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

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

Glass Art Society

Board of Directors 2005-2006

january

february

2006

President

Anna Boothe

Vice President

Shane Fero

Eddie Bernard

Shara Burrows

(Student Rep.)

Shane Fero

Ki-Ra Kim

Jeremy Lepisto

Jutta-Annette Page

Staff

Treasurer

Robin Cass

Secretary

Beth Ann Gerstein

Kirstie Rea

Chris Rifkin

Tommie Rush

Elizabeth Swinburne

Pamina Traylor

Harumi Yukutake

Pamela Figenshow Koss, Executive Director

Sarah Bak, Executive Assistant / Registrar

Shannon Borg, Communications Director

Kathleen Lester, Bookkeeper

Karen Skrinde, Database Manager

3131 Western Avenue, Suite 414

Seattle, Washington 98121 USA

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

info@ glassart.org www.glassart.org

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For information on advertising in GAS NEWS

or other GAS publications, please contact

the GAS office at 3131 Western Avenue,

Suite 414, Seattle, Washington 98121, USA.

Tel: 206-382-1305; Fax: 206-382-2630;

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

www.glassart.org and click on “Advertising”

Contribute to GAS NEWS

GAS NEWS is for the members of the Glass Art Society.

There are several ways to contribute:

1. Listings: Every issue has 100s of listings and

classified ads, free to members

2. Member Profile: Gives members an opportunity

to share their work, experience and thoughts with other

members. Images and text welcomed.

3. Student Profile: Students, send artist’s statement,

a brief bio, images of your best, most recent work,

your name, address and contact information.

4. School Profile: Students or educators of accredited,

degree-offering schools, send a brief article about your

school and what it offers, and a few images.

5. Workshops: Non-degree schools, send a brief

article about your program and a few photos.

6. International Window: GAS has members

in over 50 countries. Each issue we highlight

1 or more countries or events outside the U.S.

Images and text welcomed.

GLASS

COLOR ROD

FRIT & POWDER

by

KUGLER COLORS ©

REICHENBACH

LOETZ by ULLMANN

NOW MAKING

GAFFER BATCH

SPRUCE PINE

BATCH COMPANY

P. O. BOX 159

SPRUCE PINE, NC 28777

(828) 765-9876

www.sprucepinebatch.com

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I N S I D E

REGULAR FEATURES

President’s Letter:

Herding Individualists

Student Profile:

Minako Shirakura

Member Profile: Jane Gavan

International Window:

The World According to

Sybren Valkema

Empire of Glass 2005

Technical Article: Coldworking

with Diamond Tools

GAS Line

SPECIAL FEATURES

Student Scholarship Opportunity

Call for Donations:

Annual Auction at the GAS

2006 Conference, St. Louis

A Talk with Maestro

David Salvadore

GAS 36th Annual Conference:

Glass Gateways

Meet in the Middle:

Main Conference Venues

Conference Presenters

Get Involved!: Goblet Grab,

Visual Exchange, Gallery Forum,

International Forum for

Glass Organizations,

Artist Portfolio Review,

Education Resource Center

Exhibitions

Special Conference Events:

Pre-Conference Reception,

Stained Glass Tour, Gallery Hop,

Closing Night Party

Technical Display

International Student Exhibition

Pre- & Post-Conference

Workshops

LISTINGS

Classes and Workshops

Resources, etc.

Exhibitions

Seminars, Conferences, Events

volume 17

issue 1

T H E N E W S L E T T E R O F T H E G L A S S A R T S O C I E T Y

FROM THE PRESIDENT:

Herding

Individualists

Ben Edols at the 2005 GAS Conference

in Adelaide, Australia

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

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

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

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

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

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

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

the result can be synergistic.

GAS is one such artist-based organization that thrives

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

affect or are affected by the multiplicity of one material.

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

through each conversation I attempt to read a “GAS

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

illuminating discussions with members. Compliments

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

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

criticism is often what instigates reflection and engenders improvement.

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

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

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

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

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

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

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

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

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

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

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

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

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

member sub-group concerns.

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

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

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

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

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

you are stirred.

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

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

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

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

7. Critical Issues: Submit your ideas for an article that

analyzes, interprets, or evaluates artistic works in glass.

For more information on submissions, go to

http://www.glassart.org, click on “Newsletter” or

contact the Communications Coordinator at the

GAS office. E-mail: Shannon@glassart.org

The Glass Art Society reserves the right to edit

submissions for any reason deemed necessary by

the editor, including clarity, length or grammar.

Submission of material is not a guarantee that

it will be published. Please include a SASE for

return of materials sent via mail.

The Glass Art Society (GAS), its Board of Directors, members, and

employees, are not responsible in any capacity for, do not warrant

and expressly disclaim all liability for any content whatsoever herein.

All such responsibility is solely that of the authors or the advertisers

A copy of the Glass Art Society’s annual financial report may be

obtained, upon request, from the GAS office, or from the Office of the

Attorney General, Charities Bureau, 120 Broadway, New York, NY 10271

GAS NEWS is published

six times per year as a benefit

to members.

Publications Committee:

Scott Benefield, Eddie Bernard,

Shara Burrows, Robin Cass,

Beth Lipman, Kirstie Rea,

Managing Editor: Shannon Borg

Graphic Design: Ted Cotrotsos

The Glass Art Society

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

© 2005 The Glass Art Society, a nonprofit

organization. All rights reserved.

Publication of articles in this newsletter

prohibited without permission from

the Glass Art Society, Inc.

January / February 2006, volume 17-1

THE GLASS ART SOCIETY

3131 Western Avenue, Suite 414

Seattle, WA 98121

CHANGE SERVICE REQUESTED

Anna Boothe

Non-Profit Org.

U.S. Postage

PAID

Seattle, WA

Permit #150


STUDENT

Minako Shirakura

Alfred University, Alfred, NY

Minako Shirakura was brought up in Tokyo.

She studied glass and received her bachelor’s

degree with honors and postgraduate diploma from

Edinburgh College of Art in Scotland. Since then

she has shown her work in United Kingdom,

Germany, Italy, Japan and United States. She has

participated in Pilchuck Glass School and Haystack

Mountain School of Crafts both as a student and

as a Teaching Assistant. Currently she is a first year

master of fine arts student at Alfred University.

Artist Statement:

We want to hear

from you!

PROFILE

I would like to take any materials that best

suit the expression of my ideas, but I am strongly

attracted to the rich vocabulary glass offers me.

Transparency, fragility, softness of its lines, potential

danger, reflectivity, and the play between light and

shadow– glass often holds contradictory natures in

one, and it is almost human to me.

My interest in recent years is becoming more

mixed media oriented. However, glass still remains

a very important means of communication to me

and I would like to pursue and develop my language

of glass further.

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

“Perfect Gift,”

(detail) 1999, glass,

acrylics, wood.

Photo: Hiroyasu

Fujimoto

Students: Don’t Miss this Scholarship Opportunity!

If you are a student and need financial support

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

be sure to apply for our student scholarships.

Scholarships are open to full-time student members

of GAS, current through June 2006. The application

process is juried.

General Scholarship

All full-time student members of GAS are

eligible for this scholarship.

Takako Sano Scholarship

Students living outside Australia are eligible

for assistance through the Takako Sano Scholarship

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

Becky Winship Flameworking Scholarship

Students whose work uses flameworking techniques

are eligible for this scholarship, generously

funded by Winship Designs.

How to apply:

One application allows you to be considered for

all scholarships, if eligible.

GAS NEWS invites Letters to the Editor

from all GAS members. Submit your opinions,

comments, and thoughts to: Glass Art

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

1. Letters will be selected for publication based on space availability, topical interest, number of letters

received on the same topic or area, and adherence to our guidelines. Only letters from Glass Art

Society members will be published.

2. Letters containing potentially libelous matter, profanity, or that attack the character or reputation

of a person or company will not be printed.

2

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

Thank you Jane!

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

venue to build relationships with craft buyers from all across

15

commcoord@glassart.org

Guidelines for submission of Letters to

the Editor: We encourage all GAS members

to express their opinions in letters to the

editor, and ask that the following guidelines

be adhered to when submitting letters:

Send:

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

why you would like to attend the conference.

Please indicate the school you are currently

attending.

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

your name.*

3. Slide sheet with the following details about

each slide:

a. Your name

b. Title of the piece

c. Year of creation

d. Materials and technique used

e. Dimensions of the piece

*Slides should be numbered to correspond with

the slide sheet.

To:

Student Scholarship, Glass Art Society,

3131 Western Avenue, Suite 414

Seattle, WA 98121, USA

Deadline for applications: February 15, 2006

Notification by: March 15, 2006

3. Letters may be edited for language and length.

4. Letters should be limited to 200 words.

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

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

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

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

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

the Editor.”

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

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

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

of one letter per writer per three newsletters.

Factory Light Structure maquette, test series.

300 mm h x 50 mm w x 50 mm d

MEMBER

Jane Gavan

PROFILE

Australian glass artist Jane Gavan is interested

in exploring and challenging the parameters of

glass. As head of the Glass Studio at Sydney College

of the Arts and through her studio practice, she has

created works that show her interest in how light,

space and visual communication combine and

recombine in each project, where an emphasis on

formal or conceptual concerns is mediated through

processes and materials.

In one current major project, the Factory Light

Project, she explores the synergies between a factory

and the processes of makers of contemporary

craft, emphasizing the role of glass as a material in

contemporary object art and design.

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

The exhibition will include a room with a series of

10-12 glass maquette style structures that attempt

to capture the ambience of an industrial building

from the modernist period as it appears to us today.

The devitrified glass in these old buildings make

them contemporary for us, the time passing is

embodied on their outer skin.

For this exhibit, Gavan has been developing

small viewing boxes and a series of objects that

reflect the muted light and each floor inside the

building. “With these smaller scale structures,” she

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

be accessible, a distilled essence of the current

sense of the monumental building.”

Each object will examine different elements of

the relationship through its treatment and structure.

Iron green tinted window glass and soft grey and

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

invested in a mould, then kiln fused in several

different architecturally reminiscent structures.

For Gavan, this project revolves around the joy of

discovering and developing new techniques for

making and examining materials, objects and

phenomena in society.

ERRATA

Last month we

neglected to list

Jane Gavan’s

contributions to the

2005 GAS Auction.

Barbara Koppelstätter (left) with artist Josepha Gasch-Muche

at Galerie B, Baden Baden, Germany

ENGLAND

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

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

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

Exhibition including Wayne Charmer, Jenny Cork, Maggie

Hamlyn Williams, Sarah Hayhoe, Ian MacDonald, Kathryn

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

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

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

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

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

Person Touring Exhibition with John Buron, Eva Engström,

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

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

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

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

Fair For Contemporary Objects, Located in the Temporary

Exhibition Galleries, February 9 - 13, 2006

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

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

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

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

Ann Wolff, through January 29, 2006

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

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

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

West Midlands, Broadfield House Glass Museum,

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

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

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

through January 28, 2006

ESTONIA

Tallinn, Estonian Museum of Applied Art & Design,

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

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

Two Close Ones, March 17 - May 21, 2006

FRANCE

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

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

Verre: Hanneke Fokkelman, through January 29, 2006

GERMANY

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

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

through February 28, 2006

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

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

Glaspreis 2006 Für Zeitgenossische Glaskunst In Europa,

April 2 - June 30, 2006

2006 American Craft Council Southeast Regional Conference

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

many of the conference sessions will be held at the Kentucky

Museum of Art and Craft along with other local venues.

For more information contact: Craft Marketing Program,

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

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

2006 Biennial Conference “The Object as an Eloquent

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

information contact: New Zealand Society of Artists in Glass,

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

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

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

World Trade Center, Boston, MA. CRAFTBOSTON 2006 is

produced by The Society of Arts and Crafts and will feature

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

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

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

CRAFTBOSTON Show Director, mdebruin@craftboston.org

North Lands Creative Glass 10th Annual International

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

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

contemporary art and craft practice. Speakers confirmed at this

date include Masterclass leaders (excluding Marquis), Glenn

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

Studies program (keynote presentation) and Louise Butler,

independent curator of traditional Scottish crafts. For further

information contact: Lorna MacMillan, North Lands Creative

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

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

www.northlandsglass.com

2006 International Flameworking Conference March 17-19,

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

For more information contact: Salem Community College Glass

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

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

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

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

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

www.sonoranglass.org

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

conference includes guest speakers Lloyd Herman and Michael

Monroe, many conference sessions, a reception at Bullseye

Connection, and much more. For more information contact:

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

info@codacraft.org, www.codacraft.org

Coesfeld-Lette, Glasmuseum Alter Hof Herding, Tel: +49 25 46

93 050, Fax: +49 25 46 93 0550, E-mail: info@ernsting-stiftung.de,

Web: www.ernsting-stiftung.de, Sybille Peretti and Lieve Van

Stappen, through January 22, 2006

Frauenau, Galerie am Museum Glasobjekte und Graphiken,

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

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

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

in Residence, through March 4, 2006

JAPAN

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

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

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

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

SCOTLAND

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

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

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

Designer Glass Competition Touring Exhibition, January 24 -

March 8, 2006

Galleries/Museums/Artists

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

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

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

seminars, conferences, events

Glass Art Society 36th Annual Conference Glass Gateways:

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

Conference brochures with details will be mailed Fall 2005.

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

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

info@glassart.org, www.glassart.org

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

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

exhibition for the glass manufacturing industry in the Indian

sub-continent and will include a panel of international

speakers presenting papers on key elements of the glass

manufacturing process. For more information contact:

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

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

GlassBuild America: The Glass, Window, & Door Expo

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

Las Vegas, NV. For more information contact: GlassBuild

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

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

www.GlassBuildAmerica.com

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

Strasbourg, France. For more information contact: International

Commission on Glass, ICG 2007 - CRITT Materiaux Alsace,

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

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

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

International Fair Ground, Kuwait City, Kuwait. The Fifth

International Trade Fair For The Glass Processing Machinery,

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

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

event has contributed significantly to the growth of the glass

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

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

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

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

Philadelphia Buyers Market of American Craft Feb. 17-20

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

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

wholesale trade show that provides artists a professional

the country. Approximately 2,000 artists exhibit annually to

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

the United States and Canada. For more information contact:

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

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

info@rosengrp.com, www.americancraft.com

UrbanGlass Auction and Glassblowers Ball April 29, 2006,

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

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

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

director@urbanglass.org


14

UNITED STATES

ARKANSAS

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

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

Trajectories: An Exploration of Contemporary Glass

Beadmaking. This exhibition is presented in cooperation

with the International Society of Glass Beadmakers,

through March 16, 2006

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

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

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

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

Laura Balombini, Valerie Bunnell, Stephan Cox, Paul Allen

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

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

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

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

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

CALIFORNIA

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

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

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

Sudderth, Mike Loftus, Joey Fernando, Jerry Hirschman,

through January 6, 2006

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

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

Beyond Tradition: Contemporary Glass Arts: Julie Alland,

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

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

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

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

Rueffert, David Ruth, Nadine Saylor, Johnathon Schmuck,

and Mary Bayard White, through January 31, 2006

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

mail@DandAfinearts.com, Susan Stinsmuehlen-Amend &

Richard Amend: Solo Exhibitions, through January 15, 2006

GEORGIA

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

www.mercer.edu, Architecturally Themed Exhibit at the

Swilley Library to Benefit the Foundation for Community Arts,

February 13 - March 31, 2006

ILLINOIS

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

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

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

2005 - January 7, 2006

KANSAS

exhibitions

PLEASE NOTE: Publication of notices is for information

purposes only and does not necessarily indicate endorsement

by the Glass Art Society.

We are happy to include information as supplied to us by

various sources. Please send us your press releases and notices

including specific, current facts as far in advance as possible to:

GAS, 3131 Western Avenue, # 414, Seattle, WA 98121 or e-mail

to: Shannon@glassart.org. GAS NEWS is a bi-monthly publication.

Members receive their newsletters approximately 6-8 weeks

after the deadline.

Upcoming Newsletter Deadlines:

December 15 for the March 2006 issue

February 1 for the April/May 2006 issue

We look forward to hearing from you.

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

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

www.lawrenceartscenter.com, 18th Annual Outdoor

Downtown Sculpture Exhibition, through March 31, 2006

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

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

Photo: R. Watson

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

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

Tiffany By Design, through January 8, 2006

MASSACHUSSETTS

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

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

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

original and eclectic accessories. Features 25 artists who

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

and other creative body accessories, through January 22, 2006

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

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

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

the Rifkin Collection, through January 2, 2006

MAINE

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

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

- December 31, 2006

NEW YORK

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

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

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

explores early years of Harvey Littleton, Dale Chihuly, other

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

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

Glass of the Maharajahs: European Crystal Furniture for

Indian Royalty, May 19 - November 30, 2006

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

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

Art Miami: Christina Bothwell, Nicole Chesney, Gregory

Grenon, Susan Taylor Glasgow, Sibylle Peretti, Miles Van

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

Susan Taylor Glasgow, Anja Isphording, Therese Lahaie, Karen

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

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

Ales Vasicek, March 11- April 4, 2006

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

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

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

Reservation, Part 2 - Contemporary Native North American

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

Barber, Susan Point, and Preston Singletary, through January

22, 2006

Niagara University, Castellani Art Museum of Niagara

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

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

Exquisite Corpse: Contemporary Figurative Flameworkers

Play a Surrealist Game, through February 12, 2006

OREGON

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

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

Web: www.bullseyeconnectiongallery.com, Winter Games:

Bennett Battaile, Steven Easton, and Erika Tada, December

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

Location: Victoria & Albert Museum, London, England,

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

January 20 - February 18, 2006

PENNSYLVANIA

Pittsburgh, Morgan Contemporary Glass Gallery,

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

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

Abildgaard, Wendy Saxon Brown, Judi Charlson, Hartmann

Greb, Gregory Grennon, Carmen Lozar, Koichi Matsufuji,

Gregory Nangle, Masayo Odahashi, Pat Owens, Jeff

Sarmiento, through February 5, 2006

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

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

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

Revealed. A variety of artists will stretch the boundaries of

the traditional chandelier and present new works in glass

chandeliers. Artists in residence Daniel Spitzer, Jill Reynolds,

Katherine Gray, James Mongrain, Emilio Santini, and Ginny

Ruffner will create chandeliers in the studio at PGC. Other

artists contributing to the exhibition are James Minson,

Gavin Benjamin, Kathleen Mulcahy and Ron Desmett,

through January 6, 2006

TEXAS

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

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

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

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

perfume bottles from over 50 contemporary glass artists

nationwide, February 3 - March 5, 2006

Andrew Shea, “Topaz Swirl,”

at Kittrell/Riffkind Art Glass, Dallas, TX

VIRGINIA

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

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

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

meditations on the power of water: An Exhibition of Artwork

Examining the Power of Water; Proceeds to Benefit the

Youngest Victims of Hurricane Katrina, through January 3, 2006

WASHINGTON

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

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

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

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

pieces representing both early and later work by Dale Chihuly,

James Carpenter, Fritz Dreisbach, Erwin Eisch, Mary Ann

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

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

William Morris, Lino Tagliapietra, Richard Marquis and others,

through January 29, 2006, Looking Forward Glancing Back:

Northwest Designer Craftsmen at 50, through February 26, 2006

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

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

Lisa Zerkowitz: Growth, through January 8, 2006

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

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

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

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

Tacoma, Museum of Glass: International Center for

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

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

Gathering the Light: Cappy Thompson, Ongoing, Paul

Stankard: A Floating World, Forty Years of an American

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

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

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

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

January 18 - June 18, 2006

INTERNATIONAL

AUSTRALIA

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

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

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

Craft, through January 29, 2006

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

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

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

Engraved Glass: Robert Knottenbelt, Mel Douglas, Richard

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

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

January 15, 2006

BELGIUM

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

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

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

CANADA

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

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

anniversary exhibition, through January 14, 2006

Call for Donations:

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

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

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

The annual GAS Auction offers conference attendees

the opportunity to support GAS by donating and/or

purchasing beautiful works of glass art. We encourage

donations of collaborative glasswork, innovative and

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

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

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

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

The GAS Auction has become one of the highlights

of the annual conference, and we have two ways that

you can participate:

The Silent Auction

As in past years, we will present our popular silent

auction. Silent auction donations may be in the form

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

items relating to glass. Participating artists may choose

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

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

auction provides conference attendees and the public

an opportunity to see and purchase glass and glassrelated

items in a wide variety of price ranges.

How to donate to the Silent Auction:

1. Contact the GAS office to obtain a Silent Auction

donation form or find it on the GAS website at

www.glassart.org

2. Complete and return the Silent Auction donation

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

ship the form with your donation.

3. Bring your donated piece to the conference.

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

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

Fri., June 16, 9 am - 12 pm

If interested in shipping (at your own expense)

see shipping information below.

Shipping for Auction

Donating Artists: Artists donating to the Silent

Auction or whose work is accepted to the Live

Juried Auction and who are attending the conference

are encouraged to hand-deliver their work

to the conference packed well enough for carryout.

If interested in shipping, contact the GAS office for

shipping details. Shipped work must be received

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

responsibility for the shipping of donations. GAS

promises to handle your piece with the utmost

respect and care, and to update you on the status

and sale of your donation, but we are not responsible

for breakage, theft, or loss. If your donation

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

fundraiser or event to benefit GAS.

Buyers: Professional packers and shippers will be

available after the auction on Saturday evening to

take care of shipping your purchases. All purchases

are final and must be paid for and removed from

the premises during the evening. Items that are not

removed will be shipped to the purchaser at the

purchaser’s expense. No exchanges or refunds are

allowed. GAS assumes no responsibility for the

shipping of purchases or for those items not picked

up immediately after the Auction. Once you have

made arrangements with a shipping vendor, GAS

is not responsible for your piece, and cannot, by

shipping regulations, intervene on your behalf

with the shipper. You must resolve any concerns

regarding artwork damaged or lost during shipping

by contacting the shipping vendor directly.

The Juried Live Auction

For the GAS International Juried Auction Exhibition

jurors will select 35 of the finest works for presentation

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

be showcased on the GAS website and featured in a

special exhibition onsite during the conference. We will

supplement the juried work with select pieces created

during conference demonstrations.

Eligibility

The International Juried Auction Exhibition is open

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

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

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

donate, and donating work is a great way to support

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

may be accepted. For jurying purposes all slides will be

anonymous. All work must be designed by the artist.

Entry Procedure for Juried Live Auction

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

Participating artists may choose to receive 25% or 50%

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

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

catalog and on the GAS website. These donations are

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

donor will receive a receipt for the auction selling prices.

The jurying process will take place digitally. Photos

and transparencies will be scanned for the jury process.

The decision of the jurors is final. Images of accepted

works will be retained for publicity and catalog purposes;

no substitutions permitted.

Fill out the entry form below and submit with

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

February 1, 2006.

Name

Auction Jurors

William Carlson is the chair of the Department of

Art and Art History in the College of Arts and Sciences

at the University of Miami, and formerly Professor of Art

and head of the Crafts and Sculpture programs at the

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

of a National Endowment for the Arts Fellowship,

and his work is in numerous museum collections around

the world, including the Metropolitan Museum of Art,

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

Museum of Art in Sapporo, Japan. William Carlson is

widely considered one of the most important figures

in the studio glass movement and has impacted the

movement as an artist and as an educator.

Ginny Ruffner is a former Glass Art Society Board

member, president, and conference site coordinator.

She received both her BFA and MFA from the University

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

She has exhibited her work at the Laumeier Sculpture

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

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

de Young Memorial Museum, San Francisco. Her work

is included in the collections of the American Craft

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

Metropolitan Museum of Art, New York. She lives and

works in Seattle creating mainly bronze, stainless steel,

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

Ruth Summers has been Executive Director of

Grove Arcade Public, Asheville, NC, since September

2004. She was Executive Director of Southern Highland

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

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

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

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

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

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

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

Trustees of Creative Glass Center of America, Millville,

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

1996-1997; Chairperson, Glassweekend ‚1995; and

Chairperson of the Fellowship Selection Committee,

1989-1993.

This is a great opportunity to have your work seen

and appreciated by a discerning community of glass

enthusiasts! See you at the Auction!

INTERNATIONAL JURIED AUCTION EXHIBITION ENTRY FORM

Submission Deadline: February 1, 2006

Notification of acceptance will be mailed by March 6, 2006

Address

City State Zip Phone (day)

E-mail

1. Title of Entry

Size

Description

2. Title of Entry

Size

Description

3. Title of Entry

Size

Description

Signature

Value

Value

Value

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

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

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

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

include a SASE for the return of your images.

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

3


international window

“De wereld volgegns Sybren Valkema

(The World According to Sybren Valkema)”

Nationaal Glasmuseum, Leerdam, Netherlands by Scott Benefield

I recently had the opportunity to attend the

opening of an exhibition at the Nationaal Glasmuseum

in Leerdam, Holland. The occasion was a retrospective

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

studio glass movement in the Netherlands and a seminal

figure in the establishment of a European network

of educators and artists involved in studio glass.

The exhibition provided an excellent contextual

look at studio glass in Holland, complete with historical

background on industrial glass in Leerdam in the early

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

movement in the 60s. Valkema’s early commitment

to the education of the workers in Leerdam during

wartime, providing them with a more holistic program

that included fine arts and physical education as well

as the more traditional vocational curriculum, indicated

an innovative and experimental approach that would

become a lifelong pattern. As a member of the

generation who lived through the war years and its

deprivations, Valkema exhibited the spirit of invention

and self-reliance in many areas of his professional life

that would become so indicative of the later studio

glass movement.

The exhibition also gives insight into the enlightened

administration of the Leerdam factory during

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

effort with his peers at Orrefors and Venini and other

European factories—steered industrial glass production

away from the traditions of the past and towards

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

At Leerdam, Valkema’s design work followed in the

footsteps of Chris Lebeau and was contemporaneous

with that of Andries Copier. These are the years that

gave rise to the Serica (limited edition) and Unica

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

a precursor to the idea of glasswork that is not conceived

of in unlimited multiples.

The historical part of the show also details what

could be termed the Big Bang of the European studio

Empire of Glass 2005

Glass art rules a Dutch town

for five days every year

by Marcus Thielen

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

the annual glass art festival that turns the small Dutch

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

glass gallery every first weekend in October. Originated

from the fifth generation of the glass painter family

Nicolas in town (famous for their church windows)

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

developed into the largest European glass event, with

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

Beside nine official galleries who exhibit in public

space, nearly every shop in town turns into a glass

gallery; even butchers, bakers, general stores or

electronic shops exhibit and sell glass artwork.

The festival is financed by sponsored by local

businesses and a few big external sponsors, including

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

Glass Prize” for outdoor glass art objects in the garden

For Sale or Rent

Complete Hot Glass Studio all tools, equipment, and

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

For more information contact: 7209 Carosan Lane, Charlotte,

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

sakovach@sbcglobal.net.

Studio Rental Bighorn Glass Studio is a complete glass arts

center located minutes from Palm Springs, California with hot,

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

We offer a 130# electric furnace with Phillips Electroglass 90

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

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

For rates and more information please visit our website or

contact Michael Sudderth at: Bighorn Glass Studio, 65265 San

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

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

www.bighornglassstudio.com

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

welding and assembly required. Complete Grinder (already

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

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

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

Your Own Studio in Crafts Community The Rochester Folk

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

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

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

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

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

beautiful facility. We are looking for a hot glass worker

who is: interested in a craftsmanly approach to glassblowing;

capable of the responsible operation and maintenance of

a studio; seriously motivated to develop and produce functional

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

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

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

and the profits are shared. The Guild can offer some

commercial outlet for blown glass through it’s gallery and

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

or 585-924-9579.

Digital 120-Volt Glass Kiln Paragon Industries has released

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

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

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

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

opens vertically. A punty rod can extend outside the firing

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

elements are mounted in the roof with pinless element

grooves. The kiln uses the Sentry Xpress digital temperature

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

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

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

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

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

www.paragonweb.com

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

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

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

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

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

that monitors 5 thermocouples for even heating. It can do

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

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

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

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

and used it for many years, before completely refurbishing

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

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

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

or call 202.744.8222 and ask for Erwin. For more information

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

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

www.washglass.com

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

oldest and largest family-owned stained glass studios is

liquidating thousands of pieces of stained glass (much of

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

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

bronze and brass stained glass channeling; and cold working

equipment. For more information please contact: Chicago

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

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

www.harmonyapartments.com

Entire Hot Shop Equipment for Sale An electric furnace

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

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

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

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

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

call 253-984-7872.

John Lewis Glass for Sale These two hand blown glass vessels

were created in 1981 by renowned glass artist John Lewis.

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

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

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

and dated on the bottom. They have been appraised by

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

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

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

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

widest point. The edges curve inward to create an opening

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

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

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

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

around when measured at its widest point. Contact Nancy

Glass at JokerGL@aol.com.

Fellowships

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

presenters and arts organizations undertaking projects in

Central Europe, Russia and Eurasia. Applicants must be working

with an artist or organization in that region and projects should

be designed to benefit participants and audiences in both the

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

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

projects focusing solely on research, or the production of an

audio recording are not eligible. Applicants must be citizens

or permanent residents of the United States. 2006 ArtsLink

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

Invididuals or organizations that have received three ArtsLink

Projects awards are not eligible. Past ArtsLink Projects awardees

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

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

Applications must be postmarked by January 16, 2006. The

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

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

announced in late April 2006. For more information contact:

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

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

Fellowship Opportunities in American Craft The Smithsonian

American Art Museum and its Renwick Gallery invite applications

for research fellowships in art and visual culture of the

United States. Fellowships are residential and support full-time

independent and dissertation research. January 15 is the

application deadline for fellowships to begin on or after

June 1, 2006. For more information contact: Smithsonian

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

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

www.si.edu/research+study

Travel

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

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

and beadworking are featured along with textiles, stone inlay

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

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

$4980 pp double occupancy. For more information contact:

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

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

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

Publications

Mt. Washington and Pairpoint Glass is a beautifully illustrated,

comprehensive book on the history of these two companies

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

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

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

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

information contact: Antique Collector’s Club Ltd.,

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

The Complete Bead Resource Book 10th Edition, containing

over 2800 bead resources, is now available. For more

information contact: The Complete Bead Resource Book,

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

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

Artists Survey SAC will be organizing the jury for the 2006

Artists Awards grants as well as curating upcoming exhibitions.

In order to understand how artists are documenting their

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

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

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

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

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

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

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

Job Listings

Casting and Blowing Studio Assistant Position Available

in Tampa Florida. Housing and benefits optional. Pay commensurate

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

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

Tampa FL, 33604.

4 environment. This year the prize was awarded to

handed over by her Majesty the Queen herself. Then

13

Masumi Igarashi of Japan by the Dutch prime minister,

J. Balkenende.

Galleries alone do not make such an event; the

extensive program contains hot glass demonstrations

on the street, glass painting by Diego Semprun Nicolas,

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

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

including information on glass object taxation by

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

brand cars.

glass movement: the World Crafts Council conference

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

where Harvey Littleton first demonstrated the small

furnace designed by Nick Labino to an audience

that included Erwin Eisch and Valkema, many of

whom would return to their homes to found regional

and national movements, and maintain the peer

communication that would later grow into the

international network of artists working in glass

that exists today.

What I came to realize by looking at this exhibit

—which also includes early work by Littleton, Labino,

Marvin Lipofsky and others—was that the truly revolutionary

achievement of the studio glass movement

lay not in objects or technology or even an aesthetic

manifesto but was, rather, conceptual in nature. The

invention of the small furnace is often celebrated as

the turning point that made studio glass possible.

Indeed, this exhibition recognizes the critical role of

that technology by having a replica of the first Labino

furnace on hand (there were demonstrations of

glassblowing using it at the opening reception). But

small furnaces had existed for some time before that

as test melters in the factories, as both Eisch and

Valkema would have been aware of.

Early glass work from the 60s is too often dismissed

as being technically clumsy and poorly crafted,

a judgment that entirely misses the point of work that

was made in a spirit of rebellion against the virtuoso

skill of traditional glasswork. The essence of the studio

glass movement, the inspiration that all of those artists

and educators took away from that first encounter, was

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

material without the mediation of a factory or a system

that divorced craftsman from designer. That single

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

departments, which in turn disseminated information

to and inspired private studios across America and

Europe and that would later spread around the world.

For the 10th anniversary event in 2006, the festival

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

planned. Rumors were heard that 2006 prize may be

Glasrijk Tubbergen will become a real event of the Empire.

Contact for the festival: www.glasrijk.nl

Art glass in the green

environment. Photo:

Marcus Thielen

Marcus Thielen is a physicist who lives and works in

Duisburg, Germany, and owns and operates a technical

consulting business/test laboratory for neon signs and

gas discharge lamps. Since 1996 he has been author of

the monthly column “Neon Techniques” in the magazine

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

has authored articles in seven other languages.

The author demonstrates glassblowing from the replica

1964 Labino-style furnace at the opening reception in

Leerdam, assisted by Marc Barreda. Photo: Wyke Valkema

The Leerdam exhibition underlines the importance

of understanding our history, which can serve as a

touchstone even today for maintaining contact with

that fundamental idea. These days when glass work

is made with such technical assurance, when objects

have such impressive presence, when all of the formal

elements of color, scale and form are so much more

easily commanded, it is important to keep searching

for that earlier spirit of discovery and that ineffable

sense of liberation that was present at the beginning.

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

glass at the newly-established Gerrit Reieveld Academy,

spoke movingly of encountering rusty glass tools for

the first time (scavenged from factory discards) that

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

can we still say the same?

“De wereld volgens Sybren Valkema (The World

According to Sybren Valkema)”, curator Job Meyhuizen.

Nationaal Glasmuseum at Leerdam, October 16, 2005

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

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

Scott Benefield is the former editor of GAS NEWS,

and frequent contributor to the newsletter. He owns and

operates a production studio on Camano Island, Wash.

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

winning object by Masumi Igarashi. Photo: Marcus Thielen

John Lewis vessels

Jobs in the Arts Listings The New York Foundation of the

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

creative professionals. Galleries, museums, universities, and arts

organizations alike have all turned to NYFA to fill important

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

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

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

offers other resources. For more information contact: New York

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

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

eevans@nyfa.org, www.nyfa.org


esources, etc.

technical article

12

PLEASE NOTE: Publication of notices is for information

purposes only and does not necessarily indicate endorsement

by the Glass Art Society.

We are happy to include information as supplied to us by

various sources. Please send us your press releases and notices

including specific, current facts as far in advance as possible to:

GAS, 3131 Western Avenue, # 414, Seattle, WA 98121 or e-mail

to: Shannon@glassart.org. GAS NEWS is a bi-monthly publication.

Members receive their newsletters approximately 6-8 weeks

after the deadline.

Upcoming Newsletter Deadlines:

December 15 for the March 2006 issue

February 1 for the April/May 2006 issue

We look forward to hearing from you.

Calls to Artists

COMPETITIONS

4th Annual Ugly Necklace Contest 2006, A Jewelry Design

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

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

necklace? The Fourth Annual Ugly Necklace Contest for 2006

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

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

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

three good color snapshots or scans of your necklace, and

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

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

& Jewelry Arts. These distinguished Beadwork and Jewelry

Artist instructors will judge based on the hideousness of the

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

and wearability, how well the artist has shown an understanding

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

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

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

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

Best of Artists America Book Series Kennedy Promotions

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

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

beautiful soft cover book listed with major online booksellers.

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

artists. Also included is a special Emerging artist category.

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

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

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

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

www.bestofartists.com.

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

a juried glass commission competition. The projects submitted

are for sites in the headquarters of a large telecommunications

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

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

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

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

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

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

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

EXHIBITIONS

Courthouse Gallery Call to Artists Artists are invited to

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

Courthouse Gallery 2007 exhibition season. The Courthouse

Gallery presents five to seven exhibitions yearly of regional

and national contemporary visual artists in all media. Strong

preference given to work created within the last two years.

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

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

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

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

slide return. At this time the Gallery Committee cannot accept

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

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

more information contact: Lake George Arts Project, 1 Amherst

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

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

Kiln Processes Using Recycled Glass: A Juried Competition

and Exhibition for Fine Art, Crafts, and Industrial Products

The purpose of this competition is to showcase exemplary

artistic glass, ceramics and industrial products using recycled

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

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

for Environmental Economic Development, PO Box 4167,

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

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

North American Glass 2006 The Guilford Art Center presents

the biennial glass exhibit North American Glass 2006. Artists

may submit up to three pieces. Applications are due January

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

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

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

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

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

www.guilfordartcenter.org.

GALLERIES

Luniverre Gallery in Paris seeks emerging and established

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

biannual group shows, December to February and July to

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

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

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

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

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

www.luniverre.com.

Good Things | Small Packages: An Intimate Look at Small

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

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

scale to apply for this juried exhibit and publication which will

feature small sculpture, paperweights, scent bottles and glass

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

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

January 24, 2006. For more information and to download

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

janicepeacock@comcast.net with questions.

OTHER

Call for Papers: Space Exploration Within and Beyond the

Image aims to examine ways space is constructed in visual

representation and through social experience from a range

of cultural, historical and methodological perspectives. We

invite graduate students to submit papers addressing issues

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

otherwise produced in visual culture. Papers might address

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

performance, architecture and urban design, film, or tableaux

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

the plinth, theatricality and absorption, spatial schematics,

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

submissions from all areas of art history and related fields.

In addition, we invite submissions from practicing artists and

filmmakers engaged with ideas and problems of space in

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

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

and contact information should be submitted by Monday,

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

Some travel funding is available. Graduate Symposium

Committee, Department of Art History, University of Southern

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

Contact: uscgradsymposium@gmail.com.

Shows + Fairs

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

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

must be original. Applicants must submit five color slides

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

After this date, applications will be reviewed periodically

until the show is filled. For more information contact:

American Concern for Artistry and Craftsmanship, PO Box 650,

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

www.craftsatlincoln.org.

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

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

Applicants must submit 5 color slides and an SASE with 65

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

applications will be reviewed periodically until the show is

filled. For more information contact: American Concern for

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

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

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

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

must be original. Applicants must submit 5 color slides

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

2006. After this date, applications will be reviewed

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

or both weekends. For more information contact: American

Concern for Artistry and Craftsmanship, PO Box 650,

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

www.craftsatlincoln.org.

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

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

must be original. Applicants must submit 5 color slides and

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

After this date, applications will be reviewed periodically until

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

For more information contact: American Concern for Artistry

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

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

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

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

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

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

takes place along the Intracoastal Waterway in downtown

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

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

will display works in 11 categories including drawing, fiber

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

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

Applications and entry qualifications are available from the

SunFest website. To receive an application by mail send a

self-addressed stamped envelope to Sunfest. Completed

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

For more information contact: SunFest of Palm Beach

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

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

Coldworking

with Diamond Tools

By Jiyong Lee

Advertise in the

2006 Resource Guide

The annual GAS Resource Guide is a collection of

ads from manufacturers and suppliers of glass-related

goods and services, organizations, publications, schools,

galleries and museums from around the world, and is

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

The 2006 Resource Guide will be distributed to each

conference attendee at the Glass Art Society's 36th

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

2006. Following the conference, the Resource Guide

will be mailed to all GAS members who did not attend

the conference.

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

members in over 50 countries!

Don’t miss the opportunity to gain visibility for

your company or program in this useful reference

guide. Reserve your space in the Glass Art Society

2006 Resource Guide today! Reservations and payment

are due February 15, 2006. Advertising artwork is due

March 1, 2006.

Also, make sure to reserve your space for

the Technical Display at the GAS Conference by

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

for more information.

In the long history of glass making, the use of

diamond as an abrasive medium appears to be a

relatively recent development, before which emery

(natural black corundum) or crushed garnet was used

as abrasive material. Modern diamond tools are high

precision grinding tools made to exacting limits not

only for glassmakers, but also for scientists and engineers

as well. There are two different types of diamond

tools, with the distinction being the way the diamonds

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

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

Sintered diamond tools have diamond mixed into

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

and bonded by means of heat and pressure. They are

longer lasting than plated tools but are also more

expensive. Using and redressing sintered diamond

tools wears away the bonding material to expose new

diamonds. There are different alloys used as bonding

substrates for use in various applications. For example,

a harder bonding alloy should be chosen for tools

intended to cut harder materials because the harder

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

tools’ bonding alloy, thus tending to release diamonds

before they are spent. Conversely, a very hard bonding

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

diamonds tend to become dull and not released easily

enough to expose new sharp diamonds.

Over time, sintered tools’ profiles can change but

can be re-profiled by their manufacturers, who recommend

using these tools in one direction only because

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

not get worn away from behind each diamond particle

forms what resembles a comet tail and supports the

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

Initially, the decision of which direction is forward or

reverse is arbitrary, but the user should remain committed

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

used in reverse, the diamonds on the surface are easily

be knocked out because the comet tail is in front of

them instead of behind them. With the diamonds

knocked out, the existing bronze comet tail, now facing

the wrong way, must be worn away before new diamonds

will be exposed to continue cutting. Essentially,

the malpractice of using sintered diamond tools in

opposing directions not only wastes the time of not

cutting material at an optimal rate, but it also shortens

the life of the tools dramatically by prematurely

knocking out unspent diamonds.

Plated diamond tools have diamonds electroplated

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

Since plated diamond tools have only one layer of diamonds,

they do not last as long. The positive side is

that plated diamond tools are low-cost. As diamonds

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

slowed down, much like what happens with sandpaper.

Theoretically, plated tools can be re-electroplated by

the manufacturer, but unless you have a special, custom

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

Plated diamond tools can be used in opposing

directions because the nickel that holds the diamonds

on the surface of plated tools is much more durable

than the bronze in sintered tools and is therefore not

expected to be worn away in normal use to release

spent diamonds.

A Talk with Maestro Davide Salvadore

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

The Venetian Maestro Davide Salvadore never

really studied glass. Glass has always been a part

of his family history; his first memories are from

the glass factory where his father and uncle

worked, and from his house where his mother and

grandmother made beads. When his school day

finished at noon he would come home, eat lunch,

and go to the factory. Davide was eight years old

when he was given his first important responsibility:

stoking the furnaces with wood all afternoon

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

someone who was mischievous; this chore kept

him from getting into trouble. At age ten he

started working on the factory floor.

The young Davide knew he wanted to

become a Maestro because he wanted to be like

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

Mantoan, was a Maestro who had a dynamic

personality and dressed impeccably. Despite his

untimely death at an early age he left a deep

impression on Davide. When Davide was a small

child, he was one of 13 family members living

in the house. The Maestro always received special

treatment; his clothes were always laundered with

special care and he was always served first at the

dinner table. His grandmother loved all of her

sons very much but always made sure the Maestro

had everything he needed.

Another event made Davide aware of the

Maestro’s importance. A Maestro known as the

“Beautiful Grape” lived across the street from

Davide. They were friends and used to joke and

play. Once, when he was walking down the street

with his grandmother, Davide greeted the Maestro

with an informal “Ciao Ciao!” His grandmother

squeezed his hand hard and whispered,“That

is not how you salute a Masestro!” When they

arrived home his grandmother told his parents

In modern glass cold-working studios, both types

of tools are commonly used. Many studios have

grinding machines that use interchangeable diamond

discs, fiberglass plated with nickel and diamonds and

adhered to rubberized magnetic backing pads. Most

diamond saw blades are sintered. Core drill bits and

cutting, carving and engraving wheels are commonly

found in either sintered or plated types.

All diamond tools require the use of water.

Insufficient use of water increases the risk of destroying

both your tools and your glass. All scientific optic glass

companies use synthetic or semi-synthetic coolants

diluted in water to help with cleansing and lubricating

the cutting surface, and to extend diamond tool life.

Using coolant presents several issues, such as reusing

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

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

mixture when spent.

Factors such as the amount of water used, type

of glass materials being processed, how the tools

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

in the life and performance of your diamond tool.

Reading operators’ manuals, asking questions of

manufacturers and experts, choosing the proper

tools, and good maintenance will extend the life

of the diamond tools and enhance your working

efficiency as well as your safety.

I would like to thank to Rakow Research Library

of Corning Museum of Glass and Kurt Merker Kelheim

for providing reference.

Jiyong Lee, Assistant Professor

Glass Program, School of Art and Design

Southern Illinois University Carbondale

who scolded him and put him to bed without

eating supper.

Once he decided he was going to become a

Maestro he pushed himself to work harder, faster,

and more accurately. At age 17 he was able to

create extremely complex forms with great speed

and difficulty and earned the title of Maestrino

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

Dabronzo factory. He worked on a team with

approximately 12 glassworkers; Dabronzo typically

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

Italians from all regions could find work on

Murano but only Muranese could be Maestros.

He never felt very competitive, although the faster

he worked the more money he earned.

A Maestro is judged by the speed and efficiency

with which he works on the production

line. In Murano, Maestrini always earned a certificate

of accomplishment which entitled them the

title Maestro. The process began with an emerging

artist exhibition, Premio Murano, in which maestrini

exhibited works of glass such as a reticello vessel,

or an extremely thin tumbler. The most prominent

Mastroes and owners of the factories judged the

exhibition and decided who was to earn the certificate.

This tradition died shortly after Davide was

awarded his certificate. A version of the Premio

Murano still continues and the most important

Maestro still attend the exhibition to view emerging

talent. He was awarded his certificate 15 years

ago at age 37. Davide marks this moment in his

life as the moment he felt he was a Maestro.

Beth Lipman is an artist living and working in

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

recently exhibited at SOFA Chicago and the Fuller

Craft Museum in Brockton, Mass. She is the Studio

Director of Education and Artist Services at

Wheaton Village.

5


GAS 36th Annual Conference

Glass Gateways: Meet in the Middle

classes + workshops

6

MAIN CONFERENCE VENUES

Millennium Hotel

Opening Ceremonies and Reception,

Lectures, Technical Display, Auction,

Goblet Grab, Student Exhibition

Located in the heart of downtown

on the banks of the Mississippi River, the

Millennium Hotel St. Louis overlooks the

city’s signature landmark, the Gateway

Arch. Many of the area’s best attractions,

dining, and sports venues are within

minutes of the hotel, making it the ideal

central location for accommodations

and many of the GAS conference events.

Third Degree Glass Factory

Demonstrations, Southern Illinois University’s Aunt Gladys,

The Corning Museum of Glass Hot Glass Roadshow

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

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

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

three years has ignited and inspired an emerging young community

of glass artists. Third Degree offers beginning and intermediate glassblowing

and flameworking classes, community demonstrations, and a

gallery featuring work by local glass artists.

Aunt Gladys–Southern Illinois University (SIU)

Mobile Glassblowing Studio

Student Demonstrations

SIU’s mobile glassblowing studio,

affectionately known as “Aunt Gladys,”

is a fully equipped facility specifically

designed to bring the art and craft of

working molten glass to audiences

interested in experiencing first-hand

the techniques and processes related

to contemporary glassmaking.

The mobile glass studio was designed

and created in 1969. Its first public

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

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

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

2006 AWARD RECIPIENTS

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

who have made outstanding contributions to the development of the

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

Ann Robinson

Lifetime Achievement Award for

exceptional achievement in the

field of glass art

Penny Berk

Honorary Lifetime Membership

Award for outstanding service

to the Glass Art Society

CONFERENCE

PRESENTERS

Mauro Bonaventura:

Demonstration:

Flamework: Men in the Tower

Sam Drumgoole:

Demonstration:

Hot Glass: Living Glass

Photo: “Blue Form

w/ Stripe Head On”

Frantisek Janák:

Demonstration: Kilnwork:

Molds for Mold-melted Sculpture

Photo: “Capricorn II,” 2005

Tommy Elder:

Lecture: Photographing Glass:

Reflections on Reflections in Glass

Tom Krepcio:

Demonstration: Flat Glass:

Stained Glass - Making it Original

Photo: “Eight Faces,” (detail)

Sarawut Chutiwongpeti:

Lecture: At the Dawn of the

21st Century: Lighting and Sound

Photo: “The Red Window,” 2004

André Gutgesell:

Demonstration:

Flamework: Play with Lines

Photo: “Differentiation”

PLEASE NOTE: Publication of notices is for information

purposes only and does not necessarily indicate endorsement

by the Glass Art Society.

We are happy to include information as supplied to us by

various sources. Please send us your press releases and notices

including specific, current facts as far in advance as possible to:

GAS, 3131 Western Avenue, # 414, Seattle, WA 98121 or e-mail

to: Shannon@glassart.org. GAS NEWS is a bi-monthly publication.

Members receive their newsletters approximately 6-8 weeks

after the deadline.

Upcoming Newsletter Deadlines:

December 15 for the March 2006 issue

February 1 for the April/May 2006 issue

We look forward to hearing from you.

UNITED STATES

ARIZONA

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

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

info@sonoranglass.org, www.sonoranglass.org

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

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

Jan. 9 - 27:

Glassblowing Intensive*

May 8 - 26: Glassblowing Intensive*

June 12 -30: Glassblowing Intensive*

* College credit available

Jan. 21- 22: Beginning Lampworking

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

Feb. 18 -19: Beginning Lampworking

Mar. 18 -19: Beginning Lampworking

Mar. 24 - Apr. 21: Five Fridays!

Apr. 15 -16: Intermediate Lampworking

Apr. 24 - May 16: Continuing Glassblowing

May 20 - 21: Beginning Lampworking

June 17 -18: Beginning Lampworking

Workshops:

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

Bronwen Heilman

Feb. 6 -10:

Flameworking Using Ultimate Details/

Loren Stump

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

Glass in a New Way/Laura Donefer

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

Mar. 25 - 26: Unconventional Vessels/Bandhu Dunham

Jan. 8 - 29:

A Month of Sundays: An Introduction

to Glassblowing

CALIFORNIA

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

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

2006 Class Schedule

Jan. 4- 8: Loren I/Loren Stump

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

Mar. 29 - April 2: Murrini/Loren Stump

May 3 - 7: Loren II/Loren Stump

May 10 -14: Under the Sea/Loren Stump

June 2- 4: Paperweight Weekend/Loren Stump

July 12-16: In the Sky/Loren Stump

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

Oct. 25-29: Loren I/Loren Stump

Nov. 3- 5: Paperweight Weekend/Loren Stump

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

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

michael@bighornglassstudio.com, www.bighornglassstudio.com

Jan. 7, 8:

Beginning Glassblowing

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

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

Jan. 21, 22:

Intermediate Fusing and Slumping

Feb. 4, 5:

Beginning Glassblowing

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

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

Feb. 18, 19:

Introduction to Fusing and Slumping

FLORIDA

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

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

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

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

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

flametreeglass@aol.com, www.flametreeglass.com

Jan. 14-15: Kimberly Affleck Workshop

Nov. 17-18: Kate Fowle Meleney Workshop

Nov. 19-20: Kate Fowle Meleney Workshop

HAWAII

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

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

info@islandglassworks.com, www.islandglassworks.com

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

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

located next to a Protected Hawaiian Bird Sanctuary. Call for

information regarding beginning/intermediate/advanced

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

ILLINOIS

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

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

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

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

MAINE

Haystack Mountain School of Crafts, PO Box 518 GL,

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

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

2006 Summer Workshops:

July 2-14: The Retticello Channel/Anthony Schafermeyer

& Claire Kelly

July 16-28: Hot Glass Sculpting/Karen Willenbrink

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

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

Sept. 3- 9: Glass workshop/Peter Houk

NEW YORK

The Studio of The Corning Museum of Glass, One Museum

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

thestudio@cmog.org, www.cmog.org

WINTER CLASSES

Session One

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

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

the Torch/Emilio Santini

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

Irene Frolic

Session Two

Jan. 16 - 21:

Jan. 16 - 21:

Jan. 16 - 21:

Jan. 16 - 21:

Session Three

Jan. 23 - 28:

Jan. 23 - 28:

Jan. 23 - 28:

Jan. 23 - 28:

Graphic and Color Systems in Glass/

Mark Matthews

Flameworking Using Ultimate Details/

Loren Stump

Windows to Creativity/Tony Serviente

Enhance Your Glass/Martha Biggar

Beginning Glassblowing: Building a Foundation/

Harry Seaman

Ideas Expressed in Flameworked Glass/

Paul J. Stankard

Thicker, Deeper, Better Fused Glass/Mark Ditzler

Cold Construction/Martin Rosol

Session Four

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

Techniques/William Gudenrath

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

Alex Hamilton

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

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

Session Five

Feb. 6 - 11:

Feb. 6 - 11:

Feb. 6 - 11:

Session Six

Feb. 13 - 18:

Feb. 13 - 18:

Feb. 13 - 18:

WASHINGTON

An In-Depth Introduction to Venetian

Techniques/William Gudenrath

Bead Intensive/Caitlin Hyde

The Roll Up for Kilnformers/Johnathan Schmuck

Great Venetian Glassblowing/Elio Quarisa

Advanced Marble Making /Drew Fritts

Painting the Void: Sandblasting and Vitreous

Painting/Denise Stillwaggon Leone

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

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

kendra@trovataonline.com, www.trovataonline.com

Classes with Larry Brickman offered in Coldigioco and Venice,

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

INTERNATIONAL

ENGLAND

London Glassblowing Workshop, 7 The Leather Market,

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

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

www.londonglassblowing.co.uk

Jan. 28 -29: Creative Glass Jewelry

SCOTLAND

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

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

www.northlandsglass.com

Masterclass Programme 2006: ‘The Skilful Hand & Eye’

Session 1:

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

Working between kiln forming and hot working

students will have full access to the hot shop

and full access to all the fusing, slumping, and

casting ovens.

Session 2:

Aug. 23 - 31:

Aug. 26 - 31:

Session 3:

Sept. 5 - 10:

Sept. 5 - 13:

GERMANY

Kiln Casting Masterclass with Tessa Clegg

and British ceramist Carol McNicoll, exploring

collaboration and lost wax casting.

Glassblowing Masterclass with Dante Marioni

and Janusz Pozniak focusing on refining ageold,

Venetian off hand glass making techniques.

Cold-working Masterclass, with Alison Kinnaird,

an intensive six-day class (inc. copper wheel

engraving) connecting blown forms to the

possibilities available when the cold working

is taken into account from the beginning of

the creative process. The talented Australian

glassblower Tom Rowney will be working with

Kinnaird and students to realise their ideas in

hot glass.

Kiln Forming Masterclass, instructor to be

confirmed.

Bild-Werk Frauenau, Postfach 105, Frauenau, D-94258,

Tel: +49-9926-180895, Fax: +49-9926-180897,

info@bild-werk-frauenau.de, www.Bild-Werk-Frauenau.de

Master Classes offered in conjunction with “Glass in Context

2006: Art - Image - Industry.”

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

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

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

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

Petr Novotny, and Dana Zamecnikova.

ITALY

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

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

luciobubacco@libero.it, www.luciobubacco.com

Workshops offered:

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

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

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

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

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

All optional extention classes are taught by Vittorio Costantini.

Cesare Toffolo’s Studio Opportunities are available to study

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

studio for information: info@toffolo.com

CANADA

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

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

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

Red Deer College offers classes in glassblowing, flameworking

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

Sept every year. Some scholarhips are available. The 2006

brochure will be available Dec. 2005 with registration starting

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

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

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

Canadian Glass Conference Workshops:

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

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

May 22-24: Borosilicate Bead Blast/Lauri Copeland

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

Cindy Jenkins

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

Jamex & Einar de la Torre

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

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

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

with the Canadian Glass Conference being held in Red Deer,

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

program in Calgary will be offering the following workshops:

Pre-conference workshops:

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

Venetian Techniques/William Gudenrath

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

Emma Camden.

Post-conference workshops:

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

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

the Skin/Jane Bruce

College credit equivalency can be arranged for all ACAD glass

courses offered.

MEXICO

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

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

info@haciendamosaico.com, www.haciendamosaico.com

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

Intensive 4 day workshop at Hacienda Mosaico in Puerto

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

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

lodging, breakfast and lunch on workshop days. For more

information, contact Laura directly at justletmebead@aol.com

or contact the Hacienda Mosaico.

11


GAS 36th Annual Conference

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

Deadlines:

February 15, 2006:

March 1, 2006:

International

Student Exhibition

Display space reservation

and 50% deposit due

Final Technical Display payment

and press-ready art for

Resource Guide ad due

Millennium Hotel, Mississippi Room

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

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

CONFERENCE

PRESENTERS

Ken Leap:

Demonstration: Flat Glass:

Glass Painting for the Artist

Photo: “For Heroes Proved,” 2005

LECTURERS

Doreen Balabanoff: From the Four Corners

Penny Berk: Lifetime Membership Award Lecture:

Reflections on Herding Cats

Nick Cave: Willson Lecture: “Soundsuits”:

the Beginning, the Middle, and the. . .

David Chatt: Where Glass Meets Fiber,

There Sits Beadwork

Sarawut Chutiwongpeti: At the Dawn of the

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

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

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

Tommy Elder: Photographing Glass: Reflections on Reflections in Glass

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

Call it Medieval!

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

Toxicities in Lampworking

Technical Display

The Marketplace for Glass Artists

Millennium Hotel, Exhibit Hall

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

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

Saturday, June 17, 9 - 2 pm

Visit GAS’s annual Technical Display to see and

purchase the newest and best equipment, supplies,

services, publications, and educational materials, located

at the Millennium Hotel Exhibit Hall in the midst of

conference activities.

Interested in exhibiting?

Technical Display packages will be available at

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

booth, one half-page Resource Guide ad and two

conference passes. For information on how to reserve

your space or on our display allocation system, please

contact the GAS office or check the website at

www.glassart.org.

The International Student Exhibition invites all

Glass Art Society student members who are currently

enrolled full-time in an accredited degree-seeking

program to participate. All work must be current,

original, professionally crafted, and contain glass as

the main element.

How to participate: Deliver your student work to

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

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

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

encouraged to hand-carry their work to the conference.

Insurance and shipment of the artwork are the

responsibility of the artist. Neither GAS nor the

Millennium Hotel are responsible for theft or damage

to artwork. Please ensure that your work is delivered

in reusable packaging.

Restrictions: No more than three items may be

submitted by each student. Each piece must not

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

Installations or groupings may be submitted,

but each element within the grouping must adhere

to weight and size restrictions. Clear installation

instructions must accompany each work. Work cannot

be hung from the ceiling or walls in the exhibition.

Awards: Previously, more than $12,000

in cash and supplies has been awarded. The first prize

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

Corning Museum of Glass. All award winners will be

acknowledged in the 2005 Glass Art Society Journal.

Sales: We encourage sales at this event by cash or

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

Buyers must make their own arrangements for

shipping work. Payments, purchases, and all unsold

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

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

become the property of the Glass Art Society.

Chuck Lopez and Flo Perkins,

Nick Davis and Charlotte Potter:

Demonstration: Hot Glass: Bowling for Glass

Photo: Bowled Over

Flo Perkins:

Lecture: New Work /New Mexico

Photo: “Conepassion,” 2005

Janet Koplos: Strattman Lecture: Reconsidering Glass

John Lewis: Cast Glass in Architecture

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

of Postwar Neues Glas Installations from Germany

Tina Oldknow: Trends and Influences in Contemporary Czech Glass Sculpture

Flo Perkins: New Work / New Mexico

Pike Powers: Imagery

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

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

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

Brynhildur Thorgeirsdottir: The Continuing Dialogue – Sculpture and Glass

Fred Tschida: Crossroads

Dana Zamecnikova: Mirroring

Mark Zirpel: Glass Works

DEMONSTRATORS

Hank Murta Adams: Hot Glass

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

the Madness

Mauro Bonaventura: Flamework: Men in the Tower

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

Sam Drumgoole: Hot Glass: Living Glass

PRE- + POST-CONFERENCE WORKSHOPS

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

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

John Reyntiens:

Demonstration: Flat Glass:

Texture and How to Get It:

Slumping, Gilding, and Painting

Photo: “Evolution” Millennium

Window, 2000

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

André Gutgesell: Flamework: Play with Lines

Kazuyo Hashimoto: Flamework: Brilliant Woven Glass

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

Are Used as I Make My Objects

Deborah Horrell: Kilnwork: Transforming Line into Form

10

Third Degree Glass Factory

Contact: Michael Hayes

5200 Delmar Blvd., St. Louis, MO

314.367.4527, www.stlglass.com

Pre-Conference Workshops:

Blown Abstract Forms

June 9 - 11 / Taught by Chuck Lopez

Move beyond the vessel to create blown glass sculpture

using a combination of traditional and innovative

techniques. Prerequisite: at least one year of recent

hot shop experience.

Two Techniques, One Goal:

Sand Casting and Glass Mosaic for the Artist

June 10 - 14 / Taught by John Drury

A fast-paced intensive workshop, approaching the

sculptural exploration and application of glass through

the employment of mosaic and sandcasting, with an

eye to creation as a reflection of self and place.

Figuratively in the Middle

June 12 - 14 / Taught by Richard Jolley

Bring the extremes into focus and decrease the distance

while working figuratively, using a variety of glass

sculpting techniques for personal expression.

Post-Conference Workshops:

Exploring the Middle: Painting within Hot Glass

June 18 - 20 / Taught by Bridget Boss

Painting and layering glass to create interesting

simple blown forms that include layered paint and

symbols. Prerequisite: basic glass knowledge.

Let’s Make Good Shapes

June 19 - 21 / Taught by David Levi

Intensive study of form and technique. Blow better

bubbles; add better bits. Prerequisite: two years hot

shop experience recommended.

Thinking in Glass, Working in Color

June 21 - 23 / Taught by Sam Drumgoole

Explore the fundamentals of glass with a focus on

various color applications including overlays, murrini,

and bits. Prerequisite: basic glass knowledge.

Craft Alliance

Contact: Luanne Rimel

6640 Delmar Blvd., St. Louis, MO

314.725.1177, www.craftalliance.org

Pre-Conference Workshops:

Text and Imagery on Glass

June 10 - 11 / Taught by Susan Taylor Glasgow

Learn a variety of methods for applying images and text

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

oven-fired paints.

Crazy Canes – A Glass Workshop

June 12 / Taught by Erin Taylor

Take your beads to the next level by learning to make

compound twist canes, working with color and overlays

to pull canes and explore a variety of decorative

techniques to incorporate into beads. Prerequisite:

prior glass experience.

Silver Core Glass Beads

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

Learn to make colorful glass beads with large diameter

holes and coat the core with sterling silver tubing for a

dazzling effect.

Marble Making Workshop

June 14 / Taught by Greg Kramer

Make your own marbles by learning to heat hard glass

with a torch and rolling the glass into marble shapes–

from small to “shooter” size.

Post-Conference Workshops:

Beads Too Good To Be True!

June 18 / Taught by Karen Woodward

Back by popular demand, lampworking artist Karen

Woodward teaches how to create your favorite foods in

glass. Experience is helpful, but not necessary.

Five-day Glass Workshop

June 19 - 23 / Taught by Loren Stump

Course divided into three parts: murrine, sculptural

techniques, and encasement.

SURROUNDING EVENTS

DO U GLASS Hot Shop Open Studio

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

is gone

Douglass School Art Place

900 Douglass St., Murphysboro, IL

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

Cameron Smith and Jan Thomas of DO U GLASS

Hot Shop invite you to visit their studio for open

glassblowing, a demonstration of their new casting

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

is held in conjunction with the Southern Illinois

University’s (SIU) Glassblowers reunion being hosted

by SIU-Carbondale. They are located in southern

Illinois two hours from St. Louis and six miles from

SIU-Carbondale.

Ché Rhodes:

Demonstration: Hot Glass: Abstract Blown Sculpture

Photo: Ché Rhodes with Jes Julius and Dan Cutrone

Loren Stump:

Demonstration: Flamework:

St. Louis Arch Commemorative

GAS Murrini

Photo: “Exquisite Male”

Dana Zamecnikova:

Lecture: Mirroring

Photo:“Woman/Man/Torso,” 2005

Frantisek Janák: Kilnwork: Molds for Mold-melted Sculpture

Ruth King: Hot Glass: Simple Solids

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

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

Ken Leap: Flat Glass: Glass Painting for the Artist

David Levi and Sam Stang: Hot Glass: Glassblowing Demonstration

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

Bowling for Glass

Charles Lowrie: Hot Glass

Carmen Lozar: Flamework: Vignette

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

Liz Mears: Flamework: Sculpting with Opened Tubing

Petr Novotny: Hot Glass: A Czech Way of Glassblowing

Michael Plane: Flamework

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

Ché Rhodes: Hot Glass: Abstract Blown Sculpture

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

Takeshi Tsujino: Hot Glass: Blowing from the Far East

Janusz Walentynowicz: Kilnwork: A Presentation of Casting Techniques

Randy Walker: Hot Glass: Sculpting Nature

Dave Walters: Hot Glass: The Vessels are Narrative

PANELISTS

Douglas Auer: Gas vs. Electric

Cornelia Carey: The Insurance Show, Starring Craig Nutt

Suellen Fowler: Myth of the Burner

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

Janis Miltenberger: Myth of the Burner

Roger Parramore: Myth of the Burner

Sally Prasch: Myth of the Burner

Steve Stadelman: Gas vs. Electric

Doug Ohm: Gas vs. Electric

GAS Conference preview

continues on next page

7


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

GET

INVOLVED!

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

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

SPECIAL CONFERENCE EVENTS

12th Annual Goblet Grab

Millennium Hotel, by Grand Ballroom,

Friday, June 16, 1- 2 pm

(begins promptly at 1 pm)

Goblet Grab is a fundraiser for the Craft Emergency

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

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

Goblet Grab is an event full of excitement and fun!

Contribute to Goblet Grab by donating a drinking

glass and be entered to win one free conference

registration for the GAS 2007 conference.

How to donate:

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

drinking glass.

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

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

at the Goblet Grab receiving area at the Millennium

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

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

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

please see shipping information on our website at

www.glassart.org.

Visual Exchange

Millennium Hotel, by Lewis & Clark Rooms

Friday, June 16, 2 - 5 pm; Saturday, June 17, 12 - 4 pm

Show your artwork at Visual Exchange, a slide

show on view for everyone. All slides will be donated

to the Rakow Research Library at the Corning Museum

of Glass after the conference. Bring four slides–three

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

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

member at the information desk at conference registration.

For more information, contact the GAS office.

EXHIBITIONS

3rd Floor Gallery

1214 Washington Ave., St. Louis, MO

Art Dimensions

415 Tucker, St. Louis, MO

www.artdimensions.org

Art St. Louis

917 Locust, St. Louis, MO

www.artstlouis.org

Atrium Gallery

7638 Forsyth Blvd., Clayton, MO

www.atriumgallery.net

Barucci Gallery

8101 Maryland Ave., Clayton, MO

www.baruccigallery.com

Baseline Gallery

1110 Washington, St. Louis, MO

www.baselineworkshop.com

City Museum

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

www.citymuseum.org

Componere

6509 Delmar Blvd., St. Louis, MO

Gallery Forum

Millennium Hotel, Chouteau Room

Saturday, June 17, 1 - 4 pm

Hosted by participating galleries

The Gallery Forum is an opportunity for galleries

and artists from around the world to meet, talk, and

exchange information and ideas.

Galleries: $125 for a table and listing as host.

Coffee and rolls provided. Galleries please contact the

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

the conference program book.

4th International Forum

for Glass Organizations

Millennium Hotel, Field Room

Wednesday, June 14, 3 - 3:45 pm

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

We’d like to extend an invitation to all international

GAS member glass organizations to send one or two

representatives to participate. Anyone interested in

becoming an international liaison is also invited.

Following the 1st International Forum, an e-group

was created as a means of communication for glass

organizations. If you would like to participate in

networking/sharing international issues:

1. Write to info@glassart.org to request an e-group

invitation.

2. Send your ideas to the e-group. Issues raised from

the e-group will be discussed at the forum in St. Louis.

Your ideas and comments are appreciated.

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

international glass organizations could best liaise to

benefit all? What form could such a network take?

What opportunities could come from such

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

exchanges, information sharing, etc.)?

GAS Conference preview

continues on next page

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

Benway, Bert Cohen, Cathy Richardson and others.

www.componere.com

Third Degree Glass Factory

9

Craft Alliance

6640 Delmar Blvd., St. Louis, MO

www.craftalliance.org

Foundry Arts Center

520 North Main Center, St. Charles, MO

www.foundryartcentre.org/coming.html

Jacoby Arts Center

627 East Broadway, Alton, IL

www.madisoncountyartscouncil.org/html/upcoming.html

Mad Art

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

www.madartgallery.com/website/index.htm

Millennium Hotel

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

Neon Lounge, lower level

Museum of Neon Art: “Traveling Light”

R. Duane Reed

7513 Forsyth, Clayton, MO

www.rduanereedgallery.com

Regional Art Center

6128 Delmar, St. Louis, MO

www.art-stl.com/main.cfm

Rowhouse Gallery

911 N. Tucker, St. Louis, MO

www.rowhousevisuals.com/RHVgallery.html

Samuel Cupples House

3673 West Pine Mall, St. Louis, MO

www.slu.edu/the_arts/cupples

St. Louis University Museum of Art

3663 Lindell Blvd., St. Louis, MO

http://sluma.slu.edu

5200 Delmar Blvd., St. Louis, MO

www.stlglass.com

Thomas Sappington House Museum

1015 Sappington Rd., Crestwood, MO

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

sapp_house.aspx

Xen Gallery

401 North Euclid, St. Louis, MO

www.xengallery.com

Artist Portfolio Review

Millennium Hotel, Soulard Room

Saturday, June 17, 1 - 2:45 pm

Gallery owners, curators, educators, and artists will

be available to review portfolios of GAS conference

attendees. Artists should bring either a slide, photograph,

or electronic portfolio (electronic portfolios may

be viewed on the reviewer’s or the artist’s computer).

A sign-up sheet with the list of reviewers will be

available at the conference registration area. Reviews

will last 10-15 minutes each. A limited number of slots

will be available on a first-come, first-served basis.

Education Resource Center

Millennium Hotel, Soulard Room

Friday, June 16, 3 - 5 pm; Saturday, June 17, 3 - 5 pm

The Education Resource Center will be a space

where students and those interested in continuing

their pursuit of glass education may come to pick up

materials and information. All educational facilities:

universities, colleges, public access studios, summer

programs, studios, etc., who offer instruction in

glass-working and wish to be represented in the

Education Resource Center are requested to provide

literature. Each school is also encouraged to send

a representative to be present to answer questions

during the conference.

Bring your handouts and drop them off early at the

Education Resource Center at the Millennium Hotel,

Soulard Room, or ship materials ahead of time.

Contact the GAS office for shipping information.

SPECIAL EXHIBITIONS

R. Duane Reed Gallery 7513 Forsyth, Clayton, MO

Features an exhibition of Ann Robinson’s work as well

as a group exhibition created for the conference by

gallery artists, including Jenny Pohlman/Sabrina

Knowles, Ginny Ruffner, Marvin Lipofsky, Dale Chihuly,

William Morris, Ross Richmond, Crooks and Beers,

Cassandria Blackmore.

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

Glass + Metal, May 19 - July 9

This exhibition features the works of artists creating

jewelry from the pairing of metal and glass, including

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

Meyer. Artists are asked to investigate the relationship

between the two materials while considering adornment.

C. James Meyer will be giving a lecture and workshop

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

David and Jacqueline Charak Gallery

6640 Delmar Blvd., St. Louis, MO

Sewn Glass – New Work by Susan Taylor

Glasgow, June 9 - July 16

Susan Taylor Glasgow’s sewn glass technique embraces

the domestic act of sewing in an unexpected medium.

Combining text with 1950’s etched imagery, Susan

explores the “complex dichotomy of women’s roles

sews glass panels together to create translucent

vessels and sculptures.

Missouri Botanical Gardens

4344 Shaw Blvd., St. Louis, MO

Glass in the Garden: Chihuly at the Missouri Botanical

Gardens, April 30 - Oct. 31

View a custom-designed, stunning show of glass

sculptures by Dale Chihuly at this show that juxtaposes

fine art with nature.

Rendezvous on the River:

The Pre-Conference Reception

Becky Thatcher Riverboat

Wednesday, June 14, 7 - 10 pm

Located directly across from the Millennium Hotel

at the Gateway Arch Riverfront, climb on board the

Becky Thatcher Riverboat to meet, mingle, dance, and

dine as you cruise the mighty Mississippi River and

enjoy the St. Louis skyline.

A replica of a 19th century steamboat, the Becky

Thatcher combines the traditional charm of days gone

by with modern conveniences. During this spectacular

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

points of interest along the riverfront both north and

south of the Gateway Arch. Enjoy live entertainment

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

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

a return time of 10 pm.

Cost: $90 Maximum capacity: 250

The Pre-Conference Reception is a fundraiser that

supports low conference registration fees for student

members of GAS.

You must be registered in advance for the Pre-

Conference Reception in order to attend.

GLASHAUS

The International Magazine

of Studio Glass

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

(including air mail postage)

Advertising/Subscription:

Dr. Wolfgang Schmölders

Glashaus-Verlag, Stadtgarten 4

D-47798 Krefeld (Germany)

Tel: +49-2151-77 87 08

Fax: +49-2151-97 83 41

Email: glashaus-verlag@t-online.de

www.glasshouse.de

Stained Glass Tour

Wednesday, June 14, 9 am - 4 pm

On the Stained Glass Tour, first visit Congregation

Shaare Emeth to witness the morning light pass

through stained glass windows created by Dale

Chihuly–his first architectural commission for a public

space–and view glass sculpture by Ian Gilula and Aaron

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

see the Art Deco-style windows designed by Robert

Harmon for Frei Studios; then to Union Station to view

remarkable Tiffany-style windows and the Whispering

Wall. Following lunch, visit Cathedral Basilica to view

the largest mosaic collection in the world created by

20 different artists and covering 83,000 square feet.

The installation, containing 41.5 million pieces of glass

tesserae employing over 7,000 colors, began in 1912

and was completed in 1988 by the Ravenna Mosaic Co.

Also at Cathedral Basilica visit the Mosaic Museum, with

information on the construction of the New Cathedral

and the installation of the mosaic artwork. Concluding

the tour will be a visit to Second Presbyterian to view

11 Tiffany windows.

Cost: $80, includes transportation to/from the

Millennium Hotel and lunch

Max. attendance: 54

You must be registered in advance to attend the

Stained Glass Tour.

Gallery Hop

Friday, June 16, 6 - 10 pm

During the St. Louis Gallery Hop, a shuttle will

escort attendees on an eclectic tour of some of

St. Louis’ finest galleries hosting glass exhibitions.

Galleries open for Gallery Hop will be noted in the

conference program book, distributed onsite at

the conference.

Encounter. Experience. Engage:

The Closing Night Party

City Museum

Saturday, June 17, 8 pm - 2 am

Explore the unexpected! Dance the night away to

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

and meet and mingle with other GAS participants at

the unique City Museum. The City Museum has been

called a warehouse of adventure for people of all ages

and a museum unlike any other. With an enchanted

forest, secret caves and passageways, a giant aquarium,

a small circus, an architectural museum, a museum

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

delight for people of all ages. Housed on three floors

of the former International Shoe Company building

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

museum was born of the vision of several creative

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

off the roof and airplane parts appear to fly over the

parking lot in the outdoor creation called MonstroCity.

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

exhibits constructed from products that were made

for other uses.

For the Closing Night Party, GAS participants will

board a shuttle bus from the Millennium hotel to the

City Museum for a private party in Architecture Hall.

All GAS participants are free to roam the museum and

discover the many wonders the museum has to offer.

GAS LINE

We are saddened by the passing of GAS member

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

Bud was a professor at Bowling Green State University

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

His work was recognized internationally, with works in

permanent collections including the Corning Museum

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

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

with us at shannon@glassart.org … GAS member

Kristina Logan has been honored by the ISGB Hall of

Flame – Congratulations, Kristina! … Get your copy of

the 2006-2007 Contemporary Marble Calendar,

with specially made marbles gracing its pages by

members and former members, including Daniel

Both the marbles and the calendars will be listed on

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

… Another way you can help artists affected by

hurricanes Katrina, Rita and Wilma is to make a tax

deductible donation to the Americans for the Arts

Emergency Relief fund at www.AmericansForTheArts.org.

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

but more requests come in every day, and the

need for funding will continue. Thank you, and we

hope the new year brings good things!