Herding Individualists NOW MAKING GAFFER ... - Glass Art Society

Glass Art Society 

Board of Directors 2005-2006 

january 

february 

2006 

President 

Anna Boothe 

Vice President 

Shane Fero 

Eddie Bernard 

Shara Burrows 

(Student Rep.) 

Shane Fero 

Ki-Ra Kim 

Jeremy Lepisto 

Jutta-Annette Page 

Staff 

Treasurer 

Robin Cass 

Secretary 

Beth Ann Gerstein 

Kirstie Rea 

Chris Rifkin 

Tommie Rush 

Elizabeth Swinburne 

Pamina Traylor 

Harumi Yukutake 

Pamela Figenshow Koss, Executive Director 

Sarah Bak, Executive Assistant / Registrar 

Shannon Borg, Communications Director 

Kathleen Lester, Bookkeeper 

Karen Skrinde, Database Manager 

3131 Western Avenue, Suite 414 

Seattle, Washington 98121 USA 

Phone: (206) 382-1305 Fax: (206) 382-2630 

info@ glassart.org www.glassart.org 

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the GAS office at 3131 Western Avenue, 

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info@glassart.org; or check out our website at 

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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. 

GLASS 

COLOR ROD 

FRIT & POWDER 

by 

KUGLER COLORS © 

REICHENBACH 

LOETZ by ULLMANN 

NOW MAKING 

GAFFER BATCH 

SPRUCE PINE 

BATCH COMPANY 

P. O. BOX 159 

SPRUCE PINE, NC 28777 

(828) 765-9876 

www.sprucepinebatch.com 

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I N S I D E 

REGULAR FEATURES 

President’s Letter: 

Herding Individualists 

Student Profile: 

Minako Shirakura 

Member Profile: Jane Gavan 

International Window: 

The World According to 

Sybren Valkema 

Empire of Glass 2005 

Technical Article: Coldworking 

with Diamond Tools 

GAS Line 

SPECIAL FEATURES 

Student Scholarship Opportunity 

Call for Donations: 

Annual Auction at the GAS 

2006 Conference, St. Louis 

A Talk with Maestro 

David Salvadore 

GAS 36th Annual Conference: 

Glass Gateways 

Meet in the Middle: 

Main Conference Venues 

Conference Presenters 

Get Involved!: Goblet Grab, 

Visual Exchange, Gallery Forum, 

International Forum for 

Glass Organizations, 

Artist Portfolio Review, 

Education Resource Center 

Exhibitions 

Special Conference Events: 

Pre-Conference Reception, 

Stained Glass Tour, Gallery Hop, 

Closing Night Party 

Technical Display 

International Student Exhibition 

Pre- & Post-Conference 

Workshops 

LISTINGS 

Classes and Workshops 

Resources, etc. 

Exhibitions 

Seminars, Conferences, Events 

volume 17 

issue 1 

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 

FROM THE PRESIDENT: 

Herding 

Individualists 

Ben Edols at the 2005 GAS Conference 

in Adelaide, Australia 

An organization of artists is just short of oxymoronic, a contradiction in terms. 

Artists, by definition, are rugged individualists, often accused of hermetic behavior 

regardless of cultural core. Those who laud the arts, those who are not artists themselves, 

but who respect, revere, and judge its makers are, ultimately, necessary cohorts to an 

artist’s expression. The role of an organization is to bring together a variety of such 

perspectives that, hopefully, enrich each invested party. And, should an organization 

succeed adroitly in serving, and thus satisfying, its members, 

the result can be synergistic. 

GAS is one such artist-based organization that thrives 

on its ability to be inclusive, to invite all factions who 

affect or are affected by the multiplicity of one material. 

I converse with GAS members on a daily basis. And, 

through each conversation I attempt to read a “GAS 

satisfaction pulse”. Recently, I have had a number of 

illuminating discussions with members. Compliments 

are often profuse and re-affirming; naturally, praise feels 

good. However, as in the critical assessment of art, constructive 

criticism is often what instigates reflection and engenders improvement. 

In general, each of these conversations has questioned GAS’ inclusiveness. It has 

been pointed-out that for an organization which began strictly with artist participation, 

that we have perhaps deviated from and diluted our original purpose by expanding our 

membership to include other separate-issue groups. In effect, the question was posed: 

(at a members’ gathering), “. . . can artists really speak honestly while mingling with 

those on whom they depend for their very livelihood? And, conversely, . . . ?” 

The other issue that repeatedly rears its head addresses the old (so very old) “art vs. 

craft” argument. Obviously, the argument remains current, despite the fact that many of 

us who recognize and respect differences in artistic approach, need to move beyond this 

“bone” to a more tenable topic. The crux of the argument seems to suggest that both 

“fine artists” and “crafters” cannot co-exist peacefully in one organization. And, the larger 

version of this question speaks to our ever-growing, diversifying membership, due to our 

policy of inclusion, and questions of how and if GAS can satisfactorily address each of its 

member sub-group concerns. 

These are all healthy issues appropriately conferred on our fast-growing organization. 

In addition to other pertinent matters, they attempt to define the GAS mission to 

educate the international glass community and will be scrutinized at the Board’s January 

strategic planning retreat. As I have said repeatedly in the past, feel free to offer your 

suggestions and constructive criticism to any of our Board or staff members whenever 

you are stirred. 

We attempt to “herd” all of you to our annual conferences so that we may compare 

notes from our various corners of the world. Be sure to check out the rest of this issue 

and your pre-conference brochure which are dedicated to wooing you to St. Louis in 

June. I hope to see all of you there with bells on! 

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 

GAS NEWS is published 

six times per year as a benefit 

to members. 

Publications Committee: 

Scott Benefield, Eddie Bernard, 

Shara Burrows, Robin Cass, 

Beth Lipman, Kirstie Rea, 

Managing Editor: Shannon Borg 

Graphic Design: Ted Cotrotsos 

The Glass Art Society 


Seattle, WA 98121 USA 

Phone: (206) 382-1305 

Fax: (206) 382-2630 

E-mail: info@glassart.org 

Web: www.glassart.org 

© 2005 The Glass Art Society, a nonprofit 

organization. All rights reserved. 

Publication of articles in this newsletter 

prohibited without permission from 

the Glass Art Society, Inc. 

January / February 2006, volume 17-1 

THE GLASS ART SOCIETY 


Seattle, WA 98121 

CHANGE SERVICE REQUESTED 

Anna Boothe 

Non-Profit Org. 

U.S. Postage 

PAID 

Seattle, WA 

Permit #150

STUDENT 

Minako Shirakura 

Alfred University, Alfred, NY 

Minako Shirakura was brought up in Tokyo. 

She studied glass and received her bachelor’s 

degree with honors and postgraduate diploma from 

Edinburgh College of Art in Scotland. Since then 

she has shown her work in United Kingdom, 

Germany, Italy, Japan and United States. She has 

participated in Pilchuck Glass School and Haystack 

Mountain School of Crafts both as a student and 

as a Teaching Assistant. Currently she is a first year 

master of fine arts student at Alfred University. 

Artist Statement: 

We want to hear 

from you! 

PROFILE 

I would like to take any materials that best 

suit the expression of my ideas, but I am strongly 

attracted to the rich vocabulary glass offers me. 

Transparency, fragility, softness of its lines, potential 

danger, reflectivity, and the play between light and 

shadow– glass often holds contradictory natures in 

one, and it is almost human to me. 

My interest in recent years is becoming more 

mixed media oriented. However, glass still remains 

a very important means of communication to me 

and I would like to pursue and develop my language 

of glass further. 

“Rest,” 2000, glass and metal, 15 x 20 x 36 in. h. 

“Perfect Gift,” 

(detail) 1999, glass, 

acrylics, wood. 

Photo: Hiroyasu 

Fujimoto 

Students: Don’t Miss this Scholarship Opportunity! 

If you are a student and need financial support 

to attend the GAS conference in St. Louis this year, 

be sure to apply for our student scholarships. 

Scholarships are open to full-time student members 

of GAS, current through June 2006. The application 

process is juried. 

General Scholarship 

All full-time student members of GAS are 

eligible for this scholarship. 

Takako Sano Scholarship 

Students living outside Australia are eligible 

for assistance through the Takako Sano Scholarship 

Fund. One award of $1,000 USD will be given. 

Becky Winship Flameworking Scholarship 

Students whose work uses flameworking techniques 

are eligible for this scholarship, generously 

funded by Winship Designs. 

How to apply: 

One application allows you to be considered for 

all scholarships, if eligible. 

GAS NEWS invites Letters to the Editor 

from all GAS members. Submit your opinions, 

comments, and thoughts to: Glass Art 

Society, Attn: GAS NEWS, 3131 Western Ave., 

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. 

2 

Suite 414, Seattle, WA 98121, USA, E-mail: 

Thank you Jane! 

Tel: 520-884-7814, Fax: 520-623-9680, info@sonoranglass.org, 

venue to build relationships with craft buyers from all across 

15 

commcoord@glassart.org 

Guidelines for submission of Letters to 

the Editor: We encourage all GAS members 

to express their opinions in letters to the 

editor, and ask that the following guidelines 

be adhered to when submitting letters: 

Send: 

1. Letter of intent, two (2) pages maximum, stating 

why you would like to attend the conference. 

Please indicate the school you are currently 

attending. 

2. Five (maximum) slides of your work, labeled with 

your name.* 

3. Slide sheet with the following details about 

each slide: 

a. Your name 

b. Title of the piece 

c. Year of creation 

d. Materials and technique used 

e. Dimensions of the piece 

*Slides should be numbered to correspond with 

the slide sheet. 

To: 

Student Scholarship, Glass Art Society, 


Seattle, WA 98121, USA 

Deadline for applications: February 15, 2006 

Notification by: March 15, 2006 

3. Letters may be edited for language and length. 

4. Letters should be limited to 200 words. 

5. Letters submitted for publication by regular mail or e-mail must include the author’s first and last 

name, address and phone number for verification purposes. Anonymous letters will be disregarded. 

If your letter is published, your first and last name will be printed. Your city and state will be included 

(unless you ask that it not be), but your address and phone number will not be included. 

6. When writing, faxing, or e-mailing a letter to the editor, use the subject line or heading “Letter to 

the Editor.” 

7. When responding to a specific article, state the article title and include the date in parenthesis. 

8. Frequency of submissions may need to be restricted. If we receive multiple letters on one subject or 

from one writer, we will attempt to sample a variety of opinions, but may apply the general standard 

of one letter per writer per three newsletters. 

Factory Light Structure maquette, test series. 

300 mm h x 50 mm w x 50 mm d 

MEMBER 

Jane Gavan 

PROFILE 

Australian glass artist Jane Gavan is interested 

in exploring and challenging the parameters of 

glass. As head of the Glass Studio at Sydney College 

of the Arts and through her studio practice, she has 

created works that show her interest in how light, 

space and visual communication combine and 

recombine in each project, where an emphasis on 

formal or conceptual concerns is mediated through 

processes and materials. 

In one current major project, the Factory Light 

Project, she explores the synergies between a factory 

and the processes of makers of contemporary 

craft, emphasizing the role of glass as a material in 

contemporary object art and design. 

“I want to describe “factory light,” Gavan says. 

The exhibition will include a room with a series of 

10-12 glass maquette style structures that attempt 

to capture the ambience of an industrial building 

from the modernist period as it appears to us today. 

The devitrified glass in these old buildings make 

them contemporary for us, the time passing is 

embodied on their outer skin. 

For this exhibit, Gavan has been developing 

small viewing boxes and a series of objects that 

reflect the muted light and each floor inside the 

building. “With these smaller scale structures,” she 

says,“we can carry the light around with us, it will 

be accessible, a distilled essence of the current 

sense of the monumental building.” 

Each object will examine different elements of 

the relationship through its treatment and structure. 

Iron green tinted window glass and soft grey and 

ivory thin 2mm bullseye glass will be pre-glued, 

invested in a mould, then kiln fused in several 

different architecturally reminiscent structures. 

For Gavan, this project revolves around the joy of 

discovering and developing new techniques for 

making and examining materials, objects and 

phenomena in society. 

ERRATA 

Last month we 

neglected to list 

Jane Gavan’s 

contributions to the 

2005 GAS Auction. 

Barbara Koppelstätter (left) with artist Josepha Gasch-Muche 

at Galerie B, Baden Baden, Germany 

ENGLAND 

Clitheroe, Lancashire, The Platform Gallery, Tel: +44 01200 

443071, E-mail: platform.gallery@ribblevalley.gov.uk, 

Web: www.ribblevalley.gov.uk, Selection Box: Mixed Media 

Exhibition including Wayne Charmer, Jenny Cork, Maggie 

Hamlyn Williams, Sarah Hayhoe, Ian MacDonald, Kathryn 

Pearce, Tom Petit, Will Shakespeare, The Glass Studio at 

Denby (Paul Barcroft and Tom Petit), through January 7, 2006 

Gateshead, Shipley Art Gallery, Tel: +44 (0191) 477 1495, Fax: 

+44 0191 478 7917, E-mail: helen.joseph@twmuseums.org.uk, 

Web: www.twmuseums.org.uk/shipley/, Traversing: Four 

Person Touring Exhibition with John Buron, Eva Engström, 

Sally Fawkes, Richard Jackson, January 21 - March 19, 2006 

London, Victoria & Albert Museum, Tel: +44 (0) 20 7942 2069, 

Fax: +44 (0) 20 7942 2071, E-mail: ceramicsandglass@vam.ac.uk, 

Web: www.vam.ac.uk, Collect: Craft Council International Art 

Fair For Contemporary Objects, Located in the Temporary 

Exhibition Galleries, February 9 - 13, 2006 

Sunderland, Tyne & Wear, Glass Gallery at the National Glass 

Centre, Tel: +44 (0) 191 515-5555, Fax: +44 (0) 191-515-5556, 

E-mail: info@nationalglasscentre.com, Web: www.nationalglass 

centre.com, Wearing Glass, May 12 - July 9, 2006, Observations: 

Ann Wolff, through January 29, 2006 

Surrey, Royal Botanic Gardens Kew, Tel: +44 020 8332 5655, 

Fax: +44 020 8332 5197, E-mail: info@kew.org, Web: www.kew.org, 

Gardens of Glass: Chihuly at Kew, through January 15, 2006 

West Midlands, Broadfield House Glass Museum, 

Tel: +44-1384-812749, Fax: +44-1384-812746, E-mail: 

glass.museum@dudley.gov.uk, Web: www.glassmuseum.org.uk, 

Modern Glass: The Glass Designs of Ronald Stennett-Willson, 

through January 28, 2006 

ESTONIA 

Tallinn, Estonian Museum of Applied Art & Design, 

Tel: +372 -6411-927, Fax: +372 -6411-937, E-mail: info@trtr.ee, 

Web: www.trtr.ee, 4th Tallinn Applied Art Triennial: 

Two Close Ones, March 17 - May 21, 2006 

FRANCE 

Paris, Luniverre Gallery, Tel: +33-1-4461-0481, Fax: +33-1-4461- 

7062, Web: www.luniverre.com, “Circe’s Garden” Oeuvres in 

Verre: Hanneke Fokkelman, through January 29, 2006 

GERMANY 

Baden-Baden/Sinzheim, Galerie B, Tel/Fax: +49 7221 85585 

glasgalB@aol.com, www.galerieb.de, Josepha Gasch-Muche 

through February 28, 2006 

Coburg, Kunstsammlungen der Veste Coburg, Tel: +49 09561/ 

8790, Web: www.kunstsammlungen-coberg.de, Coburger 

Glaspreis 2006 Für Zeitgenossische Glaskunst In Europa, 

April 2 - June 30, 2006 

2006 American Craft Council Southeast Regional Conference 

March 23-25, 2006, in Louisville, KY. The Spotlight exhibit and 

many of the conference sessions will be held at the Kentucky 

Museum of Art and Craft along with other local venues. 

For more information contact: Craft Marketing Program, 

2100 Capital Plaza Tower, Frankfort, KY, 40601, Tel: 502-564-8110 

ext. 488, fran.redmon@ky.gov, www.kycraft.ky.gov 

2006 Biennial Conference “The Object as an Eloquent 

Statement” March 4 - 5 in Auckland, New Zealand. For more 

information contact: New Zealand Society of Artists in Glass, 

PO Box 68805, Newton, Auckland, New Zealand, Tel: +64 021 

1179584, yks_louie@yahoo.co.nz, www.nzsag.co.nz 

2006 CRAFTBOSTON March 31 - April 2, 2006 at the Seaport 

World Trade Center, Boston, MA. CRAFTBOSTON 2006 is 

produced by The Society of Arts and Crafts and will feature 

the work of 175 of the world’s finest craft artists. For more 

information contact: The Society of Arts & Crafts, 175 Newbury 

St, Boston, MA, 02116, Tel: 617-266-1810, Margaret Pace DeBruin, 

CRAFTBOSTON Show Director, mdebruin@craftboston.org 

North Lands Creative Glass 10th Annual International 

Conference ‘The Skilful Hand and Eye’ September 2 - 3 2006. 

This two-day conference will explore the issue of skill in 

contemporary art and craft practice. Speakers confirmed at this 

date include Masterclass leaders (excluding Marquis), Glenn 

Adamson, head of the Victoria & Albert Museum’s Graduate 

Studies program (keynote presentation) and Louise Butler, 

independent curator of traditional Scottish crafts. For further 

information contact: Lorna MacMillan, North Lands Creative 

Glass, Quatre Bras, Lybster, Caithness KW3 6BN Scotland, 

Tel/Fax: 44-1593 721229, info@northlandsglass.com, 

www.northlandsglass.com 

2006 International Flameworking Conference March 17-19, 

2006, in Carney’s Point, NJ and will feature artist Ginny Ruffner. 

For more information contact: Salem Community College Glass 

Center, 460 Hollywood Ave, Carneys Point, NJ, 08069-2799, 

Tel: 856-351-2611, aboothe@salemcc.edu, www.salemcc.org 

5th Annual Flame Off February 3, 2006, at the Sonoran 

Glass Art Academy, Tucson, AZ. For more information contact: 

Sonoran Glass Art Academy, 633 W. 18th St, Tucson, AZ, 85701, 

www.sonoranglass.org 

CODA Conference 2006 June 1-4 in Portland, OR. The 

conference includes guest speakers Lloyd Herman and Michael 

Monroe, many conference sessions, a reception at Bullseye 

Connection, and much more. For more information contact: 

CODA, PO Box 51, Onia, AR, 72663, Tel: 870-746-4396, 

info@codacraft.org, www.codacraft.org 

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, Sybille Peretti and Lieve Van 

Stappen, through January 22, 2006 

Frauenau, Galerie am Museum Glasobjekte und Graphiken, 

Tel: +49 (0)9926 180868, Fax: +49 (0)9926 189250, E-mail: 

info@eisch.de, Web: www.eisch.de, Tafel-Lust Prunk und Prost 

(Delights of the Table Pomp and Cheers): James Vella, Artist 

in Residence, through March 4, 2006 

JAPAN 

Kamo-gun, Shizuoka-ken, Koganezaki Crystal Park Glass 

Museum, Tel: +81 558 55 1516, Fax: +81 558 55 1522, 

E-mail: k-museum@kuripa.co.jp, Web: http://www.kuripa.co.jp/, 

10th Glass ‘05 in Japan, through April 5, 2006 

SCOTLAND 

Glasgow, The Lighthouse, Tel: +44 (0)141 221 6362, Fax: 

+44 (0)141 221 6395, E-mail: enquiries@thelighthouse.co.uk, 

Web: www.thelighthouse.co.uk, The Bombay Sapphire Sutdent 

Designer Glass Competition Touring Exhibition, January 24 - 

March 8, 2006 

Galleries/Museums/Artists 

Please send images of work in upcoming exhibitions! We prefer digital images if possible ( jpeg, tiff ). 

Digital images must be high-resolution. We also accept prints and 35mm slides. E-mail to: Shannon@glassart.org or 

mail a disk to: Glass Art Society, Attn: Communications Coordinator, 3131 Western Ave., # 414, Seattle, WA 98121 USA 

seminars, conferences, events 

Glass Art Society 36th Annual Conference Glass Gateways: 

Meet in the Middle, June 15-17, 2006, St. Louis, Missouri. 

Conference brochures with details will be mailed Fall 2005. 

For more information: Glass Art Society, 3131 Western Ave., Suite 

414, Seattle, WA, 98121, Tel: 206-382-1305, Fax: 206-382-2630, 

info@glassart.org, www.glassart.org 

Glass India 2006: The Leading Trade Exhibition Jan. 10 -11, 

2006 in Mumbia, India. Glass India is the leading trade 

exhibition for the glass manufacturing industry in the Indian 

sub-continent and will include a panel of international 

speakers presenting papers on key elements of the glass 

manufacturing process. For more information contact: 

All India Glass Manufacturing Federation, Tel: +91 (22) 

24937200, vitrumglass@vsnl.net, www.glassmediaonline.com 

GlassBuild America: The Glass, Window, & Door Expo 

Sept. 20-22, 2006 at the Las Vegas Convevention Center, 

Las Vegas, NV. For more information contact: GlassBuild 

America, 8200 Greensboro Dr Ste 302, McLean, VA, 22102 

-3881, Tel: 866-342-5642 ext. 300, Fax: 703-442-0082, 

www.GlassBuildAmerica.com 

International Commission on Glass 2007 July 2-6, 2007 in 

Strasbourg, France. For more information contact: International 

Commission on Glass, ICG 2007 - CRITT Materiaux Alsace, 

Schiltigheim Cedex, F67305, France, Tel: + 33 3 88 19 15 10, 

Fax: + 33 3 88 19 15 14, info@icg2007.org 

Middle East Glass Trade Fair March 13 -16, 2006, Kuwait 

International Fair Ground, Kuwait City, Kuwait. The Fifth 

International Trade Fair For The Glass Processing Machinery, 

Equipment, Raw Materials & End Products (MEG) is the only 

gateway into Kuwait, Iraq & the Middle East region. This annual 

event has contributed significantly to the growth of the glass 

industry in the region it serves. For more information contact: 

Middle East Glass Expo, Tunis St., Bldg. 10, 2nd Floor, Hawalli, 

Kuwait City, Kuwait, Tel: +965 2649177/ 88, Fax: +965 2649199, 

info@kubec-fairs.com, www.kubec-fairs.com 

Philadelphia Buyers Market of American Craft Feb. 17-20 

and July 21-23, at the Pennsylvania Convention Center, 

Philadelphia, PA. The Buyers Market of American Craft is a 

wholesale trade show that provides artists a professional 

the country. Approximately 2,000 artists exhibit annually to 

more than 8,000 buyers from 3,000 companies from across 

the United States and Canada. For more information contact: 

The Rosen Group, 3000 Chestnut Ave Ste 300, Baltimore, 

MD, 21211, Tel: 410-889-2933 ext. 218, Fax: 410-889-1320, 

info@rosengrp.com, www.americancraft.com 

UrbanGlass Auction and Glassblowers Ball April 29, 2006, 

Pier 60, Chelsea Piers, NY. For more information contact: 

Urban Glass, 647 Fulton St 3rd Floor, Brooklyn, NY, 11217-1112, 

Tel: 718-625-3685 x 225, Fax: 718-625-3889, www.urbanglass.org, 

director@urbanglass.org

14 

UNITED STATES 

ARKANSAS 

Glendale, The Bead Museum, Tel: 623-931-2737, E-mail: 

info@beadmuseumAZ.org, Web: www.beadmuseumaz.org, 

Trajectories: An Exploration of Contemporary Glass 

Beadmaking. This exhibition is presented in cooperation 

with the International Society of Glass Beadmakers, 

through March 16, 2006 

Tucson, Philabaum Glass Gallery, Tel: 520-884-7404 (studio)/ 

520-299-1939 (gallery), E-mail: tphilabaum@qwest.net, 

Web: www.philabaumglass.com, Spouting Off Again!: Teapots 

by 11 Artists in Glass, Clay and Polymer. Artists include 

Laura Balombini, Valerie Bunnell, Stephan Cox, Paul Allen 

Counts, Susan Filley, Wes Hunting, Elaine Hyde, Laura Jean 

McLaughlin, Laura Peery, Harry Stuart, and Christian Thirion, 

through January 28, 2006; Mark Fowler: Cast Glass Sculpture. 

Exhibition located at: St. Philip’s Plaza, 4280 N. Campbell Ave. 

Suite 105, Tucson, February 4 - March 25, 2006 

CALIFORNIA 

Desert Hot Springs, Bighorn Glass Studio, Tel: 760-329-4344, 

Fax: 760-329-4360, E-mail: michael@bighornglassstudio.com, 

Web: www.bighornglassstudio.com, Art in Glass 2005: Michael 

Sudderth, Mike Loftus, Joey Fernando, Jerry Hirschman, 


San Francisco, San Francisco Airport Museum, Tel: 650-821-6700, 

E-mail: commments@sfoArts.org, Web: www.sfoarts.org, 

Beyond Tradition: Contemporary Glass Arts: Julie Alland, 

Lisa Aronzon, Cheryl Derricotte, Erik Eiserling, Jaime Guerrero, 

Guido Gurlitz, David Hering, Ed Kirshner, Mitch LaPlante, 

John Leighton, John Lewis, Susan J. Longini, Candace A. 

Martin, Treg Silkwood, Nancy Otto, Clifford Rainey, Amy 

Rueffert, David Ruth, Nadine Saylor, Johnathon Schmuck, 

and Mary Bayard White, through January 31, 2006 

Studio City, D & A Fine Arts, Tel: 818-760-7583, E-mail: 

mail@DandAfinearts.com, Susan Stinsmuehlen-Amend & 

Richard Amend: Solo Exhibitions, through January 15, 2006 

GEORGIA 

Macon, Mercer University, Tel: 478-301-2591, Web: 

www.mercer.edu, Architecturally Themed Exhibit at the 

Swilley Library to Benefit the Foundation for Community Arts, 

February 13 - March 31, 2006 

ILLINOIS 

Chicago, Marx-Saunders Gallery, Tel: 312-573-1400, 

Fax: 312-573-0575, E-mail: marxsaunders@earthlink.net, 

Web: www.marxsaunders.com, Richard Whiteley, December 3, 

2005 - January 7, 2006 

KANSAS 

exhibitions 

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: 

December 15 for the March 2006 issue 

February 1 for the April/May 2006 issue 

We look forward to hearing from you. 

Lawrence, Lawrence Arts Center, Tel: 785-843-2787, 

Fax: 785-843-6629, E-mail: lartctr@sunflower.com, Web: 

www.lawrenceartscenter.com, 18th Annual Outdoor 

Downtown Sculpture Exhibition, through March 31, 2006 

Kirstie Rea, “Reclining Rake,” 2004, kilnformed and cold-worked 

glass, 3 x 14.5 x 14 in. at Bullseye Connection Gallery, Portland, OR 

Photo: R. Watson 

Wichita, Wichita Art Museum, Tel: 316-268-4921, 

Fax: 316-268-4980, Web: www.wichitaartmuseum.org, 

Tiffany By Design, through January 8, 2006 

MASSACHUSSETTS 

Boston, The Society of Arts & Crafts, Tel: 617-266-1810, 

Fax: 617-266-5654, E-mail: bgerstein@societyofcrafts.org, 

Web: www.societyofcrafts.org, Artcessorize: a show with funky, 

original and eclectic accessories. Features 25 artists who 

create innovative jewelry, scarves, belts, purses, hats, shoes 

and other creative body accessories, through January 22, 2006 

Brockton, Fuller Craft Museum, Tel: 508-588-6000 ext. 114, 

Fax: 508- 587-6191, E-mail: communications@fullercraft.org, 

Web: www.fullercraft.org, Fur, Fins and Feathers: Glass from 

the Rifkin Collection, through January 2, 2006 

MAINE 

Round Pond, The Library Art Studio, Tel: 207-529-4210, 

The Almost Season: Sally DeLorme Pedrick, December 1, 2005 

- December 31, 2006 

NEW YORK 

Corning, The Corning Museum of Glass, Tel: 607-937-5371, 

Fax: 607-974-8470, E-mail: sternbenkym@cmog.org, 

Web: www.cmog.org, Decades in Glass: The ‘60s. The show 

explores early years of Harvey Littleton, Dale Chihuly, other 

studio glass pioneers, through April 2, 2006, Splitting the 

Rainbow: Cut Glass in Color, April 11 - November 1, 2006, 

Glass of the Maharajahs: European Crystal Furniture for 

Indian Royalty, May 19 - November 30, 2006 

New York, Heller Gallery, Tel: 212-414-4014, Fax: 212-414-2636, 

E-mail: info@hellergallery.com, Web: www.hellergallery.com, 

Art Miami: Christina Bothwell, Nicole Chesney, Gregory 

Grenon, Susan Taylor Glasgow, Sibylle Peretti, Miles Van 

Rensselaer, January 6 - 9, 2006, palmbeach 3: Nicole Chesney, 

Susan Taylor Glasgow, Anja Isphording, Therese Lahaie, Karen 

LaMonte, Ivana Sramkova, Ales Vasicek, January 13 - 15, 2006, 

This is Glass, February 4 - March 4, 2006, Susan Taylor Glasgow, 

Ales Vasicek, March 11- April 4, 2006 

New York, Museum of Arts & Design, Tel: 212-956-3535, 

Fax: 212-459-0926, E-mail: holly.hotchner@madmuseum.org, 

Web: www.madmuseum.org, Changing Hands: Art Without 

Reservation, Part 2 - Contemporary Native North American 

Art from the West, Northwest & Pacific. Artists include Brian 

Barber, Susan Point, and Preston Singletary, through January 

22, 2006 

Niagara University, Castellani Art Museum of Niagara 

University, Tel: 716-286-8286, Fax: 716-286-8289, E-mail: 

mjbeam@niagara.edu, Web: www.niagara.edu/cam, 

Exquisite Corpse: Contemporary Figurative Flameworkers 

Play a Surrealist Game, through February 12, 2006 

OREGON 

Portland, Bullseye Connection Gallery, Tel: 503-227-0222, 

Fax: 503-227-0008, E-mail: lanimcgregor@bullseyeglass.com, 

Web: www.bullseyeconnectiongallery.com, Winter Games: 

Bennett Battaile, Steven Easton, and Erika Tada, December 

16, 2005 - January 14, 2006, Bullseye at Collect 2006: 

Location: Victoria & Albert Museum, London, England, 

February 9 - 13, 2006, Giles Bettison: Threads 1996 - 2005, 

January 20 - February 18, 2006 

PENNSYLVANIA 

Pittsburgh, Morgan Contemporary Glass Gallery, 

Tel: 412-441-5200, Fax: 412-441-0655, E-mail: morglass@sgi.net, 

Web: www.morganglassgallery.com, Figure It Out: Mark 

Abildgaard, Wendy Saxon Brown, Judi Charlson, Hartmann 

Greb, Gregory Grennon, Carmen Lozar, Koichi Matsufuji, 

Gregory Nangle, Masayo Odahashi, Pat Owens, Jeff 

Sarmiento, through February 5, 2006 

Pittsburgh, Pittsburgh Glass Center, Tel: 412-365-2145 ext 203, 

Fax: 412-365-2140, E-mail: karen@pittsburghglasscenter.org, 

Web: www.pittsburghglasscenter.org, Well Hung: Chandeliers 

Revealed. A variety of artists will stretch the boundaries of 

the traditional chandelier and present new works in glass 

chandeliers. Artists in residence Daniel Spitzer, Jill Reynolds, 

Katherine Gray, James Mongrain, Emilio Santini, and Ginny 

Ruffner will create chandeliers in the studio at PGC. Other 

artists contributing to the exhibition are James Minson, 

Gavin Benjamin, Kathleen Mulcahy and Ron Desmett, 


TEXAS 

Dallas, Kittrell/Riffkind Art Glass, Tel: 972-239-7957/ 888-865- 

2228, Fax: 972-239-7998, E-mail: Artglass@KittrellRiffkind.com, 

Web: www.kittrellriffkind.com, 13th Annual Scent Bottle 

Invitational: Featuring one-of-a-kind and limited edition 

perfume bottles from over 50 contemporary glass artists 

nationwide, February 3 - March 5, 2006 

Andrew Shea, “Topaz Swirl,” 

at Kittrell/Riffkind Art Glass, Dallas, TX 

VIRGINIA 

Richmond, Virginia Commonwealth University, Tel: 804-828-8462, 

Fax: 804-828-8210, E-mail: jlwax@mail1.vcu.edu, Web: 

www.vcu.edu/artweb/Crafts/, . . . and the levee broke: 

meditations on the power of water: An Exhibition of Artwork 

Examining the Power of Water; Proceeds to Benefit the 

Youngest Victims of Hurricane Katrina, through January 3, 2006 

WASHINGTON 

Bellevue, Bellevue Arts Museum, Tel: 425-519-0770, Fax: 425- 

637-1799, Web: www.bellevueart.org, David Chatt: Two Hands, 

Twenty Years, and a Billion Beads, through January 1, 2006. 

Taking Shape: Pilchuck Glass School in the ‘70s. Seventy-five 

pieces representing both early and later work by Dale Chihuly, 

James Carpenter, Fritz Dreisbach, Erwin Eisch, Mary Ann 

“Toots” Zynsky, Italo Scanga (1932 - 2001), Benjamin Moore, 

Paul Marioni, the team of Flora Mace and Joey Kirkpatrick, 

William Morris, Lino Tagliapietra, Richard Marquis and others, 

through January 29, 2006, Looking Forward Glancing Back: 

Northwest Designer Craftsmen at 50, through February 26, 2006 

La Conner, Museum of Northwest Art, Tel: 360-466-4446, 

E-mail: mona@ncia.com, Web: www.museumofnwart.org, 

Lisa Zerkowitz: Growth, through January 8, 2006 

Seattle, William Traver Gallery, Tel: 206-587-6501, Fax: 206-587- 

6502, E-mail: info@travergallery.com, Web: www.travergallery.com, 

Kathy Venter: Immersion, January 6 - 29, 2006, Tom Fairbanish: 

Glass and Mixed Media Sculpture, February 3 - 26, 2006 

Tacoma, Museum of Glass: International Center for 

Contemporary Art, Tel: 253-396-1768, Fax: 253-396-1769, 

E-mail: info@museumofglass.org, Web: www.museumofglass.org, 

Gathering the Light: Cappy Thompson, Ongoing, Paul 

Stankard: A Floating World, Forty Years of an American 

Master in Glass, through January 15, 2006, Debora Moore: 

Natural Reflections, through January 15, 2006, Karen LaMonte: 

Absence Adorned, December 10, 2005 - September 4, 2006, 

Czech Glass, 1945 -1980: Design in an Age of Adversity, 

January 18 - June 18, 2006 

INTERNATIONAL 

AUSTRALIA 

Canberra, National Gallery of Australia, Tel: +61-2-6240-6483, 

Fax: +61-2-6240-6529, E-mail: eve.sullivan@nga.gov.au, 

Web: www.nga.gov.au, Transformations: The Language of 

Craft, through January 29, 2006 

Wagga Wagga, Wagga Wagga Art Gallery, Tel: +61 02 6926 9660, 

Fax: +61 02 6926 9669, E-mail: gallery@wagga.nsw.gov.au, 

Web: www.waggaartgallery.org, The Cutting Edge: Cut & 

Engraved Glass: Robert Knottenbelt, Mel Douglas, Richard 

Whiteley, Ben Edols and Kathy Elliott, Brian Hirst, Tony 

Hanning, Fiona Hall, Ann Dybka and Kevin Gordon, through 

January 15, 2006 

BELGIUM 

Bruges, Art-O-Nivo Gallery, Tel: +32 50 33 50 61, Fax: +32 51 20 

33 93, E-mail: info@artonivo.be, East Meets West: Expo 6: 

Wild Flow, December 3, 2005 - January 22, 2006 

CANADA 

St. Hyacinthe, Cassandre Glass Studio, Tel: 450-799-1599, 

Fax: 450-799-1599, Cassandre Sand casting studio 10th 

anniversary exhibition, through January 14, 2006 

Call for Donations: 

The Annual GAS Auction at the GAS 2006 Conference, St. Louis, MO 

Saturday, June 17, 5 pm • Millennium Hotel, Grand Ballroom 

Preview: Friday, June 16, 4 - 8 pm • Saturday, June 17, 9 am - 5 pm Millennium Hotel, Grand Ballroom 

The annual GAS Auction offers conference attendees 

the opportunity to support GAS by donating and/or 

purchasing beautiful works of glass art. We encourage 

donations of collaborative glasswork, innovative and 

experimental one-of-a-kind creations, and those signature 

pieces that define an artist’s career. With so much 

wonderful work to bid on, and so much fun to be had, 

this is an event you won’t want to miss! 

The GAS Auction has become one of the highlights 

of the annual conference, and we have two ways that 

you can participate: 

The Silent Auction 

As in past years, we will present our popular silent 

auction. Silent auction donations may be in the form 

of artwork, books, classes, tools, services, or any other 

items relating to glass. Participating artists may choose 

to receive 25% or 50% of the winning bid or elect to 

make a 100% donation to GAS. This fun, casual,“instant” 

auction provides conference attendees and the public 

an opportunity to see and purchase glass and glassrelated 

items in a wide variety of price ranges. 

How to donate to the Silent Auction: 

1. Contact the GAS office to obtain a Silent Auction 

donation form or find it on the GAS website at 

www.glassart.org 

2. Complete and return the Silent Auction donation 

form, fax a copy to the GAS office and hand-deliver or 

ship the form with your donation. 

3. Bring your donated piece to the conference. 

Drop it off at: Millennium, Lewis & Clark Rooms, 

Wed., June 14, 1 - 5 pm; Thurs., June 15, 9 am - 5 pm; 

Fri., June 16, 9 am - 12 pm 

If interested in shipping (at your own expense) 

see shipping information below. 

Shipping for Auction 

Donating Artists: Artists donating to the Silent 

Auction or whose work is accepted to the Live 

Juried Auction and who are attending the conference 

are encouraged to hand-deliver their work 

to the conference packed well enough for carryout. 

If interested in shipping, contact the GAS office for 

shipping details. Shipped work must be received 

in St. Louis by June 12, 2006. GAS assumes no 

responsibility for the shipping of donations. GAS 

promises to handle your piece with the utmost 

respect and care, and to update you on the status 

and sale of your donation, but we are not responsible 

for breakage, theft, or loss. If your donation 

does not sell, GAS will keep it to place in the next 

fundraiser or event to benefit GAS. 

Buyers: Professional packers and shippers will be 

available after the auction on Saturday evening to 

take care of shipping your purchases. All purchases 

are final and must be paid for and removed from 

the premises during the evening. Items that are not 

removed will be shipped to the purchaser at the 

purchaser’s expense. No exchanges or refunds are 

allowed. GAS assumes no responsibility for the 

shipping of purchases or for those items not picked 

up immediately after the Auction. Once you have 

made arrangements with a shipping vendor, GAS 

is not responsible for your piece, and cannot, by 

shipping regulations, intervene on your behalf 

with the shipper. You must resolve any concerns 

regarding artwork damaged or lost during shipping 

by contacting the shipping vendor directly. 

The Juried Live Auction 

For the GAS International Juried Auction Exhibition 

jurors will select 35 of the finest works for presentation 

at the live auction. Prior to the auction, these pieces will 

be showcased on the GAS website and featured in a 

special exhibition onsite during the conference. We will 

supplement the juried work with select pieces created 

during conference demonstrations. 

Eligibility 

The International Juried Auction Exhibition is open 

to all glass artists; you do not need to be a member of 

GAS. Glass artists can submit up to three works for jurors 

to consider. You do not have to attend the conference to 

donate, and donating work is a great way to support 

GAS if you aren’t able to attend. Only one work per artist 

may be accepted. For jurying purposes all slides will be 

anonymous. All work must be designed by the artist. 

Entry Procedure for Juried Live Auction 

Slide deadline: February 1, 2006; no entry fee. 

Participating artists may choose to receive 25% or 50% 

of the winning bid or elect to make a 100% donation to 

GAS. The list of donors will appear both in the auction 

catalog and on the GAS website. These donations are 

tax-deductible to the extent allowed by law, and each 

donor will receive a receipt for the auction selling prices. 

The jurying process will take place digitally. Photos 

and transparencies will be scanned for the jury process. 

The decision of the jurors is final. Images of accepted 

works will be retained for publicity and catalog purposes; 

no substitutions permitted. 

Fill out the entry form below and submit with 

your slides, artist statement, bio, and SASE to GAS by 

February 1, 2006. 

Name 

Auction Jurors 

William Carlson is the chair of the Department of 

Art and Art History in the College of Arts and Sciences 

at the University of Miami, and formerly Professor of Art 

and head of the Crafts and Sculpture programs at the 

University of Illinois, Urbana-Champaign. He was a recipient 

of a National Endowment for the Arts Fellowship, 

and his work is in numerous museum collections around 

the world, including the Metropolitan Museum of Art, 

New York; the Art Institute of Chicago; and the Hokkaido 

Museum of Art in Sapporo, Japan. William Carlson is 

widely considered one of the most important figures 

in the studio glass movement and has impacted the 

movement as an artist and as an educator. 

Ginny Ruffner is a former Glass Art Society Board 

member, president, and conference site coordinator. 

She received both her BFA and MFA from the University 

of Georgia, Athens, GA, in 1974 and 1975 respectively. 

She has exhibited her work at the Laumeier Sculpture 

Park, St. Louis; the Renwick Gallery of the Smithsonian 

American Art Museum, Washington, D.C.; and the MH 

de Young Memorial Museum, San Francisco. Her work 

is included in the collections of the American Craft 

Museum, New York; the Detroit Institute of Arts; and the 

Metropolitan Museum of Art, New York. She lives and 

works in Seattle creating mainly bronze, stainless steel, 

and glass sculpture, as well as large-scale public art. 

Ruth Summers has been Executive Director of 

Grove Arcade Public, Asheville, NC, since September 

2004. She was Executive Director of Southern Highland 

Craft Guild, 1996-2004; Director of Kurland/Summers 

Gallery, Los Angeles, CA, 1982-1993. She was a trustee 

on the American Craft Council, 1996-2003; and was 

Vice-Chair, 1997-1999; Chair, Nominating Committee, 

1999-2003. She was on the Glass Art Society Board 

of Directors, 1994-2000; and Chair of the Leadership 

Committee, 1994-1998. She was on the Board of 

Trustees of Creative Glass Center of America, Millville, 

NJ, 1990-1997; 2nd Vice-President, 1992-1995; President, 

1996-1997; Chairperson, Glassweekend ‚1995; and 

Chairperson of the Fellowship Selection Committee, 

1989-1993. 

This is a great opportunity to have your work seen 

and appreciated by a discerning community of glass 

enthusiasts! See you at the Auction! 

INTERNATIONAL JURIED AUCTION EXHIBITION ENTRY FORM 

Submission Deadline: February 1, 2006 

Notification of acceptance will be mailed by March 6, 2006 

Address 

City State Zip Phone (day) 

E-mail 

1. Title of Entry 

Size 

Description 


Size 

Description 


Size 

Description 

Signature 

Value 

Value 

Value 

• If your entry is not selected as one of the 35 pieces for the juried exhibition/live auction, 

would you be interested in placing it in the St. Louis GAS silent auction? Yes No 

• Donation Level Full Donation 25% to Artist 50% to Artist 

• Attach an artist statement and brief biographical statement (100 words maximum) for the auction catalog, and 

include a SASE for the return of your images. 

Mail to: Glass Art Society, GAS Auction, 3131 Western Ave., Suite 414, Seattle, WA 98121, USA 

3

international window 

“De wereld volgegns Sybren Valkema 

(The World According to Sybren Valkema)” 

Nationaal Glasmuseum, Leerdam, Netherlands by Scott Benefield 

I recently had the opportunity to attend the 

opening of an exhibition at the Nationaal Glasmuseum 

in Leerdam, Holland. The occasion was a retrospective 

of the work and life of Sybren Valkema, founder of the 

studio glass movement in the Netherlands and a seminal 

figure in the establishment of a European network 

of educators and artists involved in studio glass. 

The exhibition provided an excellent contextual 

look at studio glass in Holland, complete with historical 

background on industrial glass in Leerdam in the early 

20th century as well as the rise of a global studio glass 

movement in the 60s. Valkema’s early commitment 

to the education of the workers in Leerdam during 

wartime, providing them with a more holistic program 

that included fine arts and physical education as well 

as the more traditional vocational curriculum, indicated 

an innovative and experimental approach that would 

become a lifelong pattern. As a member of the 

generation who lived through the war years and its 

deprivations, Valkema exhibited the spirit of invention 

and self-reliance in many areas of his professional life 

that would become so indicative of the later studio 

glass movement. 

The exhibition also gives insight into the enlightened 

administration of the Leerdam factory during 

those years, as the director P. M. Cochius—in a parallel 

effort with his peers at Orrefors and Venini and other 

European factories—steered industrial glass production 

away from the traditions of the past and towards 

a design-oriented golden age of mid-century icons. 

At Leerdam, Valkema’s design work followed in the 

footsteps of Chris Lebeau and was contemporaneous 

with that of Andries Copier. These are the years that 

gave rise to the Serica (limited edition) and Unica 

(unique art pieces) series, in what might be considered 

a precursor to the idea of glasswork that is not conceived 

of in unlimited multiples. 

The historical part of the show also details what 

could be termed the Big Bang of the European studio 

Empire of Glass 2005 

Glass art rules a Dutch town 

for five days every year 

by Marcus Thielen 

“Glasrijk” is Dutch for “Empire of Glass,” the title of 

the annual glass art festival that turns the small Dutch 

town of Tubbergen (near the city of Almelo) into a huge 

glass gallery every first weekend in October. Originated 

from the fifth generation of the glass painter family 

Nicolas in town (famous for their church windows) 

and held for the ninth time in 2005, the event has 

developed into the largest European glass event, with 

more than 40,000 visitors and more than 70 volunteers. 

Beside nine official galleries who exhibit in public 

space, nearly every shop in town turns into a glass 

gallery; even butchers, bakers, general stores or 

electronic shops exhibit and sell glass artwork. 

The festival is financed by sponsored by local 

businesses and a few big external sponsors, including 

PEBEM, a real estate broker, who funds the “PEBEM Art 

Glass Prize” for outdoor glass art objects in the garden 

For Sale or Rent 

Complete Hot Glass Studio all tools, equipment, and 

supplies, FREE to school or non-profit. You dismantle and haul. 

For more information contact: 7209 Carosan Lane, Charlotte, 

NC, 28270-6536, Tel: 704-366-7717, Fax: 704-366-7717, 

sakovach@sbcglobal.net. 

Studio Rental Bighorn Glass Studio is a complete glass arts 

center located minutes from Palm Springs, California with hot, 

warm and cold shops for blown, cast and kiln-fired glass artists. 

We offer a 130# electric furnace with Phillips Electroglass 90 

COE, 18” glory hole, front loading and clamshell annealer/kilns, 

all basic tools and blocks, 18” diamond grinder and sandblaster. 

For rates and more information please visit our website or 

contact Michael Sudderth at: Bighorn Glass Studio, 65265 San 

Jacinto Ln #2, Desert Hot Springs, CA, 92240, Tel: 760-329-4344, 

Fax: 760-329-4360, michael@bighornglassstudio.com, 

www.bighornglassstudio.com 

Diamond Grinder Kit for Sale 18” Diamond Grinder Kit $700, 

welding and assembly required. Complete Grinder (already 

assembled) $1350. For more information contact Tom at: 

Whitehead Glass Studio, PO Box 1112, Port Orford, OR, 97465, 

Tel: 541-332-2300, tomandtrina@webenet.net 

Your Own Studio in Crafts Community The Rochester Folk 

Art Guild is looking for a glass worker to revitalize its hot glass 

studio. The Guild, a not-for-profit educational community 

located on a 350 acre farm in the beautiful Finger Lakes of 

western NY since 1967, has a long history in the traditional 

crafts. We have a modestly equipped hot glass studio in a 

beautiful facility. We are looking for a hot glass worker 

who is: interested in a craftsmanly approach to glassblowing; 

capable of the responsible operation and maintenance of 

a studio; seriously motivated to develop and produce functional 

art glass. There are two options: 1) rent the studio for 

$400/month + utilities; 2) work out an arrangement where 

you make saleable work to be sold under the Guild’s name 

and the profits are shared. The Guild can offer some 

commercial outlet for blown glass through it’s gallery and 

seasonal sales events. Contact Bill at: billglasner@yahoo.com 

or 585-924-9579. 

Digital 120-Volt Glass Kiln Paragon Industries has released 

the F-130 Elite, a kiln designed to anneal 11” tall glass figurines. 

It will also fuse and slump glass and anneal glass beads. 

The firebrick interior is 11” wide, 13” high, and 11” deep. 

Maximum temperature is 1700°F. The spring-assisted door 

opens vertically. A punty rod can extend outside the firing 

chamber through a secondary 2 1/2” high door. Heating 

elements are mounted in the roof with pinless element 

grooves. The kiln uses the Sentry Xpress digital temperature 

controller, which is located in the base. The kiln plugs into 

a 20 amp, 120 volt outlet. Shipping weight is 160 pounds. 

For moreinformation contact: Paragon Industries, L.P., 

2011 S. Town East Blvd, Mesquite, TX, 75149, Tel: 800-876-4328/ 

972-288-7557, Fax: 972-222-0646, ajhparagon@yahoo.com, 

www.paragonweb.com 

Giant Kiln for Sale in DC Our deadline for moving is getting 

closer and closer. We cannot take this huge kiln to our new 

space. It measures approx 8’ x 10’ on the outside, and has a 

5’ x 7’ bed. The bed is refractory brick, and the walls and ceiling 

are HD and LD insulation. It comes with a Digitry controller, 

that monitors 5 thermocouples for even heating. It can do 

a complete production run of plates, or huge cast pieces in 

one firing. You can see a picture of Mike sitting in it on our 

home page: http://washingtonglassstudio.com/WGStudio/ 

about.html. This kiln was built by Jim Richards, and he tested 

and used it for many years, before completely refurbishing 

and installing it our studio. We’ve reduced the price to $6000, 

which is much less than what we’ve invested. For more 

pictures and info, please email: washglassschool@aol.com, 

or call 202.744.8222 and ask for Erwin. For more information 

please contact: Washington Glass Studio, 1338 Half St SE, 

Washington, DC, 20003, Tel: 202-744-8222, info@washglass.com, 

www.washglass.com 

Glass, Supplies, and Equipment for Sale One of the U.S.’s 

oldest and largest family-owned stained glass studios is 

liquidating thousands of pieces of stained glass (much of 

it is 130 years old of Murano, French, Flemmish, English, 

West German, and USA glass); thousands of pounds of lead, 

bronze and brass stained glass channeling; and cold working 

equipment. For more information please contact: Chicago 

Hot Glass, 6635 N. Leroy, Lincolnwood, IL, 60712, Tel: 

Lee at 773-742-0100, Fax: 847-933-0539, havatoy@aol.com, 

www.harmonyapartments.com 

Entire Hot Shop Equipment for Sale An electric furnace 

(130 lbs.) and whisper burner glory holes make this a 

quiet shop to work in. The furnace melts excellent glass. 

Annealer, color box, pipe warmer, garage, benches, rolling 

yolks, and much more. Located in Tacoma area. For more 

information, contact Jenifer Holmes: blowerjk@aol.com or 

call 253-984-7872. 

John Lewis Glass for Sale These two hand blown glass vessels 

were created in 1981 by renowned glass artist John Lewis. 

They are Dark Navy on the inside and a gorgeous swirl of blues 

and peach on the outside. The top rim is delicate and thin and 

the pieces get very thick towards the base. Each is hand signed 

and dated on the bottom. They have been appraised by 

Sotheby’s to be sold at auction at 7-10 k each. I can’t afford 

to wait for the auction so, I want to sell them now and will 

entertain any offer. I will sell them as a pair or separately. 

The larger piece is 6 1/2 inches high and 8 inches across at its 

widest point. The edges curve inward to create an opening 

that is 5 1/2 wide. The piece measures 24 inches around when 

measured at it’s widest point. The smaller piece is 6 inches high 

and 7 inches across at its widest point. The top curves slightly 

to create a 6 inch opening. When piece measures 20 3/4 inches 

around when measured at its widest point. Contact Nancy 

Glass at JokerGL@aol.com. 

Fellowships 

ArtsLink 2005 Projects provide support to U.S. artists, curators, 

presenters and arts organizations undertaking projects in 

Central Europe, Russia and Eurasia. Applicants must be working 

with an artist or organization in that region and projects should 

be designed to benefit participants and audiences in both the 

US and the host country. Students, scholars, administrators, 

critics, and amateur groups are not eligible to apply. In addition, 

projects focusing solely on research, or the production of an 

audio recording are not eligible. Applicants must be citizens 

or permanent residents of the United States. 2006 ArtsLink 

Projects awardees will not be eligible to apply again until 2008. 

Invididuals or organizations that have received three ArtsLink 

Projects awards are not eligible. Past ArtsLink Projects awardees 

who have not submitted a final report are not eligible. In 

2006, applications in visual and media arts are not eligible. 

Applications must be postmarked by January 16, 2006. The 

earliest project start date is May 1, 2006. Projects must be 

completed by April 30, 2007. ArtsLink Projects awards will be 

announced in late April 2006. For more information contact: 

CEC ArtsLink, 435 Hudson St, New York, NY, 10014, Tel: 212- 

643-1985 x22, cecny@cecartslink.org, www.cecartslink.org 

Fellowship Opportunities in American Craft The Smithsonian 

American Art Museum and its Renwick Gallery invite applications 

for research fellowships in art and visual culture of the 

United States. Fellowships are residential and support full-time 

independent and dissertation research. January 15 is the 

application deadline for fellowships to begin on or after 

June 1, 2006. For more information contact: Smithsonian 

American Art Museum, MRC 970 PO Box 37012, Washington, 

DC, 20013, Tel: 202-257-1557, fellowships@saam.si.edu, 

www.si.edu/research+study 

Travel 

Craft Tour of India This craft tour of India is led by GAS 

member Lloyd Herman, Feb. 13- 28, 2006. Glass bangle-making 

and beadworking are featured along with textiles, stone inlay 

and other traditional crafts. Includes Delhi, Agra (Taj Mahal), 

Firozabad, Khajuraho, Varanasi, Lucknow, Bhopal and Sanchi. 

$4980 pp double occupancy. For more information contact: 

Travel Concepts International, Inc., 5500 Bucks Bar Road, 

Placerville, CA, 95667, Tel: 530-621-3007, 800-762-4216, 

Fax: 530-621-3017, gwen@tci-travel.com, www.tci-travel.com 

Publications 

Mt. Washington and Pairpoint Glass is a beautifully illustrated, 

comprehensive book on the history of these two companies 

and their products from 1837 to the present. The book is by 

Kenneth M. Wilson, a noted glass historian and former museum 

curator known as ‘Mr. American Glass,’ and will be published 

by Antique Collectors’ Club. ISBN: 185149491X. For more 

information contact: Antique Collector’s Club Ltd., 

Tel: 800-252-5231/ 845-297-0003, Fax: 845-297-0068 

The Complete Bead Resource Book 10th Edition, containing 

over 2800 bead resources, is now available. For more 

information contact: The Complete Bead Resource Book, 

4432 Sandburg Wy, Irvine, CA, 92612, Tel: 949-786-4371, 

Fax: 949-786-7081, info@beadguide.com, 

Artists Survey SAC will be organizing the jury for the 2006 

Artists Awards grants as well as curating upcoming exhibitions. 

In order to understand how artists are documenting their 

work, we are asking you to participate in a one-minute poll. 

Please click on the link below to answer four questions. These 

responses will help SAC answer the digital vs. slide questions. 

Please go to www.societyofcrafts.org/artist-survey.asp. 

For more information contact: The Society of Arts & Crafts, 

175 Newbury St, Boston, MA, 02116, Tel: 617-266-1810, 

bgerstein@societyofcrafts.org, www.societyofcrafts.org. 

Job Listings 

Casting and Blowing Studio Assistant Position Available 

in Tampa Florida. Housing and benefits optional. Pay commensurate 

with experience. Contact Susan Gott, 813-267-1762. 

Call or send resume to Phoenix Studio, 811 East Knollwood St., 

Tampa FL, 33604. 

4 environment. This year the prize was awarded to 

handed over by her Majesty the Queen herself. Then 

13 

Masumi Igarashi of Japan by the Dutch prime minister, 

J. Balkenende. 

Galleries alone do not make such an event; the 

extensive program contains hot glass demonstrations 

on the street, glass painting by Diego Semprun Nicolas, 

bead making, fusing, and more. There are also concerts 

played on glass instruments, artist’s meetings, lectures, 

including information on glass object taxation by 

experts from Sotheby’s, and a rally for historic “Glas” 

brand cars. 

glass movement: the World Crafts Council conference 

of June, 1964. Held in New York, this was the event 

where Harvey Littleton first demonstrated the small 

furnace designed by Nick Labino to an audience 

that included Erwin Eisch and Valkema, many of 

whom would return to their homes to found regional 

and national movements, and maintain the peer 

communication that would later grow into the 

international network of artists working in glass 

that exists today. 

What I came to realize by looking at this exhibit 

—which also includes early work by Littleton, Labino, 

Marvin Lipofsky and others—was that the truly revolutionary 

achievement of the studio glass movement 

lay not in objects or technology or even an aesthetic 

manifesto but was, rather, conceptual in nature. The 

invention of the small furnace is often celebrated as 

the turning point that made studio glass possible. 

Indeed, this exhibition recognizes the critical role of 

that technology by having a replica of the first Labino 

furnace on hand (there were demonstrations of 

glassblowing using it at the opening reception). But 

small furnaces had existed for some time before that 

as test melters in the factories, as both Eisch and 

Valkema would have been aware of. 

Early glass work from the 60s is too often dismissed 

as being technically clumsy and poorly crafted, 

a judgment that entirely misses the point of work that 

was made in a spirit of rebellion against the virtuoso 

skill of traditional glasswork. The essence of the studio 

glass movement, the inspiration that all of those artists 

and educators took away from that first encounter, was 

an idea: that artists could have direct access to a unique 

material without the mediation of a factory or a system 

that divorced craftsman from designer. That single 

idea was the real spark that led to university-level glass 

departments, which in turn disseminated information 

to and inspired private studios across America and 

Europe and that would later spread around the world. 

For the 10th anniversary event in 2006, the festival 

won’t just grow further, but also more special events are 

planned. Rumors were heard that 2006 prize may be 

Glasrijk Tubbergen will become a real event of the Empire. 

Contact for the festival: www.glasrijk.nl 

Art glass in the green 

environment. Photo: 

Marcus Thielen 

Marcus Thielen is a physicist who lives and works in 

Duisburg, Germany, and owns and operates a technical 

consulting business/test laboratory for neon signs and 

gas discharge lamps. Since 1996 he has been author of 

the monthly column “Neon Techniques” in the magazine 

Signs of the Times, published in Cincinnati, Ohio, and 

has authored articles in seven other languages. 

The author demonstrates glassblowing from the replica 

1964 Labino-style furnace at the opening reception in 

Leerdam, assisted by Marc Barreda. Photo: Wyke Valkema 

The Leerdam exhibition underlines the importance 

of understanding our history, which can serve as a 

touchstone even today for maintaining contact with 

that fundamental idea. These days when glass work 

is made with such technical assurance, when objects 

have such impressive presence, when all of the formal 

elements of color, scale and form are so much more 

easily commanded, it is important to keep searching 

for that earlier spirit of discovery and that ineffable 

sense of liberation that was present at the beginning. 

At the opening, Åsa Brandt, Valkema’s first student in 

glass at the newly-established Gerrit Reieveld Academy, 

spoke movingly of encountering rusty glass tools for 

the first time (scavenged from factory discards) that 

seemed to her then like magic wands. After 40 years, 

can we still say the same? 

“De wereld volgens Sybren Valkema (The World 

According to Sybren Valkema)”, curator Job Meyhuizen. 

Nationaal Glasmuseum at Leerdam, October 16, 2005 

to March 6, 2006. Bilingual (Dutch/English) catalogue 

available from the museum, Contact: www.nationaalglasmuseum.nl 

Scott Benefield is the former editor of GAS NEWS, 

and frequent contributor to the newsletter. He owns and 

operates a production studio on Camano Island, Wash. 

Exterior (top) and interior (above) views of this year's prize 

winning object by Masumi Igarashi. Photo: Marcus Thielen 

John Lewis vessels 

Jobs in the Arts Listings The New York Foundation of the 

Arts’ Jobs in the Arts is a national online listing of classifieds for 

creative professionals. Galleries, museums, universities, and arts 

organizations alike have all turned to NYFA to fill important 

positions. Listings for full-time, part-time, freelance/consultant 

jobs and internships can be posted from $25/week with no 

character limit, and discounts start after 2 weeks. The website 

offers other resources. For more information contact: New York 

Foundation of the Arts, 155 Avenue of the Americas, 14th Floor, 

New York, NY, 10013, Tel: 212-366-6900, Fax: 212-366-1778, 

eevans@nyfa.org, www.nyfa.org

esources, etc. 

technical article 

12 















Calls to Artists 

COMPETITIONS 

4th Annual Ugly Necklace Contest 2006, A Jewelry Design 

Competition With A Twist. Yes, an UGLY Necklace Contest. 

Can you put together a well-designed and functional, yet UGLY, 

necklace? The Fourth Annual Ugly Necklace Contest for 2006 

is offering a first prize of a $992.93 shopping spree on the Land 

of Odds website (www.landofodds.com), and a Runner-Up prize 

of a $399.07 shopping spree on the website. To enter, take 

three good color snapshots or scans of your necklace, and 

write a short poem about it, and submit by March 15, 2006. 

Entries will be judged by a panel from The Center for Beadwork 

& Jewelry Arts. These distinguished Beadwork and Jewelry 

Artist instructors will judge based on the hideousness of the 

necklace, its shape, color and use of materials, its functionality 

and wearability, how well the artist has shown an understanding 

of good design principles (and how to violate them). 

For more information contact: Land of Odds, 522 E Iris Dr, 

Nashville, TN, 37204. Tel: 615-292-0610, Fax: 615-460-7001, 

warren@landofodds.com, www.landofodds.com. 

Best of Artists America Book Series Kennedy Promotions 

is producing its second unique new book series, The BEST OF 

AMERICA: GLASS ARTISTS 2005, 200+ winners featured in a 

beautiful soft cover book listed with major online booksellers. 

Cash prizes awarded to five best in show. Open to all U.S. glass 

artists. Also included is a special Emerging artist category. 

$30/3 slides, 4 x 6 photos, or CD entries, $5 for each additional 

entry. Deadline: February 15, 2006. For more information 

contact: Kennedy Promotions Best Of, P. O. Box 6876, 

Williamsburg, VA 23188, Tel: 757-564-6261, artbestof@yahoo.com, 

www.bestofartists.com. 

Glass Competition The Glass Axis, in Columbus, OH is hosting 

a juried glass commission competition. The projects submitted 

are for sites in the headquarters of a large telecommunications 

company. To download a prospectus and pictures, go to our 

website at: www.glassaxis.org/west_proposal/. Deadline for 

submission is March 1, 2006. Please call 614-291-4250 or send 

an e-mail for further information (studiodirector@glassaxis.org). 

For more information contact: Glass Axis, 1341 Norton Ave Ste 

B, Columbus, OH, 43212, Tel: 614-291-4250, Fax: 614-291-0122, 

studiodirector@glassaxis.org, www.glassaxis.org. 

EXHIBITIONS 

Courthouse Gallery Call to Artists Artists are invited to 

submit slides of recent work for the Lake George Arts Project’s 

Courthouse Gallery 2007 exhibition season. The Courthouse 

Gallery presents five to seven exhibitions yearly of regional 

and national contemporary visual artists in all media. Strong 

preference given to work created within the last two years. 

Submission Guidelines: Ten to twelve 35-mm slides of recent 

work in a plastic slide sheet (marked with artist’s name, top of 

slide, medium, date and dimensions), slide list, resume and 

artist’s statement, and self-addressed-stamped-envelope for 

slide return. At this time the Gallery Committee cannot accept 

CDs, emailed submissions, or links to websites in lieu of slide 

submissions. Deadline for submission is January 31, 2006. For 

more information contact: Lake George Arts Project, 1 Amherst 

St, Lake George, NY, 12845, Tel: 518-668-2616, Fax: 518-668-3050, 

mail@lakegeorgearts.org, www.lakegeorgearts.org. 

Kiln Processes Using Recycled Glass: A Juried Competition 

and Exhibition for Fine Art, Crafts, and Industrial Products 

The purpose of this competition is to showcase exemplary 

artistic glass, ceramics and industrial products using recycled 

glass. Deadline is February 15, 2006. For more information, 

a set of guidelines, or an application packet contact: Center 

for Environmental Economic Development, PO Box 4167, 

Arcata, CA, 95518-4167, Tel: 707-822-8347, Fax: 707-822-4457, 

ceed@humboldt1.com, www.ceedweb.org/glass. 

North American Glass 2006 The Guilford Art Center presents 

the biennial glass exhibit North American Glass 2006. Artists 

may submit up to three pieces. Applications are due January 

27, 2006. Notifications will be mailed February 21. Exhibit runs 

May 14 through June 25, 2006. Cash awards totaling $1,000 will 

be awarded. For more information contact: Guilford Art Center, 

411 Church Street, PO Box 589, Guilford, CT, 06437, Tel: 203- 

453-5947, Fax: 203-453-6237, gallery@guilfordartcenter.org, 

www.guilfordartcenter.org. 

GALLERIES 

Luniverre Gallery in Paris seeks emerging and established 

artists working in cast glass and/or mixed media for our 

biannual group shows, December to February and July to 

September. Please send CV and artists statement with 10-20 

slides, dimensions, and price of works, together with SASE to: 

Glenmagus, 272 Glen Farm Road, Portsmouth, RI 02871. 

Luniverre Gallery, 20 rue des Coutures St. Gervais, Paris, 

75003, France, Tel: +33-1-4461-0481, Fax: +33-1-4461-7062, 

www.luniverre.com. 

Good Things | Small Packages: An Intimate Look at Small 

Glass Public Glass, San Francisco’s center for creation and 

education in glass, invites all glass artists who work on a small 

scale to apply for this juried exhibit and publication which will 

feature small sculpture, paperweights, scent bottles and glass 

beads. All pieces must be no larger than four inches in any 

dimension. Jury fee is $25 for three works. Entries due 

January 24, 2006. For more information and to download 

an application, please visit www.publicglass.org. or e-mail 

janicepeacock@comcast.net with questions. 

OTHER 

Call for Papers: Space Exploration Within and Beyond the 

Image aims to examine ways space is constructed in visual 

representation and through social experience from a range 

of cultural, historical and methodological perspectives. We 

invite graduate students to submit papers addressing issues 

of space, specifically ways it has been framed, activated or 

otherwise produced in visual culture. Papers might address 

such media as sculpture, dioramas, landscape, installation art, 

performance, architecture and urban design, film, or tableaux 

vivants, etc. Other areas of inquiry might include display, 

the plinth, theatricality and absorption, spatial schematics, 

interiors, ritual spaces, borders, and virtual space. We welcome 

submissions from all areas of art history and related fields. 

In addition, we invite submissions from practicing artists and 

filmmakers engaged with ideas and problems of space in 

their work. Papers should be between 15 and 20 minutes in 

length. Abstracts of no more than 500 words, a current CV, 

and contact information should be submitted by Monday, 

January 16, 2006, via e-mail or post to the address below. 

Some travel funding is available. Graduate Symposium 

Committee, Department of Art History, University of Southern 

California, VKC 351- MC 0047, Los Angeles, CA, 90089. 

Contact: uscgradsymposium@gmail.com. 

Shows + Fairs 

10th Annual Craft As Art Festival Sept. 29, 30, and Oct. 1 at 

the Nassau County Museum of Art, Roslyn Harbor, NY. Work 

must be original. Applicants must submit five color slides 

and an SASE with 65 cents postage. Deadline is Jan. 4, 2006. 

After this date, applications will be reviewed periodically 

until the show is filled. For more information contact: 

American Concern for Artistry and Craftsmanship, PO Box 650, 

Montclair, NJ, 07042, Tel: 973-746-0091, Fax: 973-509-7739, 

www.craftsatlincoln.org. 

1st Annual Craft as Art Festival Oct. 14, 15 and Oct. 21, 22 

at the Brooklyn Museum, Brooklyn, NY. Work must be original. 

Applicants must submit 5 color slides and an SASE with 65 

cents postage. Deadline is January 4, 2006. After this date, 

applications will be reviewed periodically until the show is 

filled. For more information contact: American Concern for 

Artistry and Craftsmanship, PO Box 650, Montclair, NJ, 07042, 

Tel: 973-746-0091, Fax: 973-509-7739, www.craftsatlincoln.org. 

21st Annual Autumn Crafts Festival Sept. 9-10, 16-17 at 

Lincoln Center for the Performing Arts, New York, NY. Work 

must be original. Applicants must submit 5 color slides 

and an SASE with 65 cents postage. Deadline is January 4, 

2006. After this date, applications will be reviewed 

periodically until the show is filled. Artists may apply for one 

or both weekends. For more information contact: American 

Concern for Artistry and Craftsmanship, PO Box 650, 

Montclair, NJ, 07042, Tel: 973-746-0091, Fax: 973-509-7739, 

www.craftsatlincoln.org. 

30th Annual American Crafts Festival June 3- 4, 10-11 at 

Lincoln Center for the Performing Arts, New York, NY. Work 

must be original. Applicants must submit 5 color slides and 

an SASE with 65 cents postage. Deadline is January 4, 2006. 

After this date, applications will be reviewed periodically until 

the show is filled. Artists may apply for one or both weekends. 

For more information contact: American Concern for Artistry 

and Craftsmanship, PO Box 650, Montclair, NJ, 07042, 

Tel: 973-746-0091, Fax: 973-509-7739, www.craftsatlincoln.org. 

Sunfest 2006 SunFest of Palm Beach County, Inc. is currently 

seeking artists for the 24th annual Fidelity Federal Fine Art & 

Craft Show, scheduled for May 4 through May 7 of SunFest 

2006. SunFest, Florida’s largest music, art and waterfront festival, 

takes place along the Intracoastal Waterway in downtown 

West Palm Beach. Participants in the show are eligible to win 

one of 22 awards totaling $16,000. Approximately 165 artists 

will display works in 11 categories including drawing, fiber 

textiles, fine art sculpture, glass, jewelry/metal, mixed media 

(2D & 3D), painting, photography, pottery/ceramics and wood. 

Applications and entry qualifications are available from the 

SunFest website. To receive an application by mail send a 

self-addressed stamped envelope to Sunfest. Completed 

applications must be received no later than February 3, 2006. 

For more information contact: SunFest of Palm Beach 

County, Inc., 525 Clematis St, West Palm Beach, FL, 33401, 

Tel: 561-659-5980, Fax: 561-659-3567, www.sunfest.com. 

Coldworking 

with Diamond Tools 

By Jiyong Lee 

Advertise in the 

2006 Resource Guide 

The annual GAS Resource Guide is a collection of 

ads from manufacturers and suppliers of glass-related 

goods and services, organizations, publications, schools, 

galleries and museums from around the world, and is 

used by GAS members as a reference guide year-round. 

The 2006 Resource Guide will be distributed to each 

conference attendee at the Glass Art Society's 36th 

Annual Conference in St. Louis, Missouri, June 15-17, 

2006. Following the conference, the Resource Guide 

will be mailed to all GAS members who did not attend 

the conference. 

That's a total distribution of almost 3,000 GAS 

members in over 50 countries! 

Don’t miss the opportunity to gain visibility for 

your company or program in this useful reference 

guide. Reserve your space in the Glass Art Society 

2006 Resource Guide today! Reservations and payment 

are due February 15, 2006. Advertising artwork is due 

March 1, 2006. 

Also, make sure to reserve your space for 

the Technical Display at the GAS Conference by 

February 15. See our website at www.glassart.org 

for more information. 

In the long history of glass making, the use of 

diamond as an abrasive medium appears to be a 

relatively recent development, before which emery 

(natural black corundum) or crushed garnet was used 

as abrasive material. Modern diamond tools are high 

precision grinding tools made to exacting limits not 

only for glassmakers, but also for scientists and engineers 

as well. There are two different types of diamond 

tools, with the distinction being the way the diamonds 

are bonded to the body of the tool. These two bonding 

methods are known as “sintering” and “plating.” 

Sintered diamond tools have diamond mixed into 

the bronze metal (usually mix of copper + tin or nickel) 

and bonded by means of heat and pressure. They are 

longer lasting than plated tools but are also more 

expensive. Using and redressing sintered diamond 

tools wears away the bonding material to expose new 

diamonds. There are different alloys used as bonding 

substrates for use in various applications. For example, 

a harder bonding alloy should be chosen for tools 

intended to cut harder materials because the harder 

the material being cut, the faster it will wear away the 

tools’ bonding alloy, thus tending to release diamonds 

before they are spent. Conversely, a very hard bonding 

alloy is used on a tool to cut a soft material, then the 

diamonds tend to become dull and not released easily 

enough to expose new sharp diamonds. 

Over time, sintered tools’ profiles can change but 

can be re-profiled by their manufacturers, who recommend 

using these tools in one direction only because 

of what is known as “comet tail”. The bronze that does 

not get worn away from behind each diamond particle 

forms what resembles a comet tail and supports the 

diamond, holding it in place as it cuts away material. 

Initially, the decision of which direction is forward or 

reverse is arbitrary, but the user should remain committed 

to that direction for the life of the tool. If the tool is 

used in reverse, the diamonds on the surface are easily 

be knocked out because the comet tail is in front of 

them instead of behind them. With the diamonds 

knocked out, the existing bronze comet tail, now facing 

the wrong way, must be worn away before new diamonds 

will be exposed to continue cutting. Essentially, 

the malpractice of using sintered diamond tools in 

opposing directions not only wastes the time of not 

cutting material at an optimal rate, but it also shortens 

the life of the tools dramatically by prematurely 

knocking out unspent diamonds. 

Plated diamond tools have diamonds electroplated 

to a surface using a bonding agent (usually nickel). 

Since plated diamond tools have only one layer of diamonds, 

they do not last as long. The positive side is 

that plated diamond tools are low-cost. As diamonds 

wear out or fall out, the cutting and grinding process is 

slowed down, much like what happens with sandpaper. 

Theoretically, plated tools can be re-electroplated by 

the manufacturer, but unless you have a special, custom 

designed tool to re-plate, the process is not cost effective. 

Plated diamond tools can be used in opposing 

directions because the nickel that holds the diamonds 

on the surface of plated tools is much more durable 

than the bronze in sintered tools and is therefore not 

expected to be worn away in normal use to release 

spent diamonds. 

A Talk with Maestro Davide Salvadore 

Written by Beth Lipman from an interview with Davide Salvadore in July 2005 

The Venetian Maestro Davide Salvadore never 

really studied glass. Glass has always been a part 

of his family history; his first memories are from 

the glass factory where his father and uncle 

worked, and from his house where his mother and 

grandmother made beads. When his school day 

finished at noon he would come home, eat lunch, 

and go to the factory. Davide was eight years old 

when he was given his first important responsibility: 

stoking the furnaces with wood all afternoon 

each day. He remembers himself as a “wild child” 

someone who was mischievous; this chore kept 

him from getting into trouble. At age ten he 

started working on the factory floor. 

The young Davide knew he wanted to 

become a Maestro because he wanted to be like 

his godfather, Cesare. His mother’s brother, Cesare 

Mantoan, was a Maestro who had a dynamic 

personality and dressed impeccably. Despite his 

untimely death at an early age he left a deep 

impression on Davide. When Davide was a small 

child, he was one of 13 family members living 

in the house. The Maestro always received special 

treatment; his clothes were always laundered with 

special care and he was always served first at the 

dinner table. His grandmother loved all of her 

sons very much but always made sure the Maestro 

had everything he needed. 

Another event made Davide aware of the 

Maestro’s importance. A Maestro known as the 

“Beautiful Grape” lived across the street from 

Davide. They were friends and used to joke and 

play. Once, when he was walking down the street 

with his grandmother, Davide greeted the Maestro 

with an informal “Ciao Ciao!” His grandmother 

squeezed his hand hard and whispered,“That 

is not how you salute a Masestro!” When they 

arrived home his grandmother told his parents 

In modern glass cold-working studios, both types 

of tools are commonly used. Many studios have 

grinding machines that use interchangeable diamond 

discs, fiberglass plated with nickel and diamonds and 

adhered to rubberized magnetic backing pads. Most 

diamond saw blades are sintered. Core drill bits and 

cutting, carving and engraving wheels are commonly 

found in either sintered or plated types. 

All diamond tools require the use of water. 

Insufficient use of water increases the risk of destroying 

both your tools and your glass. All scientific optic glass 

companies use synthetic or semi-synthetic coolants 

diluted in water to help with cleansing and lubricating 

the cutting surface, and to extend diamond tool life. 

Using coolant presents several issues, such as reusing 

the coolant/water mixture, filtering the mixture as it is 

re-circulated in use, and recycling or disposing of the 

mixture when spent. 

Factors such as the amount of water used, type 

of glass materials being processed, how the tools 

have been maintained and used, etc., will play a role 

in the life and performance of your diamond tool. 

Reading operators’ manuals, asking questions of 

manufacturers and experts, choosing the proper 

tools, and good maintenance will extend the life 

of the diamond tools and enhance your working 

efficiency as well as your safety. 

I would like to thank to Rakow Research Library 

of Corning Museum of Glass and Kurt Merker Kelheim 

for providing reference. 

Jiyong Lee, Assistant Professor 

Glass Program, School of Art and Design 

Southern Illinois University Carbondale 

who scolded him and put him to bed without 

eating supper. 

Once he decided he was going to become a 

Maestro he pushed himself to work harder, faster, 

and more accurately. At age 17 he was able to 

create extremely complex forms with great speed 

and difficulty and earned the title of Maestrino 

(young master). One of his first jobs was in the 

Dabronzo factory. He worked on a team with 

approximately 12 glassworkers; Dabronzo typically 

had 15 teams working at once. During the 1960s, 

Italians from all regions could find work on 

Murano but only Muranese could be Maestros. 

He never felt very competitive, although the faster 

he worked the more money he earned. 

A Maestro is judged by the speed and efficiency 

with which he works on the production 

line. In Murano, Maestrini always earned a certificate 

of accomplishment which entitled them the 

title Maestro. The process began with an emerging 

artist exhibition, Premio Murano, in which maestrini 

exhibited works of glass such as a reticello vessel, 

or an extremely thin tumbler. The most prominent 

Mastroes and owners of the factories judged the 

exhibition and decided who was to earn the certificate. 

This tradition died shortly after Davide was 

awarded his certificate. A version of the Premio 

Murano still continues and the most important 

Maestro still attend the exhibition to view emerging 

talent. He was awarded his certificate 15 years 

ago at age 37. Davide marks this moment in his 

life as the moment he felt he was a Maestro. 

Beth Lipman is an artist living and working in 

southern New Jersey. Her work,“Bancketje,” was 

recently exhibited at SOFA Chicago and the Fuller 

Craft Museum in Brockton, Mass. She is the Studio 

Director of Education and Artist Services at 

Wheaton Village. 

5

GAS 36th Annual Conference 

Glass Gateways: Meet in the Middle 

classes + workshops 

6 

MAIN CONFERENCE VENUES 

Millennium Hotel 

Opening Ceremonies and Reception, 

Lectures, Technical Display, Auction, 

Goblet Grab, Student Exhibition 

Located in the heart of downtown 

on the banks of the Mississippi River, the 

Millennium Hotel St. Louis overlooks the 

city’s signature landmark, the Gateway 

Arch. Many of the area’s best attractions, 

dining, and sports venues are within 

minutes of the hotel, making it the ideal 

central location for accommodations 

and many of the GAS conference events. 

Third Degree Glass Factory 

Demonstrations, Southern Illinois University’s Aunt Gladys, 

The Corning Museum of Glass Hot Glass Roadshow 

Third Degree Glass Factory was founded in 2002 by Jim McKelvey and 

Douglas Auer. The not-for-profit studio serves the St. Louis community 

as the only public access glassblowing facility in the area, and in its first 

three years has ignited and inspired an emerging young community 

of glass artists. Third Degree offers beginning and intermediate glassblowing 

and flameworking classes, community demonstrations, and a 

gallery featuring work by local glass artists. 

Aunt Gladys–Southern Illinois University (SIU) 

Mobile Glassblowing Studio 

Student Demonstrations 

SIU’s mobile glassblowing studio, 

affectionately known as “Aunt Gladys,” 

is a fully equipped facility specifically 

designed to bring the art and craft of 

working molten glass to audiences 

interested in experiencing first-hand 

the techniques and processes related 

to contemporary glassmaking. 

The mobile glass studio was designed 

and created in 1969. Its first public 

out-of-state demonstration was held at Spring Arbor College in Michigan 

in 1972, and, after more than 30 years of demonstrations and workshops 

throughout the United States, it is still “on the road.” 

2006 AWARD RECIPIENTS 

Each year, the Glass Art Society honors and acknowledges the individuals 

who have made outstanding contributions to the development of the 

glass arts worldwide. The 2006 recipients of these awards are: 

Ann Robinson 

Lifetime Achievement Award for 

exceptional achievement in the 

field of glass art 

Penny Berk 

Honorary Lifetime Membership 

Award for outstanding service 

to the Glass Art Society 

CONFERENCE 

PRESENTERS 

Mauro Bonaventura: 

Demonstration: 

Flamework: Men in the Tower 

Sam Drumgoole: 


Hot Glass: Living Glass 

Photo: “Blue Form 

w/ Stripe Head On” 

Frantisek Janák: 

Demonstration: Kilnwork: 

Molds for Mold-melted Sculpture 

Photo: “Capricorn II,” 2005 

Tommy Elder: 

Lecture: Photographing Glass: 

Reflections on Reflections in Glass 

Tom Krepcio: 

Demonstration: Flat Glass: 

Stained Glass - Making it Original 

Photo: “Eight Faces,” (detail) 

Sarawut Chutiwongpeti: 

Lecture: At the Dawn of the 

21st Century: Lighting and Sound 

Photo: “The Red Window,” 2004 

André Gutgesell: 


Flamework: Play with Lines 

Photo: “Differentiation” 















UNITED STATES 

ARIZONA 

Sonoran Glass Art Academy, 633 W 18th St, Tucson, AZ, 

85701-2553, Tel: 520-884-7814, Fax: 520-623-9680, 

info@sonoranglass.org, www.sonoranglass.org 

Feb. 13 - Apr. 19: Beginning Furnace Glassblowing I* 

Feb. 14 - Apr. 20: Beginning Furnace Glassblowing II* 

Jan. 9 - 27: 

Glassblowing Intensive* 

May 8 - 26: Glassblowing Intensive* 

June 12 -30: Glassblowing Intensive* 

* College credit available 

Jan. 21- 22: Beginning Lampworking 

Feb. 10 - Mar. 17 (no class Mar. 3): Five Fridays! 

Feb. 18 -19: Beginning Lampworking 

Mar. 18 -19: Beginning Lampworking 

Mar. 24 - Apr. 21: Five Fridays! 

Apr. 15 -16: Intermediate Lampworking 

Apr. 24 - May 16: Continuing Glassblowing 

May 20 - 21: Beginning Lampworking 

June 17 -18: Beginning Lampworking 

Workshops: 

Jan. 14 -15: Painting with Glass (the non-traditional way)/ 

Bronwen Heilman 

Feb. 6 -10: 

Flameworking Using Ultimate Details/ 

Loren Stump 

Feb. 11-126: Inspiration from Everything: Working with 

Glass in a New Way/Laura Donefer 

Mar. 2 (eve.), 3, 4, 5: Women Only Glassblowing/Debra May 

Mar. 25 - 26: Unconventional Vessels/Bandhu Dunham 

Jan. 8 - 29: 

A Month of Sundays: An Introduction 

to Glassblowing 

CALIFORNIA 

Stumpchuck.com, 8901 Sheldon Rd, Elk Grove, CA, 95624, 

Tel: 916-739-0912, joella4@aol.com, www.stumpchuck.com 

2006 Class Schedule 

Jan. 4- 8: Loren I/Loren Stump 

Jan. 25-29: In the Jungle/Loren Stump 

Mar. 29 - April 2: Murrini/Loren Stump 

May 3 - 7: Loren II/Loren Stump 

May 10 -14: Under the Sea/Loren Stump 

June 2- 4: Paperweight Weekend/Loren Stump 

July 12-16: In the Sky/Loren Stump 

Sept. 20-24: In the Desert/Loren Stump 

Oct. 25-29: Loren I/Loren Stump 

Nov. 3- 5: Paperweight Weekend/Loren Stump 

Bighorn Glass Studio, 65265 San Jacinto Ln #2, Desert Hot 

Springs, CA, 92240, Tel: 760-329-4344, Fax: 760-329-4360, 

michael@bighornglassstudio.com, www.bighornglassstudio.com 

Jan. 7, 8: 

Beginning Glassblowing 

Jan. 9, 16, 23, 30: Introduction to Fusing and Slumping 

Jan. 11, 18, 25, Feb. 1: Intermediate Fusing and Slumping 

Jan. 21, 22: 

Intermediate Fusing and Slumping 

Feb. 4, 5: 

Beginning Glassblowing 

Feb. 6, 13, 20, 27: Introduction to Fusing and Slumping 

Feb. 8, 15, 22, Mar. 1: Intermediate Fusing and Slumping 

Feb. 18, 19: 

Introduction to Fusing and Slumping 

FLORIDA 

Newy Fagan Studio, PO Box 336, Ocklawaha, FL, 32183-0336, 

Tel: 352-288-1426, newyf@aol.com, www.newyfagan.com 

Jan. 20 - 21: Introduction to Kilnformed Glass/Newy Fagan 

FlameTree Glass, Inc., 11761 S Orange Blossom Trl Ste A, 

Orlando, FL, 32837, Tel: 1-888-FLAMETREE, Fax: 407-240-0272, 

flametreeglass@aol.com, www.flametreeglass.com 

Jan. 14-15: Kimberly Affleck Workshop 

Nov. 17-18: Kate Fowle Meleney Workshop 

Nov. 19-20: Kate Fowle Meleney Workshop 

HAWAII 

Island Glassworks, 171-A Hamakua Dr, Kailua, HI, 96734, 

Tel: 808-263-4527/ 808-392-6482, Fax: 808-263-4525, 

info@islandglassworks.com, www.islandglassworks.com 

Oahu’s only glassblowing studio open to the public. Located 

in beautiful Kailua town, we are 5 minutes from the beach and 

located next to a Protected Hawaiian Bird Sanctuary. Call for 

information regarding beginning/intermediate/advanced 

classes and studio rentals. Come and blow glass in paradise! 

ILLINOIS 

Ed Hoy’s International, 27625 Diehl Rd, Warrenville, IL, 60555, 

Tel: 800-323-5668/ 630-836-1353, Fax: 630-836-1362, 

edhoy1@worldnet.att.net, http://www.edhoy.com 

Jan. 20: How to Teach Glass Fusing/Larry Cimaglio 

MAINE 

Haystack Mountain School of Crafts, PO Box 518 GL, 

Deer Isle, ME, 04627, Tel: 207-348-2306, Fax: 207-348-2307, 

director@haystack-mtn.org, www.haystack-mtn.org 

2006 Summer Workshops: 

July 2-14: The Retticello Channel/Anthony Schafermeyer 

& Claire Kelly 

July 16-28: Hot Glass Sculpting/Karen Willenbrink 

July 30 - Aug. 18: Introduction to Glassblowing/Kiara Pelissier 

Aug. 20 - Sept. 1: Searching for a Useful Form or Two/Nick Mount 

Sept. 3- 9: Glass workshop/Peter Houk 

NEW YORK 

The Studio of The Corning Museum of Glass, One Museum 

Way, Corning, NY, 14830, Tel: 607-974-6467, Fax: 607-974-6370, 

thestudio@cmog.org, www.cmog.org 

WINTER CLASSES 

Session One 

Jan. 9 - 14: Challenging the Vessel/Jane Bruce 

Jan. 9 - 14: An Introduction to Venetian Goblet making at 

the Torch/Emilio Santini 

Jan. 9 - 14: Kiln-Cast Sculpture: Positive: Negative: Positive/ 

Irene Frolic 

Session Two 

Jan. 16 - 21: 

Jan. 16 - 21: 

Jan. 16 - 21: 

Jan. 16 - 21: 

Session Three 

Jan. 23 - 28: 

Jan. 23 - 28: 

Jan. 23 - 28: 

Jan. 23 - 28: 

Graphic and Color Systems in Glass/ 

Mark Matthews 

Flameworking Using Ultimate Details/ 

Loren Stump 

Windows to Creativity/Tony Serviente 

Enhance Your Glass/Martha Biggar 

Beginning Glassblowing: Building a Foundation/ 

Harry Seaman 

Ideas Expressed in Flameworked Glass/ 

Paul J. Stankard 

Thicker, Deeper, Better Fused Glass/Mark Ditzler 

Cold Construction/Martin Rosol 

Session Four 

Jan. 30 - Feb. 4: An In-Depth Introduction to Venetian 

Techniques/William Gudenrath 

Jan. 30 - Feb. 4: An Introduction to Flameworking / 

Alex Hamilton 

Jan. 30 - Feb. 4: Kiln-Cast Glass/Lucartha Kohler 

Jan. 30 - Feb. 4: Next Steps in Glassblowing/George Kennard 

Session Five 

Feb. 6 - 11: 

Feb. 6 - 11: 

Feb. 6 - 11: 

Session Six 

Feb. 13 - 18: 

Feb. 13 - 18: 

Feb. 13 - 18: 

WASHINGTON 

An In-Depth Introduction to Venetian 

Techniques/William Gudenrath 

Bead Intensive/Caitlin Hyde 

The Roll Up for Kilnformers/Johnathan Schmuck 

Great Venetian Glassblowing/Elio Quarisa 

Advanced Marble Making /Drew Fritts 

Painting the Void: Sandblasting and Vitreous 

Painting/Denise Stillwaggon Leone 

Trovata Creative Adventures, 10415 NE 32nd Pl Ste E-102, 

Bellevue, WA, 98004, Tel: 206-612-2378, Fax: 425-963-8627, 

kendra@trovataonline.com, www.trovataonline.com 

Classes with Larry Brickman offered in Coldigioco and Venice, 

Italy: May 4 -13, Sept. 13 - 22, and Sept. 24 - Oct. 3, 2006. 

INTERNATIONAL 

ENGLAND 

London Glassblowing Workshop, 7 The Leather Market, 

Weston St, London, SE1 3ER, Tel: +44 207 403 2800, 

Fax: +44 207 403 7778, info@londonglassblowing.co.uk, 

www.londonglassblowing.co.uk 

Jan. 28 -29: Creative Glass Jewelry 

SCOTLAND 

North Lands Creative Glass, Quatre Bras, Lybster, Caithness, 

KW3 6BN, Tel/Fax +44 1593 721 229, info@northlandsglass.com, 

www.northlandsglass.com 

Masterclass Programme 2006: ‘The Skilful Hand & Eye’ 

Session 1: 

July 26 - Aug. 3: Bullseye Masterclass with Dick Marquis. 

Working between kiln forming and hot working 

students will have full access to the hot shop 

and full access to all the fusing, slumping, and 

casting ovens. 

Session 2: 

Aug. 23 - 31: 

Aug. 26 - 31: 

Session 3: 

Sept. 5 - 10: 

Sept. 5 - 13: 

GERMANY 

Kiln Casting Masterclass with Tessa Clegg 

and British ceramist Carol McNicoll, exploring 

collaboration and lost wax casting. 

Glassblowing Masterclass with Dante Marioni 

and Janusz Pozniak focusing on refining ageold, 

Venetian off hand glass making techniques. 

Cold-working Masterclass, with Alison Kinnaird, 

an intensive six-day class (inc. copper wheel 

engraving) connecting blown forms to the 

possibilities available when the cold working 

is taken into account from the beginning of 

the creative process. The talented Australian 

glassblower Tom Rowney will be working with 

Kinnaird and students to realise their ideas in 

hot glass. 

Kiln Forming Masterclass, instructor to be 

confirmed. 

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 

Master Classes offered in conjunction with “Glass in Context 

2006: Art - Image - Industry.” 

March 29 - April 6: Classes offered are: hot glass, lampworked 

glass, kiln casting, stained glass/flat glass, glass engraving, acid 

etching, and glass cutting. Instructors include: Mary Angus, 

Lucio Bubacco, Silvia Levenson, Jiri Harcuba, Vladimir Klein, 

Petr Novotny, and Dana Zamecnikova. 

ITALY 

Scuola Bubacco, Fondamenta da Mula 148, Murano, 30141, 

Tel: +39 (0)41 736544, Fax: +39 (0)41 527 6721, 

luciobubacco@libero.it, www.luciobubacco.com 

Workshops offered: 

Jan. 9-14: with optional extention Jan. 16 -18 

Jan. 9-14: with optional extention Jan. 16-18 

Jan. 20 - Feb. 4: with optional extention Feb. 6 - 8 

Feb. 13 -18: with optional extention Feb. 20 -22 

Feb. 27 - Mar. 4: with optional extention Mar. 6 - 8 

All optional extention classes are taught by Vittorio Costantini. 

Cesare Toffolo’s Studio Opportunities are available to study 

lampworking in Cesare Toffolo’s in Murano, Venice. Contact the 

studio for information: info@toffolo.com 

CANADA 

Red Deer College, PO Box 5005, Red Deer, AB, T4N 5H5, 

Tel: 403-342-3130, Fax: 403-347-4041, wendy.meeres@rdc.ab.ca, 

http://www.rdc.ab.ca/continuingeducation/ 

Red Deer College offers classes in glassblowing, flameworking 

in both Borosilicate and Moretti, and glass fusing from May to 

Sept every year. Some scholarhips are available. The 2006 

brochure will be available Dec. 2005 with registration starting 

mid-January. Many of our classes fill quickly so make sure you 

get a brochure. Call 402-342-3504 to be added to the mailing 

list. Website: www.rdc.ab.ca/continuingeducation. 

Canadian Glass Conference Workshops: 

May 15-24: Forces of Nature/Bandhu Scott Dunham 

May 20-24: Hot-Cold-Hot-Cold/Jane Bruce 

May 22-24: Borosilicate Bead Blast/Lauri Copeland 

May 29 - June 3: From Fundamentals to Fabulous!/ 

Cindy Jenkins 

May 29 - June 9: The Dirty South-An Approach to the Hotshop/ 

Jamex & Einar de la Torre 

May 29 - June 9: Lost Wax: Casting in Glass/Stephen Paul Day 

Alberta College of Art & Design, 1407 14 Ave NW, Calgary, AB, 

T2N 4R3, Tel: 403-284-7600, Fax: 403-289-6682. In conjunction 

with the Canadian Glass Conference being held in Red Deer, 

Alberta, May 25-28, The Alberta College of Art & Design glass 

program in Calgary will be offering the following workshops: 

Pre-conference workshops: 

May 18 - 24: Glass Blowing: An In-Depth Introduction to 

Venetian Techniques/William Gudenrath 

May 29 - June 4: Glass Casting: 100% Natural Light/ 

Emma Camden. 

Post-conference workshops: 

May 29 - June 6: Glass Casting: Wish in a Box/Tessa Clegg 

May 29 - June 6: Coldworking Techniques/Aesthetics: Breaking 

the Skin/Jane Bruce 

College credit equivalency can be arranged for all ACAD glass 

courses offered. 

MEXICO 

Hacienda Mosaico, Calle Milan #274, Col. Versalles, Puerto 

Vallarta, Jalisco, Tel: +52-322-225-8296/ 866-263-9717, 

info@haciendamosaico.com, www.haciendamosaico.com 

March 5-11: Just Let Me Bead Workshop/Laura McCabe 

Intensive 4 day workshop at Hacienda Mosaico in Puerto 

Vallarta, Mexico. Along with the 4 days of class, we will also 

have 1 free day to “see the town”. Price includes workshop, 

lodging, breakfast and lunch on workshop days. For more 

information, contact Laura directly at justletmebead@aol.com 

or contact the Hacienda Mosaico. 

11

GAS 36th Annual Conference 

Glass Gateways: Meet in the Middle - St. Louis, Missouri, June 15-17, 2006 

Deadlines: 

February 15, 2006: 

March 1, 2006: 

International 

Student Exhibition 

Display space reservation 

and 50% deposit due 

Final Technical Display payment 

and press-ready art for 

Resource Guide ad due 

Millennium Hotel, Mississippi Room 

Friday, June 16, 4 - 8 pm; Saturday, June 17, 9 - 4 pm 

St. Louis, Missouri, June 15-17, 2006 

CONFERENCE 

PRESENTERS 

Ken Leap: 


Glass Painting for the Artist 

Photo: “For Heroes Proved,” 2005 

LECTURERS 

Doreen Balabanoff: From the Four Corners 

Penny Berk: Lifetime Membership Award Lecture: 

Reflections on Herding Cats 

Nick Cave: Willson Lecture: “Soundsuits”: 

the Beginning, the Middle, and the. . . 

David Chatt: Where Glass Meets Fiber, 

There Sits Beadwork 

Sarawut Chutiwongpeti: At the Dawn of the 

21st Century: A View Through “The Red Window” 

Delbert Day: Labino Lecture: Glass–From Outer Space to Inner Space 

John Drury: Are We Going to Get it, Together? 

Tommy Elder: Photographing Glass: Reflections on Reflections in Glass 

Sidney Goldstein: Keynote Lecture: Meet in the Middle: Ancient or Modern– 

Call it Medieval! 

Henry Grimmett and Edwin King: The Exposed Artist: New Data and Review of 

Toxicities in Lampworking 

Technical Display 

The Marketplace for Glass Artists 

Millennium Hotel, Exhibit Hall 

Open to the public: Wednesday, June 14, 12 - 5 pm; 

Thursday, June 15, 1 - 6 pm; Friday, June 16, 1 - 6 pm; 

Saturday, June 17, 9 - 2 pm 

Visit GAS’s annual Technical Display to see and 

purchase the newest and best equipment, supplies, 

services, publications, and educational materials, located 

at the Millennium Hotel Exhibit Hall in the midst of 

conference activities. 

Interested in exhibiting? 

Technical Display packages will be available at 

$875 and $1,100 and include one 8 x 10 foot square 

booth, one half-page Resource Guide ad and two 

conference passes. For information on how to reserve 

your space or on our display allocation system, please 

contact the GAS office or check the website at 

www.glassart.org. 

The International Student Exhibition invites all 

Glass Art Society student members who are currently 

enrolled full-time in an accredited degree-seeking 

program to participate. All work must be current, 

original, professionally crafted, and contain glass as 

the main element. 

How to participate: Deliver your student work to 

the Millennium Hotel, Mississippi Room, Wed., June 14, 

1 - 5 pm; Thurs., June 15, 10 am - 5 pm. The official 

opening will be on Fri., June 16, at 4 pm. Students are 

encouraged to hand-carry their work to the conference. 

Insurance and shipment of the artwork are the 

responsibility of the artist. Neither GAS nor the 

Millennium Hotel are responsible for theft or damage 

to artwork. Please ensure that your work is delivered 

in reusable packaging. 

Restrictions: No more than three items may be 

submitted by each student. Each piece must not 

exceed 30 lbs. (15 kg) or 20 in. (50 cm) in any dimension. 

Installations or groupings may be submitted, 

but each element within the grouping must adhere 

to weight and size restrictions. Clear installation 

instructions must accompany each work. Work cannot 

be hung from the ceiling or walls in the exhibition. 

Awards: Previously, more than $12,000 

in cash and supplies has been awarded. The first prize 

winner will receive a $1,000 cash award from the 

Corning Museum of Glass. All award winners will be 

acknowledged in the 2005 Glass Art Society Journal. 

Sales: We encourage sales at this event by cash or 

check made directly to GAS. Artists will receive 80%. 

Buyers must make their own arrangements for 

shipping work. Payments, purchases, and all unsold 

artwork must be picked up and removed Sun., June 18, 

11 am - 5 pm. Pieces left after Sun., June 18, 5 pm will 

become the property of the Glass Art Society. 

Chuck Lopez and Flo Perkins, 

Nick Davis and Charlotte Potter: 

Demonstration: Hot Glass: Bowling for Glass 

Photo: Bowled Over 

Flo Perkins: 

Lecture: New Work /New Mexico 

Photo: “Conepassion,” 2005 

Janet Koplos: Strattman Lecture: Reconsidering Glass 

John Lewis: Cast Glass in Architecture 

Karen Mulder: Glass as a Gateway to Understanding History: Reassessing the Impact 

of Postwar Neues Glas Installations from Germany 

Tina Oldknow: Trends and Influences in Contemporary Czech Glass Sculpture 

Flo Perkins: New Work / New Mexico 

Pike Powers: Imagery 

Ann Robinson: Lifetime Achievement Award Lecture: Ramp @ off to 420c Degrees 

Sam Stang: History of Studio Glass in the St. Louis Area 

Michael Taylor: Commercial Value vs. Content: Is there a Survivable Balance? 

Brynhildur Thorgeirsdottir: The Continuing Dialogue – Sculpture and Glass 

Fred Tschida: Crossroads 

Dana Zamecnikova: Mirroring 

Mark Zirpel: Glass Works 

DEMONSTRATORS 

Hank Murta Adams: Hot Glass 

Bennett Battaile: Flamework: Flameworked Stringer: All the Methods, Some of 

the Madness 

Mauro Bonaventura: Flamework: Men in the Tower 

Daniel Clayman: Kilnwork Lecture/ Demonstration: Twenty Years of Casting Projects 

Sam Drumgoole: Hot Glass: Living Glass 

PRE- + POST-CONFERENCE WORKSHOPS 

The Glass Art Society publicizes these workshops as a benefit to members. The workshops are not planned, organized, 

or administered by GAS. For more information or to register, contact the appropriate school. 

John Reyntiens: 


Texture and How to Get It: 

Slumping, Gilding, and Painting 

Photo: “Evolution” Millennium 

Window, 2000 

Eric Goldschmidt: Flamework: A Contemporary American Take on Venetian Technique 

André Gutgesell: Flamework: Play with Lines 

Kazuyo Hashimoto: Flamework: Brilliant Woven Glass 

Judy Hill: Kilnwork: Material as Metaphor, Using Clay and Glass: How These Materials 

Are Used as I Make My Objects 

Deborah Horrell: Kilnwork: Transforming Line into Form 

10 


Contact: Michael Hayes 

5200 Delmar Blvd., St. Louis, MO 

314.367.4527, www.stlglass.com 

Pre-Conference Workshops: 

Blown Abstract Forms 

June 9 - 11 / Taught by Chuck Lopez 

Move beyond the vessel to create blown glass sculpture 

using a combination of traditional and innovative 

techniques. Prerequisite: at least one year of recent 

hot shop experience. 

Two Techniques, One Goal: 

Sand Casting and Glass Mosaic for the Artist 

June 10 - 14 / Taught by John Drury 

A fast-paced intensive workshop, approaching the 

sculptural exploration and application of glass through 

the employment of mosaic and sandcasting, with an 

eye to creation as a reflection of self and place. 

Figuratively in the Middle 

June 12 - 14 / Taught by Richard Jolley 

Bring the extremes into focus and decrease the distance 

while working figuratively, using a variety of glass 

sculpting techniques for personal expression. 

Post-Conference Workshops: 

Exploring the Middle: Painting within Hot Glass 

June 18 - 20 / Taught by Bridget Boss 

Painting and layering glass to create interesting 

simple blown forms that include layered paint and 

symbols. Prerequisite: basic glass knowledge. 

Let’s Make Good Shapes 

June 19 - 21 / Taught by David Levi 

Intensive study of form and technique. Blow better 

bubbles; add better bits. Prerequisite: two years hot 

shop experience recommended. 

Thinking in Glass, Working in Color 

June 21 - 23 / Taught by Sam Drumgoole 

Explore the fundamentals of glass with a focus on 

various color applications including overlays, murrini, 

and bits. Prerequisite: basic glass knowledge. 

Craft Alliance 

Contact: Luanne Rimel 


314.725.1177, www.craftalliance.org 

Pre-Conference Workshops: 

Text and Imagery on Glass 

June 10 - 11 / Taught by Susan Taylor Glasgow 

Learn a variety of methods for applying images and text 

onto glass with low- and high-fire glass enamels and 

oven-fired paints. 

Crazy Canes – A Glass Workshop 

June 12 / Taught by Erin Taylor 

Take your beads to the next level by learning to make 

compound twist canes, working with color and overlays 

to pull canes and explore a variety of decorative 

techniques to incorporate into beads. Prerequisite: 

prior glass experience. 

Silver Core Glass Beads 

June 13 - 14 / Taught by Deborah Katon and Peg Fetter 

Learn to make colorful glass beads with large diameter 

holes and coat the core with sterling silver tubing for a 

dazzling effect. 

Marble Making Workshop 

June 14 / Taught by Greg Kramer 

Make your own marbles by learning to heat hard glass 

with a torch and rolling the glass into marble shapes– 

from small to “shooter” size. 

Post-Conference Workshops: 

Beads Too Good To Be True! 

June 18 / Taught by Karen Woodward 

Back by popular demand, lampworking artist Karen 

Woodward teaches how to create your favorite foods in 

glass. Experience is helpful, but not necessary. 

Five-day Glass Workshop 

June 19 - 23 / Taught by Loren Stump 

Course divided into three parts: murrine, sculptural 

techniques, and encasement. 

SURROUNDING EVENTS 

DO U GLASS Hot Shop Open Studio 

Wednesday, June 14, Noon - 6 pm or until the beer 

is gone 

Douglass School Art Place 

900 Douglass St., Murphysboro, IL 

618.687.3791, www.artapult.com, cam@artapult.com 

Cameron Smith and Jan Thomas of DO U GLASS 

Hot Shop invite you to visit their studio for open 

glassblowing, a demonstration of their new casting 

facility, and a visit by the ARTAPULT. The open studio 

is held in conjunction with the Southern Illinois 

University’s (SIU) Glassblowers reunion being hosted 

by SIU-Carbondale. They are located in southern 

Illinois two hours from St. Louis and six miles from 

SIU-Carbondale. 

Ché Rhodes: 

Demonstration: Hot Glass: Abstract Blown Sculpture 

Photo: Ché Rhodes with Jes Julius and Dan Cutrone 

Loren Stump: 

Demonstration: Flamework: 

St. Louis Arch Commemorative 

GAS Murrini 

Photo: “Exquisite Male” 

Dana Zamecnikova: 

Lecture: Mirroring 

Photo:“Woman/Man/Torso,” 2005 

Frantisek Janák: Kilnwork: Molds for Mold-melted Sculpture 

Ruth King: Hot Glass: Simple Solids 

Sabrina Knowles and Jenny Pohlman: Hot Glass: Sculpting a Hot Bubble 

Tom Krepcio: Flat Glass: Stained Glass–Making it Original 

Ken Leap: Flat Glass: Glass Painting for the Artist 

David Levi and Sam Stang: Hot Glass: Glassblowing Demonstration 

Chuck Lopez and Flo Perkins, Nick Davis and Charlotte Potter: Hot Glass: 

Bowling for Glass 

Charles Lowrie: Hot Glass 

Carmen Lozar: Flamework: Vignette 

Koichi Matsufui: Kilnwork: A Japanese Approach to the Lost Wax Casting Mold 

Liz Mears: Flamework: Sculpting with Opened Tubing 

Petr Novotny: Hot Glass: A Czech Way of Glassblowing 

Michael Plane: Flamework 

John Reyntiens: Flat Glass: Texture and How to Get it: Slumping, Gilding, and Painting 

Ché Rhodes: Hot Glass: Abstract Blown Sculpture 

Loren Stump: Flamework: St. Louis Arch Commemorative GAS Murrini 

Takeshi Tsujino: Hot Glass: Blowing from the Far East 

Janusz Walentynowicz: Kilnwork: A Presentation of Casting Techniques 

Randy Walker: Hot Glass: Sculpting Nature 

Dave Walters: Hot Glass: The Vessels are Narrative 

PANELISTS 

Douglas Auer: Gas vs. Electric 

Cornelia Carey: The Insurance Show, Starring Craig Nutt 

Suellen Fowler: Myth of the Burner 

Henry Halem: Moderator: Glass Education: A Gateway to Success or Failure 

Janis Miltenberger: Myth of the Burner 

Roger Parramore: Myth of the Burner 

Sally Prasch: Myth of the Burner 

Steve Stadelman: Gas vs. Electric 

Doug Ohm: Gas vs. Electric 

GAS Conference preview 

continues on next page 

7

GAS 36th Annual Conference – Glass Gateways: Meet in the Middle St. Louis, Missouri, June 15-17, 2006 

GET 

INVOLVED! 

There are many opportunities to get involved with the GAS conference, and to contribute to keeping 

GAS a vital, growing organization. GAS counts on your support! 

SPECIAL CONFERENCE EVENTS 

12th Annual Goblet Grab 

Millennium Hotel, by Grand Ballroom, 

Friday, June 16, 1- 2 pm 

(begins promptly at 1 pm) 

Goblet Grab is a fundraiser for the Craft Emergency 

Relief Fund (CERF), which offers aid to GAS artist 

members in times of need. The fast-paced, spontaneous 

Goblet Grab is an event full of excitement and fun! 

Contribute to Goblet Grab by donating a drinking 

glass and be entered to win one free conference 

registration for the GAS 2007 conference. 

How to donate: 

1. Blow a goblet, mug, tumbler, or some kind of 

drinking glass. 

2. Price it at $50, $100, $150, or $200. 

3. Bring your drinking vessel with you and drop it off 

at the Goblet Grab receiving area at the Millennium 

Hotel, Shaw Room, Wed., June 14, 1- 5 pm; 

Thurs, June 15, 9 am - 5 pm; Fri., June 16, 9 -11 am. 

If you want to ship your piece (at your own expense), 

please see shipping information on our website at 

www.glassart.org. 

Visual Exchange 

Millennium Hotel, by Lewis & Clark Rooms 


Show your artwork at Visual Exchange, a slide 

show on view for everyone. All slides will be donated 

to the Rakow Research Library at the Corning Museum 

of Glass after the conference. Bring four slides–three 

of your work and one title slide with your name on the 

slide film–to the conference and give to a GAS board 

member at the information desk at conference registration. 

For more information, contact the GAS office. 

EXHIBITIONS 

3rd Floor Gallery 

1214 Washington Ave., St. Louis, MO 

Art Dimensions 

415 Tucker, St. Louis, MO 

www.artdimensions.org 

Art St. Louis 

917 Locust, St. Louis, MO 

www.artstlouis.org 

Atrium Gallery 

7638 Forsyth Blvd., Clayton, MO 

www.atriumgallery.net 

Barucci Gallery 

8101 Maryland Ave., Clayton, MO 

www.baruccigallery.com 

Baseline Gallery 

1110 Washington, St. Louis, MO 

www.baselineworkshop.com 

City Museum 

701 N. 15th St., St. Louis, MO 

www.citymuseum.org 

Componere 


Gallery Forum 

Millennium Hotel, Chouteau Room 

Saturday, June 17, 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 rolls provided. Galleries please contact the 

GAS office by February 1 to sign up and be listed in 

the conference program book. 

4th International Forum 

for Glass Organizations 

Millennium Hotel, Field Room 

Wednesday, June 14, 3 - 3:45 pm 

The following galleries will host glass exhibitions ongoing during the GAS conference: 

We’d like to extend an invitation to all international 

GAS member glass organizations to send one or two 

representatives to participate. Anyone interested in 

becoming an international liaison is also invited. 

Following the 1st International Forum, an e-group 

was created as a means of communication for glass 

organizations. If you would like to participate in 

networking/sharing international issues: 

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 St. Louis. 

Your ideas and comments are appreciated. 

3. Bring your ideas to the forum: How do you think 

international glass organizations could best liaise to 

benefit all? What form could such a network take? 

What opportunities could come from such 

interaction (i.e. artist-in-residence exchanges, studio 

exchanges, information sharing, etc.)? 

GAS Conference preview 

continues on next page 

8 within the household.” Once a seamstress, she now 

Benway, Bert Cohen, Cathy Richardson and others. 

www.componere.com 


9 

Craft Alliance 


www.craftalliance.org 

Foundry Arts Center 

520 North Main Center, St. Charles, MO 

www.foundryartcentre.org/coming.html 

Jacoby Arts Center 

627 East Broadway, Alton, IL 

www.madisoncountyartscouncil.org/html/upcoming.html 

Mad Art 

2727 S. 12th St., St. Louis, MO 

www.madartgallery.com/website/index.htm 

Millennium Hotel 

200 S. 4th St., St. Louis, MO 

Neon Lounge, lower level 

Museum of Neon Art: “Traveling Light” 

R. Duane Reed 

7513 Forsyth, Clayton, MO 

www.rduanereedgallery.com 

Regional Art Center 

6128 Delmar, St. Louis, MO 

www.art-stl.com/main.cfm 

Rowhouse Gallery 

911 N. Tucker, St. Louis, MO 

www.rowhousevisuals.com/RHVgallery.html 

Samuel Cupples House 

3673 West Pine Mall, St. Louis, MO 

www.slu.edu/the_arts/cupples 

St. Louis University Museum of Art 

3663 Lindell Blvd., St. Louis, MO 

http://sluma.slu.edu 


www.stlglass.com 

Thomas Sappington House Museum 

1015 Sappington Rd., Crestwood, MO 

www.ci.crestwood.mo.us/departments/parks/ 

sapp_house.aspx 

Xen Gallery 

401 North Euclid, St. Louis, MO 

www.xengallery.com 

Artist Portfolio Review 

Millennium Hotel, Soulard Room 

Saturday, June 17, 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 

Millennium Hotel, Soulard Room 


The Education Resource Center will be a space 

where students and those interested in continuing 

their pursuit of glass education may come to pick up 

materials and information. All educational facilities: 

universities, colleges, public access studios, summer 

programs, studios, etc., who offer instruction in 

glass-working and wish to be represented in the 

Education Resource Center are requested to provide 

literature. Each school is also encouraged to send 

a representative to be present to answer questions 

during the conference. 

Bring your handouts and drop them off early at the 

Education Resource Center at the Millennium Hotel, 

Soulard Room, or ship materials ahead of time. 

Contact the GAS office for shipping information. 

SPECIAL EXHIBITIONS 

R. Duane Reed Gallery 7513 Forsyth, Clayton, MO 

Features an exhibition of Ann Robinson’s work as well 

as a group exhibition created for the conference by 

gallery artists, including Jenny Pohlman/Sabrina 

Knowles, Ginny Ruffner, Marvin Lipofsky, Dale Chihuly, 

William Morris, Ross Richmond, Crooks and Beers, 

Cassandria Blackmore. 

Craft Alliance 6640 Delmar Blvd., St. Louis, MO 

Glass + Metal, May 19 - July 9 

This exhibition features the works of artists creating 

jewelry from the pairing of metal and glass, including 

pieces by Robert Ebendorf, Geoff Giles, and C. James 

Meyer. Artists are asked to investigate the relationship 

between the two materials while considering adornment. 

C. James Meyer will be giving a lecture and workshop 

on May 20 and 21, in the Craft Alliance studios. 

David and Jacqueline Charak Gallery 


Sewn Glass – New Work by Susan Taylor 

Glasgow, June 9 - July 16 

Susan Taylor Glasgow’s sewn glass technique embraces 

the domestic act of sewing in an unexpected medium. 

Combining text with 1950’s etched imagery, Susan 

explores the “complex dichotomy of women’s roles 

sews glass panels together to create translucent 

vessels and sculptures. 

Missouri Botanical Gardens 

4344 Shaw Blvd., St. Louis, MO 

Glass in the Garden: Chihuly at the Missouri Botanical 

Gardens, April 30 - Oct. 31 

View a custom-designed, stunning show of glass 

sculptures by Dale Chihuly at this show that juxtaposes 

fine art with nature. 

Rendezvous on the River: 

The Pre-Conference Reception 

Becky Thatcher Riverboat 

Wednesday, June 14, 7 - 10 pm 

Located directly across from the Millennium Hotel 

at the Gateway Arch Riverfront, climb on board the 

Becky Thatcher Riverboat to meet, mingle, dance, and 

dine as you cruise the mighty Mississippi River and 

enjoy the St. Louis skyline. 

A replica of a 19th century steamboat, the Becky 

Thatcher combines the traditional charm of days gone 

by with modern conveniences. During this spectacular 

three-hour cruise you will get a chance to view various 

points of interest along the riverfront both north and 

south of the Gateway Arch. Enjoy live entertainment 

and a delicious feast of traditional St. Louis-style fare. 

The cruise boards at 7 pm and leaves at 7:30 pm with 

a return time of 10 pm. 

Cost: $90 Maximum capacity: 250 

The Pre-Conference Reception is a fundraiser that 

supports low conference registration fees for student 

members of GAS. 

You must be registered in advance for the Pre- 

Conference Reception in order to attend. 

GLASHAUS 

The International Magazine 

of Studio Glass 

German/ English, 4 issues p.a. 39 EUR 

(including air mail postage) 

Advertising/Subscription: 

Dr. Wolfgang Schmölders 

Glashaus-Verlag, Stadtgarten 4 

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 

Stained Glass Tour 

Wednesday, June 14, 9 am - 4 pm 

On the Stained Glass Tour, first visit Congregation 

Shaare Emeth to witness the morning light pass 

through stained glass windows created by Dale 

Chihuly–his first architectural commission for a public 

space–and view glass sculpture by Ian Gilula and Aaron 

Frankel. Travel on to St. Mark’s Episcopal Church to 

see the Art Deco-style windows designed by Robert 

Harmon for Frei Studios; then to Union Station to view 

remarkable Tiffany-style windows and the Whispering 

Wall. Following lunch, visit Cathedral Basilica to view 

the largest mosaic collection in the world created by 

20 different artists and covering 83,000 square feet. 

The installation, containing 41.5 million pieces of glass 

tesserae employing over 7,000 colors, began in 1912 

and was completed in 1988 by the Ravenna Mosaic Co. 

Also at Cathedral Basilica visit the Mosaic Museum, with 

information on the construction of the New Cathedral 

and the installation of the mosaic artwork. Concluding 

the tour will be a visit to Second Presbyterian to view 

11 Tiffany windows. 

Cost: $80, includes transportation to/from the 

Millennium Hotel and lunch 

Max. attendance: 54 

You must be registered in advance to attend the 

Stained Glass Tour. 

Gallery Hop 

Friday, June 16, 6 - 10 pm 

During the St. Louis Gallery Hop, a shuttle will 

escort attendees on an eclectic tour of some of 

St. Louis’ finest galleries hosting glass exhibitions. 

Galleries open for Gallery Hop will be noted in the 

conference program book, distributed onsite at 

the conference. 

Encounter. Experience. Engage: 

The Closing Night Party 

City Museum 

Saturday, June 17, 8 pm - 2 am 

Explore the unexpected! Dance the night away to 

live St. Louis jazz and blues, enjoy great food and spirits, 

and meet and mingle with other GAS participants at 

the unique City Museum. The City Museum has been 

called a warehouse of adventure for people of all ages 

and a museum unlike any other. With an enchanted 

forest, secret caves and passageways, a giant aquarium, 

a small circus, an architectural museum, a museum 

of oddities, and plenty of slides, City Museum is a 

delight for people of all ages. Housed on three floors 

of the former International Shoe Company building 

in a space equal to two-and-a-half football fields, the 

museum was born of the vision of several creative 

artists. It’s a wacky place where a school bus hangs 

off the roof and airplane parts appear to fly over the 

parking lot in the outdoor creation called MonstroCity. 

City Museum is a recycler’s paradise with many of the 

exhibits constructed from products that were made 

for other uses. 

For the Closing Night Party, GAS participants will 

board a shuttle bus from the Millennium hotel to the 

City Museum for a private party in Architecture Hall. 

All GAS participants are free to roam the museum and 

discover the many wonders the museum has to offer. 

GAS LINE 

We are saddened by the passing of GAS member 

Robert W.“Bud” Hurlstone, 53, or Perrysburg, Ohio. 

Bud was a professor at Bowling Green State University 

for 28 years, and was head of the glass department. 

His work was recognized internationally, with works in 

permanent collections including the Corning Museum 

and the Rahr-West Museum in Germany. If you were a 

student or colleague of Bud’s, please share your stories 

with us at shannon@glassart.org … GAS member 

Kristina Logan has been honored by the ISGB Hall of 

Flame – Congratulations, Kristina! … Get your copy of 

the 2006-2007 Contemporary Marble Calendar, 

with specially made marbles gracing its pages by 

members and former members, including Daniel 

Both the marbles and the calendars will be listed on 

eBay for sale. Find out more at www.glasschefstudio.com 

… Another way you can help artists affected by 

hurricanes Katrina, Rita and Wilma is to make a tax 

deductible donation to the Americans for the Arts 

Emergency Relief fund at www.AmericansForTheArts.org. 

To date, this fund has assisted over 30 arts organizations, 

but more requests come in every day, and the 

need for funding will continue. Thank you, and we 

hope the new year brings good things!

Herding Individualists NOW MAKING GAFFER ... - Glass Art Society

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