letter from the GAs President updates and ... - Glass Art Society

june
july
august
2008
volume 19
issue 4
i n s i d e
t h e n e w s l e t t e r o f t h e g l a s s a r t s o c i e t y
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Regular Features
President’s Letter
GASLine
Student Profile: Cortney Boyd
Technical Issues:
Our Carbon Footprint
Critical Issues:
Nobuho Nagasawa
special Features
GAS Scholarship Winners
Announced!
Book Review: “Lines Through
Light” by Stephen Procter
Remembering Megan J. Kenny
Listings
Resources, etc.
Classes and Workshops
Exhibitions
Letter from
the GAS President
The Portland conference is upon us and we are very
excited about it and hope that you are as well!
In this issue of the newsletter, I would like to discuss
relevant matters relating to membership benefits. In
fulfilling our long-range goals, we have introduced FedEx
and DHL shipping discounts, health & life insurance, and
the Kinko’s and Hertz discounts. I hope that you have
tried to utilize some of these benefit programs as they
offer some great additions to the membership. We would
appreciate any comments or feedback concerning these
benefits and how the processing went.
In this issue, we have tried to have articles that
address the issues of fuel efficiency and economy to
reduce costs and the carbon footprints, especially in the
Technical Issues section. We have encouraged others
to submit articles as well and we hope that they will
continue to contribute. These are issues relevant to the
membership of our organization. Other issues relating to
this are the carbon footprints brought about by not only
making our art and products, but receiving our materials
and tools, and also in bringing them to market and
exhibitions. We rely on shipping services that impact our
world by paper trails, truck and airplane fuels and their
carbon footprints, not to mention waste, and we couldn’t
survive without them. I personally reflect on these issues,
but I am not sure what to do about it and it has gotten
more and more expensive and complex. I think we
can all work together and help find solutions through
networking and creative thought. Please forward us any
thoughts or comments on these issues.
With our ongoing developments regarding membership
benefits, I would like to mention that GAS has a
credit card service with Bank of America. I have had mine
since 2001. When I pull it out to pay for something, it
is nice that I know that it is emblazoned with the Glass
Art Society logo and with every purchase I make, a
percentage goes back to benefit GAS. Some people who
have watched me pull it out to pay for dinner remarked
that "it must be nice to be the President and have an
expense account with GAS" – that would be nice, but it
isn’t so! Have a nice summer!
Thanks,
Shane
Updates and changes
in GAS Membership Benefits
The Glass Art Society is a professional organization whose purpose
is to encourage excellence, to advance education, to promote the
appreciation and development of the glass arts, and to support the
worldwide community of artists who work with glass. It is our hope that
by adding discount programs and services, that the community of artists
will be able to compete with the rising cost of creating and showing work.
In addition to the healthcare plan and FedEx shipping discounts added in
December 2007, GAS has added a new partnership in the shipping industry
for its U.S. based members.
DHL Express and GAS have partnered to bring members a full suite of
domestic and international shipping services, covering over 220 countries
and territories around the globe.
Through GAS’s partnership with DHL, members can take advantage
of the complete menu of DHL services, and are also eligible for special
association member pricing.
With the addition of this shipping program, a common question from
members has been, “Can I ship artwork with DHL, and do they insure?”
The simple answer is "Yes."
According to their guidelines, the following commodities MAY be
acceptable for transport by DHL without restriction unless otherwise
noted, if the following conditions are accepted by the shipper:
Artwork, Antiques and Collectibles
• Independent proof of value (replacement) must be available
upon request.
• Shipments must be professionally packaged.
• Shipments in excess of USD 10,000 must be approved by
DHL Risk Manager for authorization before items of this value
can be shipped.
According to DHL, if you are shipping art (including but not limited to
paintings, prints, photographs, etchings and sculptures), DHL recommends
that a company who specializes in the packing of the specific artwork
being shipped professionally pack the shipment.
If the piece has an actual value greater than the liability limits listed
below, DHL can arrange Shipment Value Protection for the shipper covering
the actual cash value in respect of loss of or physical damage to the
shipment provided the shipper completes the Declared Value for Carriage
section on the front of the waybill or requests it via DHL’s automated
systems and pays the applicable premium. If the shipper does not declare
a value for carriage and pay the appropriate charge, the shipper assumes all
risks of loss or damage over the amount of DHL’s liability as set forth below.
DHL’s liability is strictly limited to direct loss only and to the per
kg. /lb. limits listed below. If the shipper regards these limits as insufficient
they must make a special declaration of value and request Shipment Value
(Continued on page 3)
GAS news is published
six times per year as a benefit
to members.
Publications Committee:
Scott Benefield, Eddie Bernard,
Robin Cass, Susan Holland-Reed,
Taliaferro Jones, Drew Smith
Managing Editor: Kate Dávila
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
© 2008 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.
June/July/August 2008, volume 19-4
The Glass Art Society
3131 Western Avenue, Suite 414
Seattle, WA 98121
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2
G A S L I N E
Three Scholars Share Glass Research
Grants from The Corning Museum
of Glass
The Corning Museum of Glass has awarded grants
to fund research projects on Leopold and Rudolf
Blaschka, glass craft traditions and the Berkshire
Glassworks in 2008.
Susan M. Rossi-Wilcox, who recently retired as
administrator of the Glass Flowers collection at the
Botanical Museum of Harvard University, is preparing
a comprehensive study on the botanical models
created in the late 19th century for the university by the
Blaschkas, a father-and-son team of lampworkers from
Dresden, Germany.
Rossi-Wilcox notes that she is interested in
answering three key questions: “In what context did
the collection develop? Where did the Blaschkas take
artistic license in making the models? What were the
sources of the reference materials?”
Her studies will include an extensive investigation
of archival materials dating from the beginning of the
collection in 1886 to the last accessions in 1936, at
Harvard; the Rakow Research Library of The Corning
Museum of Glass; and papers pertaining to Mary Lee
Ware (one of the benefactors of the collection) at the
historical society in Rindge, New Hampshire, site of her
family’s farm.
The most recent of Rossi-Wilcox’s many
publications on the Glass Flowers is Drawing upon
Nature: Studies for the Blaschkas’ Glass Models (2007),
which she co-authored with David Whitehouse,
executive director of The Corning Museum of Glass.
Frances Liardet, a doctoral candidate at Cardiff
University who holds degrees from Oxford and Bristol
Universities, is researching continuity and change in craft
practices in the ancient world. Her dissertation will focus
on the tradition of Mediterranean core-formed vessels.
“Artifacts which form coherent typologies, such
as Mediterranean Group I, stem necessarily from
durable craft traditions, which themselves arise from
the repeated transmission of craft skills,” says Liardet.
“However, there is relatively little archaeological
literature which considers the specific processes by
which craft skills are transmitted – that is to say, taught
and learned. Consequently, the explanatory potential
of studies on teaching and learning for archaeological
typologies has not been addressed.”
Lance Kasparian will complete research and
fieldwork for a history of the Berkshire Glassworks,
which operated in Lanesborough, Massachusetts, from
1853 to 1903.
The Berkshire Glassworks specialized in the
manufacture of handmade plate and cylinder glass
for church windows. Kasparian will study the firm’s
organization and development, its use of local materials,
the presence of skilled foreign workers, and “links with
the emerging design establishment and stained glass
artists in 19th-century Boston.” One part of this project,
he says, will address “the concept of a proto-opalescent
phase in the development of 19th-century American
stained glass.”
Kasparian received degrees from Rensselaer
Polytechnic Institute and Boston University. He is a
member of the American Institute of Architects and
the author of several publications on stained glass
manufacture and trade in the Boston area.
The research of Rossi-Wilcox and Liardet are funded
by The Rakow Grant for Glass Research of The Corning
Museum of Glass. This fund was created by the late Dr.
and Mrs. Leonard S. Rakow, awarded annually to support
scholarly research on the history of glass and glassmaking.
Kasparian’s research is funded by the Richards
Award for Research in American Glass, established in
1997 by The Corning Museum of Glass and the Richards
Foundation in memory of Paul Richards.
_______________________________________________
Exhibit Update
In the April/May 2008 GASnews listings, there was a
listing for an upcoming exhibition entitled “Land Light
and Identity.” This exhibition has been postponed and
will open in January 2011.
_______________________________________________
Frozen Music: Glass in the Garden –
Summer 2008 Portland Japanese Garden Exhibition
June 14 -30, 2008
The Portland Japanese Garden continues its 2008
Art in the Garden series with a summer exhibition
entitled Frozen Music: Glass in the Garden, featuring
the glass work of internationally celebrated artist Jun
Kaneko from the collection of Bullseye Glass, as well
as works in glass by five other noted Japanese artists,
including Hiroshi Yamano, Yoko Yagi, Masami Koda,
Etsuko Nishi, and Kazumi Ikemoto. (Yamano, Koda, and
Ikemoto will be presenting at the 2008 GAS conference).
The glasswork of Jun Kaneko will be featured in
a special outdoor installation. Born in Nagoya, Japan
in 1942, Kaneko started his art career as a painter and
later became a sculptor after moving to the United
States. His work, primarily in clay, has been exhibited
internationally, and is in the collection of museums all
over the world, Kaneko’s exhibition history spans over 40
years. He is included in public collection at the de Young
Museum, Detroit Institute of Art, European Ceramic
Work Centre, Fine Art Museum of San Francisco, Oakland
Museum, Philadelphia Museum of Art, Smithsonian’s
Renwick Gallery, the Wakayama Museum of Modern
Art, as well as at the Portland Art Museum. In 2006,
Mr. Kaneko was artist-in-residence at Bullseye Glass
in Portland, where he experimented with glass as a
new medium for his work. Several large scale works
completed by Kaneko during his time in Portland,
including African Reflections and Color Box, will be on
view in various locations throughout the Garden.
Indoor in the Garden Pavilion, the exhibition
features works in glass by five other Japanese artists,
The Works Art and Design Festival
June 20 - July 2
“My attraction to this medium is that, it forever fills
my desire to push my limits physically and creatively.
The art of glassblowing, for me, lies within the process
by which the objects come into being. Inanimate
objects becoming animate inspire this series, “Magic
Circus”. I am appealing to the viewer’s sense of
adventure and fantasy, while waking some of the child
in all of us. The glossy, reflective surface of the glass
stands out visually against the usual, matte backdrop
of the world.”
Keith Walker – “Magic Circus” Series of Hand-blown
Glass Umbrellas shown at The Works Art & Design
Festival 2008.
The Works Art & Design Festival 2008 presents
The Big Picture! Over the next three years, The Works
Art & Design Festival will present a core of themed
exhibits that focus on sustainability and environmental
consciousness. With the idea that awareness leads to
positive change, the exhibits will simultaneously bring
together Art, Sustainability and Social Responsibility in
an exciting manner, while provoking discussion. The
Feature themed program for The Works Art & Design
Festival 2008 is Water.
The Works Art & Design Festival kicks off the first
festival of Edmonton’s summer season from June 20
- July 2, 2008, with world renowned, Mind Altering
art exhibits. The Works transforms downtown public
spaces into alternative galleries attracting artists and
patrons from around the world, boosting the energy
and imagination of Alberta’s capital city every summer.
Offering over 200 FREE exciting exhibits and special
events to the public, The Works is the largest Art &
Design Festival of its kind in North America. On the
main Festival site, Sir Winston Churchill Square, art
lovers of all ages can take part and make their own art,
witness Artists at Work Demonstrations and attend
Featured Artists lectures and events all while enjoying
Canadian performers on The Works Street Stage, a
vibrant Artisan Market, and the world class Works
Food Street. The Works Art & Design Festival is the
must-see Mind Altering destination in Edmonton this
summer season!
including Hiroshi Yamano, recognized as one the most
inventive and creative glass artists in the world today.
Born in Fukuoka, Japan in 1956, Yamano’s refined style
incorporates a wide spectrum of materials including
silver leaf engraving, stone, and metal, in a combination
of demanding techniques that include blown and hot
sculpted glass, with silver leaf engraving and copper
electroplating. A frequent visual motif in Yamano’s work
is that of the fish as his enigmatic alter ego – a reference
to his personal journey traveling between the US and
Japan, an island country whose identity is closely related
to the sea.
Hiroshi Yamano attended the California College of
Arts and Crafts, the Tokyo Art Institute, Penland School of
Crafts (where he served as an assistant), before receiving
his MFA from the Rochester Institute of Technology in
Rochester, NY, in 1989. He has taught and lectured
throughout the world, including at Pilchuck School of
Glass and the Tokyo Glass Institute, as well as serving as
guest artist in Waterford Crystal in Ireland in 1998. His
works are in major collections in Japan, the US, and abroad.
The exhibition Frozen Music: Glass in the Garden is on
view outdoors and in the Garden Pavilion June 14-30,
2008, from 10 am - 7 pm, Tuesday - Sunday (Noon - 7 pm
on Mondays) and is free with Garden admission.
A Gallery Talk by Masami Koda, one of the artists whose
work is featured in the exhibition, will be held on June
14 (details TBD). Jun Kaneko’s outdoor installation will
remain on display throughout the month of July.

GAS Scholarship Winners
Announced!
Jurors met in Pawtucket, Rhode Island at the studio
of Nicole Chesney, and reviewed five images from each
applicant. Student scholarship judges reflected on the
consistency in works presented, a high level of artistic
expression, and professionalism. Statements and
supporting materials were helpful as final determining
factors within the short-listed group.
Nicole Chesney, Glass Sculptor
Pawtucket, Rhode Island
Stephen E. Easton, Glass Sculptor
Providence, Rhode Island
Jim Reynolds, Metal Sculptor
Providence, Rhode Island
The awards were as follows:
Clay and Glass Arts Foundation (CGAF) Scholarships
The scholarship parameters are based on students
who are studying at under-represented schools or
under-served populations within our greater community,
five general scholarships for $1000 USD each were
awarded. Recipients are:
• Rebecca Arday, Rochester Institute of Technology, USA
• Heike Brachlow, Royal College of Art – Department of
Ceramics and Glass, Great Britain
• Debra Ruzinsky, Rochester Institute of Technology, USA
• Michael Stevenson, Alfred University, USA
• Ben Wright, Rhode Island School of Design, USA
Takako Sano Scholarship - $1000 USD
Armelle Bouchet, Glass and Ceramic School, Denmark
Becky Winship Flameworking Scholarship - $1000 USD
Kyung-Ok Choi, Rochester Institute of Technology, USA
Book Review
Stephen Procter - “Lines Through Light”
Review by Kirstie Rea, Independent artist, Australia
Reading Lines Through Light was amazing! Even more
wonderful than I thought it would be. Stephen Procter
(1946-2001) was an artist and a teacher, who I had the
good fortune to work alongside, whilst lecturing at the
School of Art, Australian National University in Canberra.
As an artist Stephen was equally happy and
accomplished with a pencil, brush or charcoal, as he
was with a grinding wheel on a glass blank. Known for
his seemingly simple, cut and engraved glass forms,
Stephen’s works are pauses like the pauses that made
up his day wherever he was. From his earliest landscape
stippled crystal goblets to his latest color engraved
vessels, there is an elegant simplicity to his work. The
works reflects clearly his philosophies on life.
An enlightening and thoughtful essay by
contemporary glass specialist Dan Klein (UK) follows
Stephen’s journey through his career. He remembers
Stephen’s sensitivity to the material, his constant
dialogue with forms, the relationships between the
landscapes he encountered, his work and his ability to
make the unremarkable remarkable.
Lines Through Light gives equal emphasis to
Stephen’s artworks on paper, his paintings in oils,
watercolor and ink, an area not widely shown or known,
compared to his works in glass. It emphasizes to us the
value of our sketchbooks and pencil as our constant
companions. The combinations of artworks in the book
seem to unfold as life unfolded for Stephen. Edited by
his wife Christine Procter and artist Itzell Tazzyman, the
high lights are in reading Stephen’s own words, where
he reflects on the purpose of making, on being creative,
something of great significance to us all. This was the
essence of Stephen, which is why it is such a sincere and
superb book.
Lines Through Light is a stunning publication and
one truly worth pausing to spend time with, more than
once, not just for artists but also for us all. It is a complete
and comprehensive documentation of all Stephen has
accomplished. You can find out more about Stephen's
work and this book at www.stephenprocter.net. I highly
recommend it.
Editorial Piece
Tracey Bochnak
Western Carolina University
Jackson County Green Energy Park
The Jackson County Green Energy Park (JCGEP)
captures methane gas from the old town landfill,
and uses the gas as fuel for a series of artisan studios,
greenhouses, a biodiesel refinery, and other ventures.
Located in Dillsboro, NC, JCGEP utilizes clean, renewable
energy resources to encourage economic development,
provide environmental protection, and offer educational
opportunities that together will help lead towards a
more sustainable future for Western North Carolina.
JCGEP’s fully outfitted blacksmith studios are now
complete, and the park is currently seeking smiths and
metalworkers for its 3 studio spaces. Future plans for
JCGEP include the construction of pottery and glassblowing
studios, as well as a retail gallery, a café, public
classroom areas, and a conference room.
The glass studio will include tenant space for two
artists and their assistants. The glory holes will be fired
on methane gas from the landfill, which is included in
Updates and changes
(Cont. from page 1)
Protection or make their own insurance arrangements.
All other types of loss or damage are excluded
(including but not limited to lost profits, income, interest,
future business), whether such loss or damage is special
or indirect, and even if the risk of such loss or damage
was brought to DHL’s attention before or after
acceptance of the shipment since the shipper can
insure special risks. DHL’s liability in respect of any
one shipment transported, without prejudice to any
other terms, is limited to its actual cash value and
shall not exceed the greater of $US 100; or for certain
international shipments in which the Warsaw Convention
applies, approximately $US 20/kg. or $US 9.07/lb.,
depending on the applicable law.
“We have used DHL Express for shipping glass for
the past three years. They are a very reliable company,
and we are excited to take advantage of the new
discount available through GAS.” said Leigh Canlis of
Canlis Glass, in Seattle.
To find out more about the DHL benefits and
set up an account, or if you have questions regarding
your current account, please contact the dedicated
association hotline at 1-800-MEMBERS (1-800-636-2377,
8 am - 7 pm, ET). If you have questions about shipping
certain items, please contact DHL Customer Service at
1-800-CALL-DHL (1-800-225-5345).
the price of rent. Studio equipment will include a 400#
Stadelman electric furnace, 2 annealing ovens, and a
color box. The extensive cold-working shop has multiple
slurry wheels, a diamond lap wheel, a diamond band
saw, a sandblaster, a belt sander, a Dynagrinder, and
polishing arbors. Tenants will be expected to provide
their own blowpipes, punties, and hand tools, and
opportunities are available for qualified tenants to teach
workshops and classes.
JCGEP will be represented on the “Glass is Greener”
Panel at the 2008 GAS Conference. Artists interested in
more information about being a tenant should contact
the park at 828-631-0271 or info@JCGEP.org. More
information is available at www.jcgep.org.
GAS Credit Card
Another benefit for GAS members is the Glass Art
Society credit card from Bank of America. Benefits of
the card include: a percentage of all purchases going to
benefit the Glass Art Society, no annual fee, a low APR,
MyConcierge – the free personal assistant service that
helps customers make special arrangements, and the
WorldPoints program.
With the WorldPoints program, customers will
enjoy the flexibility of multiple redemption options
including cash rewards up to 1%, travel (air, car, hotel,
and cruise), select merchandise offers, and retail gift
certificates from top merchants.
Customers can redeem points for brand-name
merchandise including hundreds of items ranging from
electronics to furniture to sporting goods, gift certificates
from top merchants such as Olive Garden, Red Lobster,
Pottery Barn, J. Crew, movie tickets and more.
Customers may also redeem points for air, car, hotel,
and cruise rewards. WorldPoints rewards are redeemed
through Carlson Leisure Travel Services. For more
information, please call 1-866-438-6262 and reference
Priority Code FAB6Y0.
GAS is pleased to continually offer new membership
benefits, and hopes that its members will take
advantage of the many offerings currently available.
To view the latest additions, please visit the Members
Only section of the GAS website at: http://www.glassart.
org/members-only.html (you must sign up for Members
Only access in order to view this page. If you have not
done so, please follow the steps on the website.)
3

Remembering
Megan J. Kenny
by Lucy Roussel and Rommy Rodriguez
S t u d e n t P r o f i l e
Cortney Boyd
By Drew Smith
On December 15,
2007, Canadian glass
artist, Megan J. Kenny
passed away all too
early, at the age of 35.
At the time of her
passing, Megan was
teaching kiln-cast glass
at Sheridan College’s
School of Craft and
Design, in Oakville, ON, and putting the finishing
touches on her latest project, a book devoted to the
art of kiln-casting.
Megan J. Kenny, was born in Toronto, in 1972.
In 1995, she graduated from the glass program at
the Sheridan College, School of Craft and Design
in Oakville, ON. Upon graduation, she, along with 6
other artists, founded Glen Williams Glass, an artist
collective located in Glenn Williams, ON. In 2000,
Megan left the collective to become a resident at a
private studio in Oakville, ON. She began teaching
shortly thereafter and taught at Haliburton School
of Fine Art in Northern Ontario, Red Deer College
in Alberta, and in 2005, joined the faculty team at
Sheridan College, as the kiln-casting instructor, where
many were fortunate to experience her somewhat
irreverent and inspirational instructional style.
Megan described her design esthetic as “Science
Futurism”, or as she liked to say Sci-Fu. She described
the meaning of Sci-Fu as the visual art equivalent
to the term “Sci-Fi”. Megan created various series of
work, the most recent being, Multidimensional Reality.
This body of work combined both cast glass and
urethane rubber, along with elements of spun stainless
steel. Visually, the glass and the rubber appear
to be identical, yet physically they could not be more
different, thereby challenging the viewers perception
of reality. Works from this series were exhibited at
her last solo show at Palace Contemporary Art and
Fine Craft Gallery in Toronto. Her works are also in
permanent collections, in the Four Seasons Hotel, in
London, England and the Glass Museum in Ebeltoft,
Denmark. She also exhibited in Germany and Holland,
as well as here in North America.
Megan’s book, When Good Molds Go Bad – A
Behind the Scenes Look at Kiln Cast Glass, a highly
personalized and humorous account of the trials
and tribulations of the lost wax kiln casting process,
was published posthumously in 2008. The book is
a step by step outline of her own technical process
with specific examples of how NOT to do things,
encouraging the reader to learn from her mistakes
and reminding us of the importance of celebrating
both our errors and successes.
Megan’s family, along with the faculty of Sheridan
College, have established the Megan J. Kenny Kiln-Cast
Glass scholarship in her honor, that was first awarded
this spring. To obtain a copy of Megan’s book please
contact:
Jason Cornish
jason.cornish@sheridanc.on.ca, (905) 845-9430 x 2602
Koen Vanderstukken
koen.vanderstukken@sheridanc.on.ca
Cost is $20 (not including shipping). All profits
will be donated to the Megan J. Kenny Kiln Casting
Scholarship Fund.
Those interested in contributing to the Megan
J. Kenny Kiln-Cast Glass Scholarship Fund can do so
by contacting:
Jennifer Deighton, Manager, Awards & Annual Giving
Sheridan Institute of Technology & Advanced Learning
1430 Trafalgar Road, Oakville, ON L6H 2L1
Tel: 905-815-4032, Fax: 905-815-4086
Email: Jennifer.deighton@sheridaninstitute.ca
Cortney Boyd, "Cast Irons"
For many artists today we find that travel becomes
a great part of our lives and the memory of home often
enters our thoughts. For a particular student named
Cortney Boyd, this longing for security has become the
very basis of her most recent work. She explains her
thesis as an exploration or an investigation of a lost
childhood. Themes such as women’s past roles in the
household and the very items incorporated into their
everyday life play a dramatic role in conveying her sense
of curiosity with past family history.
Such pieces as the “Cast Irons” best illustrate the
quality of her work and help connect viewers with
her curiosity and fascination with domestic items.
For Cortney, some of the most positive aspects of her
work allow for her to relate better to the past objects,
which hold significant value in women’s lives in her
family history.
Cortney is currently working towards receiving
her MFA in Glass from Southern Illinois University. She
received her undergraduate degree in Studio Art from
Hastings College with an emphasis in printmaking.
While attending her last semester at Hastings College,
Cortney decided to take a glass class and, like many
artists working within the medium of glass, she chose
to pursue glass as a career path after being captivated
by the material. She has exhibited in such shows as
"Glass: 3-Directions,” Western Nebraska Arts Center;
Scottsbluff, NE in 2007, the International Student
Exhibition at the 2007 GAS conference in Pittsburgh, and
the International Student Exhibition at the 2006 GAS
Conference in St. Louis. For Cortney, the work that she
has recently created during her graduate studies has not
only been beneficial from a long term perspective, but
has allowed her to associate a very personal history with
the concepts that fuel the work. We can only hope that
in the future young women like Cortney will continue to
make their presence known amongst the art community
and also continue to participate in within our small
community of artists in glass.
Cortney Boyd,
"Fabric for the Home"
4
Cortney Boyd, "Grandmas Handkerchieves"

Technical Issues
Our Carbon Footprint, and What We Can Do by Charlie Correll
We have a CO 2 footprint. It’s sizable, but how big is
it compared to other things? A glass studio surely uses
more energy than a pottery studio, or a flame working
shop, but how much do we really use, and what is the
cost in CO 2 output?
The CO 2 we produce actually weighs more than the
fuel we use.
Here is the reaction for burning natural gas...CH4 +
CO 2 yields CO 2 + 2H 2 0
This is the clean reaction, disregarding the products
of imperfect combustion, which are carbon monoxide,
nitrogen oxides and unburned methane. Carbon has
an atomic weight of 12. Oxygen is 16. The molecular
weight of CO 2 is C, which is 12, plus O 2 , 2 x 16, which is
32. Add them together and you get 44. This means that
for every twelve pounds of carbon burned, forty-four
pounds of CO 2 are released. So for every pound
of carbon burned, 3 2/3 pounds of CO 2 are released.
We not only put CO 2 into the atmosphere, but we are
taking out O 2 .
Here are some startling numbers…
• Every inhabitant of the USA is responsible on
average, for 20 metric tons of CO 2 per year going into
the atmosphere. That, times 350,000,000 people, puts
our national output at 7 billion tons per year.
• Estimates for the CO 2 output for the California
wildfires of last year are about 7 million tons, about one
tenth of one percent of the national human output.
• A gallon of gasoline puts out twenty pounds of
CO 2 when burned. That’s about a pound per mile for the
average car.
So what about our furnaces? Do cars make
furnaces look good, or do furnaces make cars look
good? It depends on how you look at it. The “average”
furnace will produce six to eight times the CO 2 as the
average car. Cars are not running all the time. A car will
burn about three gallons of gasoline per hour going
sixty miles per hour. That’s sixty pounds of CO 2 per hour.
My furnace at high fire using propane runs at 186,000
BTU/hr, which translates to about 26 pounds of CO 2 per
hour, less than half of what the car is putting out.
No matter how you look at it, we are putting out
a lot of CO 2 to make a living, and that includes using
electric furnaces whose electricity is being supplied by
fossil fuel power generating plants. The average fossil
fuel plant operates at an efficiency of 36%, with average
power transmission losses of 7.2%. Considering a 1%
overproduction at the plant in case someone wants to
turn on a light, the math yields a 33% efficiency rating
for that fossil fuel plant. That means for every 100,000
BTU worth of electricity delivered to the studio, 300,000
BTU of fossil fuel is burned.
There are a lot of things we can do to reduce our
carbon footprint. The first thing to do is to actually look
closely at our studios. Is the furnace well insulated?
I’m not talking about softbrick. Are the doors tight?
Is it recuperated? Do I need an eighteen-inch glory hole
to make perfumes and weights? Is my pipe warmer too
big? Is the furnace well tuned? Do I need to melt at
2450°? Does the furnace have a digital controller?
Do I turn down the furnace at night? Do I turn off the
glory hole at lunch? There are a lot more questions.
The most important thing to do is to pay attention, see,
and then act.
Lots of people are acting. Most studios I have seen
get the glass job done but are woefully inefficient in
terms of energy consumption. Knowledge is the key,
and the willingness to act on that knowledge. Even
little things. I suggested to a friend that he regulate
his chimney by covering a good part of it with a brick.
He had about a 3 x 4.5 opening at the top of the stack.
He covered it, leaving a 1 x 3 opening for his working
temperature setting. He said the temperature in the
furnace went up 160° (no controller on this furnace!).
That is a lot of BTU, CO 2 and money that did not go out
the chimney.
The more you look around with an awareness of the
consequences of combustion, the more information you
see. The rise in the price of fuel focuses our attention.
It’s money AND carbon dioxide. And CO 2 will soon
become the Coin of the Realm. Because of CO 2 output,
there will be added costs, perhaps taxes, associated with
the use of energy produced with fossil fuels.
In future articles, I will talk about specific things that
can be done to reduce fuel use and emissions. I will talk
about recuperation, insulation, and the use of electric
furnaces is areas that are known to be supplied with
electricity from hydro, wind and nuclear plants.
The founder of Greenpeace recently came out in
favor of building more nuclear power plants. That’s how
concerned he is.
CO 2 /100,000 BTU for Different Fuels
Fuel
CO 2 Output/100K BTU, in pounds
Natural Gas 11.708
Propane 13.918
Gasoline 15.643
Average Coal 20.922
Source: www.eia.doe.gov/oiaf/1605/coefficients.html
Critical Issues
Nobuho Nagasawa, An Artist Profile by Debra Ruzinsky
Nobuho Nagasawa, Associate Professor of Sculpture
shifting hues of blue light cascade up and down the
Rufino Tamayo Museum in Mexico, the Getty Center for
at the State University of New York at Stony Brook, is an
length of the fiber tapestry. This light movement is
the History of Art and Humanities in the United States,
artist whose work spans a wide range: from earthworks,
synchronized through a real-time acoustical analysis
the Alexandria Library in Egypt, as well as exhibitions in
to gallery exhibitions, to public art installations. By
of the ebb and flow of waves in the Puget Sound.
Denmark, Italy, United States and Japan. She has been
her own description, she sees her artist’s identity as
In 2004, Nobi received an Establish Artist Studio
a representative of international venues; [Asian Art
“inevitably hybrid – in my case, part sculptor, journalist,
Fellowship from UrbanGlass. While her use of glass
Biennial (Bangladesh, 2002), International Biennial
poet, architect, and urban designer. Materials and
represents only one facet of her work, she continues
(Egypt, 2002), Sharjah Biennial (United Arab Emirates,
methodology follow upon the necessary diversity of
to find reasons to use the material as it relates to the
2003), Echigo-Tsumari].
evolving concepts as a project reveals its conditions.”
expression of her concepts. During her time at Urban
She has received numerous grants from DAAD in
In her statement, Nobi describes “Bodywaves” as
Glass, Nobi produced a work entitled “Clear Tooling.”
Germany, the Berlin State Grant, the Rockefeller Grant,
“a recent work that is a mapping of the artist’s own life
She describes this work as an “excavation of meanings
the California Arts Council Fellowship Award, the Brody
narrative, producing a landscape of private memory
– cultural, geopolitical, social, personal – that lie hidden
Arts Fund and the Japan Foundation Grants, among
and history between her past and present. A rusted
within materials themselves, as well as their uses and
others. In New York, she was a recipient of the Space
hourglass, representing the repetition of time – contains
contexts. Transparent glass hammers made out of
Program of the Marie Walsh Sharpe Foundation.
sand from Japan and the United States, and marks the
lead crystal, though part of a larger installation work,
Her work has been reviewed in The Los Angeles
entrance to the exhibition space. A glass table displays
stand on their own as challenging objects. Tools, often
Times, Art in America, Art Asia Pacific and Sculpture
corporeal specimens: the artist’s own umbilical cord in
considered crucial to human evolution, play a complex
magazine, and most recently in The New York Times
a petri dish, and a collection of her gray hair in a small
and ambiguous role in life – bullets kill yet protect,
by Holland Cotter. Her work has been published in
medicine jar. A rocking chair is located next to the table.
atomic fusion brings energy and mass destruction,
many books, which include: Japanese Art After 1945:
This chair is a visualization of personal body waves,
hammers build and destroy. Yet what defines the
Scream Against The Sky (Alexandra Munroe, Abrams, Inc.,
and the artist’s relationship with others. Her recorded
object, its role, and the (human/art) acts of making
1994), Lure of the Local-Senses of Place in Multicentered
heartbeat is reflected in actual light pulsations coursing
and using it – material, shape, opacity, hardness, use,
Society (Lucy Lippard, New Press, 1997) and Epicenter:
through woven fiber-optic strands that comprise the
intention, beauty…?”
San Francisco Bay Area Art Now (Mark Johnstone, Leslie
rocking chair sculpture. The fiber is currently the world’s
She continues, “For this series, I chose a type of
Aboud Holzman, Chronicle Books, 2002).
only side-emitting optical fiber, woven by kimono
glass that contains a high percentage of lead, which
More information on the artist’s work is available
weavers in Kyoto, the artist’s “official home” on her birth
certificate. As visitors sit and rock, their motion drives
the accelerometers, layering additional real-time light
makes the glass flow and achieve an optical clarity when
polished. Lead (like glass and indeed all materials) is
inherently ambiguous – a poisonous, potentially fatal
at the following web sources: www.artnet.com/
awc_nobuho_nagasawa.html and www.murayama
fineart.com/
5
pulsations (similar to biofeedback) and modulating
body waves. The rocking chair is a place of rest –
representative of the artists’ home, which New York has
become. “ (This work was on view as part of the “Sonic
Residues Exhibition,” at SUNY Stony Brook from April 29
substance that is also the only material that protects
from radiation. Raw materials become the tools with
which we make tools; materials and tools determine and
reflect each other; and they determine and reflect the
lives and histories of those who make them. Art itself is
Debra Ruzinsky is completing her MFA in glass at the
Rochester Institute of Technology this May, 2008. She will
be a Visiting Assistant Professor of Glass at RIT during the
2008-2009 academic calendar year.
to May 8, 2008.)
a tool by which this complex situation is rendered “clear”
“Water Weaving Light Cycle” is a sound and light
and open to further reflection.”
sculpture in the form of a 50 feet long optical fiber
She has exhibited worldwide in such locations
tapestry. This is a permanent work installed within
as the Royal Garden of the Prague Castle in the Czech
Seattle City Hall, completed in 2005. The pulsations of
Republic, Ludwig Museums in Germany and Hungry, the

esources, 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:
GAS, 3131 Western Avenue, # 414, Seattle, WA 98121 or e-mail
to: Kate@glassart.org. GAS news is a bi-monthly publication.
Members receive their newsletters approximately 6- 8 weeks
after the deadline.
Upcoming Newsletter Deadlines:
July 1 for the September/October 2008 issue
September 1 for the November/December 2008 issue
We look forward to hearing from you.
Calls to Artists
Second Biennial of Art Work in Glass Contest
Museo del Vidrio, Magallanes 517, Col Trevino, Monterrey,
Nuevo Leon, Mexico, CP 64570, Tel: +5 2818 863 1000,
Fax: +5 281 8375 7649, http://museovidrio.vto.com
Through the Biennial of Art Work in Glass contest, the Museo del
Vidrio promotes the use of this material as an artistic element
and stimulates the creativity of plastic arts, glass artisans, as well
as industrial designers, architects, and other professionals in
related fields. Due to the success of the 1st Biennial organized
in Mexico, the invitation for this second edition has been
extended to Spain and Portugal. For more information contact:
bienalvidrio@vitro.com
For Rent
Midwest Studio Rental Available – Be Glass Studio,
3808 W Vernal Pike, Bloomington, IN, 47404, Tel: 866-342-4764,
rossglass@cs.com, www.abrimagery.com
Be Glass Studio has a great variety of equipment available
for rent by the hour. Easy access off of the highway and free
parking are just a couple of the conveniences that Be Glass
Studio has to offer. We have eight Nortel Minor setups, one
Carlisle CC setup with foot pedal, a fusing kiln, full cutting setup
for sheet glass, and a Heathway lathe. You can bring your own
torch! An excellent ventilation system, metal work tables, and
concrete floors provide a safe environment for the worker.
Attached to the work space is ABR Imagery where all of the
necessary materials and tools are for sale. A gallery in the front
will provide the inspiration! In addition to a full class schedule,
individual and group lessons are available with a reservation.
Grants/Residencies
Resident Artist Program – Living Arts Centre, 4141 Living
Arts Dr, Mississauga, ON, L5B 4B8, Canada, Tel: 905-306-6161,
samantha.pawley@livingarts.on.ca, www.livingartscentre.ca
Living Arts Centre program provides opportunities for both
recent graduates of arts and design institutions as well as
mid-career artists to create, learn, and exchange ideas within
a multi-disciplinary and collaborative studio environment.
Half-time and full-time residencies available.
Job Opportunities
Experienced Cold Worker Needed – Weinberg Glass LTD,
28 Summer St, Pawtucket, RI, 02860, Tel: 401-722-8820,
info@weinbergglass.com, www.weinbergglass.com
Full-time position available immediately for experienced cold
worker. Weinberg Glass is located in the Providence, RI area. Pay
negotiable based on experience and time commitment. We
specialize in casting, cutting and grinding of crystal for over 30
years. Must be well versed in all aspects of a cold shop, with a
keen eye for accuracy and be willing to learn new technologies
we have developed. Any previous mold-making experience a
plus for any candidate that is interested. The work is heavy, so
if you have a bad back, you need not apply. I suggest visiting
weinbergglass.com before applying. Please e-mail a resume and
recommendations to employment@weinbergglass.com, or fax
to 401-728-3079. If your response catches our eye, we will be in
touch.
plans are for creating an international summer school with
small classes for advanced students. Also in the planning stage
is a Museum of Contemporary Glass which will include the
extensive collection of Marianne Spottswood.
Seminars, Conferences, and Events
American Craft Festival, 31st Annual
American Concern for Artistry and Craftsmanship,
PO Box 650, Montclair, NJ, 07042, Tel: 973-746-0091,
acainfo@gmail.com, www.craftsatlincoln.org
June 14-15 and 21-22 at Lincoln Center for the Performing Arts,
New York, NY.
Bullseye Special Event for GAS 2008 – Exhibits Around Portland
Bullseye Gallery, 300 NW 13th Ave, Portland, OR, 97209,
Tel: 503-227-0222, www.bullseyeconnectiongallery.com
Bullseye Glass Co. will place special exhibits around town
during GAS 2008 – from the Pearl and Southeast districts, to the
Japanese Garden, to the downtown Hilton. Stop by our booth at
the GAS 2008 Technical Display (in the Hilton) to get information
about the locations and hours for these special exhibits. To
read about them before the conference starts, visit www.
bullseyeglass.com/events.
Bullseye Special Event for GAS 2008 – Factory and Resource
Center Open House
Bullseye Gallery, 300 NW 13th Ave, Portland, OR, 97209,
Tel: 503-227-0222, www.bullseyeconnectiongallery.com
The Open House is Sunday, June 22, 10 am to 5 pm. See how
our hand-cast sheet glass is made, from furnace to Lehr, and visit
the batch room and warehouse. In our Research & Education
Studios, watch demos on issues ranging from large-shelf
preparation to multiple-point temperature monitoring; review
studio projects in progress; and observe a master kiln-glass
sculptor at work – Richard Whiteley, Head of Canberra School
of Art’s Glass Workshop. Stop by our Resource Center to
peruse books and supplies and to view E-merge 2008, our
fourth biennial and juried kiln-glass exhibition for emerging
artists. Refreshments will be served. For information contact:
RyanWatson@bullseyeglass.com
Bullseye Special Event for GAS 2008 – Reception for E-merge 2008
Bullseye Gallery, 300 NW 13th Ave, Portland, OR, 97209,
Tel: 503-227-0222, www.bullseyeconnectiongallery.com
E-merge Reception will be Friday, June 20, 6:30 to 9:30 pm.
A free bus will shuttle Bullseye Gallery visitors to a special
reception at Bullseye Resource Center for E-merge 2008, our
fourth biennial and juried kiln-glass exhibition for emerging
artists. The E-merge catalog will be unveiled at this event.
Visit www.bullseyeglass/emerge/ to learn about this exhibition,
which runs May 5 - August 31. For more information contact:
RyanWatson@bullseyeglass.com
Creative Pathways Symposium
University of Wolverhampton, SAD, Molineux St, Wolverhampton,
West Midlands, WV11DT, England, Tel: +44 1902 321914, Fax: +44
1902 321944, k.evans2@wlv.ac.uk,
www.wlv.ac.uk/artanddesign
Aug. 9th at Wolverhampton University School of Art and Design,
Wolverhampton, England. The focus is navigating the interactive
creative process between glass materials and process, creativity,
style, function and context. Speakers include: Prof. Andrew
Brewerton, Prof. Keith Cummings, David Reekie, Katie Holford,
and Prof. Donghai Guan. A visit to the exhibition “Glass Routes”
at the Bilston Craft Gallery is included.
European Glass Context 2008
The Glass and Ceramic School on Bornholm, Stenbrudsvej 43,
Nexø, DK-3730, Denmark, Tel: +45 56 49 1003, Fax: +45 56 49
1004, mail@gkskolen.dk, www.glasogkeramikskolen.dk
Sept. 14-15 at The Glass and Ceramic School on Bornholm.
Through exhibitions, conference, workshops, master classes
and a technical display an opportunity will arise to discuss and
experience the situation of European glass today. All of the
27 members of the European Union are participating, as well
as Iceland, Norway and Switzerland. European Glass Context
2008 is organized in collaboration between The Art Museum on
Bornholm, Business Center Bornholm, The Glass and Ceramics
School on Bornholm, Grønbechs Gård and Møbelfabrikken. For
more information contact: info@glass08.com or +45 5648 4386
International Festival of Glass and British Glass Biennale
International Festival of Glass, Ruskin Glass Centre, Stourbridge,
West Midlands, DY8 4HF, United Kingdom,
Tel: +44 (0) 1384 399444, Fax: +44 (0) 1384 399469, information@
ifg.org.uk, www.ifg.org.uk
August 22-25, The International Festival of Glass and British Glass
Biennale exhibition are both taking place for the third time this
August throughout Stourbridge’s historic Glass Quarter in the
West Midlands. Forget goblets and vases; this is glass as you’ve
never seen it before! The world premiere of ‘Tempestade’, based
on Shakespeare’s ‘The Tempest’, uses special shadow puppets
and instruments made out of Portuguese glass; dramatic
glass dresses by Diana Dias-Leao are displayed with gorgeous
glass jewelry, and a one day symposium investigates how
designers dream up their designs. Also offered are heritage
walks, demonstrations, lectures, a bead fair, narrowboat rides,
workshops, street entertainment and the now famous festival ale.
6
PT Cold Worker/Production Lampworker
Canlis Glass, 3131 Western Ave Ste 329, Seattle, WA, 98121,
Tel: 206-282-4428, leigh@canlisglass.com, www.canlisglass.com
Canlis Glass is looking for a part time cold worker and/or
production lampworker. Cold Working Duties Include: large
punty removal, lathe engraving, sawing & flattening, polishing,
blast carving. Basic understanding of lamp working needed.
Must be motivated, hard working, and honest. For more
information contact: jp@canlisglass.com
Something to Offer
New Luniverre Gallery
Luniverre Gallery, 7 Promenade de l’Autan, Les Cabannes, Cordes
Sur Ciel, , 81170, France, Tel: +33 05 63 53 99 89,
Fax: +33 05 63 53 91 05, www.luniverre.com
Luniverre has opened a second gallery at Cordes-sur-Ciel,
a medieval village surrounded by the rolling hills of the Gaillac
vineyards and only an hour’s drive from Toulouse. The gallery
will be part of a larger complex situated in an eighteenth
century mill house on the Cerou River. Currently being restored,

classes + workshops
Please Note: Publication of notices is for information
purposes only and does not necessarily indicate endorsement
by the Glass Art Society.
We are happy to include information as supplied to us by
various sources. Please send us your press releases and notices
including specific, current facts as far in advance as possible to:
GAS, 3131 Western Avenue, # 414, Seattle, WA 98121 or e-mail
to: Kate@glassart.org. GAS news is a bi-monthly publication.
Members receive their newsletters approximately 6- 8 weeks
after the deadline.
Upcoming Newsletter Deadlines:
July 1 for the September/October 2008 issue
September 1 for the November/December 2008 issue
We look forward to hearing from you.
UNITED STATES
CAlifornia
Glastar Corporation, 20721 Marilla St, Chatsworth, CA, 91311,
Tel: 800-423-5635/ 818-341-0301, Fax: 818-998-2078,
lmitchell@glastar.com, www.glastar.com
June 6-9: Intensive Sandblasting/Norm Dobbins
Juy 12 -13: Faceted Dichroic Glass Sculpting/Kent Lauer
July 19: Gold Leafing/Lori Mitchell
Connecticut
Brookfield Craft Center, PO Box 122, Rt 25, Brookfield, CT, 06804,
Tel: 203-775-4526 ext 102, Fax: 203-740-7815,
info@brookfieldcraftcenter.org, www.brookfieldcraftcenter.org
June 14-15: Color Explorations/Cynthia Saari
June 21-22: Glassblowing/Larry Livolsi
June 21-22: PMC & Glass/Linda Banks
July 5-6: Fused Glass Water Fountain/Linda Banks
July 19 (am): Pendants/Daivd Licata
July 19 (pm): Pendants/Daivd Licata
July 20: Flowers in Glass/David Licata
July 30-31: Glass Fusing/Linda Banks
Aug. 3-4: Torch Work Immersion/David Licata
Aug. 9-10: Human Form/Daivd Licata
Aug. 11-15: Torch Work Intensive/David Licata
Aug. 16-17: Extreme Bead Makeover/Sherry Ploof
Aug. 23-24: Kiln Fired Glass/Linda Banks
Illinois
The Contemporary Studio of Glass Art, 101 W 61st St Bldg B,
Westmont, IL, 60559, Tel: 630-493-4527, michaelangeloglass@
yahoo.com, www.contemporaryglass.org
June 9-13: Reticello: The Ins and Outs/Jeff Ballard
Sept. 22-26: Innovations in Cane Work/Scott Benefield
Indiana
A.B.R. Imagery Inc., 3808 W Vernal Pike, Bloomington, IN, 47404,
Tel: 812-339-0147, Fax: 812-339-8947,
rossglass@cs.com, www.abrimagery.com
A.B.R. Imagery has long been one of the largest suppliers of raw
materials and tools to glassblowers. Now Be Glass is open too!
Be Glass offers a variety of classes. This includes bead making,
fusing, make/take nights, stained glass classes, sculptural
lampworking, one-on-one instruction, torch space for rent by
the hour, lathe instruction and much more! For a complete list of
classes, check out our website at www.abrimagery.com or contact
us at 1-866-342-4764.
June 21: Fusing Basics
July 19: Building on Fundamentals/Steve Sizelove
Sept. 13: Hollow & Inside Out Beads
Oct. 11: Electroforming On Beads/Lisa Atchison
Oct. 25 & 26: Off Mandrel Basics/Brent Graber
Nov. 8: Intermediate Marbles Madness/Wil Menzies
Massachusetts
Snow Farm: The New England Craft Program, 5 Clary Rd,
Williamsburg, MA, 01096, Tel: 413-268-3101, Fax: 413-268-3163,
info@snowfarm-art.org, www.snowfarm.org
2008 Adult and Intergenerational Intensives
June 13-15: Kilnformed Glass/Paula Williams Kochanek
June 13-15: Glassblowing: Intermediate/Jim Holmes
June 13-15: Lampworking: Solid Figures and Small Vessels
at the Torch/Joe Peters
June 28-29: Introduction to Glassblowing/Gabriel
Colwell-LaFleur
June 28-29: Introduction to Lampworking/Sally Prasch
June 28-29: Kiln Glass/TBA
Aug. 7-10: Kiln Glass/Paula Williams Kochanek
Aug. 7-10: Glassblowing: Beginner to Intermediate/
Gabriel Colwell-LaFleur and Norman Ed
Aug. 7-10: Glass Beadmaking with Enamels and Foils:
Nancy Tobey
Aug. 25-29: Glassblowing: Beginner to Intermediate/
Gabriel Colwell-LaFleur
Oct. 11-13: Beginner Glassblowing/Jordana Korsen
Oct. 11-13: Flameworking: Techniques in Borosilicate/
Nancy Tobey
Oct. 11-13: Mosaics: A “Smashing” Good Time/
Christine Kenneally
Oct. 11-13: Kiln Glass/Paula Williams Kochanek
Oct. 25-26: Glass Beads/Sally Prasch
Oct. 25-26: Fusing with Dichroic Accents/Gina Poppe
Oct. 25-26: Beginner Glassblowing/Jim Holmes
Art In Depth Workshops 2008
June 1-7: Mastering the Art of Mosaic-Piece by Piece/
Cynthia Fisher
June 1-7: Glass Beadmaking and More: Adventures in
Flameworked Glass/Marta Bernbaum
June 15-21: Kiln Fired Glass: Vessels and Jewelry in
Shimmering Color/Paula Williams Kochanek
June 15-21: Glassblowing/TBA
June 22-28: Glass Beadmaking and More: Adventures in
Flameworked Glass/Nancy Tobey
Aug. 10-16: Kiln Fired Glass: Vessels and Jewelry in
Shimmering Color/Paula Williams Kochanek
Aug. 17-23: Glass Beadmaking and More: Adventures in
Flameworked Glass/Liliana Glenn
Aug. 17-23: Stained Glass: A Luminous Art/Dave Zaltzberg
Aug. 24-30: Sculptural Lampworking: Beyond Beads/
Pat Bennett
Aug. 24-30: Kiln Fired Glass: Vessels and Jewelry in
Shimmering Color/Paula Williams Kochanek
Sept. 7-13: Glass Beadmaking and More: Adventures in
Flameworked Glass/TBA
Oct. 13-19: Mosaics: Ancient Art Form with 21st Century
Applications/Christine Kenneally
Oct. 13-19: Stained Glass: A Luminous Art/Dave Zaltzberg
Oct. 13-19: Glass Beadmaking and More: Adventures in
Flameworked Glass/Liliana Glenn
Oct. 13-19: Glassblowing/Gabriel Colwell-LaFleur
Oct. 19-25: Kiln Fired Glass: Vessels and Jewelry in
Shimmering Color/Paula Williams Kochanek
Oct. 26 - Nov. 1: Glass Beadmaking and More: Adventures
in Flameworked Glass/Nancy Tobey
Michigan
West Michigan Glass Society, 436 N Park St Box 262,
Kalamazoo, MI, 49007, Tel: 269-552-9802, Fax: 269-552-9803,
wmglass@sbcglobal.net, www.wmglass.org, for more information
contact Linda Kekic.
June 9-13: Fusing and Casting Workshop/Emma Varga
New York
O-AT-KA School of Glass, 56 Harvester Ave 2nd Fl, Batavia, NY,
Tel: 585-230-7626, Fax: 585-486-7797, www.oatkaglass.com
June 5-8: Beginner Fused Glass Series
July 5-6: Intermediate Fusing Techniques
Aug. 9-10: Intermediate Fusing Techniques
Aug. 15-17: Artistic Vitri-Fusaille and Glass Painting/
Peter McGrain
Aug. 28-31: Beginner Fused Glass Series
Sept. 13-14: Intermediate Fusing Techniques
Sept. 17-21: Kiln Casting and Mold Making/Linda Ethier
Oct. 1: Think It, Make It, Sell It/Lance Taylor at Hot Glass
Horizons in Portland, OR
Oct. 23-26: Beginner Fused Glass Series
Nov. 8-9: Intermediate Fusing Techniques
Nov. 27-30: Beginner Fused Glass Series
Dec. 6-7: Intermediate Fusing Techniques
Apr. 24-26, 2009: Printmaking Techniques on Glass/
Jody Danner Walker
May 14-18, 2009: Powder Crackle: Use of Color, Components
and Crackle/Robert Leatherbarrow
The Studio of The Corning Museum of Glass, One Museum
Way, Corning, NY, 14830, Tel: 607-974-8914, Fax: 607-974-6370,
schwartzaj@cmog.org, www.cmog.org
Session 1 – June 2-13
• Creating and Using Murrine/Davide Salvadore
• A Smorgasbord of Flameworking/Alex Hamilton
• An Approach to Making/Jane Bruce and Steve Klein
Session 2 – June 16-21
• Great Goblets/Jeff Mack
• Elements of Flower Construction/Margaret Neher
• From the Kiln to the Hot Shop (and Back Again/Mark Ditzler
and Harry Seaman
• Advanced Cold Construction/Martin Rosol
Session 3 – June 23 - July 4
• Czech Glassblowing and Sculpting/Petr Novotny and
Martin Janecky
• Flameworking for Everybody/Emilio Santini
• Landscapes in Kiln-Formed Glass/Miriam di Fiore
• Glass Carving, Engraving, and Cold Construction/
Jirí Harcuba and Martin Rosol
7
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Session 4 – July 7-12
• Digital and Photographic Process in Glass/James Nowak
• Flameworking in Style/Debbie Tarsitano
• Cross-over Explorations: Castable Flameworking/Anna Boothe
and Paul DeMarco
• Glass Engraving Basics and Beyond/Edward Poore
Session 5 – July 14-19
• Beginning Glassblowing/Jeremy Burdge
• Flameworking and Using Ultimate Details/Loren Stump
• Using Light as a Sculptural Element in Glass/Joel O’Dorisio
• Hot and Cold Mosaics/Vanessa Somers
Session 6 – July 21-August 1
• Playing with Pattern/Anthony Schafermeyer and Claire Kelly
• Color, Forms and Decorative Motifs in Borosilicate Glass/
Suellen Fowler
• Pâte de Verre/Shin-Ichi and Kimiake Higuchi
• Painting the Void: Sandblasting and Vitreous Painting/
Denise Stillwaggon Leone
Session 7 – August 11-16
• Hot Glass Sculpting/Marc Petrovic
• Piece by Piece/Kari Russell-Poole
• Finding Your Way with Kiln-Cast Glass/Sheila Mahut
• Intermediate Fused and Kiln-Formed Glass/
Johnathon Schmuck
Session 8 – August 18-29
• Adaptive Glassblowing/Christopher Lydon
• Bead Intensive/Caitlin Hyde
• Kiln Forming Demystified/Tony Serviente
• An In-depth Introduction to Venetian Techniques/
William Gudenrath
Session 9 – September 1-6
• Minimalism in Glass/William Gudenrath
• Introduction to Flameworking/im Drier
• The Dimensional Colors of Wildlife/Kathleen Sheard
• Next Steps in Glassblowing/Ray Friday
New York
UrbanGlass, 647 Fulton St 3rd Floor, Brooklyn, NY, 11217,
Tel: 718-625-3685 ext 237, john@urbanglass.org,
www.urbanglass.org
June 4-8: Landscapes Through the Looking Glass/
Roger Thomas
June 6-8: Sculptural Flameworking/Toby Upton
June 7-8: Master Class with Daniel Clayman
June 11-15: Illustrate Your Life in Glass/Scott Darlington
June 20-21: Introduction to Pate de Verre Weekend/
Virginia Griswold
Weekly Classes
Begins June 2: Beginning Glassblowing 1/Christopher Duffy
Begins June 2: Introduction to Kilnforming/Dena Pengas
Begins June 2: Introduction to Beadmaking/
Palona Wasserstein
Begins June 3: Introduction to Lampworking/Sean Baumbach
Begins June 3: Beginning Glassblowing 2/Susan Clark
June 21-22: Beginning Glassblowing Weekend/
John Brekke
June 25-29: Graal and Cameo/Greg Dietrich
June 25-29: Casting/Tessa Clegg
June 23-27: Glass Camp: Glassblowing for Younger Folks/
Lindsey A. Jochets
Oregon
Bullseye Glass Company, 3722 SE 21st Ave, Portland, OR, 97202,
Tel: 503-232-8887, Fax: 503-238-9963,
www.bullseye-glass.com
June 13-14: What, Why, and How/Cobi Cockburn &
Charles Butcher
June 14-18: Thinking in Glass/Silvie Levenson
June 23-30: Translation/Jessica Loughlin
June 23-30: Kilncast Glass/Richard Whiteley
July 7-8 & 10: Platemaking Basics/Nathan Sandberg
July 25:
Glasscutting Basics/Nathan Sandberg or
Bonnie Celeste
July 26-27 & 29: Platemaking II/Bonnie Celeste
July 28 - Aug. 1: Painting with Light/Tom Jacobs
Aug. 4-8: Set Your Kiln on Fire/Bonnie Celeste
Aug. 11-16: Introduction to Kilnformed Glass/
Christy Corbett
Aug. 17: KSI: Kilnforming Scene Investigation
(free artist demo)/Tom Jacobs
Aug. 18-22: Introduction to Kilncast Glass and
Coldworking/Erik Whittemore
Aug. 22-24: Beginning Beadmaking/Larry Brickman
Aug. 25-29: Kilncasting with Frit/Nathan Sandberg
Pennsylvania
Pittsburgh Glass Center, 5472 Penn Ave, Pittsburgh, PA, 15206,
Tel: 412-365-2145 ext 208, Fax: 412-365-2140,
lindsay@pittsburghglasscenter.org, www.pittsburghglasscenter.org
HOT SHOP
June 2 - 6: Grassroots Goblet Making/Michael Schunke
June 9 - 13: Object Design/Jay Macdonell
June 16 - 20: Teen Boot Camp
June 23 - 27: Pushing the Bubble/Dave Walters &
Janusz Pozniak
June 30 - July 4: Get Your feet Wet/Jason Forck
July 7 - 11: The Greatest Story Ever Blown/Daniel Spitzer
July 14 - 18: Glassblowing Techniques In and Out of the Box/
Rob Scavuzzo
July 21 - 25: Intro to Glass in the Function of Lighting/
Jacqueline Mendelson
July 28 - Aug. 1: Sculpted Luminosity/Eoin Breadon &
Jason Chakravarty
Aug. 4 - 8: Secrets Revealed /Scott Darlington
FLAME SHOP
June 2 - 6: Behind the WigWag/Andre Gutgesell
June 9 - 13: Introduction to Flameworked Goblets/
Eric Goldschmidt
June 16 - 20: Teen Boot Camp
June 23 - 27: Building on Your Fundamentals/Steve Sizelove
June 30 - July 4: Beadmaking Bonanza for Beginners/
Theresa Cress
July 7 - 11: What’s the Big Idea? Conceptual Flameworking/
Jill Reynolds
July 14 - 18: The Essence of the Flame/Sally Prasch
July 21 - 25: For the Love of Beads/Motavenda Melchizedek
Aug. 4 - 8: Beginning with Boro/Tim Drier
WARM SHOP
June 2 - 6: Stained Glass in a Flash/Judith Schaechter
June 9 - 13: Transforming Float Glass/Bert Weiss
June 16 - 20: Teen Boot Camp
June 23 - 27: Capturing Light: Using Light as a Sculptural
Element/Joel O’Dorisio
June 30 - July 4: Ramp It Up/Brian Engel
July 7 - 11: Working in Shallow Space: Bas Relief in
Kilnformed Glass/Richard Parrish
July 14 - 18: Cast and Blast/Michael Dupille
July 21 - 25: The Glass Basket/Gail Stouffer
July 28 - Aug. 1: Fusing for Beginners/Janet Kelman
Aug. 4 - 8: Pate de Verre Survey/Delores Taylor
COLD SHOP
July 28 - Aug. 1:
Vermont
From the Nitty-Gritty to the Perfect Polish/
Pat Bako
Coombs Criddle Associates, 359 Rue Madeline, Readsboro, VT,
05350, Tel: 802-423-5640, dcoombs@sover.net,
www.sover.net/~dcoombs
July 31:
Intro to Trace & Texture: Glasspainting
with Propylene Glycol/Debora Coombs
(this workshop is hosted by the American
Glass Guild as part of their conference)/
Debora Coombs
Sept. 28 - Oct. 4: Stained Glass Design: Graphic Analysis/
Debora Coombs
Oct. 5-11: Trace & Texture: Glasspainting with
Propylene Glycol/Debora Coombs
Washington
Pilchuck Glass School, Administrative Offices, Seattle, WA,
98109-5431, Tel: 206-621-8422 ext 22/ 360-445-3111 (summer),
Fax: 206-621-0713/ 360-445-5515 (summer),
PWatkinson@Pilchuck.com, www.pilchuck.com
2008 Summer Educational Program
Join us! Pilchuck’s 2008 Summer Educational Program
promises creative exploration with glass and opportunities
for collaboration in a dynamic international community.
Applications and course descriptions are available at
www.pilchuck.com.
Session 1: May 20 - June 6
• Benjamin Moore & Boyd Sugiki – Learning at the Furnace –
Glassblowing
• Gabriella Bisetto – Working Round with Glass – Glassblowing
• Nancy Blair – Bobo’s Kitchen – Hot Casting
• Bandhu Scott Dunham – The Fourth Dimension of Glass –
Flameworking
• Catharine Newell – A Particulate Language – Fusing
• Artists in Residence – Xu Bing and Jane Rosen
Session 2: June 10 - 27
• Jennifer Elek – Tools of the Trade – Glassblowing
• Michael Fox – Glass Whisperer – Glassblowing
• Einar & Jamex de la Torre – More Manic Mixed Media –
Glassblowing and Mixed Media
• John Drury & Robbie Miller – Make it Yours: A Glassmaking
Survey – Mosaic and Mixed Media
• Cork Marcheschi – Public Art: Illuminating the Process –
Public Art and Illumination
• Artists in Residence – Rick Bartow and Pike Powers
(continued next page)
8
Ethier Studio, 2846 NE Glisan St, Portland, OR, 97232-2434,
Tel: 503-238-5776, info@lindaethier.com, www.lindaethier.com,
Classes will be held in my studio, centrally located in a charming
old Portland neighborhood.
June 14-18: Mold Making and Kiln Casting/Linda Ethier
June 23-27: Mysteries of Lost Wax Revealed/Linda Ethier
Eugene Glass School, 575 Wilson St, Eugene, OR, 97402,
Tel: 541-342-2959, saeed@eugeneglassschool.org,
www.eugeneglassschool.org
June 7: Introduction to Coldworking/EGS Staff
Vitreluxe Glass Works, 1411 SE Tacoma St, Portland,
OR, 97217, Tel: 503-310-0609, lynnread@vitreluxe.com,
www.vitreluxe.com
June 16-18: Think Big Work Small/Boyd Sugiki and
Lisa Zerkowitz

Session 3: July 1 - 18
• Randy Walker – Rebuilding Foundations – Glassblowing
• Susanne Jøker Johnsen – Scandinavian Form – Glassblowing
• Brent Sommerhauser – The Glass Sandwich – Mixed Media
and Hot Glass
• Cathy Chase & David Chatt – Dip & Stitch: Hot Casting to
• Beading – Hot Casting and Beading
• Kirstie Rea – Refining Rough Edges – Kiln forming
• Artists in Residence – Dorothy Gill Barnes and
Angelo Filomeno
Session 4: July 22 - August 8
• Pino Signoretto & Richard Royal – Monuments of Maestro &
Master – Sculpting and Glassblowing
• Susan Stinsmuehlen – Amend-Painting in the Space of Glass –
Painting and Hot Glass
• Jirí Harcuba & April Surgent-Zengraving-Engraving
• Jiyong Lee – Cast It & Coldwork It Survey – Kiln/Hot Casting
and Cold Working
• Artists in Residence – Richard Marquis and Beverly McIver
Session 5: August 12 - 29
• Katherine Gray – Gestation to Gesture – Glassblowing
• Chris Taylor – Making a Hard Thing Harder – Glassblowing
• Fritz Dreisbach & Franti ek Janák – Hot, Cold, & Hot Again –
Glassblowing and Cold Working
• Michiko Miyake-Hot Junk!-Recycling Glass into Art
• Judy Hill & Susan Holland – Windows, Floors, & Doors –
Kiln Casting
• Artists in Residence – Nina Sellars
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
June 13-16: Hot Casting Basics/Mitchell Gaudet
June 13-16: Graphic Fusions: Printed Image in Glass/
Jeffrey Sarmiento
G L A S H A U S
The International Magazine
of Studio Glass
June 13-16:
June 14-16:
June 15-17:
June 23-25:
June 23-26:
June 23-26:
June 23-27:
June 24-29:
June 26-29:
June 28-29:
July 1-29:
July 2 - Aug. 20:
July 3-24:
July 3 - Aug 28:
July 5-6:
July 5-6:
July 5-13:
July 5-19:
July 5 - Aug. 9:
July 5 - Aug. 23:
July 6-20:
July 6 - Aug. 24:
July 6 - Aug. 24:
From the Mold to the Oven: Introduction to
Kiln Casting/Susan Balshor
From Lap Wheels to Lenses: Introduction to
Coldworking/Pat Bako
Natural Forms in Glass/Bandhu Dunham
Quality Time with Dante and Ben/
Dante Marioni & Benjamin Moore
Beyond the Basics: Refining Your Coldworking
and Laminating Skills/Paul Larned
Pate de Verre/Delores Taylor
Organic Beadmaking/Kimberly Jo Affleck
Advanced Fusing and Design Elements/
Patty Gray
Working with Murrini Cane in the Hot Shop/
Leana Quade
Electroplate it, Bend it, and Mend it!/
Cheryl Matson
Fusing I/Dianne Rasmussen
Robin Oakes
Fusing II/Pat Bako
Glassblowing I/Elli Bemis
Creating with Mosaics/Karen Skrinde
Curved Beads/Leslie Thiel
Advanced Cold Working/Paul Larned
Introduction to Glassblowing Intensive/
Jean Prominski
Survey of Glass: Casting/Susan Balshor,
Paul Larned & Cathy Chase
Survey of Glass: Blowing, Fusing and
Flameworking/Pat Bako & Jeanne Ferraro
Solid Sculpting/Nicholas Davis
Glassblowing I/Jeanne Ferraro
Cross Disciplinary Survey: Glass and Metal/
Robin Oakes, Jeanne Ferraro, Patrick Maher,
& Marc Mullin
July 7 - Aug. 25: Glassblowing II/Paula Stokes
July 8-29: Introduction to Borosilicate Sculpture/
Justin Bagley
July 8 - Aug. 26: Glassblowing III/Cayn Thompson
July 9 - Aug. 27: Glass Beadmaking I/Stacy Frost
July 9 - Aug. 27: Intermediate Glass Beadmaking/
Cheryl Matson
July 10-31: Goblets I/Eric Mead
July 10-31: Borosilicate Oil Lamps/Nat Franco
July 12-13: Stems and More/Cheryl Matson
July 12-14: Kiln Casting Small Work/Susan Balshor
July 12 - Aug. 23: Survey of Glass: Blowing, Fusing and
Flameworking/Jean Prominski
July 19-20: Introduction to Coldworking/Pat Bako
July 15 - Aug 5: Continuing Coldworking/Paul Larned
July 19-20: Introduction to Beadmaking Workshop/
Stacy Frost
July 20:
Fusing with Family and Friends/Robin Oakes
July 23 - Aug 27: Glass Casting I/Cathy Chase
July 26-27: Introduction to Glassblowing/Julie Bergen
July 26-27: Fused Glass Jewelry/Robin Oakes
July 26-27: Latticino and More!/Stacy Frost
Aug. 2-3: Exploring Surface Decoration with Frits
and Powders/Robin Oakes
Aug. 2-3: Flameworked Drawer Pulls/Stacy Frost
Aug. 2-23: The Complete Glassblower: Hot and Cold
Shops Access Class/Rebecca Chernow
Aug. 7-28: Goblets II/Eric Mead
Aug. 7-28: Introduction to Holloware/Nat Franco
Aug. 9-10: Introduction to Fusing and Slumping/
Pat Bako
Aug. 9-30: Glass Casting II/Jana Broecking
Aug. 9-30: Color Intensive: Intermediate Level/
Josie Gluck
Aug. 11-14: Deconstructin Inspiration/Chuck Lopez
Aug. 16: Fusing with Family and Friends/Rogin Oakes
Aug. 16-17: Introduction to Beadmaking Workshop/
Cheryl Matson
Aug. 17-24: Seattle Style: Teamwork to Create Large
Sculpture/Patricia Davidson
Aug. 23-24: Marbles and Pendants/Mike Conrad
Aug. 23-31: Pate de Verre/Delores Taylor
Aug. 25-28: Advanced Fusing and Design Elements/
Patty Gray
Aug. 30-31: Introduction to Glassblowing/Julie Bergen
Aug. 30-31: Introduction to Coldworking/Pat Bako
Aug. 30-31: Blowing in the Wind: Fused Windchimes/
Robin Oakes
Aug. 30-31: Sculptural Beads/Cheryl Matson
(continued next page)
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
Web: www.glasshouse.de
9

INTERNATIONAL
DENMARK
The Glass and Ceramic School on Bornholm, Stenbrudsvej 43,
Nexø, DK-3730, Tel: +45 56 49 1003, Fax: +45 56 49 1004,
mail@gkskolen.dk, www.glasogkeramikskolen.dk
Sept. 1-12: Mater Class: Traditional Process-New Technology/
Arthur Steijn, Jocelyn Prince, Taus Jørgensen
GERMANY
Bild-Werk Frauenau, Postfach 105, Frauenau, D-94258,
Tel: +49-9926-180895, Fax: +49-9926-180897,
info@bild-werk-frauenau.de, www.Bild-Werk-Frauenau.de
July 12-25: Stained Glass/Denise Hunt
July 12-15: Glass Engraving/Katharine Coleman
July 12-25: Glass Cutting/Pavel Mrkus
July 12-25: Kiln Casting/Sandra De Clerck
July 12-25: Lamp Worked Glass/Michael Cain
Aug. 6-13: Glass Printing/Ursula Merker
Aug. 6-13: Glass Printing/Eva Vlasakova
Aug. 8-22: Glass Engraving/Mare Saare
Aug. 8-22: Stained Glass/Peter Young
Aug. 8-22: Glass Cutting/Vladimir Klein
Aug. 8-22: Kiln Casting/Stephen Paul Day
Aug. 8-22: Lamp Worked Glass & Neon/Michael Cain
Aug. 8-22: Glass Installation/Sabina Stumberger
Sept. 6-13: Glass Engraving, Glass Printing, and Book Binding/
Tanja Nicklaus-Kroeker
Sept. 6-13: Stained Glass/Gabi Weiss
truly spectacular drive. Transportation to and from both of these
places will be provided daily.
July 14-25: Landscapes in Fused Glass: Basic Miriam
Di Fiore Technique/Miriam Di Fiore. Principal language:
English (then Italian and Spanish)
Sept. 1-12: Landscapes in Fused Glass: Basic Miriam
Di Fiore Technique/Miriam Di Fiore. Principal language:
Spanish (then English and Italian)
Aug. 18-29: Extreme Controlled Images and Depth in Fused
Glass: Advanced Miriam Di Fiore Technique/Miriam
Di Fiore. Principal language: English (then Italian and
Spanish)
July 28 - Aug. 8: Advanced Fusing and Basic Kiln Casting/
Miriam Di Fiore and Alberto Gambale (second week).
Principal language: Italian (then English and Spanish)
Aug. 11-16: Glass Fusing and Kiln-Formed Jewels/Lillia
Cassarini and Miriam Di Fiore. Principal language:
Italian (then Spanish and English)
UNITED KINGDOM
International Festival of Glass, Ruskin Glass Centre, Stourbridge,
West Midlands, DY8 4HF, Tel: +44 (0) 1384 399444, Fax: +44 (0)
1384 399469, information@ifg.org.uk, www.ifg.org.uk
Masterclasses will be offered August 18-21, preceeding the
International Fesitval of Glass in Stourbridge, West Midlands, UK.
Instructors include: Anjali Srinivasan, Walter Lieberman, Wayne
Strattman, Shane Fero, Paul Marioni, Sarah Hornik, Galal and
Mohammed El Gendi, Christian Schmidt, Nick Mount, Allister
Malcolm, Melanie Rudd.
ITALY
Vetrate Artistiche Toscane, Via della Galluzza, n. 5, Siena, 53100,
Tel: +39 0577 48033, edu@glassisland.com,
www.glassisland.com
June 2-6: Glass Fusing
June 9-13: Painting on Glass
Sept. 1-12: Painting on Glass
The workshops will take place in our studio in the very centre of
Siena (Tuscany) and will be conducted in English.
Via Dei Partigiani 5, Mornico Losana, PV, 27040,
Tel: +39 0383892114, miriamdifiore@hotmail.com,
www.mostlyglass.com
I am happy to announce the schedule of courses available to
students beginning the summer of 2008 at my home and studio
in the countryside in northern Italy. My home is in a small village
called Mornico Losana, in a beautiful area called “Oltrepò’ Pavese”,
near the city of Pavia. It is surrounded by green hills, vineyards,
excellent wineries, and bucolic landscapes. The past year has
been spent transforming this hundred-year-old former winery
into a comfortable home with a working glass studio where I
will create my pieces and teach. We are located about two hours
southeast of Milan. During the weekend or in the evenings after
the classes, it will be possible to visit old wineries and taste the
great wines that these hills offer us. There are a lot of beautiful
things to see in the area including various summer village
festivals and the thermal springs of Salice. Class prices include all
materials and lunches. The midday meals will be served on our
beautiful terrace or in the garden. The menu will vary, but will
consist of all Italian products so you will experience “a taste of
Italy” each day. I have made arrangements with two agriturismo
farms located nearby that can provide comfortable lodging and
meals. The route between Mornico Losana and these farms is a
10

exhibitions
Please Note: Publication of notices is for information
purposes only and does not necessarily indicate endorsement
by the Glass Art Society.
We are happy to include information as supplied to us by
various sources. Please send us your press releases and notices
including specific, current facts as far in advance as possible to:
GAS, 3131 Western Avenue, # 414, Seattle, WA 98121 or e-mail
to: Kate@glassart.org. GAS news is a bi-monthly publication.
Members receive their newsletters approximately 6- 8 weeks
after the deadline.
Upcoming Newsletter Deadlines:
July 1 for the September/October 2008 issue
September 1 for the November/December 2008 issue
We look forward to hearing from you.
United States
Larry Zgoda, Untitled, 22”h x 19”x X 6”d (at base), stained glass
sculpture with beveled flashed glass, cut-polished jewels, hand-spun
rondel and ornamental iron, at Chicago Mosaic School, Chicago, IL
California
The message boards are back
on the GAS website!
The boards have been made “Members Only” so you
will need to log in to view and post on the boards.
Go to www.glassart.org/members-only.html
Click on the “GAS Message Board” link.
Sign in using your GAS registered email and password
(this is the same email and password
used to access all of the “Members Only” sections.)
Carmel Valley, Masaoka Glass Design, Tel: 831-659-4953,
Fax: 831-659-3156, masaoka@mbay.com, www.alanmasaoka.com,
Nick Leonoff: Coastal Lines, 6/7 - 7/27/2008
San Francisco, San Francisco Museum of Craft + Design,
Tel: 415-773-0303, Fax: 415-773-0306, info@sfmcd.org,
www.sfmcd.org, Randy Shull: Crossing Boundaries,
7/11 - 9/28/2008
FLorida
Vero Beach, McKee Botanical Garden, Tel: 772-794-0601,
Fax: 772-794-0602, www.mckeegarden.org,
Hans Godo Fräbel: Fräbel’s Reflections of Glass on Water,
11/12/2008 - 4/15/2009
ILlinois
Chicago, Chicago Mosaic School, Tel: 773-975-8966,
www.chacagomosaicschool.com, Larry Zgoda, 8/16 - 9/30/2008
KentuckY
Louisville, Flame Run, Tel: 502-584-5353, brook@flamerun.com,
www.flamerun.com, Opposites Attract: Collaborative works by
Susie Slabaugh and Brook Forest White, Jr., 8/1 - 9/20/2008
New mexico
Santa Fe, New Mexico Museum of Art, Tel: 505-476-5072,
Fax: 505-476-4076, www.mfasantafe.org, Flux: Reflections
on Contemporary Glass, 6/7 - 9/21/2008
ORegon
Lake Oswego, Oswego Lake Gallery, Tel: 503-635-5152,
info@oswegolakegallery.com, www.oswegolakegallery.com
Mary Mullaney: New Work, 6/20 - 8/30/2008
Portland, Eyeful Gallery, Tel: 512-751-6875,
New Works: Jeff Ballard, Freeman Corbin, Flynn Helper,
Joe Tsoulfas, and Wes Chumley, 6/10 - 30/2008
Portland, Pushdot Studio, Tel: 503-224-5925,
ann@pushdotstudio.com, www.pushdotstudio.com,
Susan Harlan, Invisible Territories, 6/4 - 20/2008
Portland, Quintana Galleries, Tel: 503-223-1729,
nika@quintanagalleries.com, www.quintanagalleries.com,
Glass Arts of Native America: Marvin Oliver, Lillian Pitt, Alano
Edzerza, and Lawrence “Larry” Ahvakana,
6/5 - 31/2008
Texas
Dallas, Kittrell/Riffkind Art Glass, Tel: 972-239-7957/
888-865-2228, Fax: 972-239-7998, Artglass@KittrellRiffkind.com,
www.kittrellriffkind.com, 14th Annual Goblet Invitational,
showcasing one-of-a-kind and limited edition drinking vessels
from artists nationwide, 7/11 - 8/15/2008; Featured Artists
Series 2008: Brian Brenno, Terrie Corbett, Jeremy Newman
and Allison Ciancibelli, and Joyce Roessler, 8/23 - 9/19/2008
WAshington
Seattle, Pratt Fine Arts Center, Tel: 206-328-2200,
Fax: 206-328-1260, info@pratt.org, www.pratt.org,
A Gallery in the Garden. Annual garden art sale to be held at
Swansons Nursery, 9701 15th Ave NW, Seattle, WA, 98117.
All art for sale at Swansons Nursery will benefit Pratt Fine
Arts Center, a nonprofit arts and education resource center,
7/19 - 27/2008
Seattle, William Traver Gallery, Tel: 206-587-6501, Fax: 206-587-6502,
info@travergallery.com, www.travergallery.com
Nancy Callan: Glass Sculpture, 6/6 - 29/2008;
Amy Rueffert: Glass Sculpture, 6/6 - 29/2008;
David Ruth: Cast Glass Sculpture, 7/5 - 8/3/2008;
Sean Albert: Glass Sculpture, 8/8 - 31/2008;
Ethan Stern: Blown and Carved Glass, 8/8 - 31/2008;
Jay Macdonell: Blown Glass Sculpture, 9/5 - 28/2008
Tacoma, William Traver Gallery/ Tacoma, Tel: 253-383-3685,
tacoma@travergallery.com, www.travergallery.com,
Einar and Jamex de la Torre: Glass Sculpture, 6/14 - 7/6/2008;
Alex Gabriel Bernstein: Glass Sculpture, 7/12 - 8/10/2008;
Paul DeSomma and Marsha Blaker-DeSomma: Glass Sculpture,
7/12 - 8/10/2008; Fifth Annual World Glass Exhibition: Girls
Just Wanna Have Fun, 8/16 - 9/7/2008
international
CANADA
Waterloo, ONT, Canadian Clay & Glass Gallery, Tel: 519-746-1882,
Fax: 519-746-6396, info@canadianclayandglass.ca,
www.canadianclayandglass.ca, Land, Light & Identity,
11/28/2008 - 1/25/2009
ENGLAND
Bilston, West Midlands, Bilston Craft Gallery,
Tel: +44 01902 552507, bilstoncraftgallery@dsl.pipex.com,
www.wolverhamptonart.org.uk/bilston, Glass Routes:
a major international exhibition showing the work of
Professor Keith Cummings and his students. The exhibition
examines the role and impact of the teaching of Professor
Keith Cummings on glass education in the UK, and
internationally, over the last 40 years, 8/23 - 11/15/2008
P r o m o t e Y o u r
E x h i b i t i o n !
11
Please send us images of work
in upcoming exhibitions!
Digital images only (high resolution -
please no web images) – jpeg, tiff, pdf.
E-mail to: Kate@glassart.org or mail a disk to:
Glass Art Society,
Attn: Communications Manager,
3131 Western Ave., #414, Seattle, WA 98121 USA

Glass Art Society
Board of Directors 2007-2008
President
Shane Fero
Treasurer
Pamina Traylor
Paula Bartron
Eddie Bernard
Robin Cass
Susan Holland-Reed
Ki-Ra Kim
Kim Koga
vice President
Tommie Rush
Secretary
Beth Ann Gerstein
Jeremy Lepisto
David Levi
Jutta-Annette Page
Chris Rifkin
Drew Smith (Student Rep.)
Elizabeth Swinburne
Staff
Pamela Figenshow Koss, Executive Director
Patty Cokus, Executive Assistant / Registrar
Kate Dávila, Communications Manager
Mario González, Business Coordinator
Karen Skrinde, Database Manager
3131 Western Avenue, Suite 414
Seattle, Washington 98121 USA
Phone: (206) 382-1305 Fax: (206) 382-2630
info@glassart.org www.glassart.org
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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
www.glassart.org, click on “Newsletter” or contact Kate
Dávila, Communications Manager at the GAS office.
E-mail: Kate@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