GAS News S/O 06 copy

Transcription

september
october
2006
vo l u m e 17
issue 5
I N S I D E
T H E
R E G U L A R F E AT U R E S
PRESIDENT’S LETTER
1
President’s Letter:
Greetings from Penland!
1
Save the Date!
2
Letters to the Editor
3
GAS Line
4
International Window:
Vrij Glas Artists Create
a Laboratory
4
Student Profile:
Andrew K. Erdos
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
Shane Fero
Greetings from Penland! As I write this I am
thinking about GAS and how it all began right
here at Penland School in 1971 by a small group of
people wanting and willing to share ideas, technical
issues, and camaraderie. Last June in St. Louis at the
conference that is what I saw happening, only on a
grander scale. Most everyone I saw was having a
good time watching demos, listening to lectures,
S P E C I A L F E AT U R E S
networking, and catching up with old friends. It
gave me a warm feeling and I hope it did for all of
3
Obituary: Veronique
Valkema-Kindermans
3
Art and Originality
you who attended. Thanks to everyone, and I mean
everyone who made this happen.
Next year’s conference in Pittsburgh promises to be
another fantastic conference. The Pittsburgh Glass Center, a
LISTINGS
world-class facility, the David L. Lawrence Convention Center,
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Seminars, Conferences, Events
a stunning ‘green building’ overlooking the Allegheny, the
6
Resources, etc.
Carnegie Museums all will provide wonderful venues for our
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Classes and Workshops
10
programs. The restaurants, pubs, and clubs are all really nice
Exhibitions
Photo courtesy of the Pittsburgh Convention and Visitor's Bureau
in Pittsburgh. We are in process for putting together the
pre-conference brochure so look for it sometime soon.
This issue of the newsletter has some controversial issues
represented by letters to the editor, articles and responses.
Imitation or the copying of work continues to be a topic with
heat. Creativity could and should be a mandate for glass
artists, whether it is glass art, architectural commissions,
installations, or production work. In the end controversy and
dialogue is a good thing and makes us think.
I look forward to serving you and feel honored. If you
have any thoughts on this issue or anything else regarding
Save the Dates!
Join us at Glass Art Society’s
37th Annual Conference,
Pittsburgh, Pennsylvania, June 7- 9, 2007
Call for Proposals:
Glass Art Society 38th Annual Conference
in Portland, Oregon, June 18 -22, 2008
Deadline for Portland proposals: December 1, 2006
The Glass Art Society Board of Directors is requesting proposals
for lectures, demonstrations, and panels for the Portland, Oregon
conference in every discipline of glass (blowing, hot casting,
kilnworking, stained glass, flameworking, beadmaking, cold
working, etc.). The theme for the Portland conference will be
announced on our website on September 1, 2006.
Proposals are due December 1, 2006.
GAS, contact us as our eyes and ears are open.
To Submit a Proposal:
1. After September 1, 2006 visit the GAS website at www.glassart.org
and click on the Hot Topics listing “GAS 2008 Conference, Portland,
Thanks,
Shane
Oregon” to download the call for proposals.
2. Send the completed entry form and support materials no later
than December 1, 2006 to the Glass Art Society, 3131 Western Ave.,
Ste. 414, Seattle, WA 98121, USA. If you wish to use the form for
simply suggesting ideas for topics or presenters you’d like to hear,
or subjects you think should be addressed, please feel free to do so.
GAS NEWS is published
six times per year as a benefit
to members.
Publications Committee:
Scott Benefield, Eddie Bernard,
Robin Cass, Susan Holland-Reed,
Andrew K. Erdos, Elizabeth Swinburne
Managing Editor: Shannon Borg
Graphic Design: Ted Cotrotsos
The Glass Art Society
3131 Western Avenue, Suite 414
Seattle, WA 98121 USA
Phone: (206) 382-1305
Fax:
(206) 382-2630
E-mail: info @ glassart.org
Web:
www.glassart.org
© 2006 The Glass Art Society, a nonprofit organization. All rights reserved.
Publication of articles in this newsletter
prohibited without permission from
the Glass Art Society, Inc.
If you have questions please contact GAS at 206.382.1305 or
info@glassart.org.
September / October 2006, volume 17 - 5
THE GLASS ART SOCIETY
Seattle, WA 98121
CHANGE SERVICE REQUESTED
Non-Profit Org.
U.S. Postage
PAID
Seattle, WA
Permit #150
L E T T E R S
T O
T H E
Dear GAS,
2
To the Editor,
Recently, while paging through the summer ‘06
newsletter, I happened upon an image on page 10 of
what a first glance looked to be a Chihuly Sea Form.
Closer inspection revealed it to be a Sea Form by a
Mr. Jeau Bishop, someone I have never heard of before.
I thought that it must be a typo at first but no, he is an
“artist” making Chihuly copies and even calling them
“Sea Forms”.... Shameful.
Each day that we venture into our studios we
are challenged to create something that we can call
our own, work that comes from our own thought
processes whatever they may be and, as glass artists,
we have a furnace full of molten goo to start with, the
way I see it, the possibilities are almost limitless. When
I see work like Mr. Bishop’s the first thought that comes
to mind is: ‘Is this the best that you can do?’
Making copies is nothing new, it has been done.
For me, the pertinent issue here is with the GAS itself.
Should the GAS be promoting “artwork” like this?
Personally, I think not. GAS has a larger responsibility
to educate people and I am of the opinion that an
image like the one in question here should only
appear in the newsletter in the context of a feature
story about plagiarism or perhaps the pending legal
action Chihuly has brought this past year, certainly not
in the service of promoting such truly bad “artwork”.
I imagine that many others, besides just myself, have
come to expect more of a professional organization,
like GAS, whose purpose is to encourage excellence,
advance education, and promote the appreciation
and development of the glass arts.
13 Ways of Looking at a Chihuly
nothing to do with what they look like or who actually
made them. For most of us, it’s simply too close to
looking like a Chihuly for us to be comfortable with
the idea of attributing it as original work to Rubino.
The courts have to take into account all the legal
aspects of this in order to determine the status of the
object, but we can make our own informal determinations based on common sense.
But if the Rubino case represents one end of the
spectrum of infringement on originality, it’s impossible
to find consensus on what represents the other end–
what are the minimal conditions in which a work is
judged unacceptable as a derivative piece? What one
person sees as influence or an intelligent permutation
of an established idea, another would see as blatantly
imitative.
For instance, James Yood’s somewhat surprising
apologia of Afro Celotto’s work in a recent issue of
GLASS magazine comes immediately to mind. Celotto’s
pieces seem unambiguously derivative to me, echoing
Lino Tagliapietra’s work in form and pattern to an
unacceptably close degree. While admitting the
obvious similarity to Lino’s work, Yood constructs an
unconvincing argument that this is a natural outgrowth of their long relationship. (Celloto last served
as an assistant to Lino in the late 80s, when Lino was
still working at Effetre International as their lead gaffer
and artistic director). Without offering any substantiation at all, Yood states that perhaps Celloto’s imitative
work is really an example of an assistant making
unattributed contributions to the master that he later
reclaims as his own. He also seemed to think that
Celotto invented the ‘giro’ or switched axis technique,
despite the fact that Lino published similar work as far
back as 1981. But all the same, Yood is reputable critic
who holds a sincere conviction that Celotto’s work is
defensible. It’s an example of a subject upon which
people of good conscience can disagree.
In the absence of any regulating body to set
standards for ethical practice, what remains is the
elastic sense of good practice which governs
individual behavior. Each of us has a responsibility
to define that standard for ourselves in our own work
and to be advocates for ethical behavior, according to
our own lights. If you can’t acknowledge your own
sources honestly, then you need to question if your
work is sufficiently innovative to exhibit as original
work. When you see a gallery (or a newsletter)
displaying what you consider to be a blatant example
of imitative work, you have a certain responsibility to
say something.
In this regard, the person who wrote to us
strongly objecting to the published images was
being a diligent and responsible member of our
community–by acting on his own conscience, the
writer was drawing his own line and adding his
voice to the larger conversation. What might be
termed a peer consensus is the really the strongest
ethical authority that exists in the art world.
by Scott Benefield
In a recent private communication to the publications committee of this newsletter, we were brought
to task for publishing an image in the Galleries section
that strongly resembled original work done by Dale
Chihuly. Because the author raised a question–does
this constitute an endorsement by GAS of derivative
work?–that seems to evoke some larger issues current
to the glass world, it seemed time to consider the topic
of originality and authorship as it is treated in our field.
We’ve all had the experience of looking at an
object and bristling with vicarious resentment as we
recognize the original source of the form or imagery
or distinctive surface decoration. The unfairness of
copied work, infringing on an artist’s imagination and
creativity, inspires a mild form of outrage in anybody
who has ever struggled to do something new. But
what triggers that reaction differs from individual to
individual and therein lays the problem: there is no
canon; there are no guidelines, no arbiter of taste
and judgment to determine the legitimacy of any
single object.
In the legal realm there are structures in place to
determine and preserve artistic originality–ideas like
copyright, which are designed to protect intellectual
property–and systems to redress infringements and
punish those who would seek to profit from another’s
vision. Legal standards are based on a concept of
fairness and also are designed to protect financial
incentives to innovate. But legal standards are also
distinct from the ethical standards that often govern
behavior in professional fields.
Our work as artists, collectively, resides in a freewheeling, freestyle, free-market bazaar with nothing
like an Academy to dictate standards and pass restrictive critical judgments. As more work from the Studio
Glass movement enters museum collections perhaps
those kinds of judgments will be made (bearing in
mind that posterity has its own way of working these
things out), but for the moment the glass world is marvelously and woefully free of that institutional control.
What we have instead is the marketplace and
people who make objects out of glass. There is a
commercial venue for nearly anything anybody can
make out of glass and a dearth of scruples on the part
of artists, gallery owners and consumers concerning
issues of authorship. This has recently come to the
attention of a wider public when Chihuly Inc. sued
Robert Kaindel, former Chihuly gaffer Bryan Rubino
and two galleries (since dropped from the suit) for
copyright infringement.
To most of us, this is an obvious case of taking
signature work and marketing reproductions as
originals. Because of the philosophical ambiguities,
it’s also an extremely interesting case. Two objects,
set side by side, are virtually identical–because they are
both made by Bryan Rubino–but have different legal
identities because one has Chihuly’s intention of being
made as original work, and the other lacks that. There
is a metaphysical difference between the two that has
E D I T O R
Sincerely,
Dante Marioni
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.
I hardly know where to begin in responding to Eddie
Bernard’s technical article in the recent issue of GAS NEWS.
For starters, it is the first time that I have ever seen a response
printed to a letter that was not also published. So since
Eddie’s article was in response to my letter to the editor, I
am at a disadvantage because he seriously misinterpreted
several of my points and then proceeded to respond to
these misinterpretations.
In NO way did I suggest that only “a chosen few” GAS
members would be eligible for the loan of optical pyrometers
in the proposed project. I suggest no limitation on the
number of participants or require that they even be GAS
members. The larger the pool, the better.
In any event, if the editors had followed common
editorial practice and printed my original letter, readers
would see that my proposal was based on two realities: 1)
a significant number of studio glass owners are not even
members of GAS; and 2) many studios have poor pyrometry
or none at all. My proposal, though not claiming to be perfect,
has two aims: 1) to reach out to the American hot glass
workers who see no benefit in participating in GAS and 2) to
make a dent in the waste of fuels that occurs in glass studios.
Simply restated, I proposed a program, under the
auspices of GAS, through which optical pyrometers would
be acquired and made available for loan to study melting
practices and resulting energy use in glass studios. Applicants
for pyrometer loan would agree to carefully monitor and
record their melt cycles and report their results while
specifying the glass melted and furnace type. Even given
the variation of furnace type and size, such a project could
go a long way toward determining optimal melting
schedules in similar furnaces for the various commonly
used glasses. Given that some studios currently use air or gas
pressure gauges as their only measurement and really have
no objective idea of their melt temperatures, such a project
could result in both conservation of fossil fuels and prolong
the life of furnaces and crucibles.
As for expense, I would be very surprised if grant funds
could not be found to underwrite the project under GAS’s
not-for-profit status. Given the increasing media attention
and general public interest in energy consumption and
greenhouse gas emissions, funds could surely be found.
Diligent communication with the Corning Glass Works
Foundation might be all that’s needed (I had a very positive
experience with the Foundation on behalf of a not-for-profit
years ago). I also believe that it would not be difficult to
find a graduate student with environmental concerns to
compile, organize, and process the data and extract useful
information.
Although GAS may serve a portion of the glass community very well, many in the ranks of producing hot glass
workers have given up on GAS as being largely irrelevant.
I believe that this proposal is an opportunity for GAS to
reach out to the wider world of glass makers and be of
service not only to the glass community at large but, through
promoting energy conservation, to society as a whole.
As I originally stated, I would be happy to work with GAS
on such a project. It would be wonderful if others such as
Eddie Bernard would participate, bringing various viewpoints
and experience. I trust that this time, you will follow normal
editorial practice and print this letter in its entirety.
Bill Glasner
(blowing glass and trying to save gas since 1973)
Response from Eddie Bernard
Bill – Thank you for submitting your letters. Please excuse
us for not printing the first version. To clarify a few points:
By the term “chosen few,” I didn’t mean you were suggesting
“special people,” but that if there was an application process,
then obviously the recipients would be "chosen" and
probably “few” in relation to the size of the membership.
On another point, I don't think the project would serve
the membership in the way that you think it would for the
various reasons I stated in the article. In an effort to help
the membership, I gave my thoughts on how one would go
about determining an appropriate melting schedule.
Sorry if offense was taken and we do appreciate your
thoughts and ideas.
Sincerely, Eddie
Art and Originality
Mary Smith,“Fall Necklace”, photo by the artist.
GAS LINE
Congratulations Are In Order!
GAS members Laura Donefer and Norman Faulkner
recently received Lifetime Achievement Awards from the
Glass Art Association of Canada (GAAC). Mary Smith’s “Fall
Leaf Necklace” took First Place in the 2006 Saul Bell Design
Award Competition. She was honored in Las Vegas during
The JCK Show–Las Vegas in June. GAS member Kathleen
Elliott was featured in the 50th issue of AmericanStyle, which
highlighted nine emerging artists in different categories,
whose work is raising excitement among collectors.
Fuel Your Habit on the GAS Message Board
There has been a lot of interest in the conference panel
“Fueling the Habit,” focusing on how to maximize fuel use
and cut costs in the shop. David Levi will host this new topic
on the GAS Message Board. Get online and share your ideas,
tips and questions with the group. You can check out this
and other new categories on the GAS Message Board at
www.glassart.org.
A Passing
We are saddened to hear that Edwin A. Hansen of The
Glass Gallery, who has been affiliated with the GlassWeekend
at the Creative Glass Center of America at Wheaton for many
years, passed away on June 20, 2006. He was an intelligence
analyst for many years, including two tours to Australia,
and retired in 1979. In 1981, he and his wife opened the
Glass Gallery, a Bethesda art gallery presenting the work of
nationally recognized artists. He had a strong dedication
to the studio glass movement, and was a member of the
James Renwick Alliance, the Farmland Trust, and the Nature
Conservancy. He is survived by his wife Sally, two children,
Deborah Trunzo and David Hansen; a brother; and five
grandchildren.
OBITUARY
Veronique
ValkemaKindermans
Uithoorn, May 6, 1919 Blaricum, May 20, 2006
The Glass Art Society mourns the passing of Veronique
Valkema, wife of the late Sybren Valkema (recipient of the
Lifetime Achievement Award in 1994).
Trained as a nurse, she worked at a hospital in Amsterdam
and during WWII was the head nurse at a mental hospital
in the south of Holland. After the war she was running a
children’s sanitarium in the French countryside where she met
my Sybren Valkema; they were married in 1950. Veronique ran
the library at the Gerrit Rietveld Academy in Amsterdam from
1965 to 1980. Ulla Forsell tells of visiting the Glass department
for the first time in 1972 as a prospective student. One of the
students was showing her around–the glass studio, the canteen
–and then told her to come and visit the place and person that
really mattered: he introduced her to Veronique Valkema in the
library. She was a beloved presence at the school, unfailingly
helpful and also famous for the many dinners (she was an
incredible cook) and parties at the Valkema house in Blaricum.
Her passions in life were travel– to Vietnam, Australia,
Kazakhstan, Jordan, Portugal, New York and New Orleans–
and the books with which she surrounded herself.
She is survived by her son Durk Valkema, daughter-in-law
Anna Carlgren and her grand-daughter Wyke Valkema.
by Gianni Toso, translated by Karyn Toso
I would like to thank Robin Cass for reopening
the question of what constitutes original art to our
international community of artists. It is difficult to
overemphasize the importance of this debate, and
the importance of articulating our own views on the
matter not only as regards to intellectual property
rights or plagiarism, but rather as a way for laying
the foundations of our own art. I have been engaged
in this debate for over thirty-five years, and would
like to take the opportunity to contribute to the
current dialogue.
It seems to me that the interviews in the previous
article touched upon the technical and academic
aspects of the question, but did not grasp the real
heart of the matter, which speaks less to lawyers than
to creators and connoisseurs alike. Before we can
answer the question of what is original art, we must
arrive at a workable definition of “Art” itself. What factors go into producing a work of art? Genius? Mastery
of technique and the approbation of the Academy
(or whatever the contemporary equivalent of that
venerable institution)? Interpretation? Culture?
My early years of academic education have
taught me that there are two types of teachers. Both
types profess to teach “culture” to their students. The
first type of teacher, best described as a “bureaucrat of
culture,” passes on information to the student, with
the goal of having the student memorize and acquire
that knowledge. The goal of the other type of teacher
is rather to actualize the potential of the student by
facilitating an internalization and assimilation of the
required knowledge. They do this with the understanding that they are merely providing the student
with the foundation for his or her own intellectual and
creative development. Yet this knowledge cannot
develop in a vacuum. Artists–and art–constantly refer
to and develop from the work of other artists, as well
as the cultural and intellectual climate of the day. The
history of art is actually a history of the record of the
living dialogue between artists through the centuries.
Artists constantly need new stimulation, from within
their fields and from the world at large.
And herein lays the seeds of the plagiarism
question: when has a work of art evolved from what
preceded it, and when is it a mere copy? There are
those artists who approach a “classic” work of art with
the motivation of acquiring knowledge and technique
to enhance their own artistic development. ( My
professor, the late Anzolo Fuga, who taught and
influenced an entire generation of Murano maestri,
would make us copy the masterpieces of Michelangelo
line by line, warning us that if we did not improve
upon the original in at least a single detail, we were
not evolving in our art, but rather contributing to
its decadence.) Then there are those imitators who
chose to reproduce original art, typically with the
goal of “cashing in” on a popular style or trend. Such
“artistry” is best described as theft.
During my years as an art student at Murano’s
Abate Vincenzo Zanetti, more than half the academy’s
funding came from the old glass factories on Murano
Island. As a result, at the end of each academic year
we were required to create new glass designs for the
factories’ production. Our drawings and the glass
prototypes we created were exhibited in a local
government gallery. Each factory would send its head
maestro, who would then select the best design to be
reproduced (and mass produced) in his glass factory.
Although we were generally a competitive bunch,
and were extremely proud of the other awards and
recognition our work garnered, this was one “honor”
none of us looked for. We knew that our designs
would be acquired by some factory, only to be poorly
imitated by less skilled workers and sold for a cheap
price. Seeing our distress, Professor Fuga assured us
that the creator of an idea is always superior to the
mediocre imitator, for if the artists were to stop
creating, there would be nothing to copy and the
furnaces would close. Yet, on a personal note, let me
say that I find that cold comfort. As someone who has
spent more than half a century working in glass and
endeavoring to give value to glass culture, as someone who has tried to elevate the medium of glass as
a vehicle for the highest level of human expression, it
was infinitely painful to me, on a recent trip to Venice,
to see cheap, grotesque “knockoffs” of my work in
store after store after store. More recently, I found
myself in a Baltimore craft gallery selling mediocre
imitations of Maestro Lino Tagliapietra’s work at a
fraction of the cost of the originals. It is this kind of
market that-far from expanding and popularizing the
audience for glass art, as the “gallery” owner claimed–
destroys any potential for the healthy growth of the
Glass Studio Movement.
Where has all of this left us? Whether considering
“Art with a capital A,” or “art with a small a,” ( I prefer
these terms to the rather tired and somewhat clichéd
dichotomy of Craft/Art), I believe it is imperative that
we as artists reevaluate what it is we are trying to
achieve when we create. Even “art with a small a”
can be a means to refine taste and enhance the
quality of life; true Art has the potential to open new
channels of thought and surprise the viewer into new
ways of looking and seeing. A vase by Pablo Picasso
is only incidentally a vessel that can contain flowers–
it is, first and foremost, a container for his intellectual,
spiritual and creative experiments. Accordingly, fancy
design, color and even composition are merely the
formal elements of the work and do not define the
whole of the artistic effort.
I tell my students that every shape, form or
technique they master is the equivalent of a single
word in a dictionary. As we accumulate our artistic
vocabulary, we begin to develop our own grammar.
Once we have amassed a vast number of forms and
technique, we have the tools to create a unique
language that is the highest form of self expression.
Only when an artist has discovered the medium and
the language that best matches his chemistry, culture
and personality, can he begin work as a real artist
who does not merely reproduce life, but has the gift
to transmit it. Whether the medium is bronze, marble
paint or glass, Art transforms the material into an
original language with the pulse and vibration of life
itself. I have read of an art critic who had a sure way
of identifying authentic ancient Maltese art objects:
he found himself crying before them. The “painful
joy” he felt was his own intuitive response to the
life and the excellence which still infused the work
centuries later.
This places a very great responsibility on the
artist. It is not enough to bemoan the plagiarism and
knockoffs flooding the market. Indeed, the phrase
“intellectual property rights” implies that there is a
measure of thought and intellect, if not true humanistic expression, in the works that we produce. At
the end of the day, if we do not maintain the classic
standards of our education, through exposure to literature, music, sculpture, etc., if we do not constantly
work to expand the boundaries–both technical and
intellectual–of our art, we will have no recourse but
to resort to mere repetition by marketing an idea that
has been done (if only by ourselves) over and over.
Gallery owners, too, must be unafraid to take the risk
of promoting the newer, experimental work of the
artists they represent, rather than pushing for more
of the popular, proven crowd pleasers.
I find myself bemused that after so many years
spent out of the public eye, I felt compelled to
respond with these musings in this forum. Perhaps
it comes with age–the responsibility I feel to
maintain the ideals and direction of the Glass Studio
Movement, and to underscore their continued
relevance to the young artists working today. Or
perhaps it is because I am afraid that in the current
debate we risk losing sight of the extraordinary
potential and possibilities inherent in the creation of
our art. Or perhaps it is my link in the chain: a way to
pass on the beauty of the glass experience as it has
been handed down to me in a family tradition that
began in Venice 700 years ago.
Gianni Toso studied at the Abate Vincenzo Zanetti,
Murano, Italy, and graduated with a Maestro d'Arte in
1962. His work is held in public and private collections
around the world, including Corning Museum of Glass,
Corning, New York; the Glass Museum of Dusseldorf,
West Germany and others. He has had many solo and
group exhibitions, and has been a guest artist at the
California College of Arts and Crafts, Oakland, California;
the Cleveland Institute of Art, Cleveland, Ohio; the Gerrit
Rietveld Academie, Amsterdam and other places.
3
I N T E R N AT I O N A L W I N D OW
STUDENT PROFILE
Vrij Glas: Artists Create a Laboratory
artists investigating a line of study involving glass as an
artistic medium. In 2003, the program was abandoned.
Although the glass studio at the school remains as a
facility available to students, there is no comprehensive
program of instruction and as such is unlikely to be
the focus of sustained study. The city’s most significant
laboratory for free experimentation into glass had
been closed.
Vrij Glas was chartered as a cultural foundation
and, as such, is eligible for special funding from the
Dutch and city governments (it has the equivalent
of non-for-profit status in the United States). It has
received significant support from the city of Zanstad,
which views the new organization as a magnet for
cultural development that could help change the city’s
profile from an outlying industrial zone to a center of
creative activity.
Initiated as a monthly salon in 2003, in 2005
Vrij Glas found a home in a decommissioned military
complex on the very edge of Amsterdam, in the nearby
town of Zaanstad. Located a short one euro ferry ride
across an industrial canal from the city, the complex at
Hembrug resembles nothing more than a rather grim
college campus that was abandoned sometime in the
late 60s. There are open spaces, marvelous to encounter
after the persistent, historical claustrophobia of the city
of Amsterdam, bordered by sizeable industrial facilities
that are now abandoned. With the cooperation of the
local government of Zaanstad, the site became a home
for a variety of cultural and artistic projects. There’s a
delicious irony in witnessing the transformation of an
arms depot by creative civic vision and the effort of
artists into a haven for visionary artistic endeavor.
When I visited Vrij Glas this past winter, the studio
was host to a meeting of design professionals who have
formed a think tank to address interdisciplinary issues.
The meeting was catered by a company, which provided
the usual array of light hors d’ouevres, but also included
a rather unusual display of transparent food on light
tables. Invited artists blew glass in the studio while the
architects and educators and politicians mingled,
munching on exotic snacks and drinking wine from
hand-blown glass. The feeling was one of unusual
alignments: black-clad design professionals mixing with
sweaty glassblowers, a humming artistic beehive in the
midst of a former munitions factory, the warm glow of
a glass furnace contrasting with the freezing weather
outside. Vrij Glas is a new endeavor dedicated to
creative exploration. These unusual juxtapositions all
seemed to be an apt expression of the its potential as
a site where discoveries and novel work will happen.
For more information on Vrij Glass, please visit the
website at www.vrijglas.nl.
Still image from Heart Transistor #3, Andrew K. Erdos
4
Vrij Glas: a small hand painted sign rests limply
against a utility pole, comical in its humility when seen
in contrast to the other sterner, military-issue signs
that surround me, warning against trespassers, lighted
matches, smoking and open fires. It is January in the
Netherlands, bitterly cold, and I find myself walking
briskly across an empty parade ground in search of
the entrance to a glass studio when I spot this humble
signage.
“Free Glass” would be the literal translation of Vrij
Glas, which contains within it a much more nuanced
message. Vrij Glas was the original name for that
branch of the global Studio Glass movement that
flourished in the Netherlands and found institutional
support in the pioneering glass program at the Gerrit
Reitveld Academy. By ‘vrij’ it meant free of the long
tradition of Dutch factory glass; it meant free for glass
to be used as a medium for artists in the same sense
as paint or bronze or any other visual medium. ‘Vrij’ is
a powerful word in a society that celebrates tolerance
and reasonable acceptance, a word that offers up a
challenge to limitations as much as it promises a respite
from regulation. Fittingly, it raises more questions than
it resolves.
The stated goal of Vrij Glass is “to encourage
experimentation and innovation in glass, and to endow
artists with key infrastructure and vital expertise.” To
this end, the foundation offers residency and research
opportunities with rather elastic parameters. The governing board of the organization entertains proposals
from artists from a variety of backgrounds who are
interested in using glass in new ways as a means
towards artistic ends. Proposals are considered on an
individual basis, with an emphasis placed on original
research and the exploration of new forms, techniques
and ideas. The facilities available allow prospective
residents to work with hot glass, neon, flameworking
and various cold working processes (such as beveling,
engraving, grinding and polishing). There is ample
studio space within the large, airy workshop building,
as well as an area devoted to exhibition and display in
the front of the building. Vrij Glas also maintains an
apartment in nearby Zaanstad for use by residents, and,
in a typical gesture of Dutch hospitality, will offer you
the use of a bicycle for your travels around town.
The earliest roots of Vrij Glas lie in previous projects
that were designed to link artists to the rather extensive
facilities required to create works in glass. Durk Valkema
and Anna Carlgren, two of the three founding directors
of the Vrij Glas Foundation, are both exhibiting artists
with a background in glass. Valkema is also renown
as a designer and fabricator of innovative, efficient
equipment for glass working. Carlgren, in addition to
her own sculptural work in glass, has designed production wares for Royal Leerdam. Both have been involved
in various projects of a collaborative nature, including
the 1986 Amsterdam Chamber Symposium, in which
artists working in glass from both Western and Eastern
Europe were invited to come to Amsterdam, live and
work together for a period of time, and exhibit the
results in a gallery show. In 1997, both Carlgren and
Valkema worked to organize and run the International
Drinking Glass Event, which created a temporary studio
in the center of Leerdam to which an open invitation to
glassblowers from all over the world was issued.
The three principals of Vrij Glass are all veterans of
the 2002 Glass Art Society conference that was held in
Amsterdam. Durk Valkema was the conference co-chair,
serving on the Board of Directors of both GAS and its
Dutch partner, Stichtig Glas 2002 (a foundation formed
for the sole purpose of hosting the conference). AnnaLise van der Vorm served as executive assistant to the
Dutch conference planner, and Anna Carlgren helped
organize and promote a special exhibition of local
artists using glass. Their association, and the experience
of working together for two years to encourage the
cooperative effort that led to the successful event, led
indirectly to the formation of Vrij Glas.
Another contributing event was the demise of the
glass department at the Gerrit Reitveld Academy. The
glass program, founded by Sybren Valkema in 1965, was
widely known throughout Europe and around the world
as an innovative and successful incubator for young
By Scott Benefield
New Student Representative
Andrew K. Erdos
While many sculptors build with the intention
or resisting time, I embrace it, and use it as my
primary artistic medium. The phrase I use to
describe most of my art is “time-based performance
sculpture”. They are works of art where the piece
has a scheduled life span and the viewer can see
the growth, progression, and decomposition of my
object. Rarely do I produce sculptures that exist
for over seventy-two hours. This means most of
my sculpture is viewed in the form of digital prints,
video, or artifacts left from the performance.
Glass is beautiful, and manifests the changes
of time better than any other material I have
discovered. In my mind hot glass is a living thing.
It produces light, radiates heat, and moves. As it
cools and slows down it emulates ageing, and an
eventual death. The life cycle is completed when
the glass is re-melted.
I also try to stimulate senses that are often
neglected in art. Many of my sculptures produce
sounds, and psychologically sickening smells. You
can see some of my work on www.myspace.com/
AndrewErdos or www.AndrewErdos.com. I am very
interested in your feedback, and very excited about
my upcoming term.
Andrew K. Erdos began taking glass blowing
classes at Bucks County Community College when he
was 15. He has been a student at Alfred University
since 2003 and will be graduating in 2007. In 2002,
Andrew took an intensive class with Stephen Rolfe
Powell. In 2004, he attended a two week collaborative
class taught by Gabrielle Kushner and Josh Simpson
and a four week intensive class with Sean Albert.
He has been operating a small lamp-working studio
in Newtown, Pennsylvania since 2004. He has work
in the private collections of Mr. and Mrs. Michelle
Guggenheim, Junior Marvin, Al Anderson and Aston
“Family Man” Barrett of Bob Marley and the Wailers.
seminars, conferences, events
Ankara Arts and Crafts Fair Nov. 4 - 12, at the Ankara Atatürk
Culture Center, Ankara, Turkey. Along with hundreds of native
artists from different parts of Turkey and foreign artists from
more than 50 countries, there will be concerts, cultural dance
performances as well as fashion shows. Contact: Forum Fairs &
Promotions Co, Inc., Mesrutiyet cad. No: 29/15, Kisilay, Ankara,
06420, Turkey, Tel: +90 (312) 419 19 32, Fax: +90 (312) 419 19 37,
senay@forumfuar.com, www.artsankara.com
8th European Society of Glass Science and Technology
Meeting Sept. 10 -14, in Sunderland, UK. The ESG2006 will be
held in conjunction with the annual meetings of the Society of
Glass Technology and the International Commission on Glass.
Contact: Society of Glass Technology, Unit 9 Twelve O'Clock
Court, Sheffield, S4 7WW, England, Tel: +44 (0)114 263 4455,
Fax: +44 (0)114 263 4411, sara@glass.demon.co.uk,
www.esg2006.co.uk
Annual Corning Museum of Glass Seminar to Explore Glass
Interiors and Furnishings Oct. 4 - 7 at the Corning Museum
of Glass, Corning, NY. From windows and wall decorations to
lighting and furniture, glass has been used in domestic settings
from Roman times to the present. The 45th Annual Seminar
on Glass at The Corning Museum of Glass in Corning, NY, will
explore glass furnishings and interiors across time. The Seminar
will feature presentations by guest experts, as well as by the
curators from The Corning Museum of Glass. Topics will range
from “Glass in the Buildings of Ancient Rome” to “Tiffany's
Interiors at Laurelton Hall.” Special sessions on the final day will
be devoted to the use of glass in contemporary architecture
and public spaces. Speakers will include antique dealer and
Lalique expert, Nicholas Dawes; the Metropolitan Museum of
Art's curator of American decorative arts, Alice C. Frelinghuysen;
and the curator of glass from the Toledo Museum of Art,
Jutta-Annette Page. The cost to attend the Seminar is $250 for
non-members and $225 for Museum Members. The cost to
attend individual lectures is $25 per lecture for non-members
and $20 per lecture for Museum Members. The Corning
Museum of Glass, One Museum Wy, Corning, NY, 14830-2253,
Tel: 607-937-5371, Fax: 607-974-8470, Louise Maio at 607-9744084, MaioLM@cmog.org or www.cmog.org
Glass Conference: A Functional Material for the Future
Nov. 17 & 18, in Nancy, France. This conference will bring
together researchers, educators, manufacturers, and architects.
Contact: Pole Verrier, 6, rue Bastien-Lepage, Nancy, F-54000,
France, pole@idverre.net, www.idverre.net/en/index.php
Art Glass Auction and Benefit Dinner Oct. 7 at the Valley
River Inn, Eugene, OR. Seventh annual auction activities include
a featured artist demo, live and silent auctions, and dinner.
Contact: Eugene Glass School, 575 Wilson St, Eugene, OR,
97402, Tel: 541-342-2959, info@eugeneglassschool.org,
www.eugeneglassschool.org
Artist Gala Party and Silent Auction Sept. 15, at the Alexis
Hotel, Seattle, WA. Tickets can be purchased through Brown
Paper Tickets at: www.brownpapertickets.com/event/5761.
West Edge Sculpture Invitational, 5040 51st Ave SW, Seattle, WA,
98136, Tel: 206-334-5040, info@westedgesculpture.com,
www.westedgesculpture.com
Bead & Art Glass Fest 2006 Nov. 10 - 12, Orange County
Convention Center, Orlando, FL. Over 65 classes will be offered
in fusing, hot glass, stained glass, PMC and polymer clay, and
beading. This year's instructors features Hollywood Jewelry
maker to the stars and host of DIY's “Jewelry Making Offinger
Management Company, 1100-H Brandywine Blvd, Zanesville,
OH, 43701, Tel: 740-452-4541 ext 3122, Fax: 740-452-2552,
www.Offinger.com
Glass Processing Days June 15 -18, 2007 in Tampere, Finland.
Contact: TAMGLASS Ltd. Oy /GPD Glass Processing Days,
Vehmaistenkatu 5, Tampere, 33730, Finland, Tel: +358 3 382 3280,
gpd@glassfiles.com, www.glassprocessingdays.com
Glass Studio Tour Oct. 14 -15, in Minneapolis and St. Paul,
MN. The studios of nationally recognized glass artists in the
Minneapolis / St. Paul metropolitan area open their doors
to the public. The third annual tour showcases artists working
in hot and warm glass forms (hand blown, fused and lamp
worked ). Nineteen studio locations with over 30 participating
artists. All studios have work on display with most offering live
demonstrations through out the weekend. For specific
operating hours and driving directions visit: FK Art Glass,
2210 Bryant Ave N, Minneapolis, MN, 55411, Tel: 612-521-9773,
fkartglass@juno.com, www.fkartglass.com
Glasstec 2006 Oct. 24 - 28, Düsseldorf, Germany. Contact:
Messe Düsseldorf GmbH, Postfach 10 10 06, Düsseldorf, 40001,
Germany, Tel: +49 (0)211/ 4560-01, Fax: +49 (0)211/4560-668,
info@messe-duesseldorf.de, www.messe-duesseldorf.de
GlassTech India 2006 Dec. 13 -15 in Pragati Maidan, New
Delhi, India. Contact: Conference & Exhibition Management
Services Pte, Ltd., 1 Maritime Square #09 - 43, Singapore,
099253, Singapore, Tel: +65 6278 8666, Fax: +65 6278 4077,
sales@cems.com.sg,
Hot Glass Horizons 2006 Portland, Nov. 1- 4 at the
Doubletree Inn, Portland, OR. Many classes will be offered
plus tours of Uroboros and Bullseye. Contact: Hot Glass
Horizons, 15500 NE Kincaid Rd, Newberg, OR, 97132,
Tel: 503-538-5281, Fax: 503-538-6527, fusionhq@aol.com,
www.hotglasshorizons.com
Inspired Arts Fair Nov. 8 -12 at Christchurch, Commercial St,
Spitalfields, London, E1. Inspired Art is a small not-for-profit,
London based contemporary arts organisation that curates
and manages projects. Since its establishment in 2003, work
has included 3 annual Inspired Art Fairs (IAF), The Aprilia Art
Challenge and Prelude, a series of monthly showcasing events
for emerging UK artists. Alongside the fair, we are also running
a series of talks for exhibiting and visiting artists. Contact:
Inspired Art Fair, Top Floor, London, N6 4QP, Tel: +44 (0) 208 374
7318, Fax: +44 (0) 208 374 4566, info@inspireartfair.com,
www.inspireartfair.com
Meltdown 06 Features Dante Marioni and Stephen Rolfe
Powell Sept. 16, in Pittsburgh, PA. Meltdown 06 is Pittsburgh’s
hottest party and only live glass auction to benefit Pittsburgh
Glass Center. The featured glass artist for the event is Stephen
Rolfe Powell. Dante Marioni will serve as honorary chair.
Activities include: live and silent glass auctions, hot glass
demonstrations by Stephen Rolfe Powell, glass sale and more.
Tickets: $200. For more information or to sponsor Meltdown
06, contact Lissa Rosenthal at 412-365-2145 ext. 207 or
lissa@pittsburghglasscenter.org, or contact: Pittsburgh Glass
Center, 5472 Penn Ave, Pittsburgh, PA, 15206, Tel: 412-365-2145
ext 203, Fax: 412-365-2140, karen@pittsburghglasscenter.org,
www.pittsburghglasscenter.org
Pilchuck Glass School Annual Auction Friday, Oct. 13, 5 pm.
This year’s black-tie gala and auction is more international than
ever, with hundreds of works of art from around the world.
At The Westin Seattle, 1900 Fifth Avenue. Tickets are $250;
call 206-621-8422, ext. 50 or email reservations@pilchuck.com.
Red Hot ! The Museum of Glass goes Speakeasy! Recapture
the wild romance of the Roaring Twenties at RED HOT. Join us
on Sept. 30 for our annual gala event, featuring live and silent
art auctions, cocktails and cuisine, a Hot Shop floor show and
all that jazz. Don't forget your dancing shoes! For more information or to purchase tickets: Museum of Glass: International
Center for Contemporary Art, 1801 E Dock St, Tacoma, WA,
98402-3217, Tel: 253-284-4708, Fax: 253-396-1769, Vera Hunter
at vhunter@museumofglass.org, www.museumofglass.org
The Mint Museums Celebrate their 70th Anniversary Oct. 22 at
the Mint Museum, Charlotte, NC. Contact: Mint Museum of Art,
2730 Randolph Rd, Charlotte, NC, 28207, Tel: 704-337-2000, Fax:
704-337-2101, cmo@mintmuseum.org, www.mintmuseum.org
Warm Glass Conference 2006 Sept. 15 -17 at the Arrowmont
School of Arts and Crafts in Gatlinburg, TN. Speakers include
MIlon Townsend and Richard La Londe. Pre- and post-conference
classes will be held with a range of top instructors, including
Richard La Londe, Johnathon Schmuck, Delores Taylor, Patty
Gray, and Martha Kauppi. Scholarships and internships are
available. Arrowmont School of Arts & Crafts, PO Box 567,
Gatlinburg, TN, 37738, Tel: 865-436-5860, Fax: 865-430-4101,
info@arrowmont.org, www.warmglass.org
Young Affiliates of the Mint (YAMs) Black & White Gala
Nov. 2, at the Mint Museum of Art, Charlotte, NC. Contact:
Mint Museum of Art, 2730 Randolph Rd, Charlotte, NC, 28207,
Tel: 704-337-2000, Fax: 704-337-2101, www.youngaffiliates.org
or www.mintmuseum.org
Benefit Auction 2006 for Bild-Werk Frauenau Acedemy
Oct. 29 at Tom’s Hall in Frauenau, Germany. In this benefit
auction well-known artists engage for the future of Bild-Werk
Frauenau Academy as a creative melting point and an inspirational meeting place. A Silent Auction for studio glass and
modern art will be presented on www.bild-werk-frauenau.de
from Oct. 1, 2006 and in Tom’s Hall at the auction weekend.
Contact: Bild-Werk Frauenau, Postfach 105, Frauenau, D-94258,
Germany, Tel: +49-9926-180895, Fax: +49-9926-180897,
info@bild-werk-frauenau.de, www.Bild-Werk-Frauenau.de
Contemporary Arts of New Mexico The Duane Reed Gallery
invites you to join in the exploration of “Contemporary Arts of
New Mexico.” Visiting Santa Fe, Albuquerque, and Corrales
Oct. 18 - 22, 2006. This custom designed educational tour features artist's studio visits, some with demonstrations, museum
exhibitions, lectures by noted arts experts, gallery receptions
and exhibits, private collections, and a sculptural garden tour.
Tour Stops Include Tesuuque Glassworks – Works of glass artists
Charles Miner and 10 additional artists with a demonstration
of hot blowing and casting techniques, and the Canyon Road
“Gallery Hop” – visiting Jane Soauer Thirteen Moons Gallery,
William Siegel Gallery, Tai Gallery and Mariposa Gallery in
Albuquerque – all exhibiting the best contemporary artists
working in the United States. There will also be visits to Private
Artists Studios of Flo Perkins, Charles Miner, and Emily Brock.
Visits to private collections: TBA. Tour includes 3 nights deluxe
hotel accommodations, all applicable taxes, fees and gratuities,
full breakfast daily with many lunches, dinners and receptions
on tour, and all museum entrance fees. The tour is hosted by
R. Duane Reed Gallery. Contemporary Art Tours/ Professional
Travel, Inc., 25201 Chagrin Blvd Ste 390, Beachwood, OH, 44122,
Tel: 800-945-4461 x109/216-593-7040 x109, alw@protrav.com
Dublin Blaschka Congress Sept. 28 -30 in Dublin, Ireland at the
National Museum of Ireland. September 2006 will see the firstever international meeting focussed on the work of glass artists
Leopold and Rudolf Blaschka. Conference proceedings will
include major contributions from some of the worlds leading
glass scholars: David Whitehouse (Corning Institute of Glass,
USA), Susan Rossi-Wilcox (Harvard University, USA), renowned
Blaschka scholar Henri Reiling, and Chris Meechan (National
Museum and Galleries of Wales). Contact: National Museum of
Ireland – Natural History, Merrion St, Dublin, 2, Ireland, Tel: +353
(0) 1 6486 396, laschka2006@ucd.ie, www.ucd.ie/blaschka
5
resources, etc.
PLEASE NOTE: Publication of notices is for information
purposes only and does not necessarily indicate endorsement
by the Glass Art Society.
We are happy to include information as supplied to us by
various sources. Please send us your press releases and notices
including specific, current facts as far in advance as possible to:
G A S , 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:
September 1 for the November/ December 2006 issue
November 1 for the January/ February 2007 issue
We look forward to hearing from you.
Apprenticeships
Apprentice at Banana Factory Hot Glass Studio The BFHG
Tech Apprentice Program was created for students who have
finished studying glass in university degree programs. It offers
two primary experiences; 1) a chance to continue working
with the medium and create a post-collegiate body of work
2) real-world job experience maintaining and running a large
scale glass studio. Tech apprenticeships not to exceed one year.
Apprentices will work 30 hours/week as a studio tech and have
10 hours/week to focus on making their own work. Apprentices
are provided with housing and a stipend of $400 monthly.
Tech apprentices should leave BFHG with the basic knowledge
necessary to build, run, and/or work in any glass studio. The
apprenticeship will train individuals in proper operation and
maintenance of equipment in all studios, as well as give them
experience in day to day operation of a facility that caters to
glassworkers of all skill levels. Wherever possible, tech apprentices will be included in troubleshooting problems regarding
equipment as well as renter special needs. Tech apprentices will
interface with our renter public and be expected to occasionally
oversee studios on their own. Individuals wishing to apply for
this position should submit a cover letter, resume, statement
of intent, and 5-10 portfolio images in slide or CD form to:
The Hot Glass Studio at the Banana Factory, 25 W 3rd St,
Bethlehem, PA, 18015, Tel: 610-332-1300, Fax: 610-861-2644,
jharmon@fest.org, www.bananafactory.org
Call for Papers
Glass Processing Days The 10th biannual Glass Processing
Days welcomes your proposals for non-commercial, industrial
or industrial-scientific presentations by 10 October 2006. The
guiding theme for conference is green values. This and much
more are covered in sessions under four main categories: Glass
Processing, Use of Glass, Automotive and Changing markets.
GPD will be held June 15-18 in Tampere, Finland. Contact:
TAMGLASS Ltd. Oy / GPD Glass Processing Days, Vehmaistenkatu
5, Tampere, 33730, Finland, Tel: +358 3 382 3280, Fax: +358 3 382
3285, gpd@glassfiles.com, www.glassprocessingdays.com
Calls to Artists
ArtNetwork Cover Contest ArtNetwork is accepting entries
for the 15th edition cover contest. Fine artists with two- or
three-dimensional artwork may apply. The grand-prize winner
willl have his/her artwork showcasedon the front cover of this
fine art directory, which is sent to more than 7,000 art world
professionals. Deadline is September 15. For an application
or Contact: ARTNETWORK, PO Box 1360, Nevada City, CA, 95959,
Tel: 530-470-0862, Fax: 530-470-0256, info@artmarketing.com,
www.artmarketing.com
Craft Forms 2006 12th Annual National Juried Exhibition
Contemporary Craft takes place Dec. 1, 2006 - Jan. 24, 2007.
Juror: $3,000 + Cash Awards & Group or Solo Exhibitions.
All Craft Media. Entry Fee: $25. Deadline: Sept. 26, 2006.
Contact: Wayne Art Center, 413 Maplewood Ave, Wayne,
PA, 19807, Tel: 610-688-3553, Fax: 610-995-0478,
nancy@wayneart.org, www.wayneart.org
6
CRAFTBOSTON 2007 Applications now available! CRAFTBOSTON Exhibition and Sale will take place March 30- April 1,
2007 at the Seaport World Trade Center, Boston, MA. Work will
be juried based on originality, execution of design, technique
and craftsmanship, creative use of materials and aesthetic
qualities. Applications will be accepted though Sept. 8 and
are now available online, 2006. Contact: The Society of Arts &
Crafts, 175 Newbury St, Boston, MA, 02116, Tel: 617-266-1810,
bgerstein@societyofcrafts.org, www.societyofcrafts.org
Miami Beach Festival of the Arts Feb. 10 -11, 2007, Miami
Beach, FL. The 33nd Annual Miami Beach Festival of the Arts
will begin accepting applications this summer. The festival is a
juried competition in Ceramics, Drawing/Printing, Fine Crafts,
Fine Jewelry, Glass, Mixed Media, Photography, Painting,
Sculpture, and Watercolor offering cash prizes of $500 to each
category and a $1500 grand prize. Although we do usually
have a number of Canadian artists participate, glass has
been somewhat underrepresented in recent years so we are
making a general effort to seek more entries in this category.
Application deadline Oct. 15. Contact: Miami Beach Festival
of the Arts, Tel: 305-865-4147, nbdc@gonorthbeach.com,
New Glass Review 28 The Corning Museum of glass invited all
glassmakers, artists, designers and companies to participate in
the New Glass Review 28. Only glass design and made between
Oct. 1 2005 and Sept.15, 2006 maybe submitted for this annual
survey. Submit three color slides or digital images by Oct. 1,
2006 with $15 entry fee. Send to New Glass Review, Curatorial
Department, The Corning Museum of Glass, One Museum Way,
Corning, NY, 14830.
Ornament Extravaganza Kittrell/Riffkind Art Glass invites
entries for their “Ornament Extravaganza”. Unique, one-of-akind, and limited edition contemporary glass ornaments wanted.
Submit photos/slides, descriptions and prices. Deadline for
entries is Sept. 22nd. Show dates: Nov. 18 - Dec. 30. No fee.
Insurance. For details or for more information send an SASE to:
Kittrell/ Riffkind Art Glass, 5100 Belt Line Rd #820, Dallas, TX,
75254, Tel: 972-239-7957/ 888-865-2228, Fax: 972-239-7998,
Artglass@KittrellRiffkind.com, www.kittrellriffkind.com
Physical Presence and The Project Room All entry forms and
images for Physical Presence are due Jan. 19, 2007 with an
exhibition scheduled April 20 - Aug. 5, 2007. Applications for
are due Dec. 15, 2006 with the exhibition calendar TBA.
Contact: Mesa Contemporary Arts, Mesa Arts Center, Mesa,
AZ, 85211, Tel: 480-644-6501, www.mesaartscenter.com
Premiere Portfolio Applications Absolutearts.com, the
Internet’s most successful arts website, is accepting applications
for the Premiere Portfolio - an online sales/marketing tool
for artists around the world. The Premiere Portfolio aids an
elite group of artists in promoting their work via the Internet.
Your art will be exposed to millions of visitors on the wwar.com
and absolutearts.com websites and newsletter. Upload up to
1,000 images, your statement, gallery representation, exhibition
history, reviews, commissions, collections, and other links.
Use e-invitations and guestbook features to keep your potential
buyers involved. Email from your personal address directly
linked to your portfolio. Sell your art through World Wide
Arts Resources’ credit card processing services. Promote your
work with this marketing tool designed specifically for the
professional artist. For a US $25 jury fee and an affordable
yearly membership of US $75, you, the serious artist, can now
effectively promote your art online. Requirements are 4 images,
a bio and artist statement. Artists who are not selected receive
a Regular Portfolio for 6 months. (US $18 at regular price).
Contact: World Wide Arts Resources, 3678 Loudon St,
Granville, OH, 43023, Tel: 740-587-3326, Fax: 740-587-4103,
artnews@absolutearts.com, www.absolutearts.com
Seeking Ornament Auction Donations The Hot Glass Studio at
the Banana Factory in Bethlehem Pennsylvania will host a gala
event Fire and Ice to help establish visiting artist program and
fund special glass programs for at-risk youth. Your donation to
the Fire and Ice Ornament Auction helps to fund the operation
of the Hot Glass Studio at the Banana Factory, the only hot glass
studio in Pennsylvania’s Lehigh Valley. Your donation supports
our B-Smart Glass program which features hot glass instruction
for at-risk youth and the creation of a visiting artist in residence
program. As an ornament auction donor your name will be
listed in our Fire and Ice 2006 Program Guide and on the
Banana Factory website. Delivery Date: Week of Sept.25, 2006.
Contact: The Hot Glass Studio at the Banana Factory, 25 W 3rd
St, Bethlehem, PA, 18015, Tel: 610-332-1300, Fax: 610-861-2644,
jharmon@fest.org, www.bananafactory.org
For Rent
Two Studios for Rent I have two work studios available for rent
in Redfern/Sydney, Australia, on the first floor. Approx. 30+ m2.
The building is pretty funky, high ceilings, timber floors,
goods lift,loading dock, on the first floor, back to base security,
intercoms to the front door, and air-conditioning. Only $185
per week plus GST. If you know of anybody looking for a work
space please let them know. We also have a glass blowing
and forming studio down stairs. Contact: Diffuse. . . Glass. . .
Light. . . Works, 15 Woodburn St, Redfern, Sydney, NSW, 2030,
Australia, Tel: +61 02 8399 3899, Fax: +61 02 8399 3833,
michelle@diffuse.com.au, www.diffuse.com.au
For Sale
Glory Hole for Sale 22” Glory Hole, brand new, just built.
3 doors, two burners, eclipse low pressure proportional mixer,
reduction pedal, lining is 2 1/2” IFB, brick lining is backed by
3” of ceramic fiber, three part refractory heat retaining ring, door
molds included, 6” casters $6. Suzanne Guttman Glass, PO Box
1030, Langley, WA, 98260, Tel: 360-321-2330, Fax: 360-321-2585,
Suzanne@GuttmanGlass.com, www.SuzanneGuttmanGlass.com
Sandblasters for Sale Two 2005 SCM Jet Stream Passer
Sandblasters w/100 lb. pressure pots For engraving and
etching. Asking $4500 or best offer. Contact: 64 N Central Dr,
O’Fallon, MO, 63366, Tel: 800-467-0690, Fax: 636-281-0511,
stl8@rtrservices.com, www.rtrservices.com
Vitrolite for Sale I have vitrolite for sale. 24”x24” slate/powder
blue, jade, off white/cream. Contact: Pearl Glassworks Ltd.,
1237 E Main St, Rochester, NY, 14609, Tel: 585-381-0822,
mpg@pearlglassworks.com, www.pearlglassworks.com
Grants/ Residencies
Artists in Residence at Pittsburgh Glass Center Oct. 2 is the
deadline to apply for residencies at the open, comprehensive
glass studio and gallery. PGC offers many residency tracks that
provide support to artists to practice or discover glassmaking,
create new work or develop work for an exhibition. Residencies
include: The Artist as Catalyst residency attracts innovation to
Pittsburgh by supporting the work of mid-career glass artists
working outside of Pittsburgh, The Bridge Artist program
provides support to artists working outside of the medium of
glass, providing an opportunity to explore a new material and
create a body of work with the help of a master glass artist, The
Community Artist residency track makes connections between
PGC and its communities in order to create situations that bring
unconventional audiences to view, discuss and interact with
works of art. To apply for a residency at Pittsburgh Glass Center,
artists must complete an application; submit an artist statement
and biography; plus submit images of their work by Oct. 2, 2006
Pittsburgh Glass Center, 5472 Penn Ave, Pittsburgh, PA, 15206,
Tel: 412-365-2145, ext 206, janet@pittsburghglasscenter.org,
www.pittsburghglasscenter.org
Resident Artist Program Living Arts Centre program provides
opportunities for a blend of recent graduates of arts and design
institutions as well as mid-career artists to create, learn, and
exchange ideas in a multi-disciplinary and collaborative studio
environment. Contact: Living Arts Centre, 4141 Living Arts Dr,
Mississauga, ON, L5B 4B8, Canada, Tel: 905-306-6161,
Fax: 905-306-6101, samantha.pawley@livingarts.on.ca,
www.livingartscentre.ca
UrbanGlass Visiting Artist Fellowship UrbanGlass offers three
Visiting Artist Fellowships to artists wishing to work in glass.
Two fellowships are offered to Emerging Artists and one
fellowship to an Established Artist. Fellowships are for an eight
week period and include access to all areas of the Studio on a
scheduled basis, technical support and materials as stipulated
in the Fellowship Agreement. The Fellowship does not include
room and board. Artists will be chosen on the basis of past
work and plans for utilizing UrbanGlass facilities. A selection
committee of artists, staff and critics will review applications
and notification of selection will be made no later than
Jan. 31, 2007. Artists who are interested in this program
should complete the Visiting Artist application form and
submit it with required materials in the format described to
UrbanGlass. The deadline for submission of materials is
Dec. 1, 2006. Contact: Urban Glass, 647 Fulton St 3rd Floor,
Brooklyn, NY, 11217, Tel: 718-625-3685 x 225, Fax: 718-625-3889,
info@urbanglass.org, www.urbanglass.org
Job Opportunities
Hot Glass Worker If you have had some experence in a large
‘hot shop’ this might be the job for you. Robert Held Art Glass is
Canada’s largest glass-blowing studio. The work is ‘production
based’ and the job is full-time, 8 hour day. Many of Canada’s
current master glass blowers have worked with and for Robert
Held. To review some of the products that Robert Held Art
Glass makes, visit www.robertheld.com. Send resumes via
email to: info@robertheld.com or visit the studio in person.
Contact: Robert Held Art Glass, 2130 Pine St, Vancouver, BC,
V6J 5B1, Canada, Tel: 800-665-0725, Fax: 888-786-9766,
heldglass@aol.com, www.robertheld.com
Hot Shop Manager Wanted The Banana Factory Hot Glass
Studio is seeking a creative, energetic and highly organized
individual to manage our glass hot shop in Bethlehem PA.
Responsibilities include: coordinating rentals, hot shop light
up and shut down, ordering and purchasing supplies,
maintaining equipment and scheduling repairs, classes and
workshops. We will be adding to our equipment on an
ongoing basis, the shop is due to expand with the demand.
You will work closely with Internationally known Director and
professor James Harmon to make this new studio a successful
501c3 program with all aspects of glassworking for professionals and in education as a goal. If interested, a more
detailed description of the position can be e-mailed to you
upon request as well as payment options. Contact: The Hot
Glass Studio at the Banana Factory, 25 W 3rd St, Bethlehem, PA,
18015, Tel: 610-332-1300, Fax: 610-861-2644, jharmon@fest.org,
www.bananafactory.org
Seeking a Gaffer/ Master Glass Artist Seeking full time ( four
day per week) Gaffer/Master Glass Artist with experience in
both large hollow wear and sculptural work. Shop located in
North County San Diego. Candidate must have minimum four
years Gaffer seat time. Be responsible, reliable, enthusiastic,
flexible and cleanup after ones selves. Metal skills a plus.
Job entails some teaching responsibilities. Portfolio, references
and an audition required. This is a serious position for a
serious artist. Contact: Stone and Glass, 13330 Paseo Del
Verano Norte Bld S, San Diego, CA, 92128, Tel: 858-485-7701,
jamstone@cox.net, www.stoneandglass.com
Seeking Glass Worker Are you interested in working in a
fast paced, creative environment? We produce glass sinks,
countertops, backsplashes, architectural panels and art pieces
for the international market. We are looking for someone to
work in our glass production department. Seeking person with
glass experience (cutting, fusing), who is comfortable working
with power tools, is a self-starter, works well with others, and
has creative abilities. Please bring your resume to: Panache
10533 - 123rd Street, Edmonton, Monday to Friday between
9 - 4 pm. Contact: Panache Ceramic Industries, 10519 123rd St,
Edmonton, AB, T5N 1N9, Canada, panache@telusplanet.net,
www.panacheceramic.com
Looking for Work
Seeking Position in London Son of Davide Salvadore in
Murano, Italy seeks glassblowing position in a London studio
for approximately one year. Anyone interested on offering this
artist a job, or interview, should contact him. Tel: +44 020 7193
2092, info@ideaglass.com, www.ideaglass.com
Other Opportunities
MFA Exhibition Competition In Spring 2007, UrbanGlass will
host the third annual MFA Exhibition Competition, featuring the
work of three to seven recent graduates of MFA glass programs.
The exhibition provides an international showcase for new and
noteworthy talent in the field of contemporary glass. Each of
the finalists will be represented by up to three art works in the
exhibition. One artist will be selected from the finalists for a
one-artist show in the Robert Lehman Gallery at UrbanGlass at
a later date. Judging will take place in Oct. 2006 and finalists
will be notified by Friday, Oct. 27, 2006. The winner of the
one-artist exhibition will be announced at the MFA Exhibition
opening. The exhibition will be documented in GLASS: The
UrbanGlass Art Quarterly. The UrbanGlass MFA Exhibition
Competition is open to recent MFA graduates of glass programs
in the United States and Canada. For the 2007 competition,
artists must have received their MFAs within the past academic
year, from Winter 2005 through Summer 2006. All entries must
be postmarked or hand-delivered by 5 pm on Friday, Sept. 29.
Contact: Urban Glass, 647 Fulton St 3rd Floor, Brooklyn,
NY, 11217, Tel: 718-625-3685 x 225, Fax: 718-625-3889,
info@urbanglass.org, www.urbanglass.org
Publications
New Publications and a New Flameworking Video Now
available are: European Glass Furnishings for Eastern Palaces,
by Jane Shadel Spillman, 144 pages and 125 illustrations;
New Glass Review 27 by The Corning Museum of Glass staff,
126 pages and 199 illustrations; and An Introduction to
Flameworking with Emilio Santini, (Foundations Series, Volume
2), 34 minutes, DVD or VHS. Contact: The Corning Museum of
Glass, One Museum Wy, Corning, NY, 14830, Tel: 607-937-5371,
Fax: 607-974-8470, contactus@cmog.org, www.cmog.org
Join in the conversation!
Check out our new Message Board categories,
including “Fueling the Habit,” about how to
conserve energy in the shop, at www.glassart.org.
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
7
classes + workshops
after the deadline.
U N I T E D S TAT E S
CALIFORNIA
Masaoka Glass Design, 13766 Center St Ste G-2, Carmel Valley,
CA, 93924, Tel: 831-659-4953, Fax: 831-659-3156,
masaoka@mbay.com, www.alanmasaoka.com
Sept. 15 -17: Kiln Casting Workshop/Mark Abildgaard
Stumpchuck.com, 8901 Sheldon Rd, Elk Grove, CA, 95624,
Tel: 916-739-0912, Fax: 916-736-1123, joella4@aol.com,
www.stumpchuck.com
Sept. 20-24: In the Garden/Loren Stump
Oct. 25-29: Loren II/Loren Stump
Nov. 3 - 5:
Paperweight Weekend/Loren Stump
Nov. 15 -19: Loren I/Loren Stump
COLORADO
Glasscraft, Inc., 626 Moss St, Golden, CO, 80401,
Tel: 303-278-4670, Fax: 303-278-4672, jhoyt@glasscraftinc.com,
www.glasscraftinc.com
Sept. 23 -25: Designing and Making Vessels in Borosilicate/
Matt Eskuche
Oct. 4 - 8:
Under the Sea/Loren Stump
Oct. 21- 22: Survey of Flameworking/Shane Fero
ILLIONOIS
Ed Hoy’s International, 27625 Diehl Rd, Warrenville, IL, 60555,
Tel: 800-323-5668/630-836-1353, Fax: 630-836-1362,
ehoy@edhoy.com, www.edhoy.com
Sept. 11-12: Sculptural Beadmaking #1/Sharon Peters
Sept. 13-15: Mural & Pictorial Beads: Stringer Painting &
Surface Sculpture/Sharon Peters
Oct. 20:
Ornaments: Fused and Blown
Oct. 27 & 30: Glass Paperweights
Ox-Bow, 37 S Wabash Ave, Chicago, IL, 60603, Tel: 312-899-7455/
800-318-3019, Fax: 312-899-5139, ox-bow@artic.edu, www.oxbow.org
INDIANA
Inspired Fire Glass Studio & Gallery, 2124 State Road 25 South,
Lafayette, IN 47909, Tel: (765) 474-1981
Beginning Classes
Sept. 11-13, 6 - 9 pm
Sept. 23, 10 - 4 pm & Sept. 24 1- 4 pm
Fusing Class
Loren Stump: Oct. 11 - 15
LOUISIANA
Andrew Jackson Pollack, 5973 Tchoupitlulas, New Orleans, LA,
70115, Tel: 504-723-8235, Fax: 404-250-1158,
apollack420@msn.com, www.andrewjacksonpollack.com
Sept. 9 & 10: At private studio in Sandy Springs/
Andrew Jackson Pollack
Sept. 23:
At private studio in Sandy Springs/
Oct. 13 - 15: At private studio in Sandy Springs/
Nov. 18:
Nov. 25:
New Orleans School of Glassworks & Printmaking Studio,
727 Magazine St, New Orleans, LA, 70130, Tel: 504-529-7277,
(Attn: Glassworks), info@neworleansglassworks.com,
www.neworleansglassworks.com
MASSACHUSSETTS
Snow Farm: The New England Craft Program, 5 Clary Road,
Williamsburg, MA, 01096, Tel: 413-268-3101, Fax: 413-268-3161,
info@snowfarm-art.org, www.snowfarm.org
Late Summer Intensive
Sept. 2 - 4:
Beginner to Intermediate Glassblowing/
Beth Lipman
Sept. 2 - 4:
Beads/Sally Prasch
Special Offering
Sept. 18 -22: Glass Meets Metal/Paula Kochanek & Pat Bennett
Sept. 18- 22: Lampworking/Bandhu Dunham
Fall Foliage Intensive
Oct. 7 - 9:
Intermediate to Advanced Glassblowing/
Jim Holmes
Oct. 10 - 12: Glassblowing Add-On Intermediate to Advanced/
Jim Holmes
Oct. 7 - 9:
Mosaics/Richard Moss
Oct. 7 - 9:
Glass Beads & Hollow Forms/Sally Prasch
Oct. 7 - 9:
Kiln Glass/Paula Kochanek
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
Sept. 3 - 9: Playing with the “Graal” Idea/Peter Houk
MICHIGAN
College for Creative Studies, 201 E Kirby, Detroit, MI, 48202,
Tel: 313-664-7447, hbabcock@ccscad.edu, www.ccscad.edu
Delphi, 3380 E Jolly Rd, Lansing, MI, 48910, Tel: 800-331-1101,
info@delphiglass.com, www.delphihotglass.com
Eberhart Studio, 3154 Shamrock Ct, Ann Arbor, MI, 48105,
Tel: 734-764-3385, Fax: 734-763-0459, harald@eberhartglass.com,
www.eberhartglass.com
Sept. 30 - Oct. 1: Pyrex 3-D Plasma Neon/Argon Workshop/
Harald Eberhart
Oct. 11-14:
Pyrex Flame Glassblowing (All Levels)/
Harald Eberhart
Nov. 3 - 6:
Harald Eberhart
Nov. 9 -12:
Harald Eberhart
The Glass Academy, 25331 Trow Bridge, Dearborne, MI,
48124, Tel: 313-359-3353, michelle@glassacademy.com,
www.glassacademy.com
Call for information about upcoming classes.
Good Hart Glassworks, PO Box 941, Good Hart, MI, 49737,
Fax: 231-526-1163, ghgw@freeway.net, www.ArtistsNorth.com.
Located “up north” near beautiful Lake Michigan, the studio is
a two bench, two glory hole facility with 200# furnace.
Private lessons, studio rental, demonstrations, and limited onsite
housing also available. Class instructor: L. D. Dinning.
NORTH CAROLINA
Penland School of Crafts, PO Box 37, Penland, NC, 28765,
Tel: 828-765-5753, Fax: 828-765-7389, danamoore@penland.org,
www.penland.org. On-going classes are offered. Please contact
the school for more information.
NEW JERSEY
Salem Community College Glass Center, 460 Hollywood Ave,
Carneys Point, NJ, 08069, Tel: 856-351-2611, Fax: 856-351-2662,
aboothe@salemcc.edu, www.salemcc.org
Vandermark Merritt Glass Studios, Inc., 240 Readington,
Somerville, NJ, 08876, Tel: 908-231-8189, Fax: 908-722-3380,
vandermarkglass@excite.com. One and two-day glassblowing
classes offered. Please call or e-mail for more information.
NEW YORK
The Studio of The Corning Museum of Glass, One Museum Way,
Corning, NY, 14830, Tel: 607-974-8914/6467, Fax: 607-974-6370,
thestudio@cmog.org, www.cmog.org. Contact Corning for
more information about November and December classes.
Ten-week courses begin October 1 and end December 3:
Beginning Glassblowing with Carl Siglin
Continuing Glassblowing with Carl Siglin
Continuing Glassblowing with Ray Friday
Flameworking with Glady West
Oct. 7 - 8: Beginning Glassblowing / Carl Siglin
Oct. 14-15: Beginning Glassblowing / G. Brian Juk
Oct. 21-22: Beginning Glassblowing / Carl Siglin
Oct. 28 - 29: Next Steps in Glassblowing/ Ray Friday
Oct. 7- 8:
Jewelry Techniques in Borosilicate/ Margaret Neher
Oct. 14 -15: Bead Basics: Introduction to Flameworked Beads/
Jen Zitkov
Oct. 21- 22: Beginning Flameworking/ Eric Goldschmidt
Oct. 28 - 29: Next Steps Flameworked Beads/ Jen Zitkov
Flat Glass
Oct. 7- 8:
Beginning Stained Glass/ Tony Serviente
Oct. 14 - 15: Painting on Glass/ Denise Stillwaggon Leone
Oct. 21- 22: Fusing and Enameling/ Glady West
Oct. 28 - 29: Photosandblasting Glass/ Denise Stillwaggon
Leone
Museum Glassworks, Ballston Spa, Contact: National Bottle
Museum (518) 885-7589 or nbm@crisny.org
Sept. 16 & 17: Two-day lampworking workshop with Sally Prasch
Urban Glass, 647 Fulton St 3rd Floor, Brooklyn, NY, 11217,
Tel: 718-625-3685 ext 237, Fax: 718-625-3889,
education@urbanglass.org, www.urbanglass.org
Sept. 16 -17: Philip Taylor, Anna Butler
Oct. 6 - 8:
Vivienne Bell
Oct. 16 -18: Jirí Harcuba
Oct. 21:
Jason Grodsky
Oct. 21- 22: Virginia Griswold, Dena Pengas, Anna Butler,
Stephan Conlon
Oct. 22:
Jason Grodsky
Nov. 1- 2:
Einar and Jamex de la Torre
Nov. 3 - 5:
Michael Crowder
Nov. 4 - 5:
Anna Butler
Nov. 11-12: John Brekke
OHIO
Renaissance Glass Studio, 2222 Andrew Rd, Kettering, OH,
45440, Tel: 937-433-7006, Fax: 937-433-7012,
samstudio@aol.com, www.renaissanceglassstudio.com
Oct. 6, 13, 20, 27: Advanced Beadmaking
OREGON
8
Bullseye Glass Co., 3722 SE 21st Ave, Portland, OR, 97202, Tel:
503-232-8887, Fax: 503-238-9963, classes@bullseye-glass.com,
www.bullseye-glass.com
Chemeketa Community College, PO Box 14007, Salem, OR,
97309, Tel: 503-365-4717, Fax: 503-589-7897,
lhagner1@chemeketa.edu, www.chemek.cc.or.us
We offer credit and non-credit classes in flame-working,
fusing and slumping, kiln casting, stained glass, and mosaics.
This summer we will be offering a broad range of workshops
featuring well known glass artists and their individual
techniques. Please contact the school for more information.
Eugene Glass School, 575 Wilson St, Eugene, OR, 97402, Tel:
541-342-2959, Fax: 541-342-2924, info@eugeneglassschool.org,
www.eugeneglassschool.org
PENNSYLVANIA
Pittsburgh Glass Center, 5472 Penn Ave, Pittsburgh, PA, 15206,
Tel: 412-365-2145 ext 203, Fax: 412-365-2140,
karen@pittsburghglasscenter.org, www.pittsburghglasscenter.org
TENNESSEE
Arrowmont School of Arts & Crafts, PO Box 567, Gatlinburg,
TN, 37738, Tel: 865-436-5860, info@arrowmont.org,
www.arrowmont.org
Warm Glass Conference 2006 Pre- and Post-Conference Workshops:
Sept. 12 -15: Advanced Fusing Techniques/Patty Gray
Sept. 12 -15: Frit Imagery and Precious Metal Leaf/
Richard La Londe
Sept. 12 -15: Bas Relief Panels in Pate de Verre/Delores Taylor
Sept. 12 -14: Printing Methods on Glass/Jody Danner Walker
Sept. 18 - 21: Advanced Fusing Techniques/Patty Gray
Sept. 18 - 21: Cane, Murrini, and Other Hotshop Techniques
for Fusing/Martha Kauppi
Sept. 18 - 21: The Roll Up/Johnathon Schmuck
Sept. 18 - 21: Pate de Verre Vessels/Delores Taylor
TEXAS
Dragonfire Hot Glass Studio, LLC, 1211 West Blanco Rd.,
San Antonio, TX 78232, Tel: 210-764-8464, Fax: 210-764-8465,
www.dragonfirehotglass.com
Beginning through Intermediate Classes - Tuesdays, Thursdays,
and Saturdays from 7 - 9 pm.
Guest Glassblower Experience - Every second Saturday, a
special individualized lesson to introduce participants to the
world of glassblowing. The guest glassblower will choose the
color and shape of the glass piece. An experienced glassblower
will work with the guest to create the piece. $95 for the class.
Vessel available for purchase.
Advanced Glassblowing Courses - For more information,
e-mail us at info@dragonfirehotglass.com.
WASHINGTON
Momka’s Borosilicate & Soft Glass, 5030 208th St SW Ste D,
Lynnwood, WA, 98036, Tel: 425-776-3417,
www.momkasglass.com
Pratt Fine Arts Center, 1902 S Main St, Seattle, WA, 98144, Tel:
206-328-2200, Fax: 206-328-1260, info@pratt.org, www.pratt.org
I N T E R N AT I O N A L
The Red Barns... An Artisans Playground, 167 White Chapel Rd,
Picton, ON, K0K 2T0, Tel: 613-476-6808, Fax: 416-755-9702,
TheRedBarns@sympatico.ca, www.TheRedBarns.com.
Offering weekend and weeklong workshops in glass blowing,
lampworking and stained glass. Studio space and onsite
lodgings available. Visit website for complete schedule.
ITALY
ENGLAND
Vetrate Artistiche Toscane, Via della Galluzza, n. 5, Siena, 53100,
Tel: +39 0577 48033, edu@glassisland.com, www.glassisland.com
Summer 2006 Workshops in Tucsany:
Sept. 5 - 8: Marble Mosaic
Sept. 11-15: Glass Fusing
Sept. 18 - 29: Painting on glass
The workshops will take place in our studio in the very centre
of Siena (Tuscany) and will be conducted in English.
Dudley College International Glass Centre, Moor Street,
Brierley Hill, West Midlands, DY5 3EP, Tel: +33 01384 363067,
john.taylor@dudleycol.ac.uk, www.dudleycol.ac.uk/glass
Housed in a splendid Victorian building close to Brierley Hill, this
centre of excellence caters to a wide range of students from all
parts of the world, with a reputation for being the only centre of
its kind offering a hands-on practical approach whilst still retaining a design input and versatility to suit enthusiasts, studio crafts
persons and graduates in glass. Well equipped, including: two
furnaces, six glory holes, ten kilns, all microprocessor controlled,
decorative and cold glass working machinery, stained glass
studio, lampworking facilities, and a design suite with twelve
networked computers and software for 3D design work, with
scanning and printing facilities. Offering one year courses in
Glass Techniques and Technology as well as part-time courses.
Ruskin Glass Centre, Wollaston Rd, Amblecote, Stourbridge,
West Midlands, DY8 4HE, Tel: +44 1384 399444, Fax: +44 1384
399469, janine@ifg.org.uk, www.ifg.org.uk
FRANCE
Musée Atelier du Verre de Sars-Poteries, 1 rue du Général de
Gaulle - BP 2, Sars-Poteries, F-59216, Tel: +33 (0) 3 27 61 61 44,
Fax: +33 (0) 3 27 61 65 64, museeduverre@cg59.fr,
Nov. 21 - 30: Casting/ Jaromir Rybak
Dec. 4 - 9:
Kilnforming Techniques / Thierry Boissel
GERMANY
Toffolo Gallery & Studio, FTA Vetrai 67/A, Murano, Venice,
30141, Tel: +39 0 41 739183/ +39 0 41 736460 (studio),
Fax: +39 0 41 5276532, info@toffolo.com, www.toffolo.com
Opportunities to study lampworking in Cesare Toffolo’s Studio
in Murano, Venice. To contact: info@toffolo.com
SCOTLAND
North Lands Creative Glass, Quatre Bras, Lybster, Caithness,
KW3 6BN, Tel: +44 1593 721 229, Fax: +44 1593 721 229,
northlands@freeuk.com, www.northlandsglass.com
Masterclasses Program “The Skilful Hand and Eye”:
Sept. 5-10: Form & Surface: Cold-working Masterclass/
Alison Kinnaird and Tom Rowney
Sept. 5-13: Consequences of Proximities: Kiln Forming
Masterclass/Michael Brennand Wood & Steve Klein
SPAIN
Fundación Centro Nacional del Vidrio, Paseo del Pocillo 1,
La Granja, San Ildefonso, Segovia, 40100, Tel: +34 (0) 921 010700,
Fax: +34 (0) 921 010701, rfc@fcnv.es, www.fcnv.es
Sept. 21-29: Glass Sculpture/Sally Fawkes
Oct. 3 -11: Glass Painting (Flat & Blown Glass)/Walter Lieberman
Oct. 16 -20: Glass Beads, Level II/Nicolle Zumkeller & Eric Seydoux
Nov. 8 -16: Mirrored Glass/Fabienne Picaud
TURKEY
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
Bild-Werk Frauenau, an Art Academy in the middle of the
Bavarian Forest offers the following sessions:
The Late Summer Extra: Sept. 2 - 9
The courses are instructed by well-known names of the
international glass and art scene, such as Fritz Dreisbach,
Erwin and Gretel Eisch, Thomas S. Buechner, Stephan Paul Day,
Pavel Rou ka and Angela Thwaites.
Cam Ocagi/ The Glass Furnace, Akatlar Mah. Meydan Sok.
No.16/4 Levent, Istanbul, 80600, Tel: +90 212 3512075,
Fax: +90 212 3510963, yilmazy@tnn.net, www.glassfurnace.org
Sept. 3-16:
Glassblowing/Petr Novotny & Rob Stern
Sept. 3-16:
Lampworking & Beadmaking/Frederick Birkhill
Sept. 3-16:
Fusing & Kilncasting/Etsuko Nishi
Sept. 24 - Oct. 7: Glassblowing/Ben Wright
Sept. 24 - Oct. 7: Beadmaking/Julie Anne Denton
CANADA
November 10 - 12, 2006
Orange County
Convention Center,
Orlando, Florida
Fishbowl Studio / Tank: Fire + Metal #103, The Case Goods
Bldg., Toronto, ON, M5A 3C4, Tel: 647-430-8589,
ehme@ehmeglass.com, www.ehmeglass.com
Jewelry and beadmaking glasses offered. Please visit the
website for more information.
Fleming College - Haliburton School of the Arts, 297 College Dr,
Haliburton, ON, K0M 1S0, Tel: 705-457-1680, Fax: 705-457-2255,
wladuran@flemingc.on.ca, www.flemingc.on.ca
The Glassblowing Art Certificate program is delivered in a very
intensive 14 week format, offered each January semester. It is
suitable for students with little or no glassblowing experience.
Limited enrollment. Financial assistance is available for students
who qualify. The HSTA calendar is available upon request.
65+ hands-on classes: beading, glass, PMC and polymer clay, delivered by industry experts.
Great shopping – 150 booths! Special events and celebrities –
Jackie Guerra, host of DIY’s “Jewelry Making,” adds zest to the 2006 Fest!
www.BeadandArtGlassFest.com
9
exhibitions
after the deadline.
NORTH CAROLINA
Charlotte, Mint Museum of Craft & Design, Tel: 704-337-2066,
mpost@mintmuseum.org, www.mintmuseum.org,
Observations: A Retrospective Exhibition of Works by
Ann Wolff, 1/27 - 7/29/2007
NEW YORK
Brooklyn, Urban Glass, Tel: 718-625-3685 x 225, Fax:
718-625-3889, director@urbanglass.org, www.urbanglass.org,
Making Sense, 9/16 - 11/11/2006
Corning, The Corning Museum of Glass, Tel: 607-937-5371,
Fax: 607-974-8470, sternbenkym@cmog.org, www.cmog.org,
Splitting the Rainbow: Cut Glass in Color, through 11/1/2006,
Glass of the Maharajahs: European Cut Glass Furnishings
for Indian Royalty, through 11/30/2006
New York, Yeshiva University Museum, Tel: 212-294-8330,
Fax: 212-294-8335, aklieman@yum.cjh.org, www.yumuseum.org,
Feminine Principles: Work in Iron, Fiber and Glass by Orna
Ben-Ami, Georgette Benisty, and Saara Gallin, through
10/29/2006
OREGON
Portland, Bullseye Connection Gallery, Tel: 503-227-0222,
Fax: 503-227-0008, lanimcgregor@bullseyeglass.com,
www.bullseyeconnectiongallery.com, Steve Klein: Memory
and Consequence, 8/11 - 9/23/2006; SOFA Chicago Preview,
9/19 - 10/21/2006; Catharine Newell: Alone Together,
10/3 - 11/18/2006; Bullseye at SOFA Chicago 2006. Located
at Booth #908, Navy Pier, Chicago, IL, 11/10 - 12/2006;
Bullseye at Collect 2007 Location: Victoria & Albert Museum,
London, England. Organized by the British Crafts Council,
Collect is the international art fair for contemporary objects.
Bullseye is pleased to be one of the few US galleries invited
to participate, 2/8 - 12/2007
Kathleen Elliot,“Botanica: Autumn Leaves”, flameworked glass,
sandblasted, 13 x 12 x 6 in, at Prism Contemporary Glass,
Chicago, IL.
U N I T E D S TAT E S
ARIZONA
Mesa, Mesa Contemporary Arts, Tel: 480-644-6501,
www.mesaartscenter.com, Molten: A National Juried
Exhibition of Glass and Neon Art, 11/3/2006 - 4/1/2007;
Physical Presence, through 8/5/2007
CALIFORNIA
Los Angeles, Los Angeles County Museum of Art, Tel: 323-8576000, publicinfo@lacma.org www.lacma.org, Glass: Material
Matters including Clifford Rainey, through 12/10/2006
Oakland, The Oakland Museum of California, Tel: 510-238-2200/
888-238-2200, www.museumca.org, Made in California: Glass
from the Golden State. This exhibit is being held in conjunction with the Bay Area Glass Institute and will be curated by
Margery Aronson. The juried show includes artists Jaime
Guerrero, Susan Longini, Candice Martin, Treg Silkwood,
Randy Strong, Pamina Traylor, Mary White, and others,
through 9/19/2006; 2300 F: Bay Area Contemporary Glass
Sculpture: Elin Chistopherson, Jeff Sarmiento, Pamina Traylor,
Mary White. This exhibition is held off-site at the Oakland
International Airport, through 9/22/2006
ILLINOIS
Chicago, Function + Art / Prism Contemporary Glass,
Tel: 312-243-4885, info@prismcontemporary.com,
www.prismcontemporary.com, Prism’s Anniversary
Invitational: Alex Bernstein, Janet Kelman, Elizabeth
Mears, Martin Rosol, Afro Celotto, Kathleen Elliot, Kathleen
Holmes, Scott Schroeder - as well as newcomers Paul Elia,
Kimberley Haugh, Jeffrey Wallin, Martha Croasdale, and
others, 9/16 - 11/28/2006
MASSACHUSSETTS
10
Boston, TransCultural Exchange, Tel: 617-464-4086/ 888-464-4086,
tce@transculturalexchange.org, www.transculturalexchange.org/
tileproject, Tile Project Installation at Manila’s Cultural Center
of the Philippines, 8/17 - 12/31/2006, Tile Project Installation
at Boston’s Pauline A. Shaw School, 10/11 - 12/31/2006,
Tile Project Installation at Chincón, Spain’s Ethnological
Museum, 10/14 - 12/31/2006
Brockton, Fuller Craft Museum, Tel: 508-588-6000 ext. 114,
Fax: 508- 587-6191, communications@fullercraft.org,
www.fullercraft.org, Daniel Clayman: Line, Form, Shadow,
5/21 - 10/1/2006
MAINE
Round Pond, The Library Art Studio, Tel: 207-529-4210, The
Almost Season: Sally DeLorme Pedrick, through 12/31/2006
PENNSYLVANIA
Pittsburgh, Morgan Contemporary Glass Gallery, Tel: 412441-5200, morglass@sgi.net, www.morganglassgallery.com,
Blown Away: Cal Breed, Jeremy Cline, Greg Fidler, Jeff
Goodman, Jay MacDonell, John Miller, Caleb Siemon,
Reed Slater, through 10/5/2006
Pittsburgh, Pittsburgh Glass Center, Tel: 412-365-2145,
ext. 203, Fax: 412-365-2140, karen@pittsburghglasscenter.org,
www.pittsburghglasscenter.org, Kathleen Mulcahy and
Ron Desmett: Truth/Beauty, through 9/8/2006
TENNESSEE
Gatlinburg, Arrowmont School of Arts & Crafts,
Tel: 865-436-5860, Fax: 865-430-4101, info@arrowmont.org,
www.arrowmont.org, Ignite: An International Juried
Exhibition held in conjunction with the Warm Glass
Conference, through 10/7/2006
TEXAS
Dallas, Kittrell/ Riffkind Art Glass, Tel: 972-239-7957/ 888865-2228, Fax: 972-239-7998, Artglass@KittrellRiffkind.com,
www.kittrellriffkind.com, Featured Artists Series 2006:
Greg Fidler, David Leppla, Kenny Pieper, Cathy Richardson,
and Nancy Tobey, through 9/17/2006; 16th Anniversary Show:
a celebration featuring unique works from artists nationwide,
9/29 - 10/29/2006
WASHINGTON
La Conner, Museum of Northwest Art, Tel: 360-466-4446,
mona@ncia.com, www.museumofnwart.org, Italo Scanga:
1932-2001, through 10/8/2006
Langley, Museo, Tel: 360-221-7737, Fax: 360-221-7737,
museo@whidbey.com, www.museo.cc, Boyd Sugiki and Lisa
Zerkowitz, 9/2 - 10/2/2006; Katrina Hude, 10/7 - 30/2006
Seattle, Pilchuck Glass School, Tel: 206-621-8422 ext 22/360445-3111 (summer), Fax: 206-621-0713/ 360-445-5515 (summer),
PWatkinson@Pilchuck.com, www.pilchuck.com, Pilchuck on
Display: An Exhibition of International Glass at the Westin
Hotel, Seattle, WA, 10/12/2006
Seattle, West Edge Sculpture Invitational, Tel: 206-334-5040,
info@westedgesculpture.com, www.westedgesculpture.com,
West Edge Sculpture Invitational 2006: featuring Merrilee
Moore and others. The exhibit is indoors, at Benaroya Hall,
and outdoors, at The Harbor Steps, through 10/29/2006
Seattle, William Traver Gallery, Tel: 206-587-6501, Fax: 206587-6502, info@travergallery.com, www.travergallery.com,
Sean Albert: Blown Glass and Mixed Media, 8/4 - 9/3/2006;
Jonathan Mossop: Blown Glass, through 9/3/2006; Ethan
Stern: Blown and Carved Glass, through 9/3/2006; Nancy
Callan: Blown Glass, 9/8 - 10/1/2006; Layla Walter: Kilncast
Glass, 9/8 - 10/1/2006; Dante Marioni: Blown Glass; 10/6 29/2006; Tobias Mohl: Blown Glass, 10/6 - 29/2006; Bertil
Vallien: Sandcast Glass, 11/3 - 12/3/2006; Mary Fox: Blown
Glass, 11/3 - 12/3/2006
Pamina Traylor,“Cadence”, 2004, glass, stainless steel,
at Oakland Museum, Oakland, CA
Tacoma, Museum of Glass: International Center for
Contemporary Art, Tel: 253-284-4750, Fax: 253-396-1769,
info@museumofglass.org, www.museumofglass.org,
Karen LaMonte: Absence Adorned, through 9/4/2006;
John Drury and Robbie Miller, through 9/5/2006; Kickin’ It
with Joyce J. Scott, through 10/22/2006; Fresh! Contemporary
Takes on Nature and Allegory, through 12/31/2006
Tacoma, William Traver Gallery/ Tacoma, Tel: 253-383-3685,
info@travergallery.com, www.travergallery.com, Orfeo
Quagliata: Fused Glass, 8/12 - 9/10/2006; Rob Snyder:
Cast Glass, 9/16 - 10/8/2006; Mel Munsen: Fused and
Slumped Glass, 10/14/2006 - 11/5/2006; Davide Salvadore:
Blown and Carved Glass, 10/14 - 11/5/2006
WISCONSIN
Sturgeon Bay, Fairfield Center for Contemporary Art,
Tel: 920-746-0001, Fax: 920-746-0000, fairfld@doorpi.net
www.fairfieldcenter.org, Richard Jolley: Sculptor of Glass
from 1985 - Present, through 9/3/2006
I N T E R N AT I O N A L
CANADA
Waterloo, ON, Canadian Clay & Glass Gallery, Tel: 519-746-1882,
Fax: 519-746-6396, info@canadianclayandglass.ca,
www.canadianclayandglass.ca, Visions of Our Galaxy:
Josh Simpson, through 9/3/2006; A selection of historical
paperweights from the Lewis and Ruth Sherman Collection,
through 9/3/2006; Paul Stankard: Death, Sex, & God,
9/10/2006 - 1/7/2007
Bayfield, ON, Marten Arts Gallery, Tel: 519-565-2222, Fax: 519565-2217, sales@martenarts.com martenarts.com, Susan
Rankin: Contained Glass, through 10/2/2006
Montréal, QC, Espace VERRE Centre des métiers du verre
du Québec, Tel: 514-933-6849, Fax: 514-933-9830,
direction@espaceverre.qc.ca www.espaceverre.qc.ca,
Graduate Students Exhibition: Élise Brasseur, Carolyne
Brouillard, Eulalie Gagné, David Goranitis, Annie Lacoursière,
Amélia Lamoureux, Nancy Landreville, Marc-Antoine
Lapointe, Julien Mongeau and Maxime Vaillancourt, through
9/8/2006, Pate de Verre Exhibition, 15th Quebec Glass Artists
on Show: including Donald Robertson, 9/21/2006 - 1/12/2007
CZECH REPUBLIC
Prague 1, Museum of Decorative Arts in Prague, Tel: +420 251
093 111, Fax: +420 251 093 296, info@upm.cz, www.upm.cz,
Glass and Light: 150 Years of the Secondary School of
Glassmaking in Kamenicky Senov, through 9/17/2006
DENMARK
Ebeltoft, Glasmuseet Ebeltoft Tel: +45 86 34 17 99, Fax: +45 86
34 60 60, PAA@glasmuseet.dk www.glass.dk, Twenty Years On:
Inaugural New Wing Exhibition including Laura Heyworth,
Alison Kinnaird M.B.E., Alena Matéjková, Anna Norberg,
Stig Persson, and Emma Woffenden, through 1/21/2007
ENGLAND
Church Eaton, Staffordshire, Oakland Studios, Tel: +44 01785
823663, oaklandsct@hotmail.com, www.oaklandsstudios.co.uk,
Staffordshire Open Studios 2006 including Bob Thacker Solo
Exhibition, 9/9 - 10/2006 & 9/16 - 17/2006
County Durham, Teesdale Glass Engravers, Tel: +44 01833
640545, enquiries@teesdaleglassengravers.co.uk,
www.teesdaleglassengravers.co.uk, Teesdale Glass Engravers
Winter Exhibition including Lawrence Staley, 10/19 - 25/2006
County Durham, The Bowes Museum, Tel: +44 01833 690606,
Fax: +44 01833 637163, info@bowesmuseum.org.uk
www.bowesmuseum.org.uk, Bowes Show: including
Lawrence Staley, 9/9/2006
Henley on Thames, River & Rowing Museum, Tel: +44 01491
415 600, Fax: +44 01491 415 601, museum@rrm.co.uk
www.rrm.co.uk, Surfacing: Two Person Exhibition with
June Kingsbury and Ian Moore, 9/16 - 10/29/2006
Leeds, Leeds City Art Gallery, Tel: +44 0113 247 8248,
city.art.gallery@leeds.gov.uk, www.leeds.gov.uk/artgallery,
Blown Away: including Paul Barcroft, Jenny Beardshall,
Kamini Chauhan, Dominic Fondé, Maggie Hamlyn Williams,
Steven Newell, Karinna Sellars, and Shan Valla, through
10/28/2006
Lincolnshire, The Hub, Tel: +44 01529-308710, Fax: +44 01529308711, hub@leisureconnection.co.uk, www.thehubcentre.org,
Peter Layton and Friends: Celebrating 30 Years of London
Glassblowing, 1/8 - 2/21/2007
London, Dulwich Craft Fair, june.chris@virgin.net,
www.dulwichcrafts.co.uk, Dulwich Crafts & Design Fair
including Caroline Loveys, 12/9/2006, Dulwich Crafts
& Design Fair including Lara Aldridge, Yvonne Freeborn,
and Patrick Stern, 11/11/2006
London, The Crafts Council, Tel: +44 020 7278 7700,
join@craftscouncil.org.uk, www.craftscouncil.org.uk,
The London Craft Fair at Somerset House in London,
10/3 - 15/2006
London, ZeST Contemporary Glass Gallery, Tel: +44 (0) 20
7610 1900, Fax: +44 (0) 20 7610 3355, naomi@zestgallery.com
www.zestgallery.com, Still Life: Anne Arlidge and Vic Bamforth,
through 9/9/2006
Stourbridge, West Midlands, Ruskin Glass Centre, Tel: +44 1384
399444, Fax: +44 1384 399469, info@ifg.org.uk, www.ifg.org.uk,
British Glass Biennale, the largest juried exhibition of contemporary glass in the UK. A selling show, it is the highlight of
the International Festival of Glass 2006, through 9/17/2006,
Peter Layton and Friends: Touring Exhibition of The 30th
Anniversary of London Glassblowing, 8/21 - 9/17/2006
Stourbridge, West Midlands, The Red House Glass Cone,
Tel: +44 01384 812750, glassdenisehunt@blueyonder.co.uk,
www.dudley.gov.uk/redhousecone, Love Contemporary Glass:
Red House Glass Cone Resident Glass Artists Exhibition
including Ian Bamforth, Vic Bamforth, Dean Hopkins, George
Jackson, Ian MacDonald, Karina Sellars, and Ann Vernon
Griffiths; 8/18 - 9/15/2006; Collaborations One: Professional
Artists Programme. Site Specific Public Space Installation
Exhibition including Mark Angus, Lynn Baker, Chris BirdJones, Kenneth Cantillon Howell, Iestyn Davies, Simon Eccles,
Denise Hunt, Ian MacDonald, Hilary Poole, Tracey Snape,
and Dave Ward, through 9/24/2006; Collaborations Two:
Traditional Skills - Contemporary Wares. Touring Exhibition
including Lynn Baker, Kenneth Cantillon Howell, Dominic
Cooney, Iestyn Davies, Denise Hunt, and Helen Millard;
8/19 - 9/24/2006; Erwin Eisch, through 9/24/2006
Sunderland, Tyne & Wear, Glass Gallery at the National Glass
Centre, Tel: +44 (0) 191 515 5555, Fax: +44 (0) 191 515 5556,
info@nationalglasscentre.com, www.nationalglasscentre.com,
Peter Layton and Friends: Celebrating 30 Years of London
Glassblowing, 3/2 - 4/16/2007
West Midlands, Broadfield House Glass Museum, Tel: +44-1384812749, Fax: +44-1384-812746, glass.museum@dudley.gov.uk,
www.glassmuseum.org.uk, Breaking The Mould: Contemporary
Pâte De Verre: including Keith Cummings, George Jackson &
Patrick Stern, through 10/15/2006
York, The Red House Antiques Centre, Tel: +44 01904 637 000,
info@theginnel.com, www.redhouseyork.co.uk, Love
Contemporary Glass: including Ian Bamforth, Vic Bamforth,
Dean Hopkins, George Jackson, Ian MacDonald, Ann Vernon
Griffiths & Karina Sellars, through 9/15/2006
FRANCE
Biot, Galerie International du Verre, Tel: +33 4 93 65 03 00,
infos@verreriebiot.com, www.verreriebiot.com, Verriales 2006:
Memory: including Mark Bokesch-Parson, Clifford Rainey,
David Reekie, and Colin Reid, through 12/31/2006
GERMANY
Coesfeld-Lette, Glasmuseum Alter Hof Herding, Tel: +49 25 46
93 050, Fax: +49 25 46 93 0550, info@ernsting-stiftung.de,
www.ernsting-stiftung.de, Esther Jiskoot, Lieve Van Stappen,
Gareth Noel Williams, Gerhard Ribka, Richard Meitner, and
Louis Rice, 7/8 - 10/1/2006
Frauenau, Glasmuseum Frauenau, Tel: +49-9926-941020,
Fax: +49-9926-941028, info@glasmuseum-frauenau.de,
www.glasmuseum-frauenau.de, European Glass - 7 Masters:
including Mark Angus, through 11/5/2006; 50 Vasen - 50
Künstler: including Mark Angus, Alison Kinnaird M.B.E. &
Gerhard Ribka, 10/1/2006 - 3/31/2007
Köln, CCAA Glasgalerie Köln GmbH, Tel: +49-(0)221-257-6191,
Fax: +49-(0)221-257-6192, info@ccaa.de www.ccaa.de, Frank
Meuer - Diana Stegmann: Glas-Korb-Objekte, 9/1 - 10/31/2006
Munchen, Alexander Tutsek-Stiftung, Tel: +45 89 343856,
Fax: +45 89 342876, info@atutsek-stiftung.de, www.atutsek.de,
Das Verlorene Gesicht Wieder Gefunden: The Face - Lost and
Found Again including Mark Bokesch-Parsons, Alison Kinnaird
M.B.E., Clifford Rainey, David Reekie, Gerhard Ribka &
Gareth Noel Williams. A catalogue will be published for this
exhibition, through 11/30/2006
Sinzheim, Baden-Baden, Galerie B, Tel: +49 7221 85585,
Fax: +49 7221 85585, GlasgalB@aol.com, www.galerieb.de,
Toots Zynsky, through 10/30/2006
Toots Zinsky, “Ibisita”, 8 x 15.5 x 8 in., filet de verre,
at Galerie B, Sinzeim, Baden-Baden, Germany
San Ildefonso, Segovia, Fundación Centro Nacional del Vidrio,
Tel: +34 (0) 921 010700, Fax: +34 (0) 921 010701, rfc@fcnv.es
www.fcnv.es, Bert Van Loo, through 9/24/2006
San Pedro, Malaga, The Norton Gallery, Tel: +34 952880463,
suzanne@thenortongallery.com, www.thenortongallery.com,
Amanda Notarianni & Charlie Macpherson, through 9/4/2006
SWEDEN
Växjö, Sveriges Glasmuseum Smålands Museum, Tel: +46 0470
70 42 00, Fax: +46 0470 397 44, reception@smalandsmuseum.se,
www.smalandsmuseum.se, Fun Fearless Female: Two Person
Exhibition with Åsa Jungnelius & Ulrica Hydman-Vallien,
through 9/17/2006
JAPAN
Kamo-gun, Shizuoka-ken, Koganezaki Crystal Park Glass
Museum, Tel: +81 558 55 1516, Fax: +81 558 55 1522,
k-museum@kuripa.co.jp, http://www.kuripa.co.jp/,
Vessels: The Exhibition of Contemporary Glass Koganezaki
2006, through 9/28/2006
LUXEMBOURG
Luxembourg, Jean-Claude Chapelotte Galerie, Tel: 352-471818,
luma@jcc.lu www.jcc.lu, Ivan Mares, 10/1-27/2006; Vladimir
Klein, 9/13 - 12/23/2006
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
NETHERLANDS
Roermond, Galerie Mariska Dirkx, Tel: +31 (0) 475-317137,
Fax: +31 (0) 475-31 7137, galerie.dirkx@wxs.nl,
www.galeriemariskadirkx.nl, Glasstec: including Laura
Heyworth, Richard Price, Helga Reay-Young, Gerhard Ribka,
Elizabeth Swinburne & Gareth Noel Williams, 10/24 - 28/2006
SCOTLAND
Edinburgh, Royal Museum, Tel: +44 0131 247 4422,
Fax: +44 0131 220 4819, info@nms.ac.uk, www.nms.ac.uk/royal,
Reflections on a Decade: 10 Years of North Lands Creative
Glass, through 11/30/2006
Edinburgh, The Scottish Gallery, Tel: +44 0131 558 1200,
Fax: +44 0131 558 3900, mail@scottish-gallery.co.uk,
www.scottish-gallery.co.uk, Northern Lights North Lands
Creative Glass 10th Anniversary Benefit Exhibition Edinburgh
Festival Exhibition including Jane Bruce, Tessa Clegg,
Brian Glassar, Alison Kinnaird M.B.E., Dante Marioni, Dick
Marquis, Keïko Mukaïdé, Elizabeth Swinburne & Bertil Vallien,
through 9/6/2006
SPAIN
Mava, Madrid, Museo de Arte en Vidrio de Alcorcon, Tel: +34 91
619 9086, mava@ayto-alcorcon.es, www.ayto-alcorcon.es,
First International Glass Bienale: Taliaferro Jones, 5/18 9/7/2006; Internacional De Escultura En Vidrio: IV Bienal De
Artes Plásticas De Alcorcón: Touring Exhibition including
Philippa Beveridge, Chris Bird-Jones, Karen Heald, Max
Jacquard, through 9/7/2006
Saara Gallin,“Saara at Yum”, reed glass, flashed
antique stained glass, antique glass, antique jewels,
kilnforming and copper foil, at Yeshiva University
Museum, New York, NY. Photo: Dan Creighton
11
Glass Art Society
Board of Directors 2005-2006
President
Shane Fero
Treasurer
Robin Cass
Secretary
Beth Ann Gerstein
Paula Bartron
Eddie Bernard
Andrew Erdos
(Student Rep.)
Susan Holland-Reed
Ki-Ra Kim
Kim Koga
Jeremy Lepisto
David Levi
Jutta-Annette Page
Chris Rifkin
Tommie Rush
Elizabeth Swinburne
Pamina Traylor
Harumi Yukutake
Staff
Pamela Figenshow Koss, Executive Director
Sarah Bak, Executive Assistant /Registrar
Shannon Borg, Communications Director
Emily Bowen, Bookkeeper
Karen Skrinde, Database Manager
Patty Cokus, Administrative Assistant
Seattle, Washington 98121 USA
Phone: (206) 382-1305 Fax: (206) 382-2630
info @ glassart.org
www.glassart.org
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with a GAS Display Ad!
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or other GAS publications, please contact
the GAS office at 3131 Western Avenue,
Suite 414, Seattle, Washington 98121, USA.
Tel: 206-382-1305; Fax: 206-382-2630;
info@glassart.org; or check out our website at
www.glassart.org and click on “Advertising”
Contribute to GAS NEWS
GAS NEWS is for the members of the Glass Art Society.
There are several ways to contribute:
1. Listings: Every issue has 100s of listings and
classified ads, free to members
2. Member Profile: Gives members an opportunity
to share their work, experience and thoughts with other
members. Images and text welcomed.
3. Student Profile: Students, send artist’s statement,
a brief bio, images of your best, most recent work,
your name, address and contact information.
4. School Profile: Students or educators of accredited,
degree-offering schools, send a brief article about your
school and what it offers, and a few images.
5. Workshops: Non-degree schools, send a brief
article about your program and a few photos.
6. International Window: GAS has members
in over 50 countries. Each issue we highlight
1 or more countries or events outside the U.S.
Images and text welcomed.
7. Critical Issues: Submit your ideas for an article that
analyzes, interprets, or evaluates artistic works in glass.
For more information on submissions, go to
http://www.glassart.org, click on “Newsletter” or
contact the Communications Coordinator at the
GAS office. E-mail: Shannon@glassart.org
The Glass Art Society reserves the right to edit
submissions for any reason deemed necessary by
the editor, including clarity, length or grammar.
Submission of material is not a guarantee that
it will be published. Please include a SASE for
return of materials sent via mail.
The Glass Art Society (GAS), its Board of Directors, members, and
employees, are not responsible in any capacity for, do not warrant
and expressly disclaim all liability for any content whatsoever herein.
All such responsibility is solely that of the authors or the advertisers
A copy of the Glass Art Society’s annual financial report may be
obtained, upon request, from the GAS office, or from the Office of the
Attorney General, Charities Bureau, 120 Broadway, New York, NY 10271

GAS News S/O 06 copy

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