways, chocolate in one hand,
wine in the other, body thoroughly used up, totally
worn out and screaming WOO HOO what a ride!”
Drew’s mother, brother and daughter were all
able to speak with him to say goodbye just minutes
before his passing.
Please log on and sign Drew’s guest book,
and leave a legacy for his family and many friends:
http://www.legacy.com/Ohio/GB/GuestbookView.
aspx?PersonId=121898201
Donations in honor of Drew may be made to
Craft Emergency Relied Fund. Your donations to
CERF are a tax deductible, charitable contribution.
CERF (Craft Emergency Relief Foundation)
P.O. Box 838, Montpelier, Vermont 05601
802-223-6484
of Baton Rouge, he
founded Dufour
Glass Studio, from
which he retired as
President in 1992.
Although retired,
he remained
active in the
arts and served
as consultant
to the business
until recently.
Paul’s work in the
liturgical arts can be seen in numerous churches
throughout the United States and his stained
glass windows grace many of the churches in
this region. Honoring a lifetime of devotion to
creating art, his works are included in permanent
public and private collections in the United States,
Europe, and Japan. Among his many awards
are the 1999 Governor’s Award for Outstanding
Lifetime Contributions to the Arts, the 1995
Mayor-President’s Award for Excellence in the
Arts, the 1994 Excellence in Education Award from
the Stained Glass Association of America, and in
1988 received a Hambidge Foundation Fellowship.
Paul’s professional memberships included the
Educational Committee for The Stained Glass
Association of America, the Board of Directors of
the American Glass Guild and the Glass Art Society.
He was a member of St. Aloysius Catholic Church in
Baton Rouge and a founding member of the Baton
Rouge Gallery, Inc.
GAS Line
is continued on page 9
To the Editor:
I would like to thank you for publishing Eddie
Bernard’s “Ventilation” in his Technical Issues column.
I would like to add that studios with electric
furnaces are NOT exempt from the necessity of
adequate ventilation, especially if batch is being melted.
As the “transmutation” from batch mixture to glass
occurs, anywhere from 16-25% of the batch constituents
by weight are given off into the ambient atmosphere as
gases and fumes. Even in the absence
of a flue, these products of the “melting” process will
find their way out of the furnace any way they can,
usually around the door. They will include (but not
necessarily be limited to) carbon dioxide, nitrogen gases,
and various fumes which can contain trace amounts of
heavy metal elements (see your MSDS). It is easy and
simply common sense to minimize exposure to these
through ventilation.
I would also like to reinforce Eddie’s comments
about having a free fresh air supply in proportion to
the exhaust. Viewed simply, the exhaust fan is trying
to suck air out of the studio. The goal is to replace
contaminated air with fresh air. In the absence of
adequate openings allowing fresh air to be sucked in
from outside (door, window, vents), the exhaust fan is
essentially trying to create a vacuum and will operate
inefficiently in its effort to change the air in the space.
For those who for practical reasons cannot install a
commonly available prop type wall exhaust fan under
the hood and must use inline duct fans, a reasonable
source is www.airboosterfans.com
We often say “take care” to each other on parting.
So seriously, take care!
Bill Glasner
Operating Manager
Studio Glass Batch, LLC
Why is Glass Still Ignored in the Mainstream Art World?
Part 3 By Jacci Delaney
Change is happening
at the Glass Art Society!
New benefits are now available for you with
your membership in the Glass Art Society. GAS has
been working hard over the past few months making
changes and additions to our website to bring more
value to you! We’re proud to say it’s now live and
ready for viewing! The site is streamlined and easy to
update, as well as adding new sections and enhancing
our Members’ Only section.
Fig. 1: Silvia Levenson,
It’s Raining Knives
Fig. 2: Jill Reynolds, Family Matter
Take advantage of the new changes:
Fig. 3: Susan Plum,
Woven Heaven, Tangled Earth
Art historians and critics today seem to prefer to write
about works that challenge the boundaries of art, and
that are associated with history, politics, social history,
etc. Although it is true that there is plenty of glass art that
is primarily concerned with formal and technical issues,
there is glass art that functions very much like painting or
sculpture does today, and that could easily be talked about
in the way that other media are. The first example is It’s
Raining Knives by Silvia Levenson 2004 (fig. 1). This work
tackles contemporary social issues, because Levenson says
in her artist statement that it is about how people living in
suburbia think that they are safe when in all actuality they
may not be. Another piece that deals with social issues in
the world is Jill Reynolds’ 2002 Family Matter (fig. 2), which
is about how families are connected. It has clear glass
and red glass; the red represents blood and DNA, and the
clear represents all of the invisible bonds that tie families
together. This piece, like Levenson’s, addresses issues that
extend beyond the concerns unique to glassmakers and
can be compared to paintings and sculptures that present
abstract representations of family. A piece that refers to
historical art is Susan Plum’s 1999 Woven Heaven, Tangled
Earth (fig. 3). Plum had been researching Maya and MesoAmerican cultures and found out that the weaver’s loom
was a metaphor for the universe and creation in that culture.
Plum used technically innovative flame-worked glass to
address a historical concept. This abstract work could be
compared to other abstract works that relate to ancient
cultures. Not all sculptural glass is abstract, however; Steve
Weinberg uses the medium for its transparent abilities to
define concepts in his artworks like in Portrait of the ‘Doc’ #1,
1997. This piece is about his father who had died just a year
earlier; he was a doctor and the work shows the thoughts
Weinberg associated with his father. Inside this solid
piece are medicine bottles, fish, a liquor bottle, a bobber, a
mummy; these are symbols of his father and his relationship
with him. The quality and craftsmanship of this glass are
perfect because Weinberg has been working with this type
of glass casting for years and has mastered it, as one can
tell from this piece. Weinberg’s piece incorporates found
objects to portray his ideas about society just like sculptors
do and should be compared with other sculptures.
One of the other reasons glass may be ignored in the art
historical and critical literatures is because it is so attractive
and beautiful. As an author in Crafts magazine commented:
”What appears to recommend contemporary glass art to
the public, apart from its symbolic interest, is the medium
itself. It seems virtually impossible to destroy the inherent,
attractive qualities of glass, and these qualities carry even the
weakest of art works into the welcoming homes of the public.“
Dale Chihuly is the most renowned glass artist of all
time thus far and his work illustrates the above comment
perfectly. His work is not particularly conceptual; it is
primarily aesthetic and he has pushed the technical boundaries of glass into making huge monumental works in glass
that can be seen all over the world. The bright colors of his
work, and its size and complexity, are what most people are
in awe of when they see his works and it is this spectacle
that has made his work popular. But even Chihuly is not
all that frequently discussed by art historians, even though
most art historians probably know his name and his work.
If/when critics and historians finally start discussing
glass as a medium for artistic self-expression; perhaps
collectors will start collecting glass as avidly as they collect
paintings and sculpture. The founders of the studio glass
movement pushed glass into the collector’s world and
market, but there are still not as many people collecting
glass as there are collecting paintings and sculptures. Glass
is considered to be a collector’s item now thanks to the rise
of glass magazines, like New Glass, and the start of the Glass
Art Society in 1971. These led to other societies of glass
collectors and more attention being drawn to glass art, so
now glass is a collectible item. However, like any collectible
medium, the most sought-after works are by people
with big names, such as Dan Daley, William Morris, and
Steven Powell. People want these works and buy them as
investments hoping that one day they will be worth much
more than what they paid for them. The highest glass prices
are still very low compared to the amount for a painting;
as Susanne Frantz stated in 1989, “Glass artists received
generally lower sale prices and banishment to exhibition
in craft galleries alone.” This is still true today because one
of the highest prices paid for a contemporary glass work
is $150,650 for William Morris’ Canopic Jar in 2000. This is
a substantial sum, but one of the highest-priced paintings
sold is Van Gogh’s Portrait of Dr. Gachet and it sold for $82.5
million at Christie’s in 1990, ten years earlier than Morris’
piece. The low sale prices for glass art reflect the fact that
there aren’t as many collectors of glass yet and that people
still don’t value glass art as much as they value painting.
One reason why curators and collectors may overlook or
undervalue glass is that it still can be and often is functional
and/or mass produced. For example, avant-garde glass
artist Richard Marquis employs the vessel form, though
he subverts the traditional form by using a teapot for the
stem. As Susanne Frantz characterizes the art world’s
neglect of glass, “this refusal to accept the vessel form as
anything other than craft or design was manifested in a
dismissal of the work by the art press and a lack of serious
consideration by art historians.” But another problem is that
glass factories in China and elsewhere are making attractive
functional wares faster and cheaper than American artists
can make glass. Glass artists often have to deal with this
mass produced market when they are starting out and
making their own glass that resembles glass from Pier One
and Target. Since the glass art movement is still young, there
are very few studio glass artists compared to all of the glass
factories in the world. In order to differentiate their work
from that produced by the glass factories; glass artists are
told to “make it new,” a phrase first used by Ezra Pound and
reiterated again by Henry Geldzahler in 1982.
1. Levenson, It's Raining Knives, wall label.
2. Reynolds, Family Matter, wall label.
3. Plum, Woven Heaven, Tangled Earth, wall label.
4. Fairbanks and Warner, Glass Today, 66.
5. “Comment,” 47.
6. Littleton, Studio Glass Movement, 261.
7. Frantz. Contemporary Glass, 182.
8. Warmus. “Studio Glass Market Analysis”
9. “Art Appreciators” The New York Times, 5/20/90
10. Frantz. Contemporary Glass, 182.
11. Geldzahler, “What Makes Art?” 7.
• Member profiles with the ability to update your own information as well as add photos** of your work
• Searchable Membership Directory *
• New and improved GAS blog *
• Downloadable GASnews archives & current issues *
• Journal archives *
• Posting to the forum (classified ads from members) *
• Information on advertising with the Glass Art Society
• Current and upcoming conferences information including downloading the current copy of the pre-
conference brochure & current conference schedule
• Event calendar • And much more!
* These items are available for members only. Not a member?
Sign up at http://glassart.org/joinnow.html **Posting of
photos is not available for student membership levels.
Member log in screen
Member profile - member view
Member profile - public view
Register for the Glass Art Society’s 38th Annual Conference:
Local Inspiration, Global Innovation – ONL I NE NOW!
Register for the 2009 GAS Conference by April 7, 2009 for the lowest conference fee! Pre-register online
with Visa or Master Card at http://www.glassart.org/2009-registration.html. Find out more about all the exciting
events, demonstrations, lectures and tours on the Glass Art Society website (click on links for more detailed
information): http://glassart.org/Corning_2009.html. A conference registration form can also be sent to the GAS
office via regular mail or fax, however we are not able to take your registration over the phone.
Renew your membership or join GAS today! It’s easy - you can include membership fees on your conference
registration form! Remember, each person that registers for a conference pass and/or any special event or collector’s
tour must be a current member of GAS through June 2008. Please visit the GAS website: www.glassart.org or contact
the Glass Art Society at [email protected] if you have any questions. We look forward to seeing you in Corning!
3
Glass Art Society’s 39th Annual Conference
From left:
Corning Museum of
Glass, Rakow Research
Library at Corning
Museum of Glass,
Rockwell Museum of
Western Art
Welcome to Corning 2009!
Corning Museum of Glass Campus
Lectures, Technical Display.
The Corning Museum of Glass is home to the most
comprehensive collection of glass in the world.
The Museum’s campus includes the Museum galleries,
glassmaking demonstration stages, auditorium,
The Rakow Research Library and The Studio.
Corning Museum Auditorium
Lectures, Keynote Address, Closing Night Party
and Glass Fashion Show
Held in the Museum’s state-of-the-art 750-seat
auditorium.
Corning Museum Hot Glass Show
Summer Stage
Demonstrations
Watch demonstrations on the Museum’s unique,
mobile glassmaking studio that houses a 300 lb. glass
melting furnace, two glory holes, an iron warmer, and
an annealer. It includes a full complement of irons,
blowpipes and hand tools that enable glassmakers to
make a wide variety of hand-blown items. 28 ft. long,
there’s no other mobile studio in the world like it!
Corning Museum Magic of Glass Theater
Demonstrations, Lectures, GAS Business Meeting,
Louisville 2010.
Used for films, lectures and glassmaking shows for
Museum visitors.
The Rakow Research Library
of The Corning Museum of Glass
Education Resource Center and School Presentations
The world’s foremost library on the art and history
of glass and glassmaking. A selection of unique items
related to the Studio Glass Movement will be on exhibit
during the Conference. From Monday, June 8 - Sunday,
June 14, the Library will be open every day, 9 am - 5 pm.
The Studio of The Corning Museum of Glass
Demonstrations
The Museum’s glassmaking school offers excellent
hot shop, cold work, flame working and work room
facilities.
Corning Incorporated Headquarters
Lectures and Pre-Conference Recption
The Headquarters of the world’s leader in specialty
glass and ceramics is located in downtown Corning.
CMOG B Building
4
GAS Live Auction
Just off the Corning Studio wing.
Register Today!
Register for the conference by April 7, 2009
to receive the lowest registration fees and your
Program Book prior to the conference. Registration
before the conference runs through May 19; after that
date register onsite at the conference with higher fees.
The registration form is in the conference brochure
and on online at www.glassart.org.
Palace Theatre
Fairfield Inn by Marriott Corning
Lectures, Lec-mos, Panels
This renovated movie theatre is in the heart of
Corning’s Gaffer District (they also show recent and
independent films for just $5 a ticket!).
3 S. Buffalo St, Corning
$154 single/double.
Reservations: (800) 228-2800, refer to Glass Art Society
Conference. Multi-award winning hotel. Complimentary
hot breakfast.
Radisson Hotel Ballroom
Lecture and Panel
Rockwell Museum of Western Art
Opening Reception
The best of the West in the East, this museum
preserves and displays American Western and Native
American art. Open 7 days a week, 9 am - 8 pm.
On display during the conference: works in glass
by artist Tammy Garcia, who is best known for her
contemporary pottery, as well as an exhibition of
traditional Iroquois raised glass beadwork.
171 Cedar Arts Center
International Student Exhibition and Goblet Grab Established in 1968, 171 Cedar Arts Center provides
a center for arts education, performance and display
in Corning.
hotels
LESS THAN 5 MILES FROM CORNING MUSEUM OF GLASS
Radisson Hotel Corning
125 Denison Parkway East, Corning
$120 single/double, $135 triple, $150 quad
Reservations: (607) 962-5000 or online www.radisson.
com/corningny
Group Code: GAS609. Located in Corning’s historic
Gaffer District. In house restaurant, bar, room service,
indoor heated pool, fitness center, and 10-person
outdoor Jacuzzi spa. Pet friendly.
Staybridge Suites Corning
201 Townley Avenue, Corning
$130 studio suite, $150 one-bedroom suite,
$185 two-bedroom suite
Reservations: (607) 936-7800, mention Glass Art Society
Fully equipped kitchens, e-com library, complimentary
continental breakfast, fitness room & pool.
Comfort Inn Corning
66 West Pulteney Street, Corning
$114 single/double
Reservations: (607) 962-1515, www.choicehotels.com/
hotel/ny089
Near CMOG, high speed Internet, full breakfast, fitness
room, indoor pool.
Villa Bernese B&B
11881 Overlook Drive, Corning
$150 single/double
Reservations: (607) 936-2633 or online at
www.bedbreakfastcorning.com
Bed and breakfast in Corning with European elegance,
luxury and hospitality. Overlooking the Chemung
River Valley.
Americas Best Value Inn
Lodge on the Green
196 South Hamilton Street, Painted Post
$79 single/double, $81 triple, $83 quad
Reservations: e-mail [email protected]
Corning Inn
255 South Hamilton St, Painted Post
$69 single/double, $79 triple
Reservations: (607) 937-5383
Holiday Inn Corning - Painted Post
304 South Hamilton St, Painted Post
$99 single/double
Reservations: (607) 962-5021, mention code GAS
Econo Lodge - Painted Post
200 Robert Dann Dr, Painted Post
$99 single/double.
Reservations: (607) 962-4444 or online at
www.choicehotels.com/hotel/NY124.
Continental breakfast. Micro-Fridges in every room.
2009
Main Conference Venues
Hampton Inn Corning - Painted Post
9775 Victory Highway, Painted Post
$124 single/double
Reservations: (607) 936-3344 or online at
www.corning.hamptoninn.com
Newly renovated spacious rooms. Complimentary hot
breakfast bar.
6 -10 MILES FROM CORNING MUSEUM OF GLASS
Watson Homestead
9620 Dry Run Rd, Painted Post
$85 single/double, $95 triple, $105 quad,
8 am breakfast included in rate.
Dorm rooms $45/person – maximum 4 to a room,
linens not provided.
Reservations: (607) 962-8057 x405 or e-mail
[email protected]
Hiking trails and more on 600 rural acres.
Country Inn & Suites, Big Flats
105 East Mall Rd, Horseheads
$150 single/double, $155 triple, $160 quad
Reservations: 1-800-456-4000, mention
“GAS Conference rate”
Hilton Garden Inn Elmira/Corning
35 Arnot Rd, Horseheads
$175 single, $180 double.
Reservations: (607) 795-1111
Find more hotels at
www.GAS2009Corning.com
Local Inspiration, Global Innovation - Corning, NY, June 11-13, 2009
special Conference events
Pre-Conference Reception
Kick-Off Dinner and Private Tour
Corning Incorporated Headquarters
Wednesday, June 10, 5:30 pm - 9:30 pm
LIMIT: 160 guests - Reservations will be made by the
date received. Price: $150/person
Please join us for this special fundraising event!
An elegant, private dinner and exclusive tour of
eleven large-scale glass installations that were commissioned for the atria of the East and West wings of the
Corning Incorporated World Headquarters Building.
Featured artists are Peter Aldridge, Dale Chihuly, Erwin
Eisch, Rury Iwata, Stanislav Libensky and Jaroslava
Brychtova, Donald Lipski, William Morris, Therman
Statom, Bertil Vallien, Harumi Yukutake, and Dana
Zamecnikova. These works are not normally offered for
public view. The dinner will be hosted by James B. Flaws
and Marie McKee.
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 Pre-Conference Reception in order to attend as
space is limited.
structural glass. He has taught architectural students for
20 years. He has been appointed an Honorary Fellow
of the Royal Institute of British Architects, and is on the
council of the Architectural Association in London, as
well as a Visiting Professor at Yale University.
Opening Reception
Rockwell Museum
of Western Art
Thurs., June 11, 5 - 6:30 pm
Kick off the GAS conference
with a Western-themed evening
at the Rockwell Museum of
Western Art. Enjoy live music
and food and explore the
Museum’s amazing collection of
American Western and Native
American art, as well as its special exhibitions of glass
by Tammy Garcia and traditional Iroquois raised glass
beadwork. A shuttle will run beginning at 6:30 pm to the
Woodburning Furnace at Corning Community College.
Opening Ceremony
CMOG Auditorium
Thursday, June 11, 1 - 5 pm
Join GAS at the Opening
Ceremony to kick off the
conference events! The events
will begin with a blessing from a
member of the Haudenosaunee/
Iroquois Federation, a tribe
Tim MacFarlane
native to New York State.
The ceremony will continue with a welcome from
Shane Fero, GAS President, and the Corning conference
co-chairs, presentation of the Lifetime Membership
Award to John Leighton and the prestigious Lifetime
Achievement Award to Marvin Lipofsky. The event
will conclude with lectures from the award winners
and Keynote Speaker Tim MacFarlane, who is a Design
Partner at Dewhurst MacFarlane and Partners. He works
with leading architects on challenging structures, where
the structural engineering is essential to the aesthetic.
Since 1991, he has headed the innovation of the use of
An Evening In The Gaffer District
Friday, June 12, 6 pm - 11 pm
6 - 9 pm Wine & Beer Tastings on Market Street
9 - 11 pm Demos in the Park, Neon on the Bridge - Centennial Park
Surprise, spectacle and a great social event - in
Corning’s beautiful downtown. Finger Lakes wine and
beer tastings fill Corning’s Historic Downtown Gaffer
District shops, galleries and restaurants, and surprise
guest artists demonstrate glassmaking in the town
square with a great beer and pizza party. Join a
community celebration of GAS in Corning as you spend
a night out with fellow GAS participants. As the sun goes
down, view “Neon on the Bridge,” sculpture installations
organized by Alfred University.
Sullivan Park Research Center
All tours leave from the Corning Museum of Glass
Wednesday, June 10, at 12:30 and 2:30 pm
Wednesday, June 10, 8 am
(7:45 am - board bus)
Tiffany historians
Lindsy R. Parrott and
Diane C. Wright lead an
in-depth exploration
of Tiffany Studios
ecclesiastic windows
and interiors in Corning
and Rochester churches.
Ornamental, figural and landscape windows dating
from the early 1890s through the 1920s are the focus
of this day-long tour. Tiffany mosaics and other richly
ornamented fittings for ecclesiastic interiors will also be
considered.
Ms. Parrott is the Director and Curator of the
Neustadt Collection of Tiffany Glass in New York City.
She will discuss the innovative materials and fabrication
techniques used by Tiffany to create these windows.
Ms. Wright works in the American Decorative Arts
Department at the Yale University Art Gallery. She will
focus on the designers who worked for Tiffany and the
history of the American stained-glass movement.
Cost: $140/person. Includes bus transportation and
a box lunch. Minimum 20, maximum 50 participants.
CMOG Auditorium
2300° for GAS Attendees
Saturday, June 13, 8 pm - 12 am
The Corning Museum’s 2300° events are legendary
for great music, great glassmaking and great food. The
evening kicks off with the Student Awards ceremony at
8:30 pm, followed by the infamous Glass Fashion Show
produced by Laura Donefer at 8:45 pm.
Live music by Entrain: “Groove-heavy music, Entrain
merges funk, rock, reggae, swamp, and worldbeat
rhythm into a sweaty good time...” says The Boston
Herald. Jazz music by local band, SuperNatural.
Glassmaking demonstrations by Corning Museum staff
and special guests. Free food, cash bar.
Glass Fashion Show
pre-Conference tours
Exploring Tiffany Windows
in Western New York
Closing Night Party
Corning celebrated 100 years of Research &
Development in 2008. A tour of the Sullivan Park R&D
Center will be offered to Glass Art Society participants.
The tour will include an overview of Corning’s R&D
programs and facilities followed by demonstrations of
three technologies for new products.
Cost: $15/person. Maximum capacity of 80 people
per tour. Details will be available on the day of the tour.
Finger Lakes Studio Tour
CMOG Auditorium
Saturday, June 13, 8:45 pm
Event will take place during the Closing Night Party
When Laura Donefer put on the very first Glass
Fashion Show at the GAS conference in Toronto in 1989,
she had no clue that it would become one of the most
anticipated events in the glass world. After organizing
over 10 Glass Fashion Shows in a number of different
venues, Laura is back at Corning with what will be one
of the most spectacular Glass Fashion Shows ever! Over
50 artists from all over the world will participate, creating costumes made with every kind of glass imaginable.
Come early for a front row seat, and watch the artists
strut their glassy stuff!
Niagara Falls, NY Day trip
Wednesday, June 10, 7:30 am - 8 pm
Tour the best of art and nature on our tour to
Buffalo-Niagara Falls – we will visit the Darwin Martin
House (a Frank Lloyd Wright designed home), the
Albright Know Gallery, as well as enjoy a cruise on the
famous Maid of the Mist. Tour includes a “traditional”
Buffalo lunch!
Cost: $130/person*. includes: transportation,
English speaking guide, admission to the Maid of the
Mist, lunch at Hard Rock Café and guide and driver
gratuity. *Pricing is based on 35 passenger minimum
and may increase with a lower passenger count.
Minimum 35, maximum 50 participants.
Wednesday, June 10, 8 am
Sylvania Light Bulb Factory Tour
Take a ride and discover glass art studios nestled
amidst the vineyards of the Finger Lakes. Our tour
will visit 4 working glass studios along the shores of
Canandaigua Lake, each with its own unique story and
treasures. We’ll enjoy wine-tasting and lunch at one of the
oldest wineries in the Finger Lakes, Widmer Wine Cellars.
Cost: $95/person. Maximum 25 participants.
Tuesday, June 9, 12:30 - 4:30 pm
Visit the Sylvania Lightbulb factory. Learn about the
history of this plant and its current operations as well as
go on a walk-through of the factory floor. Visitors will
be able to see the furnace, ribbon machines, frost
machines and packaging operations.
Cost: $30/person. Maximum 30 participants.
5
Glass Art Society’s 39th Annual Conference
Marvin Lipofsky, China
Group II 1999-2000 #12
Gianni Toso,
Maestro at the Bench
Mark Naylor,
Piano Player 2
Marc Petrovic,
3 Potions
John Leighton,
Overture Grouping
Erica Rosenfeld,
Red Tap
Martha
Croasdale,
Serenity
Alex Bernstein,
Amber Flight
6
Lectures
Demonstrations
Lu Chi: Chinese Glass Art’s Global Consciousness and Chinese Specific Character
John Chiles and Sam Stang: Some Thoughts on Energy Efficiency for Design and Operation of Small Glass Studios
Charles Correll: We Have a Carbon Footprint…
Stephen Edwards: My Work, My Students
Donald Friedlich: Donald Friedlich: Corning, Collaboration and CAD/CAM
Irene Frolic: Poetic Vision: Six Canadian Sculptors
Ron Gavigan: Proper Ventilation: From the Factory to
the Studio
Helsinki University: Tuomas Rossi, Shinsaku Fukutaka, Vesa Kattelus (Silent: Oliver Backman, Kazushi Nakada, Katriina Nuutinen, Timo Salli,
Lotta Veromaa, Satoshi Yoshida): Breaking the Aquarium
Chad Holliday: The Final Polish - A Peek into the Czech Glassmaker’s Education
Jesse Kohl: The History, Development, and Chemistry of Silver Containing Glasses for the Curious Glass Artist
Stephen Koob: Conservation and Care of Glass Objects
Labino Lecture: TBA
Helen Lee: Vitreous Typography
John Leighton: Honorary Lifetime Membership Award Lecture: Thoughts of Another Object Maker
Marvin Lipofsky: Lifetime Achievement Award Lecture: Thank You Harvey…It’s Been 47 Great Years
Tim Macfarlane: Keynote Lecture
Bruce Metcalf: Strattman Lecture: The Glass Art Conundrum
Kazushi Nakada: Boundary Between Imagination
and Reality
Mark Naylor: Harmonizing Murky Dimensions of Glass
Jung Sun Oh, TBD: Emerging Artists Presentations
Pat Oleszko: Willson Lecture: The Pats to Suckcess
Jackie Pancari: Parallel Journeys
Keith Seybert: Keeping a Killer Out of Your Glass Studio
David Whitehouse: Lecture with Demo by Bill Gudenrath: Goblets Through Time
Eric Caster: Flameworking: Hooked On Boro
Vittorio Costantini: Flameworking: Nature In Glass
Max Erlacher and Takeo Takemasa: Engraving:
Copper Wheel Engraving
Matthew Eskuche: Flameworking: Life, Liberty, and
the Pursuit of Crappiness
Riccardo and Pietro Ferro: Coldworking: Murano Style
Sarah Gilbert, Jessica Julius, Erica Rosenfeld &
Maret Sarapu: Hot Glass: TV Dinner
Bill Gudenrath: Hot Glass: A Survey of Historical Glassblowing Techniques and Demo with Lecture by
David Whitehouse: Goblets Through Time
Jin Won Han: Flameworking: Flameworking and
3D Rendering in the Design Process
Jìrí Harcuba: Engraving: Zen Engraving – The Ease
of Engraving!
Eric Hilton, Peter Houk & Denise Stillwaggon Leone: Sandblasting: Sandblasting – A Personal Approach to Erosive Processes
Lucie Kovarova-Wier: Flameworking: One Piece At
a Time (murrine cane assembly)
Ben Livingston: Flameworking: Ben’s Neon 1000 Degree
Dog and Pony Show
Jeff Mack: Hot Glass: Guggenheim Cup
Chris McElroy: Flameworking: The Right Tool
Eric Meek: Hot Glass: Blast and Blow
Robert Mickelsen: Flameworking: Copa Pimienta
Marc Petrovic: Hot Glass: Old Roll Up, New Tricks
Elio Quarisa: Hot Glass: Angel and Dragons
Michael Rogers and Kazushi Nakada: Hot Glass:
Meeting of the Minds
Martin Rosol: Coldworking: Coldworking in Progress
Davide Salvadore: Hot Glass: Suoniamo Il Vetro
Nadine Saylor: Hot Glass: Recollections: Objects
of Memory
Rob Scavuzzo: Hot Glass
Edward Schmid: Hot Glass: 25 Years of Hot Glass Tricks
(and Yet I’m STILL Learning!)
Josh Simpson: Hot Glass: Reality Sucks: How To Keep
Things From Exploding
Cesare Toffolo: Flameworking: Bubble In Trap
Gianni Toso: Flameworking: How to Find Your Voice in Glass
David Wilson: Hot Glass: Fluorescent and
Photoluminescent Glass
Carlos Zervigon: Hot Glass: Tube Time
Jeff Zimmerman: Hot Glass
Lec-Mo (Lectures on Artists Processes)
Alex Bernstein: Kilnforming: Carving Your Own Path –
Finding the Artist’s Voice Through Process and Exploration
Martha Croasdale, Taliaferro Jones & Janet Kelman:
Coldworking: Diamonds Are a Girl’s Best Friend and
Other Gems of Knowledge
Steve Demartino: Fractography: The Voice of the
Material – A Short Tutorial on Designing for Reliability
Jim Dennison & Leanne Williams: Kiln Casting: Sweet As
Nomoda “Cedi” Djaba: Kilnforming: West African
Krobo Powder Glass Beadmaking
Shinichi and Kimiake Higuchi: Kilnforming:
Beyond The Basics – Mould Making Techniques
Dan Mehlman: Kilnforming: Product Development
In The Glass and Ceramic Industries – A Designer/
Model Maker At Work
Panels
Eddie Bernard, TBD: Energy and Atmosphere
Michelle Bufano, Ann Jakle, Brian Kibler,
Heather McElwee: A Survey of Public Glass Studios
Domenico Cavallaro, Vittorio Costantini, Riccardo
& Pietro Ferro, Marco and Davide Salvadore: Murano Glass: A Global Future
Rika Hawes, Jocelyn Prince, Angus Powers:
Glass: Ephermera: Object Exploring Virtual/Actual
Objects Outside the Bubble
Tina Oldknow, Thomas Buechner, Jutta-Annette Page, Paul Smith, William Warmus: A Glimpse at the Past of
Contemporary Glass: Corning’s 1959 and 1979 Exhibitions, the Toledo Glass Nationals, and Other Landmark Shows
Local Inspiration, Global Innovation - Corning, NY, June 11-13, 2009
2007 GAS Live Auction
Robert Mickelson,
Venus 1
Donate to the GAS Auction
Saturday, June 13, 2009, Corning B Building, 6-7 pm
Preview: Friday, June 12, 5 - 7 pm
Saturday, June 13, 10 am - 6 pm
Silent Auction Preview: Sat., June 13, 10 am - 6 pm, first silent tables close at 5:15 pm
Carlos Zervigon,
Flow
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. These will be presented
at the Opening Ceremony at Corning Auditorium,
Thursday, June 11, 1 pm. The 2009 recipients of
these awards are:
The GAS Auction has become one of the highlights
of the annual conference, and we hope you consider
donating a piece of your artwork, goods or services.
Your donation helps subsidize half-price student fees
and keeps all registration fees affordable. Expected to
be one of the largest GAS auctions ever with many
donors and buyers, it will also be a great opportunity
for exposure of your work. Twenty five pieces will be
selected for the Live auction from pieces created by
2009 Corning Conference presenters and GAS Board
members. Five surprise pieces will be selected from the
items donated for the auction by other member artists
to the Glass Art Society.
This year donating artists have the choice to give
100% to GAS, or to receive 25% or 40% of the selling
price. Your donation will be on exhibit throughout the
conference and acknowledged in the 2009 Glass Art
Society Journal.
How to donate:
1. Contact the GAS office to obtain an auction donation form, or on the GAS website at www.glassart.org
2. Complete and return the auction form with a high resolution (at least 300 dpi) JPG of your piece, so that
we can include it in the Power Point presentation. This also helps us in planning the display of the
auction pieces.
3. Bring your donated piece to the conference.
Drop it off at: Corning B Building, Wednesday,
June 10, Noon - 5 pm; Thursday, June 11, 9 am - 12 pm; Friday, June 12, 9 am - Noon
4. If you want to ship your piece (at your own expense), contact the GAS office at 206-382-1305, or email: www.glassart.org
GAS is a non-profit organization funded by its own membership. We are counting on your support. Thank you!
Eligibility: The GAS Auction and Goblet Grab are open
to all glass artists and suppliers; you do not need to be
a member of GAS. Glass artists can submit one piece
of artwork; all artwork must be designed by the artist.
You do not have to attend the conference to donate,
and donating work is a great way to support GAS if you
aren’t able to attend.
How to donate:
1.Create 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 and preview area at the
Goblet Grab receiving and preview area at: 171 Cedar
Arts Center, Wednesday, June 10, 12 pm - 5 pm; Thursday, June 11, 9 am - 12 pm; Friday, June 12,
9 am - 12 pm.
Shipping for Auction, Goblet Grab & Student Exhibition
Shipping Addresses: For Goblet Grab and Student
Exhibition: Susan O’Leary, 171 Cedar Arts Center, 171
Cedar Street, Corning, NY 14830. Label package with
“GAS Goblet Grab” or “GAS Student Exhibition” depending
on which event it is for. For Auction: Jim Matteson,
“GAS Auction” Corning Museum of Glass, 5 Museum Way,
Corning, NY 14830
Donating Artists: Artists donating to the Auction
are encouraged to hand-deliver their work to the conference packed well enough for carryout. Shipped work
must be received in Corning by June 4, 2009. GAS promises to handle your pieces 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 on
site after the auction on Saturday evening. 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 at the purchaser’s expense. No exchanges
or refunds allowed. GAS assumes no responsibility for
the shipping of purchases or for those items not picked
up immediately after Goblet Grab or the Auction. Once
you have made arrangements with a shipping vendor,
GAS 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.
2008 Artist Portfolio Review
Artist Portfolio Review
Studio Workroom, Saturday, June 13, 1 - 3 pm
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 reviewed on the reviewer’s or artist’s computer.)
A sign-up sheet 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 firstcome, first-served basis.
2008 Goblet Grab
Education Resource Center
Marvin Lipofsky
Rakow Research Library - Upstairs Lobby
Friday, June 12, 1:30 - 5 pm;
Saturday, June 13, 1:30 - 5 pm
Lifetime Achievement Award for exceptional
achievement in the field of glass
15th Annual Goblet Grab
171 Cedar Arts Center, Friday, June 12, 4:30 - 5:30 pm
(begins promptly at 4:30 pm)
John Leighton
Honorary Lifetime Membership Award
for outstanding service to the Glass Art Society
The 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 Goblet
Grab is an event full of excitement and fun! Contribute
to the Goblet Grab by donating a drinking glass and be
entered to win one free conference registration for the
GAS 2010 Louisville conference.
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 Rakow Research
Library, Upstairs Lobby. To ship materials ahead of time,
please contact the GAS office.
Continued on page 8
7
Glass Art Societ y’s 39th Annual Conference
pre- and post-conference workshops
Lewis Olson and
Eric Meek of CMOG
blowing glass
during the second
success wood-fired
glass trial in the
CCC kiln.
Wood-fired Glassblowing
and Ceramic Workshop
Teachers: Fred Herbst & Steve Gibbs. $400 for 3 days
An introductory workshop to wood-fired ceramic
firing and glassblowing technology. This innovative workshop will provide participants hands-on experience with
contemporary wood-fire technology. We will explore
the intersections of ceramics and glass simultaneously
through wood firing. Working as a team, participants will
load and fire ceramic objects, close the furnace, prepare
and stoke wood, monitor temperatures and operation
of the wood furnace, and blow glass using wood-fire
technology. Participation will require working shifts TBD
around the clock to stoke wood. No previous experience
required. Participants will be provided ceramic and glass
tools, materials, and instruction. Participants who are
able to bring bisque-fired ceramic objects for wood firing
should contact Fred Herbst: [email protected] for
technical information. This workshop will take place at
the Corning Community College.
The Studio of The Corning Museum of Glass
The Ocean Seminar
One Museum Way, Corning, NY 14830, 607-974-6467,
www.cmog.org/thestudio
Wednesday, June 10, 2009.
Approximately 4 hours, including lunch.
Contact: William Warmus at [email protected]
or 607-533-7688
Pre-conference workshops:
June 1-6: John Miller, Glassblowing; or Loren Stump, Flameworking
June 1-10: Davide Salvadore, Glassblowing; Shin-ichi
and Kimiake Higuchi, Pate de verre; or
Jiyong Lee, Cold Working
June 8-10: William Gudenrath, Glassblowing; Cesare Toffolo, Flameworking; or Jiri Harcuba, Engraving
Post-conference workshops:
June 15-26:Elio Quarisa, Glassblowing; Suellen Fowler, Flameworking; Catharine Newall, Kilnworking; or Jiri Harcuba and Martin Rosol, Engraving and Cold Working
Experimental Glass Workshop
Pre-Conference Workshop: Engineering the Arts,
Collaborations of Artist and Engineers
NYSCC @ Alfred University, June 8 - 10, 2009
With a faculty team from both the Glass Sculpture
and Glass Engineering divisions of the New York State
College of Ceramics, we will work during this three-day
intensive to create glass objects to analyze, strengthen,
break, and explore the innate properties of glass.
The workshop will cooperatively utilize the art and
engineering facilities at the NYSCC at Alfred University
and is open to all levels of glass experience. Alfred is
within an hour drive of Corning, NY. Please contact
[email protected] for registration information.
GAS would like to thank
the following 2009 conference presenters
who have donated
their entire honoraria back to GAS:
Eddie Bernard
Thomas Buechner
Eric Hilton
e x h i b i t i o ns
Continued from page 7
The following galleries will host ongoing glass exhibitions during the GAS conference.
These exhibitions all occur at The Corning Museum of Glass.
International Student Exhibition
Favorites from the Contemporary Glass Collection - Changing Exhibitions Gallery through January 3, 2010
Discover (or rediscover!) some of the Musuem’s most popular contemporary works. Evening Dress with Shawl by Karen
Lamonte, Red Pyramid by Stanislav Libenský and Jaroslava Brychtová, Untitled (White) by Josiah McElheny are just a few of
the favorites from the Contemporary Glass Collection highlighted in this special exhibition.
Masters of Studio Glass: Richard Craig Meitner - West Bridge April 4 - October 18, 2009
The intellectual, poetic, and always changing work of the American artist Richard Craig Meitner
(b. 1949) reflects a variety of influences and ideas, from Japanese textiles and Italian painting and applied arts to science
and the natural world. The colorless glass surfaces of his quixotic objects often incorporate assorted materials such as
rust, enamel, bronze, tile, paint, and print. Meitner revels in unusual juxtapositions of forms and ideas, in unanswered
questions, and in the intersections between art and science. All of the objects in the exhibition are drawn from the
Museum’s collection.
Voices of Contemporary Glass: The Heineman Collection
Contemporary Glass Gallery and Changing Exhibitions Gallery May 16, 2009 - January 3, 2010
Voices of Contemporary Glass showcases the 230 objects, by 87 international artists, that constitute the Museum’s
recently acquired Heineman Collection. The exhibition will present the collection in the historical context of international
studio glass, and focus on the accomplishments and “voices” of individual artists. Artists in the collection include Howard
Ben Tré, Dale Chihuly, Stanislav Libenský and Jaroslava Brychtová, Harvey Littleton, Klaus Moje, and Toots Zynsky.
Work Exchange
Lower your conference registration fee and have some behind-the-scenes fun – all while helping out GAS.
More than 100 people are needed in the days leading up to and during the conference. Participating in this way can
enrich your conference experience and save you money!
A limited number of work exchange positions are available. If you are interested, contact the Glass Art Society office,
to obtain a work exchange application form. If accepted, you will pay the reduced work exchange registration fee,
with commitment to work 12 hours during the conference.
8
Glass artists including Louis C. Tiffany in America
and Emile Galle in France have produced an impressive
body of work celebrating the mysterious world beneath
the sea. Former Corning Museum curator and author
William Warmus is a scuba diver who writes and lectures
about the ocean as a work of art. He offers this intensive
seminar in an effort to interest more artists in the
undersea realm as a resource for inspiration. The Ocean
Seminar explores work by Jules Verne, theBlaschkas, and
Rene Lalique as well as studio glass artists Dale Chihuly,
Josh Simpson and Klaus Moje. The course will also focus
on undersea images and videos made by prominent
ocean explorers.
The seminar is free (except for meals and incidental
expenses), but limited to 20 qualified applicants.
Student member work exchange conference fee:
$40
Individual member work exchange conference fee: $140
Work exchange assignments will begin on Monday, June 8 and run through Sunday, June 14, 2009.
To apply:
1. Contact The Glass Art Society office, for information and application form: [email protected], or find the form
on the GAS website at www.glassart.org
2. Send completed work exchange application to the GAS office via email ([email protected]) or fax (206-382-2630)
3. If accepted, you will be contacted by regular mail or email. You will then submit a completed conference
registration form with payment for a reduced work exchange fee to the GAS office in Seattle, WA.
(Full-time students must include a photocopy of student ID or other proof of student status.)
Work exchange applications are due: May 1, 2009. All confirmations with assignments will be sent by May 15, 2009.
If you miss your work assignment during the conference you will be held responsible to pay the full conference fee.
171 Cedar Arts Center, Friday, June 12, 4 - 8 pm;
Saturday, June 13, 9 am - 2 pm
The International Student Exhibition invites
all Glass Art Society student members who are
currently enrolled full-time in an accredited degreeseeking 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 171 Cedar Arts Center, Wednesday, June
10, 12 - 5 pm; Thursday, June 11, 9 am - 12 pm. The
official opening will be on Friday, June 12, 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 171 Cedar Arts Center are responsible for
theft or damage to artwork. Please ensure that your
work is delivered in reusable packaging.
Restrictions: No more than ONE item may be
submitted by each student. Due to limitations in
display possibilities, the piece must not exceed 30
lbs. (15 kg) or 20” (50 cm) in any dimension. It must
be possible to be handled (lifted and moved) easily
by one person. Installations or groupings may be
submitted, but each element within the grouping
must adhere to weight and size restrictions. Any
group, diptych or triptych will be sold as one piece.
Clear installation instructions must accompany
each work. No work will be hung on the walls or
from the ceiling.
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 Glass Art Society 2009
Journal.
Sales: We encourage sales at this event by
cash or check made directly to GAS. Artists will
receive 80%. (Visa/MasterCard also accepted.)
Buyers must make their own arrangements for
shipping work. Payments, purchases, and all unsold
artwork can be picked up Saturday, June 13, 2 - 5
pm at 171 Cedar Arts Center. Pieces left after
June 13, 5 pm will become the property of GAS.
G A S L ine
(continued from page 2)
Corning Museum of Glass: These Are a Few of Our Favorite Things
An assemblage of luminous, bright white icons of
modernist glass design, a ghostly, life-size figure in an
evening dress, and a dramatic red, cast-glass pyramid
seemingly lit from within: these are among the art works
that have captivated visitors to The Corning Museum of
Glass time and again and are three of 41 contemporary
glass objects featured in the upcoming exhibition,
Favorites from the Contemporary Glass Collection. This
survey of audience favorites will be on view at the
Museum from March 1, 2009 through January 3, 2010.
“Many visitors come to the Museum anticipating
that they will see Venetian masterpieces and examples
of ancient Greek and Roman glassmaking, and are
surprised to also discover an extraordinary variety
of contemporary works,” says David Whitehouse, the
Museum’s executive director. “The sheer volume and
scale of many of the works in the exhibition, as well as
the astonishing variety of forms, color, and techniques
represented, underscore the allure of contemporary
glass sculpture.”
To identify the visitor favorites, the Museum surveyed
its education staff, docents, security guards, and others
who interact with visitors on a daily basis. The selections
range from a painting-inspired still life in glass by Beth
Lipman and a sculpture of carrots preserved in a Pyrex
Donald Lipski,
"Water Lilies No. 52",
Machine-blown
Pyrex acid-waste
lining tubing; metal
couplings; carrots,
preservative solution
H: 39 cm, W: 29.2 cm,
D: 10.1 cm
tube by Donald Lipski, to Kiki Smith’s Steuben vase,
engraved with tattoos, and a family portrait comprised
of “molecular” forms by artist Jill Reynolds.
“This exhibition brings together some of my
favorite objects, as well as the art works that are
repeatedly singled out by our visitors. People are drawn
to contemporary glass for the unexpected expressions
that they discover are possible in the material, by the
versatility and skill of the artists, and by the beauty of
the objects,” said Tina Oldknow, curator of modern glass.
“The artists represented in Favorites take an innovative
Critical Issues: Thinking Through Craft - Glenn Adamson
In the Dec. 1985/Jan. 1986 issue of American Craft,
John Bentley Mays claimed that the primary virtue of
visual art is in its employment of critical thinking. The
crafts, he explained, were woefully deficient in this area.
Fast forward 20+ years, and Glenn Adamson, grounded
in his dissertation work at Yale, published a fresh perspective entitled “Thinking through Craft.” (Berg Publishers, 2007)
In his book Adamson’s intent is to treat “craft as an idea.”
It is a consideration of what craft has meant within
the broader context of the visual arts, and what it
could be made to mean, if thought through in extra
disciplinary terms.1
Adamson takes a fresh look at very tired debates
over the schism between craft and art. He explores
the concept of second-class status, first tier credibility,
amateurism versus mastery. He presents historical case
studies, deconstructing the role of craft within the visual
arts spectrum, in architecture, design, contemporary art,
and in the crafts as well.
He presents his ideas grouped into five organizing
principles: Supplemental, Material, Skilled, Pastoral,
and Amateur, in order to delve deeply into the notion
of craft as a “lesser” art, to argue that there is more
intelligence, more nuance, in short more going on
than has been credited in critical discourse by the larger
art establishment.
GLASHAUS
The International Magazine
of Studio Glass
German/ English, 4 issues p.a. 39 EUR
(including air mail postage)
Advertising/Subscription:
Dr. Wolfgang Schmölders
Glashaus-Verlag, Stadtgarten 4
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Email: [email protected]
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approach to the medium, and their work conveys a
freshness of thought. I hope that these objects will
surprise the visitors who have not yet seen them, and
that our visitors who know the collection will enjoy
seeing some of their favorite pieces in a different kind
of presentation.”
The exhibition is part of a larger year-long series
of contemporary glass exhibitions. The major 2009
exhibition, Voices of Contemporary Glass, will showcase
the 240 objects, by 87 international artists, that
constitute the Heineman Collection, one of the largest
and finest private collections of contemporary studio
glass in the United States, donated to the Museum in
2005 by Ben W. Heineman Sr. and his wife, Natalie G.
Heineman. The Heineman Collection is distinguished
by the wide-ranging history of studio glass that it
represents, with objects dating from 1969 to 2005, and
by its focus on selected artists whose work has been
influential to artists working in glass worldwide. While
over half of the artists in the Heineman Collection are
American, there is a wide representation of European
artists, as well as artists working in the United Kingdom
and Japan. Voices of Contemporary Glass will be on
view at the Corning Museum from May 16, 2009 January 3, 2010.
By Debra Ruzinsky
At the advent of Conceptualism, British artist Victor
Burgin, in 1986, declared that: “Art practice was no longer
to be defined as an artisanal activity, a process of crafting fine
objects in a given medium, it was rather to be seen as a set of
operations performed in a field of signifying practices, perhaps
centered on a medium but certainly not bounded by it.” 2
Adamson presents historic and contemporary
works that function in this way, by such artists as Robert
Arneson, Judy Chicago, Gijs Bakker, Mike Kelley, Gord
Peteran, Miriam Shapiro, Richard Slee, Emma Woffenden,
and Yagi Kazuo. He speaks of artists such as these who
employ notions of craft making, using “craft’s specificity
and limitedness” in a way that “offered a possibility for
useful friction…as a problem to be thought through
again and again.” 3
Bruce Metcalf, practicing jeweler and writer of craft
criticism, asserts: “Certainly, craft is under-theorized, and
Adamson tries mightily to fill the gap. But I always thought
that something of the body, of direct experience and intuition
and emotion and pleasure must be admitted into any
truthful examination of craft. Adamson’s all brain. All words.”
So watch out. For anybody who cares about the
creation of a distinct theory about the crafts, this book is
required reading. Just reserve some room for criticality
of your own.4
Thomas Crow, of the Institute of Fine Arts at NYU,
has another perspective: “At a time when technical skill
has been widely dismissed or outsourced in the production
of art, Glenn Adamson crucially adds an entire spectrum of
hand-crafted objects to the creative history of the postwar era. And at a time when theoretical frameworks have
stagnated, these objects, in his hands, bring with them a
fresh and sophisticated set of interpretive perspectives.” 5
Certainly it is for the individual reader to decide his
own perspective. I, for one, enjoyed taking the journey
through this book, and found much value in Adamson’s
ways of thinking. I appreciate the pure joy of using
well-made objects, completing them by such use. I also
appreciate work that asserts an informed point of view,
employing material skill and critical thinking.
1. Thinking through Craft, from the introduction, page 1
2. Victor Burgin, “The Absence of Presence,” in The End of Art
Theory (London, 1986); reprinted in Charles Harrison and
Paul Wood, Art in Theory, 1900-1990: An Anthology of Changing Ideas (Oxford: Blackwell, 1992), p. 1097ff.
3. Thinking through Craft, page 168
4. Bruce Metcalf is co-author with Janet Koplos of “Makers: 20th Century American Studio Crafts”, to be published by the University of North Carolina Press in 2009. This excerpt is from his blog at www.brucemetcalf.com
5. Thomas Crow, editorial review of Thinking through Craft
GAS apologizes for inadvertently leaving a portion of
the Critical Issues article in the Nov./Dec. 2008 issue of
GASnews. Below is the rest of the article:
Ruth Summers offers some insight into possibilities for
a mutually beneficial future, prescriptions that could generate success for both artists and those representing art:
“Running a gallery, which represents a stable of
artists, similar to a fine arts painting gallery is extremely
expensive and time-consuming. The last year I did SOFA
(1995), one and a half booths cost over $25,000. A gallery
must sell a lot of work to pay the overhead expenses.
It takes years to develop a following and to build a level
of integrity with collectors, museum curators and artists.
I think there is plenty of room for more galleries, and it
will be harder for the Heller, Habitat and Holsten’s of the
world to represent everyone.”
She adds that the web holds much potential for
spreading knowledge and understanding about the
medium, representing an “untapped market waiting to be
developed.”
Lee Lawrence, in her article about Japanese glass,
concludes that education “fosters appreciation and the
willingness to pay thousands of dollars for works that
show innovation, creativity and mastery.” It is an unfortunate reality that there will always be more talented
glass artists producing work than venues willing and able
to show them. Stepping up the spread of knowledge and
respect for our medium among the larger art community
could help both sides of the equation in the long run.
9
resources, etc.
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:
GA S , 6512 23rd Avenue NW, Suite 329, Seattle, Washington
98117, USA 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:
April 1 for the June/July/August 2009 issue
July 1 for the September/October 2009 issue
Sept. 1 for the November/December 2009 issue
We look forward to hearing from you.
Call To Artists
The Younger Gallery: Contemporary and Functional Art,
1430 Truxtun Ave Ste 105, Bakersfield, CA 93301, 661-324-9000,
[email protected]. The Arts Council of Kern’s Younger
Gallery will feature a glass art exhibition. The exhibit will
open on March 26, 2009 and run until May 27, 2009. The Call
to Artists is open to all glass works with a $20 entrance fee
per work, with maximum of three (3) works total. Cash prizes
will be awarded in various categories. All submissions are
due March 3, 2009.
Art Now 3 Competition - Art Now, www.artoteque.com,
[email protected]. Artoteque.com is pleased to invite
artists to ART NOW the 3rd global annual juried contemporary art competition 12 months on display. ART NOW
takes place online once every year at Artoteque.com.
Bonhams Art Auction - Bonhams 1793 Ltd, 101 New Bond
Street, London, W1S 1SR, England, +44 (0) 20 7447 7447,
www.bonhams.com. Dan Klein Associates is pleased to
announce that we are collaborating with the British Auction
House Bonhams, in staging a modern and contemporary
glass auction to be held at their New Bond Street Galleries,
May 19th to coincide with the Crafts Council’s annual
international craft fair ‘Collect’. Significant works are now
being sought for this sale which will be previewed May 15,
17, and 18, 2009. The catalogue deadline for the sale will be
3/27/09 so anyone wishing to consign work should contact
Mark Oliver at Bonhams before this date.
International FIlm Festival on Clay and Glass - Ateliers d’Art
de France, 6 rue Jadin, Paris, 75017, France, +33 1 44 01 08
30, www.fifav.fr, [email protected]. The
International Film Festival on Clay and Glass seeks for films
for its next edition which will be held March 19-21, 2010 in
Montpellier, south of France. Since 1998, this biennial event
is a forum for discussion and exchange among professionals
from around the world. The materials glass and clay can be
threated in a variety of ways: portraits of artists, techniques,
traditions, art performances, history of art, ethnology, heritage,
architecture… All genres and lenghts of films are accepted.
The competition is opened to professionnal, amateur or
student directors. To be presented for competition films must
have been produced after 2002. To submit a film, download
the entry form on the website of the festival www.fifav.fr and
send it in asap with a DVD or VHS tape of your film to the
address above. The deadline for all entries is Sept.15, 2009.
New Bond Street Gallery Auction – Dan Klein Associates
(Specialists in Contemp. Glass), 43 Hugh St, Pimlico, London,
SW1V 1QJ, England, +44 207 821 6040, www.dankleinglass.
com/, [email protected], [email protected]
Dan Klein Associates is collaborating with the British Auction
House Bonhams, in staging a modern and contemporary
glass auction to be held at their New Bond Street Galleries,
next May 19th to coincide with the Crafts Council’s annual
international craft fair ‘Collect’. Significant works are now
being sought for this sale which will be previewed May 15,
17, and 18, 2009. The catalogue deadline for the sale will be
March 27, 2009, so anyone wishing to consign work should
contact Mark Oliver at Bonhams before this date.
10
BIGG: Breakthrough Ideas in Global Glass is a dynamic
collaboration among The Ohio State University Department
of Art’s Glass Program, OSU Urban Arts Space and Hawk
Galleries. This exhibition is sponsored by Steuben Glass.
Together we will discover and introduce to the public a select
group of artists with a conceptual and working engagement
in glass. These artists will have completed their formal
training in art beyond the baccalaureate (MFA or equivalent)
since the beginning of the new millennium. Through an
international juried selection process and critical writing
about work in the field, we intend to expand the discourse
about glass art globally. The exhibition will be presented
July 10 - Oct. 10, 2009 at the OSU Urban Arts Space (http://
uas.osu.edu/) and Hawk Galleries (www.hawkgalleries.com)
in downtown Columbus, Ohio. Afterward, select works will
travel to SOFA Chicago 2009 (www.sofaexpo.com) on exhibit
Nov. 5-8. Visit uas.osu.edu/bigg or call the OSU Urban Arts
Space at (614) 292-8861 or Hawk Galleries at (614) 225-9595.
Register and apply by March 20, 2009 (www.callforentry.org)
Jurors: Lino Tagliapietra, Tina Oldknow, and Tom Hawk.
Apprenticeships
One and Two-Month Apprenticeships in Tuscany, Vetrate
Artistiche Toscane, Via della Galluzza, n. 5, Siena, 53100, Italy,
+39 0577 48033, www.glassisland.com, [email protected]
Vetrate Artistiche Toscane is a company based in Siena
(Italy) which specialises in the creation of stained, painted
and fused glass. Siena was the first centre of stained glass
manufacture and design in Italy and Vetrate Artistiche
Toscane continues this tradition. The Studio handles original
commissions and restoration work (classical and modern
stained glass) in both religious and secular subjects. Fused
glass projects are also a part of our production. There are
apprenticeships lasting two months (January - February;
March - April; November - December) and three lasting one
month (May, August & October). Topics are listed below.
Although the scheme is of particular benefit to the beginner
and intermediate; advanced and professional glass artists
have found the apprenticeship to be useful to enhance their
skills and exchange ideas.
• Techniques, materials, tools • Design of cartoons & patterns
• Glass cutting • Experience in using and matching different
types of glass • Basics of painting technique: grisaille, media,
tracing, matting • Leading, soldering and cementing
• Kiln operating • Glass fusing
• Combining leaded, fused & painted glass • Installation on site
We help in finding accommodation. English is spoken in the
studio. Intensive hands on courses also available.
For Rent
Hot Shop for Rent, Harmony Glassworks, 2180 Old
Creamery Rd, Harmony, CA, 93435, 805-927-4248 (studio),
www.harmonyglassworks.com, [email protected].
Hot Shop available for rent. Base rate is $40/hour - bulk rate
available; contact Eric Dandurand for details.
Hot Shop in France, Luniverre Gallery, Cordes Sur Ciel, France,
+33 05 63 53 99 89, www.luniverre.com. Studio for rent.
Studio for Rent, GlassRoots, Inc., 111 Washington St,
Newark, NJ, 07102, 973-353-5961, www.glassroots.org,
[email protected]. GlassRoots’ fully equipped hot shop
is ideal for undertaking small to medium size glassblowing or
hot casting projects. Kilns are also available for kilnforming
and kiln casting projects. Please call or email Studio Manager
Jason Minami for equipment and rate information.
For Sale
Kiln for Sale, Monique Studios, 21 Cedar St, Burlington,
MA, 01803, 781-710-1274, www.moniquestudio.com/,
[email protected]. Chamber size: 144” x 60” x 20”. 4
Ceramic fiber lining welded to steel frame. Heating elements
supported on ceramic tubes suspended off the surface
of roof and sides. Floor made of 2.5” insulating firebrick
with 1” vermiculite board backup. Bartlett programmable
2-zone controller, over-temp safety instrument, type ‘K’
thermocouples, mercury contacts, branch fusing. 240V, 77
Kw. Kiln can operate on 1 phase 320 Amp or 3 phase, 200
Amp. Price includes a lift system for the ‘bell’ that was custom
built after the kiln was installed. Kiln value: $20,000, asking
price $14,000 / obo. Contact Monique, 781-710-1274.
Kiln for Sale, 458 Broadway Apt 3, New York, NY, 10013,
212-219-0958, [email protected], Custom built in pristine
condition Fusing Kiln for sale in NYC. Kiln has AIM controller
and built in fan in bottom. Metal exterior/ brick interior with
four shelves included. It has wheels on two sides so it can
be turned on it’s side and slid through a doorway. Approx.
40X40X10 with 4 elements on side walls and elements on lid.
Manual winch included to ease lifting of lid. Cost is $1,999.99
as is. Call: Ronnie Wolf or email [email protected]
Grants/Residencies
2009 Artist-in-Residence Programme, Harbourfront Centre,
235 Queens Quay West, Toronto, ON, M5J 2G8, Canada,
416-973-4963, www.harbourfrontcentre.com, rmegan@
harbourfrontcentre.com, [email protected].
Full-time and summer openings are available in glass.
Application deadline: March 13, 2009
Job Opportunities
Assistant Professor, Glass Department, Rhode Island
School of Design, Glass Department, Providence, RI, 02903,
401-454-6190, www.risd.edu, [email protected],
Applications being accepted for Assistant Professor, Glass
Department, Rhode Island School of Design. Contact Candy
Rodgriguez for more information, 401-454-6599.
Glass Network Editor, CCS, Contemporary Glass Society,
c/o Broadfield House Glass Museum, Kingswinford, West
Midlands, DY6 9NS, England, +44 (0) 1603 507737, www.cgs.
org.uk, [email protected], Victoria Scholes: [email protected]
or Pam Reekie [email protected]. For those of you with a
passion for contemporary glass and a desire to spread the
glass word, this job may be for you. This is a contracted,
paid post consisting of about thirty days’ work per year.
Searching for Glassblowers and Flameworkers, The Studio of
The Corning Museum of Glass, One Museum Way, Corning, NY,
14830, 607-974-8914, www.cmog.org, [email protected],
Corning Museum of Glass, One Museum Way, Corning,
NY 14830. Tel: 607-974-4276, email [email protected].
The Make Your Own Glass Workshop at The Corning
Museum of Glass is currently looking for glass blowers and
flameworkers for the 2009 summer season. Individuals
should have good glass working skills and knowledge, strong
customer service orientation, and enjoy working with the
public. If interested please contact: Glady West, Make Your
Own Glass Workshop Manager, Corning Museum of Glass,
One Museum Way, Corning, NY 14830.
Gaffer Wanted, Mack Glass Company, 411 1/2 N Main St,
Bloomington, IL, 61701, 630-303-0493, www.mackglass.com,
[email protected] or 630-303-0493. Gaffer wanted at
Mack Glass Company in Bloomington-Normal, IL. For production and art. Studio time available to make personal work.
Other Opportunities
AGG James C Whitney Memorial Scholarship, American
Glass Guild, 148 Main Street Ste B1, Lebanon, NJ 08833,
912-220-2687, www.americanglassguild.org,
[email protected]. All materials must be
submitted by March 15, 2009. The scholarship funds will
be used to fully or partially pay for tuition in the areas of
training workshops, conference attendance, and fine arts
classes related to a career in stained glass, both in the US and
internationally. A complete application includes:
1. Application form (found on the AGG website: americanglassguild.org)
2. 10-15 digital images of applicant’s work with a description of each image
3. A resume with emphasis on stained glass training, work experience, papers/research, professional organizations, etc
4. For students, a transcript of grades
5. Three letters of recommendation, under separate cover.
All materials and any questions about the scholarship should
be sent to: [email protected]. Email
applications are preferred, but mail applications are also
accepted. If by mail, include three (3) copies of all written
materials and a disk of photos and send to: Vic Rothman,
Scholarship Committee Chairman, American Glass Guild,
1468 Midland Avenue, #5A, Bronxville, NY 10708. Incomplete
applications cannot be considered. Previous recipients (16 in
the past 2 years), who have used the funds for the Swansea
School, glass-painting and porcelain-painting workshops
with leaders in the field, conservation workshops at NYU, and
Conference attendance, are posted on the AGG website.
Artist Advocate Magazine Artist Directory, Artist Advocate
Magazine, 561-655-8778, www.artistadvocatemagazine.com,
[email protected]. Artist Advocate is mailed
to 6,500 galleries and can showcase artists’ work to help them
land an art gallery.
Glass artists! Trying to get your book published? Take the
time to visit this link to learn more http://donnasozio.com/
hg/?a=NeaNVuKaE5 or contact John Wiedenmann at
[email protected]
Publications
The Independent Artist in Online, National Association of
Independent Artists, 72 Douglas St, Homosassa, FL, 34446,
352-382-7158, [email protected],
www.naia-artists.org. Readers and advertisers of The
Independent Artist will be pleased to know that the National
Association of Independent Artists (NAIA) has now made its
publication available both in print and online. A valuable
addition to the art festival circuit for the past four years,
The Independent Artist features profiles of show directors,
artists, and collectors, on the street interviews with exhibiting
artists, timely debates on relevant issues affecting the venue,
and practical how-to guides from industry insiders.
Something to Offer
New Studio in Philadelphia, P.I.P.E, Outcaststudios Bldg,
Philadelphia, PA, 19125, 267-242-1332, [email protected]
P. I. P. E. (the Philadelphia Industrial Preservation Experiment)
is a new glass studio in Fishtown. The hot shop has a 500 lb.
furnace, 2 glory holes, and plenty of annealers and kilns.
The studio also has a complete cold shop available. PIPE was
founded by local artist Gregory Nangle to offer the following:
glassblowing classes, studio rentals, private lessons, and an
artist residency program (now in development).
Web Sites
New Web Site, Big Craft Show, www.BigCraftShow.com
Create your own “virtual booth” to take advantage of our
powerful marketing program. Our goal at BigCraftShow.
com is to adhere to traditional craft show methodologies.
Just like your local neighborhood craft show, crafters design
their virtual booths any way they want. Crafters are free
to determine how purchases are made rather than blindly
selling through a site-wide online shopping cart. Sometimes
a crafter will re-direct a buyer to their own website, another
web store they manage (i.e.: Etsy, eBay, etc.), or create PayPal
links within their booth. We don’t take a single penny of
crafters’ sales! Buyers truly are supporting the crafter and his
or her unique, handmade items – just like the good ‘ol days.
seminars, conferences, events
2009 Conference - American Craft Council, 72 Spring St 6th Fl,
New York, NY, 10012, 212-274-0630 x272, www.craftcouncil.org,
[email protected], Oct. 15-17 in Minneapolis, MN.
Building Bridges: Creating a New Craft Culture will have
featured presenters Dr. Richard Sunnett, Rob Walker, and
Carth Clark.
2009 Glass Exhibition and Auction - New Zealand Society of
Artists in Glass, PO Box 68805, Newton, Auckland, New Zealand,
+64 9 634 6833, www.nzsag.co.nz, [email protected],
July 10-12, Old St. Michaels Church, Corban Estate Arts Centre.
3rd International Glass Festival 2009 - Atelier D’Art du Verre,
Maison 180, Asselborn, L-9940, Luxembourg, +352 997458,
www.art-glass-verre.com, [email protected], Aug. 28-30.
Included are demonstrations and an exhibition by artists
from 21 countries.
7th Annual Eugene Glass School Flame Off - Eugene Glass
School, 575 Wilson St, Eugene, OR, 97402, 541-342-2959,
www.eugeneglassschool.org, [email protected]
Aug 28-30, Eugene Glass School, Eugene, OR. For updates and
registration, visit the website.
AGG Conference, 4th Annual – American Glass Guild,
148 Main Street Ste B1, Lebanon, NJ, 08833, 912-220-2687,
www.americanglassguild.org, [email protected]
July 17-19 at the Hyatt Hotel in Buffalo, NY. Hands-on
Pre-Conference Workshops will be offered on July 16.
Post-Conference touring on July 20 will include noteworthy
Tiffany, and a church with nine LaFarge windows. Visit our
website for further details.
Auction for Charity - Habatat Galleries, Towers Crescent
Complex, Tysons Corner, VA, 22182, 703-989-710, www.
habatatgalleries.com/va/, [email protected]
or [email protected], Mar. 5 - Apr. 7 in Tysons
Corner, VA. Habatat Galleries VA Inc. is sponsoring a special
art auction for charity. Prominent artists have donated works
of art with 100% of the proceeds going to The Leukemia
Lymphoma Society.
Bullseye Kilncasting Conference: BECon 2009
Bullseye Glass Co. 3610 SE 21st Ave, Portland, OR, 97202,
503-232-8887, www.bullseyeglass.com, conference@
bullseyeglass.com, Bullseye Glass Co. invites those who
are committed to the study or practice of kilncast glass
to register for BECon 2009. BECon (short for Bullseye
Conference) is the industry’s foremost gathering on
kilnformed glass. This year’s conference is focused on
kilncasting. Leading artists and technical experts from
four continents will share their knowledge and vision
– in everything from art, design and technical issues to
international trends in kilncast glass. The conference will
take place from June 18-20 on the campus of Portland State
University in downtown Portland, Oregon. The campus
is central to the city’s vibrant, arts-rich core. Housing and
meals are exceptionally affordable. Pre- and post-conference
workshops are offered and student scholarships are available.
Visit www.bullseyeglass.com/becon for more information.
E-mail questions to [email protected].
CRAFTBOSTON 2009 - The Society of Arts & Crafts, 175 Newbury
St, Boston, MA, 02116, 617-266-1810, www.societyofcrafts.
org, [email protected], Mar. 27-29 at the Seaport
World Trade Center, Boston, MA. CRAFTBOSTON is the premier
New England exhibition and sale of contemporary art, craft
and design. The show features 200 of the most outstanding
artists of our time.
North Lands Creative Glass International Conference
North Lands Creative Glass, Quatre Bras, Lybster, Caithness, KW3
6BN, Scotland, +44 1593 721 229, www.northlandsglass.com,
[email protected]. Sept. 5-6, 2009. The two day
conference, ‘Colour and Transparency’, will examine many
different approaches to colour and transparency. Speakers on
the topic include the masters leading sessions 2 & 3, Professor
Clare Johnston, Head of Textiles Department at the RCA,
Elizabeth Conran, Art Historian and Museum Curator and
Ann Van Latum, Artistic Director, Sars-Poteries.
Pilchuck Auction Tour - Pilchuck Glass School, Administrative
Offices, Seattle, WA, 98109, 206-621-8422 (Seattle)/ 360-4453111 (campus), www.pilchuck.com, [email protected],
Whitney Hazzard: 206-621-8422, x27, [email protected]
Oct. 21-24, at various locations. During three days and four
nights of extraordinary glass-related events, Auction Tour
participants are welcomed into artists’ studios and collectors’
homes normally closed to the public. The tour also includes
a visit to Pilchuck’s campus and attendance at the Pilchuck
Annual Auction. Space for this tour is limited, advanced
reservations are required.
Pilchuck Glass School Annual Auction - Pilchuck Glass School,
Administrative Offices, Seattle, WA, 98109-5431, 206-621-8422
(Seattle)/ 360-445-3111 (campus), www.pilchuck.com,
[email protected], 206-621-8422, ext. 23 or
[email protected], Oct. 23 at the Westin Hotel,
Seattle, WA. An evening of celebration, the 2009 Pilchuck
Annual Auction will feature over 350 artworks created by
established and emerging artists from around the world.
Reservations for this black-tie gala begin at $250 per person.
Pilchuck Open House and Pilchuck Society Day - Pilchuck
Glass School, Administrative Offices, Seattle, WA, 98109,
206-621-8422 (Seattle)/ 360-445-3111 (campus),
www.pilchuck.com, [email protected], 206-621-8422,
ext. 34 or [email protected], July 12, in Stanwood,
WA. Open House is a once-a-year opportunity for individuals
to visit Pilchuck Glass School’s beautiful campus. Visitors
can tour the studios, meet artists, watch demonstrations of
hot, warm and cold glassworking while enjoying the school’s
forested setting. Reservations required.
Save the Date, 10th Annual Auction - Eugene Glass School,
575 Wilson St, Eugene, OR, 97402, 541-342-2959,
www.eugeneglassschool.org, [email protected]
Oct. 9-10, Eugene, OR.
SCT 2009 Conference - Society of Glass Technology, Unit 9
Twelve O’Clock Court, Sheffield, S4 7WW, England, +44 (0)114
263 4455, www.sgt.org, [email protected],
www.lancaster2009.sgthome.co.uk, Sept. 16-18 at the
University of Lancaster. Abstracts are being accepted.
Deadline is June 30.
Smithsonian Craft Show, 27th Annual - PO Box 37012, SIB
Room 436, MRC 037, Washington, DC, 20013 888-832-9554,
www.smithsoniancraftshow.org, [email protected]
April 23-26 at the National Building Museum, Washington,
D.C. Master artists and emerging talents from across the
country exhibit and sell their latest one-of-a-kind and
limited-edition work.
Spring Group Tours - Pilchuck Glass School, Administrative
Offices, Seattle, WA, 98109, 206-621-8422 (Seattle)/ 360-4453111 (campus), www.pilchuck.com, [email protected],
Amanda Lee, [email protected], or 206-621-8422, ext. 50,
May 5-13, in Stanwood, WA. Visit the Pilchuck campus and
meet the 2009 Poleturners, volunteer artists who create glass
centerpieces for the 2009 Annual Auction. Tour participants
can learn about glass, and how this intriguing material
inspires artists to pursue their creative development. Groups
will meet artists and tour the school’s studios. Tours for groups
of ten or more are led by Pilchuck Glass School employees or
knowledgeable volunteer tour guides. Reservations required.
Summer Conference - Haystack Mountain School of Crafts,
PO Box 518 GL, Deer Isle, ME, 04627, 207-348-2306,
www.haystack-mtn.org, [email protected],
July 12-16 at Haystack, Deer Isle, ME. This year’s summer
conference, Making: Past, Present, and Future will examine
current trends and concepts in how we are designing and
creating. The conference will address the continuity that
links makers of the past to the makers of the future and
also look at new technologies that are having and will have
an impact on how we create. Making: Past, Present, and
Future will have lectures and panel discussions frequently
associated with conferences and will also feature hands-on,
studio-based workshops and informal discussions. Lectures
will be presented to all conference participants. Registration
for studio-based workshop activities and discussion groups
will be organized through daily sign-ups. Haystack’s
intimate scale lends itself to many opportunities for informal
interactions as well.
Visiting Artist Summer Series - Museum of Glass, 1801 E Dock
St, Tacoma, WA 98402, 253-284-4750, www.museumofglass.org,
[email protected], info@museumofglass.
org, June through September, at the Museum, Tacoma, WA.
Pilchuck and the Museum of Glass in Tacoma, have partnered
to offer museum visitors a unique opportunity to view the
creative processes of glass masters who do not often work
in venues open for public observation. Pilchuck artists
in residence and instructors will work with the Museum’s
resident hot shop team, exploring and demonstrating various
glassmaking techniques and styles. Each residency will
conclude with a Conversation with the Artist, a public lecture
and slide presentation at the Museum. More information and
dates available spring 2009 at www.pilchuck.com.
Change is good. Check out our new website! www.glassart.org
11
classes + workshops
Please Note: Publication of notices is for information
purposes only and does not necessarily indicate endorsement
by the Glass Art Society.
We are happy to include information as supplied to us by
various sources. Please send us your press releases and notices
including specific, current facts as far in advance as possible to:
GA S , 6512 23rd Avenue NW, Suite 329, Seattle, Washington
98117, USA 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:
April 1 for the June/July/August 2009 issue
July 1 for the September/October 2009 issue
Sept. 1 for the November/December 2009 issue
We look forward to hearing from you.
UNITE D S TATES
Arkansas
Meadowcreek Education Center,
http://meadowcreekinc.com, [email protected]
April 2009: Intermediate to Advanced Beadmaking/
Sage Holland and Tom Holland
Arizona
Desert Glasshopper Studio, PO Box 264, Cave Creek, AZ,
85327, 480-488-2425, [email protected],
www.DesertGlassHopper.com
We offer workshops for all levels in fusing & kiln formed
glass, dichroic glass, kiln casting, molds & mold making,
sandblasting & sandcarving, photoresist etching, Verre’
Eglomise, & functional glass art (furniture & architectural).
Workshops are ongoing throughout the year. Contact the
studio for class listings and prices. Open studio time available.
March 21- 22, 2009 Verre’ Eglomise: The marriage of the
kiln, intaglio sandcarving & float glass. Workshop is being
held at Glastar Corp in Chatsworth California. For workshop
information contact Desert Glasshopper Studio.
CaliforniA
Artist Career Training, 101 First St #103, Los Altos, CA,
94022-2750, 650-917-1225, [email protected],
www.artistcareertraining.com
Classes offered to help artists build their careers. Visit the
website for more information.
Ditore Glass Works / Dyson, 9271 Adolphia St, San Diego,
CA, 92129, 858-780-0552, [email protected],
www.ditoreglassworks.com
On-going Cold Working Seminars with Dick Ditore.
Please call or check the website.
Apr. 22-26: Colour, Compoinents and Crackle/
Special Guest Artist
May 14-17: Ventanas/Martin Kremer
Harmony Glassworks, 2180 Old Creamery Rd, Harmony,
CA, 93435, 805-927-4248 (studio), [email protected],
www.harmonyglassworks.com
Harmony Glassworks is a glass education facility. Class
sessions are four hours long with two students per class.
Instruction is very personalized with lots of “hands-on”
learning. No prior glass blowing experience is necessary.
Public Glass, 1750 Armstrong Ave, San Francisco, CA, 94124,
415-671-4916, [email protected], www.publicglass.org
Mar. 28: Coldworking/Dean Bensen
Apr. 25: Coldworking/Dean Bensen
May 30: Coldworking/Dean Bensen
Mar. 21: Introduction to Beadmaking
Apr. 18: Introduction to Beadmaking
Mar. 14-15: Mosaic Glass Technique
May 16: Introduction to Beadmaking
Mar. 3-24: Fusing and Slumping
Apr. 3-29: Fusing and Slumping
Stumpchuck.com, 8901 Sheldon Rd, Elk Grove, CA, 95624,
916-739-0912, [email protected], www.stumpchuck.com.
For a complete list of classes reference website or call for
more information and pricing.
Mar. 4-8: Under the Sea
Mar. 25-29: In the Jungle
Apr. 2-26: In the Garden
July 11-15: Loren Level II
July 29 - Aug. 2: Emilio Santini
COlorado
Glasscraft, Inc., 411 Violet St, Golden, CO, 80401-6713,
303-278-4670/ 888-272-3830, [email protected],
www.glasscraftinc.com
Mar. 21-22: Marbles & Pendants with Dichroic in Borosilicate/
Wil Menzies
Apr. 25-26: Fundamentals of Goblets/Robert Mickelsen
May 2-3: Animal Head Sculptures/Kathy Johnson
May 16-17: Beginning Boro Beads/Lauri Copeland
May 25-26: Perfume Bottles/Suellen Fowler
Sept. 19-20: Christmas Ornaments/Doug Remschneider
Oct. 3-4: Human Figure in Soft Glass/Ray Olson
Connecticut
Greenwood Glass, 3 Robertsville Rd, Riverton, CT, 06065,
860-738-9464, [email protected],
www.petergreenwood.com
On-going classes and workshops offered in Glassblowing,
Blow Your Own Flower or Paperweight, Blow Your Own
Ornament, and Beginner Workshops. Demonstrations and
tours are also offered. Please visit the website for more
information.
GeorgiA
Glass Inspirations, 1855 Vermack Ct, Atlanta, GA, 30338,
770-617-0921, [email protected], [email protected]
Apr. 16-19: Roll Up Workshop/Jonathon Schmuck
Illinois
Chicago Hot Glass, 1250 N Central Park Ave, Chicago,
IL, 60651, 773-394-3252, [email protected],
www.chicagohotglass.com
Private lessons taught by Michael Menconi.
Please call for more information.
INdiana
ABR Imagery, 3808 W Vernal Pike, Bloomington, IN, 47404,
812-339-0147, [email protected], www.abrimagery.com
Mar. 14: Sensational Silver Luster Beads/
Doug Remschneider
Mar. 28: Making Goblets on the Lathe
Apr. 9: Make and Take Night
Apr. 11: Basic Pendants
Apr. 25-26: Boro Beads/Lauri Copeland
May 5: Fusing Basics
May 9: Beginning Dichroic Boro Pendants/
Dave Martin
May 16: Building on Fundamentals / Steve Sizelove
May 20: Make and Take Night
June 20: Beginning Soft Glass Bead Making /
John Winter
June 21: Beginning Soft Glass Bead Making /
John Winter
June 27: Beginning Marble Making
July 11: Fusing Basics
July 11: Magickal Dragon Designs Silver Clay Basics
Aug. 8: Sensational Silver Pendants/
Doug Remschneider
Aug. 13: Make and Take Night
Sept. 5-6: Lampworking/ Trey Cornette
Sept. 19: Intermediate Borosilicate Pendants/
Dave Martin
Sept. 23: Make and Take Night
Oct. 10-11: Intermediate Lampworking/Dolly Ahles
Oct. 14: Make and Take Night
MAssachusetts
Snow Farm: The New England Craft Program,
5 Clary Rd, Williamsburg, MA, 01096, 413-268-3101,
[email protected], www.snowfarm.org
Applications are now being accepted for the High
School Intensive Summer in Art in the glassblowing and
flameworking studios.
Session I: June 28 - July 11
Session II: July 12 - 25
Full Session: June 28 - July 25
MainE
Haystack Mountain School of Crafts, PO Box 518 GL, Deer
Isle, ME, 04627, 207-348-2306, [email protected],
www.haystack-mtn.org
June 28 - July 10: Scandinavian Mirror/Susan Jøker Johnsen
July 19-31: Advanced Glass Sculpting/Pino Signoretto
Aug. 2-14: Scandinavian and Venetian Glassblowing Techniques/Tobias Møhl
Aug. 16-28: Plotting a Course/Pablo Soto
Aug. 30 - Sept. 5: The Space Between Pontil and Pedestal/
Marc Petrovic
Missouri
Third Degree Glass Factory, 5200 Delmar Blvd, St. Louis, MO,
63108, 314-367-4527, [email protected], www.stlglass.com
On-going classes offered. Third Degree Glass Factory is
St. Louis’ only public-access glass art education center.
We promote contemporary glass art through education,
studio facility rental for artists and students, a gallery shop
featuring glass art made by Third Degree artists, and rental
for corporate events and private parties. Please contact the
school for more information.
Mar. 15-16: Kiln Carving Glass
Apr. 6: Glass I (6 Week Class)
Apr. 7: Glass II (6 Week Class)
Apr. 9: Glass I (6 Week Class)
Apr. 11: Make a Glass Flower
Apr. 18: Paperweight Workshop
Apr. 19: Glassblowing Intensive
Apr. 25: Make a Glass Flower
May 16: Paperweight Workshop
May 17: Glassblowing Intensive
May 23: Glass Art Sampler
New Jersey
12
Carlisle Machine Works, Inc., PO Box 746, Millville, NJ,
08332-0746, 856-825-0627, [email protected],
www.carlislemachine.com
Mar. 14: Intro to Soft Glass Beads/Stacey Camac
New york
Hands-On Glass Studio, 124 Crystal Ln, Corning, NY, 14830,
607-962-3044/ 866-962-3044, [email protected],
www.handsonglass.com, http://beauxbead.com or
[email protected]
June 9-10, & 15-17: Joining Torches (a pre- and post-
conference class of beadmaking,
sculptural flameworking, and lapidary)/
Beau Anderson and Sage Holland
June 9-10, & 15-17: Glass Beadmaking, Lapidary and
sculptural flameworking/
Beau Anderson and Sage Holland
The Studio of The Corning Museum of Glass,
One Museum Way, Corning, NY, 14830, 607-974-8914,
[email protected], www.cmog.org
Spring 2009
Ten-Week Sessions: Students of all levels. Classes meet once a
week for 3 hours. Begins week of March 1, ends week of May 3.
Beginning Glassblowing: The Best Gather Ever
Next Steps in Glassblowing: Don’t Sweat the Technique
Continuing Glassblowing
Flameworking
Beadmaking and Jewelry Design
Weekend Workshops: Saturdays and Sundays from 10 am to
4 pm, study glassworking without a long-term commitment.
Glassblowing
Beginning Glassblowing
Next Steps in Glassblowing
Flameworking
Beginning Flameworking
Next Steps in Flameworking
Jewelry Techniques in Borosilicate
Bead Basics: Introduction to Flameworked Beads
Next Steps in Creating Flameworked Beads
Elements of Flower Construction
Flat Glass
Introduction to Fused Glass
Fused Glass Jewelry
Beginning Stained Glass
Next Steps in Fusing
Painting on Glass
Precious Metal Clay and Glass
Next Steps in Using Precious Metal Clay and Glass
Flat Glass Techniques
Photosandblasting Glass
One-Day Workshops: Fun for the entire family! No glassworking experience is required, but participants must be at
least 10 years of age for beadmaking and 14 for paperweight
making. Parents are encouraged to register with their
children. 10 am - 4 pm, with a one-hour lunch break.
Tuition is $110. Call (607) 974-6573 in advance to register.
Paperweights at the Furnace (April 11)
Beadmaking (April 11 and 18)
Beginning Glassblowing (April 18)
Summer 2009
Three-day and one-, one-and-a-half-, and two week sessions
– with teachers from all over the world, including Jirí Harcuba,
Shin-ichi and Kimiake Higuchi, and William Gudenrath.
Session 1 June 1-6
Melting Pot – John Miller
Flameworking Using Ultimate Details – Loren Stump
Session 1-A June 1-10
Creating and Using Murrine – Davide Salvadore
Pâte de Verre – Shin-Ichi and Kimiake Higuchi
Explorations in Cold Working Glass – Jiyong Lee
Session 2 June 8-10
Basic, But Beautiful, Glassblowing – William Gudenrath
Venetian-Style Goblets and Beyond – Cesare Toffolo
Glass Engraving – Jirí Harcuba
Session 3 June 15-26
Great Venetian Glassblowing – Elio Quarisa
Color, Form, and Decorative Motifs in Borosilicate Glass
– Suellen Fowler and Jesse Kohl
A Particulate Language – Catherine Newell
Session 4 June 29 - July 4
Sustainable Art: Creating with Recycled Glass – Mary White
and Reddy Lieb
Advanced Cold Construction – Martin Rosol
Session 5 July 6-17
Gravity – Chris Taylor
Glass Chandeliers at the Torch – A New Approach to a
Traditional Technique and Design – Emilio Santini and
Alex Hamilton
Revealing the Surface – Chad Holliday
Painting the Void: Sandblasting and Vitreous Painting
– Denise Stillwaggon Leone
Session 6 July 20-25
Scandinavian Meets Venetian Glassblowing – Tobias Møhl
Elements of Flower Construction – Margaret Neher
Within the Walls – Martin Kremer
The Art of Kiln-Cast Jewelry – Jayne Persico
Session 7 July 27- August 1
Combining Techniques in Glass – Amy Rueffert & Jodi Salerno
Miniature Paperweights – Paul Stankard
Something Old, Something New – Ingalena Klenell
Next Steps in Glassblowing – Harry Seaman
Session 8 August 10-21
Experimental Goblet Workshop – Angus Powers
Glassmaking as a Language – Gianni Toso
Kiln-Formed Art Glass – Mark Ditzler
Enhance Your Glass: Intermediate Steps – Ed & Martha Biggar
Session 9 August 24 – September 4
Blowing and Sculpting – Martin Janecky
Vessels and Form Consciousness – Matt Eskuche
Kiln, Cold Shop, and More – Kirstie Rea
An In-Depth Introduction to Venetian Techniques
– William Gudenrath
Session 10 September 7-12
Beginning Glassblowing – Amanda Gundy
Introduction to Flameworking – Timothy Drier
Lost Wax Kiln Casting – Milon Townsend
Minimalism in Glass – William Gudenrath
Venetian Techniques in Glass Painting – Lucia Santini
UrbanGlass, 647 Fulton St 3rd Floor, Brooklyn, NY, 11217,
718-625-3685, [email protected], www.urbanglass.org
Intensives
Mar. 20-22: Apr. 22-26: March Madness: A Non-Traditional Approach/
Laura Donefer
Experimental Painting on Glass/
Gregory Grenon
Weekly Workshops
Mar. 6-8: Afterlife: Cold Glass/Niels Cosman
Mar. 7: One-Day Glass Calligraphy Pen Workshop/
Sean Baumbach
Mar. 14-15: Beginning Glassblowing Weekend/
Philip Taylor
Mar. 14-15: Introduction to Neon Weekend/
Stephen Conlon
Mar. 14-15: Open-Mold Glass-Casting Workshop/
Virginia Griswold
Mar. 14-15: Stained Glass Weekend/Joseph Cavalieri
Mar. 28: One-Day Paperweight Workshop/
Stephanie Frus
Mar. 28: One-Day Drink Stirrers Workshop/
Sean Baumbach
Mar. 29: Apr. 11: Apr. 18-19:
Apr. 18-19:
Apr. 18-19:
Apr. 25-26:
Apr. 25-26:
May 2-3: One-Day Paperweight Workshop/
Alexis De Leon
One-Day Paperweight Workshop/
Alexis De Leon
Beginning Bead Jewelry Weekend/
Sean Baumbach
Beginning Kilnforming Weekend/Dena Pengas
Stained Glass Weekend/Joseph Cavalieri
Beginning Glassblowing Weekend/John Brekke
Beginning Bead Jewelry Weekend/Toby Upton
May Flowers Weekend/Jason Grodsky
Weekly Classes
Beginning Mar. 10:
Beginning Mar. 11:
Beginning Mar. 16:
Beginning Mar. 21:
Advanced Kilncasting: Lost Wax and Rubber Molds/Virginia Griswold
Kilnforming I/Laurie Korowitz-Coutu
Flame I/Amber Cowan
Introduction to Kilncasting/
Virginia Griswold
ORegon
Bullseye Glass Co., Director Research & Education,
3722 SE 21st Ave, Portland, OR, 97202, 503-232-8887,
[email protected], www.bullseye-glass.com
Mar. 7-8: Beadmaking, 2-Day/Bonnie Celeste
Mar. 13-15: Intro to Coldworking/Erik Whittemore
Mar. 16-21: The Big Picture-Survey of Kiln-Glass/
Nathan Sandberg
Mar. 28-29: Image Transfers/Carrie Iverson
Apr. 3-4 & 6: Dish It Out/Nathan Sandberg
Apr. 10: Glasscutting Basics/Nathan Sandberg
Apr. 13-17: Lost Wax Kilncast Glass/Erik Whittemore
Apr. 17-20: Jewelry/Wearables/Bonnie Celeste
Apr. 20-21 & 23: Intro to Fusing & Slumping/
Nathan Sandberg
Apr. 25-26: Coldworking Lab/Erik Whittemore
Apr. 25-26: Beadmaking, 2-Day/Bonnie Celeste
Lectures & Demonstrations (Confirmed reservation required):
Mar. 1: Lost Wax Kilncast Glass/Erik Whittemore
Apr. 5: Steve Klein
Eugene Glass School, 575 Wilson St, Eugene, OR, 97402,
541-342-2959, [email protected],
www.eugeneglassschool.org
Mar. 7-8: Beginner Beadmaking/Dillon & Barclay
Mar. 7-8: Regining Your Skills in the Hot Shop/Jeff Ballard
Mar. 14-15: Beadmaking: Taking the Next Step/
Kristina Logan
Mar. 14: Art Clay Silver Charm Bracelet or Necklace/
Wendy Hoffman
Mar. 14: Paperweights/EGS Staff
Mar. 20-22: Offhand Flameworked Glass/Suellen Fowler
Mar. 21: Fused Photo Frames and Wall Pockets/EGS Staff
Mar. 28-29: Dichroic Tubing/Frodo & Campbell
Mar. 28-29: Unlock Your Imagination 96 COE/Teri Sokoloff
Apr. 4-5: Beginner Flameworking I/Hugh Salkind
Apr. 4-5: Beginner Fusing I/EGS Staff
Apr. 4-5: Beginner Hot Shop I/EGS Staff
Apr. 4: Beginner Coldworking/EGS Staff
Apr. 18-19: Floral Gardens/Leah Fairbanks
Apr. 18-19: Art Clay Silver with Glass Cabochons/
Shelby & Hoffman
Apr. 18-19: Beginner Hot Shop II/EGS Staff
Apr. 22-26: Advanced Fusing: Landscapes in Fused Glass/
Miriam DiFiore
Apr. 25: Beads: April Showers Bring May Flowers/
Nancy Gant
Apr. 25-26: Beginner Hot Shop III/EGS Staff
May 2-3: Beginner Beadmaking/Dillon & Barclay
May 2-3: Beginner Fusing II/EGS Staff
May 12-16: A Mixed Media Approach to Hot Glass/
Pino Cherchi
May 16: Body Jewelry I/Josh McDaniel
May 16: Fused Glass Clock and Nightlights/ESG Staff
May 18-22: A Mixed Media Approach to Hot Glass/
Pino Cherchi
May 30: Paperweights/EGS Staff
May 30-31: Marble Making for All Levels/Sabina Boehm
May 30-31: 3-D Fusing/Debbie McDaniel
June 6-7: Beginner Flameworking I/Hugh Salkind
June 6-7: Fused Dichroic Tiles and Cabochons/Jay Frodo
June 6-7: Alone in the Hot Shop/Jeff Ballard
June 13: Body Jewelry II/Josh McDaniel
June 13-14: Beginner Fusing I/EGS Staff
June 13-14: Beginner Hot Shop I/EGS Staff
June13: Beginner Coldworking/EGS Staff
June 19: Borosilicate Sculpture/Debra Crowley
June 19-21: Art Clay Silver Level I Certification/
Wendy Hoffman
June 20-: Soft Glass Sculpture/Debra Crowley
June 20-21: Beginner Hot Shop II/EGS Staff
June 21: Flamework/Fusing Crossover/Debra Crowley
Classes and workshops
continued next page
13
Classes + workshops from previous page
PennsylvaniA
GlassWorks at the Banana Factory, 12 W 3rd St, Bethlehem,
PA, 18015, 610-332-1315, [email protected], www.fest.org
GlassWorks at the Banana Factory features a variety of classes
year-round in glassblowing, flameworking and slumping &
fusing. Classes are offered for all skill levels and are taught by
professional glass artists. Studio rentals and private lessons
with our experienced instructors are also available. The
Spring Session begins April 2009. For the complete course
schedule, visit www.bananafactory.org.
Mar. 23 - Apr. 13: Next Level Glassblowing/Dennis Gardner
Apr. 27 - May 18: Next Level Glassblowing/Dennis Gardner
Mar. 24 - Apr. 14: Beginning Glassblowing/Karin Kozlowski
Apr. 28 - May 19: Beginning Glassblowing/Karin Kozlowski
Mar. 25 - Apr. 15: Advanced Glassblowing/John Choi
Apr 29 - May 20: Advanced Glassblowing/John Choi
Mar. 25 - Apr. 15: Extreme Art for Young Adults Ages 13-18/
Beth Ann Ballek
Apr. 29 - May 20: Extreme Art for Young Adults Ages 13-18/
Beth Ann Ballek
Mar. 21-22: Weekend Warrior Glassblowing/Staff
Apr. 18-19: Weekend Warrior Glassblowing/Staff
May 16-17: Weekend Warrior Glassblowing/Staff
Apr. 30 - May 21: Art of Slumping and Fusing/Beth Ann Ballek
Apr. 25-26: Make Your Own Glass Art/Beth Ann Ballek
May 9-10: Make Your Own Glass Art/Beth Ann Ballek
Apr. 25-26: Make Your Own Bowl/Dish/Beth Ann Ballek
May 9-10: Make Your Own Bowl/Dish/Beth Ann Ballek
GoggleWorks Center for the Arts, 201 Washington St,
Reading, PA 19601, 610-374-4600, [email protected],
www.goggleworks.org
Mar. 16 - Apr. 6: Glass Fusing I/Nancy Sala Safko
Mar. 17 - Apr. 7: Glassblowing II: Next Steps in Glass/
Helen Tegeler
Mar. 17 - Apr. 7: Glassblowing II: The Art of Graal and Image Making on Glass/Helen Tegeler
Mar. 2: Hot Glass Flower Workshop
Mar. 23: Hot Glass Flower Workshop
Mar. 29: Hot Glass Flower Workshop
Mar. 16: Glassblowing Paperweight Workshop
Mar. 14: Flamework: Glass Pendants/Nancy Sala Safko
Mar. 13: Flamework: Open Beadmaking/
Nancy Sala Safko
Mar. 20: Flamework for Fusers/Nancy Sala Safko
Mar. 7-8: Glass Beadmaking I/Louise Mehaffey
Mar. 21: Glass Beadmaking II: Beads and Metals/
Louise Mehaffey
P.I.P.E, Outcastsutdios Bldg, Philadelphia, PA, 19125,
267-242-1332, [email protected]. On-going classes.
Pittsburgh Glass Center, 5472 Penn Ave, Pittsburgh, PA,
15206, 412-365-2145 x202, [email protected],
www.pittsburghglasscenter.org
HOT
May 18-22: May 25-29: June 1-5: June 15-19: June 29 - July 3:
July 6-10: July 13-17: July 20-24: July 27-31: Aug. 3-7: Out of the Round/Benjamin Edols
Skillful Technique/Richard Royal
Generating Pattern with Cane/
Scott Benefield
Don’t Eat Off Mud!/Jacqueline Knight
Twofa/Katherine Gray and Nancy Callan
Get Your Feet Wet/Jason Forck
Hot, Warm & Cold: Smooth Transitions Between Disciplines/Johnathon Schmuck and Gail Stouffer
Rare Functions, Obscure Shapes/Pablo Soto
Forming Ideas/Raven Skyriver
Solid and Blown Glass Sculpting/
Martin Janecky
FLAME
May 18-22: Figuratively Speaking/Milon Townsend
May 25-20: Beginning with Boro/Tim Drier
June 1-5: An Exploration of the Art & Science of Colored Borosilicate/Jesse Kohl
June 15-19: A Wild Flower Glass & Jewelry Workshop/
Karen Leonardo
June 29 - July 3: Magical Flameworking/Eun-Suh Choi
July 6-10: Beadmaking Bonanza for Beginners/
Theresa Cress
July 13-17: Monkey See, Monkey Do/Chris McElroy
July 20-24: Graal for Flameoworkers/Robert Mickelsen
July 27-31: Next Steps in Beadmaking/Louise Mehaffey
Aug. 3-7: Amp Up Your Beadmaking with Hollows,
Stringer Control, and Other Flights of Fancy/
Barbara Becker Simon
WARM
May 18-22: May 25-29: June 1-5: June 8-10: June 15-19: June 22-26: June 29 - July 3:
July 6-10: July 13-17: July 20-24: July 27-31: Aug. 3-7: 2D/3D: Design to Form/Deborah Horrell
Silicone Rubber Mold/Helen Stokes
Honeycomb Mold/Helen Stokes
Test and Imagery in Kilnformed Glass/
Susan Taylor Glasgow
Beyond the Basics: Creating a Hollow Form in the Kiln/Sayaka Suzuki
Teen Week Boot Camp: Fusion in the Fire
Images in Glass/Roger Thomas
1500º and Waiting/Brian Engel
Hot, Warm & Cold: Smooth Transitions Between Disciplines/Johnathon Schmuck and Gail Stouffer
Light and Volume/Chad Holliday
The Glass Onion: Layers of Imagery and Text for Kilnformed Glass/Kari Minnick
Designing Glass Bracelets/Jayne Persico
COLD
June 15-19: June 29 - July 3:
July 13-17: July 27-31: Explorations in Cold Glass Working/
Jiyong Lee
From the Nitty-Gritty to the Perfect Polish/
Pat Bako
Hot, Warm & Cold: Smooth Transitions Between Disciplines/Johnathon Schmuck and Gail Stouffer
Utilizing Surface, A Conversation with the Material/Chad Holliday
Wayne Art Center, 413 Maplewood Ave, Wayne, PA, 19807,
610-688-3553, [email protected], www.wayneart.org.
On-going classes offered.
Tennessee
Arrowmont School of Arts & Crafts, PO Box 567,
Gatlinburg, TN, 37738, 865-436-5860, [email protected],
www.arrowmont.org
Mar. 8-14: Glass Beadmaking for Beginners/Teresa Brittain
Mar. 15-21: Maverick Fusing & Mold Making/Barbara Cashman
Mar. 22-28: Working Inside the Box, While Thinking Outside of It/John Cart
Apr. 5-11: Wild in Glass: From Field to Fuse/Kathleen Sheard
WAshington
14
Pratt Fine Arts Center, 1902 S Main St, Seattle, WA, 98144,
206-328-2200, [email protected], www.pratt.org
Pratt Fine Arts Center and the Kamenicky Senov School
of Industrial Arts for Glass invite you to take your glass
studies abroad. This two week intensive, taught by Czech
Master Artists, is designed to teach students the true basics
of traditional Czech glass. While in the hills of Northern
Bohemia study the technical, intellectual and artistic
processes of traditional Czech moldmaking, kiln casting and
cold working. July 19-31. For more information contact Pratt.
Mar. 7-8: Kiln Casting I
Mar. 7: One-Day Glassblowing
Mar. 8: One-Day Glassblowing
Mar. 14-15: Advanced Kiln Techniques
Mar. 14-15: Bead Making
Mar. 14-15: Glassblowing
Apr. 18-19: Fusing & Slumping
Apr. 18-19: Glassblowing
Apr. 20-24: Spring School
Apr. 25-26: Intermediate Glassblowing
Apr. 25-26: Kiln Cating II
Apr. 27-29: Cold Working Techniques
May 9: One-Day Glassblowing
May 16-17: Bead Making
May 16-17: Glassblowing
June 13-14: Fused Glass Jewelry
June 13-14: Glassblowing
June 20-21: Torch & Hot Glass Fusion
July 18-19: Bead Making
July 18-19: Fusing & Slumping
July 18-19: Glassblowing
Sept. 5-6: Bead Making
Sept. 5-6: Glassblowing
Oct. 10-11: Glassblowing
Oct. 12-16: Five-Day Hot Glass Workshop
Oct. 12-16: Five-Day Kiln Workshop
Society of Glass Technology, Unit 9 Twelve O’Clock Court,
Sheffield, S4 7WW, England, +44 (0)114 263 4455,
[email protected], www.sgt.org
May 4 - 5: A series of lectures and workshops on current
understanding of the fundamentals of structure-property
relationships in glass will be presented by 10 world experts
from industry and academia. Workshops are held in
Montpellier, France. Contact: [email protected]
Warm Glass UK, 5 Havyat Park, Wrington, Bristol, BS40 5PA,
England, +44 01934 863344, [email protected],
wwww.warm-glass.co.uk
2009 Spring Programme titled ‘Influences’ include:
Mar. 12-13: Glass Fusing Foundation
Apr. 31-1: Glass Fusing Adventure
Apr. 20-24: Thinking in Glass/Silvia Levenson
May 5-8: Lines and Layers/Jeremy Lepisto
FRANCE
Musée Atelier du Verre de Sars-Poteries, 1 rue du Général
de Gaulle - BP 2, Sars-Poteries, F-59216, France, +33 (0) 3 27
61 61 44, [email protected], www.nordmag.fr/culture/
musees/sars_poteries/musee_sars_poteries.htm
Apr. 1-10: Pate de Verre/Michele Perozeni
Apr. 20-25: Fusing/Udo Zembok
May 16-17: Glass Beads/Elisabeth Debaralle
June 22-27: Blown Glass/Xavier Lenormand
July 4-5: Fusing-Thermoforming/Perrin & Perrin
July 6-11: Flameworking/Lucio Bubacco
July 20-25: Fusing-Thermoforming/Janine Jacquot-Perrin
Aug. 24-29: Drawing on Glass/Barbara Idzikowska
Sept. 7-11: Glass Beads/Emmanuel Szytuka
ITALY
Via Dei Partigiani 5, Mornico Losana, PV, 27040, Italy,
+39 0383892114, [email protected],
www.mostlyglass.com
I am happy to announce the schedule of courses available to
students in summer of 2009 at my home and studio in the
countryside in northern Italy. My home is in a small village
called Mornico Losana, in a beautiful area called “Oltrepò’
Pavese”, near the city of Pavia. It is surrounded by green
hills, vineyards, excellent wineries, and bucolic landscapes.
The past years have been spent transforming this hundredyear-old former winery into a comfortable home with a
working glass studio where I create my pieces and teach.
Past summer we enjoyed the presence of the first students
and it was a really grate experience.
July 13-24: Landscapes in Fused Glass: Basic Miriam Di Fiore Technique/Miriam Di Fiore
Aug. 10-21: Advanced Fusing Techniques and Light Painting/
Miriam Di Fiore
Aug. 27-31: Glass Fusing and Kiln-formed Jewels/
Miriam Di Fiore and Lilia Casarin
Sept. 7-18: Extreme Controlled Images and Depth in Fused Glass Advanced Miriam Di Fiore Technique/
Miriam Di Fiore
SCOTLAND
North Lands Creative Glass, Quatre Bras, Lybster, Caithness,
KW3 6BN, Scotland, +44 1593 721 229, info@northlandsglass.
com, www.northlandsglass.com
ENGLAND
2009 Masterclass Programme ‘Colour and Transparency’
Session 1:
July 3-11: ‘Light + Colour = Form’/Jane Bruce &
Bruno Romanelli
Colin Reid Glass, New Mills, Slad Road, Stroud, Glos, GL5 1RN,
England, +44 1453 751 421, [email protected],
www.colinreidglass.co.uk
Apr. 1-5: Kilncast Glass/Colin Reid
Session 2:
Aug. 25 - Sept. 3: ‘Colour and Texture’/Kaffe Fassett &
Steve Klein
Aug. 30 - Sept. 3: ‘Colour Saturation’/Udo Zembok
i n te r natio n al
Liquid Glass Centre, Stowford Manor Farm Wingfield,
Trowbridge, Wiltshire, BA14 9LH, England, +44 1225 768888,
[email protected], www.liquidglasscentre.com
Session 3:
Sept. 8-16: ‘
Sept. 8-16: Approaches to Colour’/Mieke Groot
and Dana Zamecnikova
‘A Personal Language of Colour and Transparency’/Therman Statom
exhibitions
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:
GAS, 6512 23rd Avenue NW, Suite 329, Seattle, Washington
98117, USA 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:
April 1 for the June/July/August 2009 issue
July 1 for the September/October 2009 issue
Sept. 1 for the November/December 2009 issue
We look forward to hearing from you.
UNI T ED STAT ES
florida
McKee Botanical Garden, 350 US Hwy 1, Vero Beach, FL,
32962, 772-794-0601, www.mckeegarden.org
Hans Godo Fräbel: Fräbel’s Reflections of Glass on Water,
through 4/15/2009
KentuckY
Flame Run, 828 E Market St, Louisville, KY, 40206,
502-584-5353, [email protected], www.flamerun.com
The Human Formed: Brook White, Susie Slabaugh, Slate
Grove, Paul Nelson, Carrie Battista, Dave Walters, Ross
Richmond, Casey McMains, 2/6 - 3/28/2009; Eoin Breadon:
Glass Artist as Irish Storyteller, 4/3 - 5/30/2009
Missouri
Third Degree Glass Factory, 5200 Delmar Blvd, St. Louis, MO,
63108, 314-367-4527, [email protected], www.stlglass.com
Third Type: The Works and Performance Act of Typewriter Tim,
3/20 - 4/14/2009; Mixed Media Prints by Dale Shannon
and Glass Art by Local Artists, 4/17 - 5/12/2009; Work by
BFA/MFA students from Southern Illinois UniversityCarbondale’s Glass Program, 5/15 - 6/16/2009
New york
Heller Gallery, 420 W 14th St, New York, NY, 10014,
212-414-4014, [email protected], www.hellergallery.com
Tom Patti, Robin Grebe, Ales Vasicek, 3/7 - 28/2009;
Steffen Dam, 4/4 - 25/2009; Lino Tagliapietra, Nicole
Chesney, Steffen Dam, Tobias Møhl, 4/16 - 4/19/2009
Museum of Arts & Design, 40 W 53rd St, New York, NY,
10019, 212-956-3535, [email protected],
www.madmuseum.org, Klaus Moje, 4/29 - 8/16/2009
Memorial Art Gallery, University of Rochester, Rochester,
NY, 14607, 585-276-8900, [email protected],
www.mag.rochester.edu, Unity of Opposites: New Work
by Michael Estes Taylor, 4/18 - 7/18/2009
ORegon
Photo: P. Leonard
Please Note: Publication of notices is for information
purposes only and does not necessarily indicate endorsement
by the Glass Art Society.
Masami Koda, "Red Dew 8" 2008, flame worked glass, cast glass,
silver and bronze. Exhibiting at Traver Gallery, Seattle, WA
Robin Provart-Kelly, "Due North" 2008, pâte de verre and
kilnformed glass. Exhibiting at Bullseye Gallery, Portland, OR
Texas
ENGLAND
Kittrell/Riffkind Art Glass, 5100 Belt Line Rd #820,
Dallas, TX, 75254, 972-239-7957/ 888-865-2228,
[email protected], www.kittrellriffkind.com
16th Annual Scent Bottle Invitational, 2/6 - 3/8/2009
Cambridge Galleries, High Street, Cambridge, CB22 4LT,
England, +44 (0)1603 501843, [email protected],
www.cambridgegalleries.co.uk, Reflexivity: Exhibition of
Contemporary Glass, 7/16 - 8/29/2009
Houston Center for Contemporary Craft, 4848 Main St,
Houston, TX, 77002, 713-529-4848, [email protected],
www.crafthouston.org, Literally Figurative, 4/4 - 7/3/2009
Contemporary Glass Society, c/o Broadfield House Glass
Museum, Kingswinford, West Midlands, DY6 9NS, England,
+44 (0) 1603 507737, [email protected], www.cgs.org.uk,
Exhibition of New Artists, 7/16 - 8/29/2009
VirginiA
The Glass Art Gallery, 7 The Leather Market, Weston
St, London, SE1 3ER, England, +44 207 403 2800, info@
londonglassblowing.co.uk, www.londonglassblowing.co.uk
Glass Routes: The work of Professor Keith Cummings
and his students. It examines his role and impact on glass
education in the UK, and internationally, over the last 40 years.
The exhibition is a collaboration between the School of Art &
Design at the University of Wolverhampton, Wolverhampton
Arts + Museums (Bilston Craft Gallery) and Peter Layton’s Glass
Art Gallery, London, 5/11 - 6/5/2009
The Chrysler Museum of Art, 245 W Olney Rd, Norfolk, VA,
23510, 757-664-6200, [email protected], www.chrysler.org
Lino Tagliapietra in Retrospect: A Modern Renaissance in
Italian Glass, 4/8 - 7/19/2009; Contemporary Glass Among
the Classics, 4/26 - 7/19/2009
Contemporary Art Center of Virginia, 2200 Parks Ave,
Virginia Beach, VA 23451, 757-425-0000, [email protected],
www.cacv.org, Hank Murta Adams, 4/23 - 8/23/2009;
Dante Marioni: Form, Color, Pattern, 4/23 - 8/23/2009;
Ashes to Ashes: Life and Death in Contemporary Glass,
4/23 - 8/23/2009; 1999-2009: A Region Collects,
4/23 - 8/23/2009
WAshington
Museum of Northwest Art, PO Box 969, 121 S First St,
La Conner, WA, 98257, 360-466-4446, [email protected],
www.museumofnwart.org, Kait Rhoads: As Below,
So Above, 1/10 - 3/8/2009
Pilchuck Glass School, Administrative Offices, Seattle, WA,
98109, 206-621-8422 (Seattle)/ 360-445-3111 (campus),
[email protected], www.pilchuck.com, Pilchuck on
Display: An Exhibition of International Glass Art Preview
the artworks and meet the artists who created and
donated art for the 2009 Pilchuck Annual Auction. View
more than 250 of the hottest works in glass by renowned
masters and outstanding new talents from around the globe.
Free and open to the public, 10/22/2009
Museum of Glass, 1801 E Dock St, Tacoma, WA, 98402-3217,
253-284-4750, [email protected],
www.museumofglass.org, [email protected],
Contrasts: A Glass Primer, through 11/30/2009; Dale Chihuly:
The Laguna Murano Chandelier, through 4/19/2009;
White Light: Glass Compositions by Daniel Clayman,
through 6/14/2009; Dante Marioni: Form Color Pattern,
through 3/8/2009
Bullseye Gallery, 300 NW 13th Ave, Portland, OR, 97209,
503-227-0222, [email protected],
www.bullseyeconnectiongallery.com, Due North: North
Lands Creative Glass - Featuring Jane Bruce, Lisa Cahill,
Mel George, Deborah Horrell, Steve Klein, Dante Marioni,
Catharine Newell, Robin Provart-Kelly, Bruno Romanelli,
Louise Tait, and Janice Vitkovsky, 1/27 - 3/7/2009;
Michael Rogers: Flock Hauntingly surreal cast-glass work
from artist Michael Rogers, 3/3 - 4/11/2009; Steve Klein:
Strikingly graphic and delicately balanced kilnformed
and blown glass, 3/31 - 5/9/2009; COLLECT 2009 - Jane
Bruce, Cobi Cockburn, Jessica Loughlin, Jeffrey Sarmiento
and April Surgent at COLLECT, Europe’s premiere fair for
contemporary objects, held this year at London’s newly
opened Saatchi Gallery, 5/14 - 17/2009; BECon Kilncasters
Exhibit: Glass sculpture by international artists, educators,
and presenters associated with Bullseye’s glass conference
- BECon 2009, 5/5 - 7/11/2009; SOFA WEST: Santa Fe,
6/11 - 14/2009; Jessica Loughlin: Serene and abstract
landscape-inspired glass works, 6/30 - 8/8/2009
Traver Gallery Seattle, 110 Union Street #200, Seattle
WA 98121, 206-587-6501, [email protected],
www.travergallery.com, Portland Glass: Deborah Horrell,
Jeremy Lepisto and Mel George, 4/3 - 5/3/2009;
Alan Fulle, Ben Edols and Kathy Elliott, 5/8 - 31/2009;
Masami Koda, Eric Nelsen, 6/5 - 28/2009
PennsylvaniA
AUSTRALIA
GlassWorks at the Banana Factory, 12 W 3rd St, Bethlehem,
PA, 18015, 610-332-1315, [email protected], www.fest.org
Susan Ward: The Artist’s Archives, 2/14 - 4/19/2009
JamFactory Contemporary Craft and Design, 19 Morphett
St., Adelaide, SA, 5000, Australia, +61 8 8410 0727,
[email protected], www.jamfactory.com.au
Special Drinking Vessels: Glasses, Goblets, Cups, Tumblers
and Flutes, 2/27 - 4/19/2009
Morgan Contemporary Glass Gallery, 5833 Ellsworth Ave,
Pittsburgh, PA, 15232, 412-441-5200, [email protected],
www.morganglassgallery.com, debut + new: Rachel Kalisky,
Chadd Lacy, David Licata & Deb Muhl, Tanya Lyons,
Cynthia Miller, Mel Munsen, 1/9 - 3/28/2009
The Society for Contemporary Crafts, 2100 Smallman
St, Pittsburgh, PA, 15222, 412-261-7003, administration@
contemporarycraft.org, www.contemporarycraft.org,
The United States of America: Life, Liberty, and the Pursuit
of Crappines: Matt Eskuche, 1/18 - 8/29/2009
Tacoma Art Museum, 1701 Pacific Ave, Tacoma, WA,
98402, 253- 272-4258, [email protected],
www.tacomaartmuseum.org/, 9th Northwest Biennial:
featuring Debora Moore and others, 1/31 - 5/25/2009
Traver Gallery Tacoma 1821 E Dock Street #100, Tacoma,
WA 98402, 253-383-3685, [email protected],
www.travergallery.com, Inspiration: Emerging Glass Artists
Select Influences, 4/11 - 5/10/2009; Nancy Blair: Of Myth
and Memory, 5/16 - 6/7/2009
i n te r natio n al
DENMARK
Glasmuseet Ebeltoft, Strandvejen 8, Ebeltoft, DK 8400,
Denmark, +45 86 34 17 99, [email protected],
www.glasmuseet.dk, Peter Bremers: antARCTIC,
through 4/19/2009; Steffen Tast: Light, Transparency
and Reflection, 2/28 - 5/24/2009
Broadfield House Glass Museum, Compton Drive,
Kingswinford, West Midlands, DY6 9NS, England,
+44-1384-812749, [email protected],
www.glassmuseum.org.uk, Hi Sklo Lo Sklo - From
Masterpiece to Mass Produced: an exhibition of 150
specially selected examples of postwar Czech glass design
from the Graham Colley Collection, 2/7 - 10/11/2009
Pyramid Gallery, 43 Stone Gate, York, Y01 2AW, England,
+44 1904 641187, Melting Point: Exhibition of
Contemporary Glass, 9/12 - 11/2/2009
FINLAND
The Finnish Glass Museum, Tehtankatu 23, Riihimaki, SF11100, Finland, +358(0)20 758 4108, [email protected],
www.finnishglassmuseum.fi, Mediterranean Breezes,
2/6 - 4/12/2009; Marta Klonowska: Domestic Animals,
2/27 - 5/3/2009; Beauty Captured in Glass: The Gunnel
Nyman Centenary Exhibition, 4/24 - 9/13/2009; Jaakko
Liikanen and Pekka Paunila, 5/15 - 10/11/2009; Mare Saare:
Fragile Circuit, 6/12 - 8/30/2009; Ursula Huth: Glasland
- Land of Glass, 9/25 - 12/31/2009; Minna Tuohisto-Kokko,
10/16 - 11/22/2009; Christmas Tree, 10/30 - 12/31/2009
FRANCE
Luniverre Gallery, Cordes Sur Ciel, France +33 05 63 53 99 89,
www.luniverre.com, Christine Cathy, David Fousell, Rebecca
Hartman, Peter Layton, Jenny Smith, Eva Vlasakova,
3/1 - 9/15/2009; Misao Tsukida, 4/16 - 7/31/2009
Musée Atelier du Verre de Sars-Poteries, 1 rue du Général
de Gaulle - BP 2, Sars-Poteries, F-59216, France, +33 (0) 3 27
61 61 44, [email protected], www.nordmag.fr/culture/
musees/sars_poteries/musee_sars_poteries.htm
Noir & Blanc, through 3/9/2009; Melida Sipos,
3/19 - 6/15/2009; Verre l’est, 6/28 - 8/31/2009
GERMANY
New Glass Art & Photography, Linienstr 154, 10115
Berlin, Germany, +49 178 712 0397, [email protected],
www.nadaism.de, György Gáspár & Massimiliano Lattanzi:
Interstellar, 3/7 - 4/11/2009; The Bee Kingdom: Ryan
Marsh Fairweather, Timothy Belliveau & Phillip Bandur,
4/18 - 5/16/2009; Made in Germany: a group exhibition
of German Studio Glass Artists, 5/23 - 6/20/2009;
The Blue Room: a joint show with The Traver Gallery,
6/27 - 7/25/2009; Lott Alfreds, 8/8 - 9/12/2009; Marya
Kazoun, 9/19 - 10/17/2009; Dan Dailey, Paul Marioni,
and Benjamin Moore, 10/24 - 12/5/2009
Galerie am Museum Eisch Atelier, Grafenauer Strasse 8,
94258 Frauenau, Germany, +49 (0)9926 180868, [email protected],
www.eisch.de, Susanne und Ulrich Precht A.i.R, Gerhard
Ribka, Wilfried Markus A.i.R, Mark Angus A.i.R, Vladimir
Klein A.i.R, Nicolas Morin A.i.R, James Vella A.i.R, Jack Ink
A.i.R, Kazumi Ikemoto, Daisuke Shintani, Valentin Eisch,
Gretel Eisch, through 3/7/2009
JAPAN
Koganezaki Crystal Park Glass Museum, 2204-3 Ugusu
Nishiizu-cho, Kamo-gun, Shizuoka-ken, 410-3501, Japan,
+81 558 55 1516, [email protected], www.kuripa.co.jp/
Glass ‘08 in Japan, through 4/8/2009
15
Glass Art Society
Board of Directors 2008-2009
President
Shane Fero
Treasurer Pamina Traylor Vice President
Tommie Rush
Secretary
Jutta-Annette Page
Paula Bartron
Eddie Bernard
Robin Cass
Geoff Isles
Ki-Ra Kim
Kim Koga
Jeremy Lepisto
Caroline Madden
Chris Rifkin
Drew Smith (Student Rep.)
Elizabeth Swinburne
Staff
Pamela Figenshow Koss, Executive Director
Patty Cokus, Executive Assistant / Registrar
Kate Dávila, Communications Manager
Karen Skrinde, Database Manager
Sarah Bak, Consultant
6512 23rd Avenue NW, Suite 329
Seattle, Washington 98117, USA
Phone: (206) 382-1305 Fax: (206) 382-2630
info @ glassart.org www.glassart.org
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Contribute to GASnews
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There are several ways to contribute:
1. Listings: Every issue has 100s of listings and
classified ads, free to members
2. Member Profile: Gives members an opportunity
to share their work, experience and thoughts with other
members. Images and text welcomed.
3. Student Profile: Students, send artist’s statement,
a brief bio, images of your best, most recent work,
your name, address and contact information.
4. School Profile: Students or educators of accredited,
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school and what it offers, and a few images.
5. Workshops: Non-degree schools, send a brief
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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
www.glassart.org, click on “Newsletter” or contact Kate
Dávila, Communications Manager at the GAS office.
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