Five Years in the Making

Transcription

march
2006
Glass Art Society
Board of Directors 2005-2006
President
Anna Boothe
Treasurer
Robin Cass
Vice President
Shane Fero
Secretary
Beth Ann Gerstein
Paula Bartron
Eddie Bernard
Shara Burrows
(Student Rep.)
Susan Holland-Reed
Ki-Ra Kim
Kim Koga
Jeremy Lepisto
David Levi
Jutta-Annette Page
Chris Rifkin
Tommie Rush
Elizabeth Swinburne
Pamina Traylor
Harumi Yukutake
Staff
Pamela Figenshow Koss, Executive Director
Sarah Bak, Executive Assistant /Registrar
Shannon Borg, Communications Director
Lisa Pennington, Bookkeeper
Karen Skrinde, Database Manager
3131 Western Avenue, Suite 414
Seattle, Washington 98121 USA
Phone: (206) 382-1305 Fax: (206) 382-2630
info @ glassart.org
www.glassart.org
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vo l u m e 17
issue 2
I N S I D E
T H E
R E G U L A R F E AT U R E S
F R O M T H E P R E S I D E N T:
1
President’s Letter:
Five Years in the Making
2
2
2
3
GAS Line
3
4
Member Profile: Steve Sizelove
4
School Profile: Bezalel Art
Academy, Jerusalem, Israel
Student Profile: Amanda Eilbeck
Member Update: Vicki Halper
Technical Article: Gas-Fired
Equipment Safety Check and
Maintenance
International Window:
The Glasmuseet Ebeltoft –
20 years on...
5
New Orleans: From Conference
to Convalescence
5
Rebuilding a Community
Through Art
6
GAS Collectors Seminar and Tour
in Seattle
LISTINGS
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.
Five Years
in the Making
S P E C I A L F E AT U R E S
Contribute to GAS NEWS
GAS NEWS is for the members of the Glass Art Society.
There are several ways to contribute:
N E W S L E T T E R
7
8
10
11
Anna Boothe on a site visit, overlooking
the David L. Lawrence Convention
Center, Pittsburgh, Pennsylvania.
Resources, etc.
Classes and Workshops
Seminars, Conferences, Events
Exhibitions
The Glass Art Society
Five-Year Strategic Plan
3. Student Profile: Students, send artist’s statement,
a brief bio, images of your best, most recent work,
your name, address and contact information.
1. Serve members better by
upgrading premium services
4. School Profile: Students or educators of accredited,
degree-offering schools, send a brief article about your
school and what it offers, and a few images.
3. Foster greater connections
between people in the world of
glass art
2. Attract 5,000 members by 2010
5. Workshops: Non-degree schools, send a brief
article about your program and a few photos.
4. Fund the advancement of glass
art through the development
process
6. International Window: GAS has members
in over 50 countries. Each issue we highlight
1 or more countries or events outside the U.S.
Images and text welcomed.
7. Critical Issues: Submit your ideas for an article that
analyzes, interprets, or evaluates artistic works in glass.
For more information on submissions, go to
http://www.glassart.org, click on “Newsletter” or
contact the Communications Coordinator at the
GAS office. E-mail: [email protected]
The Glass Art Society reserves the right to edit
submissions for any reason deemed necessary by
the editor, including clarity, length or grammar.
Submission of material is not a guarantee that
it will be published. Please include a SASE for
return of materials sent via mail.
The Glass Art Society (GAS), its Board of Directors, members, and
employees, are not responsible in any capacity for, do not warrant
and expressly disclaim all liability for any content whatsoever herein.
All such responsibility is solely that of the authors or the advertisers
A copy of the Glass Art Society’s annual financial report may be
obtained, upon request, from the GAS office, or from the Office of the
Attorney General, Charities Bureau, 120 Broadway, New York, NY 10271
GAS NEWS is published
six times per year as a benefit
to members.
Publications Committee:
Scott Benefield, Eddie Bernard,
Shara Burrows, Robin Cass,
Beth Lipman, Kirstie Rea,
Managing Editor: Shannon Borg
Graphic Design: Ted Cotrotsos
© 2006 The Glass Art Society, a nonprofit organization. All rights reserved.
Publication of articles in this newsletter
prohibited without permission from
the Glass Art Society, Inc.
T H E
G L A S S
A R T
S O C I E T Y
Luckily, most artwork doesn’t take five years to be created. But, how we think as artists and
how we translate our concepts into functional or non-functional objects, often requires much time.
Reflecting on our individual processes periodically provides us with hindsight and, hopefully, a
better understanding of our personal directions.
So parallels the growth of an organization such as GAS. Approximately every five years, the
GAS Board schedules a retreat to review the general status of the organization and to develop a
rubric under which we may plan for our future. To this end, in January, the GAS Board convened in
Pittsburgh for a combination strategic and 2007 conference planning meeting.
In preparation for the strategic planning portion of this meeting, the Board formed a committee
that was charged with the task of polling specific focus groups within the glass community in order
to solicit important responses to a variety of timely questions. Some of the questions were: Why are
you a member of GAS? . . . and if not, why not?; In general and with respect to your particular career,
how do you feel GAS can improve?; What is GAS’s role in the field of glass art?; and others. This
feedback, coupled with that which we had collated from our general membership survey collected
in late 2004 /early 2005, along with careful demographic studies of
our past and current membership, provided us with the grist from
which we drew our observations and initiated discussions. Thanks
to all of you who helped in this segment of the process!
Our meeting was led adroitly by Boston-based facilitator Jay
Vogt. (You know how artists can get easily distracted and off-topic
at meetings!) The board re-stated its commitment to GAS’s mission
statement, with an emphasis placed on continued diligence in
encouraging and supporting the glass arts globally. We addressed
the issue of inclusiveness and identified a number of methods we
can employ to further satisfy the needs of, retain, and expand our
current membership.
To give you an eyepiece into some of the meeting’s outcomes, we instituted several new committees in order to implement several new initiatives. The “Web Committee” will focus on increasing
the functionality of the GAS website—we have already instituted easy online registration and
payment for the St. Louis Conference. Among other goals, the website will eventually be the conduit
for an online version of the newsletter. Some of our non-US members have lamented that they
receive the newsletters after deadlines have expired. Hopefully, better online access to publications
will resolve this issue and eventually cut-down on paper and postage costs. The newly established
“Programs Committee” will investigate the feasibility of GAS forming more of a regional (international
in scope) presence. This research comes in response to members’ requests for theme-based, more
intimate conferences. GAS will be examining the prospect of conducting mini-conferences (we
coined them GAS “Sparks”) in addition to its annual conferences. Also, this committee will pursue
the idea of a “Glass Ambassadors” program that would attempt to give GAS a presence outside of
the glass arena itself. The new “Membership Committee” plans to home in on specific member
expansion issues. Many of these initiatives will require time, and the creation of new revenue streams.
Additionally, there was a consensus that the board should strive to make itself more transparent
( i.e. our decision-making processes, GAS financials, etc.) and thus become more collaborative with
the membership as a whole in the genesis of how the organization functions.
The upshot is that we tackled a myriad of important organizational issues (more than I have
space to detail) and made great strides in planning for the next five years of GAS’ future growth.
I speak for the board when I say that it is our hope that we can count on you to continue to
volunteer your opinions about how you wish your organization to be steered.
Anna Boothe
March 2006, volume 17 - 2
THE GLASS ART SOCIETY
Seattle, WA 98121
CHANGE SERVICE REQUESTED
The Glass Art Society
Seattle, WA 98121 USA
Phone: (206) 382-1305
Fax:
(206) 382-2630
E-mail: info @ glassart.org
Web:
www.glassart.org
O F
Non-Profit Org.
U.S. Postage
PAID
Seattle, WA
Permit #150
exhibitions
GAS LINE
Goings On
Furnace Hot Glass Works in Dearborn,
Michigan has expanded their studio and opened
the Glass Academy, a newly renovated 14,000
square foot public access space, which will hold
workshops in glass blowing, neon, stained glass
and lampworking. Good luck! … Check out the
new(ish) website featuring Scandanavian glass
artists at www.nordicflassforum.com. … If you
are in Aventura, Florida, make sure you step into
the lobby of the BellaMare at Williams Island to see
Michael Estes Taylor’s 15-foot, 2,000 pound glass
sculpture, Cadence, “an allegorical, visual clock that
reflects each second of light, each angle of the sun,
and each season of the year.” … Latebreaking:
Don’t miss the 2006 NAIA Directors Conference,
Make your Art Show a Standout: Focus on Successful
Marketing, which will take place on March 20 - 21,
2006 in Winter Park, Florida. Find out more at
www.naia-artists.org.
Awards + Honors
The 2006 NICHE Award Finalists have been
announced, and several GAS members are on
the list: Michael Amis, Christie Moddy, Erica
Rosenfeld, Kathleen Elliot, Shiloh Hunkapiller,
Margaret Neher and Kate Rothra are all finalists
for this prestigious award. The winners will be
announced after press time, but we’ll keep our
fingers crossed and we’ll list the winners here
next month.
STUDENT PROFILE
Amanda Eilbeck
Sydney College of the Arts
For the past seven years Amanda Eilbeck has been
on a creative journey that has led her to her career
path as a glass artist. Before she discovered glass,
Mandy designed and imported fabric, designed and
sold furnishings to leading retail outlets, and produced
various private mural commissions for some of Sydney’s
most exclusive homes.
It wasn’t until she discovered the beauty of
cast and fused glass that Mandy discovered her true
vocation. Her passion and obsession for glass grew
and now her work, recognizable by its bold simplicity,
distinguishes her from other emerging glass artists.
As a student at Sydney College of the Arts, were she
majors in Glass, her talents are being recognized;
this year she exhibited as a finalist for the prestigious
Ranamok Glass Prize. Her very deliberate choice of
colors, line and design results in serene images of
beauty. It is this deliberate reduction and simplicity
that makes it easy to see the influence her design
background has continued to have on her work today.
PLEASE NOTE: Publication of notices is for information
purposes only and does not necessarily indicate endorsement
by the Glass Art Society.
U N I T E D S TAT E S
We are happy to include information as supplied to us by
various sources. Please send us your press releases and notices
including specific, current facts as far in advance as possible to:
G A S , 3131 Western Avenue, # 414, Seattle, WA 98121 or e-mail
to: [email protected]. GAS NEWS is a bi-monthly publication.
Members receive their newsletters approximately 6 - 8 weeks
after the deadline.
Glendale, The Bead Museum, Tel: 623-931-2737,
Fax: 623-930-8561, E-mail: [email protected],
Web: www.beadmuseumaz.org, Trajectories: An Exploration
of Contemporary Glass Beadmaking. This exhibition is
presented in cooperation with the International Society
of Glass Beadmakers, through March 16, 2006
Upcoming Newsletter Deadlines:
April 1 for the June / July / August 2006 issue
July 1 for the September / October 2006 issue
We look forward to hearing from you.
Amanda Eilbeck, “Wrapped,” 2005, cast glass
ARIZONA
Tucson, Philabaum Glass Gallery, Tel: 520-884-7404 (studio)/
520-299-1939 (gallery), Fax: 520-884-0679 (studio)/
520-299-1996 (gallery), E-mail: [email protected],
Web: www.philabaumglass.com, Mark Fowler: Cast Glass
Sculpture. Exhibition located at St. Philip’s Plaza, 4280 N.
Campbell Ave., Suite 105, Tucson, through March 25, 2006.
GEORGIA
Macon, Mercer University, Tel: 478-301-2591, Web: www.mercer.
edu, Architecturally Themed Exhibit at the Swilley Library
to Benefit the Foundation for Community Arts. Glass artists
featured: Kenneth VonRoenn, Susan McCracken, Seranda
Vespermann, Walter Gordinier, and Arthur Stern, through
March 31, 2006
INDIANA
Indianapolis, The Children’s Museum of Indianapolis,
3000 N. Meridian St., Indianapolis, IN 46208, Tel: 317-334-3322,
www.childrensmuseum.org. Fireworks of Glass: Dale Chihuly’s
largest permanent sculpture of blown glass, including an
interactive hands-on exhibit. Opening March 18.
Amanda Eilbeck, “Landscape 2 (detail),” 2005, cast glass
NEW YORK
Amanda Eilbeck, “Landscape 2,” 2005, cast glass
Corning, The Corning Museum of Glass, Tel: 607-937-5371,
www.cmog.org. Splitting the Rainbow: Cut Glass in Color,
April 11 - November 1, 2006.
Karen LaMonte,“Dress Impression with a Train,” 2005, cast glass,
at Museum of Glass, Tacoma, Washington. Photo: Martin Polák
New York, Heller Gallery, Tel: 212-414-4014, Fax: 212-414-2636,
E-mail: [email protected], Web: www.hellergallery.com,
This is Glass, through March 4, 2006; Susan Taylor Glasgow,
Ales Vasicek, March 11 - April 4, 2006
OREGON
Seminars, Conferences & Events
continued from page 10.
M E M B E R U P D AT E
Vicki Halper on the
James Renwick Fellowship
2
I was the Renwick Fellow this past fall, co-editing
Voices in Studio Crafts, an anthology of artists’ writings
and transcribed interviews about post-World War II
American crafts. The fellowship is given annually to one
or two scholars of American crafts. It is administered by
the Smithsonian American Art Museum, which usually
has about a dozen fellows in residence in Washington
D.C. The grant is funded by the James Renwick Alliance,
thanks to noted glass collectors Paul and Elmerina
Parkman, among others.
Among the benefits of the fellowship were three
uninterrupted months of research at the Archives of
American Art and Smithsonian libraries, and a desk
among twelve other scholars in American art, mostly
students completing their PhDs and post-doctoral
fellows preparing their theses for publication.
Fellows are pampered with a cubicle in a spacious
office and excellent administrative help. They are
encouraged to review each other’s work, attend
lectures, and socialize together. I was delighted to
be around young academics who are well-versed in
contemporary critical theory and receptive to a crafts
historian in their midst.
The stipend covers expenses but not much else
if a fellow is visiting from out of town and doesn’t want
to share an apartment. If one has sabbatical or other
income, or doesn’t need salary as well as expenses,
I highly recommend this fellowship.
We want to hear
from you!
GAS NEWS invites Letters to the Editor from all
GAS members. Submit your opinions, comments,
and thoughts to: Glass Art Society, Attn: GAS NEWS,
3131 Western Ave., Suite 414, Seattle, WA 98121, USA,
E-mail: [email protected]
Guidelines for submission of Letters to the Editor:
We encourage all GAS members to express their opinions
in letters to the editor, and ask that the following guidelines be adhered to when submitting letters:
1. Letters will be selected for publication based on space
availability, topical interest, number of letters received on
the same topic or area, and adherence to our guidelines.
Only letters from Glass Art Society members will be
published.
2. Letters containing potentially libelous matter, profanity,
or that attack the character or reputation of a person or
company will not be printed.
3. Letters may be edited for language and length.
4. Letters should be limited to 200 words.
5. Letters submitted for publication by regular mail or
e-mail must include the author’s first and last name,
address and phone number for verification purposes.
Anonymous letters will be disregarded. If your letter
is published, your first and last name will be printed.
Your city and state will be included (unless you ask that
it not be), but your address and phone number will not
be included.
6. When writing, faxing, or e-mailing a letter to the editor,
use the subject line or heading “Letter to the Editor.”
7. When responding to a specific article, state the article
title and include the date in parenthesis.
8. Frequency of submissions may need to be restricted.
If we receive multiple letters on one subject or from one
writer, we will attempt to sample a variety of opinions,
but may apply the general standard of one letter per
writer per three newsletters.
Pilchuck Glass School 28th Annual Auction October 13,
at The Westin Hotel, Seattle, WA. For more information
contact: Pilchuck Glass School, 430 Yale Ave N, Seattle, WA,
98109, Tel: 206-621-8422, ext. 22, Fax: 206-621-0713,
[email protected], www.pilchuck.com
Pilchuck Society Day May 13, in Stanwood, WA. This benefit
allows the school’s annual fund donors to spend the afternoon on Pilchuck’s campus, tour the studios, meet the
artists creating the centerpieces for Pilchuck’s 2005 auction
gala, and view works on display in the Pilchuck Gallery. For
more information contact: Pilchuck Glass School, 430 Yale
Ave. N, Seattle, WA, 98109, Tel: 206-621-8422 ext 22, Fax: 206621-0713, [email protected], www.pilchuck.com
SOFA New York 2006 May 31- June 4 at the Seventh
Regiment Armory, Park Avenue and 67th Street, New York,
NY. The 9th Annual International Exposition of Sculpture
Objects & Functional Art features an opening Night Benefit
for Museum of Arts and Design on May 31. For more
information contact: SOFA: Sculpture, Objects, Functional
Art, 4401 N Ravenswood Suite 301, Chicago, IL, 60640,
Tel: 773-506-8860, 800-563-7632, Fax: 773-506-8892,
[email protected], www.sofaexpo.com
Spring Group Tours May 8 -16, in Stanwood, WA. Tours are
offered to organizational groups of 10 - 45 people and take
approximately one hour. Classes are not in session, but
artists will be working in the hot shop. For more information contact: Pilchuck Glass School, 430 Yale Ave N, Seattle,
WA, 98109-5431, Tel: 206-621-8422 ext 22/ 360-445-3111
(summer), Fax: 206-621-0713/ 360-445-5515 (summer),
Portland, Bullseye Connection Gallery, Tel: 503-227-0222,
Web: www.bullseyeconnectiongallery.com. Clayfusion:
Ceramists work in glass. Artists include Judy Hill, Deborah
Horrell, Jun Kaneko, Tom Kearcher, Jim Koudelka, Thomas Orr,
Ted Sawyer, and Ted Vogel. Featuring the special exhibition
“Kaneko/Sushi Plates” - a collection of new fused glass sushi
plates by master ceramist Jun Kaneko, March 1 - 31, 2006;
Richard Parrish, May 27 - June 24, 2006; April Surgent,
July 1 - 29, 2006
TEXAS
Dallas, Kittrell/Riffkind Art Glass, Tel: 972-239-7957/ 888-8652228, Fax: 972-239-7998, E-mail: [email protected],
Web: www.kittrellriffkind.com, 13th Annual Scent Bottle
Invitational: Featuring one-of-a-kind and limited edition
perfume bottles from over 50 contemporary glass artists
nationwide, through March 5, 2006
WASHINGTON
Seattle, Pilchuck Glass School, Tel: 206-621-8422 ext. 22/ 360445-3111 (summer), Fax: 206-621-0713/ 360-445-5515 (summer),
E-mail: [email protected], Web: www.pilchuck.com,
Pilchuck on Display: An Exhibition of International Glass at
the Westin Hotel, Seattle, WA, through October 12, 2006
Seattle, William Traver Gallery, Tel: 206-587-6501,
Web: www.travergallery.com, Tom Farbanish: Glass and Mixed
Media Sculpture, February 3 - 26, 2006; Paul Marioni: Blown
and Cast Glass Sculpture, March 3 - 26, 2006; Gregory Grenon:
Reverse Painting on Glass, March 3 - 26, 2006.
Tacoma, Museum of Glass: International Center for Contemporary
Art, Tel: 253-284-4730, Web: www.museumofglass.com,
Karen LaMonte: Absence Adorned, through September 4, 2006;
Made at the Museum: Northwest Selections, through June 4,
2006; Sound Organ: An Installation by Mark Zirpel, through
June 4, 2006; Czech Glass, 1945–1980: Design in an Age of
Adversity, through June 18, 2006; Trimpin: Fire Organ, through
April 16, 2006.
Tacoma, William Traver Gallery/Tacoma, Tel: 253-383-3685,
E-mail: [email protected], Web: www.travergallery.com,
Kathy Elliot: Flameworked Botanical Sculpture, March 11 April 4, 2006
I N T E R N AT I O N A L
DENMARK
Ebeltoft, Glasmuseet Ebeltoft, Tel: +45 86 34 17 99, Fax: +45
86 34 60 60, E-mail: [email protected], Web: www.glass.dk,
Traversing: Four Person Touring Exhibition with John Buron,
Eva Engström, Sally Fawkes, Richard Jackson, April 24 June 25, 2006.
ENGLAND
London, Plateaux Gallery, Tel: +44 (0) 20 7357 6880,
Fax: +44 (0) 20 7357 8265, E-mail: [email protected], Web:
www.plateaux.co.uk, Japan: A Premier Exhibition of Glass Art:
Etsuko Nishi and Koichiro Yamamoto, March 9 - April 30, 2006.
Sunderland, Tyne & Wear, Glass Gallery at the National Glass
Centre, Tel: +44 (0) 191 515-5555, Fax: +44 (0) 191-515-5556,
E-mail: [email protected], Web: www.nationalglasscentre.com, Wearing Glass: Contemporary Jewellery & Body
Adornment: Yvonne Coffey, Diana East, Antje Illner, Andrew
Logan, Keïko Mukaïdé & Susan Cross, Patricia Niemann, Alex
Ramsay, and Michaela Theodorakakou, May 12 - July 9, 2006.
ESTONIA
Tallinn, Estonian Museum of Applied Art & Design,
Tel: +372 -6411-927, Fax: +372 -6411-937, E-mail: [email protected],
Web: www.trtr.ee, 4th Tallinn Applied Art Triennial: Two
Close Ones, March 17 - May 21, 2006.
FRANCE
Paris, Luniverre Gallery, Tel: +33-1-4461-0481, Fax: +33-14461-7062, Web: www.luniverre.com, Vanessa Somers:
The Meeting of Eyes, Glass Mosaics, through April 15, 2006;
Valerie Fanchini: Verre et Fer, Sculpture in Glass and Bronze,
through April 15, 2006.
GERMANY
Coburg, Kunstsammlungen der Veste Coburg, Tel: +49 09561/
8790, Fax: +49 09561/87966, Web: www.kunstsammlungencoberg.de, Coburger Glaspreis 2006 Für Zeitgenossische
Glaskunst In Europa, April 2 - June 30, 2006.
Munchen, Alexander Tutsek-Shiftung, Tel: +45 89 343856,
Fax: +45 89 342876, E-mail: [email protected],
Web: www.atutsek.de, Das verlorene Gesicht wieder gefunden:
The face - lost and found again. A catalogue will be published
for this exhibition, March 28, 2006 - February 28, 2007.
LUXEMBOURG
Luxembourg, Jean-Claude Chapelotte Galerie, Tel: 352-471818,
Fax: 352-471818, E-mail: luma@ jcc.lu, Web: www.jcc.lu,
Bretislav Novak, May 22 - June 30, 2006.
The Houston International Fine Arts Festival and IFEST
Markets will be April 22 - 23 and April 29 - 30. Artists are
asked to send an application fee of $15, completed application, exhibitor’s fee, 4 labeled slides or photos of artwork,
one labled slide or photo of booth display, and SASE.
Deadline is March 1, 2006. For more information contact:
Houston International Festival, 1111 Bagby #2550, Houston,
TX, 77002, Tel: 713-654-8808 ext. 390, Fax: 713-654-1719,
[email protected], www.ifest.org
UrbanGlass Auction and Glassblowers Ball April 29, 2006,
Pier 60, Chelsea Piers, NY. For more information contact:
Urban Glass, 647 Fulton St 3rd Floor, Brooklyn, NY, 11217,
Tel: 718-625-3685 x 225, Fax: 718-625-3889, director@
urbanglass.org, www.urbanglass.org
Vanessa Somers, “The Meeting of Eyes, Glass Mosaics,”
at Luniverre Gallery, Paris, France
11
Galleries/Museums/Artists
Please send images of work in upcoming exhibitions!
We prefer digital images if possible ( jpeg, tiff ).
Digital images must be high-resolution.
We also accept prints and 35mm slides.
E-mail to: [email protected] or mail a disk to:
Glass Art Society, Attn: Communications Coordinator,
3131 Western Ave., # 414, Seattle, WA 98121 USA
Dale Chihuly, “Fireworks of Glass,” at The Children’s Museum
of Indianapolis, Indianapolis, Indiana
seminars, conferences, events
10th Annual International Conference Sept. 2 - 3 2006, in
Lybster, Scotland. This converence, The Skilful Hand and Eye,
will explore the issue of skill in contemporary art and craft
practice. Speakers confirmed at this date include Masterclass
leaders (excluding Marquis), Glenn Adamson, Head of the
Victoria & Albert Museum’s Graduate Studies program
(keynote presentation) and Louise Butler, independent curator
of traditional Scottish crafts. For more information contact:
North Lands Creative Glass, Quatre Bras, Lybster, Caithness, ,
KW3 6BN, Scotland, Tel: +44 1593 721 229, Fax: +44 1593 721
229, [email protected], www.northlandsglass.com
2006 American Craft Council Southeast Regional Conference
March 23 - 25, 2006, in Louisville, KY. The Spotlight exhibit and
many of the conference sessions will be held at the Kentucky
Museum of Art and Craft along with other local venues.
For more information contact: Craft Marketing Program,
2100 Capital Plaza Tower, Frankfort, KY, 40601, Tel: 502-564-8110
ext. 488, Fax: 502-564-5696, [email protected],
www.kycraft.ky.gov
2006 Biennial Conference “The Object as an Eloquent
Statement” March 4 - 5 in Auckland, New Zealand. For more
information contact: New Zealand Society of Artists in Glass,
PO Box 68805, Newton, Auckland, New Zealand, Tel: +64 021
1179584, [email protected], www.nzsag.co.nz
2006 CRAFTBOSTON March 31 - April 2, 2006 at the Seaport
World Trade Center, Boston, MA. CRAFTBOSTON 2006 is
produced by The Society of Arts and Crafts and will feature
the work of 175 of the world’s finest craft artists. A special
preview party, Spring for Craft, will be March 30 with proceeds
benefiting SAC’s programs and services. For more information
contact: The Society of Arts & Crafts, 175 Newbury St,
Boston, MA, 02116, Tel: 617-266-1810, Fax: 617-266-5654,
Margaret Pace DeBruin, CRAFTBOSTON Show Director,
[email protected], www.societyofcrafts.org
2006 International Flameworking Conference March 17- 19,
2006, in Carney’s Point, NJ and will feature artist Ginny Ruffner.
For more information contact: Salem Community College
Glass Center, 460 Hollywood Ave, Carneys Point, NJ, 08069,
Tel: 856-351-2611, Fax: 856-351-2662, [email protected],
www.salemcc.org
2006 NAIA Directors Conference March 20 -21 in Winter Park, FL.
The focus this year is marketing. We willl hear from show
directors who are making their events stand out through
innovative marketing techniques, successfully drawing the
attention of patrons and artists alike. For more information
contact: National Association of Independent Artists,
72 Douglas St, Homosassa, FL, 34446, Tel: 352-382-7158,
www.naia-artists.org
7th International Glass Symposium April 6 - 9, 2006 in
Frauenau, Germany. The aim of the symposium is to build
a bridge between the poles or art and industry. Lectures,
discussions and presentations platforms as well as exhibitions,
and meetings will take place in the new Frauenau Glass
Museum, Franenau glass factories and exhibition spaces.
Master classes are also available. For more information contact:
Glasmuseum Frauenau, Am Museumspark 1, Frauenau,
94258, Germany, Tel: +49-9926-941020, Fax: +49-9926-941028,
[email protected], www.glasmuseum-frauenau.de
Americans for the Arts Annual Convention 2006 June 3 - 5 in
Milwaukee, WI. Living Cultural Democracy: Arts in Changing
Communities, the Americans for the Arts 2006 Annual Convention,
will offer an array of on-point presentations, in-depth dialogues,
and on-site experiences. Begin your trip to Milwaukee with an
in-depth learning experience at one of three preconferences
on June 1- 2. For more information contact: Americans for
the Arts, 1000 Vermont Ave NW, Washington, DC, 20005,
www.AmericansForTheArts.org
Annual Open House July 16 at the Pilchuck Glass School,
Stanwood, WA. This is a once-a-year opportunity for the general
public to visit the Pilchuck Glass School’s campus. For more
information contact: Pilchuck Glass School, 430 Yale Ave N,
Seattle, WA, 98109-5431, Tel: 206-621-8422 ext. 22/ 360-445-3111
(summer), Fax: 206-621-0713/ 360-445-5515 (summer),
10
Call for Papers: E.S.G. 2006 'Glass: Science Meets Art'.
The 8th European Society of Glass Science & Technology
Meeting (ESG 2006) will be held in Sunderland, UK, September
10-14, 2006 in conjunction with the Annual Meetings of the
Society of Glass Technology and the International Commission
on Glass. Papers on all aspects of glass science, technology
and art are encouraged – the deadline for abstract submission
is March 31, 2006. To find out more and to submit an abstract
please go to Website: www.esg.co.uk or www.esg2006.co.uk/
documents/Abstractguidelinesandform.doc
Canadian Glass Conference May 24 - 28, 2006 at Red Deer
College, Alberta, Canada. The conference, Looking Within,
Reaching Out, includes studio demonstrations, artist
presentations, market place, pre- and post-conference workshops and a Keynote Address by Milon Townsend. For more
information contact: Glass Art Association of Canada (GAAC),
634 - 3rd St SW, Black Diamond, AB, T0L 0H0, Canada,
Tel: 403-210-1016, Fax: 250-388-7828, www.glassartcanada.ca
CODA 2006 Conference June 1- 4 in Portland, OR. Create
Value/Provoke Change: The Future of Craft is hosted by the
Contemporary Crafts Museum and Gallery and the Oregon
College of Art and Craft and features special sessions and
highlights such as a reception at Bullseye Connection, the
Portland Rose Festival, and the CODA Awards Ceremony.
The conference includes guest speakers Lloyd Herman and
Michael Monroe, many conference sessions, a reception at
Bullseye Connection, and much more. For more information
contact: Craft Organization Development Association, PO Box
59, Onia, AR, 72663, Tel: 870-746-4396, Fax: 870-746-5159,
[email protected], www.codacraft.org
Glass Art Society 36th Annual Conference Glass Gateways:
Meet in the Middle, June 15 -17, 2006, St. Louis, Missouri.
Register online at www.glassart.org. For more information:
Glass Art Society, 3131 Western Ave., Suite 414, Seattle, WA,
98121, Tel: 206-382-1305, Fax: 206-382-2630, [email protected]
Glass Auctions Green Valley will be holding the following
upcoming glass auctions: May 19 - 20, a large collection of
rare sandwich glass miniatures including salts, cup plates,
lacy, cigarette holders, bracelets, candle sticks, early lighting,
blown glass, rolling pins, whimseys, and paperweights.
Sept. 28 - Oct. 1: Pattern glass including US Coin glass, kerosene
lighting, miniature sandwich glass and other historical items.
For more information contact: Green Valley Auctions, Inc.,
2259 Green Valley Ln, Mt. Crawford, VA, 22841, Tel: 540-434-4260,
Fax: 540-434-4532, [email protected],
www.greenvalleyauctions.com
Glass Bead Extravaganza May 6 at the Armenian Cultural
Center, 47 Nichols Ave, Watertown, MA, 02472. This is a member
sale and show of contemporary glass beads, jewelry, cabinet
knobs, wine stoppers, and other home accents. For more
information contact: International Society of Glass Beadmakers,
1120 Chester Ave #470, Cleveland, OH, 44114, Tel: 888-742-0242,
Fax: 913-492-5956, [email protected], www.isgb.org,
www.bostonchapter.org
Glass Build America Trade Show Sept. 19 - 21 at the Las Vegas
Convention Center, Las Vegas, NV. For more information contact:
Glass Build America Show Management, 8200 Greensboro Dr
Ste 302, McLean, VA, 22102-3881, Tel: 866-342-5642 ext. 173,
Fax: 703-442-0082
Middle East Glass Trade Fair March 13 -16, 2006, Kuwait
International Fair Ground, Kuwait City, Kuwait. The Fifth
International Trade Fair For The Glass Processing Machinery,
Equipment, Raw Materials & End Products (MEG) is the only
gateway into Kuwait, Iraq & the Middle East region. This annual
event has contributed significantly to the growth of the glass
industry in the region it serves. For more information contact:
Middle East Glass Expo, Tunis St., Bldg. 10, 2nd Floor, Hawalli,
Kuwait City, Kuwait, Tel: +965 2649177 / 88, Fax: +965 2649199,
[email protected], www.kubec-fairs.com
MoNA’s Collection at 25 March 16, at La Conner, WA. Susan
Parke, MoNA curator, shows slides and describes the collection’s
growth since the Musuem’s founding in 1981. For more
information contact: Museum of Northwest Art, PO Box 969,
121 S First St., La Conner, WA, 98257, Tel: 360-466-4446,
[email protected], www.museumofnwart.org
Paperweight Fest May 18 - 21, at Wheaton Village, Millville, NJ.
Events include exhibit and sale, artist demonstrations, live
auction, raffle prizes, murrine madness lectures and demos, and
lectures by today’s leading glass artists. Scheduled to appear
are: Rick Ayotte, Melissa Ayotte, Bob Banford, John Deacons,
Drew Ebelhare, Mike Hunter, Loren Stump, Chris and Lissa
Juedemann, Peter McDougall, Gordon Smith, Paul Stankard,
Debbie Tarsitano, and many more. For more information
contact: Creative Glass Center of America at Wheaton Village,
1501 Glasstown Rd, Millville, NJ, 08332, Tel: 856-825-6800,
ext. 2739, Fax: 856-825-2410, [email protected],
www.wheatonvillage.org
Philadelphia Buyers Market of American Craft July 21- 23
at the Pennsylvania Convention Center, Philadelphia, PA.
The Buyers Market of American Craft is a wholesale trade show
that provides artists a professional venue to build relationships
with craft buyers from all across the country. Approximately,
2,000 artists exhibit annually to more than 8,000 buyers from
3,000 companies from across the United States and Canada.
For more information contact: The Rosen Group, 3000 Chestnut
Ave. Ste 300, Baltimore, MD, 21211, Tel: 410-889-2933 ext. 218,
Fax: 410-889-1320, [email protected], www.americancraft.com
Seminars, Conferences & Events
continues on page 11.
technical article
Gas-fired Equipment Safety System Check and Maintenance
CAUTION: Any electrical work should be done by
a qualified technician with power disconnected prior to
performing work.
Often you may look at all of the components on
your furnace, glory hole or annealing oven and wonder
if they are worth the money spent on them. What
are their functions and will they perform when the
opportunity arises? Are they a nuisance that you have
bypassed at the risk of melting down your day’s work
or even your equipment or your entire shop?
This article should help clarify the functions of
each component in your safety systems and help you
understand the way each one works. It should also
help you develop a schedule to maintain and test
each component to assure that it will do its duty as
expected. On furnaces and glory holes, a safety system
is typically composed of these items:
Flame Supervision Unit – Acts as a moderator to
read a signal from the UV scanner, verify the presence
of voltage being sent back from the air and gas
pressure switches, the over temp controller, the valve
position indicator; and to energize or de-energize the
safety shutoff valves, alarms, fans, etc. To check this,
first check the other components and make sure this
component does its job.
UV scanner – Detects ultraviolet if a flame is present and sends a signal to the flame supervision unit.
Over temp controller – This controller should
read a dedicated thermocouple to act as a check in
case the first thermocouple, the temperature controller,
or the air valve actuator or variable speed blower fail to
operate properly. This controller must be manually
reset if it is activated.
Pilot Gas Valve(s) – If all interlocks are satisfied,
this valve is energized by the flame supervision unit
to allow small amount of gas to flow to the burner to
verify the presence of a flame.
Safety Shutoff Valves – If flame is verified after
pilot gas opens, these valves are energized and open.
There should be two of these valves piped in series
so that if one fails, the gas will still be shutoff by the
other one.
Gas and air pressure switches – These switches
make or break contact if gas pressure rises above, or air
or gas pressure drops below a safe range of operating
pressure. These and the over temp controller are
examples of “interlocks.”
Valve position indicator – This can be a visual
indicator, electronic indicator (mandatory over 400,000
btu/hr) or both. It verifies the position of the safety
shutoff valve. This way the operator and/or the Flame
Supervision Unit is aware whether the valve is open or
closed.
Alarms – This can be a signal to call the security
system, activate an auto-dialer, energize a light bulb,
sound a horn, or many other indicators.
It is recommended that the operator set follow the
procedure below once per month:
1. Remove the UV scanner from the pipe nipple
it is attached to and verify that the pilot gas valve(s)
and safety shutoff valves shut. If they don’t, then either
the valves, the UV scanner, or the flame monitoring
unit is malfunctioning, or someone has bypassed the
safety system.
by Eddie Bernard
2. Adjust the setpoint on the over temp controller
to a setting below the temperature displayed on the
temperature controller. Verify that the pilot gas valve(s)
and safety shutoff valves shut off.
3. Adjust the high gas pressure switch to a setting
below the normal pressure range and verify that the
pilot gas valve(s) and safety shutoff valves shut.
4. Turn off the manual gas ball valve upstream of
the low gas pressure switch and verify that the pilot
gas valve(s) and safety shut off valves shut.
5. Turn the blower off and allow the pressure to
drop in the air line. Once the pressure drops, the pilot
gas valve(s) and safety shutoff valves should shut.
Verify this.
6. If there are any other components installed,
such as alarms, auto dialers, etc. assure that these items
remain in working order.
ANY COMPONENTS THAT DO NOT PERFORM
THEIR RELATED FUNCTION SHOULD BE REPAIRED OR
REPLACED IMMEDIATELY. THE PURPOSE FOR THESE
INSTRUMENTS IS TO ASSURE SAFETY, THEREFORE
BYPASSING OR JUMPERING IS NOT A SAFE OPTION.
Eddie Bernard is an artist and owner of Wet Dog
Glass, LLC; a company that designs and builds glass studio
equipment and consults on private and public access
studio planning. He has taught glassmaking as well as
equipment building workshops at various schools around
the country as well as abroad. Eddie is the editor of the
technical column of the GAS newsletter.
MEMBER PROFILE
Steve Sizelove
Artist Bio
GlassBuild America: The Glass, Window, & Door Expo
Sept 20 - 22, 2006 at the Las Vegas Convevention Center,
Las Vegas, NV. For more information contact: GlassBuild
America, 8200 Greensboro Dr Ste 302, McLean, VA, 22102,
Tel: 866-342-5642, ext. 300, Fax: 703-442-0082,
www.GlassBuildAmerica.com
History of Glass Lecture Series These lectures are led by
teaching artist and historian Walter Lieberman. Lectures are at
2 pm in the Museum theater, and the corresponding Hot Shop
demonstrations are from 3 - 5 pm. March lectures are March 12:
American and 19th Century Glass and March 26: Stained Glass.
For more information contact: Museum of Glass: International
Center for Contemporary Art, 1801 E. Dock St, Tacoma, WA,
98402-3217, Tel: 253-396-1768, Fax: 253-396-1769,
[email protected], www.museumofglass.org
International Commission on Glass 2007 July 2- 6, 2007 in
Strasbourg, France. For more information contact: International
Commission on Glass, ICG 2007 - CRITT Materiaux Alsace,
Schiltigheim Cedex, F67305, France, Tel: + 33 3 88 19 15 10,
Fax: + 33 3 88 19 15 14, [email protected]
Finding the medium of hot glass in 1995 could
not have been a more life-changing event for Indiana
artist, Steve Sizelove. The novel independence of early
adulthood had recently diverted his attention from
studies at the Milwaukee Institute of Art and Design
and inspired cross-country travel. While living in
Boulder, Colorado, Steve was given the opportunity
to “play with some glass” at a friend’s makeshift flameworking studio. Instantly hooked, he felt that glass
filled a void left by his departure from school.
Always concerned with quality and craftsmanship
in his work, Steve sought the instruction of notable
glass artists such as Robert Mickelsen, Roger Parramore,
and most recently, Lucio Bubacco. The workshops
helped Steve to refine his glass leading to the honor
of receiving the 2005 Niche Award in the category of
Goblets and his recent inclusion in the Spring 2006
release of Lark Books’ 500 Glass Objects.
International Festival of Glass 2006 August 25 - 28 in
Stourbridge, West Midlands, UK. The festival will offer a wealth
of exciting and stimulating events and opportunities. For more
information contact: International Festival of Glass, Ruskin Glass
Centre, Stourbridge, West Midlands, DY8 4HF, United Kingdom,
[email protected], www.ifg.org.uk
Kentucky Crafted: The Market 2006 March 4 - 5 at the
Kentucky Fair and Exposition Center, South Wing B, Louisville, KY.
Nearly 300 exhibitors of fine traditional, folk and contemporary
crafts, two-dimensional visual art, musical recordings, books,
and food products are expected to participate in the 2006
Market. For more information contact: Kentucky Craft
Marketing Program, 2100 Capitol Plaza Tower, Frankfort, KY,
40601, Tel: 888-592-7238 ext 487, [email protected],
www.kycraft.ky.gov
Steve Sizelove, “Lifeform,” 2005, flameworked borosilicate glass,
2.75”h x 4.75”w x 3.25”d
Steve now lives in Richmond, Indiana with his wife
and three children, and is looking forward to his first
major solo exhibition in December of 2006 at the
Indianapolis Art Center. He will also continue to be
active in the glass community through exhibitions,
gallery talks, and teaching classes at his home studio
and other facilities across the U.S. and Canada.
Artist Statement
Up to the present, I have explored glass through
creating traditional recognizable objects, such as
goblets and vessels, while adding a contemporary
voice through bold color choices and exaggerated
composition. My aim has been toward two different
goals: a search for a dynamic contemporary form and
for the creation of figurative elements that offer
allusions to stories without specificity. The idea that
has united the narrative and the fine craft forms
together is my desire for the viewer to look beyond the
initial familiarity of the object—not just to see a goblet
as a goblet, but to see an object that exists beyond its
utilitarian roots.
Though tradition has given me a framework within
which I can explore glass, I work to evolve beyond that.
Recently, I have been searching for unique textures
and shapes that leave the viewer subtly disturbed and
inspire questions as to the object’s origin. With each of
these new pieces, I visit the child within me fascinated
by the culture of the macabre. As this series progresses,
I am experimenting with my process and trying to
consciously incorporate my insights to result in my
most personal, and least utilitarian, work to date.
Right top: Steve Sizelove, “Living Fossil #3,” 2005, flameworked
borosilicate glass, 23”h x 4.5”w x 4.5”d
Right bottom: “Living Fossil #3” (detail)
3
international window
The Glasmuseet Ebeltoft – 20 years on ...
June 2006 will see the opening of a spectacular
new wing Denmark’s Glasmuseet Ebeltoft. To mark
this new stage in the museum’s development and
in celebration of its now 20-year-long existence, the
museum has honoured me with an invitation to curate
the first exhibition.
My involvement with the museum began in
1987 when I was included in the first ‘Young Glass’
exhibition that the museum organized. Being
included in such a prestigious exhibition, at such
a wonderful museum, was a key point in my early
career. The relationship has grown and now my
The Glasmuseet Ebeltoft
involvement is also as a member of the Museum Board
of International advisors and most recently as one of
the members of the newly established Arts Council.
Along with, Susanne Jøker Johnsen, Louise Mazanti,
Lene Bødker and Finn Lyngaard, we have been given
the responsibility of formulating the museums exhibition policy and programme.
The driving theme of this the first show is ‘the
future’ – looking and thinking forwards. As a way of
illustrating this and of exploring something of what
and where the field of creative glasswork might be
heading I chose not only to focus on the new and
youngest artists in the field but also to include
established artists who in my opinion are still actively
questioning and pushing forwards in their own
work with glass. The museum has been unique in its
approach to collecting. Unlike other museums it has
no collection budget but relies on the generosity of
the artists themselves to either loan or donate their
works to the collection. In this, it has always relied on
the integrity of those individual artists – they, rather
than a committee, make the selection of which work
they are presented with. Because of this important
philosophy, the collection currently houses works
from over 630 artists, who are from over 42 different
countries.
Consequently, I felt it was important that the first
exhibition in the new premises should, in some ways,
GLASHAUS
The International Magazine
of Studio Glass
4
German/ English, 4 issues p.a. 39 EUR
(including air mail postage)
Advertising/Subscription:
Dr. Wolfgang Schmölders
Glashaus-Verlag, Stadtgarten 4
D-47798 Krefeld (Germany)
Tel:
+49-2151-77 87 08
Fax: +49-2151-97 83 41
Email: [email protected]
www.glasshouse.de
by Elizabeth Swinburne
reflect both this international flavor and also the
importance of the artist's own judgement and wishes.
Twenty artists have been invited to participate in the
exhibition. These include some of the well known
names of the early days of the studio glass movement
– the grandmothers and fathers if you will – Finn
Lyngaard from Denmark, without whom the museum
would not exist, Bertil Vallien from Sweden, Jaroslava
Bryctová from Czech Republic, Makoto Ito from Japan,
Joel Philip Myers from the United States, German born
Klaus Moje, who has been so influential in the development of glass in Australia, Lino Tagliapietra from Italy
who has been one of the key
influences on a whole technical
appreciation and approach to glass
in the United States. Also included
in the exhibition will be works from
a younger group of artist – each
chosen for their individual character
and quality of past and present
work. Included are: Alison Kinnaird
(U.K.), Mieke Groot, (Netherlands),
Laura Heyworth (Netherlands),
Brian Hirst (Austria), Sylvia Levenson (Italy), Alena
Matejková (Czechoslovakia), Anna Norberg, (Sweden),
Masayo Odahashi (Japan), Sibylla Peretti (Denmark),
Stig Persson (Denmark), Jocelyne Prince (Canada),
Kirstie Rea (Austria), Emma Woffenden (France).
The artists have been asked to participate in the
show in their own way, and the majority are making
new works especially for this event – a nervous
position for a curator to be in – not knowing exactly
what an exhibition will look like well in advance of the
set up date. But as an artist myself, I know the value
and importance of this kind of trust. Consequently,
I have every confidence (as does the museum) that
the resulting exhibition will contain works of sheer
magic and inspiration. It will be a presentation that
will touch on the diversity of technical approaches to
the material and will of course include examples of
blowing, casting, painting, pâte de verre, slumping,
engraving and polishing. But more importantly, it
will demonstrate that glass is a material used by
artists not because of its technical fascinations alone,
but because it is a material which offers a rich and
rewarding visual vocabulary.
Elizabeth Swinburne is a British artist who currently
lives and works in the Netherlands; her work has been
shown extensively internationally. She has been an active
artist, educator, curator and consultant for glass for the
past 23 years.
SCHOOL PROFILE
The Glass Studies at the Bezalel
Art Academy, Jerusalem, Israel
By Dafna Kaffeman
My first encounter with glass was during my first
year of study at the Bezalel Art academy in Jerusalem.
I was given an assignment to choose an object and
create it in a variety of materials. I wanted to use
glass, when back then it was almost impossible.
The ceramics department had only a few kilns to
work with glass. The techniques used were slumping,
fusing and casting. We used window glass so all
the work came out eventually in the same shades of
color – green.
In those days two teachers were pushing the
glass studies to become a major force in the department. Dani Varbenna and Louis Saklovsky started
the change, which led to the stage of the department today. It was Dani who built the first furnace,
together with the students of the department.
A few years later a glory hole was added. As time
passed, more students started working with glass
as a major material in their work and the facilities
grew to include more casting ovens and lampworking facilities.
Today the Bezalel glass course is a major force
in the department, which changed its name to the
Ceramics and Glass department. The facilities include
a hot shop with two glory holes, casting facilities,
lampworking laboratory and a cold working area.
The change had taken place in less then ten years.
This year, as the Bezalel Art Academy is
celebrating its one hundred year anniversary, the
Glass and Ceramics department is a good place to
understand the evolution of art studies in Israel. For
us, artists that use this material in order to express
their ideas, such facilities are a necessity to develop
and explore the materials with relevancy to the art
scene of today. At Bezalel, the glass course is a
four-year course and includes both theoretical and
practical studies. The emphasis is on creating art
and design with the use of glass. Today there are 12
students who study glass as a major and 25 who take
it as a minor. The evolution in the use of the material
is very quick. Students use a variety of techniques–
from casting to hot glass and pâte-de-verre. Many are
earning a scholarship to Pilchuck where they develop
their skills and learn new techniques.
Israel has a very rich and interesting history with
regards to glass, and has an excellent ancient glass
collection in two of the major museums–The Israel
Museum in Jerusalem and The Haaretz Museum in
Ramat Aviv. The last one is also currently hosting
exhibitions by contemporary international glass
artists in the glass pavilion, curated by Enrietta Eliezer
Brunner. Throughout the years, several international
artists have come to the department to give workshops, and the exchange program brings international
students to join the study as well.
The result is already noticeable-the work that the
students produce in their last year is challenging and
provocative. The use of glass is not taken for granted
and comes from a place where it is needed to express
one’s ideas.
Dafna Kaffeman is the head of the glass studies
at the Bezalel Art Academy in Jerusalem. She has been
teaching in the department since 2003. In 1997 she
moved to Amsterdam to study at the Rietveld Art
Academy where she majored in glass. She received her
MFA in Amsterdam in 2002. Her work is exhibited in
Europe and in the U.S., and she has won numerous
prizes and scholarships. In 2003 she received a fellowship to the Creative Glass Centre of America at Wheaton
Village. Her work is in the collection of the Museum of
American Glass, the Racine Art Museum, and The
Corning Museum of Glass. Currently, she shows her
work with Heller Gallery in New York, and the Bullseye
Connection Gallery in Portland, Oregon, as well as in
Europe. The Hilbert Sosin Fund of the Florida Art
Alliance named her Outstanding Emerging Glass
Artist for the year 2005-2006.
OREGON
Bullseye Glass Co., 3722 SE 21st Ave, Portland, OR, 97202, Tel:
503-232-8887, Fax: 503-238-9963, [email protected],
www.bullseye-glass.com
Class Schedule through April 2006:
Mar. 3, 31; April 21: Glass Cutting, the Basics/Staff
Mar. 6 -10:
Set Your Kiln On Fire/Bonnie Celeste
Mar. 11, 12 & 14:
Bullseye Box Casting
Mar. 12:
Frit Forms/Bonnie Celeste
Mar. 13, 14 & 16; April 17, 18 & 20: Platemaking Basics/Staff
March 17 - 19:
Beginning Beadmaking/Guest Artist
Larry Brickman
Mar. 24 - 27:
Frit Forms/Bonnie Harder
Apr. 3-8:
Kilnforming: This Time It’s Personal/
Guest Artist Christy Corbett
Apr. 9:
Kilnforming: KSI: Kilnforming Scene
Investigation/Tom Jacobs
Apr. 10 -13:
The Glass Sketch/Tom Jacobs
Apr. 22 - 23 & 25: Introduction to Slumping/Bonnie Celeste
Apr. 24 - 28:
Painting With Light/Tom Jacobs
Open Torch by appointment
Open Studio by appointment
This season we are also continuing our popular series of artist
presentations and demonstrations at the Bullseye Resource
Center which are scheduled on occasional Sunday afternoons.
Reservations are required. The details are included in the
class schedule.
KSI: Kilnforming Scene Investigation/Tom Jacobs
Bullseye Box Casting/Tom Jacobs
Pâte de Verre/Guest Artist Alicia Lomné
Frit Forms/Bonnie Celeste
WASHINGTON
Pilchuck Glass School, 430 Yale Ave N, Seattle, WA, 98109-5431,
Tel: 206-621-8422 ext. 22/ 360-445-3111 (summer), Fax: 206-6210713/360-445-5515 (summer), [email protected],
www.pilchuck.com
Session 1
May 23 - June 9:
May 23 - June 9:
May 23 - June 9:
May 23 - June 9:
May 23 - June 9:
Glass Secrets Revealed/Scott Darlington
Beyond Archetypes of Patters/Kait Rhoads
Painted and Tainted/Thor Bueno
Scolpture In Sight/Brynhildur Thorgeirsdottir
Warren Langley/Architectural and Sculptural
Kiln-Formed Glass
Artists in Residence: Trimpin, Caroline Broadhead
Session 2
June 13 - 30:
June 13 - 30:
Beginning Concepts in Glass/Amy Rueffert
Icon-O-Glass/Barcus Amerman and
Preston Singletary
June 13 - 30:
The World is Not Flat/John Reyntiens
June 13 - 30:
The Spirit of Neon/David Svenson
June 13 - 30:
Kiln-Cast Glass: Basics and Beyond/
Mark Abildgaard
Artists in Residence: Marita Dingus, Loren White
Session 3
July 4 - 21:
A Glassblower’s Journey/Boyd Sugiki
July 4 - 21:
Blow and Sculpt!/Jen Elek
July 4 - 21:
Graphic Collisions in Glass/Jeffrey Sarmiento
July 4 - 21:
When to Hear, How Much, and Where/
Roger Parramore
July 4 - 21:
Solid Light/Richard Whiteley
Artists in Residence: Wendy Ramshaw, Mike Kelley
Session 4
July 25 - Aug. 11: Traditional Italian Glass Now/Livio Serena
July 25 - Aug. 11: Collaborations in Design/Nadege Desgenetez
and Monica Guggisberg
July 25 - Aug. 11: Hot Glass Subversions/Jocelyn Prince
July 25 - Aug. 11: The Art and Science of Flameworking/
Sally Prasch
July 25 - Aug. 11: Vocabulary of Kiln Forming/Steve Klein
Artists in Residence: Susan Stinsmuehlen-Amend, Rob Wynne
Session 5
Aug. 15 - Sept. 1: Working Out of Round/Richard Royal
Aug. 15 - Sept. 1: Think and Tink/Peter Ivy
Aug. 15 - Sept. 1: Elemental Cast Glass/Nancy Blair
Aug. 15 - Sept. 1: Nature in Glass/Vittorio Constantini
Aug. 15 - Sept. 1: Form Beyond the Furnace/Lienors Torre
Artists in Residence: Linda Beaumont, Richard Marquis
I N T E R N AT I O N A L
CANADA
Alberta College of Art & Design, 1407 14 Ave. NW, Calgary, AB,
T2N 4R3, Tel: 403-284-7600, Fax: 403-289-6682.
In conjunction with the Canadian Glass Conference being
held in Red Deer, Alberta, May 25-28, The Alberta College of
Art & Design glass program in Calgary will be offering the
following workshops:
Pre-conference workshops:
May 18 - 24:
Glass Blowing: An In-Depth Introduction to
Venetian Techniques/William Gudenrath
May 29 - June 4: Glass Casting: 100% Natural Light/
Emma Camden.
Post-conference workshops:
May 29 - June 6: Glass Casting: Wish in a Box/Tessa Clegg
May 29 - June 6: Coldworking Techniques/Aesthetics:
Breaking the Skin/Jane Bruce
College credit equivalency can be arranged for all ACAD glass
courses offered.
Red Deer College, PO Box 5005, Red Deer, AB, T4N 5H5,
http://www.rdc.ab.ca/continuingeducation/
Red Deer College offers classes in glassblowing, flameworking
in both Borosilicate and Moretti, and glass fusing from
May to Sept every year. Some scholarhips are available.
Call 402-342-3504 to be added to the mailing list.
Website: www.rdc.ab.ca/continuingeducation.
Canadian Glass Conference Workshops:
May 15 - 24:
Forces of Nature/Bandhu Scott Dunham
May 20 - 24:
Hot-Cold-Hot-Cold/Jane Bruce
May 22 - 24:
Borosilicate Bead Blast/Lauri Copeland
May 29 - June 3: From Fundamentals to Fabulous!/
Cindy Jenkins
May 29 - June 9: The Dirty South-An Approach to the Hotshop/
Jamex & Einar de la Torre
May 29 - June 9: Lost Wax: Casting in Glass/Stephen Paul Day
Harbourfront Centre, 235 Queens Quay West, Toronto, ONT,
Tel: 416-973-4000 or visit www.harbourfrontcentre.com/
noflash/visarts.php. Beauty includes several different exhibits
through March 12, 2006. Beauteous (a national juried exhibition
featuring 16 artists); Material World (Harbourfront Centre’s Craft
Studio residents biennial exhibition); four beauties exhibition
and at installations by Susie Osler (BLOOM) and Wendy Walgate
(New Migration). Photography by Garett Walker (The Canadian
Icon Series exhibition) and a site-specific installation by
designer Andrew Jones.
ENGLAND
Frances Binnington, 45 Augustus Rd #2, London, SW19 6LW,
Tel: +44 0208 789 1060/+44 07952 720 386, Fax: 415-566-9735,
[email protected], www.gilding.net
Occasional classes in Verre Églomisé held in Chelsea, London.
International Festival of Glass, Ruskin Glass Centre,
Stourbridge, West Midlands, DY8 4HF, [email protected],
www.ifg.org.uk
Masterclasses will be offered August 21-24, preceeding the
International Fesitval of Glass in Stourbridge, West Midlands, UK.
Instructors include: Frances Binnington, Deb Cocks, Iestly
Davies, Diana East, Ben Edols and Kathy Elliott, Josef Marek,
Elio Quarisa, David Ruth, Torben Sode, and Loren Stump.
GERMANY
Bild-Werk Frauenau, Postfach 105, Frauenau, D-94258,
Tel: +49-9926-180895, Fax: +49-9926-180897, [email protected], www.Bild-Werk-Frauenau.de. Master Classes
offered in conjunction with “Glass in Context 2006: Art - Image Industry.” From March 29 to April 6, 2006 class offered are: hot
glass, lampworked glass, kiln casting, stained glass/flat glass,
glass engraving, acid etching, and glass cutting. Instructors
include: Mary Angus, Lucio Bubacco, Silvia Levenson, Jiri
Harcuba, Vladimir Klein, Petr Novotny, and Dana Zamecnikova.
ITALY
Vetrate Artistiche Toscane, Via della Galluzza, n. 5, Siena,
53100, Tel: +39 0577 48033, [email protected],
www.glassisland.com
Summer 2006 Workshops in Tucsany:
Sept. 5 - 8: Marble Mosaic
Sept. 11-15: Glass Fusing
Sept. 18 - 29: Painting on glass
The workshops will take place in our studio in the very centre
of Siena (Tuscany) and will be conducted in English.
SCOTLAND
North Lands Creative Glass, Quatre Bras, Lybster, Caithness,
KW3 6BN, Tel: +44 1593 721 229, Fax: +44 1593 721 229,
[email protected], www.northlandsglass.com
Masterclasses Program:
Session 1:
July 26 - Aug. 3: The Skilful Hand and Eye/Dick Marquis.
Session 2:
Aug. 23 - 31:
Kiln Casting Masterclass/Tessa Clegg
and Carol Mcnicoll
Aug. 26 - 31:
Glassblowing Masterclass/Dante Marioni
and Janusz Pozniak
Session 3:
Sept. 5 -10:
Cold-working Masterclass/Alison Kinnaird
and Tom Rowney
Sept. 5 -13:
Kiln Forming Masterclass, instructor to be
confirmed.
TURKEY
Cam Ocagi / The Glass Furnace, Akatlar Mah, Meydan Sok,
No.16/4 Levent, Istanbul, 80600, Tel: +90 212 3512075,
Fax: +90 212 3510963, [email protected], www.glassfurnace.org
Come to the Glass Furnace, Istanbul, Turkey for a week of
casting glass and mixed media designed to expand your
creative boundaries. The Glass Furnace is an hour outside of
Istanbul in the countryside. We will stay there at the school or
a week, July16 - 22 then go into Istanbul and spend three days
in specialized small tours seeing some of the best sights of
Istanbul. You will then have two days to explore the sights and
sounds of a very ancient city. The second week, July 17-29 will
be at a small, quaint, hotel close to a wonderful assortment of
outdoor restaurants, increadable crafts, fabulous rug shops
(they really are wonderful) the Aye Sophia and the Grande
Bazaar. For more information contact: Jody Bone at
[email protected] or the Glass Furnace at
[email protected] or www.glassfurnace.org.
Classes at the Glass Furnace:
April 30 - May 13: Glassblowing/Ed Schmid
May 21 - June 3: Glassblowing/James Vella
May 21 - June 3: Beadmaking/Ulli Egger
May 21 - June 3: Fusing & Kilncasting/Chantal Royant
June 11- 24:
Glassblowing/Fritz Dreisbach
June 11- 24:
Beadmaking/Michaela M. Möller
June 11- 24:
Sculpture with Coldworking/Vladimir Klein
July 2 -15:
Glassblowing/John de Wit
July 2 -15:
Lampworking/Matthew Eskuche
July 2 -15:
Kilncasting/Sunny Wang
July 23 - Aug 5: Glassblowing/B.Jane Cowie
July 23 - Aug 5: Beadmaking/JanHein van Stiphout
July 23 - Aug 5: Kilncasting/Jeanne Marie Ferraro
July 30 - Aug 12: Kilncasting & Hotcasting/Mitchell Gaudet
Aug. 13 - 26:
Glassblowing/Karen Willenbrink-Johnsen
Aug. 13 - 26:
Lampworking & Neon/Tom Galbraith
Aug. 13 - 26:
Fusing & Kilncasting/Angela Thwaites
Sept. 3 -16:
Glassblowing/Petr Novotny & Rob Stern
Sept. 3 -16:
Lampworking & Beadmaking/
Frederick Birkhill
Sept. 3 -16:
Fusing & Kilncasting/Etsuko Nishi
Sept. 24 - Oct. 7: Glassblowing/Ben Wright
Sept. 24 - Oct. 7: Beadmaking/Julie Anne Denton
9
classes + workshops
after the deadline.
U N I T E D S TAT E S
ARIZONA
Sonoran Glass Art Academy, 633 W 18th St, Tucson, AZ,
85701-2553, Tel: 520-884-7814, Fax: 520-623-9680,
[email protected], www.sonoranglass.org
Apr. 2 - 23: A Month of Sundays: An Introduction to Glassblowing.
For the person on the go (or on a budget), this class is a chance
to learn the basics of furnace glassblowing in somewhat smaller
increments, schedule-wise! In this class you will begin working
with glass paperweights and progress through blown forms,
exploring color and form along the way. This is an excellent
first step in building one’s skills in glassblowing. No prior
glassblowing experience required.
May 8 - 26:
Glassblowing Intensive*
June 12 - 30:
Glassblowing Intensive*
Apr. 24 - May 16: Continuing Glassblowing
Mar. 24 - Apr. 21: Five Fridays!
Mar. 18 & 19:
Beginning Lampworking
May 20 & 21:
June 17 & 18:
Apr. 15 & 16:
Intermediate Lampworking
* College credit available
Workshops:
Mar. 2 (eve.), 3, 4, & 5: Women Only Glassblowing/ Debra May
Mar. 25 & 26:
Unconventional Vessels/Bandhu Dunham
CALIFORNIA
Fenton Glass Studio - Moon Mountain, 851 81st Ave Ste 201,
Oakland, CA, 94621-2535, Tel: 510-638-1313, Fax: 510-638-1314,
[email protected], www.danfenton.net
Mar. 3 - 5: Glass Mold Making /
Dan Fenton and Patricia O’Doherty
Stumpchuck.com, 8901 Sheldon Rd, Elk Grove, CA, 95624,
www.stumpchuck.com
Mar 29 - April 2: Murrini/Loren Stump
May 3 - 7:
Loren II/Loren Stump
May 10 - 14:
Under the Sea/Loren Stump
June 2 - 4:
Paperweight Weekend/Loren Stump
July 12 - 16:
In the Sky/Loren Stump
Sept. 20 - 24:
In the Garden/Loren Stump
Oct. 25 - 29:
Loren II/Loren Stump
Nov. 3 - 5:
Paperweight Weekend/Loren Stump
Nov. 15 -19:
Loren I/Loren Stump
8
ILLINOIS
Ed Hoy’s International, 27625 Diehl Rd, Warrenville, IL, 60555,
Tel: 800-323-5668/630-836-1353, Fax: 630-836-1362,
[email protected], http://www.edhoy.com
April 7:
How to Teach Glass Fusing/Larry Cimaglio
April 24 - 25: Introduction to Painting on Glass/
Marie Anne Tatina OSB
April 26 - 27: Layering, Shading (Matte) & Colors/
Marie Anne Tatina OSB
April 28 - 29: Silkscreening on Glass/Marie Anne Tatina OSB
May 18 - 20: Advanced Fused Bowls & Design Elements/
Patty Gray
Southern Illinois University Carbondale, School of Art
& Design, Carbondale, IL, 62901, Tel: 618-453-7772,
Fax: 618-453-7710, [email protected], www.artanddesign.siu.edu
Pre-conference Workshops will be offered at Southern Illinois
University in Carbondale, IL. The SIU Glass program has
spacious and new well-equipped cold working studio and kiln
working facility. St. Louis, Missouri is 120 miles northwest of
Carbondale – approximately 2 hours away. There will be an
arrangement for transportation to the GAS Conference site.
Workshops are:
June 12 -14: Glassblowing/David Levi
June 12 -14: Traditional Czech Glass Cutting/Frantisek Janak
June 12 -14: Small Size Casting/Mel George
MAINE
Haystack Mountain School of Crafts, PO Box 518 GL,
Deer Isle, ME, 04627, Tel: 207-348-2306, Fax: 207-348-2307,
[email protected], www.haystack-mtn.org
2006 Summer Workshops:
July 2 -14:
The Retticello Channel/
Anthony Schafermeyer & Claire Kelly
July 16 - 28:
Hot Glass Sculpting/Karen Willenbrink
July 30 - Aug. 18: Introduction to Glassblowing/Kiara Pelissier
Aug. 20 - Sept. 1: Searching for a Useful Form or Two/
Nick Mount
Sept. 3 - 9:
Glass workshop/Peter Houk
MICHIGAN
Delphi, 3380 E. Jolly Rd, Lansing, MI, 48910, Tel: 800-331-1101,
Fax: 800-748-0374, [email protected],
www.delphihotglass.com
Offering over 150 art glass classes for beginning to advanced
level students. Hands-on workshops include stained glass,
fused glass, bead making, mosaics, home improvement and
jewelry making. Students learn from the experienced artists at
Delphi in one-day classes, weekly sessions and 3-day seminars.
Delphi hosts the art glass community’s top instructors for
special events and workshops. Many students travel around
the country to attend classes at Delphi. Discounted lodging
available. Call Delphi or visit the website and click “Classes” for
a complete online schedule.
Mar. 11:
Intro to Boro
Mar. 19:
Enameling on Glass
Mar. 29 -31: Bead Basics and Beyond
Apr. 21- 23: Glass Fusing, Slumping, and Kiln Casting Workshop
Apr. 23:
Mosaic Art Tables
Apr. 29:
One Day Beginning Stained Glass
May 3 - 5: Architectural Mosaic Seminar with Roy Kapp
New Orleans: From Conference to Convalescence
By Mark Rosenbaum
May 21:
May 27:
One Day Silver Jewelry Clay
One Day Leaded Glass Windows
Eberhart Studio, 3154 Shamrock Ct, Ann Arbor, MI, 48105,
www.eberhartglass.com
Mar. 25 - 26:
Pyrex 3-D Plasma Neon/Argon Workshop/
Harald Eberhart
Mar. 30 - Apr 2: Pyrex Flame Glassblowing (All Levels)/
Harald Eberhart
Apr. 6 - 9:
Pyrex Flame Glassblowing (All Levels)/
Harald Eberhart
Apr. 20 - 23:
Harald Eberhart
May 4 - 7:
Harald Eberhart
May 18 - 21:
Harald Eberhart
Sept. 30 - Oct. 1: Pyrex 3-D Plasma Neon/Argon Workshop/
Harald Eberhart
Oct. 12 - 15:
Harald Eberhart
Nov. 3 - 6:
Harald Eberhart
Nov. 9 - 12:
Harald Eberhart
NEW YORK
Creativity Workshop, 245 E. 40th St 25th Floor, New York,
NY, 10016, Tel: 866-217-1980 /212-922-1555,
[email protected], www.roadstocreation.com
The Creativity Workshop is dedicated to teaching people about
their creativity and how to use it in all aspects of life, work, and
creative expression.
New York Calendar 2006:
March 24 - 27
April 21 - 24
May 19 - 22
Europe Summer Calendar 2006:
Crete:
June 19 - 28
Provence: June 29 - July 8
Florence: July 9 - 18
Barcelona: July 19 - 28
Prague:
July 28 - August 6
Dublin:
August 6 - 15
Bruges:
August 15 - 24
National Bottle Museum, 76 Milton Ave, Ballston Spa, NY,
12020, Tel: 518-885-7589, Fax: 518-885-0317, [email protected],
www.nationalbottlemuseum.org
Mar. 18 -19: Flameworking Workshop (all levels)/Sally Prasch
Urban Glass, 647 Fulton St 3rd Floor, Brooklyn, NY, 11217,
Tel: 718-625-3685 ext 237, Fax: 718-625-3889,
[email protected], www.urbanglass.org
Mar. 20 - 24: 2-D/3-D, From Page to Pedestal: Pate de Verre
Vessels/ Deborah Horrell
Apr. 21- 23: Beadmaking/ Kristina Logan
Apr. 24 - 28: Shapes for Hot Skills/ Paul Cunningham and
Tom Farbanish
May 3 - 7: Flameworking Vessels and Form Consciousness/
Matthew Eskuche
“It was the best of times, it was the worst of times
…”This is how Charles Dickens opened his classic
“A Tale of Two Cities”. That novel was written about two
cities that were separated by a geographical distance.
It could have very well been written about New Orleans
before and after Hurricane Katrina, with her late August
assault defining the distance.
As the co-chairman of the 2004 Glass Art Society
conference, I implored GAS members to come to my
beloved home city and wrote of the uniqueness of New
Orleans. “You can hear a cacophony of sounds from the
jazz, blues, Cajun and zydeco clubs throughout the city
contrasting with the gentle sounds of the calliope on
the riverboat Natchez. Enjoy the eclectic tastes at our
world-class restaurants, or sample the simple powdered
sugar beignets at the Café du Monde. Experience
petting an alligator at the Aquarium of the Americas
and compare it to touching the feathers on a costume
at Mardi Gras World. Encounter the pungent aroma of
Bourbon Street juxtaposed with the sweet-smell of
magnolia trees on Jackson Square …” This is how many
of you will hopefully remember New Orleans.
On August 28, and the following days, the “Big Easy"
experienced what will probably go down as the biggest
natural disaster in American history. The city was
plunged into a period of unprecedented turmoil.
Neighborhoods and communities were obliterated.
The majority of the city was underwater for weeks.
This was the “big one” that everyone said we were not
prepared for, and they were right.
When we were preparing for the conference,
we had our share of problems, as anyone who has
organized a function of that size will attest. Logistics,
participation, budget, transportation, and lodging all
were of concern for us. We were able to put together
a group of artists and enthusiasts to organize and
run the convention. This gave us a great “jump start”
on a cohesive group that could work together and
strengthen the glass community in New Orleans.
Working in an art form that traditionally was kept very
secretive, our group, prior to the storm was very open
and giving. The potential for great things to happen
for us in the “glass world” was in our reach. Katrina
broke apart the artistic community as it broke apart
the city. People were scattered across the country
in an effort to flee the destruction and flooding.
Many people will not return to the city because they
no longer have homes to come back to.
As I write this, it is almost five months after
Katrina ripped into our city. The situation is still critical.
Over 60% of the city still does not have basic services.
The post-apocalyptic look is everywhere you turn.
Refuse is piled in the streets. The estimates are that
the trash is comparable to thirty years worth of debris.
Over 200,000 homes were severely damaged or
obliterated. Many of the sights and cultural icons are
not open. Some may never again. Our conference
headquarters, the Fairmont Hotel, will be closed until
at least the summer; the New Orleans Museum of
Art and the Contemporary Art Center are shuttered.
The St. Charles streetcar will hopefully start running
in the fall. Wet Dog Glass was severely damaged and
Studio Inferno’s furnace is cold. My studio, Rosetree
Glass, was largely spared. We only received rain and
wind damage from the storm, we did not flood. We
were able to return to the city in early October and
start creating our work. Tulane University Studio had
flood damage, and the cold shop and had to replace all
their equipment, but the studio has been cleaned up
and classes have resumed with an interest in glass still
growing, so much in fact, that an extra class had to be
added. There is also a movement by a core group of
glass artists to organize and work together and create
a public access studio that would service those who
no longer have a space to work in.
We are living in what is called a “new normal,” but
it is not normal. We are surrounded by and reminded
of tragedy everyday. The city has been dealt a blow
that knocked her to her knees and will take years to
recover. People are slow to return and businesses have
very limited hours or have not opened at all. Blame
and finger-pointing has taken the place of intelligent
communication. Post-traumatic Stress Syndrome is
very evident in the actions of many people. This might
be “new,” but hopefully it will not remain normal.
The mantra that is offered by officials is of “recovery,
rebirth, and renewal.” We have barely entered the
first phase.
Mark Rosenbaum blowing at Rosetree Glass Studio
The glass community in New Orleans has gone
from its peak two years ago to being dangerously
close to obliteration. Hopefully with care and guidance,
we will emerge from this tragedy better and stronger.
Hopefully we will look back on this lifetime event
as a turning point in our lives both personally and
artistically.
Mark Rosenbaum received his BFA from Tyler School
of Art and was the first to earn an MFA in glass from
Tulane University. In 1985 he received a LADOA grant to
establish the first privately owned glass blowing studio in
Louisiana. Mark founded Rosetree Glass Studio in 1992.
His work has been shown in over 600 galleries, stores and
specialty shops. Mark is a second-generation artist who
lives with his wife, Brenda and their two children, Marcy
and Max, in New Orleans.
Rebuilding A Community Through Art
Since getting Rosetree Glass
up and running again, Mark
Rosenbaum has developed the
KAT 5 vase, playing on Hurricane
Katrina’s Category 5 impact;
he’ll donate part of the proceeds
from this vase to the Craft
Emergency Relief Fund (CERF).
Mark says,“The multi-colored
base symbolizes the multicultural blend of people unique
to New Orleans and is partially
covered by a thickness of heavily
rippled clear glass representing
the flood waters. A thin wrap of
black glass on the body of the
vase is a reminder of the highwater mark left on thousands of
buildings. A bright blue lip on
each vase echoes the ubiquitous
‘blue roofs’ that temporarily
cover so many homes. A single
embedded glass flower above
the water line symbolizes the birth of a new New Orleans that will rise above
the tragedy to become an even stronger city.”
Cornelia Carey, executive director of CERF asked, after touring the areas
destroyed by the hurricane, “How does a city like New Orleans recover from
this degree of devastation? We must do all that we can to help the creative
community piece back together their broken lives. ”You can donate to the
“GAS in CERF” fund on our membership page (www.glassart.org/joinnow.html)
under Contributions, by adding the amount you’d like to donate to your “cart”.
5
resources, etc.
JOIN US for the Glass Art Society’s Collector’s Seminar and Tour
July 12 - 16, 2006, Seattle, Washington
Join us for this unique and educational experience
for beginning collectors. The Collector's Seminar is
a four-day event that introduces new collectors to
collecting in today’s market. You will visit established
private collections; meet emerging and worldrenowned artists; learn from museum, private, and
corporate curators and art administrators; and learn
how to display fragile artwork properly. This introduction will provide an overview of how the art market
works, the growth of artists and galleries, and how
collections are built. While this event does focus on
glass, other media will also be included. The following
is a preliminary schedule of events.
Introduction: Why do we collect?
Wednesday, July 12
Beginning with a meet and greet wine reception,
the group will meet some of the principal art professionals from the coming week. The group will then
visit the Northwest's most highly recognized private
collections and hear what drives collectors. We will
also visit the home and studio of artist Ginny Ruffner
to view her collections of artwork and unusual objects
in a home filled with whimsy. The night culminates
with a dinner at one of Seattle's most famous restaurants, The Wild Ginger.
How does the market work?
What to look for in emerging artists?
Thursday, July 13
Day two begins with a continental breakfast at the
Commons and a slide presentation by a local emerging
artist. Proceeded by this we will visit local galleries
where dealers will discuss how the market works and
the integral artist/gallery relationship. The gallery
becomes the classroom as internationally respected
dealers reveal what they look for in emerging artists
and provide insight into working with galleries as one
builds a collection. After lunch at Palisades restaurant,
we will visit additional studios and younger galleries.
after the deadline.
How does one define their aesthetic?
Friday, July 14
We will start our afternoon with visits to private
collections. Following this is a tour of the Bellevue
Arts Museum and a discussion of the process of
building a permanent collection. The group then
goes to Microsoft for an evening tour of the extensive
collection to learn how a corporation creates one
of the world’s largest contemporary corporate
collections. The evening concludes with dinner
at the Dahlia Lounge for an evening of modern
Northwest cuisine.
Calls to Artists
COMPETITIONS
Glass Competition The Glass Axis, in Columbus, OH is hosting
a juried glass commission competition. The projects submitted
are for sites in the headquarters of a large telecommunications
company. To download a prospectus and pictures, go to our
website at: www.glassaxis.org/west_proposal/. Please call
614- 291-4250 or send an e-mail for further information
([email protected]). For more information contact:
Glass Axis, 1341 Norton Ave Ste B, Columbus, OH, 43212, Tel:
614-291-4250, Fax: 614-291-0122, [email protected],
www.glassaxis.org, deadline March 1.
How do you start your collection?
Saturday, July 15
Day four begins with a presentation by an art
handler and a continental breakfast. This will give you
an in-depth view of bringing artwork into your home
and safely displaying fragile work. The day will be filled
with visits to studios of mid-career artists where you
will learn about their individual styles and career
growth. A boxed lunch will be provided at a studio
with a wine reception at the end of the day.
Additional Day:
Open house at the Pilchuck Glass School
Sunday, July 16
Included in the tour is a visit to the Pilchuck Glass
School for their annual open house. Open only one
day to the public, the Glass Art Society will provide
ground transportation and a guide to to answer any
questions. Bottled water and light snacks will be
provided on the bus.
All ground transportation in Seattle is included
along with the listed meals above. Lodging in Seattle
is not included, however, there will be a group block
at a downtown hotel offered at a discounted price.
The bus will pick up guests in front of the hotel daily.
Please contact GAS for additional information.
GL ASS AR T SOCIE T Y’S 36t h ANNUAL CONFERENCE
GLASS GATEWAYS: MEET IN THE MIDDLE
•
ST. LOUIS, MISSOURI
•
JUNE 15 - 17, 2006
Join us in St. Louis, Missouri for:
2006
Demonstrations
Lectures
Technical Resource Center
Education Resource Center
Gallery Forum
Auctions
Tours
Exhibitions
Parties
...and More!
Pre-registration until April 6, 2006.
For more information or to register,
go to www.glassart.org, or contact
the Glass Art Society. After April 6,
register on-site in St. Louis.
GAS membership is open to anyone
interested in glass art:
Artists
Educators
Students
Galleries
Museums
Collectors
Manufacturers
Suppliers
Writers
For more information or to join,
contact the GAS office.
OVER 3000 MEMBERS IN 54 COUNTRIES
St. Louis evening skyline © St. Louis Convention & Visitors Commission
6
3131 Western Avenue, Suite 414, Seattle, Washington 98121 USA
Tel: 206.382.1305
Fax: 206.382.2630
E-mail: [email protected]
Web: www.glassart.org
4th Annual Ugly Necklace Contest 2006, A Jewelry Design
Competition With A Twist. Yes, an UGLY Necklace Contest.
Here’s your opportunity to show your design skills, your visual
acumen, your senses and sensibilities. Can you put together a
well-designed and functional, yet UGLY, necklace? The Fourth
Annual Ugly Necklace Contest for 2006 is offering a first prize
of a $992.93 shopping spree on the Land of Odds website
(www.landofodds.com), and a Runner-Up prize of a $399.07
shopping spree on the website. To enter, take three good color
snapshots or scans of your necklace, and write a short poem
about it. Deadline March 15, 2006. Entries will be judged by a
panel from The Center for Beadwork & Jewelry Arts. These distinguished Beadwork and Jewelry Artist instructors will judge
based on the hideousness of the necklace, its shape, color and
use of materials, its functionality and wearability, how well the
artist has shown an understanding of good design principles
(and how to violate them) to achieve this “Ugly” end, and the
quality of the accompanying poem. From the entries submitted,
10 finalists will be selected. Photos of their necklaces will be
placed on the Land of Odds website. Visitors to the website will
be asked to vote for the ugliest necklace. Based on their votes,
a Grand Finalist and a Runner Up will be selected and awarded
prizes. For more information contact: Land of Odds, 522 E Iris Dr,
Nashville, TN, 37204, Tel: 615-292-0610, Fax: 615-460-7001,
[email protected], www.landofodds.com.
EXHIBITIONS
Bellevue Sculpture Exhibition 2006 Entries are being accepted
for a 17-acre downtown park in Bellevue, WA. The jury will
select up to 34 outdoor and up to 12 indoor sculptures. Three
sculptures may be entered. Honoria, mileage, and shipping
included. Entries due March 15. For more information
contact: Bellevue Arts Commission, PO Box 90012, Bellevue,
WA, 98009, Tel: 425-452-4852, [email protected],
www.cityofbellevue.org/arts.asp
Glass Artists Wanted to Exhibit Artist’s welcome to exhibit
work in Overlake Hospital’s Bellevue Senior Health Care Center.
The Center has four large windows (6x4 feet) which would
showcase stained glass work beautifully. The work can be as
large as the 6 feet wide, and must be ready to hang. Must be
flat since it will be against a window. Must not have protrusions
or pointy edges that may harm a patient. The hospital does
not pay or charge a fee to exhibit, but the artist can put a price
on the work. Art is exhibited for three months at a time, then,
another artist or artists can exhibit their work. For more information contact: Overlake Hospital, [email protected].
For Sale
Diamond Grinder Kit for Sale 18” Diamond Grinder Kit $700,
welding and assembly required. Complete Grinder (already
assembled) $1350. For more information contact Tom at:
Whitehead Glass Studio, PO Box 1112, Port Orford, OR, 97465,
Tel: 541-332-2300, [email protected]
Grants / Residencies
2006 Emerging Artist-in-Residence is offered at Pilchuck
Glass School, September 18 - November 10, 2006, at the
school’s Stanwood, Washington, campus. This residency
supports artists making the transition from the academic
environment to a professional career. Eight week autumn
residency for six artists offers access to many Pilchuck studios,
$1,000 stipend, studio space, shared cooking facilities, and
single room accommodation. Some glassmaking experience
is required as no instruction is available. Applications due
March 31, 2006. For more information contact: Registrar,
Pilchuck Glass School, 1201- 316th St. NW, Stanwood, WA 98292,
www.pilchuck.com
Job Opportunities
Special Events Manager at Pilchuck Manage and direct
Special Events (including the Annual Auction, Auction Tour,
Campus Open House, Pilchuck Society Day, Spring Group
Tours, and any other fundraising events) to generate general
operating support for Pilchuck Glass School, as well as, oversee
volunteer program in support of these events and activities.
For more information contact: Katherine Cardinal, Director of
Development, Pilchuck Glass School, 430 Yale Ave N., Seattle,
WA 98109, 206-621-8422, ext.23, [email protected].
Studio Assistant I am looking for an assistant - someone with
experience who might be interested in two days (possibly
more) at the furnace in exchange for two days assisting.
It’s a lovely workshop with large lehr space and fully equipped
cutting shop (Lathe, sandblaster, engraving facilities etc) in
England. For more information contact: Tel: +44 01497 831120/
+44 07990 893103 (cell), [email protected],
www.clarehenshawglass.co.uk
Studio Assistant Part-time position in NYC glass studio, 3 days
per week. Prior glass fusing and/or casting experience are
required and some glass cutting experience is sought, but not
a total must. Most important are neat and orderly work habits,
a keen eye for detail, and a willingness to work on the broad
variety of studio chores that become necessary in preparation
of a body of exhibition quality fused glass panels. The opening
is 3 days per week, no weekends or evenings. It begins in mid
December or early January and runs through March 2006,
possibly longer. If interested, please send resume and letter to
me at [email protected]. For more information contact:
Hafner Studio, 180 Varick St #502, New York, NY, 10014,
www.dorothyhafner.com
Studio Technician North Lands Creative Glass has recently
had the position of Studio Technician become available and is
now calling for suitable applicants for this technician’s position.
All applications and general enquiries should be sent directly
to the administration office in Lybster, Scotland. For more
information contact: North Lands Creative Glass, Quatre Bras,
Lybster, Caithness, KW3 6BN, Scotland, Tel: +44 1593 721 229,
Fax: +44 1593 721 229, [email protected], www.northlandsglass.com
Full-Time Glass Assistant Postion at Loco Glass Ltd.
Apply by sending CV to: Loco Glass Ltd., Studio 2, Brewery Arts,
Brewery Court, Cirencester, Glos., GL7 1JH, UK, or via e-mail :
[email protected]
Other Opportunities
Art Deadlines List is a monthly newsletter (via e-mail or paper)
with several hundred announcements every month, lists art
contests & competitions, art scholarships & grants, juried
exhibitions, art jobs and internships, call for entries/proposals/
papers, writing & photo contests, residencies, design &
architecture competitions, auditions, casting calls, fellowships,
festivals, funding, and other opportunities (including some
that take place on the web) for artists, art educators and
art students of all ages. For more information contact:
Art Deadlines List, [email protected],
http://artdeadlineslist.com
Glassblowing Studio Opportunity Peter Viesnik of Viz Glass is
offering for sale a half or third share in his glassblowing studio,
located in Auckland, New Zealand. This is an opportunity to buy
into a fully equipped and well-established hot glass studio at a
very reasonable price. For more information contact: Viz Glass,
36A Monmouth St., Grey Lynn, Auckland, 1002, New Zealand,
Tel: +64 9 360 0689, Fax: +64 9 360 0598, [email protected],
www.viesnik.co.nz
Publications
Two New Publications The first new publication is 25 Years
of New Glass Review. Explore the past twenty-five years of
contemporary glass through this new anniversary book,
featuring two hundred photographs of objects from the
past issues of New Glass Review, an annual publication of
The Corning Museum of Glass. The second publication is
Journal of Glass Studies, a scholarly journal that focuses on
the history of glassmaking and of glass as an artistic medium
up to the mid-20th century. For more information contact:
The Corning Museum of Glass, One Museum Wy, Corning,
NY, 14830-2253, Tel: 607-937-5371, Fax: 607-974-8470,
[email protected], www.cmog.org
Call to Artists: “Light Travelers” A call for artists to participate
in a juried exhibition of illuminated art titled “Light Travelers”
for the 2006 GAS conference in St. Louis, Missouri. GAS members
are asked to submit 3 slides. This exhibition is a continuation
of the neon-in-a-suitcase theme and will be on display in the
“Neon Lounge” at the conference site. Deadline March 2. Entry
fee $20.00. For more information and/or application, please
contact: Kim Koga, Museum of Neon Art, Tel: 213-489-9918,
[email protected]
British Glass Biennale 2006 The British Glass Biennale is the
foremost exhibition of excellence in contemporary glass by
artists, designers and craftspeople currently working in Britain.
Taking place every two years is it is the highlight of the
International Festival of Glass held in the heart of Stourbridge’s
historic Glass Quarter. A selling exhibition, the emphasis is on
new work demonstrating excellence in design and technical
skill. If you have been living and working in the UK for the past
four years you are invited to submit work to the jury. The
deadline for applications is 24th March, 2006. The British Glass
Biennale will open on Thursday 24th August with an awards
ceremony and private view. The exhibition is open to the
public from 25th August - 17th September. The Festival will be
awarding two prizes at the 2006 Biennale: 1. The International
Festival of Glass Biennale Award of £5,000 for the piece judged
by the Biennale jury to be the ‘best in show’, and 2. The £5,000
Made Together Award sponsored by Net Infinity, for a new
collaborative piece. For more information contact: International
Festival of Glass, Ruskin Glass Centre, Stourbridge, West
Midlands, DY8 4HF, United Kingdom, [email protected],
www.ifg.org.uk.
7

Five Years in the Making

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