letter from the GAs President new Membership ... - Glass Art Society

januar y
februar y
2008
volume 19
issue 1
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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
Letter to the Editor
GASLine
Member Profile: Carol Milne
Student Profile: Anthony Cioe
Technical Article: Electricity
special Features
New Membership Benefits!
Green Matters, a Perspective
by Taliaferro Jones
Eddie Bernard and Angela Bart
Bernard Sponsorship
Glass Life After Katrina:
Surviving, Recovering,
Moving On
Beyond the Bake Sale:
Fundraising for College Glass
Programs
Listings
Resources, etc.
Classes and Workshops
Exhibitions
GAS news is published
six times per year as a benefit
to members.
Publications Committee:
Scott Benefield, Eddie Bernard,
Robin Cass, Susan Holland-Reed,
Drew Smith, Elizabeth Swinburne
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.
Letter from
the GAS President
The GAS Board will be meeting for our planning session for
the 2009 Corning conference on February 4- 6 2008. In addition
to this planning meeting, we will meet for one day to discuss
non-conference issues of GAS. The consensus is that GAS should
work harder to offer valuable benefits to their members, as well as
continuing to host conferences and provide publications such as
GASNews, and the Journal.
In deference to the GAS Board’s policy of making things
more transparent for our membership, we will be adding our
various committee Chairperson’s reports in the upcoming
newsletters. This will allow you to see just what we are working
on throughout the year, as well as provide a forum of sorts for
you to comment on.
Unfortunately, the cost of doing business is going up for GAS.
The rent for the GAS office, postage, staff insurance, publications,
and other operating costs made it imperative for us to institute a
dues increase. ( The last membership increase was at the Seattle
conference in 2003.) It has been decided that dues for both
U.S. regular and Student membership will increase, but dues
for International membership will decrease (see information on
membership changes in this newsletter for more details.)
Despite the changes in dues, the good news is that Pamela
Koss, our hardworking Executive Director, has been tirelessly
researching and negotiating new services for our membership
and we are proud to announce them at this time!
Currently, we are in the process of finalizing a program that
will provide a health insurance plan for our U.S. members. In
addition to this benefit, we will be providing discounted shipping
rates with FedEx, DHL, discounts on FedEx/Kinko’s copying, and
a discount on Hertz car rentals. Jeremy Lepisto, Chairman of the
Membership committee, will spell out the details of these changes
in this newsletter.
There will be more announcements in the upcoming
newsletters about the new and exciting changes with GAS, and
we hope you are all as pleased with the additions as we are.
GAS is committed to offering more member benefits.
Make your plans and register early for the Portland
conference June 19-21 2008 as it will be an exciting and a
well-attended event!
Ciao,
Shane Fero
January / February 2008, volume 19-1
The Glass Art Society
3131 Western Avenue, Suite 414
Seattle, WA 98121
CHANGE SERVICE REQUESTED
New Membership Benefits
with GAS!
In January 2006, the Board got together in Pittsburgh for an
extended planning meeting. One of the many topics we discussed
was if there were any benefits that could be added to our
membership. Since that meeting, we have been working steadily
to create new and long lasting benefits for our members. Below
are three new changes that we have made our priorities.
One of the changes we discussed was the fact that GAS is
now an international organization and yet it has different dues for
domestic and international members. The board felt that everyone
should be an equal member and therefore everyone should pay
the same membership dues. So in light of this sentiment, and
the fact that there has not been a dues increase in four years,
we launched a new dues structure on December 1, 2007. This
structure will bring the price of membership up to date with the
cost of membership and also separate the cost of membership
from the cost of shipping. For more information, you can refer
to the GAS website and to the pre-conference brochure for the
Portland 2008 conference.
A new benefit that will be launched in January will be special
shipping discounts for our members with both DHL and FedEx. We
attempted to get these discounts for shipments originating outside
the U.S., but neither company offers this type of service discount.
Another benefit that we have been researching is a health care
program for our members. We have worked with Health Benefits
Professionals & Association Health Programs (AHP) to develop
Preferred Provider Organization plans that would be in line with
our range of membership and offer competitive health plans. Our
organization will be joining the over 150 groups and 2.5 million
members in their association to gain the benefits of a larger group.
Any U.S. based member of our organization can apply for health
insurance, renewals are based on age not medical condition. There
are health insurance and traveler's insurance options for members
oputside the U.S. as well. We will be updating you on when, where,
and how you can apply for coverage in future newsletters.
GAS Announces Exclusive Business Services
Discounts For Members
The Glass Art Society is introducing its new Health and
Benefits Programs for its association members, staff and affiliates
to help combat the rising cost of healthcare nationwide! The
programs include health insurance, life insurance, long-term care
insurance, cancer coverage, accident insurance, disability income,
dental insurance, retirement, and more!
Members are able to take advantage of the best insurance
coverage at the lowest possible rates with GAS’s new compre-
(continued on page 7)
Non-Profit Org.
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L E T T E R S t o t h e E D I T O R
A Historical Opinion Piece by Maestro Gianni Toso
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I recently had the honor of participating in the
Carnegie Museum’s exhibit and panel discussion Glass
Alive! Venice and America: Cultural Exchanges in Glass.
I read with great interest the catalog article by Matthew
Kangas, and was much impressed by his extensive
research and obvious appreciation of twentieth century
developments in Murano glass art. As Mr. Kangas writes
about events that occurred during my years as both an
apprentice in the factories and as a young artist starting
out on my own, I would like to add a few details about
my personal experience, and, perhaps, respectfully
question several of Mr. Kangas’ underlying assumptions
about the nature of the cultural exchange that was
– and still is – taking place.
After the destructive visit of Napoleon to Murano,
almost nothing remained of the means of glass
production. The abbot Vicenzo Zanetti, a historical
writer on the subject of glass, joined with the Salviati
family and two Toso brothers to revive the ancient glass
techniques of Murano’s illustrious past. In 1861, Zanetti
and the mayor of Murano, Anthony Colleoni, created the
still extant glass museum, and the following year they
opened an art school for future master glassblowers.
The school, eponymously named Abate Vicenzo Zanetti,
was founded with the intention of providing for these
young men a formal education in the classical artistic
tradition: art history and aesthetics as well as drawing,
painting and decorative applications in glass. It
operated continuously until the early 1970’s, when it
was closed for political reasons.
In 1957, Paolo Venini was president of the school
and Angelo Fuga was our manager and magnificent
professor. I and ten other students were fortunate
enough to comprise the last class of the school which
had produced so many generations of Murano maestri.
Among the greatest masters of the twentieth century
were Archimede Seguso and Alfredo Barbini, both of
whom I had the great fortune to apprentice, as well as to
serve as their first assistant.
Contrary to Mr. Kangas’ implication that at this
time Murano was an insular, parochial glass center, I
would submit that one of the reasons young American
artists flocked to Murano beginning in the early 1950’s,
rather than to other glass centers in Sweden, Germany,
France, England, Ireland, etc., was because of the culture
of curiosity and experimentation that Murano offered
them. Nor was this openness a new phenomenon:
many of the ancient families of Murano, including mine,
have collaborated with and worked glass for the best
artists of various epochs, including Carpaccio, Bellini,
Vivarini, Leonardo da Vinci, Paolo Veronese and others.
Mr. Kangas asserts that productivity and creativity
declined dramatically in the postwar years as a result of
economic hardship and shortages; my own memories
and experience support the view of Attilio Dorigato in
his book Murano: Island of Glass that, on the contrary,
creativity exploded. Cinematographic depictions,
no matter how picturesque, must not be confused
with historical veracity. Cinema Paradiso has more in
common with Commedia dell’Arte than with reality.
The first postwar example of cultural exchange
came about when Egidio Constantini suggested to
Peggy Guggenheim that she invite the greatest masters
of contemporary art to create sketches and projects.
These projects were eventually fabricated in the best
Murano fornace by the best master glassblowers.
In 1954, an exposition in Rome presented these
masterpieces in Murano glass, conceived by celebrated
Italian artists as well as the more internationally
renowned foreigners George Braque, Alexander Calder,
Oscar Kokoschka, Le Cobusier, Ferdinand Leger, Henry
Moore and Pablo Picasso. In Robert Willson: A Story in
Glass, contributor Astone Gasperetto makes mention of
this exhibit in describing the artistic climate that existed
in Murano at the time of Wilson’s arrival.
By the mid 1950’s, Livio Seguso, descended from
an ancient glassblowing family, was recognized as an
international artist as well as a maestro, or master, of
traditional techniques. He had for many years been
a talented student of his uncle, Alfredo Barbini; other
students had followed Livio, but none reached his level
of artistry, for Livio was in the process of developing
his own personal artistic language. In 1976 he began a
collaboration with Angelo Churchill to establish summer
courses in sculpture, and the workshop was installed in
his Murano studio. This collaboration continued every
year until 1989.
Other factors contrived to make Murano a
particularly inviting mecca for young American glass
artists. Contrary to the widespread perception of the
factories as no more than insular, production-oriented
assembly lines, many family firms were open and
welcoming to new visions and ideas. World renowned
architect and designer Renato Toso (a three-time first
place winner of the Venice biennale) was working at
that time as a designer for the firms Artemide, Barovier
Toso, Ferro Murano, Foscarini, Leucos, Venini and Vistosi.
The son of Ermanno Toso, himself a famous designer
and one of the original partners of the Fratelli Toso
factory, Toso paved the way for Robert Wilson to develop
his marvelous sculptures, by virtue of having already
provided the maestri at Fratelli Toso with an informal
artistic education.
My own first “cross-cultural” experience came
about in 1969, when Charles Lin Tissot offered me
the opportunity to execute some 80 x 50 cm panels
of sketches and crayon drawings by Salvador Dali,
among them his famous slumped clocks. Upon the
presentation of the first of three panels to Peggy
Guggenheim, she praised both the work and the
concept of this kind of collaboration by saying that the
glass pieces brought “light and life” to Dali’s sketches.
Three years later, in 1972, the first symposium of
glassblowing artists took place in the Bellerive Museum
in Zurich. From Italy, Fulvio Bianconi, Luciano Vistosi,
Paolo Martinuzzi and I were invited. I was the youngest
– 30 years old. Vistosi had already broken with the
tradition of delicate elegance in Murano glass. His
artistic research had brought him to a level of fine
art involving the largest glass sculpture ever made.
Unfortunately, Vistosi withdrew at the last moment,
while Martinuzzi participated in the opening with his
glass engravings and didn’t return. Fulvio Bianconi and
I remained.
Naturally, being young and still excited from the
experience of Murano art school, I was much attracted
to the American approach to glassblowing as a fine art,
and was determined to share with them my expertise,
a culmination of centuries of Murano glassblowers’
achievements and experiments in this field. Prior to
my trip to Zurich, my artistic career was characterized
by my love of painting. I had already achieved a fair
amount of success as a painter; production in glass
had been simply an economic necessity. Subsequent
to the Zurich symposium, and directly related to the
excitement that all the participants felt about this new
way of approaching glass, I spent all my time that was
not devoted to production to experimenting with
fine-art forms and colors in Murano glass. Venini, Fratelli
Toso and De Maio all graciously allowed me to make
use of their facilities while developing my art. While I
continued with my lampworking in my studio in the
Venice Ghetto, I maintained a rewarding collaboration
with Marvin Lipofsky, whom I had met in Zurich.
As Mr. Kangas reports, in 1976, Marvin invited
me to CCAC to teach American students some of the
ancient Murano techniques. Determined to create a
cultural bridge between Murano and the U.S., and with
his customary generosity, Marvin arranged for me a
series of artistic visits to the colleges where new kinds
of glass programs were being developed by young
and enthusiastic teachers: Harvey Littleton, Joel Phillip
Meyers, Michael Taylor and Fritz Dreisbach. (In line with
his conception of these visits as a culturally reciprocal
collaboration, and in keeping with the contemporary
American penchant for protest buttons, we even created
a button on which was written “Save the Venice Glass
Culture!) I was very impressed by the enthusiasm and
excitement of both the teachers and students who were
approaching glass from an artistic, intellectual point
of view. It seemed to me that colleges and universities
were the places best qualified to teach artistic glass,
recognizing that the open minds of American students
could easily assimilate this beautiful medium. In
contrast, many of the Murano factories where I began
working as a child of ten were often staffed by workers
from outside the traditional Murano glass culture.
Motivated solely by economic concerns, outside of the
culture and uneducated in its traditions, they viewed
glassworking as simply an expedient to make a living.
They frequently made life in the furnaces very difficult
for us young people with their brutal and vulgar
behavior.
In the late 1970’s some master glassblowers
from Murano were invited to America to teach.
Technical virtuosos and highly skilled craftsmen, they
demonstrated to the American students the repetition
of forms they had been producing for years in the
Murano factories. Following these visits, a kind of
competition developed amongst the Americans as
to who could best imitate Murano techniques. My
perception of this phenomenon was that this intense
focus on craft production – and, not incidentally, the
marketing of it – led the students to neglect the artistic
aspect of their education in favor of technical skills.
Intent on imitating the classic Murano forms, they lost
the opportunity to develop an authentic American
dialect of the Murano language.
Much credit must be given to those students
who continue their artistic, aesthetic and intellectual
experiments in glass – they have created art that is
quintessentially “American glass,” sprung from Murano
roots. They are the true teachers of tomorrow. The Glass
Studio Movement was born on the college campuses of
America, and it still thrives today. Many of these artists
are well represented in the Glass Alive! exhibition, and
their work, in years to come, will become an integral
part of the historical dialogue between the Murano and
American glass cultures – a dialogue that, at its best, is
mutually rewarding. As for myself, after fifty-five years
working in glass, I am still striving to create my own few
original “words” as part of that cultural conversation.
– Maestro Gianni Toso
_______________________________________________
DUE TO ISSUES raised regarding the letter to the editor
published in the May/June/July ‘05 GAS NEWS, the Board of
Directors and staff have created the following guidelines
for publishing letters to the editor. We encourage all GAS
members to express their opinions in letters to the editor,
and ask that the following guidelines be adhered to when
submitting letters.
1. Letters will be selected for publication based on space
availability, topical interest, number of letters received on
the same topic or area, and adherence to our guidelines.
Only letters from GAS members will be published.
2. Letters containing potentially libelous matter, profanity,
or that attack the character or reputation of a company or
person will not be printed.
3. Letters may be edited for language and length.
4. Letters should be limited to 200 words.
5. Letters submitted for publication by regular mail or
e-mail must include the author’s first and last name, address
and phone number for verification purposes. Anonymous
letters will be disregarded. If your letter is published, your
first and last name will be printed. Your city and state will
be included (unless you ask that it not be), but your address
and phone number will not be included.
6. When writing, faxing, or e-mailing a letter to the editor, use
the subject line or heading “Letter to the Editor.”
7. When responding to a specific article, state the article
title and include the date in parenthesis.
8. Frequency of submissions may need to be restricted.
If we receive multiple letters on one subject or from one
writer, we will attempt to sample a variety of opinions,
but may apply the general standard of one letter per writer
per three newsletters.
The Glass Art Society (GAS), its Board of Directors,
members, and employees are not responsible for and do not
necessarily endorse the views and opinions expressed in
“Letters to the Editor”.

G A S L I N E
Glass Fashion Show Extravaganza!
Laura Donefer is in the process of planning
another wild, over the top glass fashion show for the
GAS conference June 11-14 2009, which will take
place in Corning, New York.
If you would like to participate by making an
amazing costume out of glass, please contact Laura
directly. The list of artists has already begun. This
is your chance to make your dream outfit out of
whatever kinds of glass you can come up with, be it
blown glass, kiln formed glass, sand cast glass, torch
worked glass, stained glass, recycled glass or more!
To contact Laura, email her: Lauradon@kos.net
Or call her: 613-372-0377
GAS would like to thank the following
2008 Conference Presenters for
donating their honorarium to GAS!
Giles Bettison
Elin Christopherson
Rene Friedman
Katharine Gray
Dan Klein
Steve Klein
Museum of Glass Hot Shop Team
Merrily Orsini
Ted Sawyer
GAS apologizes for the discrepancy
between the printed rates in the
pre-conference brochure and the current
rates listed on the website. We have only
just been notified by the Hilton Portland
of the rate changes. These rates are
guaranteed through May 16, 2008.
Green Matters, a perspective by Taliaferro Jones
Elliott Brown Gallery Booth at SOFA Chicago, 2007
Color and art go hand and hand – especially in the
eyes of those making, viewing and collecting – but this
time “Green,” is given center stage to express its true
beauty, depth and need.
Kate Elliott refreshingly curated Green Matters, an
invitational thematic exhibition for SOFA Chicago 2007.
Green Matters played off the loose theme of all things
“Green” – from the pure color itself but more over the
environmental questions that plague our consciousness
in this era, drawing to light the vibrancy of the earth’s
bountifulness, to global warming’s cry, to redemption in
recycling and raising awareness. Kate Elliott quotes from
Pedro Calderon de la Barca, Spanish Poet and Playwright,
“Green is the prime color of the world, and that from
which its loveliness arises.”
Green Matters’ green vibe was dynamic in its
comprehensive museum-like display, with the mixed
use of the walls painted green to a green iPod nano
running a video. The 17 invited artists included: Hank
Murta Adams, Lynn Geesaman, Katherine Gray, Joey
Kirkpatrick / Flora C. Mace, Mayme Kratz, Robert Larson,
Richard Marquis, John McQueen, Louis Mueller, Johanna
Nitzke, Robert & Shana Parke Harrison, Pike Powers,
Joseph Rossano, Craig Smith and Walter Zimmerman.
The work that resonated the most with me was that
of Katherine Gray’s ice buckets. These beautiful vintage
glass ice buckets recycled into a stacked installation
remind us of what is missing – the ever shrinking ice
from the polar ice caps, but also that we choose what
to fill them with, reminding us of our responsibility to
mitigate our actions. They are subtle in their poetic
reminder of our fragility and hope.
Rob Larson’s colorful compositions of discarded
gum wrappers offered up the reminder of the power of
transformation. These alluring pieces move us beyond
the material and into their beauty illustrating Larson’s
success at achieving his goal to remind his viewers that
transformation must also occur in our perception. In his
words, “to change the way we see the world around us
and our relationship to it.”
Joey Kirkpatrick / Flora C. Mace’s “Little Green,”
leaves us with its simplicity. A large paintbrush dipped
into a glass, holding perhaps transparent green paint.
So how do you see green through the looking glass and
how do you want to paint the world? Harkening back to
Pedro Calderon de la Barca, the question remains how do
we choose to maintain earth’s “green” loveliness?
Eddie Bernard and Angela Bart Bernard of Wet Dog Glass, LLC
To Provide Partial Sponsorship of the GAS Student Representative
At the start of the new year, Eddie Bernard and
Angela Bart Bernard, owners of Wet Dog Glass, LLC, in
New Orleans, Lousiana will begin providing financial
sponsorship to the GAS Student Representative
position in order to offset the travel costs incurred as
the representative visits glass schools and programs
throughout the country.
The idea was hatched after current Student Representative,
Drew Smith, mentioned during a recent Board
of Directors call that he would be attempting to reach out
more to schools and would make Virginia Commonwealth
University his first stop. Eddie decided that he didn’t
feel that Drew should have to pay his own way for travel,
and emailed both Pam Koss, GAS Executive Director, and
Drew about it, after deciding that he and his wife Angela
would provide up to $1,000 per year for travel and meals
when a Student Rep. travels on GAS business.
“I remember when I was in college, I thought if I
ever got to the point of being “successful,” I would want
to sponsor a few students through school,” said Eddie
Bernard of his involvement as a Student Rep. sponsor.
“I would have them work with me in the summers so
that I would have a chance to know them. I’m not at
that point yet, but a few years ago I started paying the
second half of the Pilchuck Scholarship for Rochester
Institute of Technology students, (my alma mater) and
my wife Angela and I have also been donating money
to Haystack, Penland, and CERF, as we can afford to. We
believe in students and young people, and now after
going through the mess in New Orleans after the levees
broke, we understand how badly crafts people need
relief after a disaster or injury.”
In exchange for the funding, the Student Rep.
would be responsible for writing an article and including
images of school visits for upcoming newsletters as both
a way to record and archive the trip with GAS.
Details of the sponsorship are still being worked
on, but the GAS office will handle all booking of flights
directly, and monies will be sent to GAS to be put in
a dedicated account for travel costs. In keeping with
tradition, the hope is that each community the Student
Representative visits will provide accommodations. This
funding will allow for more travel and outreach by the
Student Rep., as well as a way to spread the word about
GAS and to learn about the many glass arts programs
around the country and internationally.
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G A S M e m b e r P r o f i l e
“Gift Bombs”
By Carol Milne
I admit it. I’m a radio junkie. But how many
war stories and bomb statistics can you listen to
before it starts to affect your work? Let’s just say
we’re fortunate I had glass available and not large
quantities of fertilizer. (Just kidding.)
Many people, of course, think the war in Iraq
has produced positive results: we got rid of a
dictator, brought freedom to the people, stopped
insurgents. But along with the good comes loads
of bad: tens of thousands of civilians dead, cities
demolished and homes destroyed, lives left in
tatters. This started me thinking about bombs
as gifts.
A gift has a giver and a receiver. It’s usually
given with good intentions, and received with joy.
But are good intentions enough? When it’s no
longer welcome, is it still a gift?
This series of work is titled “In the Name of
Love”. The gifts are hot cast grenades with bullet-
“In the Name of Love”
S t u d e n t P r o f i l e
Anthony Cioe – Virginia Commonwealth University
By Drew Smith
Throughout the Studio Glass Movement’s
existence we have seen various approaches to
creating work in glass from a variety of artists. Many
artists choose to incorporate surface treatments
or color patterns to act as the foundational basis
for their work and to help engage an idea or
concept. One particular student who has chosen
to focus on and to utilize the very natural qualities
of glass has begun to establish a new presence
within the art community. This particular artist
who establishes the idea of absence and presence
through transparency is a Virginia Commonwealth
University Graduate student named Anthony Cioe.
After graduating from the Rhode Island School of
Design in 2003, Anthony participated in numerous
exhibitions and residencies throughout the United
States. These include the recent MFA Biennial at the
Delaware Center for Contemporary Arts, Wilmington,
DE, a Creative Glass Center of America Fellowship, at
Wheaton Arts and Cultural Center, Millville, NJ and
a Kohler Arts/Industry Residency, Sheboygan WI.
During this time, Anthony continued an exploration
to utilize the strengthening qualities of glass, which
serve to embody the remains of what once existed.
After working in a conservation lab and helping to
preserve objects in disrepair, Cioe began to form
“Bottle Repair”
“In the Name of Love”, detail
shaped interiors. Kiln cast bows adorn the grenades.
The bows are held in place with removable pins.
On the surface the grenades look like fancy gift
boxes, colorful, beautiful, a delight to hold. But a
closer look reveals the ominous undercurrents, the
danger within.
Each piece is named (however improbable
the name may sound) after an actual U.S military
operation in Iraq. For example, “Operation Glory
Light,” “Operation Spring Cleanup”, “Operation
Rapier Thrust.”
It’s heavy work (literally and figuratively) with
a bow on top for levity. Sometime it’s the thought
that counts.
Carol Milne is a full-time artist who works
primarily in glass. She builds the glass bombs at Pratt
Fine Arts Center and has been a teaching assistant at
Pilchuck Glass School in Washington and the Penland
School of Crafts in North Carolina. She lives in Seattle.
Visit www.carolmilne.com
“Increment-Decrement”
his own approach and style to this methodology.
This process has continued to fascinate Cioe and
push him to further the constraints of the medium,
which in turn has become the very substance for
his thesis.
Another specific aspect Cioe has chosen to
explore and develop is the quality of mirrored
glass, which he uses to, “create illusions and further
seduce viewers into contemplating the activity
at hand and create play between representation,
temporality and spark a fleeting moment.”
A further contributing quality of Cioe’s work is
his efforts to expose areas and spaces that are
not often observed or evident to the viewer.
This curiosity and attention to detail will continue
to propel his work forward within today’s
contemporary art world.
T e c h n i c a l A rt i c l e
Electricity by Eddie Bernard
Electrons are negatively charged, and they want to
go to where there are fewer electrons. Much in the same
way, hot and cold, up and down, high and low pressures
tend to balance out if not interfered with, as do negative
and positive charges of electricity. The difference
between a positive and negative charge is measured in
units called volts.
To control the flow of electrons, we use switches,
just like we use valves to control the flow of water and
gas. With this understanding, we can create control
systems, using automated switches to send power when
and where we want to send it.
Ever tried drinking a soda through a coffee
stirrer straw? The small diameter of the stirrer creates
resistance, making it harder to move the soda through
the straw as compared to a larger straw. This is a great
analogy for electrons moving through too small a wire.
To increase the volume of electrons moving through the
wire in a given period, which is measured in amperes,
one must either increase the pressure (voltage) or
decrease the resistance (larger diameter wire.)
Watts are the units in which we measure the
amount of power actually used to do work, like heat
your kiln to 1,550 degrees in 45 minutes and resistance
is measured in ohms. If your kiln requires 120 volts and
15 amps, multiply the volts by the amps to determine
the watts and you will get 1800 Watts. To cut your
amperage in half and use smaller wire, divide 1800 Watts
by 240 volts to see that you will now run on only 10 amps.
Draw for yourself a disc with a magnet on the edge
of it, and a magnet just outside of the disc. If you picture
the disc spinning, and imagine the magnets pushing
and pulling against each other, you will see that their
attraction alternates between push and pull endlessly.
This is how alternating current is produced.
For 240 volts single phase, draw a third magnet on
the opposite side of the disc, and a fourth one outside
of the disc directly across from the second magnet you
drew. Imagine this disc spinning now, with the two inner
magnets coming close to the outer magnets over and
over again. In reality, there is a turbine that turns at 60
revolutions per second in the U.S., and at 50 revolutions
per second in most other countries. Ever notice the
notation “60/50 Hz” on the label of electronic devices?
This refers to the frequency of the alternation current.
As the turbine turns, electrons are pulled to and fro, back
and forth inside the elements in your kiln. The elements
are designed with enough resistance that they heat up
as the electrons move back and forth.
I would like to invite any readers to submit an article
on any technical subject you wish, or even submit a list
of questions. The limit is 500 words, and images are also
accepted. Submissions can be sent to kate@glassart.org

Glass Life After Katrina: Surviving, Recovering, Moving On
By Laurel Porcari
The story is all too familiar: on August 29 2005
Hurricane Katrina struck the gulf coast causing extreme
damage. New Orleans was brought to the brink of extinction
when the flood walls broke and water covered
portions of the city that are below sea level. In one day
the lights went out – everywhere and for everyone.
This is not an update on the city’s recovery, nor is it
an exposé on aid, fatigue, or any other political issue that
might be associated with the storm. This is an update on
people that make glass and how the storm has changed
things in their world.
It’s hard to explain the magnitude of what happened
here. People who did the right things – worked
hard, opened businesses, developed their talents, had
national and international reputations – were effected
so badly that for a year or more, a mere fraction of the
studios that were open before the storm were operating.
Imagine that, if you can. In one day the lights went out
and every studio was made inoperable.
It was not until January of 2006 that the actual
meaning of what happened became clear to us, the
glass community as a whole. Until that time, we were
all wrangling with stabilizing our personal situations.
Then, in January, the Craft Emergency Relief Fund
held an emergency meeting at the Ogden Museum of
Southern Art. Present at the meeting were all the key
representatives of the arts in Louisiana: the Louisiana
Division of the Arts, New Orleans Arts Council, Cultural
Economy Foundation, Jazz and Heritage Foundation,
etc. As well, there were key artists present. The greatest
presence was the coalesced glass community: Eddie and
Angela Bernard of Wet Dog and Conti Glass, Gene Koss
of Tulane University, Mitchell Gaudet of Inferno, Mark
Rosenbaum of Rosetree, Jimmy Vela, Carlos Zervigon,
Andy Brott, Claire Kelly and Anthony Schafermeyer,
myself, and more. What became apparent to the glass
community was that it was on its knees. Each of the
bigger studios had employed other glass artists and
they had to let them go. Conti had flooded and was no
longer in operation, leaving not only their employees
but the nearly fifty glass artists that relied on that facility
with no means to produce work. Inferno’s facility was
badly damaged, as was its major tenant, Vella Vetry. Even
Tulane, a major University, was closed, so there were no
teachers or students.
The result of that meeting, aside from the
depressing reality hitting home, was that we had to
work together. We needed help from whatever agencies
were ready to deliver aid and that only by acting
together would we be heard. And, lets be honest, the
arts are not a priority at the best of times, so we had
some work to do.
Gutted Conti Studio contents
ready to be scooped up,
October 2005
The first collective thought regarding actual
facilities was to somehow push to get Conti Glass
reopened. The reality was that it was damaged beyond
what the Bernards could bear. And this is despite heroic
efforts on their part. The solution that we all came up
with was to reorganize the studio as a non-profit. By
February, the non-profit had a name, (New Orleans
Creative Glass Institute), a board, donors and a mission:
to inspire creativity, to educate and perpetuate the
glass community, to invest in art glass industries, and
to promote and nurture the culture of New Orleans’
contemporary glass art community.
The next installment in this series will describe
NOCGI as it is today, and introduce you to an individual
artist and their road to recovery.
Beyond the Bake Sale: Fundraising for College Glass Programs
By Robin Cass
Many college glass programs face funding
of procuring enough work to auction, it can be difficult
is to have students agree on a few particular designs at
challenges for basic supplies, facilities upgrades, or
to find an appropriate space and figure out staffing
a range of price points. At the actual sale, the resulting
“extras” such as visiting artists and student participation
requirements during the event itself. It’s possible to run
work looks far more professional and appealing than
in GAS conferences. Grants from organizations or
up considerable shipping expenses too if requesting
the usual flea market assortment.
generous individuals are welcome influxes for special
work from distant artists.
One version of the usual craft sale is a themed sale
projects, but do not address recurring shortfalls. The
need is common; often glass programs have few full-
The “Make-your-own ______” Workshop:
like the ubiquitous “Glass Pumpkin Patch”. Every other
glass organization in the country has jumped on this
time students but substantial operating expenses.
This imbalance leads to constant searching for new
ways to raise money. A few fortunate departments
benefit from associated groups of supporters and
others have established annual events, but most are
left to their own devices.
The general challenges are familiar; upper
administrators who cannot or will not offer financial
support, no extra staff for development efforts, and
limited resources to dedicate towards fundraising
projects. There is also a need to involve students of
all skill levels in fundraising efforts in ways that don’t
interfere too much with their educational experience,
and perhaps even enrich it. Here is a summary of some
lessons we’ve learned from our many fundraising
attempts here in the Rochester Institute of Technology
Glass Program.
The Auction:
This approach can work well if you are based
in an area with a art-savvy community that is home
to plenty of potential glass collectors. Auctions of
instructor, alumni, and student work can help establish
and maintain relationships with local supporters,
but this type of event does require a huge upfront
investment of resources. In addition to the challenge
These student-lead experiences can involve all
kinds of glass-forming processes, and take advantage
of people’s curiosity about the process of working with
glass. They give students valuable teaching experience
as well as the chance to develop interpersonal skills.
Workshops can be conducted over a long period of
time so as not to interfere with regular department
activities. On the downside, there are safety issues to
be considered when inviting inexperienced people into
a glass studio. Once the Risk Management folks are
appeased and all appropriate waivers are drawn
up though, this type of effort can be quite successful.
We’ve also found that our glass program’s reputation
and visibility benefits from this kind of interaction with
the wider community.
The Sale:
The main challenge with campus “craft sales” is to
maintain some respect for the program while making
items that sell. This can be difficult if you live in an area
where people are accustomed to buying Chinese-made
blown glass in huge discount stores. To counter this,
students need to develop salable work that stands
apart from such competition, and work hard to educate
possible buyers about their creative and technical
processes. An approach that seems to be working well
bandwagon. It seems to work out well for all of them
due to an apparently endless market for funky handblown
glass vegetables in most areas. Students at all
skill levels can participate through assisting, grinding,
packing, etc. The impact on other activities in the
department can be minimized with careful scheduling
and involvement of outside help. We have had great
success with this type of event and it has become our
sole source of funds for visiting artist workshops.
In conclusion, some significant lessons we’ve
learned from our many fundraising efforts:
• Consider partnering with other organizations or
individuals who can help facilitate advertising and
sales through their existing networks of potential
supporters.
• Avoid over committing student or instructor time;
fundraising should take a back seat to education.
• Cultivate reciprocal relationships with college
administration and development staff so they are
aware of your long-term goals.
I encourage you to share any advice you can offer as
a result of your own fundraising efforts!
5

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:
February 1 for the April/May 2008 issue
April 1 for the June/July/August 2008 issue
We look forward to hearing from you.
Call To Artists
Ausglas Conference Auction 2008 The Auction is held
Jan 27, 2008 at the Canberra Glassworks. Donations of your
works in glass, glass services, products, etc. are all welcome.
The auction generates funds for the Vicki Torr Memorial
Fund. The application form and further details are available
on the Ausglass website. For more information contact:
Ausglas, PO Box 4018, McKinnon, VIC, 3204, Australia,
admin@ausglass.org.au, www.ausglass.org.au
Bullseye Glass Company welcomes submissions to
e-merge 2008, our juried kiln-glass exhibition for emerging
and intermediate-level artists. The biennial show, the
fifth in our series, acknowledges the specialized field of
kiln-glass and those who are rising through its ranks.
Students and early-career artists worldwide are encouraged
to apply. In addition to the chance to show work at
Bullseye Resource Center gallery, e-merge 2008 entrants
can win Awards, more than $5000 in Bullseye gift-card
prizes, and publication in a full-color catalog. Applications
will be accepted January 3 - February 22. The exhibition
will run May 5 - July 25. For more information contact:
www.bullseyeglass.com/emerge
Glass Craft & Bead Expo 2008 April 2-6 at the South
Point Hotel and Casino, Las Vegas, NV. The many events
include demos, an auction, the Bead Bazaar, and more than
270 classes. For more information contact: Glasscraft EXPO,
2408 Chapman Dr, Las Vegas, NV, 89104, Tel: 800-217-4527/
702-734-0070, Fax: 702-734-0636, patty@lvmanagement.com,
www.glasscraftexpo.com
Job Opportunities
Teaching at The Contemporary Studio of Glass Art
The Contemporary Studio of Glass Art, located just outside
of Chicago, is proud to announce that they are now
accepting teaching proposals for 2008. If you might be
interested in coming out to teach a class please feel free
to download the PDF from the following link, and send it
in: www.contemporaryglass.org/documents/teaching_
application.pdf. Fill it out, mail it in, and we will get back
to you if we are interested. For more information contact:
The Contemporary Studio of Glass Art, 101 W 61st St Bldg B,
Westmont, IL, 60561, Tel: 630-390-5732, michaelangeloglass@
yahoo.com, www.contemporaryglass.org
University of Washington Chair of Glass The UW School
of Art invites applications from artists working with glass in
a contemporary art context for the Dale Chihuly Endowed
Chair of Glass. For additional information, application
details, visit www.washington.edu/admin/acadpers/
communications/ad/aa1775.html. Deadline: January
11, 2008. For more information contact: University of
Washington School of Art, Box 353440, Seattle, WA,
98195, USA, Tel: 206-685-2442, Fax: 206-685-1657,
bazarnic@u.washington.edu
For Rent
Something to Offer
The Contemporary Studio of Glass Art Online Video
Group – The Contemporary Studio Of Glass Art has
taken the liberty to introduce an online video library,
and discussion group. Here you will find over 100 great
glassmaking videos, and an open discussion form.
The best thing is that it’s free. Go to: www.youtube.com/
group/glassblowing. For more information contact: The
Contemporary Studio of Glass Art, 101 W 61st St Bldg B,
Westmont, IL, 60561, Tel: 630-390-5732, michaelangeloglass@
yahoo.com, www.contemporaryglass.org
Grants/Residencies
Glass Graduate Program with Assistantship - School of
Art and Design of Southern Illinois University Carbondale
offers a three-year graduate program (MFA) featuring
specialization in glass. We feature a very extensive graduate
assistantship program that can provide you with teaching
experience, tuition waivers, and a monthly stipend. These
assistantships can help pay your way through school
and start you on the road toward a professional teaching
position. Graduate students are provided with private
studios and access to newly upgraded glass facility
including new cold shop, cutting and engraving lathes,
casting kilns, and hot shop. Travel funds may be available
for exhibitions and conferences. The School of Art and
Design’s resources include the several-thousand squarefoot
Surplus Gallery; extensive ceramics, glass, small metals,
foundry, printmaking, and sculptural facilities; and upto-date
technology available for student use in the form
of digital still and video cameras, digital projectors, and
Macintosh computer labs. Applications are due January 15,
2008. For more information, including the application form
and information about fellowship, please visit our website at
www.artanddesign.siu.edu or contact Jiyong Lee, Assistant
Professor at (618) 453-7772 or jiyong@siu.edu
Web Sites
World Art Glass.Com, bjorn.ingbrandt@worldartglass.com,
www.worldartglass.com
A one-stop resource for data on most aspects of historic and
contemporary art glass. We currently have over 2750 sites
listed for the visitor to review. Our format allows collectors
to search galleries, glass artists, glassworks, publications,
auctions, and more. Studio glass artists can review various
galleries, equipment and glass manufactures, information on
techniques, retailers, etc. Gallery owners can see the work
of glass artists from around their area, country or the world.
Antique dealers can search auctions, information, museums,
fellow dealers´ sites, museum collections and many other
sites. Tourists can locate art glass related entities in a
specific geographic area and obtain maps of locations in
the United States.
6
Hot Shop Rental Shop is located in Downtown Tacoma
with plenty of free parking! Equipment includes: 600 lb.
Stadleman Furnace with Spruce Pine glass, Large Glory
Hole -26”, Medium Glory Hole -20”, Small Glory Hole -16”,
2 Large Side Loading Annealers, 1 Large Top Loading
Annealer, Garage, 3 Benches, and Oxy Propane Torch.
For more information contact: Tacoma Glassblowing Studio,
114 S 23rd St, Tacoma, WA, 98402, Tel: 253-383-3499,
mcsigafoos@aol.com, www.tacomaglassblowing.com
Studio Rental Available: The Revere Academy of Glass Art,
766 Gilman St, Berkeley, CA, 94710, Tel: 510-233-3473,
dustin@revereglass.com, www.revereglass.com.
To pursue your own interests, time can be rented on a daily,
weekly and monthly basis at The Revere Academy of Glass
Art. Access to a GTT Delta, Mirage, Phantom, or our new
lathe, can be arranged. Oxygen and propane included.

New GAS Membership Benefits
(cont. from page 1)
hensive health insurance programs for individuals and
groups. Long-term care and life insurance are being
offered with 15-30% below market rates for association
members only! Health Benefits Professional and
Association Health Programs (HBP-AHP) of Overland
Park, Kansas, a nationally known company, has been
retained to administer the program. Stuart Pase,
President, welcomes all members to take advantage
of these special benefits, protection and pricing. GAS
members will join the clients of HBP-AHP, which include
over 110 associations.
Members who currently purchase their own
insurance and members who offer health insurance
coverage for their employees need to take a moment
to compare their existing plan to a plan that utilizes
the GAS buying power. All national ‘A’ rated insurance
companies are available to you. Members can receive
enhanced benefits for themselves, their families, and
their employees – both full and part-time!
Due to an aging population, increased life
expectancy and a generation that wants freedom of
choice for living conditions, GAS benefit programs offer
members access to every long-term insurance company
nationwide. Save up to 15% off broker rates, plus extra
discounts for husbands and wives. All policies are
comprehensive, including home health care, assisted
living, and nursing home care. This coverage protects
your assets and prevents you from becoming a burden
on family members. All major ‘A’ rated long-term care
companies are available.
Members should also take advantage of the life
insurance programs offered through GAS member
benefits. Members can save up to 39% on premiums for
universal life insurance, term life insurance, and whole
life insurance. All ‘A’ rated life carriers are included and
you will get the best rates.
For a free evaluation of your current benefits, please
call our Association office at (888) 450-3040 or (913)
341-2868 or visit us at www.associationpros.com.
FedEx/Kinko´s and DHL
The Glass Art Society is pleased to announce
several new member benefits that will offer substantial
discounts on essential businesses services, including
shipping, printing, and copying. This new program,
managed by PartnerShip LLC, is free to all GAS members,
and offers up to 15% off select FedEx Ground list rates,
and up to 29% off select FedEx Express list rates. If
you have an existing FedEx account, the discounts
will automatically be applied to your account once
you enroll. If you don’t already have a FedEx account,
PartnerShip will assist in getting one set up for you.
There is no additional cost to use the program, and since
these discounts are based on service level and package
weight, there are never any minimum shipping volumes
to meet in order to qualify for the program.
In addition to the FedEx Ground and FedEx Express
shipping discounts, members will also receive a FedEx
Kinko’s discount card that can be used at hundreds of
retail locations nationwide, providing a savings of up
to 20% off printing and copying services. Enroll online
today for the Glass Arts Society Discount Shipping
Program, or find more information about the program
and discounts at www.partnership.com/51gas or call
PartnerShip at 800-599-2902, and mention that you are
a Glass Arts Society member.
Includes a bonus 5% online processing discount.
Full details available at www.partnership.com/51gas.
For eligible FedEx and FedEx Kinko’s services and
rates, contact your association or PartnerShip. All FedEx
shipments are subject to the applicable FedEx Service
Guide. FedEx service marks used by permission. ©2007
FedEx Kinko’s Office and Print Services, Inc. All rights
reserved. Products, services and hours vary by location.
The Glass Art Society has partnered with DHL
Express to offer our members exclusive discounts on
DHL’s full suite of shipping services. Now Glass Art
Society members can take advantage of savings up to
25% off standard rates on all DHL services, including:
DHL Next Day, DHL 2nd Day, DHL Ground, and
International delivery services to more than 225
countries and territories.
One call to 1-800-MEMBERS can help you save
on your shipping needs. More importantly, members
can rely on DHL’s commitment to on-time delivery and
customer service 24 hours a day, 7 days a week.
As a special offer, Glass Art society members who
open a new DHL account today will receive a $25 DHL
Savings Certificate after you send three shipments with
your new account.
To set up your free account, call 1-800-MEMBERS
(1-800-636-2377, 8 am - 7 pm EST ) to speak with a
dedicated Member Service Representative, or visit
www.1800members.com/ASSN.
Hertz Rental Car
Now when you rent from Hertz, you can take
advantage of special year-round savings through the
Hertz Member Benefit Program. Glass Art Society
members receive a discount off Hertz Daily Member
Benefit Rates, Hertz U.S. Standard Rates; and Hertz U.S.
Leisure Rates. You’ll be quoted the best rate for your
rental needs at the time of reservation.
With approximately 7,000 locations in more than
150 countries, Hertz is also able to offer you special
discounts on your rentals in Canada, Europe, and
worldwide. Call Hertz for details.
For reservations and information, call Hertz’
“Members Only” toll free number at 1-800-654-2200 or
visit hertz.com and mention your Hertz Discount CDP#
1779165. Then present your membership card or Hertz
Member Discount Card at the time of rental.
7

classes + workshops
8
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:
February 1 for the April/May 2008 issue
April 1 for the June/July/August 2008 issue
We look forward to hearing from you.
UNITED STATES
Arizona
Sonoran Glass Art Academy, 633 W. 18th St., Tucson, AZ
85701, Tel: 520-884-7814
info@sonoranglass.org, www.sonoranglass.org
January 5 - 6: Natural Forms in Glass with Bandhu Dunham
Using borosilicate glass, we will sculpt a variety of plant
and animal forms that can be combined into larger
compositions. Projects will include basic birds, mammals,
fish, human figures, trees and flowers. An assortment of
tips and tricks to make construction easier will also be
covered. Bring a sketchbook for ideas; intermediate skill
level required.
CaliforniA
Public Glass, 1750 Armstrong Ave, San Francisco, CA, 94124,
Tel: 415-671-4916, Fax: 415-671-4917, info@publicglass.org,
www.publicglass.org
Jan. 6:
Introduction to Glassblowing, One-Day
Workshop
Jan. 9 - Feb. 6: Level 2 Glassblowing
Jan. 12 - Feb. 9: Murrine Workshop with Alexander
Abajian
Jan. 13 - Feb. 10: Level 1 Glassblowing
Feb. 9:
Glass Heart Workshop
Feb. 17:
Introduction to Glassblowing, One-Day
Workshop
Feb. 20 - Mar. 19: Level 1 Glassblowing
Feb. 23 - Apr. 26: 10 week Level 2 Glassblowing Class
Feb. 23 - Mar. 22: Bowl-Making with Travis Sandoval
Mar. 29 & Apr. 5-6: Rollup Workshop with Carolyn Wang
and Mark Murai
Mar. 30:
Introduction to Glassblowing, One-Day
Workshop
Apr. 6 - May 4: Level 1 Glassblowing
May 3:
Introduction to Glassblowing: One-Day
Workshop
May 7- June 4: Level 2 Glassblowing
May 10 - June 7: Level 1 Glassblowing
May 25:
Introduction to Glassblowing, One-Day
Workshop
June 17- Aug. 19: Level 2 Glassblowing
June 18 - July 16: Level 1 Glassblowing
June 29: Introduction to Glassblowing, One-Day
Workshop
The Revere Academy of Glass Art, 766 Gilman St, Berkeley,
CA, 94710, Tel: 510-233-3473, dustin@revereglass.com,
www.revereglass.com
Welcome to Revere Glass School:
Revere Glass is a fully equipped classroom and studio
designed for people to use glass at any level. We work hard
to get the best equipment and the most skilled instructors
at Revere and have created a noncompetitive and positive
environment where the emphasis is placed on the
individualized journey that one has with their art. Through
encouragement and not competition we are able to strive
for excellence.
Workshops:
Revere Glass offers intensive workshops with other
prominent artists from around the country. These workshops
offer students a chance to learn specific techniques from
the pioneers of our industry. We also offer two observer
spots per workshop. This is for an intermediate or advanced
student who do not need to blow glass and can learn just by
watching, asking questions and taking notes.
Jan. 21-23: Graal/Robert Mickelsen
Jan. 24-26: Life Figure Sculpture/Robert Mickelsen
Feb. 18-22: Advanced Murrini Milli Work/Dave Stobel
Mar. 24-28: Architectural Head Piece Construction and
Advanced Pattern Work/Scott Deppe
Apr. 21-24: Goblet Construction and Design/Steve Sizelove
June 16-27: Two-Week Furnace and Lampworking
Intensive/Gianni Toso
July 23-24: Color Chemistry/Suellen Fowler
Aug. 18-21: Architectural Head Piece Construction and
Advanced Pattern Work/Bearclaw
Sept. 22-26: Compression Marbles/John Kobuki
Oct. 13-17: Advanced Lampworking/Devin Sumerville
Nov. 10-14: Collaboration and Documentation (observer
only)/Banjo, Dustin Revere, Chaz, Eusheen,
Chad, Kaj Back, Marbleslinger, and more
Dec. 8-12: Sculptural Headpiece Construction/
Clinton Roman
Revere also offers private instruction. These classes are
one-on-one instruction. Each students needs are taken into
consideration. Classes are Beginner to expert level.
GeorgiA
Janke Studios Inc., 659 Auburn Ave NE Studio G-9,
Atlanta, GA, 30312, Tel: 404-584-0305, Fax: 404-584-0234,
Jankeglass@aol.com, www.Jankestudios.com
Atlanta’s first glass studio founded in 1996. Beginning
Glassblowing (5-week & 2-day workshop) and 3-hour
experientials forming on a regular basis. Studio Rental
available year round.
January - March schedule:
Jan. 9 - Feb. 6: Beginning Glassblowing
Jan. 12 & 13: Beginning Workshop
Jan. 26:
Hot Glass Experience
Feb. 16 & 17: Beginning Workshop
Feb. 23: Hot Glass Experience
Feb. 27 - Mar. 26: Beginning Glassblowing
Mar. 15 & 16: Beginning Workshop
IowA
Curiel/Reynolds School of Visual Arts, 216 6th Ave E,
Spencer, IA, 51301, Tel: 712-580-5035, lcneon@smunet.net,
Curiel/Reynolds School of Visual Arts is located in
Northwestern Iowa. We have an intensive glass program
offering both architectural, fused lampworking and neon, to
coincide with a gold and silversmithing program, ceramics,
and painting and drawing design class. Please contact the
school for more information.
MIchigan
Eberhart Studio, 3154 Shamrock Ct, Ann Arbor, MI, 48105,
Tel: 734-764-3385, harald@eberhartglass.com,
www.eberhartglass.com
Apr. 24-27: Pyrex Flame Glassblowing (Beginners,
Intermediate)/Harald Wolfgang Eberhart
May 1-4: Pyrex Flame Glassblowing (Beginners,
Intermediate)/Harald Wolfgang Eberhart
May 10-11: 3-D Neon/Argon PLASMA Flame Glassblowing
(NO Electrodes for Advanced Students ONLY)/
Harald Wolfgang Eberhart
Missouri
Third Degree Glass Factory, 5200 Delmar Blvd, St. Louis,
MO, 63108-1028, Tel: 314-367-4527, Fax: 314-776-2470,
info@stlglass.com, www.stlglass.com
Loren Stump Workshop
Apr. 22-26: Loren Stump Workshop/Loren Stump
Jan. 19: Paperweights (1-day workshop for those
with no experience in the hot shop)
Feb. 23: Paperweights (1-day workshop for those
with no experience in the hot shop)
Mar. 15: Paperweights (1-day workshop for those
with no experience in the hot shop)
Intensives
Jan. 20: Beginning Glassblowing
Feb. 24: Beginning Glassblowing
Mar. 16: Beginning Glassblowing
Starting Jan. 7: 6-Week Introduction – Glass I
Starting Jan. 10: 6-Week Introduction – Glass I
Starting Feb. 18: 6-Week Introduction – Glass I
Starting Feb. 28: 6-Week Introduction – Glass I
Starting Jan. 8: 6-Week Intermediate – Glass II
Starting Feb. 19: 6-Week Intermediate – Glass II
Jan. 19-20: Bead making I
Feb. 16-17: Bead making I
Mar. 15-16: Bead making I
Feb. 23-24: Fusing and Slumping
Jan. 26-27: Thick Block Kiln Forming
Mar. 29-30: Thick Block Kiln Forming
New york
Urban Glass, 647 Fulton St 3rd Floor, Brooklyn, NY, 11217,
Tel: 718-625-3685 ext 237, Fax: 718-625-3889,
john@urbanglass.org, www.urbanglass.org
Mar. 8-9: Open-Mold Glass Casting Workshop/
Virginia Griswold
Mar. 8-9: Beginning Lampworking Weekend/
Amber Cowan
Mar. 8-9: Introduction to Neon Weekend/Stephan Conlon
Mar. 15: One-Day Paperweight Egg Workshop/
Jason Grodsky
Mar. 16: One-Day Paperweight Egg Workshop/
Jason Grodsky
Mar. 15-16: Introduction to Stained Glass/Laura Carbone
Apr. 2-6: Component Sculpture: Kiln-Casting and
Assemblage Techniques/Anna Boothe
Apr. 4-6: Goblet Making: Venetian Style/Jeff Mack
Apr. 4-6: Blown Beads at the Torch/Julie Conway
Apr. 12-13: Beginning Bead Weekend/Paloma Wasserstein
Apr. 12-13: Beginning Glassblowing Weekend/John Brekke
ORegon
Linda Ethier Art Glass, 2846 NE Glisan St, Portland, OR,
97232-2434, Tel: 503-238-5776, info@lindaethier.com,
www.lindaethier.com
June 14-18: Kiln Casting/Linda Ethier
June 23-27: Lost Wax for Glass Casting/Linda Ethier
Bullseye Glass Co., Director Research & Education,
3722 SE 21st Ave, Portland, OR, 97202, Tel: 503-232-8887,
Fax: 503-238-9963, tedsawyer@bullseyeglass.com,
www.bullseye-glass.com
Winter 2008 Classes
Jan. 14-18: Intro Kilncast Glass, Coldworking/Erik
Whittemore
Jan. 24-27: Painterly Figures in Kiln-Glass/JeffWallin
Jan. 26-27: Beginning Beadmaking, 2-Day/Bonnie
Celeste
Feb. 4-8: Painting with Light/Tom Jacobs
Feb. 4-9: Intro Kilnformed Glass/Christy Corbett
Feb. 11-14: Platemaking Basics/Nathan Sandberg
Feb. 15: Glass Cutting Basics/Sandberg or Celeste
Feb. 16-19: Platemaking II/Bonnie Celeste
Feb. 18-22: Kilncasting with Frit/Nathan Sandberg
Feb. 22-24: Beginning Beadmaking, 3-Day/Brickman
Feb. 29 - Mar. 2: Intro Coldworking/Erik Whittemore
Mar. 5-26: Jewelry, Wearable Components/Bonnie
Celeste
Mar. 21: Glass Cutting Basics/Sandberg or Celeste
Mar. 22-25: Intro to Slumping/Bonnie Celeste
Mar. 29 -Apr. 1: Textures in Kiln-Glass/Nathan Sandberg
Apr. 7-11: Lost Wax Kilncasting/Sawyer & Whittemore
Apr. 7-11: Set Your Kiln on Fire/Bonnie Celeste
Apr. 14-18: Painting with Light/Tom Jacobs
Apr. 18: Glass Cutting Basics/Sandberg or Celeste
Apr. 21-24: Platemaking Basics/Nathan Sandberg
Apr. 25-27: Beginning Beadmaking, 3-Day/Brickman
Free Artist Talks and Demonstrations
Reservations required: resourcecenter@bullseyeglass.com
or 503-227-2797.
Feb. 5: Artist Talk & Demo/Carrie Iverson
Mar. 9: Lost Wax Casting Demo/Erik Whittemore
Apr. 20: Kilnforming Scene Investigation/Tom Jacobs
Special Workshops Surrounding the GAS 2008 Conference
Complete info: www.bullseyeglass.com/education/gas_2008
June 13-18: Cobi Cockburn & Charles Butcher
June 14-18: Silvia Levenson
June 23-30: Richard Whiteley
June 23-30: Jessica Loughlin
Chemeketa Community College, PO Box 14007, Salem,
OR, 97309, Tel: 503-365-4717, Fax: 503-365-4785,
glass@chemeketa.edu, http://programs.chemeketa.edu/glass
Art Glass Program Summer Workshops 2008
June 15-18: Grow it Big with Pate de Verre/Susan Longini
June 16-18: Vessels and Form Consciousness/Matt Eskuche
June 22-24: Intricate Rubber Molds for Lost Wax Kiln-
Forming/Laurel Marie Hagner
June 22-24: Color in the Flame/Suellen Fowler
PennsylvaniA
Glass Works at the Banana Factory, 25 W 3rd St,
Bethlehem, PA, 18015, Tel: 610-332-1300, Fax: 610-861-2644,
jlipzin@fest.org, www.bananafactory.org
Glassblowing Classes

Jan. 14 - Feb. 4: Glassblowing Studio/Glassworks Staff
Jan. 15 - Mar. 4: Beginning Glassblowing/George-Ann Greth
Jan. 16 - Feb. 6: Intermediate Glassblowing/Glassworks Staff
Jan. 17 - Feb. 7: Beginning Glassblowing/Dennis Gardner &
Beth Ann Ballek
Feb. 11 - Mar. 3: Glassblowing Studio/Glassworks Staff
Feb. 13 - Mar. 5: Intermediate Glassblowing/Glassworks Staff
Feb. 14 - Mar. 6: Beginning Glassblowing/Dennis Gardner &
Beth Ann Ballek
Flameworking Classes
Jan. 14 - Feb. 4: Beginning Flameworking/Rob Saydek
Jan. 15 - Feb. 5: Flameworking Studio-Under the Sea/
Greg & Terri Seitz
Feb. 11 - Mar. 3: Beginning Flameworking/Rob Saydek
Feb. 12 - Mar. 4: Flameworking Studio-Vessels/
Greg & Terri Seitz
Beadmaking Classes
Jan. 16 - Feb. 6: Beginner Beadmaking/ Rob Saydek
Jan. 17 - Feb. 7: Beadmaking Studio-Metals, Enamels and
More/Nancy Sala Safko
Feb. 13 - Mar. 5: Beginner Beadmaking/Rob Saydek
Feb. 14 - Mar. 6: Beads out of Recycled Glass/Nancy Safko
Glassblowing Weekend Workshops
Jan. 19: One-Day Beginning Glassblowing/
Glassworks Staff
Jan. 20: One-Day Beginning Glassblowing/
Glassworks Staff
Feb. 2-3: Weekend Warrior Glassblowing/Glassworks
Staff
Feb. 16-17: Color Weekend/Glassworks Staff
Feb. 23-24: Beginning Slumping and Fusing/Erica Biery
Mar. 1-2: Beginning Kiln Casting/Anna Boothe
Beadmaking Weekend Workshops
Jan. 19: One-Day Beginner Beads/Rob Saydek
Jan. 20: One-Day Beginner Beads/Rob Saydek
Feb. 2-3: Beadmaking Studio-From Beads to Wearable
Art/Nancy Sala Safko
Flameworking Weekend Workshops
Jan. 26: One-Day Basic Flameworking/
Greg & Terri Seitz
Jan. 27: One-Day Basic Flameworking/
Greg & Terri Seitz
Feb. 23-24: Marble Weekend/Greg & Terri Seitz
GoggleWorks Center for the Arts, 201 Washington St.,
Reading, PA 19601, Tel: 610-374-4600, ckober@goggleworks.org,
www.goggleworks.org
Jan. 31 - Mar. 20: Glass Sampler
Hot Glass
Feb. 1:
Glass Paperweight Workshop
Feb. 2:
Glass Paperweight Workshop
Feb. 28: Glass Paperweight Workshop
Mar. 1:
Glass Paperweight Workshop
Mar. 6:
Glass Paperweight Workshop
Mar. 14: Glass Paperweight Workshop
Mar. 15: Glass Paperweight Workshop
Mar. 22: Glass Paperweight Workshop
Feb. 15: Hot Glass Date Night
Mar. 7:
Hot Glass Date Night
Feb. 16: Glass Flower Workshop
Jan. 31 - Mar. 20: Beginning Glassblowing
Feb. 27- Mar. 19: Beginning Glassblowing
Jan. 28 - Feb. 18: Next Steps in Glass
Feb. 25 - Mar. 17: Encalmo - Rings of Colored Glass
Fused Glass
Jan. 28 - Feb. 18: Beginning Fused Glass
Feb. 25 - Mar. 17: Beginning Fused Glass
Jan. 29 - Mar. 4: Intermediate Fused Glass
Stained Glass
Jan. 29 - Mar. 4: Beginning Stained Glass
Jan. 30 - Mar. 5: Beginning Stained Glass
Lampwork
Feb. 2 - Mar. 1: Lampwork with Borosilicate Glass
Feb. 16-17: Lampwork Weekend: Glass Beads I
Mar. 22-23: Lampwork Weekend: Glass Beads II
Mar. 2:
Glass Marble Workshop
Cold Work
Feb. 14: Sandblasting Wine Glass Workshop
Feb. 15: Sandblasting Wine Glass Workshop
Feb. 13: Sandblasting Wine Glass Workshop
Visiting Artist Workshop
Apr. 10-13: Take Another Gather/Moshe Bursuker
WAshington
Pilchuck Glass School, 430 Yale Ave. North, Seattle, WA
98109, Tel: 206-621-8422, www.pilchuck.com
May 20 - June 6: Four-Dimensional Objects: Kinetic Glass
Sculpture with Bandhu Dunham
Even simple movement in glass sculpture adds a
dimension of emotional engagement, visceral tension and
intellectual fascination. This experience can be anything
from playful to disturbing – and is provocative in terms
that can be precise or ambiguous, according to the artist’s
inclination and skill.
Using the lampwork technique and borosilicate glass,
we will explore a number of methods for imparting motion
to glass sculpture. Simple mechanisms such as pivots,
bearings, cranks, cams and pulleys can be combined to make
intriguing and evocative contraptions on a large or small
scale. Blown glass pistons and valves can be assembled into
animated fountains, hydraulic pumps and even fanciful
steam-powered machines. Through a combination of
group discussion, structured exercises and free practice
time, students will develop a vocabulary of basic techniques
and components they can use to build kinetic sculpture in
glass. Design considerations such as basic layout, structural
strength, assembly strategies and sources of supplies will
also be covered. Students will also learn how to make timesaving
jigs from graphite, steel and mullite (kiln shelves). In
the course of the class, Bandhu will demonstrate the creation
of one of his own kinetic contraptions. Students will receive
a list of recommended simple tools to bring. No particular
scientific or engineering background is needed.
Pratt Fine Arts Center, 1902 S Main St, Seattle, WA, 98144,
Tel: 206-328-2200, info@pratt.org, www.pratt.org
Hot Glass
Jan. 16 - Mar. 5: Glass Casting I/Cathy Chase
Jan. 5 - 26: Glass Casting II/Jeanne Brennan
Jan. 13 - Mar. 2: Glassblowing I/Chuck Lopez
Jan. 7- Mar. 3: Glassblowing II/Paula Stokes
Jan. 8 - Feb. 26: Glassblowing III/Cayn Thompson
Jan. 17- Feb. 7: Glassblowing for Seniors/Elli Bemis
Jan. 10 - 31: Intro to Color Design for Blown Glass/
Jeanne Ferraro
Jan. 26 - Feb. 16: The Complete Glassblower: Hot and Cold
Shops Access Class/Rebecca Chernow
Jan. 27- Feb. 17: Working with Murrini Cane in the Hot Shop/
Leana Quade
Feb. 7- Mar. 13: Goblets II/Eric Mead
Jan. 12 - Feb. 16: Reticello/David Williams
Jan. 12-13: Introduction to Glassblowing/Nicholas Davis
Jan. 19-20: Introduction to Glassblowing/Carrie Mood
Feb. 23-24: Introduction to Glassblowing/Carrie Mood
Mar. 1-2: Introduction to Glassblowing/
Donna McCord
Jan. 5-6: Incalmo/Chuck Lopez
Mar. 6-9: Solid Sculpting Intensive/Raven Skyriver
Coldworking
Jan. 22 - Feb. 12: Continuing Coldworking/Paul Larned
Feb. 19 - Mar.11: Advanced Cold Working/Paul Larned
Jan. 19 -20: Introduction to Coldworking/Pat Bako
Feb. 23-24: Introduction to Coldworking/Pat Bako
Jan. 26-27: Cold Feet in the Cold Shop? Become an
Accessed Cold Shop Renter/Paul Larned
Mar. 1- 8: Laminating and Gluing Workshop/
Paul Larned
Warm Glass
Jan. 9 - Feb. 27: Kiln-Cast Glass Sculptures I/Susan Balshor
Jan. 29 - Mar. 4: Pate de Verre/Delores Taylor
Jan. 26 - 31: Kiln Casting Small Work/Susan Balshor
Jan. 9 - Feb. 27: Fusing I/Robin Oakes
Feb. 5 - Mar. 4: Glass Slumping and Fusing for Seniors/
Dianne Rasmussen
Jan. 10 - Feb. 7: Fusing II: Pattern Bars and Beyond/Pat Bako
Jan. 8 - 29: Independent Projects in Slumping/Fusing/
Dianne Rasmussen
Feb. 14 - Mar. 6: Independent Projects in Slumping/Fusing/
Jeanne Ferraro
Jan. 26-27: Fused Glass Jewelry/Robin Oakes
Feb. 2-3: Introduction to Fusing and Slumping/
Pat Bako
Feb. 23-24: Fusing with Family and Friends/Robin Oakes
Mar. 7-8: Exploring Surface Decoration with Frits and
Powders/Robin Oakes
Jan. 18-20: Special Projects in Fusing - Lights & Sconces/
Mark Ditzler
Beadmaking
Jan. 11-13: Make Sculpture Grow from Seeds: Create
Forms with Beads/David Chatt
Jan. 9 - Feb. 27: Introduction to Beadmaking and Soft Glass/
Stacy Frost
Jan. 10 - Feb. 7: Bead Making for Seniors/Elaine Alhadeff
Jan. 9 - Feb. 27: Beadmaking II/Cheryl Matson & Stacy Frost
Feb. 16-17: Introduction to Beadmaking Workshop/
Stacy Frost
Jan. 18-20: Putting it All Together/Stacy Frost & Kendra
Bruno
Jan. 26-27: Colors, Colors, Colors!/Cheryl Matson
Feb. 23-24: Advanced Beadmaking/Cheryl Matson
Flameworking
Jan. 8 - Feb. 26: Flameworking I/Genevieve Church
Feb. 7- Mar. 6: Flameworking II/Nat Franco
Feb. 9-10: Dichroic Glass Applications/Justin Bagley
Jan. 12-13: Let’s Make Flameworked Goblets/
Mike Conrad
Feb. 1-3: Vacuum-Formed Paperweights/Steve Hitt
Mar. 1-2: Latticino and More!/Stacy Frost
International
IRELAND
Waterford Crystal Factory, c/o Pangur Glass Craft,
Ballyjamesduff, Co. Cavan, Fax: +353 49 8545562,
info@waterfordclasses.com, www.waterfordclasses.com
Feb. 18-21: Glassblowing/John Cuddihy
Feb. 25-28: Glassblowing/John Cuddihy
Mar. 3-6: Glassblowing/John Cuddihy
9

G L A S H A U S
The International Magazine
of Studio Glass
German/ English, 4 issues p.a. 39 EUR
(including air mail postage)
Advertising/Subscription:
Dr. Wolfgang Schmölders
Glashaus-Verlag, Stadtgarten 4
D-47798 Krefeld (Germany)
Tel: +49-2151-77 87 08
Fax: +49-2151-97 83 41
Email: glashaus-verlag@t-online.de
www.glasshouse.de
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:
February 1 for the April/May 2008 issue
April 1 for the June/July/August 2008 issue
We look forward to hearing from you.
Peter Layton, “Game of Life, Win-Win, Lose-Lose”, 2006, Plastic,
glass. Photo: Ester Segarra. At London Glassblowing Workshop,
London, England
Karen Gilbert, “Wall Brooches, 2005”, Flame worked Pyrex glass,
sterling silver, enamel, semi-precious stones, stainless steel.
Photo: Amy Fronczkiewicz. At Toledo Museum of Art, Toledo OH
UNITED STATES
CaliforniA
Novato, La Stella Lighting, Tel: 415-884-9045, E-mail:
info@lastellalighting.com, Web: www.lastellalighting.com,
Art Deco, through 1/31/2008
Kentucky
Louisville, Kentucky Museum of Art and Craft,
Tel: 502-589-0102, Fax: 502-589-0154, E-mail: kacf@aye.net,
Web: www.kentuckyarts.org, Master Makers: Stephen Rolfe
Powell, A Retrospective Exhibition, through 2/2/2008
Maine
Rockland, Farnsworth Art Museum, Tel: 207-596-6457,
Fax: 207-596-0509, E-mail: farnsworth@midcoast.com,
Web: www.farnsworthmuseum.org, A Gathering of
Contemporary Glass: This exhibition of contemporary
glass focuses on works created by artists who studied or
taught at either Haystack or Pilchuck, through 2/17/2008
New York
New York, Museum of Arts & Design, Tel: 212-956-3535,
Fax: 212-459-0926, E-mail: holly.hotchner@madmuseum.org,
Web: www.madmuseum.org, Cheers! A MAD Collection of
Goblets, through 3/9/2008
OHio
Toledo, The Toledo Museum of Art, Tel: 419-255-8000 ext.
7468, Fax: 419-255-5638, E-mail: JPage@toledomuseum.org,
Web: www.toledomuseum.org, GlassWear: over 60 works
of glass art jewelry from artists around the world, through
1/31/2008
PennsylvaniA
Pittsburgh, Pittsburgh Glass Center, Tel: 412-365-2145 ext.202,
Fax: 412-365-2140, E-mail: paige@pittsburghglasscenter.org,
Web: www.pittsburghglasscenter.org, Recollection: Michael
Rogers and Richard Hirsch, through 3/31/2008
WAshington
Tacoma, Museum of Glass, Tel: 253-284-4750,
Fax: 253-396-1769, E-mail: info@museumofglass.org,
Web: www.museumofglass.org, Mining Glass: Wim
Delvooye, Teresita Fernández, Mona Hatoum,
Maya Lin, Jean-Michel Othoniel, Kiki Smith, Fred Wilson,
Chen Zhen, through 2/3/2008; Contrasts: A Glass Primer,
through 11/30/2009
Tacoma, William Traver Gallery/Tacoma, Tel: 253-383-3685,
E-mail: info@travergallery.com, Web: www.travergallery.com,
James Minson, Young Glass: Group show featuring
emerging glass artists, 12/15/2007 - 2/3/2008
Michael Rogers and Richard Hirsch, “Grounded”, 2007,
Glass and Ceramic. At Pittsburgh Glass Center, Pittsburgh, PA
INTERNATIONAL
CANADA
Waterloo, ON, Canadian Clay & Glass Gallery,
Tel: 519-746-1882, Fax: 519-746-6396, E-mail: info@
canadianclayandglass.ca, Web: www.canadianclayandglass.
ca, Land, Light & Identity, through 1/25/2009
Montréal, QB, Espace VERRE Centre des métiers du verre du
Québec, Tel: 514-933-6849, E-mail: direction@espaceverre.
qc.ca, Web: www.espaceverre.qc.ca, Around the Table:
Catherine Labonté, Cédric Ginart, Christina Mayr, Élisabeth
Marier, Guy Martin, Maxime Vaillancourt, Patrick Primeau,
Vanessa Yanow, through 1/11/2008
DENMARK
Ebeltoft, Glasmuseet Ebeltoft, Tel: +45 86 34 17 99,
E-mail: dab@glasmuseet.dk, Web: www.glasmuseet.dk,
Kitchen Dreams: Ricky Bernstein, USA, through 1/31/2008;
The Permanent Collection, through 5/12/2008; An
exhibition of works by the Danish glass artist Lene Bødker,
through 5/12/2008; Bert Frijns, 5/24/2008 - 11/16/2008
ENGLAND
London, London Glassblowing Workshop, Tel: +44 207
403 2800, E-mail: info@londonglassblowing.co.uk, Web:
www.londonglassblowing.co.uk, Peter Layton and Friends
- Celebrating 30 Years of London Glassblowing,
1/21/2008 - 2/29/2008
FRANCE
Sars-Poteries, Musée Atelier du Verre de Sars-Poteries,
Tel: +33 (0) 3 27 61 61 44, Fax: +33 (0) 3 27 61 65 64,
E-mail: museeduverre@cg59.fr, Web: www.nordmag.fr/
culture/musees/sars_poteries/musee_sars_poteries.htm,
Julie Six, through 1/8/2008
P r o m o t e Y o u r E x h i b i t i o n !
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
N O W A V A I L A B L E
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Society Blog!
Check out the latest listings,
organization news,
and more – it’s all just a few
keystrokes away.
11
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member section of the
GAS website, make note
of the username and
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the blog, then click on the
blog button and enter the
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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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info@glassart.org; or check out our website at
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Contribute to GAS NEWS
GAS news is for the members of the Glass Art Society.
There are several ways to contribute:
1. Listings: Every issue has 100s of listings and
classified ads, free to members
2. Member Profile: Gives members an opportunity
to share their work, experience and thoughts with other
members. Images and text welcomed.
3. Student Profile: Students, send artist’s statement,
a brief bio, images of your best, most recent work,
your name, address and contact information.
4. School Profile: Students or educators of accredited,
degree-offering schools, send a brief article about your
school and what it offers, and a few images.
5. Workshops: Non-degree schools, send a brief
article about your program and a few photos.
6. International Window: GAS has members
in over 50 countries. Each issue we highlight
1 or more countries or events outside the U.S.
Images and text welcomed.
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 the Communications Manager at the
GAS office. E-mail: Dana@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
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The Glass Art Society (GAS), its Board of Directors, members, and
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and expressly disclaim all liability for any content whatsoever herein.
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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
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