letter from the GAs President Get ready to be ... - Glass Art Society
letter from the GAs President Get ready to be ... - Glass Art Society
letter from the GAs President Get ready to be ... - Glass Art Society
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januar y<br />
februar y<br />
2007<br />
volume 18<br />
issue 1<br />
i n s i d e<br />
t h e n e w s l e t t e r o f t h e g l a s s a r t s o c i e t y<br />
1<br />
1<br />
2<br />
2<br />
3<br />
3<br />
4<br />
4<br />
2<br />
6<br />
10<br />
11<br />
12<br />
14<br />
Regular Features<br />
<strong>President</strong>’s Letter<br />
<strong>Get</strong> Ready <strong>to</strong> <strong>be</strong> Transformed<br />
in Pittsburgh!<br />
Letters <strong>to</strong> <strong>the</strong> Edi<strong>to</strong>r<br />
GAS Line<br />
Student Profile: Rich Wren<br />
Mem<strong>be</strong>r Profile: J. P. Canlis<br />
International Window:<br />
Symposium in Latin Means<br />
Discussion & Debate: IGS 2006<br />
Workshops:<br />
Pratt Fine <strong>Art</strong>s Center<br />
special Features<br />
Alert: Internet Fraud<br />
Targets <strong>Art</strong>ists<br />
Preview: GAS 37th Annual<br />
Conference, Transformational<br />
Matter, June 7-9, 2007<br />
Listings<br />
Resources, etc.<br />
Seminars, Conferences, Events<br />
Classes and Workshops<br />
Exhibitions<br />
Letter <strong>from</strong><br />
<strong>the</strong> GAS <strong>President</strong><br />
Pittsburgh, <strong>the</strong> site of <strong>the</strong> <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong>’s<br />
37th Annual Conference is one of my favorite<br />
American cities. I have <strong>be</strong>en visiting it for about<br />
ten years and every time I do, I am always<br />
surprised about its growth and transformation.<br />
It has a long his<strong>to</strong>ry of glassmaking, industrial<br />
and commercial, but now in recent years has<br />
carved a significant niche in <strong>the</strong> art glass world.<br />
With <strong>the</strong> Carnegie Museum of <strong>Art</strong>, <strong>the</strong> <strong>Society</strong> of<br />
Contemporary Crafts, and <strong>the</strong> Pittsburgh <strong>Glass</strong><br />
Center, <strong>the</strong> Warhol Museum, all world class, it<br />
has <strong>be</strong>come a hub for artists, students, and<br />
collec<strong>to</strong>rs. I encourage you all <strong>to</strong> attend June<br />
7-9 of 2007.<br />
In January, <strong>the</strong> Board of GAS will meet in<br />
Portland <strong>to</strong> plan <strong>the</strong> 2008 conference and I<br />
hope that we have received all your proposals<br />
so <strong>the</strong>y can <strong>be</strong> reviewed.<br />
In this issue, we have ano<strong>the</strong>r <strong>letter</strong> <strong>to</strong> <strong>the</strong><br />
edi<strong>to</strong>r that brings up ano<strong>the</strong>r issue, one of<br />
social concern. We also have two new edi<strong>to</strong>rs,<br />
Eliza<strong>be</strong>th Swinburne, who has <strong>be</strong>come our<br />
international edi<strong>to</strong>r and Susan Holland-Reed,<br />
who is our new education edi<strong>to</strong>r. There will <strong>be</strong><br />
o<strong>the</strong>r changes <strong>to</strong> <strong>the</strong> news<strong>letter</strong> very soon <strong>to</strong><br />
keep it fresh and exciting.<br />
Our website is also adding some new<br />
features, such as an online s<strong>to</strong>re where you can<br />
purchase vintage GAS t-shirts, Journals and<br />
o<strong>the</strong>r GAS items. You also can register for <strong>the</strong><br />
Pittsburgh conference online.<br />
Many o<strong>the</strong>r programs and changes are<br />
in <strong>the</strong> works that I think are exciting and I will<br />
report on <strong>the</strong>m in <strong>the</strong> next issue. Ciao!<br />
<strong>Get</strong> Ready <strong>to</strong> <strong>be</strong> Transformed<br />
in Pittsburgh!<br />
by Karen Johnese<br />
Pittsburgh was a gray steel <strong>to</strong>wn until <strong>the</strong> mid 1980s. Those who have<br />
not <strong>be</strong>en here recently still think of it as sooty and bleak.<br />
How surprised you will <strong>be</strong> when you discover this <strong>be</strong>autiful, architecturally<br />
interesting, aes<strong>the</strong>tic city. As you drive in<strong>to</strong> <strong>to</strong>wn <strong>from</strong> our nationally<br />
acclaimed airport, you will emerge <strong>from</strong> a tunnel <strong>to</strong> a dramatic scene of three<br />
rivers wrapped around sky-scrapers, all nestled <strong>be</strong>tween hills. This is why<br />
Pittsburgh is known as <strong>the</strong> only city with a front door.<br />
In <strong>the</strong> 21st century we are recognized for robotics, bio-medical engineering,<br />
a vibrant community of colleges and universities with high tech spin-offs,<br />
<strong>the</strong> most environmentally green buildings of any American city, and <strong>to</strong>p<br />
quality cultural institutions, rare in a city of our size. Our rivers are once again<br />
clean and accessible and cyclists can ride our trails for several hundred miles.<br />
Known for <strong>the</strong> success of our football team, <strong>the</strong> city is host <strong>to</strong> a rich<br />
array of arts organizations, reaching diverse populations. In <strong>the</strong> last twenty<br />
years a ten block radius of our down<strong>to</strong>wn has <strong>be</strong>en transformed in<strong>to</strong> a<br />
dynamic cultural district. Since a ten minute walk takes you <strong>from</strong> one end<br />
of down<strong>to</strong>wn <strong>to</strong> ano<strong>the</strong>r, all venues are readily accessible. With a record of<br />
having one of <strong>the</strong> oldest populations in <strong>the</strong> country, we have now spawned<br />
young professional groups and neighborhoods revitalized by <strong>the</strong> presence<br />
of artists and creative activity. A new pride in our city has taken hold.<br />
Transformation is a natural expression of this changing environment.<br />
GAS news is published<br />
six times per year as a <strong>be</strong>nefit<br />
<strong>to</strong> mem<strong>be</strong>rs.<br />
Publications Committee:<br />
Scott Benefield, Eddie Bernard,<br />
Robin Cass, Susan Holland-Reed,<br />
Andrew K. Erdos, Eliza<strong>be</strong>th Swinburne<br />
Managing Edi<strong>to</strong>r: Shannon Borg<br />
Graphic Design: Ted Cotrotsos<br />
The <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong><br />
3131 Western Avenue, Suite 414<br />
Seattle, WA 98121 USA<br />
Phone: (206) 382-1305<br />
Fax: (206) 382-2630<br />
E-mail: info@glassart.org<br />
Web: www.glassart.org<br />
© 2007 The <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong>, a nonprofit<br />
organization. All rights reserved.<br />
Publication of articles in this news<strong>letter</strong><br />
prohibited without permission <strong>from</strong><br />
<strong>the</strong> <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong>, Inc.<br />
Shane Fero<br />
January/February 2007, volume 18-1<br />
The <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong><br />
3131 Western Avenue, Suite 414<br />
Seattle, WA 98121<br />
CHANGE SERVICE REQUESTED<br />
Pittsburgh’s his<strong>to</strong>ry of glass:<br />
Since 1797 glass has <strong>be</strong>en a major industry in southwestern Pennsylvania.<br />
In 1880 <strong>the</strong>re were 51 glass fac<strong>to</strong>ries in Pittsburgh. By 1920 80% of <strong>the</strong> glass<br />
in America was made in this region. Most of <strong>the</strong> fac<strong>to</strong>ries are now gone. What<br />
emerges is a new focus on glass as art. This transformation continues as <strong>the</strong><br />
remaining industries seek ways <strong>to</strong> collaborate with artists.<br />
Continued on pg. 2<br />
Non-Profit Org.<br />
U.S. Postage<br />
PAID<br />
Seattle, WA<br />
Permit #150
L E T T E R s T O T H E E D I T O R<br />
The <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong> (GAS), its Board of Direc<strong>to</strong>rs, mem<strong>be</strong>rs, and employees are not responsible for and do not necessarily<br />
endorse <strong>the</strong> views and opinions expressed in Letter <strong>to</strong> <strong>the</strong> Edi<strong>to</strong>r.<br />
Passive Racism and Institutional Discrimination<br />
2<br />
Shortly after receiving my MFA <strong>from</strong> The Ohio State<br />
University, I was offered <strong>the</strong> position of Studio Direc<strong>to</strong>r<br />
of a glass arts organization in Columbus, Ohio. While I<br />
was encouraged by many <strong>to</strong> keep looking, I accepted<br />
<strong>the</strong> position with great enthusiasm. I felt strongly that<br />
I would <strong>be</strong> able <strong>to</strong> share my experience and passion for<br />
<strong>the</strong> glass arts with <strong>the</strong> greater Columbus community.<br />
I was able <strong>to</strong> accomplish a great deal in my first year.<br />
The studio <strong>be</strong>came more self sufficient, class enrollment<br />
and studio rental rose exponentially, <strong>the</strong> community<br />
<strong>be</strong>came more interested in <strong>the</strong> studio’s mission, and <strong>the</strong><br />
fundraisers brought more bodies and money through<br />
<strong>the</strong> door. Long time mem<strong>be</strong>rs of <strong>the</strong> organization,<br />
some spanning <strong>the</strong> length of its 18 year his<strong>to</strong>ry, were<br />
refreshed <strong>to</strong> learn that <strong>the</strong> studio could <strong>be</strong> more than<br />
<strong>the</strong>y thought possible.<br />
Being Studio Direc<strong>to</strong>r meant <strong>be</strong>ing in <strong>the</strong> middle<br />
of all possible scenarios. I received a crash course in<br />
Board Culture and office politics. I attended every board,<br />
committee, and mem<strong>be</strong>rship meeting so that I could<br />
fully grasp, and assist in <strong>the</strong> movement <strong>to</strong>wards <strong>the</strong><br />
organization’s growth. It is at <strong>the</strong>se meetings that I was<br />
witness <strong>to</strong> what was clearly <strong>the</strong> presence of institutional<br />
discrimination and racism.<br />
I <strong>be</strong>came conditioned as Direc<strong>to</strong>r <strong>to</strong> accept certain<br />
personalities within <strong>the</strong> board and mem<strong>be</strong>rship. However,<br />
some of those vantage points crossed <strong>the</strong> line<br />
when an employee of <strong>the</strong> organization was <strong>be</strong>ing treated<br />
differently than everyone else. In this case, seemingly<br />
innocent acts such as minimal eye contact progressed<br />
<strong>to</strong> more aggressive <strong>be</strong>havior including verbal assaults.<br />
It is clear <strong>to</strong> me now that this escalation could have <strong>be</strong>en<br />
avoided if <strong>the</strong> surrounding individuals acknowledged<br />
<strong>the</strong>se actions were unacceptable and confronted <strong>the</strong><br />
individuals involved.<br />
My reason for revealing <strong>the</strong>se experiences is not <strong>to</strong><br />
denigrate or cast blame. Racism is very real. The heart<br />
of this problem is as much about <strong>the</strong> people who used<br />
<strong>the</strong> word “nigger” as it is about <strong>the</strong> people around <strong>the</strong>m<br />
who allowed it <strong>to</strong> <strong>be</strong> used. There is nothing <strong>be</strong>nign<br />
about ‘passive’ racism.<br />
<strong>Get</strong> Ready! (continued <strong>from</strong> pg. 1)<br />
Transformation as <strong>the</strong>me<br />
for <strong>the</strong> conference:<br />
As our environment is evolving, so are we as<br />
individuals. The conference speaks <strong>to</strong> both forms of<br />
transformation and <strong>the</strong>ir intersection. How do <strong>the</strong> external<br />
pressures of our changing world affect our artistic<br />
journey? How do we continue <strong>to</strong> reinvent ourselves in<br />
<strong>the</strong> face of economic, social and artistic pressures? What<br />
are we <strong>be</strong>coming as individual artists, and as a glass art<br />
movement? There is no <strong>be</strong>tter place <strong>to</strong> explore <strong>the</strong>se<br />
issues than in a city that is alive with transformation.<br />
Pittsburgh is a great city<br />
for <strong>the</strong> GAS conference:<br />
Besides <strong>the</strong> excitement of conferencing in a lively<br />
cultural center, most of which can <strong>be</strong> easily accessed<br />
on foot, <strong>the</strong> conference will <strong>be</strong> occurring during<br />
Pittsburgh’s “Year of <strong>Glass</strong>.” With Chihuly’s Gardens of<br />
<strong>Glass</strong> at our phenomenal conserva<strong>to</strong>ry, a significant<br />
contemporary glass exhibit about <strong>the</strong> dialogue <strong>be</strong>tween<br />
<strong>the</strong> Italians and Americans at <strong>the</strong> Carnegie Museum of<br />
<strong>Art</strong>, all local galleries exhibiting regional and international<br />
artists, including an exhibit of Japanese glass art at <strong>the</strong><br />
Pittsburgh <strong>Glass</strong> Center’s Hodge Gallery, <strong>the</strong> conference<br />
participant will have a rich array of artistic experiences.<br />
The Year of <strong>Glass</strong> is a unique city wide collaboration<br />
with cross promotion of all glass programming throughout<br />
<strong>the</strong> year.<br />
After two and a half years at <strong>the</strong> organization I<br />
resigned, exhausted <strong>from</strong> fighting this situation. I was<br />
able <strong>to</strong> move on, but I was not <strong>the</strong> person of color that<br />
was ostracized and dehumanized. I did not have <strong>to</strong><br />
absorb <strong>the</strong> hateful words “boy” and “nigger”.<br />
I hope that this can <strong>be</strong>gin a dialogue as <strong>to</strong> what<br />
each person and organization can do <strong>to</strong> prevent what<br />
happened in Columbus <strong>from</strong> happening anywhere else.<br />
If nothing else, publicly acknowledging that it exists is<br />
a start.<br />
Thank you for your time.<br />
Bridget Boss<br />
Guidelines for Letters <strong>to</strong> <strong>the</strong> Edi<strong>to</strong>r<br />
1. Letters will <strong>be</strong> selected for publication based on space<br />
availability, <strong>to</strong>pical interest, num<strong>be</strong>r of <strong>letter</strong>s received<br />
on <strong>the</strong> same <strong>to</strong>pic or area, and adherence <strong>to</strong> our<br />
guidelines. Only <strong>letter</strong>s <strong>from</strong> <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong> mem<strong>be</strong>rs<br />
will <strong>be</strong> published.<br />
2. Letters containing potentially li<strong>be</strong>lous matter, profanity,<br />
or that attack <strong>the</strong> character or reputation of a person or<br />
company will not <strong>be</strong> printed.<br />
3. Letters may <strong>be</strong> edited for language and length.<br />
4. Letters should <strong>be</strong> limited <strong>to</strong> 200 words (currently under<br />
review).<br />
5. Letters submitted for publication by regular mail or<br />
e-mail must include <strong>the</strong> author’s first and last name,<br />
address and phone num<strong>be</strong>r for verification purposes.<br />
Anonymous <strong>letter</strong>s will <strong>be</strong> disregarded. If your <strong>letter</strong> is<br />
published, your first and last name will <strong>be</strong> included<br />
(unless you ask that it not <strong>be</strong>), but your address and<br />
phone num<strong>be</strong>r will not <strong>be</strong> included.<br />
6. When writing, faxing, or e-mailing a <strong>letter</strong> <strong>to</strong> <strong>the</strong> edi<strong>to</strong>r,<br />
use <strong>the</strong> subject line or heading “Letter <strong>to</strong> <strong>the</strong> Edi<strong>to</strong>r.”<br />
7. When responding <strong>to</strong> a specific article, state <strong>the</strong> article<br />
title and include <strong>the</strong> date in paren<strong>the</strong>sis.<br />
8. Frequency of submissions may need <strong>to</strong> <strong>be</strong> restricted.<br />
If we receive multiple <strong>letter</strong>s on one subject or <strong>from</strong> one<br />
writer, we will attempt <strong>to</strong> sample a variety of opinions,<br />
but may apply <strong>the</strong> general standard of one <strong>letter</strong> per<br />
writer per three news<strong>letter</strong>s.<br />
Our convention center, <strong>the</strong> largest green building<br />
in <strong>the</strong> country, is a uniquely aes<strong>the</strong>tic space for demos,<br />
vendor booths and <strong>the</strong> student exhibition with a glass<br />
wall facing one of our three rivers. The conference hotel<br />
is an architectural gem of a bygone era, <strong>be</strong>autifully<br />
res<strong>to</strong>red. The Byham Theater, ano<strong>the</strong>r res<strong>to</strong>red gem will<br />
welcome you at opening day lectures and ceremonies.<br />
A walk along <strong>the</strong> Allegheny River will take you <strong>to</strong> our<br />
final party at Pittsburgh’s Science Center.<br />
The rivers may lure you <strong>to</strong> o<strong>the</strong>r experiences of <strong>the</strong><br />
city. Also available will <strong>be</strong> an architectural walking <strong>to</strong>ur,<br />
an industrial glass <strong>to</strong>ur, a rehearsal of <strong>the</strong> Pittsburgh<br />
Symphony in <strong>the</strong> glamorous Heinz Hall, plenty of delicious<br />
food, and <strong>the</strong>ater performances. The Mattress<br />
Fac<strong>to</strong>ry, an internationally renowned installation art<br />
museum, and <strong>the</strong> Andy Warhol Museum are <strong>the</strong>re <strong>to</strong><br />
explore. The Pittsburgh <strong>Glass</strong> Center, with its state of<br />
<strong>the</strong> art studios, accessible <strong>to</strong> all, is <strong>the</strong> reason for all of<br />
<strong>the</strong> glass focus. Once you experience it you will want <strong>to</strong><br />
move <strong>to</strong> Pittsburgh. And we will help you do it!<br />
In short, you will not want <strong>to</strong> miss this chance<br />
for reflection by <strong>the</strong> rivers, for thought-provoking<br />
lectures, and for inspiring demonstrations. Absorb<br />
<strong>the</strong> atmosphere of this engaging community. Come<br />
<strong>to</strong> <strong>be</strong> transformed.<br />
Inspired by her parents’ passion for collecting studio<br />
glass, Karen Johnese <strong>be</strong>came <strong>the</strong> founding chair of <strong>the</strong><br />
board of <strong>the</strong> Pittsburgh <strong>Glass</strong> Center in 1998, and <strong>be</strong>came<br />
executive direc<strong>to</strong>r in 2003. Along with Kathleen Mulcahy,<br />
Ron Desmett and Randi Dauler, Karen is a co-chair for this<br />
year’s GAS conference.<br />
Ana Thiel's prize-winning Trine<br />
G A S L I N E<br />
New Developments<br />
Craig Nutt has recently joined <strong>the</strong> CERF staff as <strong>the</strong>ir<br />
first Direc<strong>to</strong>r of Programs. Craig is a furniture maker,<br />
sculp<strong>to</strong>r, and artist advocate. He presented a panel<br />
discussion at last year’s GAS Conference in St. Louis.<br />
Kirstie Rea will <strong>be</strong> <strong>the</strong> new Creative Direc<strong>to</strong>r of<br />
Can<strong>be</strong>rra <strong>Glass</strong>works. The New Orleans Creative<br />
<strong>Glass</strong> Institute (NOCGI) has opened its doors as<br />
an open access glass studio and education center,<br />
allowing affordable studio access <strong>to</strong> glass artists<br />
(and future artists) throughout <strong>the</strong> city of New<br />
Orleans. GAS Board mem<strong>be</strong>r Eddie Bernard, and<br />
Jonn Hankins, will serve as direc<strong>to</strong>rs; o<strong>the</strong>r staff<br />
includes Laurel Porcari, Gayle Sey<strong>be</strong>rt-Gish,<br />
Carlos Zervigon and Angela Bart Bernard.<br />
Alert: Internet Fraud<br />
Targets <strong>Art</strong>ists<br />
by R. Rene Friedman<br />
(continued on pg. 4)<br />
<strong>Art</strong>ists who show or sell <strong>the</strong>ir work online are <strong>be</strong>ing<br />
targeted increasingly by internet fraudsters. Although<br />
<strong>the</strong>re are many types of fraud schemes, one common<br />
scam is called “advance fee fraud.” The artist receives<br />
an inquiry by email <strong>from</strong> a prospective buyer located<br />
in <strong>the</strong> UK or o<strong>the</strong>r foreign country. The <strong>letter</strong> is not<br />
well written, with poor use of English, punctuation, and<br />
grammar. The <strong>letter</strong> may indicate that <strong>the</strong> writer is not<br />
familiar with <strong>the</strong> artist’s work. However, after receiving a<br />
price list, <strong>the</strong> writer says she wants <strong>to</strong> make a purchase,<br />
sight unseen. The price is typically <strong>be</strong>tween $2500 and<br />
$5000. The writer offers <strong>to</strong> pay by cashier’s check or<br />
money order prior <strong>to</strong> shipping.<br />
If <strong>the</strong> artist agrees <strong>to</strong> <strong>the</strong> deal, <strong>the</strong> buyer sends a<br />
cashier’s check. The check is for more than <strong>the</strong> amount<br />
of <strong>the</strong> purchase. The buyer <strong>the</strong>n contacts <strong>the</strong> artist,<br />
claiming an error occurred, and asks for a refund of <strong>the</strong><br />
overage. Since <strong>the</strong> artist just deposited <strong>the</strong> cashier’s<br />
check in <strong>the</strong> bank and <strong>be</strong>lieves <strong>the</strong>re’s no risk, he writes<br />
a check or wires <strong>the</strong> “excess funds” <strong>to</strong> <strong>the</strong> buyer. The<br />
artist also ships his work. A week or two later, <strong>the</strong> artist<br />
is contacted by <strong>the</strong> bank, who informs him that <strong>the</strong><br />
cashier’s check was a forgery. The bank <strong>the</strong>n deducts<br />
<strong>the</strong> entire amount of <strong>the</strong> cashier’s check <strong>from</strong> <strong>the</strong> artist’s<br />
account. Worse yet, <strong>the</strong> art is gone, as well as <strong>the</strong> money<br />
that <strong>the</strong> artist unwittingly “refunded” <strong>to</strong> <strong>the</strong> fraudster<br />
located abroad.<br />
To protect yourself <strong>from</strong> internet fraud, remem<strong>be</strong>r<br />
that money orders can <strong>be</strong> forged, checks can bounce,<br />
and credit cards can <strong>be</strong> s<strong>to</strong>len. Be sure that <strong>the</strong> payments<br />
you have received are “good funds,” and have<br />
cleared <strong>the</strong> bank, <strong>be</strong>fore you ship your work. For sales<br />
involving large sums, having a lawyer review <strong>the</strong> deal<br />
may also make sense. At <strong>the</strong> end of <strong>the</strong> day, <strong>the</strong> <strong>be</strong>st<br />
protection against fraud is <strong>to</strong> <strong>be</strong> well informed. Consult<br />
<strong>the</strong> website for <strong>the</strong> Federal Trade Commission (FTC) and<br />
artists’ forums online for more practical tips on identifying,<br />
preventing, and responding <strong>to</strong> potential instances<br />
of internet fraud.<br />
R. Rene Friedman is a litigation partner at Sidley Austin<br />
LLP in Chicago, and is married <strong>to</strong> an artist who recently<br />
received an advance-fee fraud solicitation in <strong>the</strong> mail.
M E M B E R P R O F I L E<br />
J. P. Canlis<br />
Rich Wren "Flesh"<br />
S T U D E N T P R O F I L E<br />
Rich Wren<br />
by Andrew Erdos<br />
Rich Wren, tat<strong>to</strong>oed back<br />
Rich Wren is a Philadelphia based artist whose work is not limited <strong>to</strong> glass. He often<br />
crosses boundaries <strong>be</strong>tween sculpture, two-dimensional art and body modification.<br />
Many of Wren’s pieces refer <strong>to</strong> his experience as a tat<strong>to</strong>o artist and his interest in<br />
<strong>the</strong> human body. The identity of <strong>the</strong> body, writing on <strong>the</strong> body, and <strong>the</strong> message sent <strong>to</strong><br />
o<strong>the</strong>rs through imagery permanently im<strong>be</strong>dded in<strong>to</strong> human flesh is depicted with many<br />
mediums. He explains, “The images I create on glass and steel are quite similar <strong>to</strong> <strong>the</strong>se<br />
actions. The image is an act, a reaction or a memory.”<br />
The piece “Flesh” embodies <strong>the</strong>se intentions. The title provokes psychological<br />
associations of a raw, primal nature, and Christianity. As Wren descri<strong>be</strong>s it “The bread<br />
<strong>be</strong>fore <strong>the</strong> glass cross has a duality of <strong>be</strong>ing one’s own body and Christ’s body (sinner<br />
and saint). Flesh is a shrine and an altar, <strong>to</strong> <strong>the</strong> divinity of self, and <strong>to</strong> <strong>the</strong> mortality of<br />
mankind.”<br />
Wren is also well-versed in Judo and a small circle form of Aikido called Aiki-jui-jitsu.<br />
This experience with circular motions and <strong>the</strong> use of staff like weapons has helped him<br />
understand many of <strong>the</strong> fine details in glass blowing. The Jo staff is approximately <strong>the</strong><br />
same length as most blowpipes and punties, and aspects such as balance and centering<br />
draw parallels <strong>be</strong>tween <strong>the</strong> ancient art of glassblowing and <strong>the</strong>se ancient martial arts.<br />
Wren has <strong>be</strong>en practicing Aiki-jui-jitsu and Judo for approximately nine years, and<br />
has <strong>be</strong>en teaching it for four years. He has over five years of experience as a tat<strong>to</strong>o artist<br />
and currently works at <strong>the</strong> Inkwell outside of Philadelphia. Wren <strong>be</strong>gan working with<br />
glass at Bucks County Community College. This spring he will <strong>be</strong> Graduating <strong>from</strong> Tyler<br />
School of <strong>Art</strong>. Examples of his work can <strong>be</strong> found in <strong>the</strong> Temple University Collection,<br />
<strong>the</strong> Magellan Logistics Collection, and permanently em<strong>be</strong>dded in people’s flesh across<br />
<strong>the</strong> country.<br />
Andrew Erdos is a student at Alfred University will <strong>be</strong> graduating spring 2007. He has<br />
<strong>be</strong>en operating a small lampworking studio in New<strong>to</strong>wn, Pennsylvania since winter 2004.<br />
He has work in <strong>the</strong> private collections of Mr. and Mrs. Michelle Guggenheim and Junior<br />
Marvin (guitar player for Bob Marley and <strong>the</strong> Wailers).<br />
For Jean-Pierre (J.P.) Canlis, simplicity and completion are <strong>the</strong> most important<br />
elements of his work. As he explains, “Anyone can make something simple<br />
seem complex; it is taking <strong>the</strong> complex and translating it in<strong>to</strong> <strong>the</strong> most simple<br />
form which inspires me. I want <strong>the</strong> viewer <strong>to</strong> walk away settled, feeling <strong>the</strong> art<br />
has a sense of completion.” His pieces resonate with this purity, exposing <strong>the</strong><br />
essence of <strong>the</strong> organic elements that Canlis captures in his work.<br />
Canlis’ signature has <strong>be</strong>come his unique bamboo installations. Whe<strong>the</strong>r<br />
<strong>the</strong>y are mounted on a wall of a <strong>be</strong>droom or 3D in a hotel, <strong>the</strong> original works<br />
make an impact. The solid sculpted glass stalks of <strong>the</strong>se installations can <strong>to</strong>wer<br />
up <strong>to</strong> twelve feet high.<br />
The natural forces of <strong>the</strong> ocean are <strong>the</strong> inspiration for Canlis’ series of work,<br />
“Ocean Studies.” An avid surfer who spent his childhood in Hawaii, Canlis has a<br />
keen under-standing of <strong>the</strong> ocean’s movement, currents, and waves, which he<br />
explores in <strong>the</strong> six different forms of his “Ocean Studies” series.<br />
Canlis first picked up a glassblowing pipe in 1991 at Hawaii’s Punahou<br />
School and later studied glass art at Alfred University in New York and <strong>the</strong><br />
Pilchuck School in Washing<strong>to</strong>n. After Martin Blank introduced J.P. <strong>to</strong> Chihuly in<br />
1993, J.P. spent <strong>the</strong> next nine years working in Chihuly’s hot shop. During his last<br />
fours years with Chihuly, Canlis also worked with Lino Tagliapietra’s glass team.<br />
In 1996, Canlis created <strong>the</strong> company Jean-Pierre Canlis <strong>Glass</strong>, now known as<br />
Canlis <strong>Glass</strong>.<br />
In 2005, after working exclusively on Canlis <strong>Glass</strong> in Honolulu for four<br />
years, J.P. moved back <strong>to</strong> Seattle <strong>to</strong> set up Canlis <strong>Glass</strong> Gallery & Studio in<br />
down<strong>to</strong>wn Seattle with his wife and business partner, Leigh Canlis. J.P.’s works<br />
are on view in restaurants, hotels, and corporations throughout <strong>the</strong> United<br />
States. His latest works are available for viewing at Canlis <strong>Glass</strong> Gallery in <strong>the</strong><br />
Northwest Worklofts, 3131 Western Avenue, Suite 329, Seattle, WA 98121.<br />
Also visit www.canlisglass.com.<br />
Right: J.P. Canlis<br />
Above:<br />
Canlis’ Bamboo series (detail)<br />
3
I n t e r n at i o n a l W i n d ow<br />
Symposium in Latin Means Discussion and Debate: IGS 2006<br />
The 9th Interglass Symposium was held <strong>from</strong><br />
Oc<strong>to</strong><strong>be</strong>r 11-15 this year in <strong>the</strong> Crystalex fac<strong>to</strong>ry<br />
in Novy Bor, Czech Republic. Thirty-three artists<br />
<strong>from</strong> twelve* countries <strong>to</strong>ok part, which made <strong>the</strong><br />
conference a real success.<br />
by Sylva Petrova<br />
The very first symposium in Novy Bor <strong>to</strong>ok<br />
place in 1982, which was seven years <strong>be</strong>fore<br />
<strong>the</strong> former communist regime fell in 1989. In<br />
1985 and 1988, two fur<strong>the</strong>r symposiums were<br />
organized both on an extremely grand scale<br />
thanks <strong>to</strong> <strong>the</strong> ra<strong>the</strong>r absurd conditions of <strong>the</strong><br />
socialist economy, which spent huge financial<br />
budgets on state promotion and representation.<br />
The decision <strong>to</strong> open <strong>the</strong> gates of <strong>the</strong> biggest state<br />
fac<strong>to</strong>ry <strong>to</strong> <strong>the</strong> West was forced by <strong>the</strong> atmosphere of<br />
Perestroika in <strong>the</strong> Soviet Union. This brought a more<br />
relaxed attitude <strong>to</strong> contacts with foreigners than ever<br />
<strong>be</strong>fore and <strong>the</strong> glass artist’s wish <strong>to</strong> organise an international<br />
meeting in glass was finally approved by <strong>the</strong><br />
officials. <strong>Art</strong>ists <strong>from</strong> both of <strong>the</strong> sides of <strong>the</strong> “iron curtain”<br />
craved contact and <strong>the</strong> symposia quickly gained<br />
a sensational reputation. Everybody who was active in<br />
glass–artists, gallery owners, cura<strong>to</strong>rs and collec<strong>to</strong>rs–<br />
wanted <strong>to</strong> <strong>be</strong> <strong>the</strong>re. By <strong>the</strong> end of <strong>the</strong> 1980s, <strong>the</strong> symposium<br />
was worryingly monstrous and <strong>the</strong> meetings<br />
were in danger of <strong>be</strong>coming more of a socialising event<br />
ra<strong>the</strong>r than a place for making serious experiments in<br />
glass. However <strong>the</strong> atmosphere was always seductive,<br />
charged with energy and enthusiasm.<br />
In <strong>the</strong> new democratic regime <strong>the</strong> symposium had<br />
<strong>to</strong> <strong>be</strong> self-financing. The first, in 1992 had a Japanese<br />
sponsor, following symposia <strong>be</strong>came much more<br />
modest and were organized in co-operation with o<strong>the</strong>r<br />
contribu<strong>to</strong>rs, for example; Aje<strong>to</strong> and <strong>the</strong> School of<br />
<strong>Glass</strong>making in Novy Bor. The recent re-construction<br />
of <strong>the</strong> Czech glass industry and <strong>the</strong> new tight economic<br />
situation very quickly eliminated <strong>the</strong> problems associated<br />
with <strong>the</strong> scale of <strong>the</strong> symposium during <strong>the</strong> 1990s.<br />
The new private owners of <strong>the</strong> fac<strong>to</strong>ry had <strong>to</strong> consider<br />
Zoja Trofimiuk and Stan Melis, visiting <strong>from</strong> Australia,<br />
in discussion in <strong>the</strong> hot shop<br />
whe<strong>the</strong>r <strong>the</strong> glasswork could keep going in <strong>the</strong> traditional<br />
way. Over <strong>the</strong> years <strong>the</strong> Crystalex production line<br />
had <strong>be</strong>come quite distanced <strong>from</strong> <strong>the</strong> activities of <strong>the</strong><br />
symposium. This meant that <strong>the</strong> fac<strong>to</strong>ry could not<br />
<strong>be</strong>nefit economically <strong>from</strong> it directly. Thankfully <strong>the</strong><br />
vision of moral credit and cultural <strong>be</strong>nefits has triumphed<br />
over <strong>the</strong> economic arguments and symposia are<br />
organised every three years.<br />
2006 has seen a new vision for <strong>the</strong> symposia.<br />
For <strong>the</strong> first time a glass cura<strong>to</strong>r, was involved in <strong>the</strong><br />
position of <strong>the</strong> <strong>Art</strong> Direc<strong>to</strong>r of <strong>the</strong> IGS. I was appointed<br />
<strong>to</strong> co-operate with <strong>the</strong> fac<strong>to</strong>ry in shaping <strong>the</strong> final<br />
concept of <strong>the</strong> event. I helped <strong>to</strong> short-list <strong>the</strong> 40<br />
participants and had a significant influence on <strong>the</strong><br />
selection and installation of <strong>the</strong> results that came out<br />
of <strong>the</strong> days’ events. Twelve of <strong>the</strong> artists focussed on<br />
mould and free-formed blowing projects and <strong>the</strong> rest<br />
worked with predominately cold techniques: painting,<br />
grinding, engraving, carving and sandblasting. All of<br />
<strong>the</strong> attendees could profit artistically <strong>from</strong> all of <strong>the</strong><br />
technologies which were availiable throughout <strong>the</strong><br />
various fac<strong>to</strong>ry workshops.<br />
Professor Vladimir Kopecky performs a glass demo accompanied<br />
by <strong>the</strong> Ravel’s “Bolero”<br />
Amongst <strong>the</strong> invited artists were: Vessa Varela (Finland),<br />
An<strong>to</strong>ine Leperlier (France), Ursula Huth (Germany),<br />
Paula Bartron (Sweden), Scott Chaseling (Australia),<br />
Josh Simpson (USA). From <strong>the</strong> Czech Republic: Gizela<br />
Sabokova, Vladimir Kopecky and Vladena Klumpar<br />
(also-USA). Some younger “hot” artists were also included:<br />
James Maskrey (Great Britain) and Zoja Trofimiuk<br />
(Australia). Many o<strong>the</strong>rs came <strong>to</strong> Novy Bor for <strong>the</strong> first<br />
time. In spite of <strong>the</strong> limited time, everyone in attendance<br />
had <strong>the</strong> chance <strong>to</strong> enhance <strong>the</strong>ir experience and also<br />
had a good time. In <strong>the</strong> process <strong>the</strong> Crystalex’s IGS<br />
collection was extended with many extraordinary and<br />
wonderful pieces.<br />
*Hungary, Finland, Lithuania, Germany, Sweden,<br />
Slovakia, USA, United Kingdom, Australia, France, Czech<br />
Republic, Korea<br />
Sylva Petrova is former cura<strong>to</strong>r of <strong>the</strong> Museum of<br />
Decorative <strong>Art</strong>s in Prague, Czech Republic and currently<br />
Professor in <strong>Glass</strong> and Direc<strong>to</strong>r of <strong>the</strong> Institute for International<br />
Research in <strong>Glass</strong> <strong>the</strong> University of Sunderland, UK.<br />
W O R K S H O P S<br />
G A S L I N E (continued <strong>from</strong> pg. 2)<br />
4<br />
At Pratt Fine <strong>Art</strong>s Center,<br />
Seattle’s Only Rentable Cold Shop<br />
Undergoes Major Expansion<br />
by Karen Rudd<br />
In Seattle, <strong>the</strong>re are about as many hot shops as<br />
glassblowers, which is <strong>to</strong> say a lot. Ironically, <strong>the</strong> city has<br />
only one coldshop rentable <strong>to</strong> <strong>the</strong> public – at Pratt Fine<br />
<strong>Art</strong>s Center, a nonprofit art organization founded in<br />
1976 during <strong>the</strong> rise of studio glass movement.<br />
This fall with monies raised <strong>from</strong> Pratt’s Annual Fine<br />
<strong>Art</strong> Auction, <strong>the</strong> coldshop is undergoing a complete<br />
renovation designed <strong>to</strong> unlock <strong>the</strong> artistic potential in<br />
coldworking glass.<br />
The new cold shop boasts twice as much floor<br />
space allowing several people <strong>to</strong> use <strong>the</strong> studio at once.<br />
Pratt is adding counter space in reach of every machine,<br />
new ventilation, ample lighting <strong>from</strong> several skylights<br />
and spot lights, and a floor drainage system designed<br />
for easy clean-up. All of <strong>the</strong> machinery – flat wheels, a<br />
diamond saw, upright <strong>be</strong>lt sander, band saw, drill press<br />
and la<strong>the</strong>s – are refurbished with new parts, mo<strong>to</strong>rs and<br />
paint. An additional grit wheel and a reciprolap are on<br />
<strong>the</strong> way.<br />
“Pratt’s new cold shop is now one of <strong>the</strong> <strong>be</strong>st<br />
cold shops in <strong>the</strong> area,” said Paul Larned, glass studio<br />
technician who designed and oversaw <strong>the</strong> renovations.<br />
“With this new studio, Pratt will <strong>be</strong> able <strong>to</strong> offer a<br />
variety of great new classes in coldworking. Treating<br />
<strong>the</strong> surface of glasswork has <strong>be</strong>come hugely popular<br />
and we want <strong>to</strong> ride <strong>the</strong> wave.” Larned culled <strong>the</strong> <strong>be</strong>st<br />
of ideas <strong>from</strong> cold shops around <strong>the</strong> world in designing<br />
this state-of-<strong>the</strong>-art studio. The cold shop rental fee<br />
will remain unchanged at $15/hour.<br />
Soon Pratt will also <strong>be</strong>ef up its hot shop with<br />
new concrete floors, new windows, new heat baffling<br />
systems, and a paint job. For renters in Pratt’s hot shop,<br />
new full-time moni<strong>to</strong>rs will light glory holes, cycle ovens,<br />
do general clean-up and put away annealed work. In<br />
addition, improved ventilation is planned for Pratt’s<br />
flameworking and flat shops <strong>to</strong> join <strong>the</strong> new slumping<br />
kiln, two new flameworking annealing kilns, light tables<br />
and a big selection of new hand <strong>to</strong>ols.<br />
For more information on <strong>the</strong> renovations, visit Pratt’s<br />
website at www.pratt.org or email plarned@pratt.org.<br />
Karen Rudd has worked for Pratt Fine <strong>Art</strong>s Center for<br />
<strong>the</strong> past five years as a sculpture technician, volunteer<br />
coordina<strong>to</strong>r, and marketing manager. She is also a sculp<strong>to</strong>r<br />
working in metal, wood and glass.<br />
Honors and Awards – Congratulations!<br />
Benjamin Moore will receive <strong>the</strong> 2006 Li<strong>be</strong>nsky<br />
Award <strong>from</strong> Pilchuck <strong>Glass</strong> School. Ronnie<br />
Hughes <strong>to</strong>ok <strong>to</strong>p honors in <strong>the</strong> National Capital<br />
Orchid <strong>Society</strong> Juried <strong>Art</strong> Competition. His Phrag<br />
Grande Orchid and his Phalaenopsis Aphrodite won<br />
Best of <strong>Glass</strong>, The Eugene Griffith Award for Best<br />
of Decorative <strong>Art</strong> and The Eva Camp<strong>be</strong>ll Memorial<br />
Award for Best <strong>Art</strong> in Show. Ana Thiel has won<br />
<strong>the</strong> First Biennale of <strong>Art</strong> in <strong>Glass</strong> in Latin America<br />
for her piece Triada-Trine 1. Chicago’s Crown<br />
Fountain by Spanish artist, Jaume Plensa has<br />
won <strong>the</strong> Bombay Sapphire Prize 2006. The 2006<br />
Bullseye E-Merge Prizes have <strong>be</strong>en announced:<br />
Nonfunctional Prize - 1st prize - Cobi Cockburn;<br />
2nd prize - Robin Provart-Kelly; 3rd prize -<br />
Kevin O’Toole. Functional Prize - 1st prize -<br />
Paolo Scala and Eleonora Lucani; 2nd prize -<br />
Jaqueline Cooley; 3rd prize - Brendan McSheehy<br />
III; Academic Prize - Miho Higashide; Kilncaster<br />
Prize - Ede Hor<strong>to</strong>n; Newcomer Prize - Alex Hirsch;<br />
Popular Prize - Cobi Cockburn. This year’s <strong>Glass</strong><br />
Sellers Prize was won by <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong> mem<strong>be</strong>r<br />
Colin Reid for his cast glass piece Cello. A special<br />
award was made <strong>to</strong> runner-up Jessica Townsend.<br />
The winner of <strong>the</strong> Student Award 2006 is June<br />
Kingsbury, student runner-up, Tracy Nicholls.<br />
The British <strong>Glass</strong> Biennale 2006 Best in Show<br />
Prize went <strong>to</strong> Max Jacquard for his work entitled<br />
For my Lost Loves III - The Ongoing Moment.<br />
You can now purchase GAS t-shirts and<br />
Journals online at www.glassart.org.<br />
Just click on S<strong>to</strong>re!
G L A S H A U S<br />
The International Magazine<br />
of Studio <strong>Glass</strong><br />
German/ English, 4 issues p.a. 39 EUR<br />
(including air mail postage)<br />
Advertising/Subscription:<br />
Dr. Wolfgang Schmölders<br />
Glashaus-Verlag, Stadtgarten 4<br />
D-47798 Krefeld (Germany)<br />
Tel: +49-2151-77 87 08<br />
Fax: +49-2151-97 83 41<br />
Email: glashaus-verlag@t-online.de<br />
www.glasshouse.de<br />
5
<strong>Glass</strong> <strong>Art</strong> <strong>Society</strong>'s 37 th Annual Conference, Transformational Matter,<br />
M a i n Co n f e r e n c e V e n u e s<br />
Site Hotel: Omni William Penn Hotel<br />
Registration, Lectures, Auction, Goblet Grab,<br />
International Forum for <strong>Glass</strong> Organizations,<br />
Portfolio Review<br />
Located in <strong>the</strong> heart of <strong>the</strong> down<strong>to</strong>wn business<br />
district, <strong>the</strong> renowned Omni William Penn Hotel is a<br />
his<strong>to</strong>ric land-mark elegantly renovated and updated,<br />
while retaining its 1916 charm. Just steps away <strong>from</strong><br />
<strong>the</strong> David L. Lawrence Convention Center, sporting and<br />
cultural venues, and a variety of shopping, <strong>the</strong> Omni<br />
is <strong>the</strong> ideal central location for accommodations and many of <strong>the</strong> GAS<br />
conference events. The Convention Center is four blocks away.<br />
co n f e r e n c e<br />
p r e s e n t e r s<br />
David L. Lawrence Convention Center<br />
Demonstrations, Technical Display, International Student Exhibition<br />
The David L. Lawrence Convention Center<br />
is a significant symbol of <strong>the</strong> “new” Pittsburgh<br />
Region. As Pittsburgh continues <strong>to</strong> revolutionize<br />
in<strong>to</strong> a regional destination place, this landmark<br />
building has <strong>be</strong>come <strong>the</strong> corners<strong>to</strong>ne of <strong>the</strong><br />
transformation. On <strong>the</strong> cutting edge of design,<br />
this innovative structure connects <strong>the</strong> urban<br />
city <strong>to</strong> <strong>the</strong> waterfront overlooking <strong>the</strong> Allegheny River. While boasting<br />
breath-taking views of <strong>the</strong> North Shore and Down<strong>to</strong>wn Pittsburgh <strong>from</strong> <strong>the</strong><br />
concourses, balconies and terraces, which are located throughout <strong>the</strong> building,<br />
<strong>the</strong> Center has <strong>be</strong>en certified with a Gold LEED rating by <strong>the</strong> U.S. Green<br />
Building Council. As <strong>the</strong> first “green” convention center and world’s largest<br />
“green” building, <strong>the</strong> Center capitalized on its environmentally smart<br />
structure by utilizing natural daylight and natural ventilation <strong>to</strong> light and<br />
heat <strong>the</strong> building, and incorporating a water reclamation system which<br />
reduces potable water use.<br />
Elin Chris<strong>to</strong>pherson<br />
will give a hot glass demo<br />
at <strong>the</strong> conference<br />
Cork Marcheschi,<br />
For Max<br />
Tom Farbanish,<br />
Untitled<br />
Pittsburgh <strong>Glass</strong> Center – Demonstrations<br />
Pittsburgh <strong>Glass</strong> Center (PGC), located in<br />
a burgeoning urban arts neighborhood, is a<br />
nonprofit, open and comprehensive studio<br />
and gallery dedicated <strong>to</strong> teaching, creating and<br />
promoting glass art. PGC is one of only a handful<br />
of organizations across <strong>the</strong> country that provides<br />
<strong>to</strong>p quality resources and facilities <strong>to</strong> artists<br />
working in glass. The 16,000+ square foot facility houses state of <strong>the</strong> art<br />
studios in hot glass, flameworking, coldworking, casting and kilnworking,<br />
plus a contemporary glass gallery. For more information about Pittsburgh<br />
<strong>Glass</strong> Center, visit www.pittsburghglasscenter.org or call 412-365-2145.<br />
The Corning Museum of <strong>Glass</strong> (CMOG)<br />
Hot <strong>Glass</strong> Roadshow<br />
David L. Lawrence Convention Center – Demonstrations<br />
The CMOG Hot <strong>Glass</strong> Roadshow is a unique, mobile,<br />
state-of-<strong>the</strong>-art glassmaking studio that houses a<br />
300-pound glass melting furnace, two glory holes, an<br />
iron warmer, and an annealer. It includes a full complement<br />
of irons, blowpipes, and hand <strong>to</strong>ols that enable<br />
glassmakers <strong>to</strong> make a wide variety of hand-blown<br />
items. Approximately 28 feet long and 8 feet wide, <strong>the</strong><br />
Hot <strong>Glass</strong> Roadshow runs on natural gas or propane.<br />
The Roadshow has traveled <strong>to</strong> <strong>the</strong> streets of New York<br />
City, SOFA Chicago, <strong>the</strong> 2002 Winter Olympics, <strong>the</strong> 2003 GAS Conference in<br />
Seattle, <strong>to</strong> five cities in Australia, including Adelaide for <strong>the</strong> 2005 GAS Conference,<br />
and most recently <strong>to</strong> St. Louis for <strong>the</strong> 2006 GAS Conference. There’s no<br />
o<strong>the</strong>r mobile studio in <strong>the</strong> world like <strong>the</strong> CMOG Hot <strong>Glass</strong> Roadshow.<br />
Ed Kirshner, Vase with<br />
Cup of Chaos (detail)<br />
awa r d r e c i p i e n t s<br />
Each year, <strong>the</strong> <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong> honors and acknowledges <strong>the</strong> individuals<br />
who have made outstanding contributions <strong>to</strong> <strong>the</strong> development of <strong>the</strong> glass<br />
arts worldwide. The 2007 recipients of <strong>the</strong>se awards are:<br />
Michael Mangiafico,<br />
Wasp<br />
6<br />
Jiri Harcuba<br />
Master Czech glass engraver, artist and<br />
teacher. Lifetime Achievement Award<br />
for exceptional achievement in <strong>the</strong><br />
field of glass<br />
Brian Frus will<br />
participate in a panel<br />
on "Green Studios"<br />
Michael Rogers<br />
<strong>Art</strong>ist, Past GAS <strong>President</strong>, RIT Professor.<br />
Honorary Lifetime Mem<strong>be</strong>rship Award for<br />
outstanding service <strong>to</strong> <strong>the</strong> <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong><br />
Register Today! Register for <strong>the</strong> conference by April 2, 2007 <strong>to</strong> receive <strong>the</strong> lowest registration<br />
fees and your Program Book prior <strong>to</strong> <strong>the</strong> conference. Registration <strong>be</strong>fore <strong>the</strong> conference. Registration<br />
<strong>be</strong>fore <strong>the</strong> conference runs through May 17; after that date register onsite at <strong>the</strong> conference with<br />
higher fees. The registration form is in <strong>the</strong> conference brochure and on online at www.glassart.org.
Pittsburgh, Pennsylvania, June 7-9, 2007<br />
Warren Car<strong>the</strong>r<br />
Julie Anne Den<strong>to</strong>n,<br />
Maria Monk, 1836 AD<br />
co n f e r e n c e<br />
p r e s e n t e r s<br />
Kazuko Mitsushima<br />
L e c t u r e s<br />
Warren Car<strong>the</strong>r: Innovation +<br />
Transformation in Architecture,<br />
Public <strong>Art</strong> and Architectural <strong>Glass</strong><br />
Bruce Chao: Matters of Course<br />
Nicole Chesney: Reflections on<br />
an Occluded Mirror<br />
Róisín de Buitléar: Memory and<br />
Invention - S<strong>to</strong>ries <strong>from</strong> Ireland<br />
Tom Farbanish: Various Thoughts on Making Objects<br />
Lanse Fero: Transformational Investing<br />
Michael Greenman: <strong>Glass</strong> <strong>Art</strong> & Science - Moving Forward Toge<strong>the</strong>r<br />
Rudy Gritsch: Transformation in <strong>Glass</strong> Teaches Us<br />
Jiri Harcuba: Lifetime Achievement Award Lecture:<br />
<strong>Glass</strong> Engraving, My Heritage<br />
Timothy Horn: (In)discrete Objects<br />
Toshio Iezumi: <strong>Glass</strong> Sculpture by Direct Cutting<br />
Anne Madarosz<br />
Cork Marcheschi: It is Easier <strong>to</strong> <strong>Get</strong> Forgiveness Than it is Permission<br />
Kazuko Mitsushima: <strong>Glass</strong> Jewelry<br />
Michiko Miyake: To <strong>the</strong> Realm of Nothingness<br />
Sarah Nichols: Translations & Transformations: <strong>Glass</strong> in Venice<br />
and America, 1950-2006<br />
Maria Porges: Writing about <strong>Glass</strong>: Hot Air about Hot (and Cold) Stuff<br />
Michael Rogers: Honorary Lifetime Mem<strong>be</strong>rship Award Lecture<br />
Keith Sonnier: Willson Lecture<br />
Therman Sta<strong>to</strong>m: State of <strong>the</strong> <strong>Art</strong> of African American <strong>Glass</strong> <strong>Art</strong>ists<br />
Kelly Stevelt Kaser: The Changing Career Path of Studio <strong>Glass</strong> <strong>Art</strong>ists<br />
Wayne Strattman: Self-Illuminated <strong>Glass</strong>: My 24-Year Search <strong>to</strong> Light<br />
Up <strong>the</strong> World<br />
Bill Strickland: Keynote Speaker<br />
Per B. Sund<strong>be</strong>rg: Greatest Hits<br />
Ana Thiel<br />
Sylvie Vandenhoucke: Eye & Mind Transformed<br />
Kerstin Wickman: The Interaction Between <strong>the</strong> Studio <strong>Glass</strong><br />
Movement and <strong>the</strong> Swedish <strong>Glass</strong> Fac<strong>to</strong>ries<br />
Davide Salvadore,<br />
Lugutu<br />
Layla Walter,<br />
Camellia Vase<br />
Bruno Romanelli<br />
Maria Porges,<br />
O<strong>be</strong>lisk<br />
D e m o n s t r at i o n s<br />
Rik Allen: Coldworking<br />
Alexander Ar<strong>be</strong>ll: Flameworking: Lamp-Blown Boro-glass,<br />
Metal-patinated Vessel in a Middle-Eastern Style<br />
Pat Bako: Coldworking: Secrets of <strong>the</strong> Coldshop Exposed<br />
Theresa Batty: Hot <strong>Glass</strong><br />
John Choi, Katrina Creyts and Magan Stevens: Hot <strong>Glass</strong>:<br />
Exquisite Corpse<br />
Elin Chris<strong>to</strong>pherson: Hot <strong>Glass</strong>: Cross Section<br />
Deborah Czeresko: Hot <strong>Glass</strong><br />
John de Wit: Hot <strong>Glass</strong>: Absorption and Rumination<br />
Julie Anne Den<strong>to</strong>n: Flameworking: The Three Alchemical Principles:<br />
Sulphur, Salt & Mercury<br />
Miriam Di Fiore: Flat <strong>Glass</strong><br />
Michael Flechtner: Neon: Going 3-D<br />
Kristin Gudjonsdottir: Flat <strong>Glass</strong>: Casting with Ceramic Molds and<br />
Working with Reuse Materials<br />
Caitlin Hyde: Flameworking: Beyond <strong>the</strong> Bead: Sculptural Elements<br />
at <strong>the</strong> Torch<br />
Yuri Ishida: Flameworking: Basic Techniques - How <strong>to</strong> Joint<br />
Joon Yong Kim: Hot <strong>Glass</strong><br />
Edward Kirshner: Neon: <strong>Glass</strong> & Plasma Light<br />
Jiyong Lee: Flat <strong>Glass</strong>: Misconception and Truth of Working with<br />
Adhesives: Hxtal Demonstration<br />
Walter Lie<strong>be</strong>rman: Flat <strong>Glass</strong><br />
Beth Lipman: Hot <strong>Glass</strong>: The Fatal Lifestyles of <strong>the</strong> Rich and Famous<br />
Michael Mangiafico: Flameworking: Metamorphosis<br />
Dante Marioni: Hot <strong>Glass</strong><br />
Milissa Montini: Flameworking: It’s About Murrini<br />
Andrea Penzo: Flameworking: Broken Hands<br />
Jill Reynolds: Flameworking: The Intermittent Flameworker<br />
Bruno Romanelli: Kilnworking: Half Truths & Revelations<br />
Davide Salvadore: Hot <strong>Glass</strong><br />
Peter Secrest: Hot <strong>Glass</strong><br />
Silvano Signoretta: Hot <strong>Glass</strong><br />
Rex Trimm: Flameworking: <strong>Glass</strong> an ‘Nat!<br />
Layla Walter: Kilnworking: Mold Making for <strong>Glass</strong> Casting<br />
Thomas Wendler: Neon<br />
Pa n e l s<br />
Lucy Lyon, Hank Murta Adams, Judy Hill, Clifford Rainey,<br />
Tina Oldknow: Implications of Transforming <strong>the</strong> Figure in<strong>to</strong> <strong>Glass</strong><br />
Julie Conway, Hugh Jenkins, James Ronner: Bio <strong>Glass</strong> - Green<br />
Studios Benefitting <strong>Art</strong>ists and <strong>the</strong> Environment<br />
Anne Chen, Brian Frus, Kevin Gannon, Mark Gi<strong>be</strong>au: Capitalizing<br />
on Resources and Building Green<br />
Kathleen Mulcahy, Ron Desmett, Deborah Hosking, Randy Kovitz:<br />
Community Resurgence: Making Sense of Place<br />
7
<strong>Glass</strong> <strong>Art</strong> <strong>Society</strong>'s 37 th Annual Conference, Transformational Matter,<br />
Pittsburgh, Pennsylvania, June 7-9, 2007<br />
8<br />
The Carnegie<br />
Museum of <strong>Art</strong><br />
Pre-Conference Reception<br />
Phipps Conserva<strong>to</strong>ry & Botanical Gardens<br />
and The Carnegie Museum of <strong>Art</strong><br />
Wednesday, June 6, 5:30 - 9:30 pm<br />
Phipps<br />
Conserva<strong>to</strong>ry<br />
& Botanical<br />
Gardens<br />
Start your evening with a special ‘preview hour’ <strong>to</strong><br />
enjoy Chihuly at <strong>the</strong> Conserva<strong>to</strong>ry: A Garden of <strong>Glass</strong>, a<br />
special exhibition that fuses fantastic glass art with<br />
Phipps’ garden under glass. A shuttle or a short walk<br />
will <strong>the</strong>n deliver you <strong>to</strong> <strong>the</strong> nearby his<strong>to</strong>rical Carnegie<br />
Museum for an elegant evening of music, delicious food<br />
and a cash bar. The exhibit Translations and Transformations:<br />
<strong>Glass</strong> in Venice and America, 1950-2006 will <strong>be</strong> on view<br />
with exhibition cura<strong>to</strong>r Sarah Nichols. Meet, mingle, and<br />
wander <strong>the</strong> Carnegie’s Hall of Architecture, which contains<br />
<strong>the</strong> largest collection of plaster casts of architectural<br />
masterpieces in America and one of <strong>the</strong> three largest<br />
in <strong>the</strong> world. The marble Hall of Sculpture <strong>be</strong>autifully<br />
replicates <strong>the</strong> interior of <strong>the</strong> Par<strong>the</strong>non.<br />
Shuttles leave <strong>the</strong> Omni William Penn Hotel<br />
<strong>be</strong>ginning at 5:30. Cost: $90 for conference attendees.<br />
The Pre-Conference Reception is a fundraiser that<br />
supports low conference registration fees for student<br />
mem<strong>be</strong>rs of GAS. You must <strong>be</strong> registered in advance for<br />
<strong>the</strong> Pre-Conference Reception in order <strong>to</strong> attend.<br />
International Student Exhibition<br />
David L. Lawrence Convention Center, Concourse A<br />
Friday, June 8, 4 - 7 pm, Saturday, June 9, 9 - 2:30 pm<br />
The International Student Exhibition invites all <strong>Glass</strong><br />
<strong>Art</strong> <strong>Society</strong> student mem<strong>be</strong>rs who are currently enrolled<br />
full-time in an accredited degree-seeking program <strong>to</strong><br />
participate. All work must <strong>be</strong> current, original, professionally<br />
crafted, and contain glass as <strong>the</strong> main element.<br />
How <strong>to</strong> participate: Deliver your student work <strong>to</strong><br />
<strong>the</strong> Convention Center, Concourse A, on Wednesday,<br />
June 6, 1- 5 pm; Thurs., or June 7, 10 am - 4 pm.<br />
The official opening will <strong>be</strong> on Fri., June 8, at 4 pm.<br />
Students are encouraged <strong>to</strong> hand-carry <strong>the</strong>ir work <strong>to</strong><br />
<strong>the</strong> conference. Insurance and shipment of <strong>the</strong> artwork<br />
are <strong>the</strong> responsibility of <strong>the</strong> artist. Nei<strong>the</strong>r GAS nor <strong>the</strong><br />
Convention Center are responsible for <strong>the</strong>ft or damage<br />
<strong>to</strong> artwork. Please ensure that your work is delivered in<br />
reusable packaging.<br />
Restrictions: No more than ONE item may <strong>be</strong><br />
submitted by each student. The piece must not exceed<br />
30 lbs. (15 kg) or 20” (50 cm) in any dimension. Installations<br />
or groupings may <strong>be</strong> submitted, but each element<br />
within <strong>the</strong> grouping must adhere <strong>to</strong> weight and size restrictions.<br />
Clear installation instructions must accompany<br />
each work. No work will <strong>be</strong> hung <strong>from</strong> walls or ceiling.<br />
Awards: Previously, more than $12,000 in cash and<br />
supplies has <strong>be</strong>en awarded. First prize winner receives<br />
a $1,000 cash award <strong>from</strong> The Corning Museum of <strong>Glass</strong>.<br />
All award winners will <strong>be</strong> acknowledged in <strong>the</strong> <strong>Glass</strong> <strong>Art</strong><br />
<strong>Society</strong> 2007 Journal and at <strong>the</strong> GAS Business Meeting.<br />
Sales: We encourage sales at this event by cash or<br />
check made directly <strong>to</strong> GAS. <strong>Art</strong>ists will receive 80%.<br />
Buyers must make <strong>the</strong>ir own arrangements for<br />
shipping work. Purchases and all unsold artwork must <strong>be</strong><br />
picked up and removed Sunday, June 10, 11 am - 5 pm.<br />
Pieces left after Sunday, June 10, 5 pm will <strong>be</strong>come <strong>the</strong><br />
property of <strong>the</strong> <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong>.<br />
Donate <strong>to</strong> <strong>the</strong> GAS Auction<br />
Saturday, June 9, 6 pm, Omni William Penn Hotel,<br />
William Penn Ballroom<br />
Preview: Friday, June 8, 4-7 pm; Sat., June 9, 9 am- 6 pm<br />
Omni William Penn Hotel, William Penn Ballroom<br />
Silent Auction & Preview: Saturday, June 9, 9 am - 6 pm,<br />
First tables <strong>be</strong>gin closing at 4:45 pm, Sternwheeler<br />
Room, William Penn Level<br />
The annual GAS Auction offers conference attendees<br />
and <strong>the</strong> public <strong>the</strong> opportunity <strong>to</strong> support GAS by<br />
donating and/or purchasing <strong>be</strong>autiful works of glass<br />
art. We encourage donations of collaborative glasswork,<br />
innovative and experimental one-of-a-kind creations, and<br />
those signature pieces that define an artist’s career. With<br />
so much wonderful work <strong>to</strong> bid on, and so much fun <strong>to</strong><br />
<strong>be</strong> had, this is an event you won’t want <strong>to</strong> miss!<br />
The GAS Auction has <strong>be</strong>come one of <strong>the</strong> highlights<br />
of <strong>the</strong> annual conference, and we hope you consider<br />
donating a piece of your artwork, goods or services. Your<br />
donation helps subsidize half-price student fees and<br />
keeps all registration fees affordable. Expected <strong>to</strong> <strong>be</strong> <strong>the</strong><br />
largest GAS auction ever, with many donors and buyers, it<br />
will also <strong>be</strong> a great opportunity for exposure of your work.<br />
This year donating artists have <strong>the</strong> choice <strong>to</strong> give<br />
100% <strong>to</strong> GAS, or <strong>to</strong> receive 25% or 50% of <strong>the</strong> selling<br />
price. Your donation will <strong>be</strong> on exhibit throughout <strong>the</strong><br />
conference and acknowledged in <strong>the</strong> 2007 <strong>Glass</strong> <strong>Art</strong><br />
<strong>Society</strong> Journal.<br />
How <strong>to</strong> donate:<br />
1. Contact <strong>the</strong> GAS office <strong>to</strong> obtain an auction donation<br />
form, or find it on <strong>the</strong> GAS website at www.glassart.org.<br />
2. Complete and return <strong>the</strong> auction form with a highresolution<br />
(at least 300 dpi) JPG of your piece, so we can<br />
include it in <strong>the</strong> Power Point presentation. This also<br />
helps us in planning <strong>the</strong> display of <strong>the</strong> auction pieces.<br />
3. Bring your donated piece <strong>to</strong> <strong>the</strong> conference. Drop it<br />
off at: Omni William Penn Hotel, Riverboat Room,<br />
Wednesday, June 6, 1- 5 pm, Thursday, June 7, 9 am -<br />
5 pm and Friday, June 8, 9 am - 12 pm.<br />
4. If you want <strong>to</strong> ship your piece (at your own expense),<br />
contact <strong>the</strong> GAS office, at 206-382-1305, or email:<br />
info@glassart.org.<br />
GAS is a non-profit organization funded by its<br />
own mem<strong>be</strong>rship. We are counting on your support.<br />
Thank you!<br />
Eligibility: The GAS Auction and Goblet Grab is<br />
open <strong>to</strong> all glass artists and suppliers; you do not need <strong>to</strong><br />
<strong>be</strong> a mem<strong>be</strong>r of GAS. <strong>Glass</strong> artists can submit one piece<br />
of artwork, all artwork must <strong>be</strong> designed by <strong>the</strong> artist.<br />
You do not have <strong>to</strong> attend <strong>the</strong> conference <strong>to</strong> donate, and<br />
donating work is a great way <strong>to</strong> support GAS if you aren’t<br />
able <strong>to</strong> attend.<br />
13th Annual Goblet Grab<br />
Omni William Penn Hotel, Frick Room, Conference Level<br />
Friday, June 8, 1-2 pm (<strong>be</strong>gins promptly at 1 pm)<br />
The Goblet Grab is a fundraiser for <strong>the</strong> Craft Emergency<br />
Relief Fund (CERF), which offers aid <strong>to</strong> GAS artist<br />
mem<strong>be</strong>rs in times of need. The fast-paced, spontaneous<br />
Goblet Grab is an event full of excitement and fun!<br />
Contribute <strong>to</strong> <strong>the</strong> Goblet Grab by donating a drinking<br />
glass and <strong>be</strong> entered <strong>to</strong> win one free conference<br />
registration for <strong>the</strong> GAS 2008 conference.<br />
How <strong>to</strong> donate:<br />
1. Create a goblet, mug, tumbler or some kind of<br />
drinking glass<br />
2. Price it at $50, $100, $150 or $200<br />
3. Bring your drinking vessel with you and drop it off<br />
at <strong>the</strong> Goblet Grab receiving and preview area at <strong>the</strong><br />
Omni William Penn Hotel, Phipps Room, Conference<br />
level, Wed., June 6, 1-5 pm; Thurs, June 7, 9 am - 5 pm;<br />
Fri., June 8, 9 -11am.<br />
If you want <strong>to</strong> ship your piece (at your own expense),<br />
please ship <strong>to</strong> (for Goblet Grab and Auction): Pittsburgh<br />
<strong>Glass</strong> Center, 5472 Penn Avenue, Pittsburgh, PA 15206<br />
5th International Forum<br />
for <strong>Glass</strong> Organizations<br />
Wednesday, June 6, 3- 3:45 pm<br />
Omni William Penn Hotel, Three Rivers Room,<br />
William Penn Level<br />
We’d like <strong>to</strong> extend an invitation <strong>to</strong> all international<br />
GAS mem<strong>be</strong>r glass organizations <strong>to</strong> send one or two<br />
representatives <strong>to</strong> participate. Anyone interested in<br />
<strong>be</strong>coming an international liaison will also <strong>be</strong> welcome.<br />
Following <strong>the</strong> 1st International Forum, an e-group was<br />
created as a means of communication for glass organizations.<br />
If you would like <strong>to</strong> participate in networking/<br />
sharing international issues:<br />
1. Write <strong>to</strong> info@glassart.org <strong>to</strong> request an e-group<br />
invitation.<br />
2. Send your ideas <strong>to</strong> <strong>the</strong> e-group. Issues raised <strong>from</strong> <strong>the</strong><br />
e-group will <strong>be</strong> discussed at <strong>the</strong> forum in Pittsburgh.<br />
Your ideas and comments are appreciated.<br />
3. Bring your ideas <strong>to</strong> <strong>the</strong> forum: How do you think<br />
international glass organizations could <strong>be</strong>st liaise<br />
<strong>to</strong> <strong>be</strong>nefit all? What form could such a network take?<br />
What opportunities could come <strong>from</strong> such interaction<br />
(i.e. artist-in-residence exchanges, studio exchanges,<br />
information sharing, etc.)?<br />
Gallery Forum<br />
Omni William Penn Hotel, Frick Room, Conference Level<br />
Saturday, June 9, 1-4 pm<br />
Hosted by participating galleries, <strong>the</strong> Gallery Forum<br />
is an opportunity for galleries and artists <strong>from</strong> around <strong>the</strong><br />
world <strong>to</strong> meet, talk, and exchange information and ideas.<br />
Galleries: $125 for a table and listing as host. Coffee and<br />
cookies provided. Galleries please contact <strong>the</strong> GAS office<br />
by February 1 <strong>to</strong> sign up and <strong>be</strong> listed in <strong>the</strong> conference<br />
program book.<br />
<strong>Art</strong>ist Portfolio Review<br />
Omni William Penn Hotel, Shadyside Room, 1st Floor<br />
Saturday, June 9, 1- 2:45 pm<br />
Gallery owners, cura<strong>to</strong>rs, educa<strong>to</strong>rs, and artists will<br />
<strong>be</strong> available <strong>to</strong> review portfolios of GAS conference<br />
attendees. <strong>Art</strong>ists should bring ei<strong>the</strong>r a slide, pho<strong>to</strong>graph,<br />
or electronic portfolio (electronic portfolios may <strong>be</strong><br />
viewed on <strong>the</strong> reviewer’s or <strong>the</strong> artist’s computer).<br />
A sign-up sheet with <strong>the</strong> list of reviewers will <strong>be</strong> available<br />
at <strong>the</strong> conference registration area. Reviews will last<br />
10-15 minutes each. A limited num<strong>be</strong>r of slots will <strong>be</strong><br />
available on a first-come, first-served basis.<br />
Education Resource Center<br />
Omni William Penn Hotel, Oakmont Room, 1st Floor<br />
Friday, June 8, 2 - 5 pm; Saturday, June 9, 3 - 5 pm<br />
The Education Resource Center will <strong>be</strong> a space<br />
where students and those interested in continuing <strong>the</strong>ir<br />
pursuit of glass education may come <strong>to</strong> pick up materials<br />
and information. All educational facilities: universities,<br />
colleges, public access studios, summer programs,<br />
studios, etc., who offer instruction in glass-working and<br />
wish <strong>to</strong> <strong>be</strong> represented in <strong>the</strong> Education Resource Center<br />
are requested <strong>to</strong> provide literature. Each school is also<br />
encouraged <strong>to</strong> send a representative <strong>to</strong> <strong>be</strong> present <strong>to</strong><br />
answer questions during <strong>the</strong> conference. Bring your<br />
handouts and drop <strong>the</strong>m off early at <strong>the</strong> Education<br />
Resource Center at <strong>the</strong> Omni William Penn Hotel,<br />
Oakmont Room, 1st floor, or ship materials ahead of time.<br />
Ship materials <strong>to</strong> <strong>the</strong> Pitsburgh <strong>Glass</strong> Center, 5472 Penn<br />
Avenue, Pittsburgh, PA 15206.<br />
Conference Brochure<br />
The 2007 GAS Conference brochure was mailed in<br />
Decem<strong>be</strong>r and contains details on conference events<br />
and a registration form. If you did not receive a<br />
brochure, you can find all <strong>the</strong> information online at<br />
www.glassart.org (click on 2007 GAS Conference<br />
in Pittsburgh). Or contact <strong>the</strong> GAS office at<br />
206-382-1305, info@glassart.org.
S p e c i a l E x h i b i t i o n s<br />
Carnegie Museum of <strong>Art</strong><br />
4400 For<strong>be</strong>s Ave., Pittsburgh, PA, 412-622-3131<br />
www.cmoa.org<br />
Translations and Transformations: <strong>Glass</strong> in Venice<br />
and America, 1950-2006<br />
May 12 - Septem<strong>be</strong>r 16. Entry fee $10.<br />
This exhibition examines <strong>the</strong> links <strong>be</strong>tween Venice<br />
and America and <strong>the</strong>ir significance, <strong>from</strong> mid-1950s<br />
sculp<strong>to</strong>r Ro<strong>be</strong>rt Willson’s explora<strong>to</strong>ry visit <strong>to</strong> Murano and<br />
<strong>the</strong> commissioning of work <strong>from</strong> American designers<br />
by <strong>the</strong> Venini fac<strong>to</strong>ry <strong>to</strong> present-day artists, such as<br />
Lino Tagliapietra and Josiah McElheny.<br />
Phipps Conserva<strong>to</strong>ry and Botanical Gardens<br />
One Schenley Park, Pittsburgh, PA, 412-622-6914<br />
www.phipps.conserva<strong>to</strong>ry.org<br />
Chihuly at <strong>the</strong> Conserva<strong>to</strong>ry: A Garden of <strong>Glass</strong><br />
May 12 - Decem<strong>be</strong>r 31. Entry fee $7.50.<br />
Heralded as one of Chihuly’s most intimate of artistic<br />
efforts, this exhibition presents Chihuly’s dramatic sculptures<br />
within one of Pittsburgh’s his<strong>to</strong>ric cultural gems.<br />
Pittsburgh Center for <strong>the</strong> <strong>Art</strong>s<br />
6300 Fifth Avenue, Pittsburgh, PA, 412-361-0873<br />
www.pittsburgharts.org<br />
June 1- August 20, Opening Reception: June 1, 5:30 - 8 pm<br />
<strong>Glass</strong> installation by Lindsay O’Leary; <strong>Glass</strong> works by<br />
Chris Clarke, Kaley Finegan and Brian Frus; “Seeing is<br />
Deceiving” by Judi Charlson.<br />
Pre- & post-Conference Workshops<br />
Pittsburgh <strong>Glass</strong> Center<br />
Contact: Lindsay O’Leary<br />
5472 Penn Avenue, Pittsburgh, PA 15206<br />
412-365-2145 x201, www.pittsburghglasscenter.org<br />
Pre-Conference Workshops:<br />
Cane Pick-Up<br />
May 28 - June 2 – Taught by Davide Salvadore<br />
Intermediate level students will learn Venetian cane<br />
pick-up techniques <strong>from</strong> an Italian master. Working with<br />
a thick iron plate, students will experiment with glass<br />
tessarae or cane, filigree, zanfirico and murrine. Some<br />
previous hot glass experience required.<br />
Honeycomb Molds<br />
May 28 - June 2 – Taught by Helen S<strong>to</strong>kes<br />
In this course students will construct a layered mold<br />
using <strong>the</strong> honeycomb mold technique. Through demonstrations<br />
and discussions students will understand<br />
<strong>the</strong> construction, usage and limitless possibilities of this<br />
unique process. Experienced casters and <strong>be</strong>ginners will<br />
learn valuable mold making techniques <strong>from</strong> this course.<br />
Intensive Flameworking Class Before GAS<br />
May 28 - June 2 – Taught by Alex Ar<strong>be</strong>ll<br />
Ignite your creativity with instant, stunning results.<br />
Create borosilicate blown vessels, metal-patinated and<br />
decorated in <strong>the</strong> traditional Middle Eastern style and<br />
spirit with this master Israeli artist. Prerequisite: at least<br />
three years of extensive flameworking experience.<br />
Lampworked Murano <strong>Glass</strong> on Copper Wire<br />
Interlaced with Silk<br />
June 3 - 6 – Taught by Andrea Penzo<br />
Learn <strong>the</strong> old Venetian technique of lampworking on<br />
copper wire <strong>to</strong> make incredible compositions of various<br />
flowers, decorative objects, jewelry, and sweet boxes.<br />
Pittsburgh <strong>Glass</strong> Center<br />
5472 Penn Avenue, Pittsburgh, PA, 412-365-2145<br />
www.pittsburghglasscenter.org<br />
Allure of Japanese <strong>Glass</strong> – May 4 - Oc<strong>to</strong><strong>be</strong>r 21<br />
PGC presents its first international exhibition of glass<br />
artists <strong>from</strong> Japan featuring both established and emerging<br />
artists who work in a full range of glass art methods<br />
and techniques. Although <strong>the</strong>se artists are well known<br />
in <strong>the</strong>ir native Japan, few have exhibited in <strong>the</strong> United<br />
States. Curated by Harumi Yukataki and Tomoko Aoki.<br />
Sena<strong>to</strong>r John Heinz Regional His<strong>to</strong>ry Center<br />
1212 Smallman St., Pittsburgh, PA, 412-454-6000,<br />
www.pghhis<strong>to</strong>ry.org<br />
Metamorphosis: A Celebration of <strong>the</strong> Bead<br />
June 1 - July 10<br />
Showcases <strong>the</strong> exemplary work of some of <strong>the</strong> finest<br />
glass <strong>be</strong>admakers. Sponsored by <strong>the</strong> International <strong>Society</strong><br />
of <strong>Glass</strong> Beadmakers and <strong>the</strong> Heinz His<strong>to</strong>ry Center.<br />
The <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong> publicizes <strong>the</strong>se workshops as a <strong>be</strong>nefit<br />
<strong>to</strong> mem<strong>be</strong>rs. The workshops are not planned, organized, or<br />
administered by GAS. For more detailed course descriptions<br />
or <strong>to</strong> register, contact <strong>the</strong> appropriate school.<br />
Text and Imagery on <strong>Glass</strong><br />
June 4 - 5 – Taught by Susan Taylor Glasgow<br />
Apply images and text on<strong>to</strong> glass using printing<br />
techniques and pho<strong>to</strong> realistic sandblasting. Create<br />
images with wonderful depth and detail with a variety<br />
of low and high fire glass enamels.<br />
Advanced <strong>Glass</strong> Blowing<br />
June 4 - 6 – Taught by Dante Marioni<br />
Focus on sharpening off-hand glassmaking skills <strong>from</strong> a<br />
traditional studio perspective, with a strong emphasis<br />
on Venetian glassblowing technique and teamwork.<br />
Prerequisite: two years of hot glass experience.<br />
Post-Conference Workshops:<br />
Developing Vessel Making Skills<br />
June 11-15 – Taught by Boyd Sugiki<br />
Cylinders, bowls and bottles will <strong>be</strong> <strong>the</strong> point of departure<br />
for re-addressing <strong>the</strong> basics of vessel making. Traditional<br />
Venetian methods and o<strong>the</strong>r innovative techniques will<br />
<strong>be</strong> demonstrated. Pre-requisite: at least two years of hot<br />
glass experience.<br />
Bent on Beadmaking<br />
June 11-15 – Taught by Sage Logan and Beau Anderson<br />
For intermediate and advanced artists who wish <strong>to</strong><br />
improve <strong>the</strong>ir skills in controlled patterning and unusual<br />
shapes. This class uses soft glass <strong>be</strong>admaking inspired by<br />
ancient techniques that include surface decoration, clear<br />
casing, off mandrel, complex dot work, and <strong>the</strong> use of<br />
stringers, murrine, and o<strong>the</strong>r patterned cane.<br />
Painting on <strong>Glass</strong><br />
June 11-15 – Taught by Walt Lie<strong>be</strong>rman<br />
Students will use both 3-D and flat glass <strong>to</strong> paint with<br />
enamels techniques, such as overpainting, sgraffi<strong>to</strong>, and<br />
multiple firings used <strong>to</strong> achieve rich layered effects.<br />
No previous experience required.<br />
“Stay in Pittsburgh” Tour – June 10<br />
Stay in Pittsburgh for an extra day <strong>to</strong> enjoy a special <strong>to</strong>ur of <strong>the</strong> city, highlighting all that <strong>the</strong> city has <strong>to</strong> offer <strong>to</strong> artists<br />
who might consider moving here. This artist’s look at Pittsburgh will offer <strong>the</strong> opportunity <strong>to</strong> network with real<strong>to</strong>rs and<br />
community developers who will provide leads and advise you about financing opportunities. Meet with artists who have<br />
al<strong>ready</strong> made <strong>the</strong> move here and hear <strong>the</strong>ir success s<strong>to</strong>ries. The <strong>to</strong>ur departs <strong>from</strong> <strong>the</strong> Omni William Penn at Noon, Sunday,<br />
June 10. Tour length is four hours and includes a box lunch. $15. Contact Pittsburgh <strong>Glass</strong> Center for more information.<br />
Pittsburgh Center for <strong>the</strong> <strong>Art</strong>s<br />
Contact: Joshua Andra, 1047 Shady Avenue, Pittsburgh, PA 15232, 412-361-0455 www.pittsburgharts.org<br />
Pre-Conference Workshop: Electroforming June 6 – Taught by Ann Davis<br />
Through demonstration, learn about <strong>the</strong> techniques and equipment for electroforming metals on glass, silver plating<br />
and gold pen plating. Ann’s work combines flameworking, electroforming, sandblasting and metalsmithing. Ann's work has<br />
<strong>be</strong>en published in books and journals. She has exhibited her work nationally and internationally.<br />
Post-Conference Workshop: Bullseye Box Casting June 10 – Demonstration by Judi Charlson<br />
This demonstration will introduce you <strong>to</strong> much simpler methods of creating a reverse relief cast glass object with <strong>the</strong><br />
optical clarity of a furnace casting, using plaster silica design elements in an open-faced mold assembled <strong>from</strong> vermiculite<br />
and o<strong>the</strong>r refrac<strong>to</strong>ry materials. Emphasis will <strong>be</strong> on reverse kiln-casting in an assembled mold.<br />
P r e - Co n f e r e n c e To u r s<br />
Fallingwater/Kentuck Knob<br />
Tuesday, June 5, 9 am - 4 pm<br />
Price per person: $125. Minimum: 40 people<br />
Tour includes transportation, admission & box lunch<br />
Fallingwater opened a new chapter in American<br />
architecture, and is perhaps rightly considered Frank<br />
Lloyd Wright’s greatest work. When Wright came <strong>to</strong> <strong>the</strong><br />
site in 1936, he appreciated <strong>the</strong> powerful sound of <strong>the</strong><br />
falls, <strong>the</strong> vitality of <strong>the</strong> young forest, <strong>the</strong> dramatic rock<br />
ledges and boulders; <strong>the</strong>se were elements <strong>to</strong> <strong>be</strong> interwoven<br />
with <strong>the</strong> serenely soaring spaces of his structure.<br />
Down <strong>the</strong> road <strong>from</strong> Fallingwater, enjoy your box lunch<br />
on <strong>the</strong> grounds of Kentuck Knob, also designed by Frank<br />
Lloyd Wright. It is an excellent example of a high-end<br />
Usonian home and was designed in <strong>the</strong> last decade of<br />
Wright’s career. A sculpture garden with over 35 major<br />
works enhances <strong>the</strong> visi<strong>to</strong>r’s experience.<br />
Collec<strong>to</strong>r’s Tour: <strong>Art</strong> & Architecture<br />
Wednesday, June 6, 9 - 4 pm<br />
Price per person: $180. Minimum: 25 people<br />
Tour includes transportation & lunch<br />
This <strong>to</strong>ur will take us through some of Pittsburgh’s<br />
architecturally significant homes, featuring fine and<br />
decorative art collections. We’ll have lunch at a spectacular<br />
private home on Mt. Washing<strong>to</strong>n, <strong>the</strong>n <strong>to</strong>ur <strong>the</strong><br />
Sewickly home, where you’ll see that an ever-increasing<br />
glass collection can exist in a three-s<strong>to</strong>ry <strong>to</strong>wnhouse.<br />
All venues subject <strong>to</strong> change.<br />
Walking Architectural Tour of Down<strong>to</strong>wn Pittsburgh<br />
Wednesday, June 6 – Morning Tour, 10 am - 2 pm;<br />
Afternoon Tour, 12 pm - 4 pm<br />
Price per person: $55. Minimum: 20 people<br />
Tour includes transportation, sit down lunch, tax & gratuity<br />
During your guided walking <strong>to</strong>ur, you will view<br />
everything <strong>from</strong> <strong>the</strong> his<strong>to</strong>ric grandeur of <strong>the</strong> s<strong>to</strong>ne<br />
Allegheny Courthouse <strong>to</strong> <strong>the</strong> majesty of <strong>the</strong> Union Trust<br />
Building, with its Flemish-Gothic design. From <strong>the</strong> Burke<br />
Building, one of <strong>the</strong> few surviving buildings of <strong>the</strong> great<br />
fire of 1945 <strong>to</strong> <strong>the</strong> exquisite glass Pittsburgh Plate <strong>Glass</strong><br />
building. The PPG complex has 231 glass pinnacles and<br />
stands 680 feet high. Both <strong>to</strong>urs will include lunch at <strong>the</strong><br />
his<strong>to</strong>ric 1902 Landmark Tavern.<br />
Industrial <strong>Glass</strong> Tour<br />
Wednesday, June 6,<br />
10 am - 2 pm<br />
Price per person: $120.<br />
Minimum: 20 people<br />
Tour includes transportation<br />
& box lunch<br />
Before it was known<br />
for steel, Pittsburgh was<br />
America’s <strong>Glass</strong> City.<br />
This Tour <strong>be</strong>gins at <strong>the</strong><br />
“Shattering Notions” exhibit<br />
at <strong>the</strong> Sena<strong>to</strong>r John Heinz His<strong>to</strong>ry Center, showcasing<br />
<strong>the</strong> <strong>be</strong>auty, science, utility and technology of Western<br />
Pennsylvania glass over <strong>the</strong> past 200 years.<br />
Next you'll <strong>to</strong>ur Kopp <strong>Glass</strong>*, Pittsburgh’s last thriving<br />
glass fac<strong>to</strong>ry, in business since 1926. With its roots in <strong>the</strong><br />
development and manufacture of cus<strong>to</strong>m colored and<br />
industrial glass, Kopp <strong>Glass</strong> is <strong>the</strong> leading supplier for <strong>the</strong><br />
majority of <strong>the</strong> ten niche markets that it serves.<br />
The <strong>to</strong>ur will also visit Glenshaw <strong>Glass</strong>, a Pittsburgh<br />
bottle plant started in 1894 by two local glassblowers<br />
and <strong>the</strong>ir partners.<br />
* Kopp <strong>Glass</strong> can only take 10 people at a time.<br />
Will have <strong>to</strong> stagger times (and limit participants <strong>to</strong><br />
25 max). You must <strong>be</strong> registered in advance <strong>to</strong> attend<br />
<strong>the</strong> Pre- Conference Events.<br />
9
esources, etc.<br />
10<br />
Please Note: Publication of notices is for information<br />
purposes only and does not necessarily indicate endorsement<br />
by <strong>the</strong> <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong>.<br />
We are happy <strong>to</strong> include information as supplied <strong>to</strong> us by<br />
various sources. Please send us your press releases and notices<br />
including specific, current facts as far in advance as possible <strong>to</strong>:<br />
GAS, 3131 Western Avenue, # 414, Seattle, WA 98121 or e-mail<br />
<strong>to</strong>: Shannon@glassart.org. GAS news is a bi-monthly publication.<br />
Mem<strong>be</strong>rs receive <strong>the</strong>ir news<strong>letter</strong>s approximately 6-8 weeks<br />
after <strong>the</strong> deadline.<br />
Upcoming News<strong>letter</strong> Deadlines:<br />
February 1 for <strong>the</strong> April/May 2007 issue<br />
April 1 for <strong>the</strong> June/July/August 2007 issue<br />
We look forward <strong>to</strong> hearing <strong>from</strong> you.<br />
Calls <strong>to</strong> <strong>Art</strong>ists<br />
Call for Papers We invite graduate students <strong>to</strong> submit papers<br />
addressing issues of use or uselessness. Areas of inquiry might<br />
explore <strong>the</strong> effect on <strong>the</strong> reception and interpretation of an<br />
object when it is denied its original functionality and la<strong>be</strong>led<br />
as “art” or when it is used for commercial or political purposes,<br />
in <strong>the</strong> service of cultural hegemony or <strong>the</strong> colonial project. We<br />
welcome submissions <strong>from</strong> all areas of art his<strong>to</strong>ry and related<br />
fields. In addition, we invite submissions <strong>from</strong> practicing artists<br />
and filmmakers engaged with ideas and problems of function<br />
in <strong>the</strong>ir work. Papers should <strong>be</strong> <strong>be</strong>tween 15 and 20 minutes in<br />
length. Abstracts of no more than 500 words, a current CV, and<br />
contact information should <strong>be</strong> submitted by 1/15/07, via email<br />
or post. Some travel funding is available. Information: University<br />
of Sou<strong>the</strong>rn California, Dept. of <strong>Art</strong> His<strong>to</strong>ry, VKC 351- MC 0047,<br />
Los Angeles, CA 90089, uscgradsymposium@gmail.com<br />
Philadelphia Buyers Market of American Craft, <strong>the</strong> nation’s<br />
largest wholesale craft show, invites artists <strong>to</strong> apply for its 2007<br />
February and August shows. The 2007 shows celebrate <strong>the</strong><br />
Buyers Market’s 25th anniversary, marking a major miles<strong>to</strong>ne<br />
for <strong>the</strong> American craft community. The Buyers Market will take<br />
place at <strong>the</strong> Pennsylvania Convention Center in Philadelphia,<br />
Pa., on Feb. 16-19, 2007, and Aug. 4-6, 2007. <strong>Art</strong>ists working in<br />
ceramics, glass, metal, wood, furniture, jewelry, mixed media<br />
and decorative and wearable fi<strong>be</strong>r are encouraged <strong>to</strong> apply.<br />
Applications and guidelines are available online. Information:<br />
The Rosen Group, 3000 Chestnut Ave Ste 300, Baltimore, MD<br />
21211, Tel: 410-889-2933 ext.218, info@rosengrp.com,<br />
www.americancraft.com<br />
West Sound Academy <strong>Art</strong> Sale The West Sound Academy is<br />
holding its 9th annual High Quality <strong>Art</strong> and <strong>Glass</strong> Sale Done<br />
Auction Style on March 3, 2007. <strong>Glass</strong> <strong>Art</strong>ist Ro<strong>be</strong>rt Carlson<br />
- Auctioneer. 50% of sale is returned <strong>to</strong> artist. Don’t miss this<br />
opportunity <strong>to</strong> expand your market and support art education.<br />
Past contributing artists have included: Fritz Dreisbach,<br />
Ben Moore, Jim Mongrain, Sonja Blomdahl, Richard Royal, Paul<br />
Cunningham and Steve Maslach. For submission contact: West<br />
Sound Academy, 5831 Packard Lane NE, Bainbridge Island, WA,<br />
98110, Tel: 206-842-4090, nbaker@westsoundacademy.org,<br />
www.westsoundacademy.org<br />
All Dolled Up: Beaded <strong>Art</strong> Doll Competition Entries are <strong>be</strong>ing<br />
accepted for <strong>the</strong> third bi-annual All Dolled Up: Beaded <strong>Art</strong> Doll<br />
Competition. First prize of a $1000 shopping spree on <strong>the</strong> Land<br />
of Odds website and a runner-up prize of a $400 shopping spree<br />
on <strong>the</strong> website. Entries must include four color snapshots, four<br />
jpg color images, a 1,000 - 2,000 short s<strong>to</strong>ry about your <strong>be</strong>aded<br />
art doll, a list of materials used. Deadline: Aug. 31, 2007.<br />
Information: Land of Odds, 522 E Iris Dr, Nashville, TN, 37204, Tel:<br />
615-292-0610, warren@landofodds.com, www.landofodds.com<br />
The Fifth Annual Ugly Necklace Contest 2007 is offering a<br />
first prize of a $992.93 shopping spree on <strong>the</strong> Land of Odds<br />
website and a Runner-Up prize of a $399.07 shopping spree on<br />
<strong>the</strong> website. Take three good color snapshots or scans of your<br />
necklace, and write a short poem about it. Deadline March<br />
15, 2007. Entries will <strong>be</strong> judged by a panel <strong>from</strong> The Center<br />
for Beadwork & Jewelry <strong>Art</strong>s, based on <strong>the</strong> hideousness of <strong>the</strong><br />
necklace, its shape, color and use of materials, its functionality<br />
and wearability, how well <strong>the</strong> artist has shown an understanding<br />
of good design principles (and how <strong>to</strong> violate <strong>the</strong>m) <strong>to</strong> achieve<br />
this “Ugly” end, and <strong>the</strong> quality of <strong>the</strong> accompanying poem.<br />
From <strong>the</strong> entries submitted, 10 finalists will <strong>be</strong> selected. Visi<strong>to</strong>rs<br />
<strong>to</strong> <strong>the</strong> website will <strong>be</strong> asked <strong>to</strong> vote for <strong>the</strong> most Ugly Necklace.<br />
Land of Odds, 522 E Iris Dr, Nashville, TN 37204, Tel: 615-292-0610,<br />
warren@landofodds.com, www.landofodds.com<br />
International Exhibition of <strong>Glass</strong> Kanazawa Entries are <strong>be</strong>ing<br />
accepted for two exhibitions Aug. 31 - Sept. 5, 2007 at <strong>the</strong> Korinbo<br />
Daiwa Department S<strong>to</strong>re, 8th Fl. Exhibition Hall, and Oct. <strong>to</strong> Nov.<br />
2007 at <strong>the</strong> No<strong>to</strong>jima <strong>Glass</strong> <strong>Art</strong> Museum. Info: International<br />
Exhibition of <strong>Glass</strong> Kanazawa, Design Center Ishikawa,<br />
Kanazawa, Ishikawa, 920-8203, Japan, Fax: +81 76 267 5242,<br />
info@design-ishikawa.jp, www.design-ishikawa.jp<br />
13th Annual Goblet Show Kittrell/Riffkind <strong>Art</strong> <strong>Glass</strong> invites<br />
entries by May 11. The exhibit will run July 13 - August 11.<br />
No entry fee. Insurance. Send a SASE for details <strong>to</strong>: Kittrell/<br />
Riffkind <strong>Art</strong> <strong>Glass</strong>, 5100 Belt Line Rd #820, Dallas, TX, 75254,<br />
Tel: 972-239-7957/ 888-865-2228, <strong>Art</strong>glass@KittrellRiffkind.com,<br />
www.kittrellriffkind.com<br />
Eliza<strong>be</strong>th R. Raphael Founder’s Prize Entries are <strong>be</strong>ing accepted<br />
at <strong>the</strong> <strong>Society</strong> for Contemporary Craft (SCC) for The Prize, a<br />
$5,000 cash prize plus award. The award, given in conjunction<br />
with a juried exhibition at SCC, a corresponding catalogue and a<br />
feature video on <strong>the</strong> winning artist, is funded by <strong>the</strong> daughters<br />
of Eliza<strong>be</strong>th R. Raphael, <strong>the</strong> founder of SCC and a nationally<br />
known figure in <strong>the</strong> contemporary art scene for several decades.<br />
This year’s prize will <strong>be</strong> awarded in <strong>the</strong> category of glass, on <strong>the</strong><br />
basis of an entry that has <strong>be</strong>en created within <strong>the</strong> previous 12<br />
months and addresses <strong>the</strong> <strong>the</strong>me of “transformation.” <strong>Art</strong>ists are<br />
asked <strong>to</strong> submit slides of work and a CV <strong>to</strong> SCC by Feb. 16, 2007.<br />
In addition <strong>to</strong> <strong>the</strong> prize-winning artist, a selection of entries will<br />
receive honorable mention and will <strong>be</strong> included in <strong>the</strong> Founder’s<br />
Prize exhibition <strong>to</strong> <strong>be</strong> held at SCC <strong>from</strong> Sept. 7, 2007 - Jan. 12,<br />
2008. <strong>Art</strong>ists wishing <strong>to</strong> receive a prospectus or Information:<br />
SCC, 2100 Smallman St., Pittsburgh, PA 15222,Tel: 412-261-7003,<br />
info@contemporarycraft.org, www.contemporarycraft.org<br />
Mixed Media Student Competition Exhibition Call <strong>to</strong> all arts<br />
and crafts students of 16 and over attending part time courses<br />
in colleges, adult community or fur<strong>the</strong>r education in Great<br />
Britain on both accredited and non-accredited, public and<br />
private courses. Equally, this also applies <strong>to</strong> Students attending<br />
V&A Workshops. Entries should not <strong>be</strong> in a medium in which<br />
you have a professional qualification or in one which represents<br />
your main occupation. Participants create a work of art inspired<br />
by <strong>the</strong> collections of ei<strong>the</strong>r <strong>the</strong> Vic<strong>to</strong>ria & Al<strong>be</strong>rt Museum, South<br />
Kensing<strong>to</strong>n, London or <strong>the</strong> V&A Museum of Childhood, Bethnal<br />
Green, London. Entries are judged by a panel of cura<strong>to</strong>rs and <strong>the</strong><br />
winners and o<strong>the</strong>r selected works are displayed in <strong>the</strong> museum<br />
of <strong>the</strong>ir inspiration. Winners in <strong>the</strong>ir category also receive a prize.<br />
Deadline Feb. 16, 2007, by post <strong>to</strong>: ‘Inspired By’ Competition.<br />
Learning & Interpretation Dept, Vic<strong>to</strong>ria & Al<strong>be</strong>rt Museum, Cromwell<br />
Gardens, South Kensing<strong>to</strong>n, London. SW7 2RL, England. Tel:<br />
020 7942 2533, e.cirier@vam.ac.uk, www.vam.ac.uk/inspiredby.<br />
For information: ceramicsandglass@vam.ac.uk, www.vam.ac.uk<br />
Side By Side Exhibition Applications are invited <strong>from</strong> professional<br />
makers working in <strong>the</strong> field of glass whose work demonstrates<br />
originality, creativity and high quality. The exhibition is<br />
a collaboration <strong>be</strong>tween <strong>the</strong> Contemporary <strong>Glass</strong> <strong>Society</strong> and<br />
<strong>the</strong> Devon Guild of Craftsmen <strong>to</strong> celebrate <strong>the</strong> 10th anniversary<br />
of CGS, coinciding with a major glass conference at <strong>the</strong> Eden<br />
Project, Sept. 28-30, 2007. Closing date Feb. 1, 2007. Information:<br />
Contemporary <strong>Glass</strong> <strong>Society</strong>, c/o Broadfield House <strong>Glass</strong><br />
Museum, Kingswinford, West Midlands, DY6 9NS, England,<br />
Tel: +44 (0) 1603 507737, admin@cgs.org.uk, www.cgs.org.uk<br />
Silent Conversations Exhibition Entries are <strong>be</strong>ing accepted<br />
March 16 - May 6. <strong>Art</strong> provokes conversation. The idea of silent<br />
conversations derives <strong>from</strong> a genre of paintings called a sacra<br />
conversazione developed during <strong>the</strong> Italian Renaissance where<br />
characters within <strong>the</strong> work would seem as if <strong>the</strong>y were talking<br />
with each o<strong>the</strong>r. This exhibition explores <strong>the</strong> dialog <strong>be</strong>tween<br />
two or more objects that communicate tension <strong>be</strong>tween forms<br />
through <strong>to</strong>uching, placement of materials, or relationship with<br />
negative space. An entry must consist of at least two pieces that<br />
interact with each o<strong>the</strong>r and <strong>be</strong> made <strong>from</strong> metals, fi<strong>be</strong>r, clay,<br />
wood, or glass. Non refundable entry fee for two entries is $25,<br />
checks made payable <strong>to</strong> Craft Alliance. <strong>Art</strong>ist may submit up<br />
<strong>to</strong> two slides per work. All accepted artwork must <strong>be</strong> for sale.<br />
Deadline Jan. 26. Information: Craft Alliance, 6640 Delmar Blvd,<br />
St. Louis, MO, 63130,Tel: 314-725-1177, ext 323, exhibitions@<br />
craftalliance.org, www.craftalliance.org<br />
Apprenticeships<br />
One and Two-Month Apprenticeships in Tuscany, Vetrate<br />
<strong>Art</strong>istiche Toscane, Via della Galluzza, n. 5, Siena, 53100, Italy, Tel:<br />
+39 0577 48033, edu@glassisland.com, www.glassisland.com,<br />
Vetrate <strong>Art</strong>istiche Toscane specializes in <strong>the</strong> creation of stained,<br />
painted and fused glass. Siena was <strong>the</strong> first centre of stained<br />
glass manufacture and design in Italy and Vetrate <strong>Art</strong>istiche<br />
Toscane continues this tradition. The Studio handles original<br />
commissions and res<strong>to</strong>ration work (classical and modern<br />
stained glass) in both religious and secular subjects. Fused glass<br />
projects are also a part of our production. Techniques, materials,<br />
<strong>to</strong>ols, design of car<strong>to</strong>ons and patterns, glass cutting, experience<br />
in using and matching different types of glass, basics of painting<br />
technique: grisaille, enamels, media, tracing, matting, leading,<br />
soldering and cementing, kiln operating, glass fusing, combining<br />
leaded, fused and painted glass, installation on site. English is<br />
spoken in <strong>the</strong> studio. Intensive hands-on courses also available.<br />
For Rent<br />
Studio Rental at Glasmuseet E<strong>be</strong>l<strong>to</strong>ft, Strandvejen 8, E<strong>be</strong>l<strong>to</strong>ft,<br />
DK 8400, Denmark, Tel: +45 86 34 17 99, PAA@glasmuseet.dk,<br />
www.glass.dk. Hire our newly built studio for 14 Euro per day<br />
(normally 87 Euro) plus cost of gas and glass (Philips batch)<br />
(average 95 Euro/day). Our Studio Manager Leif Møller Nielsen<br />
has <strong>be</strong>en running <strong>the</strong> studio for <strong>the</strong> last couple of months and<br />
all <strong>the</strong> equipment is now <strong>ready</strong>. The hot glass studio has: 1<br />
Cerama melting furnace, 2 glory holes (small & large), 1 annealing<br />
oven, 1 large Cerama fusing/slumping kiln, 10 blowpipes<br />
and punties in various sizes, wooden blocks in various sizes. The<br />
studio can <strong>be</strong> hired for single days or for longer periods of time.<br />
This also applies <strong>to</strong> <strong>the</strong> cold working workshop, which can now<br />
also <strong>be</strong> hired. The cold working shop includes: 1 <strong>be</strong>lt sander, 1<br />
la<strong>the</strong> grinding wheel, 1 sandblaster, 1 flat<strong>be</strong>d for diamond discs.<br />
To guarantee a period in <strong>the</strong> studio in 2007, book as soon as<br />
possible. For technical info, please contact: Studio Manager Leif<br />
Møller Nielsen leifmnielsen@yahoo.dk or tel. +45 2253 0602.<br />
Contact: Anna Ibrahimi ami@glasmuseet.dk or +45 8634 1799.<br />
For Sale<br />
Diamond Grinder for Sale, Whitehead <strong>Glass</strong> Studio, PO Box<br />
1112, Port Orford, OR, 97465, Tel: 541-332-2300, twhite@<br />
we<strong>be</strong>net.net. New 18- inch diamond grinder for sale: $1350<br />
complete. The same unit as a kit $700 (requires welding).<br />
Hot <strong>Glass</strong> Studio Equipment for Sale, La Sorgente <strong>Glass</strong><br />
Studio, 18 E Jefferson St, Media, PA, 19063, Tel: 610-892-9547,<br />
Fax: 610-892-0482, <strong>to</strong>m@nigh<strong>to</strong>rbs.com. Used only 3 seasons.<br />
Pho<strong>to</strong>s can <strong>be</strong> seen at www.lasorgenteglass.com, under studio.<br />
Items: John Childs Design furnace with recupera<strong>to</strong>r, natural<br />
gas, all safety systems. Size 72” h, 65” w and 65” d. New 550 lb.<br />
glass crucible, Powers Model 135, DIN process controller; large<br />
frontloading annealer, inside dimensions: 67” h, 53” w, and 23” d.<br />
Two <strong>the</strong>rmocouplers; John Childs <strong>to</strong>p-loading annealer, inside<br />
dim: 44” x 30” x 22” d; color furnace, electric using starbars, xtra<br />
starbars included 3-16 lb. pots and two 6 lb. pots. 52” w, x 30” d<br />
by 25” h, well built and on wheels. Plus many o<strong>the</strong>r items.<br />
Hot Shop Equipment Available, by piece or complete workshop.<br />
Please e-mail for images and prices. Contact: 306 Chace Street,<br />
Santa Cruz, CA 95060. Tel: 831-459-0169, <strong>the</strong>glassbloke@<br />
hotmail.com, schmuckglass.com.<br />
Seeking<br />
Ei<strong>the</strong>r a Spatzier Engraving La<strong>the</strong> or a Merker KMK 1 portable<br />
unit. Or both. Any condition. Contact: 306 Chace Street, Santa<br />
Cruz, CA 95060. Tel: 831-459-0169, <strong>the</strong>glassbloke@hotmail.com,<br />
schmuckglass.com.<br />
Grants/Residencies<br />
Washing<strong>to</strong>n State GAP Grants, <strong>Art</strong>ist Trust, 1835 12th Ave,<br />
Seattle, WA, 98122, Tel: 206-467-8734, Fax: 206-467-9633,<br />
info@artisttrust.org, www.artisttrust.org, Grants for <strong>Art</strong>ist<br />
Projects, <strong>the</strong> GAP awards, provide support for artist-generated<br />
projects, which can include (but are not limited <strong>to</strong>) <strong>the</strong><br />
development, completion or presentation of new work.<br />
Projects created in all disciplines are eligible. GAP awards offer<br />
a maximum of $1,400 for projects. A multidisciplinary panel<br />
of artists and arts professionals <strong>from</strong> around Washing<strong>to</strong>n State<br />
select GAP recipients. Deadline: Feb. 2007.<br />
<strong>Glass</strong> Graduate Program with Assistantship at SIU School of<br />
<strong>Art</strong> and Design of Sou<strong>the</strong>rn Illinois University Carbondale offers<br />
a three-year graduate program (MFA) featuring specialization<br />
in glass. We feature a very extensive graduate assistantship<br />
program that can provide you with teaching experience, tuition<br />
waivers, and a monthly stipend. Graduate students are provided<br />
with private studios and access <strong>to</strong> newly upgraded glass facility<br />
including new cold shop, cutting and engraving la<strong>the</strong>s, casting<br />
kilns, and hot shop. Travel funds may <strong>be</strong> available for exhibitions<br />
and conferences. Resources include <strong>the</strong> several-thousand<br />
square-foot Surplus Gallery; extensive ceramics, glass, small<br />
metals, foundry, printmaking, and sculptural facilities; and digital<br />
still and video cameras, digital projec<strong>to</strong>rs, and Macin<strong>to</strong>sh computer<br />
labs. Applications due Feb. 1, 2007. For more information:<br />
Sou<strong>the</strong>rn Illinois University Carbondale, School of <strong>Art</strong> & Design,<br />
403, Carbondale, IL, 62901, Tel: 618-453-7772, jiyong@siu.edu,<br />
ww.artanddesign.siu.edu<br />
Resident <strong>Art</strong>ist Program Living <strong>Art</strong>s Centre program provides<br />
opportunities for a blend of recent graduates of arts and design<br />
institutions as well as mid-career artists <strong>to</strong> create, learn, and<br />
exchange ideas in a multi-disciplinary and collaborative studio<br />
environment. Information: Living <strong>Art</strong>s Centre, 4141 Living <strong>Art</strong>s<br />
Dr, Mississauga, ON, L5B 4B8, Canada, Tel: 905-306-6161,<br />
samantha.pawley@livingarts.on.ca, www.livingartscentre.ca<br />
Job Opportunities<br />
Studio Assistant Position Hot glass studio accepting applications<br />
<strong>from</strong> hard-working, unique and motivated individuals.<br />
<strong>Glass</strong>blowing and hot-casting experience preferred, cold-shop<br />
experience optional. Duties include charging, blowing & casting,<br />
heavy lifting, sand-molds, packing/shipping, cold-shop and/or<br />
studio maintenance, pay dependent on experience. Furnished<br />
studio apartment available for serious applicants interested in<br />
one-year residency. Studio time for trade. Whiners, slackers, and<br />
smokers need not apply. To apply: send resume with references<br />
& slides or pho<strong>to</strong>s with SASE. For more information call 813-267-<br />
1762 or contact: Phoenix <strong>Glass</strong> Studio Inc., 811 E Knollwood St,<br />
Tampa, FL, 33604, Tel: 813-237-3473, gottglass@msn.com,<br />
www.gottglass.com
seminars, conferences, events<br />
O<strong>the</strong>r Opportunities<br />
Volunteer Torchers and Fusers Needed Aquila <strong>Art</strong> <strong>Glass</strong> Studio<br />
and Best Mix Products, 1628 N Columbia Blvd Unit F, Portland,<br />
OR, 97217, Tel: 503-240-9449, info@aquilaartglass.com, www.<br />
aquilaartglass.com. Aquila <strong>Art</strong> <strong>Glass</strong> Studio makes <strong>be</strong>ads and<br />
pendants for Beads of Courage (in Tucson, AZ) and Journey<br />
Beads (Immanuel Hospital here in Portland) for <strong>the</strong> kids who<br />
have this awful affliction. Every third Thursday we ga<strong>the</strong>r and<br />
using donated glass <strong>from</strong> Uroboros, <strong>Glass</strong> Alchemy and Northstar,<br />
gas donated by Aquila <strong>Glass</strong> School and <strong>the</strong> artists skill we<br />
make glass pieces <strong>to</strong> donate <strong>to</strong> kids who really need <strong>the</strong>m. See<br />
website under Kids-N-<strong>Glass</strong> for details. We need everyone <strong>to</strong><br />
make and clean <strong>be</strong>ads and pendants (both <strong>to</strong>rchers and fusers).<br />
Summer Studio Rental Espace VERRE is a school and studio<br />
located in Montreal, Que<strong>be</strong>c, Canada. During <strong>the</strong> summer we<br />
are renting our studios <strong>to</strong> professional glass artists. To use our<br />
facilities, please see <strong>the</strong> regulations and fees on our website and<br />
contact <strong>the</strong> head technician, François Perreault. More details at:<br />
administration@espaceverre.qc.ca. Espace VERRE Centre des<br />
métiers du verre du Qué<strong>be</strong>c, 1200 rue Mill, Montréal, QC, H3K<br />
2B3, Canada, Tel: 514-933-6849, Fax: 514-933-9830,<br />
direction@espaceverre.qc.ca, www.espaceverre.qc.ca<br />
Publications<br />
E-Merge 2006 Catalog, Bullseye Connection Gallery, 300 NW<br />
13th Ave, Portland, OR, 97209, Tel: 503-227-0222, lanimcgregor@<br />
bullseyeglass.com, www.bullseyeconnectiongallery.com,<br />
Bullseye presents <strong>the</strong> e-merge show in a full-color catalog. This<br />
48-page 8.5” x 11” exhibition catalog will <strong>be</strong> available in January<br />
2007. The price is $25/catalog. Shipping costs are not included.<br />
Licensing <strong>Art</strong> 101, 2nd Edition Don’t get ripped off in <strong>the</strong><br />
licensing industry! This book will help demystify <strong>the</strong> licensing<br />
industry with step-by-step tactics of how <strong>to</strong> go about getting<br />
your artwork licensed. This 2nd edition contains a wealth of<br />
ideas and practical examples of how artists can increase <strong>the</strong>ir<br />
income through licensing reproduction rights <strong>to</strong> manufacturing<br />
and publishers. ARTNETWORK, PO Box 1360, Nevada City,<br />
CA, 95959, Tel: 530-470-0862, info@artmarketing.com,<br />
www.artmarketing.com<br />
New Publications and a New Flameworking Video Now<br />
available are: European <strong>Glass</strong> Furnishings for Eastern Palaces, by<br />
Jane Shadel Spillman, 144 pages and 125 illustrations; New <strong>Glass</strong><br />
Review 27 by The Corning Museum of <strong>Glass</strong> staff, 126 pages<br />
and 199 illustrations; and An Introduction <strong>to</strong> Flameworking with<br />
Emilio Santini, (Foundations Series, Volume 2), 34 minutes, DVD<br />
or VHS. Information: The Corning Museum of <strong>Glass</strong>, One Museum<br />
Wy, Corning, NY, 14830, Tel: 607-937-5371, contactus@cmog.org,<br />
www.cmog.org<br />
Reflections: A Decade of North Lands Creative <strong>Glass</strong> A new<br />
hardback exhibition catalogue, is now available. This full-color<br />
catalogue shows over fifty images of contemporary glass<br />
<strong>from</strong> around <strong>the</strong> world <strong>from</strong> <strong>the</strong> North Lands Creative <strong>Glass</strong><br />
Permanent Collection and of <strong>the</strong> current exhibit at <strong>the</strong> Royal<br />
Museum/Museum Of Scotland in Edinburgh <strong>to</strong> celebrate our<br />
tenth anniversary. Catalogues are priced at £15.00 + (postage<br />
which will <strong>be</strong> in <strong>the</strong> region of just over £2.00 for 2nd class within<br />
Great Britain, approximately £4.00 for Europe and £7.50 for<br />
<strong>the</strong> rest of <strong>the</strong> world). North Lands Creative <strong>Glass</strong>, Quatre Bras,<br />
Lybster, Caithness, KW3 6BN, Scotland, Tel: +44 1593 721 229,<br />
info@northlandsglass.com, www.northlandsglass.com<br />
A Celebration of Contemporary <strong>Glass</strong>: 10 x 10. From Aug.<br />
26 <strong>to</strong> Nov. 4, 2007 CGS will <strong>be</strong> promoting a num<strong>be</strong>r of events<br />
in <strong>the</strong> South West of England, <strong>to</strong>ge<strong>the</strong>r with many partners,<br />
<strong>to</strong> celebrate its 10th Anniversary. Included in this extensive<br />
program will <strong>be</strong>: an open submission <strong>Glass</strong> Exhibition entitled<br />
SIDE by SIDE, at Bovey Tracey, Sept. 22 - Nov. 4, in partnership<br />
with The Devon Guild of Craftsmen and a <strong>Glass</strong> Conference<br />
“Looking in<strong>to</strong> <strong>Glass</strong>” at <strong>the</strong> Eden Project Sept. 28 - 30, 2007.<br />
Contemporary <strong>Glass</strong> <strong>Society</strong>, c/o Broadfield House <strong>Glass</strong><br />
Museum, Kingswinford, West Midlands, DY6 9NS, England,<br />
Tel: +44 (0) 1603 507737, admin@cgs.org.uk, www.cgs.org.uk<br />
American <strong>Glass</strong> Guild’s 2nd Annual Conference July 25-29,<br />
2007 at <strong>the</strong> Hil<strong>to</strong>n Hotel, Providence, RI. National and<br />
international notables will <strong>be</strong> making presentations and<br />
participating in panel and group discussions geared <strong>to</strong>ward<br />
<strong>the</strong> sharing and exchange of information. There will also <strong>be</strong><br />
ano<strong>the</strong>r fabulous glass art auction. Information: American<br />
<strong>Glass</strong> Guild, 148 Main Street Ste B1, Lebanon, NJ, 08833,<br />
info@americanglassguild.org, www.americanglassguild.org<br />
<strong>Art</strong>ifact International Contemporary <strong>Art</strong>s Fair April 21-23,<br />
2007 in at <strong>the</strong> Belfry in Bruges, Belgium. Information:<strong>Art</strong>ifact,<br />
Kanselarijstraat 19, Brussels, B-1000, Belgium, Tel: +32 2 227 49<br />
02, info@artifact.<strong>be</strong>, www.artifact.<strong>be</strong><br />
<strong>Art</strong>ist Trust’s 20th Anniversary Benefit <strong>Art</strong> Auction Feb. 3<br />
at <strong>the</strong> Seattle Center, Seattle, WA. Information: <strong>Art</strong>ist Trust,<br />
1835 12th Ave, Seattle, WA, 98122, Tel: 206-467-8734,<br />
info@artisttrust.org, www.artisttrust.org<br />
CODA 2007 Conference June 14-17 in Calgary, Al<strong>be</strong>rta,<br />
Canada as part of Canadian “Craft Year 2007”, a nation-wide<br />
festival of professional craft with hundreds of events.<br />
CODA will explore <strong>the</strong> vibrant, growing inter-relationship of<br />
American and Canadian craft practice at its annual conference,<br />
hosted by <strong>the</strong> Al<strong>be</strong>rta Craft Council at <strong>the</strong> Al<strong>be</strong>rta<br />
College of <strong>Art</strong> and Design. The <strong>the</strong>me of this year’s conference<br />
“Craft Has No Boundaries” will provoke discussions<br />
on <strong>the</strong> future of craft and will include <strong>to</strong>pics such as Young<br />
Professionals in Craft Culture, Cross Border Partnerships,<br />
Canadian Connections, Making and Developing Media<br />
Contacts, Identities in Fine Craft - investigating issues of<br />
global competition and how <strong>the</strong> aspect of identity (ideas,<br />
cultural distinctiveness and innovation) create <strong>the</strong> distinguishing<br />
edge. Information: Craft Organization Development<br />
Association, PO Box 59, Onia, AR, 72663, Tel: 870-746-4396,<br />
info@codacraft.org, www.codacraft.org<br />
<strong>Glass</strong> Bead Extravaganza May 5, 2007 at <strong>the</strong> Aremnian<br />
Cultural Center, Water<strong>to</strong>wn, MA. The Bos<strong>to</strong>n Chapter of <strong>the</strong><br />
<strong>Society</strong> of <strong>Glass</strong> Beadmakers presents a mem<strong>be</strong>r show and<br />
sale of contemporary handmade glass <strong>be</strong>ads and jewelry.<br />
Information: International <strong>Society</strong> of <strong>Glass</strong> Beadmakers, 1120<br />
Chester Ave #470, Cleveland, OH, 44114, Tel: 888-742-0242,<br />
ddugina@isgb.org, www.isgb.org<br />
<strong>Glass</strong> Processing Days June 15-18, 2007 in Tampere, Finland.<br />
Information: TAMGLASS Ltd. Oy / GPD <strong>Glass</strong> Processing Days,<br />
Vehmaistenkatu 5, Tampere, 33730, Finland, Tel: +358<br />
3 382 3280, Fax: +358 3 382 3285, gpd@glassfiles.com,<br />
www.glassprocessingdays.com<br />
<strong>Glass</strong> Technology 2007 Sept. 20-23, in Istanbul, Turkey.<br />
Master Fair Company is proud <strong>to</strong> announce <strong>the</strong> only trade<br />
fair dedicated <strong>to</strong> glass industry in <strong>the</strong> region of Turkey,<br />
<strong>the</strong> 4th International Fair for <strong>Glass</strong> and <strong>Glass</strong> Technology.<br />
Information: Master Fair Company, Çobancesme Sanayi Cd.,<br />
Yenibosna Istanbul, 34530, Turkey, Tel: +90 212 452 74 50,<br />
info@glasstechnology.org, www.glasstechnology.com.tr<br />
Hottest Hot Jams Ever PGC is enhancing its First Friday<br />
open house events called “Hot Jams” <strong>be</strong>ginning on Friday,<br />
Jan. 5. The free open houses will feature heat-defying acts of<br />
art in PGC’s state of <strong>the</strong> art flameworking and glass blowing<br />
studios! PGC will offer live entertainment, refreshments and<br />
a chance <strong>to</strong> “Make-it-Now” for people who would like <strong>to</strong> give<br />
glassworking a try. For $25, participants are given <strong>the</strong> opportunity<br />
<strong>to</strong> design and make <strong>the</strong>ir own glass paperweight with<br />
<strong>the</strong> help of PGC’s instruc<strong>to</strong>rs. Free and open <strong>to</strong> <strong>the</strong> public.<br />
Pittsburgh <strong>Glass</strong> Center, 5472 Penn Ave, Pittsburgh, PA, 15206,<br />
Tel: 412-365-2145 ext 202, karen@pittsburghglasscenter.org,<br />
www.pittsburghglasscenter.org<br />
Lecture by Marvin Lipofsky Feb. 8, at <strong>the</strong> San Francisco<br />
Museum of Craft + Design, San Francisco, CA. Marvin Lipofsky<br />
founded <strong>the</strong> CCA <strong>Glass</strong> Program in <strong>the</strong> summer of 1967 after<br />
receiving his MFA at <strong>the</strong> University of Wisconsin in 1964,<br />
where he studied with Harvey Little<strong>to</strong>n. Marvin will tell his<br />
s<strong>to</strong>ry of <strong>the</strong> founding of <strong>the</strong> American Studio <strong>Glass</strong> movement<br />
and <strong>the</strong> CCA <strong>Glass</strong> Program. Also, Feb 17, will <strong>be</strong> a<br />
studio visit with Marvin Lipofsky. Marvin Lipofsky’s Studio is<br />
both a work space and an exhibition space. Join us <strong>to</strong> learn<br />
about Lipofsky’s complex creative process and see a broad<br />
range of his work. Advocate level mem<strong>be</strong>rs only/space<br />
limited/reservations required. To <strong>be</strong>come an Advocate level<br />
mem<strong>be</strong>r or find out more: San Francisco Museum of Craft<br />
+ Design, 550 Sutter St, San Francisco, CA, 94102,<br />
Tel: 415-773-0303, info@sfmcd.org, www.sfmcd.org<br />
Nor<strong>the</strong>rn Virginia Fine <strong>Art</strong>s Festival May 19-20 at <strong>the</strong><br />
Greater Res<strong>to</strong>n <strong>Art</strong>s Center in Res<strong>to</strong>n, VA. Information: Greater<br />
Res<strong>to</strong>n <strong>Art</strong>s Center, 12001 Market St Ste 103, Res<strong>to</strong>n, VA,<br />
20190, Tel: 703-471-9242, msaunders@res<strong>to</strong>narts.org,<br />
www.res<strong>to</strong>narts.org<br />
Philadelphia Buyers Market of American Craft Feb. 16 -19<br />
at <strong>the</strong> Pennsylvania Convention Center, Philadelphia, PA. This<br />
is a wholesale trade show that provides artists a professional<br />
venue <strong>to</strong> build relationships with craft buyers <strong>from</strong> all across<br />
<strong>the</strong> country. Approximately 1,500 artists exhibit annually <strong>to</strong><br />
more than 9,000 buyers <strong>from</strong> 3,000 companies across <strong>the</strong><br />
United States and Canada. The show, held every February<br />
and August at <strong>the</strong> Pennsylvania Convention Center in<br />
Philadelphia, sees more than $42 million in sales each year.<br />
Information: The Rosen Group, 3000 Chestnut Ave Ste 300,<br />
Baltimore, MD, 21211, Tel: 410-889-2933 ext. 218,<br />
info@rosengrp.com, www.americancraft.com<br />
Experience <strong>Glass</strong> Blowing in Seattle<br />
at <strong>the</strong> McKinney House<br />
The McKinney house is a private Seattle home with a state-of-<strong>the</strong>-art glass blowing studio<br />
on <strong>the</strong> premises. Three <strong>to</strong> six month leases for individual rooms are available year round<br />
<strong>to</strong> glass blowing students, artists, and enthusiasts worldwide. All amenities are included.<br />
Just bring your suitcase. We’re looking forward <strong>to</strong> meeting you.<br />
Blow <strong>Glass</strong> at Home<br />
• 3 <strong>be</strong>drooms, 1 ½ bathrooms, washer, dryer,<br />
dishwasher<br />
• Minutes <strong>from</strong> Seattle Center, grocery s<strong>to</strong>res,<br />
bus line, library, shops, park, local pool, marina<br />
• Phone, cable TV, Internet access<br />
• Fireplace, hardwood floors;<br />
private, fenced backyard<br />
In a Private, Fully Tooled Studio<br />
• S<strong>to</strong>cked with world’s finest glass: Spruce Pine batch<br />
• 300-gallon crucible, 3 annealers, electric furnace,<br />
1 color box<br />
• Au<strong>to</strong>mated, state-of-<strong>the</strong>-art equipment for<br />
private use<br />
• Excellent ventilation. 100% up <strong>to</strong> code certification<br />
11<br />
For details and online pho<strong>to</strong>s, contact Stephanie and Doug McKinney:<br />
(425) 830-6690, mckinneyink@verizon.net
classes + workshops<br />
12<br />
Please Note: Publication of notices is for information<br />
purposes only and does not necessarily indicate endorsement<br />
by <strong>the</strong> <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong>.<br />
We are happy <strong>to</strong> include information as supplied <strong>to</strong> us by<br />
various sources. Please send us your press releases and notices<br />
including specific, current facts as far in advance as possible <strong>to</strong>:<br />
GAS, 3131 Western Avenue, # 414, Seattle, WA 98121 or e-mail<br />
<strong>to</strong>: Shannon@glassart.org. GAS news is a bi-monthly publication.<br />
Mem<strong>be</strong>rs receive <strong>the</strong>ir news<strong>letter</strong>s approximately 6-8 weeks<br />
after <strong>the</strong> deadline.<br />
Upcoming News<strong>letter</strong> Deadlines:<br />
February 1 for <strong>the</strong> April/May 2007 issue<br />
April 1 for <strong>the</strong> June/July/August 2007 issue<br />
We look forward <strong>to</strong> hearing <strong>from</strong> you.<br />
U N I T E D S T A T E S<br />
FLorida<br />
Newy Fagan Studio, PO Box 336, Ocklawaha, FL, 32183,<br />
Tel: 352-288-1426, newyf@aol.com, www.newyfagan.com<br />
Feb. 2-4: Comprehensive Introduction <strong>to</strong> Kilnformed <strong>Glass</strong>/<br />
Newy Fagan<br />
Feb. 9-11: Advanced Techniques in Kilnformed <strong>Glass</strong>/Newy Fagan<br />
ILlinois<br />
Ed Hoy’s International, 27625 Diehl Rd, Warrenville, IL, 60555,<br />
Tel: 800-323-5668/630-836-1353, Fax: 630-836-1362,<br />
ehoy@edhoy.com, www.edhoy.com<br />
Feb. 16: Etching Dichroic <strong>Glass</strong>/Cheryl Frech<br />
LouisianA<br />
Andrew Jackson Pollack, 4811 Tchoupitlulas, New Orleans, LA,<br />
70115, Tel: 504-723-8235, apollack420@msn.com,<br />
www.andrewjacksonpollack.com<br />
Jan. 20-21: Torchworking/Andrew Jackson Pollack<br />
Feb. 2-3: Torchworking/Andrew Jackson Pollack<br />
Feb. 24-25: Torchworking/Andrew Jackson Pollack<br />
Mar. 10-11: Torchworking/Andrew Jackson Pollack<br />
Mar. 24-25: Torchworking/Andrew Jackson Pollack<br />
MarylanD<br />
<strong>Art</strong> of Fire, Inc., 7901 Hawkins Creamery Rd, Lay<strong>to</strong>nsville, MD,<br />
20882, Tel: 800-639-6979/301-253-6642, Fax: 301-391-6818,<br />
ar<strong>to</strong>fire@verizon.net, www.ar<strong>to</strong>ffire.com<br />
Mid-Atlantic’s largest state-of-<strong>the</strong>-art studio, 1 hour <strong>from</strong><br />
Washing<strong>to</strong>n, D.C. Classes at all levels, monthly scheduling<br />
through June, 2007. Furnace rental available. Reference website<br />
or call for more information and pricing.<br />
MIchigan<br />
E<strong>be</strong>rhart Studio, 3154 Shamrock Ct, Ann Arbor, MI, 48105, Tel:<br />
734-764-3385, harald@e<strong>be</strong>rhartglass.com, www.e<strong>be</strong>rhartglass.com<br />
Mar. 31- Apr. 1: 3-D Neon/Argon Plasma Flame <strong>Glass</strong>blowing<br />
(No Electrodes for Advanced Students)/Harald E<strong>be</strong>rhart<br />
Apr. 12-15: Pyrex Flame <strong>Glass</strong>blowing (all levels)/Harald E<strong>be</strong>rhart<br />
Apr. 26-29: Pyrex Flame <strong>Glass</strong>blowing (all levels)/Harald E<strong>be</strong>rhart<br />
New jersey<br />
Carlisle School of <strong>Glass</strong> <strong>Art</strong>, 412 S Wade Blvd, Millville, NJ, 08332,<br />
Tel: 800-922-1167/ 856-825-0627, carlisle@carlislemachine.com,<br />
www.carlisleschoolofglassart.com<br />
Jan. 13: Boro Bead Blast/Lauri Copeland<br />
Jan. 14: Boro Bead Blast II/Lauri Copeland<br />
Jan. 15: Off Mandrel Workshop/Lauri Copeland<br />
Feb. 9-10: Boro Lampworking-Pendants/Chris Roesinger<br />
Feb. 11-12: Boro Lampworking-Marbles/Chris Roesinger<br />
Feb. 17-18: Floral Gardens/Kim Fields<br />
Mar. 20-24: Loren II/Loren Stump<br />
New York<br />
Creativity Workshop, 245 E 40th St Ste 25H, New York, NY, 10016,<br />
Tel: 866-217-1980/212-922-1555, questions@creativityworkshop.<br />
com, www.creativityworkshop.com<br />
Founded in 1993, <strong>the</strong> Creativity Workshop is dedicated <strong>to</strong><br />
teaching people about <strong>the</strong>ir creativity and how <strong>to</strong> spark it and<br />
use it in all aspects of life, work, and creative expression.<br />
Crete: June 17-26, 2007<br />
Prague: June 26 - July 5<br />
Bruges: July 5-14<br />
Florence: July 13-22<br />
Barcelona: July 21-30<br />
Dublin: July 29 - August 7<br />
Hafner Studio, 180 Varick St #502, New York, NY, 10014, Tel: 212-<br />
337-3795, info@dorothyhafner.com, www.dorothyhafner.com<br />
“<strong>Glass</strong> as a Painterly Medium” is <strong>the</strong> <strong>the</strong>me of fusing and kiln<br />
forming workshops in <strong>the</strong> studio of artist Dorothy Hafner.<br />
Classes are small and intimate, 2 - 4 only per class and all levels<br />
are taught. Call or email for complete spring 2007 schedule.<br />
Next group session <strong>be</strong>gins Feb. 7.<br />
The Studio of The Corning Museum of <strong>Glass</strong>, One Museum Way,<br />
Corning, NY, 14830, Tel: 607-974-8914/6467, Fax: 607-974-6370,<br />
<strong>the</strong>studio@cmog.org, www.cmog.org<br />
WINTER PROGRAM:<br />
Session One<br />
Jan. 8-13: Blowing and Sculpting/Martin Janecky; Flameworking<br />
for Everybody/Emilio Santini; Finding Your Way with<br />
Kiln-Cast <strong>Glass</strong>/Sheila Mahut; Beginning <strong>Glass</strong>blowing/<br />
Ray Friday<br />
Session Two<br />
Jan. 15-20: Sculpting <strong>from</strong> Nature/Treg Silkwood; Flameworking<br />
Using Ultimate Details/Loren Stump; Enhance Your<br />
<strong>Glass</strong>/Martha and Ed Biggar; Next Steps in <strong>Glass</strong>blowing/Bob<br />
Handley<br />
Session Three<br />
Jan. 22-27: An In-Depth Introduction <strong>to</strong> Venetian Techniques/<br />
William Gudenrath; Working with Color in Borosilicate<br />
<strong>Glass</strong>/Suellen Fowler; Kiln-Cast <strong>Glass</strong>/Mark Abildgaard;<br />
Cold Construction/Martin Rosol<br />
Session Four<br />
Jan. 29 - Feb. 3: An In-Depth Introduction <strong>to</strong> Venetian Techniques/<br />
William Gudenrath; Bead Intensive/Caitlin Hyde;<br />
Mold Making and More/Lucartha Kohler<br />
Session Five<br />
Feb. 5-10: Using Color Bar in <strong>Glass</strong>blowing/Eric Meek; <strong>Glass</strong><br />
Panels: An <strong>Art</strong>istic Breakthrough/Paul Stankard and<br />
Gary Beecham; Painting <strong>the</strong> Void: Sandblasting and<br />
Vitreous Painting/Denise Stillwaggon Leone<br />
Session Six<br />
Feb 12-17: Great Venetian <strong>Glass</strong>blowing/Elio Quarisa; An Introduction<br />
<strong>to</strong> Flameworking/Alex Hamil<strong>to</strong>n; Introduction<br />
<strong>to</strong> Fused and Slump-Molded <strong>Glass</strong>/Mark Ditzler<br />
Session Seven<br />
Feb 19-24: Great Venetian <strong>Glass</strong>blowing/Elio Quarisa; The Eclectic<br />
Goblet/Shane Fero; Exploring Surface Texture in<br />
Depth/Eric Hil<strong>to</strong>n and George Kennard<br />
ORegon<br />
Bullseye <strong>Glass</strong> Co., 3722 SE 21st Ave, Portland, OR, 97202,<br />
Tel: 503-232-8887, Fax: 503-238-9963, classes@bullseye-glass.com,<br />
www.bullseye-glass.com<br />
Jan. 15: Kilncast <strong>Glass</strong> & Cold Working/Bullseye Staff<br />
Jan. 22: Pâte de Verre/Alicia Lomné<br />
Jan. 29: Platemaking Basics/Bullseye Staff<br />
Feb. 2: <strong>Glass</strong> Cutting/Bullseye Staff<br />
Feb. 3: Beginning Beadmaking (2-day)/Bullseye Staff<br />
Feb. 5: Intro <strong>to</strong> Kilnformed <strong>Glass</strong>/Bullseye Staff<br />
Feb. 12: Platemaking Basics/Bullseye Staff<br />
Feb. 17: Growing Large Sculptures/Susan Longini<br />
Mar. 2: Beginning Beadmading (3-day)/Larry Brickman<br />
Mar. 3: Ways of Thinking, Making/Jane Bruce and Steve Klein<br />
Mar. 12: Painting with Light/Bullseye Staff<br />
Mar. 19: Set Your Kiln on Fire/Bullseye Staff<br />
Mar. 30: <strong>Glass</strong> Cutting/Bullseye Staff<br />
Mar. 31: Intro <strong>to</strong> Slumping/Bullseye Staff<br />
This season we are also continuing our popular series of artist<br />
presentations and demonstrations at <strong>the</strong> Bullseye Resource<br />
Center which are scheduled on occasional Sunday afternoons.<br />
Reservations are required. Details included in <strong>the</strong> class schedule.<br />
Chemeketa Community College, PO Box 14007, Salem, OR,<br />
97309, Tel: 503-365-4717, lhagner1@chemeketa.edu, programs.<br />
chemeketa.edu/glass<br />
Chemeketa offers for credit and non-credit classes in flameworking,<br />
fusing and slumping, kiln casting, stained glass, and mosaics.<br />
Hot <strong>Glass</strong> Horizons, 15500 NE Kincaid Rd, New<strong>be</strong>rg, OR, 97132,<br />
Tel: 503-538-5281, fusionhq@aol.com, www.hotglasshorizons.com<br />
May 9-12: Class taught by GIl Reynolds<br />
Lincoln City Visi<strong>to</strong>r & Convention Bureau, 801 SW Hwy 101,<br />
Ste 1, Lincoln City, OR, 97367, Tel: 800-452-2151/ 541-996-1274,<br />
vickil@lincolncity.org, www.oregoncoast.org<br />
Classes offered are Beginning <strong>Glass</strong>blowing, Sand Casting,<br />
Make Your Own Paperweight, and Blow Your Own Float. Free<br />
demonstrations are Wed-Sun. All classes held at <strong>the</strong> Jennifer L.<br />
Sears <strong>Glass</strong> <strong>Art</strong> Studio in Lincoln City and classes are taught by<br />
Jon Myers, Kelly Howard, James Benson, and Daniel Millen.<br />
PennsylvaniA<br />
Pittsburgh <strong>Glass</strong> Center, 5472 Penn Ave, Pittsburgh, PA, 15206,<br />
Tel: 412-365-2145 ext 202, karen@pittsburghglasscenter.org,<br />
www.pittsburghglasscenter.org<br />
Spring Break Intensives<br />
Apr. 2-6: Intensive Goblet Workshop/Jim Mongrain<br />
Apr. 2-6: Intensive Jewelry Techniques and Flower Construction/<br />
Margaret Neher<br />
<strong>Glass</strong> Workshops – PGC offers many three-hour workshops <strong>from</strong><br />
<strong>be</strong>ad making <strong>to</strong> paperweights and fusing.<br />
Multi-Day Workshops: <strong>be</strong>ginning Jan. 15<br />
Cane Workshop/Stephen Pro<strong>the</strong>roe<br />
Advanced <strong>Glass</strong>blowing Workshop - Encalmo Technique/Drew Hine<br />
Seven-Week <strong>Glass</strong> Classes<br />
PGC offers in depth classes for <strong>be</strong>ginners and advanced students.<br />
All classes meet once a week (<strong>be</strong>ginning Jan. 15) for 3.5 hours.<br />
Classes include: <strong>Get</strong> Your Feet Wet Goblet Class; Introduction <strong>to</strong><br />
Hot <strong>Glass</strong> (<strong>Glass</strong>blowing I); Hot <strong>Glass</strong> (<strong>Glass</strong>blowing II); Hot <strong>Glass</strong><br />
(<strong>Glass</strong>blowing III); Flameworking I FUNdamentals; Flameworking<br />
II - Molding Moretti<br />
Flameworking II - Blowing Boro; Beginner Beadmaking; Beadmaking<br />
II; Introduction <strong>to</strong> Fusing and Slumping; Fused and<br />
Slumping Design; Introduction <strong>to</strong> Kiln Casting<br />
Special Collaboration with <strong>Society</strong> for Contemporary Craft<br />
Jan. 20 & 27: PGC and <strong>Society</strong> for Contemporary Craft, also<br />
located in Pittsburgh, will join forces <strong>to</strong> present a two-day<br />
workshop called <strong>Glass</strong> Bead Jewelry taught by Darlene<br />
Durrwachter Rushing and Melissa Davenport. Class held at PGC<br />
on Jan. 20 and at SCC on Jan. 27.<br />
Tennessee<br />
Arrowmont School of <strong>Art</strong>s & Crafts, PO Box 567, Gatlinburg, TN,<br />
37738, Tel: 865-436-5860, Fax: 865-430-4101, info@arrowmont.<br />
org, www.arrowmont.org<br />
Mar. 11-17: 3-D Kiln Casting Step By Step/Paul Kimball<br />
Mar. 18-24: Leading, Painting & Beveling for Stained <strong>Glass</strong>/<br />
Carl Powell<br />
Mar. 25-31: <strong>Glass</strong> Fusing for Beginners/Linda Banks<br />
WAshing<strong>to</strong>n<br />
Pratt Fine <strong>Art</strong>s Center, 1902 S Main St, Seattle, WA, 98144,<br />
Tel: 206-328-2200, info@pratt.org, www.pratt.org<br />
CASTING<br />
Jan. 17- Mar. 7: <strong>Glass</strong> Casting I/Cathy Chase<br />
Feb. 17- Mar. 10: <strong>Glass</strong> Casting II/Chad Holliday<br />
GLASSBLOWING<br />
Jan. 21- Mar. 11: <strong>Glass</strong>blowing I/Chuck Lopez<br />
Jan. 22- Mar 12: <strong>Glass</strong>blowing II/Paula S<strong>to</strong>kes<br />
Jan. 16 - Mar. 6: <strong>Glass</strong>blowing III/Cayn Thompson<br />
Feb. 4 - Mar. 11: High School <strong>Glass</strong>blowing/David Minetti<br />
Jan. 25 - Mar. 1: Introduction <strong>to</strong> Goblets/Eric Mead<br />
Jan. 20-21: Introduction <strong>to</strong> <strong>Glass</strong>blowing/Carrie Mood;<br />
Introduction <strong>to</strong> <strong>Glass</strong>blowing/Josie Gluck<br />
Feb. 10-11: Introduction <strong>to</strong> <strong>Glass</strong>blowing/Carrie Mood<br />
Mar. 10-11: Introduction <strong>to</strong> <strong>Glass</strong>blowing/Carrie Mood<br />
Feb. 16-17: What <strong>to</strong> Make, and How <strong>to</strong> Make it/Michael Fox<br />
Jan. 13-14: Incalmo/Chuck Lopez<br />
Mar. 2-3: Veiled Cane/Chuck Lopez<br />
Jan. 25-28: <strong>Glass</strong>blowing and Sculpting/Martin Janecky<br />
Jan. 31- Feb 3: Hot or Not?/Ethan Stern and Sean O’Neil<br />
COLDWORKING WORKSHOPS<br />
Jan. 20-21: Introduction <strong>to</strong> Coldworking/Pat Bako<br />
Mar. 3-11: Advanced Cold Working/Paul Larned<br />
MASTER ARTIST INTENSIVE WITH LARRY BRICKMAN<br />
Feb. 3-5: Bigger, Better, and More Dots/Larry Brickman<br />
KILN CASTING<br />
Jan. 9 - Feb 27: Kiln Casting I/Susan Balshor<br />
Feb. 17-18: Kiln Casting with Image on <strong>the</strong> Inside: Hollow<br />
Form and Cores/Susan Balshor<br />
Feb. 3-10: Pate de Verre/Delores Taylor<br />
Mar. 8-11: Pho<strong>to</strong> Kilnforming/Laura Ward<br />
FUSING<br />
Jan. 16 - Mar. 6: Fusing I/Dianne Rasmussen<br />
Jan. 10 - Feb. 28: Fusing I/Robin Oakes<br />
Jan. 11- Feb. 15: Fusing II/Jeanne Ferraro<br />
Mar. 3-5: Advanced Fusing and Design Elements/<br />
Patty Gray<br />
Feb. 10-24: Fusing II: Pattern Bars and Beyond/Pat Bako<br />
Jan. 27-28: Introduction <strong>to</strong> Fusing and Slumping/Pat Bako<br />
Jan. 20: Fusing with Family and Friends/Robin Oakes<br />
Feb. 3-4: Fusing for <strong>the</strong> Home/Robin Oakes<br />
FLAMEWORKING<br />
Jan. 16 - Feb. 20: Flameworking I: Solid Sculptures/<br />
Melinda Wellsandt<br />
Jan. 18 - Feb 22: Flameworking II/Nat Franco<br />
Feb. 17-18: Stems and More/Cheryl Matson<br />
BEADMAKING<br />
Jan. 17- Feb. 21: <strong>Glass</strong> Beadmaking I/Stacy Frost<br />
Jan. 31- Feb. 21: Independent Projects in Beadmaking/Stacy Frost<br />
Feb. 1-22: Refining Your Beadmaking/Elaine Alhadeff<br />
Feb. 10-11: Drawer Pulls/Stacy Frost<br />
Jan. 13: Hearts and Valentines/Cheryl Matson<br />
Jan. 27-29: Flamework and PMC - Putting It All Toge<strong>the</strong>r/<br />
Stacy Frost and Kendra Bruno<br />
Jan. 20-21: Dichroic <strong>Glass</strong> Applications/Justin Bagley<br />
Feb. 24-25: Window Beads/Cheryl Matson and Pat Bako<br />
Mar. 10-12: Organic Beadmaking/Kim<strong>be</strong>rly Jo Affleck<br />
STAINED GLASS<br />
Jan. 22 - Feb. 26: Stained <strong>Glass</strong> and Mosaics/Kim Mahar<br />
I N T E R N A T I O N A L<br />
AUSTRALIA<br />
Australian National University, <strong>Glass</strong> Workshop School of <strong>Art</strong>,<br />
Ac<strong>to</strong>n, ACT, 0200, Tel: +61 2 6125 5829, Fax: +61 2 6125 5722,<br />
Richard.Whiteley@anu.edu.au, www.glassaustralia.anu.edu.au<br />
Jan. 24-28: Explorations In and Out of <strong>the</strong> Kiln: Personal<br />
Approaches <strong>to</strong> Kiln Formed <strong>Glass</strong> (intermediateadvanced)/Kirstie<br />
Rea<br />
Jan. 24-28: Squares, Etc: Hot <strong>Glass</strong>, Fusing and Cold Working<br />
(intermediate-advanced)/Giles Bettison; Solid Light:<br />
Kiln Cast and Cold Worked <strong>Glass</strong> (intermediateadvanced)/Richard<br />
Whiteley; Marble Flame:<br />
Flameworking for Marble & Pendent Making<br />
(intermediate-advanced)/Alexandra Cham<strong>be</strong>rs
Sculptured <strong>Glass</strong> Australia, 5 Gloucester Rd, Buderimm, QLD,<br />
4556, Fax: +61 07 54454702, sculpturedglass@bigpond.com,<br />
Jan. 8-12: Casting Workshop<br />
Jan. 22-26: Fusing & Forming Workshop<br />
ENGLAND<br />
House of Mirrors, 597 Kings Road, London, , SW6 2EL, Tel: +44<br />
0207 736 5885, Fax: +44 0207 610 9188, info@houseofmirrors.<br />
co.uk, www.houseofmirrors.co.uk<br />
Feb. 10: Verre Églomiesé: Reverse Painting & Gilding On <strong>Glass</strong>/<br />
Frances Binning<strong>to</strong>n<br />
Morley College, 61 Westminster Bridge Rd, London, SE1 7HT,<br />
Tel: +44 020 7928 8501, Fax: +44 020 7928 4074,<br />
enquiries@morleycollege.ac.uk, www.morleycollege.ac.uk<br />
Jan. 9 - Mar. 20: Beginning <strong>Glass</strong> Engraving<br />
Jan. 9 - Mar. 20: Intermediate <strong>Glass</strong> Engraving<br />
GERMANY<br />
Bild-Werk Frauenau, Postfach 105, Frauenau, D-94258, Tel: +49-<br />
9926-180895, Fax: +49-9926-180897, info@bild-werk-frauenau.de,<br />
www.Bild-Werk-Frauenau.de<br />
SPRING – May 26 - June 3 (9 days)<br />
Free Painting/Monika Schultes<br />
<strong>Glass</strong> Engraving/Jaroslava Votrubová<br />
Kiln Cast <strong>Glass</strong>/Hartmann Greb<br />
<strong>Glass</strong> and Sounds/Helga Reay-Young & Limpe Fuchs<br />
SUMMER / SESSION A – July 4 - 27 (14 days)<br />
Free Painting/Jürgen Hu<strong>be</strong>r<br />
<strong>Glass</strong> Prints and Monotypes/Kedron Barrett<br />
Stained <strong>Glass</strong>/Ada Isensee<br />
Kiln Cast <strong>Glass</strong>/Angela Thwaites<br />
ITALY<br />
Toffolo Gallery & Studio, FTA Vetrai 67/A, Murano, Venice, 30141,<br />
Tel: +39 0 41 739183/ +39 0 41 736460 (studio), Fax: +39 0 41<br />
5276532, info@<strong>to</strong>ffolo.com, www.<strong>to</strong>ffolo.com<br />
Opportunities <strong>to</strong> study lampworking in Cesare Toffolo’s Studio in<br />
Murano, Venice. To contact: info@<strong>to</strong>ffolo.com<br />
SCOTLAND<br />
North Lands Creative <strong>Glass</strong>, Quatre Bras, Lybster, Caithness,<br />
KW3 6BN, Tel: +44 1593 721 229, Fax: +44 1593 721 229, info@<br />
northlandsglass.com, www.northlandsglass.com<br />
2007 Masterclass Programme “Expression of Self”<br />
June 30 - July 8: Place and Identity/Silvia Levenson<br />
Aug. 22-30: A Philosophical Approach <strong>to</strong> Kiln Casting/<br />
Clifford Rainey<br />
Aug. 25-30: The Landscape in Ourselves/Emma Woffenden<br />
<strong>Glass</strong> <strong>Art</strong> <strong>Society</strong>’s<br />
37th Annual Conference<br />
Pittsburgh, Pennsylvania<br />
June 7-9, 2007<br />
Register by April 2, 2007<br />
for <strong>the</strong> lowest conference fee.<br />
Register at: www.glassart.org<br />
Don't forget <strong>to</strong> reserve your ad<br />
in <strong>the</strong> new<br />
GAS Direc<strong>to</strong>ry & Resource Guide<br />
by February 15, 2007. Visit<br />
www.glassart.org/advertising.html<br />
for a reservation form.<br />
13
exhibitions<br />
14<br />
Please Note: Publication of notices is for information<br />
purposes only and does not necessarily indicate endorsement<br />
by <strong>the</strong> <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong>.<br />
We are happy <strong>to</strong> include information as supplied <strong>to</strong> us by<br />
various sources. Please send us your press releases and notices<br />
including specific, current facts as far in advance as possible <strong>to</strong>:<br />
GAS, 3131 Western Avenue, # 414, Seattle, WA 98121 or e-mail<br />
<strong>to</strong>: Shannon@glassart.org. GAS news is a bi-monthly publication.<br />
Mem<strong>be</strong>rs receive <strong>the</strong>ir news<strong>letter</strong>s approximately 6-8 weeks<br />
after <strong>the</strong> deadline.<br />
Upcoming News<strong>letter</strong> Deadlines:<br />
February 1 for <strong>the</strong> April/May 2007 issue<br />
April 1 for <strong>the</strong> June/July/August 2007 issue<br />
We look forward <strong>to</strong> hearing <strong>from</strong> you.<br />
U N I T E D S T A T E S<br />
Arizona<br />
Mesa, Mesa Contemporary <strong>Art</strong>s, Tel: 480-644-6501,<br />
Web: www.mesaartscenter.com, Molten: A National Juried<br />
Exhibition of <strong>Glass</strong> and Neon <strong>Art</strong>, through 4/1/2007<br />
Tucson, Philabaum <strong>Glass</strong> Gallery, Tel: 520-884-7404 (studio)/<br />
520-299-1939 (gallery), E-mail: tphilabaum@qwest.net,<br />
Web: www.philabaumglass.com, Philabaum <strong>Glass</strong> Gallery<br />
celebrates its 25th Anniversary with a one-man exhibition<br />
featuring <strong>the</strong> current work of its founder and cura<strong>to</strong>r,<br />
Tom Philabaum, 2/3 - 4/7/2007<br />
CaliforniA<br />
San Francisco, San Francisco Museum of Craft + Design,<br />
Tel: 415-773-0303, E-mail: info@sfmcd.org, Web: www.sfmcd.org,<br />
CCA: A Legacy in Studio <strong>Glass</strong>. Focusing on <strong>the</strong> important<br />
contributions made by CCA faculty and alumni <strong>to</strong> <strong>the</strong> American<br />
studio glass arts movement and will <strong>be</strong> presented in conjunction<br />
with <strong>the</strong> celebration of California College of <strong>the</strong> <strong>Art</strong>’s 100th<br />
Anniversary, 1/26 - 4/8/2007<br />
INdiana<br />
Indianapolis, Indianapolis <strong>Art</strong> Center, Tel: 317-255-2464, E-mail:<br />
dthomas@indplsartcenter.org, Web: www.indplsartcenter.org/,<br />
<strong>Glass</strong> in <strong>the</strong> Flame: A Contemporary Exploration of Venetian<br />
Design: Steve Sizelove, through 1/28/2007<br />
MAssachussetts<br />
Bos<strong>to</strong>n, The <strong>Society</strong> of <strong>Art</strong>s & Crafts, Tel: 617-266-1810, E-mail:<br />
bgerstein@societyofcrafts.org, Web: www.societyofcrafts.org,<br />
Our Cups Runneth Over, through 1/21/2007; Timeless Vessels,<br />
2/1 - 4/22/2007<br />
Missouri<br />
St. Louis, Craft Alliance, Tel: 314-725-1177, ext 25, E-mail:<br />
education@craftalliance.org, Web: www.craftalliance.org,<br />
Silent Conversations, 3/16 - 5/6/2007<br />
North Carolina<br />
Charlotte, Mint Museum of Craft & Design, Tel: 704-337-2066,<br />
E-mail: mpost@mintmuseum.org, Web: www.mintmuseum.org,<br />
Observations: A Retrospective Exhibition of Works by Ann Wolff,<br />
1/27 - 7/29/2007<br />
New Jersey<br />
Union, Kean University <strong>Art</strong> Gallery, Tel: 908-737-4407,<br />
E-mail: neil@tetkowski.com, Natural Forces: New Sculptures<br />
by Kathleen Mulcahy, 3/1 - 4/30/2007<br />
New York<br />
Corning, The Corning Museum of <strong>Glass</strong>, Tel: 607-937-5371,<br />
E-mail: stern<strong>be</strong>nkym@cmog.org, Web: www.cmog.org,<br />
Worlds Within: The Evolution of <strong>the</strong> Paperweight, through<br />
3/16/2007, Supernatural: The <strong>Glass</strong> Flower of Harvard, through<br />
11/25/2007, Curiosities of <strong>Glass</strong>making, 3/30 - 10/21/2007<br />
New York, Museum of <strong>Art</strong>s & Design, Tel: 212-956-3535, E-mail:<br />
holly.hotchner@madmuseum.org, Web: www.madmuseum.org,<br />
Radical Lace & Subversive Knitting, 1/25 - 6/17/2007<br />
OHio<br />
Bowling Green, Bowling Green State University, Tel: 419-372-2786,<br />
E-mail: stevec@bgsu.edu, Web: www.bgsu.edu/departments/art/,<br />
Ro<strong>be</strong>rt “Bud” Hurls<strong>to</strong>ne Commemorative Exhibition in <strong>the</strong><br />
Williard Wankelman Gallery, through 1/18/2007<br />
ORegon<br />
Portland, Bullseye Connection Gallery, Tel: 503-227-0222,<br />
E-mail: lanimcgregor@bullseyeglass.com, Web: www.bullseye<br />
connectiongallery.com, Bullseye at Collect 2007, Vic<strong>to</strong>ria &<br />
Al<strong>be</strong>rt Museum, London, England, 2/8 - 12/2007. Also: Claudia<br />
Borella: A Passage From New Zealand, through 1/20/2007,<br />
TRACE: Cobi Cockburn, Sylvie Vandenhoucke, Janice Vitkovsky,<br />
through 1/13/2007, THE CASEY STORY: <strong>Art</strong> in<strong>to</strong> Architecture,<br />
1/19 - 2/24/2007, Martha Pfanschmidt, 3/2 - 4/21/2007,<br />
Jun Kaneko, 3/16 - 7/28/2007, Richard Marquis, 5/3 - 6/16/2007<br />
PennsylvaniA<br />
Pittsburgh, Carnegie Museum of <strong>Art</strong>, Tel: 412-622-3131,<br />
Web: www.cmoa.org, Translations and Transformations:<br />
<strong>Glass</strong> in Venice and America, 1950-2006, 5/12 - 9/16/2007<br />
Pittsburgh, Morgan Contemporary <strong>Glass</strong> Gallery, Tel: 412-441-5200,<br />
E-mail: morglass@sgi.net, Web: www.morganglassgallery.com,<br />
Teapots! First Invitational, through 1/12/2007<br />
Pittsburgh, Pittsburgh Center For <strong>the</strong> <strong>Art</strong>s, Tel: 412-361-0873,<br />
Web: www.pittsburgharts.org, <strong>Glass</strong> installation by Lindsay<br />
O’Leary, <strong>Glass</strong> works by Chris Clarke, Kaley Finegan, and Brian<br />
Frus, “Seeing is Deceiving” by Judi Charlson, 6/1 - 8/30/2007<br />
Pittsburgh, Pittsburgh <strong>Glass</strong> Center, Tel: 412-365-2145 ext 202,<br />
Fax: 412-365-2140, E-mail: karen@pittsburghglasscenter.org,<br />
Web: www.pittsburghglasscenter.org, Nebula: Hilary Harp<br />
and Suzie Silver, through 1/5/2007, Allure of Japanese <strong>Glass</strong>,<br />
6/1 - 10/21/2007, <strong>Glass</strong> Birthday Suit, 2/2 - 4/8/2007<br />
Pittsburgh, Sena<strong>to</strong>r John Heinz Regional His<strong>to</strong>ry Center,<br />
Tel: 412-454-6000, Web: www.pghhis<strong>to</strong>ry.org, Trajec<strong>to</strong>ries:<br />
exploring <strong>the</strong> evolution of contemporary glass <strong>be</strong>admaking.<br />
Hosted by <strong>the</strong> International <strong>Society</strong> of <strong>Glass</strong> Beadmakers,<br />
6/1 - 7/31/2007<br />
Wayne, Wayne <strong>Art</strong> Center, Tel: 610-688-3553, Fax: 610-995-0478,<br />
E-Mail: nancy@wayneart.org, Web: www.wayneart.org,<br />
“Craft Forms 2006” 12th Annual National Juried Exhibition<br />
Contemporary Craft, through 1/24/2007<br />
Texas<br />
Beeville, Coastal Bend College - Visual <strong>Art</strong>s Division, Tel: 361-354-<br />
2322, E-mail: duryeaj@coastal<strong>be</strong>nd.edu, Web: www.coastal<strong>be</strong>nd.edu,<br />
Student/Faculty <strong>Art</strong> Exhibition, 4/26 - 5/4/2007<br />
Dallas, Kittrell/Riffkind <strong>Art</strong> <strong>Glass</strong>, Tel: 972-239-7957/ 888-865-2228,<br />
E-mail: <strong>Art</strong>glass@KittrellRiffkind.com, Web: www.kittrellriffkind.com,<br />
14th Annual Scent Bottle Invitational, 2/2 - 3/3/2007, New<br />
Works in <strong>Glass</strong>: Danielle Blade & Stephen Gartner, Meko Designs,<br />
Shayna Leib, Steven Main, and Ann Wasserman, 3/10 - 4/7/2007<br />
WAshing<strong>to</strong>n<br />
La Conner, Museum of Northwest <strong>Art</strong>, Tel: 360-466-4446,<br />
E-mail: mona@ncia.com, Web: www.museumofnwart.org,<br />
Entering E<strong>the</strong>r: Lanny Bergner, through 1/7/2007<br />
Langley, Museo, Tel: 360-221-7737, E-mail: museo@whid<strong>be</strong>y.com,<br />
Web: www.museo.cc, New Work in <strong>Glass</strong> and Mixed Media<br />
by Brian Pike, 1/1 - 1/31/2007, New Work in <strong>Glass</strong> by Ro<strong>be</strong>rt<br />
Adamson, 2/1 - 2/28/2007<br />
Tacoma, Museum of <strong>Glass</strong>: International Center for Contemporary<br />
<strong>Art</strong>, Tel: 253-284-4750, E-mail: info@museumofglass.org, Web:<br />
www.museumofglass.org, Transparently Built: A Group Show of<br />
<strong>Glass</strong> Installations, through 5/27/2007, Contrasts: A <strong>Glass</strong> Primer,<br />
through 11/30/2009, 8th Northwest Biennial, 2/10 - 5/6/2007<br />
I N T E R N A T I O N A L<br />
AUSTRALIA<br />
Straw<strong>be</strong>rry Hills, NSW, Object: Australian Centre for Craft and<br />
Design, Tel: +61 (0)2 9361 4555, E-mail: object@object.com.au,<br />
Web: www.object.com.au, Living Treasurers: Masters of<br />
Australian Craft Klaus Moje: <strong>Glass</strong>, through 1/7/2007<br />
Surry Hills, NSW, Sabbia Gallery, Tel: +61 2 9281 4717,<br />
E-mail: anna@sabbiagallery.com, Web: www.sabbiagallery.com,<br />
Annual Masters of <strong>Glass</strong> Exhibition: Claudia Borella,<br />
Tim Edwards, Kevin Gordon, Klaus Moje, Emma Varga, and<br />
Richard Whiteley, 1/24 - 2/18/2007<br />
Tanja, NSW, Narek Galleries, Tel: +61 2 6494 0112, E-mail:<br />
info@narekgalleries.com, Web: www.narekgalleries.com,<br />
Fragments and <strong>the</strong> Still Life: Wendy Fairclough and Abigail<br />
Howells, through 1/8/2007<br />
Melbourne, VIC, Melbourne Museum, Tel: +61 3 8341 7777,<br />
Web: www.melbourne.museum.vic.gov.au, Freestyle: New<br />
Australian Design for Living, through 2/4/2007<br />
CANADA<br />
Toron<strong>to</strong>, ON, Sandra Ainsley Gallery, Tel: 416-214-9490,<br />
E-mail: contact@sandraainsleygallery.com, Web:<br />
www.sandraainsleygallery.com, Australian <strong>Glass</strong> 2006:<br />
including Andrew Baldwin, Mat<strong>the</strong>w Curtis, Kevin Gordon,<br />
Richard Whiteley, through 1/5/2007<br />
Waterloo, ON, Canadian Clay & <strong>Glass</strong> Gallery, Tel: 519-746-1882,<br />
E-mail: info@canadianclayandglass.ca, Web: www.canadianclayandglass.ca,<br />
Paul Stankard: Death, Sex, & God, through<br />
1/7/2007<br />
Montréal, QC, Espace VERRE Centre des métiers du verre du<br />
Qué<strong>be</strong>c, Tel: 514-933-6849, E-mail: direction@espaceverre.qc.ca,<br />
Web: www.espaceverre.qc.ca, Pate de Verre Exhibition,<br />
15th Que<strong>be</strong>c <strong>Glass</strong> <strong>Art</strong>ists on Show, through 1/12/2007<br />
DENMARK<br />
E<strong>be</strong>l<strong>to</strong>ft, Glasmuseet E<strong>be</strong>l<strong>to</strong>ft, Tel: +45 86 34 17 99, Fax: +45 86<br />
34 60 60, E-mail: PAA@glasmuseet.dk, Web: www.glass.dk,<br />
Twenty Years On: Inaugural New Wing Exhibition including<br />
Laura Heyworth, Alison Kinnaird M.B.E., Alena Matéjková,<br />
Anna Nor<strong>be</strong>rg, Stig Persson, and Emma Woffenden, through<br />
1/21/2007, Young <strong>Glass</strong> 2007, 6/9 - 11/25/2007<br />
Bernard Dejonghe, Cercle, at Galerie B, Sinzheim,<br />
Baden-Baden, Germany<br />
ENGLAND<br />
Bath, Vic<strong>to</strong>ria <strong>Art</strong> Gallery, Tel: +44 01225 477232, Fax: +44 01225<br />
477231, Web: www.vic<strong>to</strong>riagal.org.uk, Dreams in <strong>Glass</strong>: Rachael<br />
Woodman, through 4/1/2007<br />
Devon, Devon Guild of Craftsmen, Tel: +44 01626 832223, E-mail:<br />
devonguild@crafts.org.uk, Web: www.crafts.org.uk, Mem<strong>be</strong>r’s<br />
Showcase: Andrew Potter Solo Exhibition, through 1/17/2007<br />
Liverpool, Bluecoat Display Centre, Tel: +44 151 709 4014,<br />
E-mail: crafts@bluecoatdisplaycentre.com, Web: www.bluecoatdisplaycentre.com,<br />
Applied <strong>Art</strong> For Archetecture Mixed Media<br />
Exhibition: including Keîko Mukaïdé, 3/3 - 31/2007<br />
London, Vic<strong>to</strong>ria & Al<strong>be</strong>rt Museum, Tel: +44 (0) 20 7942 2069,<br />
E-mail: ceramicsandglass@vam.ac.uk, Web: www.vam.ac.uk,<br />
Collect Craft Council <strong>Art</strong> Fair located in <strong>the</strong> Temporary<br />
Exhibition Galleries, 2/8 - 12/2007<br />
Manchester, Manchester <strong>Art</strong> Gallery, Tel: +44 0161 235 8888,<br />
Web: www.manchestergalleries.org.uk, 21st Century Showcase:<br />
Suresh Dutt Solo Exhibition, through 4/6/2007<br />
Rugby, Rugby <strong>Art</strong> Gallery & Museum, Tel: +44 01788 533 201,<br />
Web: www.rugby.gov.uk, Made In The Middle MAC Craftspace<br />
Mixed Media Touring Exhibition: including Stuart Garfoot,<br />
Dean Hopkins, Elaine Shelson and Dominic Cooney, and<br />
Andres Walsh, through 1/14/2007<br />
Sleaford, Lincolnshire, The Hub: National Centre for Craft & Design,<br />
Tel: +44 01529 308710, E-mail: hub@leisureconnection.co.uk,<br />
Web: www.<strong>the</strong>hubcentre.org, Peter Lay<strong>to</strong>n and Friends:<br />
Celebrating 30 Years of London <strong>Glass</strong>blowing, 1/13 - 2/25/2007<br />
Sunderland, Tyne & Wear, National <strong>Glass</strong> Centre, Tel: +44 (0) 191<br />
515 5555, E-mail: info@nationalglasscentre.com,<br />
Web: www.nationalglasscentre.com, Peter Lay<strong>to</strong>n and Friends:<br />
Celebrating 30 Years of London <strong>Glass</strong>blowing, 3/2 - 4/16/2007<br />
FRANCE<br />
Sars-Poteries, Musée Atelier du Verre de Sars-Poteries,<br />
Tel: +33 (0) 3 27 61 61 44, E-mail: museeduverre@cg59.fr, Totalidad<br />
[Humanité-Spiritualité]: William Velasquez, through 1/8/2007<br />
GERMANY<br />
Coesfeld-Lette, Glasmuseum Alter Hof Herding, Tel: +49 25 46<br />
93 050, Fax: +49 25 46 93 0550, E-mail: info@ernsting-stiftung.de,<br />
Web: www.ernsting-stiftung.de, “Atschi” Achatz, Ronald Fischer,<br />
Michael Gölker, G. Jo Hruschka, Stefan Stangl, and Alexander<br />
Wallner, through 1/21/2007<br />
Frauenau, Glasmuseum Frauenau, Tel: +49-9926-941020,<br />
Fax: +49-9926-941028, E-mail: info@glasmuseum-frauenau.de,<br />
Web: www.glasmuseum-frauenau.de, 50 Vasen - 50 Künstler:<br />
including Mark Angus, Alison Kinnaird M.B.E. & Gerhard Ribka,<br />
through 3/31/2007<br />
Munchen, Alexander Tutsek-Stiftung, Tel: +45 89 343856,<br />
E-mail: info@atutsek-stiftung.de, Web: www.atutsek.de, Das<br />
Verlorene Gesicht Wieder Gefunden: The Face - Lost and Found<br />
Again including Mark Bokesch-Parsons, Alison Kinnaird M.B.E.,<br />
Clifford Rainey, David Reekie, Gerhard Ribka & Gareth Noel<br />
Williams. A catalogue will <strong>be</strong> published for this exhibition,<br />
through 3/30/2007<br />
Sinzheim, Baden-Baden, Galerie B, Tel: +49 7221 85585, Fax: +49<br />
7221 85585, E-mail: GlasgalB@aol.com, Web: www.galerieb.de,<br />
Bernard Dejonghe, through 1/15/2007<br />
NETHERLANDS<br />
Martenshoek, Hoogezand, Galerie Werfkade, Tel: +31 0598 39 99 99,<br />
E-mail: info@galeriewerfkade16.nl, Web: www.galeriewerfkade16.nl,<br />
Charlie Macpherson & Amanada Notarianni, through 1/31/2007<br />
SCOTLAND<br />
Edinburgh, Museum of Scotland, Tel: +44 0131 247 4422,<br />
Web: www.nms.ac.uk, The Cutting Edge Mixed Media Scottish<br />
Crafts Touring Exhibition: including Ray Flavell, Joseph Boyle<br />
and Yvonne Smith, Alison Kinnaird, Keîko Mukaïdé, Mai Ørsted<br />
and Stephen Richard, 1/26 - 4/29/2007<br />
Galleries/Museums/<strong>Art</strong>ists<br />
Please send images of work in upcoming exhibitions!<br />
We prefer digital images (must <strong>be</strong> high-resolution) if<br />
possible ( jpeg, tiff ). We also accept prints and 35mm slides.<br />
E-mail <strong>to</strong>: Shannon@glassart.org or mail a disk <strong>to</strong>:<br />
<strong>Glass</strong> <strong>Art</strong> <strong>Society</strong>, Attn: Communications Coordina<strong>to</strong>r,<br />
3131 Western Ave., #414, Seattle, WA 98121 USA
<strong>Glass</strong> <strong>Art</strong> <strong>Society</strong><br />
Board of Direc<strong>to</strong>rs 2006-2007<br />
<strong>President</strong><br />
Shane Fero<br />
Treasurer<br />
Pamina Traylor<br />
Paula Bartron<br />
Eddie Bernard<br />
Robin Cass<br />
Andrew Erdos<br />
(Student Rep.)<br />
Susan Holland-Reed<br />
Vice <strong>President</strong><br />
Tommie Rush<br />
Secretary<br />
Beth Ann Gerstein<br />
Ki-Ra Kim<br />
Kim Koga<br />
Jeremy Lepis<strong>to</strong><br />
Jutta-Annette Page<br />
Chris Rifkin<br />
Eliza<strong>be</strong>th Swinburne<br />
Staff<br />
Pamela Figenshow Koss, Executive Direc<strong>to</strong>r<br />
Patty Cokus, Executive Assistant / Registrar<br />
Shannon Borg, Communications Direc<strong>to</strong>r<br />
Emily Bowen, Bookkeeper<br />
Karen Skrinde, Database Manager<br />
3131 Western Avenue, Suite 414<br />
Seattle, Washing<strong>to</strong>n 98121 USA<br />
Phone: (206) 382-1305 Fax: (206) 382-2630<br />
info@glassart.org www.glassart.org<br />
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or o<strong>the</strong>r GAS publications, please contact<br />
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glassart.org and click on “Advertising”<br />
Contribute <strong>to</strong> GAS NEWS<br />
GAS news is for <strong>the</strong> mem<strong>be</strong>rs of <strong>the</strong> <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong>.<br />
There are several ways <strong>to</strong> contribute:<br />
1. Listings: Every issue has 100s of listings and<br />
classified ads, free <strong>to</strong> mem<strong>be</strong>rs<br />
2. Mem<strong>be</strong>r Profile: Gives mem<strong>be</strong>rs an opportunity<br />
<strong>to</strong> share <strong>the</strong>ir work, experience and thoughts with o<strong>the</strong>r<br />
mem<strong>be</strong>rs. Images and text welcomed.<br />
3. Student Profile: Students, send artist’s statement,<br />
a brief bio, images of your <strong>be</strong>st, most recent work,<br />
your name, address and contact information.<br />
4. School Profile: Students or educa<strong>to</strong>rs of accredited,<br />
degree-offering schools, send a brief article about your<br />
school and what it offers, and a few images.<br />
5. Workshops: Non-degree schools, send a brief<br />
article about your program and a few pho<strong>to</strong>s.<br />
6. International Window: GAS has mem<strong>be</strong>rs<br />
in over 50 countries. Each issue we highlight<br />
1 or more countries or events outside <strong>the</strong> U.S.<br />
Images and text welcomed.<br />
7. Critical Issues: Submit your ideas for an article that<br />
analyzes, interprets, or evaluates artistic works in glass.<br />
For more information on submissions, go <strong>to</strong> http://www.<br />
glassart.org, click on “News<strong>letter</strong>” or<br />
contact <strong>the</strong> Communications Coordina<strong>to</strong>r at <strong>the</strong><br />
GAS office. E-mail: Shannon@glassart.org<br />
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Submission of material is not a guarantee that<br />
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return of materials sent via mail.<br />
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