letter from the GAs President Get ready to be ... - Glass Art Society

januar y
februar y
2007
volume 18
issue 1
i n s i d e
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
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Regular Features
President’s Letter
Get Ready to be Transformed
in Pittsburgh!
Letters to the Editor
GAS Line
Student Profile: Rich Wren
Member Profile: J. P. Canlis
International Window:
Symposium in Latin Means
Discussion & Debate: IGS 2006
Workshops:
Pratt Fine Arts Center
special Features
Alert: Internet Fraud
Targets Artists
Preview: GAS 37th Annual
Conference, Transformational
Matter, June 7-9, 2007
Listings
Resources, etc.
Seminars, Conferences, Events
Classes and Workshops
Exhibitions
Letter from
the GAS President
Pittsburgh, the site of the Glass Art Society’s
37th Annual Conference is one of my favorite
American cities. I have been visiting it for about
ten years and every time I do, I am always
surprised about its growth and transformation.
It has a long history of glassmaking, industrial
and commercial, but now in recent years has
carved a significant niche in the art glass world.
With the Carnegie Museum of Art, the Society of
Contemporary Crafts, and the Pittsburgh Glass
Center, the Warhol Museum, all world class, it
has become a hub for artists, students, and
collectors. I encourage you all to attend June
7-9 of 2007.
In January, the Board of GAS will meet in
Portland to plan the 2008 conference and I
hope that we have received all your proposals
so they can be reviewed.
In this issue, we have another letter to the
editor that brings up another issue, one of
social concern. We also have two new editors,
Elizabeth Swinburne, who has become our
international editor and Susan Holland-Reed,
who is our new education editor. There will be
other changes to the newsletter very soon to
keep it fresh and exciting.
Our website is also adding some new
features, such as an online store where you can
purchase vintage GAS t-shirts, Journals and
other GAS items. You also can register for the
Pittsburgh conference online.
Many other programs and changes are
in the works that I think are exciting and I will
report on them in the next issue. Ciao!
Get Ready to be Transformed
in Pittsburgh!
by Karen Johnese
Pittsburgh was a gray steel town until the mid 1980s. Those who have
not been here recently still think of it as sooty and bleak.
How surprised you will be when you discover this beautiful, architecturally
interesting, aesthetic city. As you drive into town from our nationally
acclaimed airport, you will emerge from a tunnel to a dramatic scene of three
rivers wrapped around sky-scrapers, all nestled between hills. This is why
Pittsburgh is known as the only city with a front door.
In the 21st century we are recognized for robotics, bio-medical engineering,
a vibrant community of colleges and universities with high tech spin-offs,
the most environmentally green buildings of any American city, and top
quality cultural institutions, rare in a city of our size. Our rivers are once again
clean and accessible and cyclists can ride our trails for several hundred miles.
Known for the success of our football team, the city is host to a rich
array of arts organizations, reaching diverse populations. In the last twenty
years a ten block radius of our downtown has been transformed into a
dynamic cultural district. Since a ten minute walk takes you from one end
of downtown to another, all venues are readily accessible. With a record of
having one of the oldest populations in the country, we have now spawned
young professional groups and neighborhoods revitalized by the presence
of artists and creative activity. A new pride in our city has taken hold.
Transformation is a natural expression of this changing environment.
GAS news is published
six times per year as a benefit
to members.
Publications Committee:
Scott Benefield, Eddie Bernard,
Robin Cass, Susan Holland-Reed,
Andrew K. Erdos, Elizabeth Swinburne
Managing Editor: Shannon Borg
Graphic Design: Ted Cotrotsos
The Glass Art Society
3131 Western Avenue, Suite 414
Seattle, WA 98121 USA
Phone: (206) 382-1305
Fax: (206) 382-2630
E-mail: info@glassart.org
Web: www.glassart.org
© 2007 The Glass Art Society, a nonprofit
organization. All rights reserved.
Publication of articles in this newsletter
prohibited without permission from
the Glass Art Society, Inc.
Shane Fero
January/February 2007, volume 18-1
The Glass Art Society
3131 Western Avenue, Suite 414
Seattle, WA 98121
CHANGE SERVICE REQUESTED
Pittsburgh’s history of glass:
Since 1797 glass has been a major industry in southwestern Pennsylvania.
In 1880 there were 51 glass factories in Pittsburgh. By 1920 80% of the glass
in America was made in this region. Most of the factories are now gone. What
emerges is a new focus on glass as art. This transformation continues as the
remaining industries seek ways to collaborate with artists.
Continued on pg. 2
Non-Profit Org.
U.S. Postage
PAID
Seattle, WA
Permit #150

L E T T E R s T O T H E E D I T O R
The Glass Art Society (GAS), its Board of Directors, members, and employees are not responsible for and do not necessarily
endorse the views and opinions expressed in Letter to the Editor.
Passive Racism and Institutional Discrimination
2
Shortly after receiving my MFA from The Ohio State
University, I was offered the position of Studio Director
of a glass arts organization in Columbus, Ohio. While I
was encouraged by many to keep looking, I accepted
the position with great enthusiasm. I felt strongly that
I would be able to share my experience and passion for
the glass arts with the greater Columbus community.
I was able to accomplish a great deal in my first year.
The studio became more self sufficient, class enrollment
and studio rental rose exponentially, the community
became more interested in the studio’s mission, and the
fundraisers brought more bodies and money through
the door. Long time members of the organization,
some spanning the length of its 18 year history, were
refreshed to learn that the studio could be more than
they thought possible.
Being Studio Director meant being in the middle
of all possible scenarios. I received a crash course in
Board Culture and office politics. I attended every board,
committee, and membership meeting so that I could
fully grasp, and assist in the movement towards the
organization’s growth. It is at these meetings that I was
witness to what was clearly the presence of institutional
discrimination and racism.
I became conditioned as Director to accept certain
personalities within the board and membership. However,
some of those vantage points crossed the line
when an employee of the organization was being treated
differently than everyone else. In this case, seemingly
innocent acts such as minimal eye contact progressed
to more aggressive behavior including verbal assaults.
It is clear to me now that this escalation could have been
avoided if the surrounding individuals acknowledged
these actions were unacceptable and confronted the
individuals involved.
My reason for revealing these experiences is not to
denigrate or cast blame. Racism is very real. The heart
of this problem is as much about the people who used
the word “nigger” as it is about the people around them
who allowed it to be used. There is nothing benign
about ‘passive’ racism.
Get Ready! (continued from pg. 1)
Transformation as theme
for the conference:
As our environment is evolving, so are we as
individuals. The conference speaks to both forms of
transformation and their intersection. How do the external
pressures of our changing world affect our artistic
journey? How do we continue to reinvent ourselves in
the face of economic, social and artistic pressures? What
are we becoming as individual artists, and as a glass art
movement? There is no better place to explore these
issues than in a city that is alive with transformation.
Pittsburgh is a great city
for the GAS conference:
Besides the excitement of conferencing in a lively
cultural center, most of which can be easily accessed
on foot, the conference will be occurring during
Pittsburgh’s “Year of Glass.” With Chihuly’s Gardens of
Glass at our phenomenal conservatory, a significant
contemporary glass exhibit about the dialogue between
the Italians and Americans at the Carnegie Museum of
Art, all local galleries exhibiting regional and international
artists, including an exhibit of Japanese glass art at the
Pittsburgh Glass Center’s Hodge Gallery, the conference
participant will have a rich array of artistic experiences.
The Year of Glass is a unique city wide collaboration
with cross promotion of all glass programming throughout
the year.
After two and a half years at the organization I
resigned, exhausted from fighting this situation. I was
able to move on, but I was not the person of color that
was ostracized and dehumanized. I did not have to
absorb the hateful words “boy” and “nigger”.
I hope that this can begin a dialogue as to what
each person and organization can do to prevent what
happened in Columbus from happening anywhere else.
If nothing else, publicly acknowledging that it exists is
a start.
Thank you for your time.
Bridget Boss
Guidelines for Letters to the Editor
1. Letters will be selected for publication based on space
availability, topical interest, number of letters received
on the same topic or area, and adherence to our
guidelines. Only letters from Glass Art Society members
will be published.
2. Letters containing potentially libelous matter, profanity,
or that attack the character or reputation of a person or
company will not be printed.
3. Letters may be edited for language and length.
4. Letters should be limited to 200 words (currently under
review).
5. Letters submitted for publication by regular mail or
e-mail must include the author’s first and last name,
address and phone number for verification purposes.
Anonymous letters will be disregarded. If your letter is
published, your first and last name will be included
(unless you ask that it not be), but your address and
phone number will not be included.
6. When writing, faxing, or e-mailing a letter to the editor,
use the subject line or heading “Letter to the Editor.”
7. When responding to a specific article, state the article
title and include the date in parenthesis.
8. Frequency of submissions may need to be restricted.
If we receive multiple letters on one subject or from one
writer, we will attempt to sample a variety of opinions,
but may apply the general standard of one letter per
writer per three newsletters.
Our convention center, the largest green building
in the country, is a uniquely aesthetic space for demos,
vendor booths and the student exhibition with a glass
wall facing one of our three rivers. The conference hotel
is an architectural gem of a bygone era, beautifully
restored. The Byham Theater, another restored gem will
welcome you at opening day lectures and ceremonies.
A walk along the Allegheny River will take you to our
final party at Pittsburgh’s Science Center.
The rivers may lure you to other experiences of the
city. Also available will be an architectural walking tour,
an industrial glass tour, a rehearsal of the Pittsburgh
Symphony in the glamorous Heinz Hall, plenty of delicious
food, and theater performances. The Mattress
Factory, an internationally renowned installation art
museum, and the Andy Warhol Museum are there to
explore. The Pittsburgh Glass Center, with its state of
the art studios, accessible to all, is the reason for all of
the glass focus. Once you experience it you will want to
move to Pittsburgh. And we will help you do it!
In short, you will not want to miss this chance
for reflection by the rivers, for thought-provoking
lectures, and for inspiring demonstrations. Absorb
the atmosphere of this engaging community. Come
to be transformed.
Inspired by her parents’ passion for collecting studio
glass, Karen Johnese became the founding chair of the
board of the Pittsburgh Glass Center in 1998, and became
executive director in 2003. Along with Kathleen Mulcahy,
Ron Desmett and Randi Dauler, Karen is a co-chair for this
year’s GAS conference.
Ana Thiel's prize-winning Trine
G A S L I N E
New Developments
Craig Nutt has recently joined the CERF staff as their
first Director of Programs. Craig is a furniture maker,
sculptor, and artist advocate. He presented a panel
discussion at last year’s GAS Conference in St. Louis.
Kirstie Rea will be the new Creative Director of
Canberra Glassworks. The New Orleans Creative
Glass Institute (NOCGI) has opened its doors as
an open access glass studio and education center,
allowing affordable studio access to glass artists
(and future artists) throughout the city of New
Orleans. GAS Board member Eddie Bernard, and
Jonn Hankins, will serve as directors; other staff
includes Laurel Porcari, Gayle Seybert-Gish,
Carlos Zervigon and Angela Bart Bernard.
Alert: Internet Fraud
Targets Artists
by R. Rene Friedman
(continued on pg. 4)
Artists who show or sell their work online are being
targeted increasingly by internet fraudsters. Although
there are many types of fraud schemes, one common
scam is called “advance fee fraud.” The artist receives
an inquiry by email from a prospective buyer located
in the UK or other foreign country. The letter is not
well written, with poor use of English, punctuation, and
grammar. The letter may indicate that the writer is not
familiar with the artist’s work. However, after receiving a
price list, the writer says she wants to make a purchase,
sight unseen. The price is typically between $2500 and
$5000. The writer offers to pay by cashier’s check or
money order prior to shipping.
If the artist agrees to the deal, the buyer sends a
cashier’s check. The check is for more than the amount
of the purchase. The buyer then contacts the artist,
claiming an error occurred, and asks for a refund of the
overage. Since the artist just deposited the cashier’s
check in the bank and believes there’s no risk, he writes
a check or wires the “excess funds” to the buyer. The
artist also ships his work. A week or two later, the artist
is contacted by the bank, who informs him that the
cashier’s check was a forgery. The bank then deducts
the entire amount of the cashier’s check from the artist’s
account. Worse yet, the art is gone, as well as the money
that the artist unwittingly “refunded” to the fraudster
located abroad.
To protect yourself from internet fraud, remember
that money orders can be forged, checks can bounce,
and credit cards can be stolen. Be sure that the payments
you have received are “good funds,” and have
cleared the bank, before you ship your work. For sales
involving large sums, having a lawyer review the deal
may also make sense. At the end of the day, the best
protection against fraud is to be well informed. Consult
the website for the Federal Trade Commission (FTC) and
artists’ forums online for more practical tips on identifying,
preventing, and responding to potential instances
of internet fraud.
R. Rene Friedman is a litigation partner at Sidley Austin
LLP in Chicago, and is married to an artist who recently
received an advance-fee fraud solicitation in the mail.

M E M B E R P R O F I L E
J. P. Canlis
Rich Wren "Flesh"
S T U D E N T P R O F I L E
Rich Wren
by Andrew Erdos
Rich Wren, tattooed back
Rich Wren is a Philadelphia based artist whose work is not limited to glass. He often
crosses boundaries between sculpture, two-dimensional art and body modification.
Many of Wren’s pieces refer to his experience as a tattoo artist and his interest in
the human body. The identity of the body, writing on the body, and the message sent to
others through imagery permanently imbedded into human flesh is depicted with many
mediums. He explains, “The images I create on glass and steel are quite similar to these
actions. The image is an act, a reaction or a memory.”
The piece “Flesh” embodies these intentions. The title provokes psychological
associations of a raw, primal nature, and Christianity. As Wren describes it “The bread
before the glass cross has a duality of being one’s own body and Christ’s body (sinner
and saint). Flesh is a shrine and an altar, to the divinity of self, and to the mortality of
mankind.”
Wren is also well-versed in Judo and a small circle form of Aikido called Aiki-jui-jitsu.
This experience with circular motions and the use of staff like weapons has helped him
understand many of the fine details in glass blowing. The Jo staff is approximately the
same length as most blowpipes and punties, and aspects such as balance and centering
draw parallels between the ancient art of glassblowing and these ancient martial arts.
Wren has been practicing Aiki-jui-jitsu and Judo for approximately nine years, and
has been teaching it for four years. He has over five years of experience as a tattoo artist
and currently works at the Inkwell outside of Philadelphia. Wren began working with
glass at Bucks County Community College. This spring he will be Graduating from Tyler
School of Art. Examples of his work can be found in the Temple University Collection,
the Magellan Logistics Collection, and permanently embedded in people’s flesh across
the country.
Andrew Erdos is a student at Alfred University will be graduating spring 2007. He has
been operating a small lampworking studio in Newtown, Pennsylvania since winter 2004.
He has work in the private collections of Mr. and Mrs. Michelle Guggenheim and Junior
Marvin (guitar player for Bob Marley and the Wailers).
For Jean-Pierre (J.P.) Canlis, simplicity and completion are the most important
elements of his work. As he explains, “Anyone can make something simple
seem complex; it is taking the complex and translating it into the most simple
form which inspires me. I want the viewer to walk away settled, feeling the art
has a sense of completion.” His pieces resonate with this purity, exposing the
essence of the organic elements that Canlis captures in his work.
Canlis’ signature has become his unique bamboo installations. Whether
they are mounted on a wall of a bedroom or 3D in a hotel, the original works
make an impact. The solid sculpted glass stalks of these installations can tower
up to twelve feet high.
The natural forces of the ocean are the inspiration for Canlis’ series of work,
“Ocean Studies.” An avid surfer who spent his childhood in Hawaii, Canlis has a
keen under-standing of the ocean’s movement, currents, and waves, which he
explores in the six different forms of his “Ocean Studies” series.
Canlis first picked up a glassblowing pipe in 1991 at Hawaii’s Punahou
School and later studied glass art at Alfred University in New York and the
Pilchuck School in Washington. After Martin Blank introduced J.P. to Chihuly in
1993, J.P. spent the next nine years working in Chihuly’s hot shop. During his last
fours years with Chihuly, Canlis also worked with Lino Tagliapietra’s glass team.
In 1996, Canlis created the company Jean-Pierre Canlis Glass, now known as
Canlis Glass.
In 2005, after working exclusively on Canlis Glass in Honolulu for four
years, J.P. moved back to Seattle to set up Canlis Glass Gallery & Studio in
downtown Seattle with his wife and business partner, Leigh Canlis. J.P.’s works
are on view in restaurants, hotels, and corporations throughout the United
States. His latest works are available for viewing at Canlis Glass Gallery in the
Northwest Worklofts, 3131 Western Avenue, Suite 329, Seattle, WA 98121.
Also visit www.canlisglass.com.
Right: J.P. Canlis
Above:
Canlis’ Bamboo series (detail)
3

I n t e r n at i o n a l W i n d ow
Symposium in Latin Means Discussion and Debate: IGS 2006
The 9th Interglass Symposium was held from
October 11-15 this year in the Crystalex factory
in Novy Bor, Czech Republic. Thirty-three artists
from twelve* countries took part, which made the
conference a real success.
by Sylva Petrova
The very first symposium in Novy Bor took
place in 1982, which was seven years before
the former communist regime fell in 1989. In
1985 and 1988, two further symposiums were
organized both on an extremely grand scale
thanks to the rather absurd conditions of the
socialist economy, which spent huge financial
budgets on state promotion and representation.
The decision to open the gates of the biggest state
factory to the West was forced by the atmosphere of
Perestroika in the Soviet Union. This brought a more
relaxed attitude to contacts with foreigners than ever
before and the glass artist’s wish to organise an international
meeting in glass was finally approved by the
officials. Artists from both of the sides of the “iron curtain”
craved contact and the symposia quickly gained
a sensational reputation. Everybody who was active in
glass–artists, gallery owners, curators and collectors–
wanted to be there. By the end of the 1980s, the symposium
was worryingly monstrous and the meetings
were in danger of becoming more of a socialising event
rather than a place for making serious experiments in
glass. However the atmosphere was always seductive,
charged with energy and enthusiasm.
In the new democratic regime the symposium had
to be self-financing. The first, in 1992 had a Japanese
sponsor, following symposia became much more
modest and were organized in co-operation with other
contributors, for example; Ajeto and the School of
Glassmaking in Novy Bor. The recent re-construction
of the Czech glass industry and the new tight economic
situation very quickly eliminated the problems associated
with the scale of the symposium during the 1990s.
The new private owners of the factory had to consider
Zoja Trofimiuk and Stan Melis, visiting from Australia,
in discussion in the hot shop
whether the glasswork could keep going in the traditional
way. Over the years the Crystalex production line
had become quite distanced from the activities of the
symposium. This meant that the factory could not
benefit economically from it directly. Thankfully the
vision of moral credit and cultural benefits has triumphed
over the economic arguments and symposia are
organised every three years.
2006 has seen a new vision for the symposia.
For the first time a glass curator, was involved in the
position of the Art Director of the IGS. I was appointed
to co-operate with the factory in shaping the final
concept of the event. I helped to short-list the 40
participants and had a significant influence on the
selection and installation of the results that came out
of the days’ events. Twelve of the artists focussed on
mould and free-formed blowing projects and the rest
worked with predominately cold techniques: painting,
grinding, engraving, carving and sandblasting. All of
the attendees could profit artistically from all of the
technologies which were availiable throughout the
various factory workshops.
Professor Vladimir Kopecky performs a glass demo accompanied
by the Ravel’s “Bolero”
Amongst the invited artists were: Vessa Varela (Finland),
Antoine Leperlier (France), Ursula Huth (Germany),
Paula Bartron (Sweden), Scott Chaseling (Australia),
Josh Simpson (USA). From the Czech Republic: Gizela
Sabokova, Vladimir Kopecky and Vladena Klumpar
(also-USA). Some younger “hot” artists were also included:
James Maskrey (Great Britain) and Zoja Trofimiuk
(Australia). Many others came to Novy Bor for the first
time. In spite of the limited time, everyone in attendance
had the chance to enhance their experience and also
had a good time. In the process the Crystalex’s IGS
collection was extended with many extraordinary and
wonderful pieces.
*Hungary, Finland, Lithuania, Germany, Sweden,
Slovakia, USA, United Kingdom, Australia, France, Czech
Republic, Korea
Sylva Petrova is former curator of the Museum of
Decorative Arts in Prague, Czech Republic and currently
Professor in Glass and Director of the Institute for International
Research in Glass the University of Sunderland, UK.
W O R K S H O P S
G A S L I N E (continued from pg. 2)
4
At Pratt Fine Arts Center,
Seattle’s Only Rentable Cold Shop
Undergoes Major Expansion
by Karen Rudd
In Seattle, there are about as many hot shops as
glassblowers, which is to say a lot. Ironically, the city has
only one coldshop rentable to the public – at Pratt Fine
Arts Center, a nonprofit art organization founded in
1976 during the rise of studio glass movement.
This fall with monies raised from Pratt’s Annual Fine
Art Auction, the coldshop is undergoing a complete
renovation designed to unlock the artistic potential in
coldworking glass.
The new cold shop boasts twice as much floor
space allowing several people to use the studio at once.
Pratt is adding counter space in reach of every machine,
new ventilation, ample lighting from several skylights
and spot lights, and a floor drainage system designed
for easy clean-up. All of the machinery – flat wheels, a
diamond saw, upright belt sander, band saw, drill press
and lathes – are refurbished with new parts, motors and
paint. An additional grit wheel and a reciprolap are on
the way.
“Pratt’s new cold shop is now one of the best
cold shops in the area,” said Paul Larned, glass studio
technician who designed and oversaw the renovations.
“With this new studio, Pratt will be able to offer a
variety of great new classes in coldworking. Treating
the surface of glasswork has become hugely popular
and we want to ride the wave.” Larned culled the best
of ideas from cold shops around the world in designing
this state-of-the-art studio. The cold shop rental fee
will remain unchanged at $15/hour.
Soon Pratt will also beef up its hot shop with
new concrete floors, new windows, new heat baffling
systems, and a paint job. For renters in Pratt’s hot shop,
new full-time monitors will light glory holes, cycle ovens,
do general clean-up and put away annealed work. In
addition, improved ventilation is planned for Pratt’s
flameworking and flat shops to join the new slumping
kiln, two new flameworking annealing kilns, light tables
and a big selection of new hand tools.
For more information on the renovations, visit Pratt’s
website at www.pratt.org or email plarned@pratt.org.
Karen Rudd has worked for Pratt Fine Arts Center for
the past five years as a sculpture technician, volunteer
coordinator, and marketing manager. She is also a sculptor
working in metal, wood and glass.
Honors and Awards – Congratulations!
Benjamin Moore will receive the 2006 Libensky
Award from Pilchuck Glass School. Ronnie
Hughes took top honors in the National Capital
Orchid Society Juried Art Competition. His Phrag
Grande Orchid and his Phalaenopsis Aphrodite won
Best of Glass, The Eugene Griffith Award for Best
of Decorative Art and The Eva Campbell Memorial
Award for Best Art in Show. Ana Thiel has won
the First Biennale of Art in Glass in Latin America
for her piece Triada-Trine 1. Chicago’s Crown
Fountain by Spanish artist, Jaume Plensa has
won the Bombay Sapphire Prize 2006. The 2006
Bullseye E-Merge Prizes have been announced:
Nonfunctional Prize - 1st prize - Cobi Cockburn;
2nd prize - Robin Provart-Kelly; 3rd prize -
Kevin O’Toole. Functional Prize - 1st prize -
Paolo Scala and Eleonora Lucani; 2nd prize -
Jaqueline Cooley; 3rd prize - Brendan McSheehy
III; Academic Prize - Miho Higashide; Kilncaster
Prize - Ede Horton; Newcomer Prize - Alex Hirsch;
Popular Prize - Cobi Cockburn. This year’s Glass
Sellers Prize was won by Glass Art Society member
Colin Reid for his cast glass piece Cello. A special
award was made to runner-up Jessica Townsend.
The winner of the Student Award 2006 is June
Kingsbury, student runner-up, Tracy Nicholls.
The British Glass Biennale 2006 Best in Show
Prize went to Max Jacquard for his work entitled
For my Lost Loves III - The Ongoing Moment.
You can now purchase GAS t-shirts and
Journals online at www.glassart.org.
Just click on Store!

G L A S H A U S
The International Magazine
of Studio Glass
German/ English, 4 issues p.a. 39 EUR
(including air mail postage)
Advertising/Subscription:
Dr. Wolfgang Schmölders
Glashaus-Verlag, Stadtgarten 4
D-47798 Krefeld (Germany)
Tel: +49-2151-77 87 08
Fax: +49-2151-97 83 41
Email: glashaus-verlag@t-online.de
www.glasshouse.de
5

Glass Art Society's 37 th Annual Conference, Transformational Matter,
M a i n Co n f e r e n c e V e n u e s
Site Hotel: Omni William Penn Hotel
Registration, Lectures, Auction, Goblet Grab,
International Forum for Glass Organizations,
Portfolio Review
Located in the heart of the downtown business
district, the renowned Omni William Penn Hotel is a
historic land-mark elegantly renovated and updated,
while retaining its 1916 charm. Just steps away from
the David L. Lawrence Convention Center, sporting and
cultural venues, and a variety of shopping, the Omni
is the ideal central location for accommodations and many of the GAS
conference events. The Convention Center is four blocks away.
co n f e r e n c e
p r e s e n t e r s
David L. Lawrence Convention Center
Demonstrations, Technical Display, International Student Exhibition
The David L. Lawrence Convention Center
is a significant symbol of the “new” Pittsburgh
Region. As Pittsburgh continues to revolutionize
into a regional destination place, this landmark
building has become the cornerstone of the
transformation. On the cutting edge of design,
this innovative structure connects the urban
city to the waterfront overlooking the Allegheny River. While boasting
breath-taking views of the North Shore and Downtown Pittsburgh from the
concourses, balconies and terraces, which are located throughout the building,
the Center has been certified with a Gold LEED rating by the U.S. Green
Building Council. As the first “green” convention center and world’s largest
“green” building, the Center capitalized on its environmentally smart
structure by utilizing natural daylight and natural ventilation to light and
heat the building, and incorporating a water reclamation system which
reduces potable water use.
Elin Christopherson
will give a hot glass demo
at the conference
Cork Marcheschi,
For Max
Tom Farbanish,
Untitled
Pittsburgh Glass Center – Demonstrations
Pittsburgh Glass Center (PGC), located in
a burgeoning urban arts neighborhood, is a
nonprofit, open and comprehensive studio
and gallery dedicated to teaching, creating and
promoting glass art. PGC is one of only a handful
of organizations across the country that provides
top quality resources and facilities to artists
working in glass. The 16,000+ square foot facility houses state of the art
studios in hot glass, flameworking, coldworking, casting and kilnworking,
plus a contemporary glass gallery. For more information about Pittsburgh
Glass Center, visit www.pittsburghglasscenter.org or call 412-365-2145.
The Corning Museum of Glass (CMOG)
Hot Glass Roadshow
David L. Lawrence Convention Center – Demonstrations
The CMOG Hot Glass Roadshow is a unique, mobile,
state-of-the-art glassmaking studio that houses a
300-pound glass melting furnace, two glory holes, an
iron warmer, and an annealer. It includes a full complement
of irons, blowpipes, and hand tools that enable
glassmakers to make a wide variety of hand-blown
items. Approximately 28 feet long and 8 feet wide, the
Hot Glass Roadshow runs on natural gas or propane.
The Roadshow has traveled to the streets of New York
City, SOFA Chicago, the 2002 Winter Olympics, the 2003 GAS Conference in
Seattle, to five cities in Australia, including Adelaide for the 2005 GAS Conference,
and most recently to St. Louis for the 2006 GAS Conference. There’s no
other mobile studio in the world like the CMOG Hot Glass Roadshow.
Ed Kirshner, Vase with
Cup of Chaos (detail)
awa r d r e c i p i e n t s
Each year, the Glass Art Society honors and acknowledges the individuals
who have made outstanding contributions to the development of the glass
arts worldwide. The 2007 recipients of these awards are:
Michael Mangiafico,
Wasp
6
Jiri Harcuba
Master Czech glass engraver, artist and
teacher. Lifetime Achievement Award
for exceptional achievement in the
field of glass
Brian Frus will
participate in a panel
on "Green Studios"
Michael Rogers
Artist, Past GAS President, RIT Professor.
Honorary Lifetime Membership Award for
outstanding service to the Glass Art Society
Register Today! Register for the conference by April 2, 2007 to receive the lowest registration
fees and your Program Book prior to the conference. Registration before the conference. Registration
before the conference runs through May 17; after that date register onsite at the conference with
higher fees. The registration form is in the conference brochure and on online at www.glassart.org.

Pittsburgh, Pennsylvania, June 7-9, 2007
Warren Carther
Julie Anne Denton,
Maria Monk, 1836 AD
co n f e r e n c e
p r e s e n t e r s
Kazuko Mitsushima
L e c t u r e s
Warren Carther: Innovation +
Transformation in Architecture,
Public Art and Architectural Glass
Bruce Chao: Matters of Course
Nicole Chesney: Reflections on
an Occluded Mirror
Róisín de Buitléar: Memory and
Invention - Stories from Ireland
Tom Farbanish: Various Thoughts on Making Objects
Lanse Fero: Transformational Investing
Michael Greenman: Glass Art & Science - Moving Forward Together
Rudy Gritsch: Transformation in Glass Teaches Us
Jiri Harcuba: Lifetime Achievement Award Lecture:
Glass Engraving, My Heritage
Timothy Horn: (In)discrete Objects
Toshio Iezumi: Glass Sculpture by Direct Cutting
Anne Madarosz
Cork Marcheschi: It is Easier to Get Forgiveness Than it is Permission
Kazuko Mitsushima: Glass Jewelry
Michiko Miyake: To the Realm of Nothingness
Sarah Nichols: Translations & Transformations: Glass in Venice
and America, 1950-2006
Maria Porges: Writing about Glass: Hot Air about Hot (and Cold) Stuff
Michael Rogers: Honorary Lifetime Membership Award Lecture
Keith Sonnier: Willson Lecture
Therman Statom: State of the Art of African American Glass Artists
Kelly Stevelt Kaser: The Changing Career Path of Studio Glass Artists
Wayne Strattman: Self-Illuminated Glass: My 24-Year Search to Light
Up the World
Bill Strickland: Keynote Speaker
Per B. Sundberg: Greatest Hits
Ana Thiel
Sylvie Vandenhoucke: Eye & Mind Transformed
Kerstin Wickman: The Interaction Between the Studio Glass
Movement and the Swedish Glass Factories
Davide Salvadore,
Lugutu
Layla Walter,
Camellia Vase
Bruno Romanelli
Maria Porges,
Obelisk
D e m o n s t r at i o n s
Rik Allen: Coldworking
Alexander Arbell: Flameworking: Lamp-Blown Boro-glass,
Metal-patinated Vessel in a Middle-Eastern Style
Pat Bako: Coldworking: Secrets of the Coldshop Exposed
Theresa Batty: Hot Glass
John Choi, Katrina Creyts and Magan Stevens: Hot Glass:
Exquisite Corpse
Elin Christopherson: Hot Glass: Cross Section
Deborah Czeresko: Hot Glass
John de Wit: Hot Glass: Absorption and Rumination
Julie Anne Denton: Flameworking: The Three Alchemical Principles:
Sulphur, Salt & Mercury
Miriam Di Fiore: Flat Glass
Michael Flechtner: Neon: Going 3-D
Kristin Gudjonsdottir: Flat Glass: Casting with Ceramic Molds and
Working with Reuse Materials
Caitlin Hyde: Flameworking: Beyond the Bead: Sculptural Elements
at the Torch
Yuri Ishida: Flameworking: Basic Techniques - How to Joint
Joon Yong Kim: Hot Glass
Edward Kirshner: Neon: Glass & Plasma Light
Jiyong Lee: Flat Glass: Misconception and Truth of Working with
Adhesives: Hxtal Demonstration
Walter Lieberman: Flat Glass
Beth Lipman: Hot Glass: The Fatal Lifestyles of the Rich and Famous
Michael Mangiafico: Flameworking: Metamorphosis
Dante Marioni: Hot Glass
Milissa Montini: Flameworking: It’s About Murrini
Andrea Penzo: Flameworking: Broken Hands
Jill Reynolds: Flameworking: The Intermittent Flameworker
Bruno Romanelli: Kilnworking: Half Truths & Revelations
Davide Salvadore: Hot Glass
Peter Secrest: Hot Glass
Silvano Signoretta: Hot Glass
Rex Trimm: Flameworking: Glass an ‘Nat!
Layla Walter: Kilnworking: Mold Making for Glass Casting
Thomas Wendler: Neon
Pa n e l s
Lucy Lyon, Hank Murta Adams, Judy Hill, Clifford Rainey,
Tina Oldknow: Implications of Transforming the Figure into Glass
Julie Conway, Hugh Jenkins, James Ronner: Bio Glass - Green
Studios Benefitting Artists and the Environment
Anne Chen, Brian Frus, Kevin Gannon, Mark Gibeau: Capitalizing
on Resources and Building Green
Kathleen Mulcahy, Ron Desmett, Deborah Hosking, Randy Kovitz:
Community Resurgence: Making Sense of Place
7

Glass Art Society's 37 th Annual Conference, Transformational Matter,
Pittsburgh, Pennsylvania, June 7-9, 2007
8
The Carnegie
Museum of Art
Pre-Conference Reception
Phipps Conservatory & Botanical Gardens
and The Carnegie Museum of Art
Wednesday, June 6, 5:30 - 9:30 pm
Phipps
Conservatory
& Botanical
Gardens
Start your evening with a special ‘preview hour’ to
enjoy Chihuly at the Conservatory: A Garden of Glass, a
special exhibition that fuses fantastic glass art with
Phipps’ garden under glass. A shuttle or a short walk
will then deliver you to the nearby historical Carnegie
Museum for an elegant evening of music, delicious food
and a cash bar. The exhibit Translations and Transformations:
Glass in Venice and America, 1950-2006 will be on view
with exhibition curator Sarah Nichols. Meet, mingle, and
wander the Carnegie’s Hall of Architecture, which contains
the largest collection of plaster casts of architectural
masterpieces in America and one of the three largest
in the world. The marble Hall of Sculpture beautifully
replicates the interior of the Parthenon.
Shuttles leave the Omni William Penn Hotel
beginning at 5:30. Cost: $90 for conference attendees.
The Pre-Conference Reception is a fundraiser that
supports low conference registration fees for student
members of GAS. You must be registered in advance for
the Pre-Conference Reception in order to attend.
International Student Exhibition
David L. Lawrence Convention Center, Concourse A
Friday, June 8, 4 - 7 pm, Saturday, June 9, 9 - 2:30 pm
The International Student Exhibition invites all Glass
Art Society student members who are currently enrolled
full-time in an accredited degree-seeking program to
participate. All work must be current, original, professionally
crafted, and contain glass as the main element.
How to participate: Deliver your student work to
the Convention Center, Concourse A, on Wednesday,
June 6, 1- 5 pm; Thurs., or June 7, 10 am - 4 pm.
The official opening will be on Fri., June 8, at 4 pm.
Students are encouraged to hand-carry their work to
the conference. Insurance and shipment of the artwork
are the responsibility of the artist. Neither GAS nor the
Convention Center are responsible for theft or damage
to artwork. Please ensure that your work is delivered in
reusable packaging.
Restrictions: No more than ONE item may be
submitted by each student. The piece must not exceed
30 lbs. (15 kg) or 20” (50 cm) in any dimension. Installations
or groupings may be submitted, but each element
within the grouping must adhere to weight and size restrictions.
Clear installation instructions must accompany
each work. No work will be hung from walls or ceiling.
Awards: Previously, more than $12,000 in cash and
supplies has been awarded. First prize winner receives
a $1,000 cash award from The Corning Museum of Glass.
All award winners will be acknowledged in the Glass Art
Society 2007 Journal and at the GAS Business Meeting.
Sales: We encourage sales at this event by cash or
check made directly to GAS. Artists will receive 80%.
Buyers must make their own arrangements for
shipping work. Purchases and all unsold artwork must be
picked up and removed Sunday, June 10, 11 am - 5 pm.
Pieces left after Sunday, June 10, 5 pm will become the
property of the Glass Art Society.
Donate to the GAS Auction
Saturday, June 9, 6 pm, Omni William Penn Hotel,
William Penn Ballroom
Preview: Friday, June 8, 4-7 pm; Sat., June 9, 9 am- 6 pm
Omni William Penn Hotel, William Penn Ballroom
Silent Auction & Preview: Saturday, June 9, 9 am - 6 pm,
First tables begin closing at 4:45 pm, Sternwheeler
Room, William Penn Level
The annual GAS Auction offers conference attendees
and the public the opportunity to support GAS by
donating and/or purchasing beautiful works of glass
art. We encourage donations of collaborative glasswork,
innovative and experimental one-of-a-kind creations, and
those signature pieces that define an artist’s career. With
so much wonderful work to bid on, and so much fun to
be had, this is an event you won’t want to miss!
The GAS Auction has become one of the highlights
of the annual conference, and we hope you consider
donating a piece of your artwork, goods or services. Your
donation helps subsidize half-price student fees and
keeps all registration fees affordable. Expected to be the
largest GAS auction ever, with many donors and buyers, it
will also be a great opportunity for exposure of your work.
This year donating artists have the choice to give
100% to GAS, or to receive 25% or 50% of the selling
price. Your donation will be on exhibit throughout the
conference and acknowledged in the 2007 Glass Art
Society Journal.
How to donate:
1. Contact the GAS office to obtain an auction donation
form, or find it on the GAS website at www.glassart.org.
2. Complete and return the auction form with a highresolution
(at least 300 dpi) JPG of your piece, so we can
include it in the Power Point presentation. This also
helps us in planning the display of the auction pieces.
3. Bring your donated piece to the conference. Drop it
off at: Omni William Penn Hotel, Riverboat Room,
Wednesday, June 6, 1- 5 pm, Thursday, June 7, 9 am -
5 pm and Friday, June 8, 9 am - 12 pm.
4. If you want to ship your piece (at your own expense),
contact the GAS office, at 206-382-1305, or email:
info@glassart.org.
GAS is a non-profit organization funded by its
own membership. We are counting on your support.
Thank you!
Eligibility: The GAS Auction and Goblet Grab is
open to all glass artists and suppliers; you do not need to
be a member of GAS. Glass artists can submit one piece
of artwork, all artwork must be designed by the artist.
You do not have to attend the conference to donate, and
donating work is a great way to support GAS if you aren’t
able to attend.
13th Annual Goblet Grab
Omni William Penn Hotel, Frick Room, Conference Level
Friday, June 8, 1-2 pm (begins promptly at 1 pm)
The Goblet Grab is a fundraiser for the Craft Emergency
Relief Fund (CERF), which offers aid to GAS artist
members in times of need. The fast-paced, spontaneous
Goblet Grab is an event full of excitement and fun!
Contribute to the Goblet Grab by donating a drinking
glass and be entered to win one free conference
registration for the GAS 2008 conference.
How to donate:
1. Create a goblet, mug, tumbler or some kind of
drinking glass
2. Price it at $50, $100, $150 or $200
3. Bring your drinking vessel with you and drop it off
at the Goblet Grab receiving and preview area at the
Omni William Penn Hotel, Phipps Room, Conference
level, Wed., June 6, 1-5 pm; Thurs, June 7, 9 am - 5 pm;
Fri., June 8, 9 -11am.
If you want to ship your piece (at your own expense),
please ship to (for Goblet Grab and Auction): Pittsburgh
Glass Center, 5472 Penn Avenue, Pittsburgh, PA 15206
5th International Forum
for Glass Organizations
Wednesday, June 6, 3- 3:45 pm
Omni William Penn Hotel, Three Rivers Room,
William Penn Level
We’d like to extend an invitation to all international
GAS member glass organizations to send one or two
representatives to participate. Anyone interested in
becoming an international liaison will also be welcome.
Following the 1st International Forum, an e-group was
created as a means of communication for glass organizations.
If you would like to participate in networking/
sharing international issues:
1. Write to info@glassart.org to request an e-group
invitation.
2. Send your ideas to the e-group. Issues raised from the
e-group will be discussed at the forum in Pittsburgh.
Your ideas and comments are appreciated.
3. Bring your ideas to the forum: How do you think
international glass organizations could best liaise
to benefit all? What form could such a network take?
What opportunities could come from such interaction
(i.e. artist-in-residence exchanges, studio exchanges,
information sharing, etc.)?
Gallery Forum
Omni William Penn Hotel, Frick Room, Conference Level
Saturday, June 9, 1-4 pm
Hosted by participating galleries, the Gallery Forum
is an opportunity for galleries and artists from around the
world to meet, talk, and exchange information and ideas.
Galleries: $125 for a table and listing as host. Coffee and
cookies provided. Galleries please contact the GAS office
by February 1 to sign up and be listed in the conference
program book.
Artist Portfolio Review
Omni William Penn Hotel, Shadyside Room, 1st Floor
Saturday, June 9, 1- 2:45 pm
Gallery owners, curators, educators, and artists will
be available to review portfolios of GAS conference
attendees. Artists should bring either a slide, photograph,
or electronic portfolio (electronic portfolios may be
viewed on the reviewer’s or the artist’s computer).
A sign-up sheet with the list of reviewers will be available
at the conference registration area. Reviews will last
10-15 minutes each. A limited number of slots will be
available on a first-come, first-served basis.
Education Resource Center
Omni William Penn Hotel, Oakmont Room, 1st Floor
Friday, June 8, 2 - 5 pm; Saturday, June 9, 3 - 5 pm
The Education Resource Center will be a space
where students and those interested in continuing their
pursuit of glass education may come to pick up materials
and information. All educational facilities: universities,
colleges, public access studios, summer programs,
studios, etc., who offer instruction in glass-working and
wish to be represented in the Education Resource Center
are requested to provide literature. Each school is also
encouraged to send a representative to be present to
answer questions during the conference. Bring your
handouts and drop them off early at the Education
Resource Center at the Omni William Penn Hotel,
Oakmont Room, 1st floor, or ship materials ahead of time.
Ship materials to the Pitsburgh Glass Center, 5472 Penn
Avenue, Pittsburgh, PA 15206.
Conference Brochure
The 2007 GAS Conference brochure was mailed in
December and contains details on conference events
and a registration form. If you did not receive a
brochure, you can find all the information online at
www.glassart.org (click on 2007 GAS Conference
in Pittsburgh). Or contact the GAS office at
206-382-1305, info@glassart.org.

S p e c i a l E x h i b i t i o n s
Carnegie Museum of Art
4400 Forbes Ave., Pittsburgh, PA, 412-622-3131
www.cmoa.org
Translations and Transformations: Glass in Venice
and America, 1950-2006
May 12 - September 16. Entry fee $10.
This exhibition examines the links between Venice
and America and their significance, from mid-1950s
sculptor Robert Willson’s exploratory visit to Murano and
the commissioning of work from American designers
by the Venini factory to present-day artists, such as
Lino Tagliapietra and Josiah McElheny.
Phipps Conservatory and Botanical Gardens
One Schenley Park, Pittsburgh, PA, 412-622-6914
www.phipps.conservatory.org
Chihuly at the Conservatory: A Garden of Glass
May 12 - December 31. Entry fee $7.50.
Heralded as one of Chihuly’s most intimate of artistic
efforts, this exhibition presents Chihuly’s dramatic sculptures
within one of Pittsburgh’s historic cultural gems.
Pittsburgh Center for the Arts
6300 Fifth Avenue, Pittsburgh, PA, 412-361-0873
www.pittsburgharts.org
June 1- August 20, Opening Reception: June 1, 5:30 - 8 pm
Glass installation by Lindsay O’Leary; Glass works by
Chris Clarke, Kaley Finegan and Brian Frus; “Seeing is
Deceiving” by Judi Charlson.
Pre- & post-Conference Workshops
Pittsburgh Glass Center
Contact: Lindsay O’Leary
5472 Penn Avenue, Pittsburgh, PA 15206
412-365-2145 x201, www.pittsburghglasscenter.org
Pre-Conference Workshops:
Cane Pick-Up
May 28 - June 2 – Taught by Davide Salvadore
Intermediate level students will learn Venetian cane
pick-up techniques from an Italian master. Working with
a thick iron plate, students will experiment with glass
tessarae or cane, filigree, zanfirico and murrine. Some
previous hot glass experience required.
Honeycomb Molds
May 28 - June 2 – Taught by Helen Stokes
In this course students will construct a layered mold
using the honeycomb mold technique. Through demonstrations
and discussions students will understand
the construction, usage and limitless possibilities of this
unique process. Experienced casters and beginners will
learn valuable mold making techniques from this course.
Intensive Flameworking Class Before GAS
May 28 - June 2 – Taught by Alex Arbell
Ignite your creativity with instant, stunning results.
Create borosilicate blown vessels, metal-patinated and
decorated in the traditional Middle Eastern style and
spirit with this master Israeli artist. Prerequisite: at least
three years of extensive flameworking experience.
Lampworked Murano Glass on Copper Wire
Interlaced with Silk
June 3 - 6 – Taught by Andrea Penzo
Learn the old Venetian technique of lampworking on
copper wire to make incredible compositions of various
flowers, decorative objects, jewelry, and sweet boxes.
Pittsburgh Glass Center
5472 Penn Avenue, Pittsburgh, PA, 412-365-2145
www.pittsburghglasscenter.org
Allure of Japanese Glass – May 4 - October 21
PGC presents its first international exhibition of glass
artists from Japan featuring both established and emerging
artists who work in a full range of glass art methods
and techniques. Although these artists are well known
in their native Japan, few have exhibited in the United
States. Curated by Harumi Yukataki and Tomoko Aoki.
Senator John Heinz Regional History Center
1212 Smallman St., Pittsburgh, PA, 412-454-6000,
www.pghhistory.org
Metamorphosis: A Celebration of the Bead
June 1 - July 10
Showcases the exemplary work of some of the finest
glass beadmakers. Sponsored by the International Society
of Glass Beadmakers and the Heinz History Center.
The Glass Art Society publicizes these workshops as a benefit
to members. The workshops are not planned, organized, or
administered by GAS. For more detailed course descriptions
or to register, contact the appropriate school.
Text and Imagery on Glass
June 4 - 5 – Taught by Susan Taylor Glasgow
Apply images and text onto glass using printing
techniques and photo realistic sandblasting. Create
images with wonderful depth and detail with a variety
of low and high fire glass enamels.
Advanced Glass Blowing
June 4 - 6 – Taught by Dante Marioni
Focus on sharpening off-hand glassmaking skills from a
traditional studio perspective, with a strong emphasis
on Venetian glassblowing technique and teamwork.
Prerequisite: two years of hot glass experience.
Post-Conference Workshops:
Developing Vessel Making Skills
June 11-15 – Taught by Boyd Sugiki
Cylinders, bowls and bottles will be the point of departure
for re-addressing the basics of vessel making. Traditional
Venetian methods and other innovative techniques will
be demonstrated. Pre-requisite: at least two years of hot
glass experience.
Bent on Beadmaking
June 11-15 – Taught by Sage Logan and Beau Anderson
For intermediate and advanced artists who wish to
improve their skills in controlled patterning and unusual
shapes. This class uses soft glass beadmaking inspired by
ancient techniques that include surface decoration, clear
casing, off mandrel, complex dot work, and the use of
stringers, murrine, and other patterned cane.
Painting on Glass
June 11-15 – Taught by Walt Lieberman
Students will use both 3-D and flat glass to paint with
enamels techniques, such as overpainting, sgraffito, and
multiple firings used to achieve rich layered effects.
No previous experience required.
“Stay in Pittsburgh” Tour – June 10
Stay in Pittsburgh for an extra day to enjoy a special tour of the city, highlighting all that the city has to offer to artists
who might consider moving here. This artist’s look at Pittsburgh will offer the opportunity to network with realtors and
community developers who will provide leads and advise you about financing opportunities. Meet with artists who have
already made the move here and hear their success stories. The tour departs from the Omni William Penn at Noon, Sunday,
June 10. Tour length is four hours and includes a box lunch. $15. Contact Pittsburgh Glass Center for more information.
Pittsburgh Center for the Arts
Contact: Joshua Andra, 1047 Shady Avenue, Pittsburgh, PA 15232, 412-361-0455 www.pittsburgharts.org
Pre-Conference Workshop: Electroforming June 6 – Taught by Ann Davis
Through demonstration, learn about the techniques and equipment for electroforming metals on glass, silver plating
and gold pen plating. Ann’s work combines flameworking, electroforming, sandblasting and metalsmithing. Ann's work has
been published in books and journals. She has exhibited her work nationally and internationally.
Post-Conference Workshop: Bullseye Box Casting June 10 – Demonstration by Judi Charlson
This demonstration will introduce you to much simpler methods of creating a reverse relief cast glass object with the
optical clarity of a furnace casting, using plaster silica design elements in an open-faced mold assembled from vermiculite
and other refractory materials. Emphasis will be on reverse kiln-casting in an assembled mold.
P r e - Co n f e r e n c e To u r s
Fallingwater/Kentuck Knob
Tuesday, June 5, 9 am - 4 pm
Price per person: $125. Minimum: 40 people
Tour includes transportation, admission & box lunch
Fallingwater opened a new chapter in American
architecture, and is perhaps rightly considered Frank
Lloyd Wright’s greatest work. When Wright came to the
site in 1936, he appreciated the powerful sound of the
falls, the vitality of the young forest, the dramatic rock
ledges and boulders; these were elements to be interwoven
with the serenely soaring spaces of his structure.
Down the road from Fallingwater, enjoy your box lunch
on the grounds of Kentuck Knob, also designed by Frank
Lloyd Wright. It is an excellent example of a high-end
Usonian home and was designed in the last decade of
Wright’s career. A sculpture garden with over 35 major
works enhances the visitor’s experience.
Collector’s Tour: Art & Architecture
Wednesday, June 6, 9 - 4 pm
Price per person: $180. Minimum: 25 people
Tour includes transportation & lunch
This tour will take us through some of Pittsburgh’s
architecturally significant homes, featuring fine and
decorative art collections. We’ll have lunch at a spectacular
private home on Mt. Washington, then tour the
Sewickly home, where you’ll see that an ever-increasing
glass collection can exist in a three-story townhouse.
All venues subject to change.
Walking Architectural Tour of Downtown Pittsburgh
Wednesday, June 6 – Morning Tour, 10 am - 2 pm;
Afternoon Tour, 12 pm - 4 pm
Price per person: $55. Minimum: 20 people
Tour includes transportation, sit down lunch, tax & gratuity
During your guided walking tour, you will view
everything from the historic grandeur of the stone
Allegheny Courthouse to the majesty of the Union Trust
Building, with its Flemish-Gothic design. From the Burke
Building, one of the few surviving buildings of the great
fire of 1945 to the exquisite glass Pittsburgh Plate Glass
building. The PPG complex has 231 glass pinnacles and
stands 680 feet high. Both tours will include lunch at the
historic 1902 Landmark Tavern.
Industrial Glass Tour
Wednesday, June 6,
10 am - 2 pm
Price per person: $120.
Minimum: 20 people
Tour includes transportation
& box lunch
Before it was known
for steel, Pittsburgh was
America’s Glass City.
This Tour begins at the
“Shattering Notions” exhibit
at the Senator John Heinz History Center, showcasing
the beauty, science, utility and technology of Western
Pennsylvania glass over the past 200 years.
Next you'll tour Kopp Glass*, Pittsburgh’s last thriving
glass factory, in business since 1926. With its roots in the
development and manufacture of custom colored and
industrial glass, Kopp Glass is the leading supplier for the
majority of the ten niche markets that it serves.
The tour will also visit Glenshaw Glass, a Pittsburgh
bottle plant started in 1894 by two local glassblowers
and their partners.
* Kopp Glass can only take 10 people at a time.
Will have to stagger times (and limit participants to
25 max). You must be registered in advance to attend
the Pre- Conference Events.
9

esources, etc.
10
Please Note: Publication of notices is for information
purposes only and does not necessarily indicate endorsement
by the Glass Art Society.
We are happy to include information as supplied to us by
various sources. Please send us your press releases and notices
including specific, current facts as far in advance as possible to:
GAS, 3131 Western Avenue, # 414, Seattle, WA 98121 or e-mail
to: Shannon@glassart.org. GAS news is a bi-monthly publication.
Members receive their newsletters approximately 6-8 weeks
after the deadline.
Upcoming Newsletter Deadlines:
February 1 for the April/May 2007 issue
April 1 for the June/July/August 2007 issue
We look forward to hearing from you.
Calls to Artists
Call for Papers We invite graduate students to submit papers
addressing issues of use or uselessness. Areas of inquiry might
explore the effect on the reception and interpretation of an
object when it is denied its original functionality and labeled
as “art” or when it is used for commercial or political purposes,
in the service of cultural hegemony or the colonial project. We
welcome submissions from all areas of art history and related
fields. In addition, we invite submissions from practicing artists
and filmmakers engaged with ideas and problems of function
in their work. Papers should be between 15 and 20 minutes in
length. Abstracts of no more than 500 words, a current CV, and
contact information should be submitted by 1/15/07, via email
or post. Some travel funding is available. Information: University
of Southern California, Dept. of Art History, VKC 351- MC 0047,
Los Angeles, CA 90089, uscgradsymposium@gmail.com
Philadelphia Buyers Market of American Craft, the nation’s
largest wholesale craft show, invites artists to apply for its 2007
February and August shows. The 2007 shows celebrate the
Buyers Market’s 25th anniversary, marking a major milestone
for the American craft community. The Buyers Market will take
place at the Pennsylvania Convention Center in Philadelphia,
Pa., on Feb. 16-19, 2007, and Aug. 4-6, 2007. Artists working in
ceramics, glass, metal, wood, furniture, jewelry, mixed media
and decorative and wearable fiber are encouraged to apply.
Applications and guidelines are available online. Information:
The Rosen Group, 3000 Chestnut Ave Ste 300, Baltimore, MD
21211, Tel: 410-889-2933 ext.218, info@rosengrp.com,
www.americancraft.com
West Sound Academy Art Sale The West Sound Academy is
holding its 9th annual High Quality Art and Glass Sale Done
Auction Style on March 3, 2007. Glass Artist Robert Carlson
- Auctioneer. 50% of sale is returned to artist. Don’t miss this
opportunity to expand your market and support art education.
Past contributing artists have included: Fritz Dreisbach,
Ben Moore, Jim Mongrain, Sonja Blomdahl, Richard Royal, Paul
Cunningham and Steve Maslach. For submission contact: West
Sound Academy, 5831 Packard Lane NE, Bainbridge Island, WA,
98110, Tel: 206-842-4090, nbaker@westsoundacademy.org,
www.westsoundacademy.org
All Dolled Up: Beaded Art Doll Competition Entries are being
accepted for the third bi-annual All Dolled Up: Beaded Art Doll
Competition. First prize of a $1000 shopping spree on the Land
of Odds website and a runner-up prize of a $400 shopping spree
on the website. Entries must include four color snapshots, four
jpg color images, a 1,000 - 2,000 short story about your beaded
art doll, a list of materials used. Deadline: Aug. 31, 2007.
Information: Land of Odds, 522 E Iris Dr, Nashville, TN, 37204, Tel:
615-292-0610, warren@landofodds.com, www.landofodds.com
The Fifth Annual Ugly Necklace Contest 2007 is offering a
first prize of a $992.93 shopping spree on the Land of Odds
website and a Runner-Up prize of a $399.07 shopping spree on
the website. Take three good color snapshots or scans of your
necklace, and write a short poem about it. Deadline March
15, 2007. Entries will be judged by a panel from The Center
for Beadwork & Jewelry Arts, based on the hideousness of the
necklace, its shape, color and use of materials, its functionality
and wearability, how well the artist has shown an understanding
of good design principles (and how to violate them) to achieve
this “Ugly” end, and the quality of the accompanying poem.
From the entries submitted, 10 finalists will be selected. Visitors
to the website will be asked to vote for the most Ugly Necklace.
Land of Odds, 522 E Iris Dr, Nashville, TN 37204, Tel: 615-292-0610,
warren@landofodds.com, www.landofodds.com
International Exhibition of Glass Kanazawa Entries are being
accepted for two exhibitions Aug. 31 - Sept. 5, 2007 at the Korinbo
Daiwa Department Store, 8th Fl. Exhibition Hall, and Oct. to Nov.
2007 at the Notojima Glass Art Museum. Info: International
Exhibition of Glass Kanazawa, Design Center Ishikawa,
Kanazawa, Ishikawa, 920-8203, Japan, Fax: +81 76 267 5242,
info@design-ishikawa.jp, www.design-ishikawa.jp
13th Annual Goblet Show Kittrell/Riffkind Art Glass invites
entries by May 11. The exhibit will run July 13 - August 11.
No entry fee. Insurance. Send a SASE for details to: Kittrell/
Riffkind Art Glass, 5100 Belt Line Rd #820, Dallas, TX, 75254,
Tel: 972-239-7957/ 888-865-2228, Artglass@KittrellRiffkind.com,
www.kittrellriffkind.com
Elizabeth R. Raphael Founder’s Prize Entries are being accepted
at the Society for Contemporary Craft (SCC) for The Prize, a
$5,000 cash prize plus award. The award, given in conjunction
with a juried exhibition at SCC, a corresponding catalogue and a
feature video on the winning artist, is funded by the daughters
of Elizabeth R. Raphael, the founder of SCC and a nationally
known figure in the contemporary art scene for several decades.
This year’s prize will be awarded in the category of glass, on the
basis of an entry that has been created within the previous 12
months and addresses the theme of “transformation.” Artists are
asked to submit slides of work and a CV to SCC by Feb. 16, 2007.
In addition to the prize-winning artist, a selection of entries will
receive honorable mention and will be included in the Founder’s
Prize exhibition to be held at SCC from Sept. 7, 2007 - Jan. 12,
2008. Artists wishing to receive a prospectus or Information:
SCC, 2100 Smallman St., Pittsburgh, PA 15222,Tel: 412-261-7003,
info@contemporarycraft.org, www.contemporarycraft.org
Mixed Media Student Competition Exhibition Call to all arts
and crafts students of 16 and over attending part time courses
in colleges, adult community or further education in Great
Britain on both accredited and non-accredited, public and
private courses. Equally, this also applies to Students attending
V&A Workshops. Entries should not be in a medium in which
you have a professional qualification or in one which represents
your main occupation. Participants create a work of art inspired
by the collections of either the Victoria & Albert Museum, South
Kensington, London or the V&A Museum of Childhood, Bethnal
Green, London. Entries are judged by a panel of curators and the
winners and other selected works are displayed in the museum
of their inspiration. Winners in their category also receive a prize.
Deadline Feb. 16, 2007, by post to: ‘Inspired By’ Competition.
Learning & Interpretation Dept, Victoria & Albert Museum, Cromwell
Gardens, South Kensington, London. SW7 2RL, England. Tel:
020 7942 2533, e.cirier@vam.ac.uk, www.vam.ac.uk/inspiredby.
For information: ceramicsandglass@vam.ac.uk, www.vam.ac.uk
Side By Side Exhibition Applications are invited from professional
makers working in the field of glass whose work demonstrates
originality, creativity and high quality. The exhibition is
a collaboration between the Contemporary Glass Society and
the Devon Guild of Craftsmen to celebrate the 10th anniversary
of CGS, coinciding with a major glass conference at the Eden
Project, Sept. 28-30, 2007. Closing date Feb. 1, 2007. Information:
Contemporary Glass Society, c/o Broadfield House Glass
Museum, Kingswinford, West Midlands, DY6 9NS, England,
Tel: +44 (0) 1603 507737, admin@cgs.org.uk, www.cgs.org.uk
Silent Conversations Exhibition Entries are being accepted
March 16 - May 6. Art provokes conversation. The idea of silent
conversations derives from a genre of paintings called a sacra
conversazione developed during the Italian Renaissance where
characters within the work would seem as if they were talking
with each other. This exhibition explores the dialog between
two or more objects that communicate tension between forms
through touching, placement of materials, or relationship with
negative space. An entry must consist of at least two pieces that
interact with each other and be made from metals, fiber, clay,
wood, or glass. Non refundable entry fee for two entries is $25,
checks made payable to Craft Alliance. Artist may submit up
to two slides per work. All accepted artwork must be for sale.
Deadline Jan. 26. Information: Craft Alliance, 6640 Delmar Blvd,
St. Louis, MO, 63130,Tel: 314-725-1177, ext 323, exhibitions@
craftalliance.org, www.craftalliance.org
Apprenticeships
One and Two-Month Apprenticeships in Tuscany, Vetrate
Artistiche Toscane, Via della Galluzza, n. 5, Siena, 53100, Italy, Tel:
+39 0577 48033, edu@glassisland.com, www.glassisland.com,
Vetrate Artistiche Toscane specializes in the creation of stained,
painted and fused glass. Siena was the first centre of stained
glass manufacture and design in Italy and Vetrate Artistiche
Toscane continues this tradition. The Studio handles original
commissions and restoration work (classical and modern
stained glass) in both religious and secular subjects. Fused glass
projects are also a part of our production. Techniques, materials,
tools, design of cartoons and patterns, glass cutting, experience
in using and matching different types of glass, basics of painting
technique: grisaille, enamels, media, tracing, matting, leading,
soldering and cementing, kiln operating, glass fusing, combining
leaded, fused and painted glass, installation on site. English is
spoken in the studio. Intensive hands-on courses also available.
For Rent
Studio Rental at Glasmuseet Ebeltoft, Strandvejen 8, Ebeltoft,
DK 8400, Denmark, Tel: +45 86 34 17 99, PAA@glasmuseet.dk,
www.glass.dk. Hire our newly built studio for 14 Euro per day
(normally 87 Euro) plus cost of gas and glass (Philips batch)
(average 95 Euro/day). Our Studio Manager Leif Møller Nielsen
has been running the studio for the last couple of months and
all the equipment is now ready. The hot glass studio has: 1
Cerama melting furnace, 2 glory holes (small & large), 1 annealing
oven, 1 large Cerama fusing/slumping kiln, 10 blowpipes
and punties in various sizes, wooden blocks in various sizes. The
studio can be hired for single days or for longer periods of time.
This also applies to the cold working workshop, which can now
also be hired. The cold working shop includes: 1 belt sander, 1
lathe grinding wheel, 1 sandblaster, 1 flatbed for diamond discs.
To guarantee a period in the studio in 2007, book as soon as
possible. For technical info, please contact: Studio Manager Leif
Møller Nielsen leifmnielsen@yahoo.dk or tel. +45 2253 0602.
Contact: Anna Ibrahimi ami@glasmuseet.dk or +45 8634 1799.
For Sale
Diamond Grinder for Sale, Whitehead Glass Studio, PO Box
1112, Port Orford, OR, 97465, Tel: 541-332-2300, twhite@
webenet.net. New 18- inch diamond grinder for sale: $1350
complete. The same unit as a kit $700 (requires welding).
Hot Glass Studio Equipment for Sale, La Sorgente Glass
Studio, 18 E Jefferson St, Media, PA, 19063, Tel: 610-892-9547,
Fax: 610-892-0482, tom@nightorbs.com. Used only 3 seasons.
Photos can be seen at www.lasorgenteglass.com, under studio.
Items: John Childs Design furnace with recuperator, natural
gas, all safety systems. Size 72” h, 65” w and 65” d. New 550 lb.
glass crucible, Powers Model 135, DIN process controller; large
frontloading annealer, inside dimensions: 67” h, 53” w, and 23” d.
Two thermocouplers; John Childs top-loading annealer, inside
dim: 44” x 30” x 22” d; color furnace, electric using starbars, xtra
starbars included 3-16 lb. pots and two 6 lb. pots. 52” w, x 30” d
by 25” h, well built and on wheels. Plus many other items.
Hot Shop Equipment Available, by piece or complete workshop.
Please e-mail for images and prices. Contact: 306 Chace Street,
Santa Cruz, CA 95060. Tel: 831-459-0169, theglassbloke@
hotmail.com, schmuckglass.com.
Seeking
Either a Spatzier Engraving Lathe or a Merker KMK 1 portable
unit. Or both. Any condition. Contact: 306 Chace Street, Santa
Cruz, CA 95060. Tel: 831-459-0169, theglassbloke@hotmail.com,
schmuckglass.com.
Grants/Residencies
Washington State GAP Grants, Artist Trust, 1835 12th Ave,
Seattle, WA, 98122, Tel: 206-467-8734, Fax: 206-467-9633,
info@artisttrust.org, www.artisttrust.org, Grants for Artist
Projects, the GAP awards, provide support for artist-generated
projects, which can include (but are not limited to) the
development, completion or presentation of new work.
Projects created in all disciplines are eligible. GAP awards offer
a maximum of $1,400 for projects. A multidisciplinary panel
of artists and arts professionals from around Washington State
select GAP recipients. Deadline: Feb. 2007.
Glass Graduate Program with Assistantship at SIU School of
Art and Design of Southern Illinois University Carbondale offers
a three-year graduate program (MFA) featuring specialization
in glass. We feature a very extensive graduate assistantship
program that can provide you with teaching experience, tuition
waivers, and a monthly stipend. Graduate students are provided
with private studios and access to newly upgraded glass facility
including new cold shop, cutting and engraving lathes, casting
kilns, and hot shop. Travel funds may be available for exhibitions
and conferences. Resources include the several-thousand
square-foot Surplus Gallery; extensive ceramics, glass, small
metals, foundry, printmaking, and sculptural facilities; and digital
still and video cameras, digital projectors, and Macintosh computer
labs. Applications due Feb. 1, 2007. For more information:
Southern Illinois University Carbondale, School of Art & Design,
403, Carbondale, IL, 62901, Tel: 618-453-7772, jiyong@siu.edu,
ww.artanddesign.siu.edu
Resident Artist Program Living Arts Centre program provides
opportunities for a blend of recent graduates of arts and design
institutions as well as mid-career artists to create, learn, and
exchange ideas in a multi-disciplinary and collaborative studio
environment. Information: Living Arts Centre, 4141 Living Arts
Dr, Mississauga, ON, L5B 4B8, Canada, Tel: 905-306-6161,
samantha.pawley@livingarts.on.ca, www.livingartscentre.ca
Job Opportunities
Studio Assistant Position Hot glass studio accepting applications
from hard-working, unique and motivated individuals.
Glassblowing and hot-casting experience preferred, cold-shop
experience optional. Duties include charging, blowing & casting,
heavy lifting, sand-molds, packing/shipping, cold-shop and/or
studio maintenance, pay dependent on experience. Furnished
studio apartment available for serious applicants interested in
one-year residency. Studio time for trade. Whiners, slackers, and
smokers need not apply. To apply: send resume with references
& slides or photos with SASE. For more information call 813-267-
1762 or contact: Phoenix Glass Studio Inc., 811 E Knollwood St,
Tampa, FL, 33604, Tel: 813-237-3473, gottglass@msn.com,
www.gottglass.com

seminars, conferences, events
Other Opportunities
Volunteer Torchers and Fusers Needed Aquila Art Glass Studio
and Best Mix Products, 1628 N Columbia Blvd Unit F, Portland,
OR, 97217, Tel: 503-240-9449, info@aquilaartglass.com, www.
aquilaartglass.com. Aquila Art Glass Studio makes beads and
pendants for Beads of Courage (in Tucson, AZ) and Journey
Beads (Immanuel Hospital here in Portland) for the kids who
have this awful affliction. Every third Thursday we gather and
using donated glass from Uroboros, Glass Alchemy and Northstar,
gas donated by Aquila Glass School and the artists skill we
make glass pieces to donate to kids who really need them. See
website under Kids-N-Glass for details. We need everyone to
make and clean beads and pendants (both torchers and fusers).
Summer Studio Rental Espace VERRE is a school and studio
located in Montreal, Quebec, Canada. During the summer we
are renting our studios to professional glass artists. To use our
facilities, please see the regulations and fees on our website and
contact the head technician, François Perreault. More details at:
administration@espaceverre.qc.ca. Espace VERRE Centre des
métiers du verre du Québec, 1200 rue Mill, Montréal, QC, H3K
2B3, Canada, Tel: 514-933-6849, Fax: 514-933-9830,
direction@espaceverre.qc.ca, www.espaceverre.qc.ca
Publications
E-Merge 2006 Catalog, Bullseye Connection Gallery, 300 NW
13th Ave, Portland, OR, 97209, Tel: 503-227-0222, lanimcgregor@
bullseyeglass.com, www.bullseyeconnectiongallery.com,
Bullseye presents the e-merge show in a full-color catalog. This
48-page 8.5” x 11” exhibition catalog will be available in January
2007. The price is $25/catalog. Shipping costs are not included.
Licensing Art 101, 2nd Edition Don’t get ripped off in the
licensing industry! This book will help demystify the licensing
industry with step-by-step tactics of how to go about getting
your artwork licensed. This 2nd edition contains a wealth of
ideas and practical examples of how artists can increase their
income through licensing reproduction rights to manufacturing
and publishers. ARTNETWORK, PO Box 1360, Nevada City,
CA, 95959, Tel: 530-470-0862, info@artmarketing.com,
www.artmarketing.com
New Publications and a New Flameworking Video Now
available are: European Glass Furnishings for Eastern Palaces, by
Jane Shadel Spillman, 144 pages and 125 illustrations; New Glass
Review 27 by The Corning Museum of Glass staff, 126 pages
and 199 illustrations; and An Introduction to Flameworking with
Emilio Santini, (Foundations Series, Volume 2), 34 minutes, DVD
or VHS. Information: The Corning Museum of Glass, One Museum
Wy, Corning, NY, 14830, Tel: 607-937-5371, contactus@cmog.org,
www.cmog.org
Reflections: A Decade of North Lands Creative Glass A new
hardback exhibition catalogue, is now available. This full-color
catalogue shows over fifty images of contemporary glass
from around the world from the North Lands Creative Glass
Permanent Collection and of the current exhibit at the Royal
Museum/Museum Of Scotland in Edinburgh to celebrate our
tenth anniversary. Catalogues are priced at £15.00 + (postage
which will be in the region of just over £2.00 for 2nd class within
Great Britain, approximately £4.00 for Europe and £7.50 for
the rest of the world). North Lands Creative Glass, Quatre Bras,
Lybster, Caithness, KW3 6BN, Scotland, Tel: +44 1593 721 229,
info@northlandsglass.com, www.northlandsglass.com
A Celebration of Contemporary Glass: 10 x 10. From Aug.
26 to Nov. 4, 2007 CGS will be promoting a number of events
in the South West of England, together with many partners,
to celebrate its 10th Anniversary. Included in this extensive
program will be: an open submission Glass Exhibition entitled
SIDE by SIDE, at Bovey Tracey, Sept. 22 - Nov. 4, in partnership
with The Devon Guild of Craftsmen and a Glass Conference
“Looking into Glass” at the Eden Project Sept. 28 - 30, 2007.
Contemporary Glass Society, c/o Broadfield House Glass
Museum, Kingswinford, West Midlands, DY6 9NS, England,
Tel: +44 (0) 1603 507737, admin@cgs.org.uk, www.cgs.org.uk
American Glass Guild’s 2nd Annual Conference July 25-29,
2007 at the Hilton Hotel, Providence, RI. National and
international notables will be making presentations and
participating in panel and group discussions geared toward
the sharing and exchange of information. There will also be
another fabulous glass art auction. Information: American
Glass Guild, 148 Main Street Ste B1, Lebanon, NJ, 08833,
info@americanglassguild.org, www.americanglassguild.org
Artifact International Contemporary Arts Fair April 21-23,
2007 in at the Belfry in Bruges, Belgium. Information:Artifact,
Kanselarijstraat 19, Brussels, B-1000, Belgium, Tel: +32 2 227 49
02, info@artifact.be, www.artifact.be
Artist Trust’s 20th Anniversary Benefit Art Auction Feb. 3
at the Seattle Center, Seattle, WA. Information: Artist Trust,
1835 12th Ave, Seattle, WA, 98122, Tel: 206-467-8734,
info@artisttrust.org, www.artisttrust.org
CODA 2007 Conference June 14-17 in Calgary, Alberta,
Canada as part of Canadian “Craft Year 2007”, a nation-wide
festival of professional craft with hundreds of events.
CODA will explore the vibrant, growing inter-relationship of
American and Canadian craft practice at its annual conference,
hosted by the Alberta Craft Council at the Alberta
College of Art and Design. The theme of this year’s conference
“Craft Has No Boundaries” will provoke discussions
on the future of craft and will include topics such as Young
Professionals in Craft Culture, Cross Border Partnerships,
Canadian Connections, Making and Developing Media
Contacts, Identities in Fine Craft - investigating issues of
global competition and how the aspect of identity (ideas,
cultural distinctiveness and innovation) create the distinguishing
edge. Information: Craft Organization Development
Association, PO Box 59, Onia, AR, 72663, Tel: 870-746-4396,
info@codacraft.org, www.codacraft.org
Glass Bead Extravaganza May 5, 2007 at the Aremnian
Cultural Center, Watertown, MA. The Boston Chapter of the
Society of Glass Beadmakers presents a member show and
sale of contemporary handmade glass beads and jewelry.
Information: International Society of Glass Beadmakers, 1120
Chester Ave #470, Cleveland, OH, 44114, Tel: 888-742-0242,
ddugina@isgb.org, www.isgb.org
Glass Processing Days June 15-18, 2007 in Tampere, Finland.
Information: TAMGLASS Ltd. Oy / GPD Glass Processing Days,
Vehmaistenkatu 5, Tampere, 33730, Finland, Tel: +358
3 382 3280, Fax: +358 3 382 3285, gpd@glassfiles.com,
www.glassprocessingdays.com
Glass Technology 2007 Sept. 20-23, in Istanbul, Turkey.
Master Fair Company is proud to announce the only trade
fair dedicated to glass industry in the region of Turkey,
the 4th International Fair for Glass and Glass Technology.
Information: Master Fair Company, Çobancesme Sanayi Cd.,
Yenibosna Istanbul, 34530, Turkey, Tel: +90 212 452 74 50,
info@glasstechnology.org, www.glasstechnology.com.tr
Hottest Hot Jams Ever PGC is enhancing its First Friday
open house events called “Hot Jams” beginning on Friday,
Jan. 5. The free open houses will feature heat-defying acts of
art in PGC’s state of the art flameworking and glass blowing
studios! PGC will offer live entertainment, refreshments and
a chance to “Make-it-Now” for people who would like to give
glassworking a try. For $25, participants are given the opportunity
to design and make their own glass paperweight with
the help of PGC’s instructors. Free and open to the public.
Pittsburgh Glass Center, 5472 Penn Ave, Pittsburgh, PA, 15206,
Tel: 412-365-2145 ext 202, karen@pittsburghglasscenter.org,
www.pittsburghglasscenter.org
Lecture by Marvin Lipofsky Feb. 8, at the San Francisco
Museum of Craft + Design, San Francisco, CA. Marvin Lipofsky
founded the CCA Glass Program in the summer of 1967 after
receiving his MFA at the University of Wisconsin in 1964,
where he studied with Harvey Littleton. Marvin will tell his
story of the founding of the American Studio Glass movement
and the CCA Glass Program. Also, Feb 17, will be a
studio visit with Marvin Lipofsky. Marvin Lipofsky’s Studio is
both a work space and an exhibition space. Join us to learn
about Lipofsky’s complex creative process and see a broad
range of his work. Advocate level members only/space
limited/reservations required. To become an Advocate level
member or find out more: San Francisco Museum of Craft
+ Design, 550 Sutter St, San Francisco, CA, 94102,
Tel: 415-773-0303, info@sfmcd.org, www.sfmcd.org
Northern Virginia Fine Arts Festival May 19-20 at the
Greater Reston Arts Center in Reston, VA. Information: Greater
Reston Arts Center, 12001 Market St Ste 103, Reston, VA,
20190, Tel: 703-471-9242, msaunders@restonarts.org,
www.restonarts.org
Philadelphia Buyers Market of American Craft Feb. 16 -19
at the Pennsylvania Convention Center, Philadelphia, PA. This
is a wholesale trade show that provides artists a professional
venue to build relationships with craft buyers from all across
the country. Approximately 1,500 artists exhibit annually to
more than 9,000 buyers from 3,000 companies across the
United States and Canada. The show, held every February
and August at the Pennsylvania Convention Center in
Philadelphia, sees more than $42 million in sales each year.
Information: The Rosen Group, 3000 Chestnut Ave Ste 300,
Baltimore, MD, 21211, Tel: 410-889-2933 ext. 218,
info@rosengrp.com, www.americancraft.com
Experience Glass Blowing in Seattle
at the McKinney House
The McKinney house is a private Seattle home with a state-of-the-art glass blowing studio
on the premises. Three to six month leases for individual rooms are available year round
to glass blowing students, artists, and enthusiasts worldwide. All amenities are included.
Just bring your suitcase. We’re looking forward to meeting you.
Blow Glass at Home
• 3 bedrooms, 1 ½ bathrooms, washer, dryer,
dishwasher
• Minutes from Seattle Center, grocery stores,
bus line, library, shops, park, local pool, marina
• Phone, cable TV, Internet access
• Fireplace, hardwood floors;
private, fenced backyard
In a Private, Fully Tooled Studio
• Stocked with world’s finest glass: Spruce Pine batch
• 300-gallon crucible, 3 annealers, electric furnace,
1 color box
• Automated, state-of-the-art equipment for
private use
• Excellent ventilation. 100% up to code certification
11
For details and online photos, contact Stephanie and Doug McKinney:
(425) 830-6690, mckinneyink@verizon.net

classes + workshops
12
Please Note: Publication of notices is for information
purposes only and does not necessarily indicate endorsement
by the Glass Art Society.
We are happy to include information as supplied to us by
various sources. Please send us your press releases and notices
including specific, current facts as far in advance as possible to:
GAS, 3131 Western Avenue, # 414, Seattle, WA 98121 or e-mail
to: Shannon@glassart.org. GAS news is a bi-monthly publication.
Members receive their newsletters approximately 6-8 weeks
after the deadline.
Upcoming Newsletter Deadlines:
February 1 for the April/May 2007 issue
April 1 for the June/July/August 2007 issue
We look forward to hearing from you.
U N I T E D S T A T E S
FLorida
Newy Fagan Studio, PO Box 336, Ocklawaha, FL, 32183,
Tel: 352-288-1426, newyf@aol.com, www.newyfagan.com
Feb. 2-4: Comprehensive Introduction to Kilnformed Glass/
Newy Fagan
Feb. 9-11: Advanced Techniques in Kilnformed Glass/Newy Fagan
ILlinois
Ed Hoy’s International, 27625 Diehl Rd, Warrenville, IL, 60555,
Tel: 800-323-5668/630-836-1353, Fax: 630-836-1362,
ehoy@edhoy.com, www.edhoy.com
Feb. 16: Etching Dichroic Glass/Cheryl Frech
LouisianA
Andrew Jackson Pollack, 4811 Tchoupitlulas, New Orleans, LA,
70115, Tel: 504-723-8235, apollack420@msn.com,
www.andrewjacksonpollack.com
Jan. 20-21: Torchworking/Andrew Jackson Pollack
Feb. 2-3: Torchworking/Andrew Jackson Pollack
Feb. 24-25: Torchworking/Andrew Jackson Pollack
Mar. 10-11: Torchworking/Andrew Jackson Pollack
Mar. 24-25: Torchworking/Andrew Jackson Pollack
MarylanD
Art of Fire, Inc., 7901 Hawkins Creamery Rd, Laytonsville, MD,
20882, Tel: 800-639-6979/301-253-6642, Fax: 301-391-6818,
artofire@verizon.net, www.artoffire.com
Mid-Atlantic’s largest state-of-the-art studio, 1 hour from
Washington, D.C. Classes at all levels, monthly scheduling
through June, 2007. Furnace rental available. Reference website
or call for more information and pricing.
MIchigan
Eberhart Studio, 3154 Shamrock Ct, Ann Arbor, MI, 48105, Tel:
734-764-3385, harald@eberhartglass.com, www.eberhartglass.com
Mar. 31- Apr. 1: 3-D Neon/Argon Plasma Flame Glassblowing
(No Electrodes for Advanced Students)/Harald Eberhart
Apr. 12-15: Pyrex Flame Glassblowing (all levels)/Harald Eberhart
Apr. 26-29: Pyrex Flame Glassblowing (all levels)/Harald Eberhart
New jersey
Carlisle School of Glass Art, 412 S Wade Blvd, Millville, NJ, 08332,
Tel: 800-922-1167/ 856-825-0627, carlisle@carlislemachine.com,
www.carlisleschoolofglassart.com
Jan. 13: Boro Bead Blast/Lauri Copeland
Jan. 14: Boro Bead Blast II/Lauri Copeland
Jan. 15: Off Mandrel Workshop/Lauri Copeland
Feb. 9-10: Boro Lampworking-Pendants/Chris Roesinger
Feb. 11-12: Boro Lampworking-Marbles/Chris Roesinger
Feb. 17-18: Floral Gardens/Kim Fields
Mar. 20-24: Loren II/Loren Stump
New York
Creativity Workshop, 245 E 40th St Ste 25H, New York, NY, 10016,
Tel: 866-217-1980/212-922-1555, questions@creativityworkshop.
com, www.creativityworkshop.com
Founded in 1993, the Creativity Workshop is dedicated to
teaching people about their creativity and how to spark it and
use it in all aspects of life, work, and creative expression.
Crete: June 17-26, 2007
Prague: June 26 - July 5
Bruges: July 5-14
Florence: July 13-22
Barcelona: July 21-30
Dublin: July 29 - August 7
Hafner Studio, 180 Varick St #502, New York, NY, 10014, Tel: 212-
337-3795, info@dorothyhafner.com, www.dorothyhafner.com
“Glass as a Painterly Medium” is the theme of fusing and kiln
forming workshops in the studio of artist Dorothy Hafner.
Classes are small and intimate, 2 - 4 only per class and all levels
are taught. Call or email for complete spring 2007 schedule.
Next group session begins Feb. 7.
The Studio of The Corning Museum of Glass, One Museum Way,
Corning, NY, 14830, Tel: 607-974-8914/6467, Fax: 607-974-6370,
thestudio@cmog.org, www.cmog.org
WINTER PROGRAM:
Session One
Jan. 8-13: Blowing and Sculpting/Martin Janecky; Flameworking
for Everybody/Emilio Santini; Finding Your Way with
Kiln-Cast Glass/Sheila Mahut; Beginning Glassblowing/
Ray Friday
Session Two
Jan. 15-20: Sculpting from Nature/Treg Silkwood; Flameworking
Using Ultimate Details/Loren Stump; Enhance Your
Glass/Martha and Ed Biggar; Next Steps in Glassblowing/Bob
Handley
Session Three
Jan. 22-27: An In-Depth Introduction to Venetian Techniques/
William Gudenrath; Working with Color in Borosilicate
Glass/Suellen Fowler; Kiln-Cast Glass/Mark Abildgaard;
Cold Construction/Martin Rosol
Session Four
Jan. 29 - Feb. 3: An In-Depth Introduction to Venetian Techniques/
William Gudenrath; Bead Intensive/Caitlin Hyde;
Mold Making and More/Lucartha Kohler
Session Five
Feb. 5-10: Using Color Bar in Glassblowing/Eric Meek; Glass
Panels: An Artistic Breakthrough/Paul Stankard and
Gary Beecham; Painting the Void: Sandblasting and
Vitreous Painting/Denise Stillwaggon Leone
Session Six
Feb 12-17: Great Venetian Glassblowing/Elio Quarisa; An Introduction
to Flameworking/Alex Hamilton; Introduction
to Fused and Slump-Molded Glass/Mark Ditzler
Session Seven
Feb 19-24: Great Venetian Glassblowing/Elio Quarisa; The Eclectic
Goblet/Shane Fero; Exploring Surface Texture in
Depth/Eric Hilton and George Kennard
ORegon
Bullseye Glass Co., 3722 SE 21st Ave, Portland, OR, 97202,
Tel: 503-232-8887, Fax: 503-238-9963, classes@bullseye-glass.com,
www.bullseye-glass.com
Jan. 15: Kilncast Glass & Cold Working/Bullseye Staff
Jan. 22: Pâte de Verre/Alicia Lomné
Jan. 29: Platemaking Basics/Bullseye Staff
Feb. 2: Glass Cutting/Bullseye Staff
Feb. 3: Beginning Beadmaking (2-day)/Bullseye Staff
Feb. 5: Intro to Kilnformed Glass/Bullseye Staff
Feb. 12: Platemaking Basics/Bullseye Staff
Feb. 17: Growing Large Sculptures/Susan Longini
Mar. 2: Beginning Beadmading (3-day)/Larry Brickman
Mar. 3: Ways of Thinking, Making/Jane Bruce and Steve Klein
Mar. 12: Painting with Light/Bullseye Staff
Mar. 19: Set Your Kiln on Fire/Bullseye Staff
Mar. 30: Glass Cutting/Bullseye Staff
Mar. 31: Intro to Slumping/Bullseye Staff
This season we are also continuing our popular series of artist
presentations and demonstrations at the Bullseye Resource
Center which are scheduled on occasional Sunday afternoons.
Reservations are required. Details included in the class schedule.
Chemeketa Community College, PO Box 14007, Salem, OR,
97309, Tel: 503-365-4717, lhagner1@chemeketa.edu, programs.
chemeketa.edu/glass
Chemeketa offers for credit and non-credit classes in flameworking,
fusing and slumping, kiln casting, stained glass, and mosaics.
Hot Glass Horizons, 15500 NE Kincaid Rd, Newberg, OR, 97132,
Tel: 503-538-5281, fusionhq@aol.com, www.hotglasshorizons.com
May 9-12: Class taught by GIl Reynolds
Lincoln City Visitor & Convention Bureau, 801 SW Hwy 101,
Ste 1, Lincoln City, OR, 97367, Tel: 800-452-2151/ 541-996-1274,
vickil@lincolncity.org, www.oregoncoast.org
Classes offered are Beginning Glassblowing, Sand Casting,
Make Your Own Paperweight, and Blow Your Own Float. Free
demonstrations are Wed-Sun. All classes held at the Jennifer L.
Sears Glass Art Studio in Lincoln City and classes are taught by
Jon Myers, Kelly Howard, James Benson, and Daniel Millen.
PennsylvaniA
Pittsburgh Glass Center, 5472 Penn Ave, Pittsburgh, PA, 15206,
Tel: 412-365-2145 ext 202, karen@pittsburghglasscenter.org,
www.pittsburghglasscenter.org
Spring Break Intensives
Apr. 2-6: Intensive Goblet Workshop/Jim Mongrain
Apr. 2-6: Intensive Jewelry Techniques and Flower Construction/
Margaret Neher
Glass Workshops – PGC offers many three-hour workshops from
bead making to paperweights and fusing.
Multi-Day Workshops: beginning Jan. 15
Cane Workshop/Stephen Protheroe
Advanced Glassblowing Workshop - Encalmo Technique/Drew Hine
Seven-Week Glass Classes
PGC offers in depth classes for beginners and advanced students.
All classes meet once a week (beginning Jan. 15) for 3.5 hours.
Classes include: Get Your Feet Wet Goblet Class; Introduction to
Hot Glass (Glassblowing I); Hot Glass (Glassblowing II); Hot Glass
(Glassblowing III); Flameworking I FUNdamentals; Flameworking
II - Molding Moretti
Flameworking II - Blowing Boro; Beginner Beadmaking; Beadmaking
II; Introduction to Fusing and Slumping; Fused and
Slumping Design; Introduction to Kiln Casting
Special Collaboration with Society for Contemporary Craft
Jan. 20 & 27: PGC and Society for Contemporary Craft, also
located in Pittsburgh, will join forces to present a two-day
workshop called Glass Bead Jewelry taught by Darlene
Durrwachter Rushing and Melissa Davenport. Class held at PGC
on Jan. 20 and at SCC on Jan. 27.
Tennessee
Arrowmont School of Arts & Crafts, PO Box 567, Gatlinburg, TN,
37738, Tel: 865-436-5860, Fax: 865-430-4101, info@arrowmont.
org, www.arrowmont.org
Mar. 11-17: 3-D Kiln Casting Step By Step/Paul Kimball
Mar. 18-24: Leading, Painting & Beveling for Stained Glass/
Carl Powell
Mar. 25-31: Glass Fusing for Beginners/Linda Banks
WAshington
Pratt Fine Arts Center, 1902 S Main St, Seattle, WA, 98144,
Tel: 206-328-2200, info@pratt.org, www.pratt.org
CASTING
Jan. 17- Mar. 7: Glass Casting I/Cathy Chase
Feb. 17- Mar. 10: Glass Casting II/Chad Holliday
GLASSBLOWING
Jan. 21- Mar. 11: Glassblowing I/Chuck Lopez
Jan. 22- Mar 12: Glassblowing II/Paula Stokes
Jan. 16 - Mar. 6: Glassblowing III/Cayn Thompson
Feb. 4 - Mar. 11: High School Glassblowing/David Minetti
Jan. 25 - Mar. 1: Introduction to Goblets/Eric Mead
Jan. 20-21: Introduction to Glassblowing/Carrie Mood;
Introduction to Glassblowing/Josie Gluck
Feb. 10-11: Introduction to Glassblowing/Carrie Mood
Mar. 10-11: Introduction to Glassblowing/Carrie Mood
Feb. 16-17: What to Make, and How to Make it/Michael Fox
Jan. 13-14: Incalmo/Chuck Lopez
Mar. 2-3: Veiled Cane/Chuck Lopez
Jan. 25-28: Glassblowing and Sculpting/Martin Janecky
Jan. 31- Feb 3: Hot or Not?/Ethan Stern and Sean O’Neil
COLDWORKING WORKSHOPS
Jan. 20-21: Introduction to Coldworking/Pat Bako
Mar. 3-11: Advanced Cold Working/Paul Larned
MASTER ARTIST INTENSIVE WITH LARRY BRICKMAN
Feb. 3-5: Bigger, Better, and More Dots/Larry Brickman
KILN CASTING
Jan. 9 - Feb 27: Kiln Casting I/Susan Balshor
Feb. 17-18: Kiln Casting with Image on the Inside: Hollow
Form and Cores/Susan Balshor
Feb. 3-10: Pate de Verre/Delores Taylor
Mar. 8-11: Photo Kilnforming/Laura Ward
FUSING
Jan. 16 - Mar. 6: Fusing I/Dianne Rasmussen
Jan. 10 - Feb. 28: Fusing I/Robin Oakes
Jan. 11- Feb. 15: Fusing II/Jeanne Ferraro
Mar. 3-5: Advanced Fusing and Design Elements/
Patty Gray
Feb. 10-24: Fusing II: Pattern Bars and Beyond/Pat Bako
Jan. 27-28: Introduction to Fusing and Slumping/Pat Bako
Jan. 20: Fusing with Family and Friends/Robin Oakes
Feb. 3-4: Fusing for the Home/Robin Oakes
FLAMEWORKING
Jan. 16 - Feb. 20: Flameworking I: Solid Sculptures/
Melinda Wellsandt
Jan. 18 - Feb 22: Flameworking II/Nat Franco
Feb. 17-18: Stems and More/Cheryl Matson
BEADMAKING
Jan. 17- Feb. 21: Glass Beadmaking I/Stacy Frost
Jan. 31- Feb. 21: Independent Projects in Beadmaking/Stacy Frost
Feb. 1-22: Refining Your Beadmaking/Elaine Alhadeff
Feb. 10-11: Drawer Pulls/Stacy Frost
Jan. 13: Hearts and Valentines/Cheryl Matson
Jan. 27-29: Flamework and PMC - Putting It All Together/
Stacy Frost and Kendra Bruno
Jan. 20-21: Dichroic Glass Applications/Justin Bagley
Feb. 24-25: Window Beads/Cheryl Matson and Pat Bako
Mar. 10-12: Organic Beadmaking/Kimberly Jo Affleck
STAINED GLASS
Jan. 22 - Feb. 26: Stained Glass and Mosaics/Kim Mahar
I N T E R N A T I O N A L
AUSTRALIA
Australian National University, Glass Workshop School of Art,
Acton, ACT, 0200, Tel: +61 2 6125 5829, Fax: +61 2 6125 5722,
Richard.Whiteley@anu.edu.au, www.glassaustralia.anu.edu.au
Jan. 24-28: Explorations In and Out of the Kiln: Personal
Approaches to Kiln Formed Glass (intermediateadvanced)/Kirstie
Rea
Jan. 24-28: Squares, Etc: Hot Glass, Fusing and Cold Working
(intermediate-advanced)/Giles Bettison; Solid Light:
Kiln Cast and Cold Worked Glass (intermediateadvanced)/Richard
Whiteley; Marble Flame:
Flameworking for Marble & Pendent Making
(intermediate-advanced)/Alexandra Chambers

Sculptured Glass Australia, 5 Gloucester Rd, Buderimm, QLD,
4556, Fax: +61 07 54454702, sculpturedglass@bigpond.com,
Jan. 8-12: Casting Workshop
Jan. 22-26: Fusing & Forming Workshop
ENGLAND
House of Mirrors, 597 Kings Road, London, , SW6 2EL, Tel: +44
0207 736 5885, Fax: +44 0207 610 9188, info@houseofmirrors.
co.uk, www.houseofmirrors.co.uk
Feb. 10: Verre Églomiesé: Reverse Painting & Gilding On Glass/
Frances Binnington
Morley College, 61 Westminster Bridge Rd, London, SE1 7HT,
Tel: +44 020 7928 8501, Fax: +44 020 7928 4074,
enquiries@morleycollege.ac.uk, www.morleycollege.ac.uk
Jan. 9 - Mar. 20: Beginning Glass Engraving
Jan. 9 - Mar. 20: Intermediate Glass Engraving
GERMANY
Bild-Werk Frauenau, Postfach 105, Frauenau, D-94258, Tel: +49-
9926-180895, Fax: +49-9926-180897, info@bild-werk-frauenau.de,
www.Bild-Werk-Frauenau.de
SPRING – May 26 - June 3 (9 days)
Free Painting/Monika Schultes
Glass Engraving/Jaroslava Votrubová
Kiln Cast Glass/Hartmann Greb
Glass and Sounds/Helga Reay-Young & Limpe Fuchs
SUMMER / SESSION A – July 4 - 27 (14 days)
Free Painting/Jürgen Huber
Glass Prints and Monotypes/Kedron Barrett
Stained Glass/Ada Isensee
Kiln Cast Glass/Angela Thwaites
ITALY
Toffolo Gallery & Studio, FTA Vetrai 67/A, Murano, Venice, 30141,
Tel: +39 0 41 739183/ +39 0 41 736460 (studio), Fax: +39 0 41
5276532, info@toffolo.com, www.toffolo.com
Opportunities to study lampworking in Cesare Toffolo’s Studio in
Murano, Venice. To contact: info@toffolo.com
SCOTLAND
North Lands Creative Glass, Quatre Bras, Lybster, Caithness,
KW3 6BN, Tel: +44 1593 721 229, Fax: +44 1593 721 229, info@
northlandsglass.com, www.northlandsglass.com
2007 Masterclass Programme “Expression of Self”
June 30 - July 8: Place and Identity/Silvia Levenson
Aug. 22-30: A Philosophical Approach to Kiln Casting/
Clifford Rainey
Aug. 25-30: The Landscape in Ourselves/Emma Woffenden
Glass Art Society’s
37th Annual Conference
Pittsburgh, Pennsylvania
June 7-9, 2007
Register by April 2, 2007
for the lowest conference fee.
Register at: www.glassart.org
Don't forget to reserve your ad
in the new
GAS Directory & Resource Guide
by February 15, 2007. Visit
www.glassart.org/advertising.html
for a reservation form.
13

exhibitions
14
Please Note: Publication of notices is for information
purposes only and does not necessarily indicate endorsement
by the Glass Art Society.
We are happy to include information as supplied to us by
various sources. Please send us your press releases and notices
including specific, current facts as far in advance as possible to:
GAS, 3131 Western Avenue, # 414, Seattle, WA 98121 or e-mail
to: Shannon@glassart.org. GAS news is a bi-monthly publication.
Members receive their newsletters approximately 6-8 weeks
after the deadline.
Upcoming Newsletter Deadlines:
February 1 for the April/May 2007 issue
April 1 for the June/July/August 2007 issue
We look forward to hearing from you.
U N I T E D S T A T E S
Arizona
Mesa, Mesa Contemporary Arts, Tel: 480-644-6501,
Web: www.mesaartscenter.com, Molten: A National Juried
Exhibition of Glass and Neon Art, through 4/1/2007
Tucson, Philabaum Glass Gallery, Tel: 520-884-7404 (studio)/
520-299-1939 (gallery), E-mail: tphilabaum@qwest.net,
Web: www.philabaumglass.com, Philabaum Glass Gallery
celebrates its 25th Anniversary with a one-man exhibition
featuring the current work of its founder and curator,
Tom Philabaum, 2/3 - 4/7/2007
CaliforniA
San Francisco, San Francisco Museum of Craft + Design,
Tel: 415-773-0303, E-mail: info@sfmcd.org, Web: www.sfmcd.org,
CCA: A Legacy in Studio Glass. Focusing on the important
contributions made by CCA faculty and alumni to the American
studio glass arts movement and will be presented in conjunction
with the celebration of California College of the Art’s 100th
Anniversary, 1/26 - 4/8/2007
INdiana
Indianapolis, Indianapolis Art Center, Tel: 317-255-2464, E-mail:
dthomas@indplsartcenter.org, Web: www.indplsartcenter.org/,
Glass in the Flame: A Contemporary Exploration of Venetian
Design: Steve Sizelove, through 1/28/2007
MAssachussetts
Boston, The Society of Arts & Crafts, Tel: 617-266-1810, E-mail:
bgerstein@societyofcrafts.org, Web: www.societyofcrafts.org,
Our Cups Runneth Over, through 1/21/2007; Timeless Vessels,
2/1 - 4/22/2007
Missouri
St. Louis, Craft Alliance, Tel: 314-725-1177, ext 25, E-mail:
education@craftalliance.org, Web: www.craftalliance.org,
Silent Conversations, 3/16 - 5/6/2007
North Carolina
Charlotte, Mint Museum of Craft & Design, Tel: 704-337-2066,
E-mail: mpost@mintmuseum.org, Web: www.mintmuseum.org,
Observations: A Retrospective Exhibition of Works by Ann Wolff,
1/27 - 7/29/2007
New Jersey
Union, Kean University Art Gallery, Tel: 908-737-4407,
E-mail: neil@tetkowski.com, Natural Forces: New Sculptures
by Kathleen Mulcahy, 3/1 - 4/30/2007
New York
Corning, The Corning Museum of Glass, Tel: 607-937-5371,
E-mail: sternbenkym@cmog.org, Web: www.cmog.org,
Worlds Within: The Evolution of the Paperweight, through
3/16/2007, Supernatural: The Glass Flower of Harvard, through
11/25/2007, Curiosities of Glassmaking, 3/30 - 10/21/2007
New York, Museum of Arts & Design, Tel: 212-956-3535, E-mail:
holly.hotchner@madmuseum.org, Web: www.madmuseum.org,
Radical Lace & Subversive Knitting, 1/25 - 6/17/2007
OHio
Bowling Green, Bowling Green State University, Tel: 419-372-2786,
E-mail: stevec@bgsu.edu, Web: www.bgsu.edu/departments/art/,
Robert “Bud” Hurlstone Commemorative Exhibition in the
Williard Wankelman Gallery, through 1/18/2007
ORegon
Portland, Bullseye Connection Gallery, Tel: 503-227-0222,
E-mail: lanimcgregor@bullseyeglass.com, Web: www.bullseye
connectiongallery.com, Bullseye at Collect 2007, Victoria &
Albert Museum, London, England, 2/8 - 12/2007. Also: Claudia
Borella: A Passage From New Zealand, through 1/20/2007,
TRACE: Cobi Cockburn, Sylvie Vandenhoucke, Janice Vitkovsky,
through 1/13/2007, THE CASEY STORY: Art into Architecture,
1/19 - 2/24/2007, Martha Pfanschmidt, 3/2 - 4/21/2007,
Jun Kaneko, 3/16 - 7/28/2007, Richard Marquis, 5/3 - 6/16/2007
PennsylvaniA
Pittsburgh, Carnegie Museum of Art, Tel: 412-622-3131,
Web: www.cmoa.org, Translations and Transformations:
Glass in Venice and America, 1950-2006, 5/12 - 9/16/2007
Pittsburgh, Morgan Contemporary Glass Gallery, Tel: 412-441-5200,
E-mail: morglass@sgi.net, Web: www.morganglassgallery.com,
Teapots! First Invitational, through 1/12/2007
Pittsburgh, Pittsburgh Center For the Arts, Tel: 412-361-0873,
Web: www.pittsburgharts.org, Glass installation by Lindsay
O’Leary, Glass works by Chris Clarke, Kaley Finegan, and Brian
Frus, “Seeing is Deceiving” by Judi Charlson, 6/1 - 8/30/2007
Pittsburgh, Pittsburgh Glass Center, Tel: 412-365-2145 ext 202,
Fax: 412-365-2140, E-mail: karen@pittsburghglasscenter.org,
Web: www.pittsburghglasscenter.org, Nebula: Hilary Harp
and Suzie Silver, through 1/5/2007, Allure of Japanese Glass,
6/1 - 10/21/2007, Glass Birthday Suit, 2/2 - 4/8/2007
Pittsburgh, Senator John Heinz Regional History Center,
Tel: 412-454-6000, Web: www.pghhistory.org, Trajectories:
exploring the evolution of contemporary glass beadmaking.
Hosted by the International Society of Glass Beadmakers,
6/1 - 7/31/2007
Wayne, Wayne Art Center, Tel: 610-688-3553, Fax: 610-995-0478,
E-Mail: nancy@wayneart.org, Web: www.wayneart.org,
“Craft Forms 2006” 12th Annual National Juried Exhibition
Contemporary Craft, through 1/24/2007
Texas
Beeville, Coastal Bend College - Visual Arts Division, Tel: 361-354-
2322, E-mail: duryeaj@coastalbend.edu, Web: www.coastalbend.edu,
Student/Faculty Art Exhibition, 4/26 - 5/4/2007
Dallas, Kittrell/Riffkind Art Glass, Tel: 972-239-7957/ 888-865-2228,
E-mail: Artglass@KittrellRiffkind.com, Web: www.kittrellriffkind.com,
14th Annual Scent Bottle Invitational, 2/2 - 3/3/2007, New
Works in Glass: Danielle Blade & Stephen Gartner, Meko Designs,
Shayna Leib, Steven Main, and Ann Wasserman, 3/10 - 4/7/2007
WAshington
La Conner, Museum of Northwest Art, Tel: 360-466-4446,
E-mail: mona@ncia.com, Web: www.museumofnwart.org,
Entering Ether: Lanny Bergner, through 1/7/2007
Langley, Museo, Tel: 360-221-7737, E-mail: museo@whidbey.com,
Web: www.museo.cc, New Work in Glass and Mixed Media
by Brian Pike, 1/1 - 1/31/2007, New Work in Glass by Robert
Adamson, 2/1 - 2/28/2007
Tacoma, Museum of Glass: International Center for Contemporary
Art, Tel: 253-284-4750, E-mail: info@museumofglass.org, Web:
www.museumofglass.org, Transparently Built: A Group Show of
Glass Installations, through 5/27/2007, Contrasts: A Glass Primer,
through 11/30/2009, 8th Northwest Biennial, 2/10 - 5/6/2007
I N T E R N A T I O N A L
AUSTRALIA
Strawberry Hills, NSW, Object: Australian Centre for Craft and
Design, Tel: +61 (0)2 9361 4555, E-mail: object@object.com.au,
Web: www.object.com.au, Living Treasurers: Masters of
Australian Craft Klaus Moje: Glass, through 1/7/2007
Surry Hills, NSW, Sabbia Gallery, Tel: +61 2 9281 4717,
E-mail: anna@sabbiagallery.com, Web: www.sabbiagallery.com,
Annual Masters of Glass Exhibition: Claudia Borella,
Tim Edwards, Kevin Gordon, Klaus Moje, Emma Varga, and
Richard Whiteley, 1/24 - 2/18/2007
Tanja, NSW, Narek Galleries, Tel: +61 2 6494 0112, E-mail:
info@narekgalleries.com, Web: www.narekgalleries.com,
Fragments and the Still Life: Wendy Fairclough and Abigail
Howells, through 1/8/2007
Melbourne, VIC, Melbourne Museum, Tel: +61 3 8341 7777,
Web: www.melbourne.museum.vic.gov.au, Freestyle: New
Australian Design for Living, through 2/4/2007
CANADA
Toronto, ON, Sandra Ainsley Gallery, Tel: 416-214-9490,
E-mail: contact@sandraainsleygallery.com, Web:
www.sandraainsleygallery.com, Australian Glass 2006:
including Andrew Baldwin, Matthew Curtis, Kevin Gordon,
Richard Whiteley, through 1/5/2007
Waterloo, ON, Canadian Clay & Glass Gallery, Tel: 519-746-1882,
E-mail: info@canadianclayandglass.ca, Web: www.canadianclayandglass.ca,
Paul Stankard: Death, Sex, & God, through
1/7/2007
Montréal, QC, Espace VERRE Centre des métiers du verre du
Québec, Tel: 514-933-6849, E-mail: direction@espaceverre.qc.ca,
Web: www.espaceverre.qc.ca, Pate de Verre Exhibition,
15th Quebec Glass Artists on Show, through 1/12/2007
DENMARK
Ebeltoft, Glasmuseet Ebeltoft, Tel: +45 86 34 17 99, Fax: +45 86
34 60 60, E-mail: PAA@glasmuseet.dk, Web: www.glass.dk,
Twenty Years On: Inaugural New Wing Exhibition including
Laura Heyworth, Alison Kinnaird M.B.E., Alena Matéjková,
Anna Norberg, Stig Persson, and Emma Woffenden, through
1/21/2007, Young Glass 2007, 6/9 - 11/25/2007
Bernard Dejonghe, Cercle, at Galerie B, Sinzheim,
Baden-Baden, Germany
ENGLAND
Bath, Victoria Art Gallery, Tel: +44 01225 477232, Fax: +44 01225
477231, Web: www.victoriagal.org.uk, Dreams in Glass: Rachael
Woodman, through 4/1/2007
Devon, Devon Guild of Craftsmen, Tel: +44 01626 832223, E-mail:
devonguild@crafts.org.uk, Web: www.crafts.org.uk, Member’s
Showcase: Andrew Potter Solo Exhibition, through 1/17/2007
Liverpool, Bluecoat Display Centre, Tel: +44 151 709 4014,
E-mail: crafts@bluecoatdisplaycentre.com, Web: www.bluecoatdisplaycentre.com,
Applied Art For Archetecture Mixed Media
Exhibition: including Keîko Mukaïdé, 3/3 - 31/2007
London, Victoria & Albert Museum, Tel: +44 (0) 20 7942 2069,
E-mail: ceramicsandglass@vam.ac.uk, Web: www.vam.ac.uk,
Collect Craft Council Art Fair located in the Temporary
Exhibition Galleries, 2/8 - 12/2007
Manchester, Manchester Art Gallery, Tel: +44 0161 235 8888,
Web: www.manchestergalleries.org.uk, 21st Century Showcase:
Suresh Dutt Solo Exhibition, through 4/6/2007
Rugby, Rugby Art Gallery & Museum, Tel: +44 01788 533 201,
Web: www.rugby.gov.uk, Made In The Middle MAC Craftspace
Mixed Media Touring Exhibition: including Stuart Garfoot,
Dean Hopkins, Elaine Shelson and Dominic Cooney, and
Andres Walsh, through 1/14/2007
Sleaford, Lincolnshire, The Hub: National Centre for Craft & Design,
Tel: +44 01529 308710, E-mail: hub@leisureconnection.co.uk,
Web: www.thehubcentre.org, Peter Layton and Friends:
Celebrating 30 Years of London Glassblowing, 1/13 - 2/25/2007
Sunderland, Tyne & Wear, National Glass Centre, Tel: +44 (0) 191
515 5555, E-mail: info@nationalglasscentre.com,
Web: www.nationalglasscentre.com, Peter Layton and Friends:
Celebrating 30 Years of London Glassblowing, 3/2 - 4/16/2007
FRANCE
Sars-Poteries, Musée Atelier du Verre de Sars-Poteries,
Tel: +33 (0) 3 27 61 61 44, E-mail: museeduverre@cg59.fr, Totalidad
[Humanité-Spiritualité]: William Velasquez, through 1/8/2007
GERMANY
Coesfeld-Lette, Glasmuseum Alter Hof Herding, Tel: +49 25 46
93 050, Fax: +49 25 46 93 0550, E-mail: info@ernsting-stiftung.de,
Web: www.ernsting-stiftung.de, “Atschi” Achatz, Ronald Fischer,
Michael Gölker, G. Jo Hruschka, Stefan Stangl, and Alexander
Wallner, through 1/21/2007
Frauenau, Glasmuseum Frauenau, Tel: +49-9926-941020,
Fax: +49-9926-941028, E-mail: info@glasmuseum-frauenau.de,
Web: www.glasmuseum-frauenau.de, 50 Vasen - 50 Künstler:
including Mark Angus, Alison Kinnaird M.B.E. & Gerhard Ribka,
through 3/31/2007
Munchen, Alexander Tutsek-Stiftung, Tel: +45 89 343856,
E-mail: info@atutsek-stiftung.de, Web: www.atutsek.de, Das
Verlorene Gesicht Wieder Gefunden: The Face - Lost and Found
Again including Mark Bokesch-Parsons, Alison Kinnaird M.B.E.,
Clifford Rainey, David Reekie, Gerhard Ribka & Gareth Noel
Williams. A catalogue will be published for this exhibition,
through 3/30/2007
Sinzheim, Baden-Baden, Galerie B, Tel: +49 7221 85585, Fax: +49
7221 85585, E-mail: GlasgalB@aol.com, Web: www.galerieb.de,
Bernard Dejonghe, through 1/15/2007
NETHERLANDS
Martenshoek, Hoogezand, Galerie Werfkade, Tel: +31 0598 39 99 99,
E-mail: info@galeriewerfkade16.nl, Web: www.galeriewerfkade16.nl,
Charlie Macpherson & Amanada Notarianni, through 1/31/2007
SCOTLAND
Edinburgh, Museum of Scotland, Tel: +44 0131 247 4422,
Web: www.nms.ac.uk, The Cutting Edge Mixed Media Scottish
Crafts Touring Exhibition: including Ray Flavell, Joseph Boyle
and Yvonne Smith, Alison Kinnaird, Keîko Mukaïdé, Mai Ørsted
and Stephen Richard, 1/26 - 4/29/2007
Galleries/Museums/Artists
Please send images of work in upcoming exhibitions!
We prefer digital images (must be high-resolution) if
possible ( jpeg, tiff ). We also accept prints and 35mm slides.
E-mail to: Shannon@glassart.org or mail a disk to:
Glass Art Society, Attn: Communications Coordinator,
3131 Western Ave., #414, Seattle, WA 98121 USA

Glass Art Society
Board of Directors 2006-2007
President
Shane Fero
Treasurer
Pamina Traylor
Paula Bartron
Eddie Bernard
Robin Cass
Andrew Erdos
(Student Rep.)
Susan Holland-Reed
Vice President
Tommie Rush
Secretary
Beth Ann Gerstein
Ki-Ra Kim
Kim Koga
Jeremy Lepisto
Jutta-Annette Page
Chris Rifkin
Elizabeth Swinburne
Staff
Pamela Figenshow Koss, Executive Director
Patty Cokus, Executive Assistant / Registrar
Shannon Borg, Communications Director
Emily Bowen, Bookkeeper
Karen Skrinde, Database Manager
3131 Western Avenue, Suite 414
Seattle, Washington 98121 USA
Phone: (206) 382-1305 Fax: (206) 382-2630
info@glassart.org www.glassart.org
Reach Your Target Market
with a GAS Display Ad!
For information on advertising in GAS news
or other GAS publications, please contact
the GAS office at 3131 Western Avenue,
Suite 414, Seattle, Washington 98121, USA.
Tel: 206-382-1305; Fax: 206-382-2630;
info@glassart.org; or check out our website at www.
glassart.org and click on “Advertising”
Contribute to GAS NEWS
GAS news is for the members of the Glass Art Society.
There are several ways to contribute:
1. Listings: Every issue has 100s of listings and
classified ads, free to members
2. Member Profile: Gives members an opportunity
to share their work, experience and thoughts with other
members. Images and text welcomed.
3. Student Profile: Students, send artist’s statement,
a brief bio, images of your best, most recent work,
your name, address and contact information.
4. School Profile: Students or educators of accredited,
degree-offering schools, send a brief article about your
school and what it offers, and a few images.
5. Workshops: Non-degree schools, send a brief
article about your program and a few photos.
6. International Window: GAS has members
in over 50 countries. Each issue we highlight
1 or more countries or events outside the U.S.
Images and text welcomed.
7. Critical Issues: Submit your ideas for an article that
analyzes, interprets, or evaluates artistic works in glass.
For more information on submissions, go to http://www.
glassart.org, click on “Newsletter” or
contact the Communications Coordinator at the
GAS office. E-mail: Shannon@glassart.org
The Glass Art Society reserves the right to edit
submissions for any reason deemed necessary by
the editor, including clarity, length or grammar.
Submission of material is not a guarantee that
it will be published. Please include a SASE for
return of materials sent via mail.
The Glass Art Society (GAS), its Board of Directors, members, and
employees, are not responsible in any capacity for, do not warrant
and expressly disclaim all liability for any content whatsoever herein.
All such responsibility is solely that of the authors or the advertisers
A copy of the Glass Art Society’s annual financial report may be
obtained, upon request, from the GAS office, or from the Office of the
Attorney General, Charities Bureau, 120 Broadway, New York, NY 10271