GAS News S/O 06 copy - Glass Art Society
GAS News S/O 06 copy - Glass Art Society
GAS News S/O 06 copy - Glass Art Society
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september<br />
october<br />
20<strong>06</strong><br />
volume 17<br />
issue 5<br />
I N S I D E<br />
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<br />
1<br />
1<br />
2<br />
3<br />
4<br />
4<br />
3<br />
3<br />
5<br />
6<br />
8<br />
10<br />
REGULAR FEATURES<br />
President’s Letter:<br />
Greetings from Penland!<br />
Save the Date!<br />
Letters to the Editor<br />
<strong>GAS</strong> Line<br />
International Window:<br />
Vrij Glas <strong>Art</strong>ists Create<br />
a Laboratory<br />
Student Profile:<br />
Andrew K. Erdos<br />
SPECIAL FEATURES<br />
Obituary: Veronique<br />
Valkema-Kindermans<br />
<strong>Art</strong> and Originality<br />
LISTINGS<br />
Seminars, Conferences, Events<br />
Resources, etc.<br />
Classes and Workshops<br />
Exhibitions<br />
PRESIDENT’S LETTER<br />
Shane Fero<br />
Greetings from Penland! As I write this I am<br />
thinking about <strong>GAS</strong> and how it all began right<br />
here at Penland School in 1971 by a small group of<br />
people wanting and willing to share ideas, technical<br />
issues, and camaraderie. Last June in St. Louis at the<br />
conference that is what I saw happening, only on a<br />
grander scale. Most everyone I saw was having a<br />
good time watching demos, listening to lectures,<br />
networking, and catching up with old friends. It<br />
gave me a warm feeling and I hope it did for all of<br />
you who attended. Thanks to everyone, and I mean<br />
everyone who made this happen.<br />
Next year’s conference in Pittsburgh promises to be<br />
another fantastic conference. The Pittsburgh <strong>Glass</strong> Center, a<br />
world-class facility, the David L. Lawrence Convention Center,<br />
a stunning ‘green building’ overlooking the Allegheny, the<br />
Carnegie Museums all will provide wonderful venues for our<br />
programs. The restaurants, pubs, and clubs are all really nice<br />
in Pittsburgh. We are in process for putting together the<br />
pre-conference brochure so look for it sometime soon.<br />
This issue of the newsletter has some controversial issues<br />
represented by letters to the editor, articles and responses.<br />
Imitation or the <strong>copy</strong>ing of work continues to be a topic with<br />
heat. Creativity could and should be a mandate for glass<br />
artists, whether it is glass art, architectural commissions,<br />
installations, or production work. In the end controversy and<br />
dialogue is a good thing and makes us think.<br />
I look forward to serving you and feel honored. If you<br />
have any thoughts on this issue or anything else regarding<br />
<strong>GAS</strong>, contact us as our eyes and ears are open.<br />
Save the Dates!<br />
Photo courtesy of the Pittsburgh Convention and Visitor's Bureau<br />
Join us at <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong>’s<br />
37th Annual Conference,<br />
Pittsburgh, Pennsylvania, June 7- 9, 2007<br />
Call for Proposals:<br />
<strong>Glass</strong> <strong>Art</strong> <strong>Society</strong> 38th Annual Conference<br />
in Portland, Oregon, June 18 -22, 2008<br />
Deadline for Portland proposals: December 1, 20<strong>06</strong><br />
The <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong> Board of Directors is requesting proposals<br />
for lectures, demonstrations, and panels for the Portland, Oregon<br />
conference in every discipline of glass (blowing, hot casting,<br />
kilnworking, stained glass, flameworking, beadmaking, cold<br />
working, etc.). The theme for the Portland conference will be<br />
announced on our website on September 1, 20<strong>06</strong>.<br />
Proposals are due December 1, 20<strong>06</strong>.<br />
To Submit a Proposal:<br />
<strong>GAS</strong> NEWS is published<br />
six times per year as a benefit<br />
to members.<br />
Publications Committee:<br />
Scott Benefield, Eddie Bernard,<br />
Robin Cass, Susan Holland-Reed,<br />
Andrew K. Erdos, Elizabeth Swinburne<br />
Managing Editor: Shannon Borg<br />
Graphic Design: Ted Cotrotsos<br />
The <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong><br />
3131 Western Avenue, Suite 414<br />
Seattle, WA 98121 USA<br />
Phone: (2<strong>06</strong>) 382-1305<br />
Fax: (2<strong>06</strong>) 382-2630<br />
E-mail: info@glassart.org<br />
Web: www.glassart.org<br />
© 20<strong>06</strong> The <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong>, a nonprofit<br />
organization. All rights reserved.<br />
Publication of articles in this newsletter<br />
prohibited without permission from<br />
the <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong>, Inc.<br />
Thanks,<br />
Shane<br />
September/October 20<strong>06</strong>, volume 17- 5<br />
THE GLASS ART SOCIETY<br />
3131 Western Avenue, Suite 414<br />
Seattle, WA 98121<br />
CHANGE SERVICE REQUESTED<br />
1. After September 1, 20<strong>06</strong> visit the <strong>GAS</strong> website at www.glassart.org<br />
and click on the Hot Topics listing “<strong>GAS</strong> 2008 Conference, Portland,<br />
Oregon” to download the call for proposals.<br />
2. Send the completed entry form and support materials no later<br />
than December 1, 20<strong>06</strong> to the <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong>, 3131 Western Ave.,<br />
Ste. 414, Seattle, WA 98121, USA. If you wish to use the form for<br />
simply suggesting ideas for topics or presenters you’d like to hear,<br />
or subjects you think should be addressed, please feel free to do so.<br />
If you have questions please contact <strong>GAS</strong> at 2<strong>06</strong>.382.1305 or<br />
info@glassart.org.<br />
Non-Profit Org.<br />
U.S. Postage<br />
PAID<br />
Seattle, WA<br />
Permit #150
L E T T E R S T O T H E E D I T O R<br />
2<br />
Dear <strong>GAS</strong>,<br />
Recently, while paging through the summer ‘<strong>06</strong><br />
newsletter, I happened upon an image on page 10 of<br />
what a first glance looked to be a Chihuly Sea Form.<br />
Closer inspection revealed it to be a Sea Form by a<br />
Mr. Jeau Bishop, someone I have never heard of before.<br />
I thought that it must be a typo at first but no, he is an<br />
“artist” making Chihuly copies and even calling them<br />
“Sea Forms”.... Shameful.<br />
Each day that we venture into our studios we<br />
are challenged to create something that we can call<br />
our own, work that comes from our own thought<br />
processes whatever they may be and, as glass artists,<br />
we have a furnace full of molten goo to start with, the<br />
way I see it, the possibilities are almost limitless. When<br />
I see work like Mr. Bishop’s the first thought that comes<br />
to mind is: ‘Is this the best that you can do?’<br />
13 Ways of Looking at a Chihuly<br />
by Scott Benefield<br />
In a recent private communication to the publications<br />
committee of this newsletter, we were brought<br />
to task for publishing an image in the Galleries section<br />
that strongly resembled original work done by Dale<br />
Chihuly. Because the author raised a question–does<br />
this constitute an endorsement by <strong>GAS</strong> of derivative<br />
work?–that seems to evoke some larger issues current<br />
to the glass world, it seemed time to consider the topic<br />
of originality and authorship as it is treated in our field.<br />
We’ve all had the experience of looking at an<br />
object and bristling with vicarious resentment as we<br />
recognize the original source of the form or imagery<br />
or distinctive surface decoration. The unfairness of<br />
copied work, infringing on an artist’s imagination and<br />
creativity, inspires a mild form of outrage in anybody<br />
who has ever struggled to do something new. But<br />
what triggers that reaction differs from individual to<br />
individual and therein lays the problem: there is no<br />
canon; there are no guidelines, no arbiter of taste<br />
and judgment to determine the legitimacy of any<br />
single object.<br />
In the legal realm there are structures in place to<br />
determine and preserve artistic originality–ideas like<br />
<strong>copy</strong>right, which are designed to protect intellectual<br />
property–and systems to redress infringements and<br />
punish those who would seek to profit from another’s<br />
vision. Legal standards are based on a concept of<br />
fairness and also are designed to protect financial<br />
incentives to innovate. But legal standards are also<br />
distinct from the ethical standards that often govern<br />
behavior in professional fields.<br />
Our work as artists, collectively, resides in a freewheeling,<br />
freestyle, free-market bazaar with nothing<br />
like an Academy to dictate standards and pass restrictive<br />
critical judgments. As more work from the Studio<br />
<strong>Glass</strong> movement enters museum collections perhaps<br />
those kinds of judgments will be made (bearing in<br />
mind that posterity has its own way of working these<br />
things out), but for the moment the glass world is marvelously<br />
and woefully free of that institutional control.<br />
What we have instead is the marketplace and<br />
people who make objects out of glass. There is a<br />
commercial venue for nearly anything anybody can<br />
make out of glass and a dearth of scruples on the part<br />
of artists, gallery owners and consumers concerning<br />
issues of authorship. This has recently come to the<br />
attention of a wider public when Chihuly Inc. sued<br />
Robert Kaindel, former Chihuly gaffer Bryan Rubino<br />
and two galleries (since dropped from the suit) for<br />
<strong>copy</strong>right infringement.<br />
To most of us, this is an obvious case of taking<br />
signature work and marketing reproductions as<br />
originals. Because of the philosophical ambiguities,<br />
it’s also an extremely interesting case. Two objects,<br />
set side by side, are virtually identical–because they are<br />
both made by Bryan Rubino–but have different legal<br />
identities because one has Chihuly’s intention of being<br />
made as original work, and the other lacks that. There<br />
is a metaphysical difference between the two that has<br />
Making copies is nothing new, it has been done.<br />
For me, the pertinent issue here is with the <strong>GAS</strong> itself.<br />
Should the <strong>GAS</strong> be promoting “artwork” like this?<br />
Personally, I think not. <strong>GAS</strong> has a larger responsibility<br />
to educate people and I am of the opinion that an<br />
image like the one in question here should only<br />
appear in the newsletter in the context of a feature<br />
story about plagiarism or perhaps the pending legal<br />
action Chihuly has brought this past year, certainly not<br />
in the service of promoting such truly bad “artwork”.<br />
I imagine that many others, besides just myself, have<br />
come to expect more of a professional organization,<br />
like <strong>GAS</strong>, whose purpose is to encourage excellence,<br />
advance education, and promote the appreciation<br />
and development of the glass arts.<br />
Sincerely,<br />
Dante Marioni<br />
nothing to do with what they look like or who actually<br />
made them. For most of us, it’s simply too close to<br />
looking like a Chihuly for us to be comfortable with<br />
the idea of attributing it as original work to Rubino.<br />
The courts have to take into account all the legal<br />
aspects of this in order to determine the status of the<br />
object, but we can make our own informal determinations<br />
based on common sense.<br />
But if the Rubino case represents one end of the<br />
spectrum of infringement on originality, it’s impossible<br />
to find consensus on what represents the other end–<br />
what are the minimal conditions in which a work is<br />
judged unacceptable as a derivative piece? What one<br />
person sees as influence or an intelligent permutation<br />
of an established idea, another would see as blatantly<br />
imitative.<br />
For instance, James Yood’s somewhat surprising<br />
apologia of Afro Celotto’s work in a recent issue of<br />
GLASS magazine comes immediately to mind. Celotto’s<br />
pieces seem unambiguously derivative to me, echoing<br />
Lino Tagliapietra’s work in form and pattern to an<br />
unacceptably close degree. While admitting the<br />
obvious similarity to Lino’s work, Yood constructs an<br />
unconvincing argument that this is a natural outgrowth<br />
of their long relationship. (Celloto last served<br />
as an assistant to Lino in the late 80s, when Lino was<br />
still working at Effetre International as their lead gaffer<br />
and artistic director). Without offering any substantiation<br />
at all, Yood states that perhaps Celloto’s imitative<br />
work is really an example of an assistant making<br />
unattributed contributions to the master that he later<br />
reclaims as his own. He also seemed to think that<br />
Celotto invented the ‘giro’ or switched axis technique,<br />
despite the fact that Lino published similar work as far<br />
back as 1981. But all the same, Yood is reputable critic<br />
who holds a sincere conviction that Celotto’s work is<br />
defensible. It’s an example of a subject upon which<br />
people of good conscience can disagree.<br />
In the absence of any regulating body to set<br />
standards for ethical practice, what remains is the<br />
elastic sense of good practice which governs<br />
individual behavior. Each of us has a responsibility<br />
to define that standard for ourselves in our own work<br />
and to be advocates for ethical behavior, according to<br />
our own lights. If you can’t acknowledge your own<br />
sources honestly, then you need to question if your<br />
work is sufficiently innovative to exhibit as original<br />
work. When you see a gallery (or a newsletter)<br />
displaying what you consider to be a blatant example<br />
of imitative work, you have a certain responsibility to<br />
say something.<br />
In this regard, the person who wrote to us<br />
strongly objecting to the published images was<br />
being a diligent and responsible member of our<br />
community–by acting on his own conscience, the<br />
writer was drawing his own line and adding his<br />
voice to the larger conversation. What might be<br />
termed a peer consensus is the really the strongest<br />
ethical authority that exists in the art world.<br />
Scott Benefield is the former editor of <strong>GAS</strong> NEWS,<br />
and frequent contributor to the newsletter. He owns and<br />
operates a production studio on Camano Island, Wash.<br />
To the Editor,<br />
I hardly know where to begin in responding to Eddie<br />
Bernard’s technical article in the recent issue of <strong>GAS</strong> NEWS.<br />
For starters, it is the first time that I have ever seen a response<br />
printed to a letter that was not also published. So since<br />
Eddie’s article was in response to my letter to the editor, I<br />
am at a disadvantage because he seriously misinterpreted<br />
several of my points and then proceeded to respond to<br />
these misinterpretations.<br />
In NO way did I suggest that only “a chosen few” <strong>GAS</strong><br />
members would be eligible for the loan of optical pyrometers<br />
in the proposed project. I suggest no limitation on the<br />
number of participants or require that they even be <strong>GAS</strong><br />
members. The larger the pool, the better.<br />
In any event, if the editors had followed common<br />
editorial practice and printed my original letter, readers<br />
would see that my proposal was based on two realities: 1)<br />
a significant number of studio glass owners are not even<br />
members of <strong>GAS</strong>; and 2) many studios have poor pyrometry<br />
or none at all. My proposal, though not claiming to be perfect,<br />
has two aims: 1) to reach out to the American hot glass<br />
workers who see no benefit in participating in <strong>GAS</strong> and 2) to<br />
make a dent in the waste of fuels that occurs in glass studios.<br />
Simply restated, I proposed a program, under the<br />
auspices of <strong>GAS</strong>, through which optical pyrometers would<br />
be acquired and made available for loan to study melting<br />
practices and resulting energy use in glass studios. Applicants<br />
for pyrometer loan would agree to carefully monitor and<br />
record their melt cycles and report their results while<br />
specifying the glass melted and furnace type. Even given<br />
the variation of furnace type and size, such a project could<br />
go a long way toward determining optimal melting<br />
schedules in similar furnaces for the various commonly<br />
used glasses. Given that some studios currently use air or gas<br />
pressure gauges as their only measurement and really have<br />
no objective idea of their melt temperatures, such a project<br />
could result in both conservation of fossil fuels and prolong<br />
the life of furnaces and crucibles.<br />
As for expense, I would be very surprised if grant funds<br />
could not be found to underwrite the project under <strong>GAS</strong>’s<br />
not-for-profit status. Given the increasing media attention<br />
and general public interest in energy consumption and<br />
greenhouse gas emissions, funds could surely be found.<br />
Diligent communication with the Corning <strong>Glass</strong> Works<br />
Foundation might be all that’s needed (I had a very positive<br />
experience with the Foundation on behalf of a not-for-profit<br />
years ago). I also believe that it would not be difficult to<br />
find a graduate student with environmental concerns to<br />
compile, organize, and process the data and extract useful<br />
information.<br />
Although <strong>GAS</strong> may serve a portion of the glass community<br />
very well, many in the ranks of producing hot glass<br />
workers have given up on <strong>GAS</strong> as being largely irrelevant.<br />
I believe that this proposal is an opportunity for <strong>GAS</strong> to<br />
reach out to the wider world of glass makers and be of<br />
service not only to the glass community at large but, through<br />
promoting energy conservation, to society as a whole.<br />
As I originally stated, I would be happy to work with <strong>GAS</strong><br />
on such a project. It would be wonderful if others such as<br />
Eddie Bernard would participate, bringing various viewpoints<br />
and experience. I trust that this time, you will follow normal<br />
editorial practice and print this letter in its entirety.<br />
Bill Glasner<br />
(blowing glass and trying to save gas since 1973)<br />
Response from Eddie Bernard<br />
Bill – Thank you for submitting your letters. Please excuse<br />
us for not printing the first version. To clarify a few points:<br />
By the term “chosen few,” I didn’t mean you were suggesting<br />
“special people,” but that if there was an application process,<br />
then obviously the recipients would be "chosen" and<br />
probably “few” in relation to the size of the membership.<br />
On another point, I don't think the project would serve<br />
the membership in the way that you think it would for the<br />
various reasons I stated in the article. In an effort to help<br />
the membership, I gave my thoughts on how one would go<br />
about determining an appropriate melting schedule.<br />
Sorry if offense was taken and we do appreciate your<br />
thoughts and ideas.<br />
Sincerely, Eddie
<strong>Art</strong> and Originality by Gianni Toso, translated by Karyn Toso<br />
Mary Smith,“Fall Necklace”, photo by the artist.<br />
<strong>GAS</strong><br />
LINE<br />
Congratulations Are In Order!<br />
<strong>GAS</strong> members Laura Donefer and Norman Faulkner<br />
recently received Lifetime Achievement Awards from the<br />
<strong>Glass</strong> <strong>Art</strong> Association of Canada (GAAC). Mary Smith’s “Fall<br />
Leaf Necklace” took First Place in the 20<strong>06</strong> Saul Bell Design<br />
Award Competition. She was honored in Las Vegas during<br />
The JCK Show–Las Vegas in June. <strong>GAS</strong> member Kathleen<br />
Elliott was featured in the 50th issue of AmericanStyle, which<br />
highlighted nine emerging artists in different categories,<br />
whose work is raising excitement among collectors.<br />
Fuel Your Habit on the <strong>GAS</strong> Message Board<br />
There has been a lot of interest in the conference panel<br />
“Fueling the Habit,” focusing on how to maximize fuel use<br />
and cut costs in the shop. David Levi will host this new topic<br />
on the <strong>GAS</strong> Message Board. Get online and share your ideas,<br />
tips and questions with the group. You can check out this<br />
and other new categories on the <strong>GAS</strong> Message Board at<br />
www.glassart.org.<br />
A Passing<br />
We are saddened to hear that Edwin A. Hansen of The<br />
<strong>Glass</strong> Gallery, who has been affiliated with the <strong>Glass</strong>Weekend<br />
at the Creative <strong>Glass</strong> Center of America at Wheaton for many<br />
years, passed away on June 20, 20<strong>06</strong>. He was an intelligence<br />
analyst for many years, including two tours to Australia,<br />
and retired in 1979. In 1981, he and his wife opened the<br />
<strong>Glass</strong> Gallery, a Bethesda art gallery presenting the work of<br />
nationally recognized artists. He had a strong dedication<br />
to the studio glass movement, and was a member of the<br />
James Renwick Alliance, the Farmland Trust, and the Nature<br />
Conservancy. He is survived by his wife Sally, two children,<br />
Deborah Trunzo and David Hansen; a brother; and five<br />
grandchildren.<br />
OBITUARY<br />
Veronique<br />
Valkema-<br />
Kindermans<br />
Uithoorn, May 6, 1919 -<br />
Blaricum, May 20, 20<strong>06</strong><br />
The <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong> mourns the passing of Veronique<br />
Valkema, wife of the late Sybren Valkema (recipient of the<br />
Lifetime Achievement Award in 1994).<br />
Trained as a nurse, she worked at a hospital in Amsterdam<br />
and during WWII was the head nurse at a mental hospital<br />
in the south of Holland. After the war she was running a<br />
children’s sanitarium in the French countryside where she met<br />
my Sybren Valkema; they were married in 1950. Veronique ran<br />
the library at the Gerrit Rietveld Academy in Amsterdam from<br />
1965 to 1980. Ulla Forsell tells of visiting the <strong>Glass</strong> department<br />
for the first time in 1972 as a prospective student. One of the<br />
students was showing her around–the glass studio, the canteen<br />
–and then told her to come and visit the place and person that<br />
really mattered: he introduced her to Veronique Valkema in the<br />
library. She was a beloved presence at the school, unfailingly<br />
helpful and also famous for the many dinners (she was an<br />
incredible cook) and parties at the Valkema house in Blaricum.<br />
Her passions in life were travel–to Vietnam, Australia,<br />
Kazakhstan, Jordan, Portugal, New York and New Orleans–<br />
and the books with which she surrounded herself.<br />
She is survived by her son Durk Valkema, daughter-in-law<br />
Anna Carlgren and her grand-daughter Wyke Valkema.<br />
I would like to thank Robin Cass for reopening<br />
the question of what constitutes original art to our<br />
international community of artists. It is difficult to<br />
overemphasize the importance of this debate, and<br />
the importance of articulating our own views on the<br />
matter not only as regards to intellectual property<br />
rights or plagiarism, but rather as a way for laying<br />
the foundations of our own art. I have been engaged<br />
in this debate for over thirty-five years, and would<br />
like to take the opportunity to contribute to the<br />
current dialogue.<br />
It seems to me that the interviews in the previous<br />
article touched upon the technical and academic<br />
aspects of the question, but did not grasp the real<br />
heart of the matter, which speaks less to lawyers than<br />
to creators and connoisseurs alike. Before we can<br />
answer the question of what is original art, we must<br />
arrive at a workable definition of “<strong>Art</strong>” itself. What factors<br />
go into producing a work of art? Genius? Mastery<br />
of technique and the approbation of the Academy<br />
(or whatever the contemporary equivalent of that<br />
venerable institution)? Interpretation? Culture?<br />
My early years of academic education have<br />
taught me that there are two types of teachers. Both<br />
types profess to teach “culture” to their students. The<br />
first type of teacher, best described as a “bureaucrat of<br />
culture,” passes on information to the student, with<br />
the goal of having the student memorize and acquire<br />
that knowledge. The goal of the other type of teacher<br />
is rather to actualize the potential of the student by<br />
facilitating an internalization and assimilation of the<br />
required knowledge. They do this with the understanding<br />
that they are merely providing the student<br />
with the foundation for his or her own intellectual and<br />
creative development. Yet this knowledge cannot<br />
develop in a vacuum. <strong>Art</strong>ists–and art–constantly refer<br />
to and develop from the work of other artists, as well<br />
as the cultural and intellectual climate of the day. The<br />
history of art is actually a history of the record of the<br />
living dialogue between artists through the centuries.<br />
<strong>Art</strong>ists constantly need new stimulation, from within<br />
their fields and from the world at large.<br />
And herein lays the seeds of the plagiarism<br />
question: when has a work of art evolved from what<br />
preceded it, and when is it a mere <strong>copy</strong>? There are<br />
those artists who approach a “classic” work of art with<br />
the motivation of acquiring knowledge and technique<br />
to enhance their own artistic development. (My<br />
professor, the late Anzolo Fuga, who taught and<br />
influenced an entire generation of Murano maestri,<br />
would make us <strong>copy</strong> the masterpieces of Michelangelo<br />
line by line, warning us that if we did not improve<br />
upon the original in at least a single detail, we were<br />
not evolving in our art, but rather contributing to<br />
its decadence.) Then there are those imitators who<br />
chose to reproduce original art, typically with the<br />
goal of “cashing in” on a popular style or trend. Such<br />
“artistry” is best described as theft.<br />
During my years as an art student at Murano’s<br />
Abate Vincenzo Zanetti, more than half the academy’s<br />
funding came from the old glass factories on Murano<br />
Island. As a result, at the end of each academic year<br />
we were required to create new glass designs for the<br />
factories’ production. Our drawings and the glass<br />
prototypes we created were exhibited in a local<br />
government gallery. Each factory would send its head<br />
maestro, who would then select the best design to be<br />
reproduced (and mass produced) in his glass factory.<br />
Although we were generally a competitive bunch,<br />
and were extremely proud of the other awards and<br />
recognition our work garnered, this was one “honor”<br />
none of us looked for. We knew that our designs<br />
would be acquired by some factory, only to be poorly<br />
imitated by less skilled workers and sold for a cheap<br />
price. Seeing our distress, Professor Fuga assured us<br />
that the creator of an idea is always superior to the<br />
mediocre imitator, for if the artists were to stop<br />
creating, there would be nothing to <strong>copy</strong> and the<br />
furnaces would close. Yet, on a personal note, let me<br />
say that I find that cold comfort. As someone who has<br />
spent more than half a century working in glass and<br />
endeavoring to give value to glass culture, as someone<br />
who has tried to elevate the medium of glass as<br />
a vehicle for the highest level of human expression, it<br />
was infinitely painful to me, on a recent trip to Venice,<br />
to see cheap, grotesque “knockoffs” of my work in<br />
store after store after store. More recently, I found<br />
myself in a Baltimore craft gallery selling mediocre<br />
imitations of Maestro Lino Tagliapietra’s work at a<br />
fraction of the cost of the originals. It is this kind of<br />
market that-far from expanding and popularizing the<br />
audience for glass art, as the “gallery” owner claimed–<br />
destroys any potential for the healthy growth of the<br />
<strong>Glass</strong> Studio Movement.<br />
Where has all of this left us? Whether considering<br />
“<strong>Art</strong> with a capital A,” or “art with a small a,” (I prefer<br />
these terms to the rather tired and somewhat clichéd<br />
dichotomy of Craft/<strong>Art</strong>), I believe it is imperative that<br />
we as artists reevaluate what it is we are trying to<br />
achieve when we create. Even “art with a small a”<br />
can be a means to refine taste and enhance the<br />
quality of life; true <strong>Art</strong> has the potential to open new<br />
channels of thought and surprise the viewer into new<br />
ways of looking and seeing. A vase by Pablo Picasso<br />
is only incidentally a vessel that can contain flowers–<br />
it is, first and foremost, a container for his intellectual,<br />
spiritual and creative experiments. Accordingly, fancy<br />
design, color and even composition are merely the<br />
formal elements of the work and do not define the<br />
whole of the artistic effort.<br />
I tell my students that every shape, form or<br />
technique they master is the equivalent of a single<br />
word in a dictionary. As we accumulate our artistic<br />
vocabulary, we begin to develop our own grammar.<br />
Once we have amassed a vast number of forms and<br />
technique, we have the tools to create a unique<br />
language that is the highest form of self expression.<br />
Only when an artist has discovered the medium and<br />
the language that best matches his chemistry, culture<br />
and personality, can he begin work as a real artist<br />
who does not merely reproduce life, but has the gift<br />
to transmit it. Whether the medium is bronze, marble<br />
paint or glass, <strong>Art</strong> transforms the material into an<br />
original language with the pulse and vibration of life<br />
itself. I have read of an art critic who had a sure way<br />
of identifying authentic ancient Maltese art objects:<br />
he found himself crying before them. The “painful<br />
joy” he felt was his own intuitive response to the<br />
life and the excellence which still infused the work<br />
centuries later.<br />
This places a very great responsibility on the<br />
artist. It is not enough to bemoan the plagiarism and<br />
knockoffs flooding the market. Indeed, the phrase<br />
“intellectual property rights” implies that there is a<br />
measure of thought and intellect, if not true humanistic<br />
expression, in the works that we produce. At<br />
the end of the day, if we do not maintain the classic<br />
standards of our education, through exposure to literature,<br />
music, sculpture, etc., if we do not constantly<br />
work to expand the boundaries–both technical and<br />
intellectual–of our art, we will have no recourse but<br />
to resort to mere repetition by marketing an idea that<br />
has been done (if only by ourselves) over and over.<br />
Gallery owners, too, must be unafraid to take the risk<br />
of promoting the newer, experimental work of the<br />
artists they represent, rather than pushing for more<br />
of the popular, proven crowd pleasers.<br />
I find myself bemused that after so many years<br />
spent out of the public eye, I felt compelled to<br />
respond with these musings in this forum. Perhaps<br />
it comes with age–the responsibility I feel to<br />
maintain the ideals and direction of the <strong>Glass</strong> Studio<br />
Movement, and to underscore their continued<br />
relevance to the young artists working today. Or<br />
perhaps it is because I am afraid that in the current<br />
debate we risk losing sight of the extraordinary<br />
potential and possibilities inherent in the creation of<br />
our art. Or perhaps it is my link in the chain: a way to<br />
pass on the beauty of the glass experience as it has<br />
been handed down to me in a family tradition that<br />
began in Venice 700 years ago.<br />
Gianni Toso studied at the Abate Vincenzo Zanetti,<br />
Murano, Italy, and graduated with a Maestro d'<strong>Art</strong>e in<br />
1962. His work is held in public and private collections<br />
around the world, including Corning Museum of <strong>Glass</strong>,<br />
Corning, New York; the <strong>Glass</strong> Museum of Dusseldorf,<br />
West Germany and others. He has had many solo and<br />
group exhibitions, and has been a guest artist at the<br />
California College of <strong>Art</strong>s and Crafts, Oakland, California;<br />
the Cleveland Institute of <strong>Art</strong>, Cleveland, Ohio; the Gerrit<br />
Rietveld Academie, Amsterdam and other places.<br />
3
INTERNATIONAL WINDOW<br />
Vrij Glas: <strong>Art</strong>ists Create a Laboratory By Scott Benefield<br />
STUDENT PROFILE<br />
4<br />
Vrij Glas: a small hand painted sign rests limply<br />
against a utility pole, comical in its humility when seen<br />
in contrast to the other sterner, military-issue signs<br />
that surround me, warning against trespassers, lighted<br />
matches, smoking and open fires. It is January in the<br />
Netherlands, bitterly cold, and I find myself walking<br />
briskly across an empty parade ground in search of<br />
the entrance to a glass studio when I spot this humble<br />
signage.<br />
“Free <strong>Glass</strong>” would be the literal translation of Vrij<br />
Glas, which contains within it a much more nuanced<br />
message. Vrij Glas was the original name for that<br />
branch of the global Studio <strong>Glass</strong> movement that<br />
flourished in the Netherlands and found institutional<br />
support in the pioneering glass program at the Gerrit<br />
Reitveld Academy. By ‘vrij’ it meant free of the long<br />
tradition of Dutch factory glass; it meant free for glass<br />
to be used as a medium for artists in the same sense<br />
as paint or bronze or any other visual medium. ‘Vrij’ is<br />
a powerful word in a society that celebrates tolerance<br />
and reasonable acceptance, a word that offers up a<br />
challenge to limitations as much as it promises a respite<br />
from regulation. Fittingly, it raises more questions than<br />
it resolves.<br />
The stated goal of Vrij <strong>Glass</strong> is “to encourage<br />
experimentation and innovation in glass, and to endow<br />
artists with key infrastructure and vital expertise.” To<br />
this end, the foundation offers residency and research<br />
opportunities with rather elastic parameters. The governing<br />
board of the organization entertains proposals<br />
from artists from a variety of backgrounds who are<br />
interested in using glass in new ways as a means<br />
towards artistic ends. Proposals are considered on an<br />
individual basis, with an emphasis placed on original<br />
research and the exploration of new forms, techniques<br />
and ideas. The facilities available allow prospective<br />
residents to work with hot glass, neon, flameworking<br />
and various cold working processes (such as beveling,<br />
engraving, grinding and polishing). There is ample<br />
studio space within the large, airy workshop building,<br />
as well as an area devoted to exhibition and display in<br />
the front of the building. Vrij Glas also maintains an<br />
apartment in nearby Zaanstad for use by residents, and,<br />
in a typical gesture of Dutch hospitality, will offer you<br />
the use of a bicycle for your travels around town.<br />
The earliest roots of Vrij Glas lie in previous projects<br />
that were designed to link artists to the rather extensive<br />
facilities required to create works in glass. Durk Valkema<br />
and Anna Carlgren, two of the three founding directors<br />
of the Vrij Glas Foundation, are both exhibiting artists<br />
with a background in glass. Valkema is also renown<br />
as a designer and fabricator of innovative, efficient<br />
equipment for glass working. Carlgren, in addition to<br />
her own sculptural work in glass, has designed production<br />
wares for Royal Leerdam. Both have been involved<br />
in various projects of a collaborative nature, including<br />
the 1986 Amsterdam Chamber Symposium, in which<br />
artists working in glass from both Western and Eastern<br />
Europe were invited to come to Amsterdam, live and<br />
work together for a period of time, and exhibit the<br />
results in a gallery show. In 1997, both Carlgren and<br />
Valkema worked to organize and run the International<br />
Drinking <strong>Glass</strong> Event, which created a temporary studio<br />
in the center of Leerdam to which an open invitation to<br />
glassblowers from all over the world was issued.<br />
The three principals of Vrij <strong>Glass</strong> are all veterans of<br />
the 2002 <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong> conference that was held in<br />
Amsterdam. Durk Valkema was the conference co-chair,<br />
serving on the Board of Directors of both <strong>GAS</strong> and its<br />
Dutch partner, Stichtig Glas 2002 (a foundation formed<br />
for the sole purpose of hosting the conference). Anna-<br />
Lise van der Vorm served as executive assistant to the<br />
Dutch conference planner, and Anna Carlgren helped<br />
organize and promote a special exhibition of local<br />
artists using glass. Their association, and the experience<br />
of working together for two years to encourage the<br />
cooperative effort that led to the successful event, led<br />
indirectly to the formation of Vrij Glas.<br />
Another contributing event was the demise of the<br />
glass department at the Gerrit Reitveld Academy. The<br />
glass program, founded by Sybren Valkema in 1965, was<br />
widely known throughout Europe and around the world<br />
as an innovative and successful incubator for young<br />
artists investigating a line of study involving glass as an<br />
artistic medium. In 2003, the program was abandoned.<br />
Although the glass studio at the school remains as a<br />
facility available to students, there is no comprehensive<br />
program of instruction and as such is unlikely to be<br />
the focus of sustained study. The city’s most significant<br />
laboratory for free experimentation into glass had<br />
been closed.<br />
Vrij Glas was chartered as a cultural foundation<br />
and, as such, is eligible for special funding from the<br />
Dutch and city governments (it has the equivalent<br />
of non-for-profit status in the United States). It has<br />
received significant support from the city of Zanstad,<br />
which views the new organization as a magnet for<br />
cultural development that could help change the city’s<br />
profile from an outlying industrial zone to a center of<br />
creative activity.<br />
Initiated as a monthly salon in 2003, in 2005<br />
Vrij Glas found a home in a decommissioned military<br />
complex on the very edge of Amsterdam, in the nearby<br />
town of Zaanstad. Located a short one euro ferry ride<br />
across an industrial canal from the city, the complex at<br />
Hembrug resembles nothing more than a rather grim<br />
college campus that was abandoned sometime in the<br />
late 60s. There are open spaces, marvelous to encounter<br />
after the persistent, historical claustrophobia of the city<br />
of Amsterdam, bordered by sizeable industrial facilities<br />
that are now abandoned. With the cooperation of the<br />
local government of Zaanstad, the site became a home<br />
for a variety of cultural and artistic projects. There’s a<br />
delicious irony in witnessing the transformation of an<br />
arms depot by creative civic vision and the effort of<br />
artists into a haven for visionary artistic endeavor.<br />
When I visited Vrij Glas this past winter, the studio<br />
was host to a meeting of design professionals who have<br />
formed a think tank to address interdisciplinary issues.<br />
The meeting was catered by a company, which provided<br />
the usual array of light hors d’ouevres, but also included<br />
a rather unusual display of transparent food on light<br />
tables. Invited artists blew glass in the studio while the<br />
architects and educators and politicians mingled,<br />
munching on exotic snacks and drinking wine from<br />
hand-blown glass. The feeling was one of unusual<br />
alignments: black-clad design professionals mixing with<br />
sweaty glassblowers, a humming artistic beehive in the<br />
midst of a former munitions factory, the warm glow of<br />
a glass furnace contrasting with the freezing weather<br />
outside. Vrij Glas is a new endeavor dedicated to<br />
creative exploration. These unusual juxtapositions all<br />
seemed to be an apt expression of the its potential as<br />
a site where discoveries and novel work will happen.<br />
For more information on Vrij <strong>Glass</strong>, please visit the<br />
website at www.vrijglas.nl.<br />
New Student Representative<br />
Andrew K. Erdos<br />
Still image from Heart Transistor #3, Andrew K. Erdos<br />
While many sculptors build with the intention<br />
or resisting time, I embrace it, and use it as my<br />
primary artistic medium. The phrase I use to<br />
describe most of my art is “time-based performance<br />
sculpture”. They are works of art where the piece<br />
has a scheduled life span and the viewer can see<br />
the growth, progression, and decomposition of my<br />
object. Rarely do I produce sculptures that exist<br />
for over seventy-two hours. This means most of<br />
my sculpture is viewed in the form of digital prints,<br />
video, or artifacts left from the performance.<br />
<strong>Glass</strong> is beautiful, and manifests the changes<br />
of time better than any other material I have<br />
discovered. In my mind hot glass is a living thing.<br />
It produces light, radiates heat, and moves. As it<br />
cools and slows down it emulates ageing, and an<br />
eventual death. The life cycle is completed when<br />
the glass is re-melted.<br />
I also try to stimulate senses that are often<br />
neglected in art. Many of my sculptures produce<br />
sounds, and psychologically sickening smells. You<br />
can see some of my work on www.myspace.com/<br />
AndrewErdos or www.AndrewErdos.com. I am very<br />
interested in your feedback, and very excited about<br />
my upcoming term.<br />
Andrew K. Erdos began taking glass blowing<br />
classes at Bucks County Community College when he<br />
was 15. He has been a student at Alfred University<br />
since 2003 and will be graduating in 2007. In 2002,<br />
Andrew took an intensive class with Stephen Rolfe<br />
Powell. In 2004, he attended a two week collaborative<br />
class taught by Gabrielle Kushner and Josh Simpson<br />
and a four week intensive class with Sean Albert.<br />
He has been operating a small lamp-working studio<br />
in Newtown, Pennsylvania since 2004. He has work<br />
in the private collections of Mr. and Mrs. Michelle<br />
Guggenheim, Junior Marvin, Al Anderson and Aston<br />
“Family Man” Barrett of Bob Marley and the Wailers.
seminars, conferences, events<br />
Ankara <strong>Art</strong>s and Crafts Fair Nov. 4 -12, at the Ankara Atatürk<br />
Culture Center, Ankara, Turkey. Along with hundreds of native<br />
artists from different parts of Turkey and foreign artists from<br />
more than 50 countries, there will be concerts, cultural dance<br />
performances as well as fashion shows. Contact: Forum Fairs &<br />
Promotions Co, Inc., Mesrutiyet cad. No: 29/15, Kisilay, Ankara,<br />
<strong>06</strong>420, Turkey, Tel: +90 (312) 419 19 32, Fax: +90 (312) 419 19 37,<br />
senay@forumfuar.com, www.artsankara.com<br />
Annual Corning Museum of <strong>Glass</strong> Seminar to Explore <strong>Glass</strong><br />
Interiors and Furnishings Oct. 4 - 7 at the Corning Museum<br />
of <strong>Glass</strong>, Corning, NY. From windows and wall decorations to<br />
lighting and furniture, glass has been used in domestic settings<br />
from Roman times to the present. The 45th Annual Seminar<br />
on <strong>Glass</strong> at The Corning Museum of <strong>Glass</strong> in Corning, NY, will<br />
explore glass furnishings and interiors across time. The Seminar<br />
will feature presentations by guest experts, as well as by the<br />
curators from The Corning Museum of <strong>Glass</strong>. Topics will range<br />
from “<strong>Glass</strong> in the Buildings of Ancient Rome” to “Tiffany's<br />
Interiors at Laurelton Hall.” Special sessions on the final day will<br />
be devoted to the use of glass in contemporary architecture<br />
and public spaces. Speakers will include antique dealer and<br />
Lalique expert, Nicholas Dawes; the Metropolitan Museum of<br />
<strong>Art</strong>'s curator of American decorative arts, Alice C. Frelinghuysen;<br />
and the curator of glass from the Toledo Museum of <strong>Art</strong>,<br />
Jutta-Annette Page. The cost to attend the Seminar is $250 for<br />
non-members and $225 for Museum Members. The cost to<br />
attend individual lectures is $25 per lecture for non-members<br />
and $20 per lecture for Museum Members. The Corning<br />
Museum of <strong>Glass</strong>, One Museum Wy, Corning, NY, 14830-2253,<br />
Tel: 607-937-5371, Fax: 607-974-8470, Louise Maio at 607-974-<br />
4084, MaioLM@cmog.org or www.cmog.org<br />
<strong>Art</strong> <strong>Glass</strong> Auction and Benefit Dinner Oct. 7 at the Valley<br />
River Inn, Eugene, OR. Seventh annual auction activities include<br />
a featured artist demo, live and silent auctions, and dinner.<br />
Contact: Eugene <strong>Glass</strong> School, 575 Wilson St, Eugene, OR,<br />
97402, Tel: 541-342-2959, info@eugeneglassschool.org,<br />
www.eugeneglassschool.org<br />
<strong>Art</strong>ist Gala Party and Silent Auction Sept. 15, at the Alexis<br />
Hotel, Seattle, WA. Tickets can be purchased through Brown<br />
Paper Tickets at: www.brownpapertickets.com/event/5761.<br />
West Edge Sculpture Invitational, 5040 51st Ave SW, Seattle, WA,<br />
98136, Tel: 2<strong>06</strong>-334-5040, info@westedgesculpture.com,<br />
www.westedgesculpture.com<br />
Bead & <strong>Art</strong> <strong>Glass</strong> Fest 20<strong>06</strong> Nov. 10 -12, Orange County<br />
Convention Center, Orlando, FL. Over 65 classes will be offered<br />
in fusing, hot glass, stained glass, PMC and polymer clay, and<br />
beading. This year's instructors features Hollywood Jewelry<br />
maker to the stars and host of DIY's “Jewelry Making Offinger<br />
Management Company, 1100-H Brandywine Blvd, Zanesville,<br />
OH, 43701, Tel: 740-452-4541 ext 3122, Fax: 740-452-2552,<br />
www.Offinger.com<br />
Benefit Auction 20<strong>06</strong> for Bild-Werk Frauenau Acedemy<br />
Oct. 29 at Tom’s Hall in Frauenau, Germany. In this benefit<br />
auction well-known artists engage for the future of Bild-Werk<br />
Frauenau Academy as a creative melting point and an inspirational<br />
meeting place. A Silent Auction for studio glass and<br />
modern art will be presented on www.bild-werk-frauenau.de<br />
from Oct. 1, 20<strong>06</strong> and in Tom’s Hall at the auction weekend.<br />
Contact: Bild-Werk Frauenau, Postfach 105, Frauenau, D-94258,<br />
Germany, Tel: +49-9926-180895, Fax: +49-9926-180897,<br />
info@bild-werk-frauenau.de, www.Bild-Werk-Frauenau.de<br />
8th European <strong>Society</strong> of <strong>Glass</strong> Science and Technology<br />
Meeting Sept. 10 -14, in Sunderland, UK. The ESG20<strong>06</strong> will be<br />
held in conjunction with the annual meetings of the <strong>Society</strong> of<br />
<strong>Glass</strong> Technology and the International Commission on <strong>Glass</strong>.<br />
Contact: <strong>Society</strong> of <strong>Glass</strong> Technology, Unit 9 Twelve O'Clock<br />
Court, Sheffield, S4 7WW, England, Tel: +44 (0)114 263 4455,<br />
Fax: +44 (0)114 263 4411, sara@glass.demon.co.uk,<br />
www.esg20<strong>06</strong>.co.uk<br />
<strong>Glass</strong> Conference: A Functional Material for the Future<br />
Nov. 17 & 18, in Nancy, France. This conference will bring<br />
together researchers, educators, manufacturers, and architects.<br />
Contact: Pole Verrier, 6, rue Bastien-Lepage, Nancy, F-54000,<br />
France, pole@idverre.net, www.idverre.net/en/index.php<br />
<strong>Glass</strong> Processing Days June 15-18, 2007 in Tampere, Finland.<br />
Contact: TAMGLASS Ltd. Oy /GPD <strong>Glass</strong> Processing Days,<br />
Vehmaistenkatu 5, Tampere, 33730, Finland, Tel: +358 3 382 3280,<br />
gpd@glassfiles.com, www.glassprocessingdays.com<br />
<strong>Glass</strong> Studio Tour Oct. 14 -15, in Minneapolis and St. Paul,<br />
MN. The studios of nationally recognized glass artists in the<br />
Minneapolis / St. Paul metropolitan area open their doors<br />
to the public. The third annual tour showcases artists working<br />
in hot and warm glass forms (hand blown, fused and lamp<br />
worked ). Nineteen studio locations with over 30 participating<br />
artists. All studios have work on display with most offering live<br />
demonstrations through out the weekend. For specific<br />
operating hours and driving directions visit: FK <strong>Art</strong> <strong>Glass</strong>,<br />
2210 Bryant Ave N, Minneapolis, MN, 55411, Tel: 612-521-9773,<br />
fkartglass@juno.com, www.fkartglass.com<br />
<strong>Glass</strong>tec 20<strong>06</strong> Oct. 24-28, Düsseldorf, Germany. Contact:<br />
Messe Düsseldorf GmbH, Postfach 10 10 <strong>06</strong>, Düsseldorf, 40001,<br />
Germany, Tel: +49 (0)211/ 4560-01, Fax: +49 (0)211/4560-668,<br />
info@messe-duesseldorf.de, www.messe-duesseldorf.de<br />
<strong>Glass</strong>Tech India 20<strong>06</strong> Dec. 13-15 in Pragati Maidan, New<br />
Delhi, India. Contact: Conference & Exhibition Management<br />
Services Pte, Ltd., 1 Maritime Square #09- 43, Singapore,<br />
099253, Singapore, Tel: +65 6278 8666, Fax: +65 6278 4077,<br />
sales@cems.com.sg,<br />
Hot <strong>Glass</strong> Horizons 20<strong>06</strong> Portland, Nov. 1- 4 at the<br />
Doubletree Inn, Portland, OR. Many classes will be offered<br />
plus tours of Uroboros and Bullseye. Contact: Hot <strong>Glass</strong><br />
Horizons, 15500 NE Kincaid Rd, Newberg, OR, 97132,<br />
Tel: 503-538-5281, Fax: 503-538-6527, fusionhq@aol.com,<br />
www.hotglasshorizons.com<br />
Inspired <strong>Art</strong>s Fair Nov. 8-12 at Christchurch, Commercial St,<br />
Spitalfields, London, E1. Inspired <strong>Art</strong> is a small not-for-profit,<br />
London based contemporary arts organisation that curates<br />
and manages projects. Since its establishment in 2003, work<br />
has included 3 annual Inspired <strong>Art</strong> Fairs (IAF), The Aprilia <strong>Art</strong><br />
Challenge and Prelude, a series of monthly showcasing events<br />
for emerging UK artists. Alongside the fair, we are also running<br />
a series of talks for exhibiting and visiting artists. Contact:<br />
Inspired <strong>Art</strong> Fair, Top Floor, London, N6 4QP, Tel: +44 (0) 208 374<br />
7318, Fax: +44 (0) 208 374 4566, info@inspireartfair.com,<br />
www.inspireartfair.com<br />
Meltdown <strong>06</strong> Features Dante Marioni and Stephen Rolfe<br />
Powell Sept. 16, in Pittsburgh, PA. Meltdown <strong>06</strong> is Pittsburgh’s<br />
hottest party and only live glass auction to benefit Pittsburgh<br />
<strong>Glass</strong> Center. The featured glass artist for the event is Stephen<br />
Rolfe Powell. Dante Marioni will serve as honorary chair.<br />
Activities include: live and silent glass auctions, hot glass<br />
demonstrations by Stephen Rolfe Powell, glass sale and more.<br />
Tickets: $200. For more information or to sponsor Meltdown<br />
<strong>06</strong>, contact Lissa Rosenthal at 412-365-2145 ext. 207 or<br />
lissa@pittsburghglasscenter.org, or contact: Pittsburgh <strong>Glass</strong><br />
Center, 5472 Penn Ave, Pittsburgh, PA, 152<strong>06</strong>, Tel: 412-365-2145<br />
ext 203, Fax: 412-365-2140, karen@pittsburghglasscenter.org,<br />
www.pittsburghglasscenter.org<br />
Pilchuck <strong>Glass</strong> School Annual Auction Friday, Oct. 13, 5 pm.<br />
This year’s black-tie gala and auction is more international than<br />
ever, with hundreds of works of art from around the world.<br />
At The Westin Seattle, 1900 Fifth Avenue. Tickets are $250;<br />
call 2<strong>06</strong>-621-8422, ext. 50 or email reservations@pilchuck.com.<br />
Red Hot ! The Museum of <strong>Glass</strong> goes Speakeasy! Recapture<br />
the wild romance of the Roaring Twenties at RED HOT. Join us<br />
on Sept. 30 for our annual gala event, featuring live and silent<br />
art auctions, cocktails and cuisine, a Hot Shop floor show and<br />
all that jazz. Don't forget your dancing shoes! For more information<br />
or to purchase tickets: Museum of <strong>Glass</strong>: International<br />
Center for Contemporary <strong>Art</strong>, 1801 E Dock St, Tacoma, WA,<br />
98402-3217, Tel: 253-284-4708, Fax: 253-396-1769, Vera Hunter<br />
at vhunter@museumofglass.org, www.museumofglass.org<br />
The Mint Museums Celebrate their 70th Anniversary Oct. 22 at<br />
the Mint Museum, Charlotte, NC. Contact: Mint Museum of <strong>Art</strong>,<br />
2730 Randolph Rd, Charlotte, NC, 28207, Tel: 704-337-2000, Fax:<br />
704-337-2101, cmo@mintmuseum.org, www.mintmuseum.org<br />
Warm <strong>Glass</strong> Conference 20<strong>06</strong> Sept. 15-17 at the Arrowmont<br />
School of <strong>Art</strong>s and Crafts in Gatlinburg, TN. Speakers include<br />
MIlon Townsend and Richard La Londe. Pre- and post-conference<br />
classes will be held with a range of top instructors, including<br />
Richard La Londe, Johnathon Schmuck, Delores Taylor, Patty<br />
Gray, and Martha Kauppi. Scholarships and internships are<br />
available. Arrowmont School of <strong>Art</strong>s & Crafts, PO Box 567,<br />
Gatlinburg, TN, 37738, Tel: 865-436-5860, Fax: 865-430-4101,<br />
info@arrowmont.org, www.warmglass.org<br />
Young Affiliates of the Mint (YAMs) Black & White Gala<br />
Nov. 2, at the Mint Museum of <strong>Art</strong>, Charlotte, NC. Contact:<br />
Mint Museum of <strong>Art</strong>, 2730 Randolph Rd, Charlotte, NC, 28207,<br />
Tel: 704-337-2000, Fax: 704-337-2101, www.youngaffiliates.org<br />
or www.mintmuseum.org<br />
Contemporary <strong>Art</strong>s of New Mexico The Duane Reed Gallery<br />
invites you to join in the exploration of “Contemporary <strong>Art</strong>s of<br />
New Mexico.” Visiting Santa Fe, Albuquerque, and Corrales<br />
Oct. 18 - 22, 20<strong>06</strong>. This custom designed educational tour features<br />
artist's studio visits, some with demonstrations, museum<br />
exhibitions, lectures by noted arts experts, gallery receptions<br />
and exhibits, private collections, and a sculptural garden tour.<br />
Tour Stops Include Tesuuque <strong>Glass</strong>works – Works of glass artists<br />
Charles Miner and 10 additional artists with a demonstration<br />
of hot blowing and casting techniques, and the Canyon Road<br />
“Gallery Hop” – visiting Jane Soauer Thirteen Moons Gallery,<br />
William Siegel Gallery, Tai Gallery and Mariposa Gallery in<br />
Albuquerque – all exhibiting the best contemporary artists<br />
working in the United States. There will also be visits to Private<br />
<strong>Art</strong>ists Studios of Flo Perkins, Charles Miner, and Emily Brock.<br />
Visits to private collections: TBA. Tour includes 3 nights deluxe<br />
hotel accommodations, all applicable taxes, fees and gratuities,<br />
full breakfast daily with many lunches, dinners and receptions<br />
on tour, and all museum entrance fees. The tour is hosted by<br />
R. Duane Reed Gallery. Contemporary <strong>Art</strong> Tours/Professional<br />
Travel, Inc., 25201 Chagrin Blvd Ste 390, Beachwood, OH, 44122,<br />
Tel: 800-945-4461 x109/216-593-7040 x109, alw@protrav.com<br />
5<br />
Dublin Blaschka Congress Sept. 28-30 in Dublin, Ireland at the<br />
National Museum of Ireland. September 20<strong>06</strong> will see the firstever<br />
international meeting focussed on the work of glass artists<br />
Leopold and Rudolf Blaschka. Conference proceedings will<br />
include major contributions from some of the worlds leading<br />
glass scholars: David Whitehouse (Corning Institute of <strong>Glass</strong>,<br />
USA), Susan Rossi-Wilcox (Harvard University, USA), renowned<br />
Blaschka scholar Henri Reiling, and Chris Meechan (National<br />
Museum and Galleries of Wales). Contact: National Museum of<br />
Ireland – Natural History, Merrion St, Dublin, 2, Ireland, Tel: +353<br />
(0) 1 6486 396, laschka20<strong>06</strong>@ucd.ie, www.ucd.ie/blaschka
esources, etc.<br />
PLEASE NOTE: Publication of notices is for information<br />
purposes only and does not necessarily indicate endorsement<br />
by the <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong>.<br />
We are happy to include information as supplied to us by<br />
various sources. Please send us your press releases and notices<br />
including specific, current facts as far in advance as possible to:<br />
<strong>GAS</strong>, 3131 Western Avenue, # 414, Seattle, WA 98121 or e-mail<br />
to: Shannon@glassart.org. <strong>GAS</strong> NEWS is a bi-monthly publication.<br />
Members receive their newsletters approximately 6-8 weeks<br />
after the deadline.<br />
Upcoming <strong>News</strong>letter Deadlines:<br />
September 1 for the November/December 20<strong>06</strong> issue<br />
November 1 for the January/February 2007 issue<br />
We look forward to hearing from you.<br />
Apprenticeships<br />
Apprentice at Banana Factory Hot <strong>Glass</strong> Studio The BFHG<br />
Tech Apprentice Program was created for students who have<br />
finished studying glass in university degree programs. It offers<br />
two primary experiences; 1) a chance to continue working<br />
with the medium and create a post-collegiate body of work<br />
2) real-world job experience maintaining and running a large<br />
scale glass studio. Tech apprenticeships not to exceed one year.<br />
Apprentices will work 30 hours/week as a studio tech and have<br />
10 hours/week to focus on making their own work. Apprentices<br />
are provided with housing and a stipend of $400 monthly.<br />
Tech apprentices should leave BFHG with the basic knowledge<br />
necessary to build, run, and/or work in any glass studio. The<br />
apprenticeship will train individuals in proper operation and<br />
maintenance of equipment in all studios, as well as give them<br />
experience in day to day operation of a facility that caters to<br />
glassworkers of all skill levels. Wherever possible, tech apprentices<br />
will be included in troubleshooting problems regarding<br />
equipment as well as renter special needs. Tech apprentices will<br />
interface with our renter public and be expected to occasionally<br />
oversee studios on their own. Individuals wishing to apply for<br />
this position should submit a cover letter, resume, statement<br />
of intent, and 5-10 portfolio images in slide or CD form to:<br />
The Hot <strong>Glass</strong> Studio at the Banana Factory, 25 W 3rd St,<br />
Bethlehem, PA, 18015, Tel: 610-332-1300, Fax: 610-861-2644,<br />
jharmon@fest.org, www.bananafactory.org<br />
Call for Papers<br />
<strong>Glass</strong> Processing Days The 10th biannual <strong>Glass</strong> Processing<br />
Days welcomes your proposals for non-commercial, industrial<br />
or industrial-scientific presentations by 10 October 20<strong>06</strong>. The<br />
guiding theme for conference is green values. This and much<br />
more are covered in sessions under four main categories: <strong>Glass</strong><br />
Processing, Use of <strong>Glass</strong>, Automotive and Changing markets.<br />
GPD will be held June 15-18 in Tampere, Finland. Contact:<br />
TAMGLASS Ltd. Oy / GPD <strong>Glass</strong> Processing Days, Vehmaistenkatu<br />
5, Tampere, 33730, Finland, Tel: +358 3 382 3280, Fax: +358 3 382<br />
3285, gpd@glassfiles.com, www.glassprocessingdays.com<br />
Calls to <strong>Art</strong>ists<br />
<strong>Art</strong>Network Cover Contest <strong>Art</strong>Network is accepting entries<br />
for the 15th edition cover contest. Fine artists with two- or<br />
three-dimensional artwork may apply. The grand-prize winner<br />
willl have his/her artwork showcasedon the front cover of this<br />
fine art directory, which is sent to more than 7,000 art world<br />
professionals. Deadline is September 15. For an application<br />
or Contact: ARTNETWORK, PO Box 1360, Nevada City, CA, 95959,<br />
Tel: 530-470-0862, Fax: 530-470-0256, info@artmarketing.com,<br />
www.artmarketing.com<br />
Craft Forms 20<strong>06</strong> 12th Annual National Juried Exhibition<br />
Contemporary Craft takes place Dec. 1, 20<strong>06</strong> - Jan. 24, 2007.<br />
Juror: $3,000 + Cash Awards & Group or Solo Exhibitions.<br />
All Craft Media. Entry Fee: $25. Deadline: Sept. 26, 20<strong>06</strong>.<br />
Contact: Wayne <strong>Art</strong> Center, 413 Maplewood Ave, Wayne,<br />
PA, 19807, Tel: 610-688-3553, Fax: 610-995-0478,<br />
nancy@wayneart.org, www.wayneart.org<br />
New <strong>Glass</strong> Review 28 The Corning Museum of glass invited all<br />
glassmakers, artists, designers and companies to participate in<br />
the New <strong>Glass</strong> Review 28. Only glass design and made between<br />
Oct. 1 2005 and Sept.15, 20<strong>06</strong> maybe submitted for this annual<br />
survey. Submit three color slides or digital images by Oct. 1,<br />
20<strong>06</strong> with $15 entry fee. Send to New <strong>Glass</strong> Review, Curatorial<br />
Department, The Corning Museum of <strong>Glass</strong>, One Museum Way,<br />
Corning, NY, 14830.<br />
Ornament Extravaganza Kittrell/Riffkind <strong>Art</strong> <strong>Glass</strong> invites<br />
entries for their “Ornament Extravaganza”. Unique, one-of-akind,<br />
and limited edition contemporary glass ornaments wanted.<br />
Submit photos/slides, descriptions and prices. Deadline for<br />
entries is Sept. 22nd. Show dates: Nov. 18 - Dec. 30. No fee.<br />
Insurance. For details or for more information send an SASE to:<br />
Kittrell/Riffkind <strong>Art</strong> <strong>Glass</strong>, 5100 Belt Line Rd #820, Dallas, TX,<br />
75254, Tel: 972-239-7957/ 888-865-2228, Fax: 972-239-7998,<br />
<strong>Art</strong>glass@KittrellRiffkind.com, www.kittrellriffkind.com<br />
Physical Presence and The Project Room All entry forms and<br />
images for Physical Presence are due Jan. 19, 2007 with an<br />
exhibition scheduled April 20 - Aug. 5, 2007. Applications for<br />
are due Dec. 15, 20<strong>06</strong> with the exhibition calendar TBA.<br />
Contact: Mesa Contemporary <strong>Art</strong>s, Mesa <strong>Art</strong>s Center, Mesa,<br />
AZ, 85211, Tel: 480-644-6501, www.mesaartscenter.com<br />
Premiere Portfolio Applications Absolutearts.com, the<br />
Internet’s most successful arts website, is accepting applications<br />
for the Premiere Portfolio - an online sales/marketing tool<br />
for artists around the world. The Premiere Portfolio aids an<br />
elite group of artists in promoting their work via the Internet.<br />
Your art will be exposed to millions of visitors on the wwar.com<br />
and absolutearts.com websites and newsletter. Upload up to<br />
1,000 images, your statement, gallery representation, exhibition<br />
history, reviews, commissions, collections, and other links.<br />
Use e-invitations and guestbook features to keep your potential<br />
buyers involved. Email from your personal address directly<br />
linked to your portfolio. Sell your art through World Wide<br />
<strong>Art</strong>s Resources’ credit card processing services. Promote your<br />
work with this marketing tool designed specifically for the<br />
professional artist. For a US $25 jury fee and an affordable<br />
yearly membership of US $75, you, the serious artist, can now<br />
effectively promote your art online. Requirements are 4 images,<br />
a bio and artist statement. <strong>Art</strong>ists who are not selected receive<br />
a Regular Portfolio for 6 months. (US $18 at regular price).<br />
Contact: World Wide <strong>Art</strong>s Resources, 3678 Loudon St,<br />
Granville, OH, 43023, Tel: 740-587-3326, Fax: 740-587-4103,<br />
artnews@absolutearts.com, www.absolutearts.com<br />
Seeking Ornament Auction Donations The Hot <strong>Glass</strong> Studio at<br />
the Banana Factory in Bethlehem Pennsylvania will host a gala<br />
event Fire and Ice to help establish visiting artist program and<br />
fund special glass programs for at-risk youth. Your donation to<br />
the Fire and Ice Ornament Auction helps to fund the operation<br />
of the Hot <strong>Glass</strong> Studio at the Banana Factory, the only hot glass<br />
studio in Pennsylvania’s Lehigh Valley. Your donation supports<br />
our B-Smart <strong>Glass</strong> program which features hot glass instruction<br />
for at-risk youth and the creation of a visiting artist in residence<br />
program. As an ornament auction donor your name will be<br />
listed in our Fire and Ice 20<strong>06</strong> Program Guide and on the<br />
Banana Factory website. Delivery Date: Week of Sept.25, 20<strong>06</strong>.<br />
Contact: The Hot <strong>Glass</strong> Studio at the Banana Factory, 25 W 3rd<br />
St, Bethlehem, PA, 18015, Tel: 610-332-1300, Fax: 610-861-2644,<br />
jharmon@fest.org, www.bananafactory.org<br />
For Rent<br />
Two Studios for Rent I have two work studios available for rent<br />
in Redfern/Sydney, Australia, on the first floor. Approx. 30+ m 2 .<br />
The building is pretty funky, high ceilings, timber floors,<br />
goods lift,loading dock, on the first floor, back to base security,<br />
intercoms to the front door, and air-conditioning. Only $185<br />
per week plus GST. If you know of anybody looking for a work<br />
space please let them know. We also have a glass blowing<br />
and forming studio down stairs. Contact: Diffuse... <strong>Glass</strong>...<br />
Light... Works, 15 Woodburn St, Redfern, Sydney, NSW, 2030,<br />
Australia, Tel: +61 02 8399 3899, Fax: +61 02 8399 3833,<br />
michelle@diffuse.com.au, www.diffuse.com.au<br />
For Sale<br />
Glory Hole for Sale 22” Glory Hole, brand new, just built.<br />
3 doors, two burners, eclipse low pressure proportional mixer,<br />
reduction pedal, lining is 2 1/2” IFB, brick lining is backed by<br />
3” of ceramic fiber, three part refractory heat retaining ring, door<br />
molds included, 6” casters $6. Suzanne Guttman <strong>Glass</strong>, PO Box<br />
1030, Langley, WA, 98260, Tel: 360-321-2330, Fax: 360-321-2585,<br />
Suzanne@Guttman<strong>Glass</strong>.com, www.SuzanneGuttman<strong>Glass</strong>.com<br />
Sandblasters for Sale Two 2005 SCM Jet Stream Passer<br />
Sandblasters w/100 lb. pressure pots For engraving and<br />
etching. Asking $4500 or best offer. Contact: 64 N Central Dr,<br />
O’Fallon, MO, 63366, Tel: 800-467-<strong>06</strong>90, Fax: 636-281-0511,<br />
stl8@rtrservices.com, www.rtrservices.com<br />
Vitrolite for Sale I have vitrolite for sale. 24”x24” slate/powder<br />
blue, jade, off white/cream. Contact: Pearl <strong>Glass</strong>works Ltd.,<br />
1237 E Main St, Rochester, NY, 14609, Tel: 585-381-0822,<br />
mpg@pearlglassworks.com, www.pearlglassworks.com<br />
Grants/ Residencies<br />
<strong>Art</strong>ists in Residence at Pittsburgh <strong>Glass</strong> Center Oct. 2 is the<br />
deadline to apply for residencies at the open, comprehensive<br />
glass studio and gallery. PGC offers many residency tracks that<br />
provide support to artists to practice or discover glassmaking,<br />
create new work or develop work for an exhibition. Residencies<br />
include: The <strong>Art</strong>ist as Catalyst residency attracts innovation to<br />
Pittsburgh by supporting the work of mid-career glass artists<br />
working outside of Pittsburgh, The Bridge <strong>Art</strong>ist program<br />
provides support to artists working outside of the medium of<br />
glass, providing an opportunity to explore a new material and<br />
create a body of work with the help of a master glass artist, The<br />
Community <strong>Art</strong>ist residency track makes connections between<br />
PGC and its communities in order to create situations that bring<br />
unconventional audiences to view, discuss and interact with<br />
works of art. To apply for a residency at Pittsburgh <strong>Glass</strong> Center,<br />
artists must complete an application; submit an artist statement<br />
and biography; plus submit images of their work by Oct. 2, 20<strong>06</strong><br />
Pittsburgh <strong>Glass</strong> Center, 5472 Penn Ave, Pittsburgh, PA, 152<strong>06</strong>,<br />
Tel: 412-365-2145, ext 2<strong>06</strong>, janet@pittsburghglasscenter.org,<br />
www.pittsburghglasscenter.org<br />
Resident <strong>Art</strong>ist Program Living <strong>Art</strong>s Centre program provides<br />
opportunities for a blend of recent graduates of arts and design<br />
institutions as well as mid-career artists to create, learn, and<br />
exchange ideas in a multi-disciplinary and collaborative studio<br />
environment. Contact: Living <strong>Art</strong>s Centre, 4141 Living <strong>Art</strong>s Dr,<br />
Mississauga, ON, L5B 4B8, Canada, Tel: 905-3<strong>06</strong>-6161,<br />
Fax: 905-3<strong>06</strong>-6101, samantha.pawley@livingarts.on.ca,<br />
www.livingartscentre.ca<br />
6<br />
CRAFTBOSTON 2007 Applications now available! CRAFT-<br />
BOSTON Exhibition and Sale will take place March 30- April 1,<br />
2007 at the Seaport World Trade Center, Boston, MA. Work will<br />
be juried based on originality, execution of design, technique<br />
and craftsmanship, creative use of materials and aesthetic<br />
qualities. Applications will be accepted though Sept. 8 and<br />
are now available online, 20<strong>06</strong>. Contact: The <strong>Society</strong> of <strong>Art</strong>s &<br />
Crafts, 175 Newbury St, Boston, MA, 02116, Tel: 617-266-1810,<br />
bgerstein@societyofcrafts.org, www.societyofcrafts.org<br />
Miami Beach Festival of the <strong>Art</strong>s Feb. 10 -11, 2007, Miami<br />
Beach, FL. The 33nd Annual Miami Beach Festival of the <strong>Art</strong>s<br />
will begin accepting applications this summer. The festival is a<br />
juried competition in Ceramics, Drawing/Printing, Fine Crafts,<br />
Fine Jewelry, <strong>Glass</strong>, Mixed Media, Photography, Painting,<br />
Sculpture, and Watercolor offering cash prizes of $500 to each<br />
category and a $1500 grand prize. Although we do usually<br />
have a number of Canadian artists participate, glass has<br />
been somewhat underrepresented in recent years so we are<br />
making a general effort to seek more entries in this category.<br />
Application deadline Oct. 15. Contact: Miami Beach Festival<br />
of the <strong>Art</strong>s, Tel: 305-865-4147, nbdc@gonorthbeach.com,
Urban<strong>Glass</strong> Visiting <strong>Art</strong>ist Fellowship Urban<strong>Glass</strong> offers three<br />
Visiting <strong>Art</strong>ist Fellowships to artists wishing to work in glass.<br />
Two fellowships are offered to Emerging <strong>Art</strong>ists and one<br />
fellowship to an Established <strong>Art</strong>ist. Fellowships are for an eight<br />
week period and include access to all areas of the Studio on a<br />
scheduled basis, technical support and materials as stipulated<br />
in the Fellowship Agreement. The Fellowship does not include<br />
room and board. <strong>Art</strong>ists will be chosen on the basis of past<br />
work and plans for utilizing Urban<strong>Glass</strong> facilities. A selection<br />
committee of artists, staff and critics will review applications<br />
and notification of selection will be made no later than<br />
Jan. 31, 2007. <strong>Art</strong>ists who are interested in this program<br />
should complete the Visiting <strong>Art</strong>ist application form and<br />
submit it with required materials in the format described to<br />
Urban<strong>Glass</strong>. The deadline for submission of materials is<br />
Dec. 1, 20<strong>06</strong>. Contact: Urban <strong>Glass</strong>, 647 Fulton St 3rd Floor,<br />
Brooklyn, NY, 11217, Tel: 718-625-3685 x 225, Fax: 718-625-3889,<br />
info@urbanglass.org, www.urbanglass.org<br />
Job Opportunities<br />
Hot <strong>Glass</strong> Worker If you have had some experence in a large<br />
‘hot shop’ this might be the job for you. Robert Held <strong>Art</strong> <strong>Glass</strong> is<br />
Canada’s largest glass-blowing studio. The work is ‘production<br />
based’ and the job is full-time, 8 hour day. Many of Canada’s<br />
current master glass blowers have worked with and for Robert<br />
Held. To review some of the products that Robert Held <strong>Art</strong><br />
<strong>Glass</strong> makes, visit www.robertheld.com. Send resumes via<br />
email to: info@robertheld.com or visit the studio in person.<br />
Contact: Robert Held <strong>Art</strong> <strong>Glass</strong>, 2130 Pine St, Vancouver, BC,<br />
V6J 5B1, Canada, Tel: 800-665-0725, Fax: 888-786-9766,<br />
heldglass@aol.com, www.robertheld.com<br />
Hot Shop Manager Wanted The Banana Factory Hot <strong>Glass</strong><br />
Studio is seeking a creative, energetic and highly organized<br />
individual to manage our glass hot shop in Bethlehem PA.<br />
Responsibilities include: coordinating rentals, hot shop light<br />
up and shut down, ordering and purchasing supplies,<br />
maintaining equipment and scheduling repairs, classes and<br />
workshops. We will be adding to our equipment on an<br />
ongoing basis, the shop is due to expand with the demand.<br />
You will work closely with Internationally known Director and<br />
professor James Harmon to make this new studio a successful<br />
501c3 program with all aspects of glassworking for professionals<br />
and in education as a goal. If interested, a more<br />
detailed description of the position can be e-mailed to you<br />
upon request as well as payment options. Contact: The Hot<br />
<strong>Glass</strong> Studio at the Banana Factory, 25 W 3rd St, Bethlehem, PA,<br />
18015, Tel: 610-332-1300, Fax: 610-861-2644, jharmon@fest.org,<br />
www.bananafactory.org<br />
Seeking a Gaffer/ Master <strong>Glass</strong> <strong>Art</strong>ist Seeking full time (four<br />
day per week) Gaffer/Master <strong>Glass</strong> <strong>Art</strong>ist with experience in<br />
both large hollow wear and sculptural work. Shop located in<br />
North County San Diego. Candidate must have minimum four<br />
years Gaffer seat time. Be responsible, reliable, enthusiastic,<br />
flexible and cleanup after ones selves. Metal skills a plus.<br />
Job entails some teaching responsibilities. Portfolio, references<br />
and an audition required. This is a serious position for a<br />
serious artist. Contact: Stone and <strong>Glass</strong>, 13330 Paseo Del<br />
Verano Norte Bld S, San Diego, CA, 92128, Tel: 858-485-7701,<br />
jamstone@cox.net, www.stoneandglass.com<br />
Seeking <strong>Glass</strong> Worker Are you interested in working in a<br />
fast paced, creative environment? We produce glass sinks,<br />
countertops, backsplashes, architectural panels and art pieces<br />
for the international market. We are looking for someone to<br />
work in our glass production department. Seeking person with<br />
glass experience (cutting, fusing), who is comfortable working<br />
with power tools, is a self-starter, works well with others, and<br />
has creative abilities. Please bring your resume to: Panache<br />
10533 - 123rd Street, Edmonton, Monday to Friday between<br />
9 - 4 pm. Contact: Panache Ceramic Industries, 10519 123rd St,<br />
Edmonton, AB, T5N 1N9, Canada, panache@telusplanet.net,<br />
www.panacheceramic.com<br />
Looking for Work<br />
Seeking Position in London Son of Davide Salvadore in<br />
Murano, Italy seeks glassblowing position in a London studio<br />
for approximately one year. Anyone interested on offering this<br />
artist a job, or interview, should contact him. Tel: +44 020 7193<br />
2092, info@ideaglass.com, www.ideaglass.com<br />
Other Opportunities<br />
MFA Exhibition Competition In Spring 2007, Urban<strong>Glass</strong> will<br />
host the third annual MFA Exhibition Competition, featuring the<br />
work of three to seven recent graduates of MFA glass programs.<br />
The exhibition provides an international showcase for new and<br />
noteworthy talent in the field of contemporary glass. Each of<br />
the finalists will be represented by up to three art works in the<br />
exhibition. One artist will be selected from the finalists for a<br />
one-artist show in the Robert Lehman Gallery at Urban<strong>Glass</strong> at<br />
a later date. Judging will take place in Oct. 20<strong>06</strong> and finalists<br />
will be notified by Friday, Oct. 27, 20<strong>06</strong>. The winner of the<br />
one-artist exhibition will be announced at the MFA Exhibition<br />
opening. The exhibition will be documented in GLASS: The<br />
Urban<strong>Glass</strong> <strong>Art</strong> Quarterly. The Urban<strong>Glass</strong> MFA Exhibition<br />
Competition is open to recent MFA graduates of glass programs<br />
in the United States and Canada. For the 2007 competition,<br />
artists must have received their MFAs within the past academic<br />
year, from Winter 2005 through Summer 20<strong>06</strong>. All entries must<br />
be postmarked or hand-delivered by 5 pm on Friday, Sept. 29.<br />
Contact: Urban <strong>Glass</strong>, 647 Fulton St 3rd Floor, Brooklyn,<br />
NY, 11217, Tel: 718-625-3685 x 225, Fax: 718-625-3889,<br />
info@urbanglass.org, www.urbanglass.org<br />
Publications<br />
New Publications and a New Flameworking Video Now<br />
available are: European <strong>Glass</strong> Furnishings for Eastern Palaces,<br />
by Jane Shadel Spillman, 144 pages and 125 illustrations;<br />
New <strong>Glass</strong> Review 27 by The Corning Museum of <strong>Glass</strong> staff,<br />
126 pages and 199 illustrations; and An Introduction to<br />
Flameworking with Emilio Santini, (Foundations Series, Volume<br />
2), 34 minutes, DVD or VHS. Contact: The Corning Museum of<br />
<strong>Glass</strong>, One Museum Wy, Corning, NY, 14830, Tel: 607-937-5371,<br />
Fax: 607-974-8470, contactus@cmog.org, www.cmog.org<br />
Join in the conversation!<br />
Check out our new Message Board categories,<br />
including “Fueling the Habit,” about how to<br />
conserve energy in the shop, at www.glassart.org.<br />
GLASHAUS<br />
The International Magazine<br />
of Studio <strong>Glass</strong><br />
German/ English, 4 issues p.a. 39 EUR<br />
(including air mail postage)<br />
7<br />
Advertising/Subscription:<br />
Dr. Wolfgang Schmölders<br />
Glashaus-Verlag, Stadtgarten 4<br />
D-47798 Krefeld (Germany)<br />
Tel: +49-2151-77 87 08<br />
Fax: +49-2151-97 83 41<br />
Email: glashaus-verlag@t-online.de<br />
www.glasshouse.de
classes + workshops<br />
PLEASE NOTE: Publication of notices is for information<br />
purposes only and does not necessarily indicate endorsement<br />
by the <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong>.<br />
We are happy to include information as supplied to us by<br />
various sources. Please send us your press releases and notices<br />
including specific, current facts as far in advance as possible to:<br />
<strong>GAS</strong>, 3131 Western Avenue, # 414, Seattle, WA 98121 or e-mail<br />
to: Shannon@glassart.org. <strong>GAS</strong> NEWS is a bi-monthly publication.<br />
Members receive their newsletters approximately 6-8 weeks<br />
after the deadline.<br />
Upcoming <strong>News</strong>letter Deadlines:<br />
September 1 for the November/December 20<strong>06</strong> issue<br />
November 1 for the January/February 2007 issue<br />
We look forward to hearing from you.<br />
UNITED STATES<br />
CALIFORNIA<br />
Masaoka <strong>Glass</strong> Design, 13766 Center St Ste G-2, Carmel Valley,<br />
CA, 93924, Tel: 831-659-4953, Fax: 831-659-3156,<br />
masaoka@mbay.com, www.alanmasaoka.com<br />
Sept. 15-17: Kiln Casting Workshop/Mark Abildgaard<br />
Stumpchuck.com, 8901 Sheldon Rd, Elk Grove, CA, 95624,<br />
Tel: 916-739-0912, Fax: 916-736-1123, joella4@aol.com,<br />
www.stumpchuck.com<br />
Sept. 20-24: In the Garden/Loren Stump<br />
Oct. 25-29: Loren II/Loren Stump<br />
Nov. 3-5: Paperweight Weekend/Loren Stump<br />
Nov. 15-19: Loren I/Loren Stump<br />
COLORADO<br />
<strong>Glass</strong>craft, Inc., 626 Moss St, Golden, CO, 80401,<br />
Tel: 303-278-4670, Fax: 303-278-4672, jhoyt@glasscraftinc.com,<br />
www.glasscraftinc.com<br />
Sept. 23-25: Designing and Making Vessels in Borosilicate/<br />
Matt Eskuche<br />
Oct. 4 -8: Under the Sea/Loren Stump<br />
Oct. 21-22: Survey of Flameworking/Shane Fero<br />
ILLIONOIS<br />
Ed Hoy’s International, 27625 Diehl Rd, Warrenville, IL, 60555,<br />
Tel: 800-323-5668/630-836-1353, Fax: 630-836-1362,<br />
ehoy@edhoy.com, www.edhoy.com<br />
Sept. 11-12: Sculptural Beadmaking #1/Sharon Peters<br />
Sept. 13-15: Mural & Pictorial Beads: Stringer Painting &<br />
Surface Sculpture/Sharon Peters<br />
Oct. 20: Ornaments: Fused and Blown<br />
Oct. 27 & 30: <strong>Glass</strong> Paperweights<br />
Ox-Bow, 37 S Wabash Ave, Chicago, IL, 6<strong>06</strong>03, Tel: 312-899-7455/<br />
800-318-3019, Fax: 312-899-5139, ox-bow@artic.edu, www.oxbow.org<br />
INDIANA<br />
Inspired Fire <strong>Glass</strong> Studio & Gallery, 2124 State Road 25 South,<br />
Lafayette, IN 47909, Tel: (765) 474-1981<br />
Beginning Classes<br />
Sept. 11-13, 6-9 pm<br />
Sept. 23, 10- 4 pm & Sept. 24 1- 4 pm<br />
Fusing Class<br />
Loren Stump: Oct. 11 - 15<br />
LOUISIANA<br />
Andrew Jackson Pollack, 5973 Tchoupitlulas, New Orleans, LA,<br />
70115, Tel: 504-723-8235, Fax: 404-250-1158,<br />
apollack420@msn.com, www.andrewjacksonpollack.com<br />
Sept. 9 & 10: At private studio in Sandy Springs/<br />
Andrew Jackson Pollack<br />
Sept. 23: At private studio in Sandy Springs/<br />
Andrew Jackson Pollack<br />
Oct. 13-15: At private studio in Sandy Springs/<br />
Andrew Jackson Pollack<br />
Nov. 18: At private studio in Sandy Springs/<br />
Andrew Jackson Pollack<br />
Nov. 25: At private studio in Sandy Springs/<br />
Andrew Jackson Pollack<br />
New Orleans School of <strong>Glass</strong>works & Printmaking Studio,<br />
727 Magazine St, New Orleans, LA, 70130, Tel: 504-529-7277,<br />
(Attn: <strong>Glass</strong>works), info@neworleansglassworks.com,<br />
www.neworleansglassworks.com<br />
MASSACHUSSETTS<br />
Snow Farm: The New England Craft Program, 5 Clary Road,<br />
Williamsburg, MA, 01096, Tel: 413-268-3101, Fax: 413-268-3161,<br />
info@snowfarm-art.org, www.snowfarm.org<br />
Late Summer Intensive<br />
Sept. 2-4: Beginner to Intermediate <strong>Glass</strong>blowing/<br />
Beth Lipman<br />
Sept. 2-4: Beads/Sally Prasch<br />
Special Offering<br />
Sept. 18-22: <strong>Glass</strong> Meets Metal/Paula Kochanek & Pat Bennett<br />
Sept. 18-22: Lampworking/Bandhu Dunham<br />
Fall Foliage Intensive<br />
Oct. 7-9: Intermediate to Advanced <strong>Glass</strong>blowing/<br />
Jim Holmes<br />
Oct. 10-12: <strong>Glass</strong>blowing Add-On Intermediate to Advanced/<br />
Jim Holmes<br />
Oct. 7-9: Mosaics/Richard Moss<br />
Oct. 7-9: <strong>Glass</strong> Beads & Hollow Forms/Sally Prasch<br />
Oct. 7-9: Kiln <strong>Glass</strong>/Paula Kochanek<br />
MAINE<br />
Haystack Mountain School of Crafts, PO Box 518 GL,<br />
Deer Isle, ME, 04627, Tel: 207-348-23<strong>06</strong>, Fax: 207-348-2307,<br />
director@haystack-mtn.org, www.haystack-mtn.org<br />
Sept. 3- 9: Playing with the “Graal” Idea/Peter Houk<br />
MICHIGAN<br />
College for Creative Studies, 201 E Kirby, Detroit, MI, 48202,<br />
Tel: 313-664-7447, hbabcock@ccscad.edu, www.ccscad.edu<br />
Delphi, 3380 E Jolly Rd, Lansing, MI, 48910, Tel: 800-331-1101,<br />
info@delphiglass.com, www.delphihotglass.com<br />
Eberhart Studio, 3154 Shamrock Ct, Ann Arbor, MI, 48105,<br />
Tel: 734-764-3385, Fax: 734-763-0459, harald@eberhartglass.com,<br />
www.eberhartglass.com<br />
Sept. 30-Oct. 1: Pyrex 3-D Plasma Neon/Argon Workshop/<br />
Harald Eberhart<br />
Oct. 11-14: Pyrex Flame <strong>Glass</strong>blowing (All Levels)/<br />
Harald Eberhart<br />
Nov. 3- 6: Pyrex Flame <strong>Glass</strong>blowing (All Levels)/<br />
Harald Eberhart<br />
Nov. 9-12: Pyrex Flame <strong>Glass</strong>blowing (All Levels)/<br />
Harald Eberhart<br />
The <strong>Glass</strong> Academy, 25331 Trow Bridge, Dearborne, MI,<br />
48124, Tel: 313-359-3353, michelle@glassacademy.com,<br />
www.glassacademy.com<br />
Call for information about upcoming classes.<br />
Good Hart <strong>Glass</strong>works, PO Box 941, Good Hart, MI, 49737,<br />
Fax: 231-526-1163, ghgw@freeway.net, www.<strong>Art</strong>istsNorth.com.<br />
Located “up north” near beautiful Lake Michigan, the studio is<br />
a two bench, two glory hole facility with 200# furnace.<br />
Private lessons, studio rental, demonstrations, and limited onsite<br />
housing also available. Class instructor: L. D. Dinning.<br />
NORTH CAROLINA<br />
Penland School of Crafts, PO Box 37, Penland, NC, 28765,<br />
Tel: 828-765-5753, Fax: 828-765-7389, danamoore@penland.org,<br />
www.penland.org. On-going classes are offered. Please contact<br />
the school for more information.<br />
NEW JERSEY<br />
Salem Community College <strong>Glass</strong> Center, 460 Hollywood Ave,<br />
Carneys Point, NJ, 08<strong>06</strong>9, Tel: 856-351-2611, Fax: 856-351-2662,<br />
aboothe@salemcc.edu, www.salemcc.org<br />
Vandermark Merritt <strong>Glass</strong> Studios, Inc., 240 Readington,<br />
Somerville, NJ, 08876, Tel: 908-231-8189, Fax: 908-722-3380,<br />
vandermarkglass@excite.com. One and two-day glassblowing<br />
classes offered. Please call or e-mail for more information.<br />
NEW YORK<br />
The Studio of The Corning Museum of <strong>Glass</strong>, One Museum Way,<br />
Corning, NY, 14830, Tel: 607-974-8914/6467, Fax: 607-974-6370,<br />
thestudio@cmog.org, www.cmog.org. Contact Corning for<br />
more information about November and December classes.<br />
Ten-week courses begin October 1 and end December 3:<br />
Beginning <strong>Glass</strong>blowing with Carl Siglin<br />
Continuing <strong>Glass</strong>blowing with Carl Siglin<br />
Continuing <strong>Glass</strong>blowing with Ray Friday<br />
Flameworking with Glady West<br />
Oct. 7- 8: Beginning <strong>Glass</strong>blowing/Carl Siglin<br />
Oct. 14-15: Beginning <strong>Glass</strong>blowing/G. Brian Juk<br />
Oct. 21-22: Beginning <strong>Glass</strong>blowing/Carl Siglin<br />
Oct. 28-29: Next Steps in <strong>Glass</strong>blowing/Ray Friday<br />
Oct. 7- 8: Jewelry Techniques in Borosilicate/Margaret Neher<br />
Oct. 14-15: Bead Basics: Introduction to Flameworked Beads/<br />
Jen Zitkov<br />
Oct. 21-22: Beginning Flameworking/Eric Goldschmidt<br />
Oct. 28-29: Next Steps Flameworked Beads/Jen Zitkov<br />
Flat <strong>Glass</strong><br />
Oct. 7- 8: Beginning Stained <strong>Glass</strong>/ Tony Serviente<br />
Oct. 14-15: Painting on <strong>Glass</strong>/Denise Stillwaggon Leone<br />
Oct. 21- 22: Fusing and Enameling/Glady West<br />
Oct. 28-29: Photosandblasting <strong>Glass</strong>/Denise Stillwaggon<br />
Leone<br />
Museum <strong>Glass</strong>works, Ballston Spa, Contact: National Bottle<br />
Museum (518) 885-7589 or nbm@crisny.org<br />
Sept. 16 & 17: Two-day lampworking workshop with Sally Prasch<br />
Urban <strong>Glass</strong>, 647 Fulton St 3rd Floor, Brooklyn, NY, 11217,<br />
Tel: 718-625-3685 ext 237, Fax: 718-625-3889,<br />
education@urbanglass.org, www.urbanglass.org<br />
Sept. 16-17: Philip Taylor, Anna Butler<br />
Oct. 6- 8: Vivienne Bell<br />
Oct. 16-18: Jirí Harcuba<br />
Oct. 21: Jason Grodsky<br />
Oct. 21- 22: Virginia Griswold, Dena Pengas, Anna Butler,<br />
Stephan Conlon<br />
Oct. 22: Jason Grodsky<br />
Nov. 1- 2: Einar and Jamex de la Torre<br />
Nov. 3 - 5: Michael Crowder<br />
Nov. 4 - 5: Anna Butler<br />
Nov. 11-12: John Brekke<br />
OHIO<br />
Renaissance <strong>Glass</strong> Studio, 2222 Andrew Rd, Kettering, OH,<br />
45440, Tel: 937-433-70<strong>06</strong>, Fax: 937-433-7012,<br />
samstudio@aol.com, www.renaissanceglassstudio.com<br />
Oct. 6,13, 20, 27: Advanced Beadmaking<br />
OREGON<br />
8<br />
Bullseye <strong>Glass</strong> Co., 3722 SE 21st Ave, Portland, OR, 97202, Tel:<br />
503-232-8887, Fax: 503-238-9963, classes@bullseye-glass.com,<br />
www.bullseye-glass.com<br />
Chemeketa Community College, PO Box 14007, Salem, OR,<br />
97309, Tel: 503-365-4717, Fax: 503-589-7897,<br />
lhagner1@chemeketa.edu, www.chemek.cc.or.us<br />
We offer credit and non-credit classes in flame-working,<br />
fusing and slumping, kiln casting, stained glass, and mosaics.<br />
This summer we will be offering a broad range of workshops<br />
featuring well known glass artists and their individual<br />
techniques. Please contact the school for more information.<br />
Eugene <strong>Glass</strong> School, 575 Wilson St, Eugene, OR, 97402, Tel:<br />
541-342-2959, Fax: 541-342-2924, info@eugeneglassschool.org,<br />
www.eugeneglassschool.org
PENNSYLVANIA<br />
Pittsburgh <strong>Glass</strong> Center, 5472 Penn Ave, Pittsburgh, PA, 152<strong>06</strong>,<br />
Tel: 412-365-2145 ext 203, Fax: 412-365-2140,<br />
karen@pittsburghglasscenter.org, www.pittsburghglasscenter.org<br />
TENNESSEE<br />
Arrowmont School of <strong>Art</strong>s & Crafts, PO Box 567, Gatlinburg,<br />
TN, 37738, Tel: 865-436-5860, info@arrowmont.org,<br />
www.arrowmont.org<br />
Warm <strong>Glass</strong> Conference 20<strong>06</strong> Pre- and Post-Conference Workshops:<br />
Sept. 12-15: Advanced Fusing Techniques/Patty Gray<br />
Sept. 12-15: Frit Imagery and Precious Metal Leaf/<br />
Richard La Londe<br />
Sept. 12-15: Bas Relief Panels in Pate de Verre/Delores Taylor<br />
Sept. 12-14: Printing Methods on <strong>Glass</strong>/Jody Danner Walker<br />
Sept. 18-21: Advanced Fusing Techniques/Patty Gray<br />
Sept. 18-21: Cane, Murrini, and Other Hotshop Techniques<br />
for Fusing/Martha Kauppi<br />
Sept. 18-21: The Roll Up/Johnathon Schmuck<br />
Sept. 18-21: Pate de Verre Vessels/Delores Taylor<br />
TEXAS<br />
Dragonfire Hot <strong>Glass</strong> Studio, LLC, 1211 West Blanco Rd.,<br />
San Antonio, TX 78232, Tel: 210-764-8464, Fax: 210-764-8465,<br />
www.dragonfirehotglass.com<br />
Beginning through Intermediate Classes - Tuesdays, Thursdays,<br />
and Saturdays from 7- 9 pm.<br />
Guest <strong>Glass</strong>blower Experience - Every second Saturday, a<br />
special individualized lesson to introduce participants to the<br />
world of glassblowing. The guest glassblower will choose the<br />
color and shape of the glass piece. An experienced glassblower<br />
will work with the guest to create the piece. $95 for the class.<br />
Vessel available for purchase.<br />
Advanced <strong>Glass</strong>blowing Courses - For more information,<br />
e-mail us at info@dragonfirehotglass.com.<br />
WASHINGTON<br />
Momka’s Borosilicate & Soft <strong>Glass</strong>, 5030 208th St SW Ste D,<br />
Lynnwood, WA, 98036, Tel: 425-776-3417,<br />
www.momkasglass.com<br />
Pratt Fine <strong>Art</strong>s Center, 1902 S Main St, Seattle, WA, 98144, Tel:<br />
2<strong>06</strong>-328-2200, Fax: 2<strong>06</strong>-328-1260, info@pratt.org, www.pratt.org<br />
INTERNATIONAL<br />
The Red Barns... An <strong>Art</strong>isans Playground, 167 White Chapel Rd,<br />
Picton, ON, K0K 2T0, Tel: 613-476-6808, Fax: 416-755-9702,<br />
TheRedBarns@sympatico.ca, www.TheRedBarns.com.<br />
Offering weekend and weeklong workshops in glass blowing,<br />
lampworking and stained glass. Studio space and onsite<br />
lodgings available. Visit website for complete schedule.<br />
ENGLAND<br />
Dudley College International <strong>Glass</strong> Centre, Moor Street,<br />
Brierley Hill, West Midlands, DY5 3EP, Tel: +33 01384 363<strong>06</strong>7,<br />
john.taylor@dudleycol.ac.uk, www.dudleycol.ac.uk/glass<br />
Housed in a splendid Victorian building close to Brierley Hill, this<br />
centre of excellence caters to a wide range of students from all<br />
parts of the world, with a reputation for being the only centre of<br />
its kind offering a hands-on practical approach whilst still retaining<br />
a design input and versatility to suit enthusiasts, studio crafts<br />
persons and graduates in glass. Well equipped, including: two<br />
furnaces, six glory holes, ten kilns, all microprocessor controlled,<br />
decorative and cold glass working machinery, stained glass<br />
studio, lampworking facilities, and a design suite with twelve<br />
networked computers and software for 3D design work, with<br />
scanning and printing facilities. Offering one year courses in<br />
<strong>Glass</strong> Techniques and Technology as well as part-time courses.<br />
Ruskin <strong>Glass</strong> Centre, Wollaston Rd, Amblecote, Stourbridge,<br />
West Midlands, DY8 4HE, Tel: +44 1384 399444, Fax: +44 1384<br />
399469, janine@ifg.org.uk, www.ifg.org.uk<br />
FRANCE<br />
Musée Atelier du Verre de Sars-Poteries, 1 rue du Général de<br />
Gaulle - BP 2, Sars-Poteries, F-59216, Tel: +33 (0) 3 27 61 61 44,<br />
Fax: +33 (0) 3 27 61 65 64, museeduverre@cg59.fr,<br />
Nov. 21- 30: Casting/Jaromir Rybak<br />
Dec. 4 - 9: Kilnforming Techniques/ Thierry Boissel<br />
GERMANY<br />
Bild-Werk Frauenau, Postfach 105, Frauenau, D-94258,<br />
Tel: +49-9926-180895, Fax: +49-9926-180897,<br />
info@bild-werk-frauenau.de, www.Bild-Werk-Frauenau.de<br />
Bild-Werk Frauenau, an <strong>Art</strong> Academy in the middle of the<br />
Bavarian Forest offers the following sessions:<br />
The Late Summer Extra: Sept. 2 - 9<br />
The courses are instructed by well-known names of the<br />
international glass and art scene, such as Fritz Dreisbach,<br />
Erwin and Gretel Eisch, Thomas S. Buechner, Stephan Paul Day,<br />
Pavel Rou ka and Angela Thwaites.<br />
ITALY<br />
Toffolo Gallery & Studio, FTA Vetrai 67/A, Murano, Venice,<br />
30141, Tel: +39 0 41 739183/ +39 0 41 736460 (studio),<br />
Fax: +39 0 41 5276532, info@toffolo.com, www.toffolo.com<br />
Opportunities to study lampworking in Cesare Toffolo’s Studio<br />
in Murano, Venice. To contact: info@toffolo.com<br />
Vetrate <strong>Art</strong>istiche Toscane, Via della Galluzza, n. 5, Siena, 53100,<br />
Tel: +39 0577 48033, edu@glassisland.com, www.glassisland.com<br />
Summer 20<strong>06</strong> Workshops in Tucsany:<br />
Sept. 5- 8: Marble Mosaic<br />
Sept. 11-15: <strong>Glass</strong> Fusing<br />
Sept. 18-29: Painting on glass<br />
The workshops will take place in our studio in the very centre<br />
of Siena (Tuscany) and will be conducted in English.<br />
SCOTLAND<br />
North Lands Creative <strong>Glass</strong>, Quatre Bras, Lybster, Caithness,<br />
KW3 6BN, Tel: +44 1593 721 229, Fax: +44 1593 721 229,<br />
northlands@freeuk.com, www.northlandsglass.com<br />
Masterclasses Program “The Skilful Hand and Eye”:<br />
Sept. 5-10: Form & Surface: Cold-working Masterclass/<br />
Alison Kinnaird and Tom Rowney<br />
Sept. 5-13: Consequences of Proximities: Kiln Forming<br />
Masterclass/Michael Brennand Wood & Steve Klein<br />
SPAIN<br />
Fundación Centro Nacional del Vidrio, Paseo del Pocillo 1,<br />
La Granja, San Ildefonso, Segovia, 40100, Tel: +34 (0) 921 010700,<br />
Fax: +34 (0) 921 010701, rfc@fcnv.es, www.fcnv.es<br />
Sept. 21-29: <strong>Glass</strong> Sculpture/Sally Fawkes<br />
Oct. 3-11: <strong>Glass</strong> Painting (Flat & Blown <strong>Glass</strong>)/Walter Lieberman<br />
Oct. 16-20: <strong>Glass</strong> Beads, Level II/Nicolle Zumkeller & Eric Seydoux<br />
Nov. 8-16: Mirrored <strong>Glass</strong>/Fabienne Picaud<br />
TURKEY<br />
Cam Ocagi/ The <strong>Glass</strong> Furnace, Akatlar Mah. Meydan Sok.<br />
No.16/4 Levent, Istanbul, 8<strong>06</strong>00, Tel: +90 212 3512075,<br />
Fax: +90 212 3510963, yilmazy@tnn.net, www.glassfurnace.org<br />
Sept. 3-16: <strong>Glass</strong>blowing/Petr Novotny & Rob Stern<br />
Sept. 3-16: Lampworking & Beadmaking/Frederick Birkhill<br />
Sept. 3-16: Fusing & Kilncasting/Etsuko Nishi<br />
Sept. 24-Oct. 7: <strong>Glass</strong>blowing/Ben Wright<br />
Sept. 24-Oct. 7: Beadmaking/Julie Anne Denton<br />
CANADA<br />
Fishbowl Studio / Tank: Fire + Metal #103, The Case Goods<br />
Bldg., Toronto, ON, M5A 3C4, Tel: 647-430-8589,<br />
ehme@ehmeglass.com, www.ehmeglass.com<br />
Jewelry and beadmaking glasses offered. Please visit the<br />
website for more information.<br />
Fleming College - Haliburton School of the <strong>Art</strong>s, 297 College Dr,<br />
Haliburton, ON, K0M 1S0, Tel: 705-457-1680, Fax: 705-457-2255,<br />
wladuran@flemingc.on.ca, www.flemingc.on.ca<br />
The <strong>Glass</strong>blowing <strong>Art</strong> Certificate program is delivered in a very<br />
intensive 14 week format, offered each January semester. It is<br />
suitable for students with little or no glassblowing experience.<br />
Limited enrollment. Financial assistance is available for students<br />
who qualify. The HSTA calendar is available upon request.<br />
November 10 - 12, 20<strong>06</strong><br />
Orange County<br />
Convention Center,<br />
Orlando, Florida<br />
65+ hands-on classes: beading, glass, PMC and polymer clay, delivered by industry experts.<br />
Great shopping – 150 booths! Special events and celebrities –<br />
Jackie Guerra, host of DIY’s “Jewelry Making,” adds zest to the 20<strong>06</strong> Fest!<br />
www.Beadand<strong>Art</strong><strong>Glass</strong>Fest.com<br />
9
exhibitions<br />
PLEASE NOTE: Publication of notices is for information<br />
purposes only and does not necessarily indicate endorsement<br />
by the <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong>.<br />
We are happy to include information as supplied to us by<br />
various sources. Please send us your press releases and notices<br />
including specific, current facts as far in advance as possible to:<br />
<strong>GAS</strong>, 3131 Western Avenue, # 414, Seattle, WA 98121 or e-mail<br />
to: Shannon@glassart.org. <strong>GAS</strong> NEWS is a bi-monthly publication.<br />
Members receive their newsletters approximately 6-8 weeks<br />
after the deadline.<br />
Upcoming <strong>News</strong>letter Deadlines:<br />
September 1 for the November/December 20<strong>06</strong> issue<br />
November 1 for the January/February 2007 issue<br />
We look forward to hearing from you.<br />
NORTH CAROLINA<br />
Charlotte, Mint Museum of Craft & Design, Tel: 704-337-2<strong>06</strong>6,<br />
mpost@mintmuseum.org, www.mintmuseum.org,<br />
Observations: A Retrospective Exhibition of Works by<br />
Ann Wolff, 1/27 - 7/29/2007<br />
NEW YORK<br />
Brooklyn, Urban <strong>Glass</strong>, Tel: 718-625-3685 x 225, Fax:<br />
718-625-3889, director@urbanglass.org, www.urbanglass.org,<br />
Making Sense, 9/16 - 11/11/20<strong>06</strong><br />
Corning, The Corning Museum of <strong>Glass</strong>, Tel: 607-937-5371,<br />
Fax: 607-974-8470, sternbenkym@cmog.org, www.cmog.org,<br />
Splitting the Rainbow: Cut <strong>Glass</strong> in Color, through 11/1/20<strong>06</strong>,<br />
<strong>Glass</strong> of the Maharajahs: European Cut <strong>Glass</strong> Furnishings<br />
for Indian Royalty, through 11/30/20<strong>06</strong><br />
New York, Yeshiva University Museum, Tel: 212-294-8330,<br />
Fax: 212-294-8335, aklieman@yum.cjh.org, www.yumuseum.org,<br />
Feminine Principles: Work in Iron, Fiber and <strong>Glass</strong> by Orna<br />
Ben-Ami, Georgette Benisty, and Saara Gallin, through<br />
10/29/20<strong>06</strong><br />
Pamina Traylor,“Cadence”, 2004, glass, stainless steel,<br />
at Oakland Museum, Oakland, CA<br />
OREGON<br />
Portland, Bullseye Connection Gallery, Tel: 503-227-0222,<br />
Fax: 503-227-0008, lanimcgregor@bullseyeglass.com,<br />
www.bullseyeconnectiongallery.com, Steve Klein: Memory<br />
and Consequence, 8/11 - 9/23/20<strong>06</strong>; SOFA Chicago Preview,<br />
9/19 - 10/21/20<strong>06</strong>; Catharine Newell: Alone Together,<br />
10/3 - 11/18/20<strong>06</strong>; Bullseye at SOFA Chicago 20<strong>06</strong>. Located<br />
at Booth #908, Navy Pier, Chicago, IL, 11/10 - 12/20<strong>06</strong>;<br />
Bullseye at Collect 2007 Location: Victoria & Albert Museum,<br />
London, England. Organized by the British Crafts Council,<br />
Collect is the international art fair for contemporary objects.<br />
Bullseye is pleased to be one of the few US galleries invited<br />
to participate, 2/8 - 12/2007<br />
Tacoma, Museum of <strong>Glass</strong>: International Center for<br />
Contemporary <strong>Art</strong>, Tel: 253-284-4750, Fax: 253-396-1769,<br />
info@museumofglass.org, www.museumofglass.org,<br />
Karen LaMonte: Absence Adorned, through 9/4/20<strong>06</strong>;<br />
John Drury and Robbie Miller, through 9/5/20<strong>06</strong>; Kickin’ It<br />
with Joyce J. Scott, through 10/22/20<strong>06</strong>; Fresh! Contemporary<br />
Takes on Nature and Allegory, through 12/31/20<strong>06</strong><br />
Tacoma, William Traver Gallery/Tacoma, Tel: 253-383-3685,<br />
info@travergallery.com, www.travergallery.com, Orfeo<br />
Quagliata: Fused <strong>Glass</strong>, 8/12 - 9/10/20<strong>06</strong>; Rob Snyder:<br />
Cast <strong>Glass</strong>, 9/16 - 10/8/20<strong>06</strong>; Mel Munsen: Fused and<br />
Slumped <strong>Glass</strong>, 10/14/20<strong>06</strong> - 11/5/20<strong>06</strong>; Davide Salvadore:<br />
Blown and Carved <strong>Glass</strong>, 10/14 - 11/5/20<strong>06</strong><br />
Kathleen Elliot,“Botanica: Autumn Leaves”, flameworked glass,<br />
sandblasted, 13 x 12 x 6 in, at Prism Contemporary <strong>Glass</strong>,<br />
Chicago, IL.<br />
UNITED STATES<br />
PENNSYLVANIA<br />
Pittsburgh, Morgan Contemporary <strong>Glass</strong> Gallery, Tel: 412-<br />
441-5200, morglass@sgi.net, www.morganglassgallery.com,<br />
Blown Away: Cal Breed, Jeremy Cline, Greg Fidler, Jeff<br />
Goodman, Jay MacDonell, John Miller, Caleb Siemon,<br />
Reed Slater, through 10/5/20<strong>06</strong><br />
WISCONSIN<br />
Sturgeon Bay, Fairfield Center for Contemporary <strong>Art</strong>,<br />
Tel: 920-746-0001, Fax: 920-746-0000, fairfld@doorpi.net<br />
www.fairfieldcenter.org, Richard Jolley: Sculptor of <strong>Glass</strong><br />
from 1985 - Present, through 9/3/20<strong>06</strong><br />
ARIZONA<br />
Mesa, Mesa Contemporary <strong>Art</strong>s, Tel: 480-644-6501,<br />
www.mesaartscenter.com, Molten: A National Juried<br />
Exhibition of <strong>Glass</strong> and Neon <strong>Art</strong>, 11/3/20<strong>06</strong> - 4/1/2007;<br />
Physical Presence, through 8/5/2007<br />
CALIFORNIA<br />
Los Angeles, Los Angeles County Museum of <strong>Art</strong>, Tel: 323-857-<br />
6000, publicinfo@lacma.org www.lacma.org, <strong>Glass</strong>: Material<br />
Matters including Clifford Rainey, through 12/10/20<strong>06</strong><br />
Pittsburgh, Pittsburgh <strong>Glass</strong> Center, Tel: 412-365-2145,<br />
ext. 203, Fax: 412-365-2140, karen@pittsburghglasscenter.org,<br />
www.pittsburghglasscenter.org, Kathleen Mulcahy and<br />
Ron Desmett: Truth/Beauty, through 9/8/20<strong>06</strong><br />
TENNESSEE<br />
Gatlinburg, Arrowmont School of <strong>Art</strong>s & Crafts,<br />
Tel: 865-436-5860, Fax: 865-430-4101, info@arrowmont.org,<br />
www.arrowmont.org, Ignite: An International Juried<br />
Exhibition held in conjunction with the Warm <strong>Glass</strong><br />
Conference, through 10/7/20<strong>06</strong><br />
INTERNATIONAL<br />
CANADA<br />
Waterloo, ON, Canadian Clay & <strong>Glass</strong> Gallery, Tel: 519-746-1882,<br />
Fax: 519-746-6396, info@canadianclayandglass.ca,<br />
www.canadianclayandglass.ca, Visions of Our Galaxy:<br />
Josh Simpson, through 9/3/20<strong>06</strong>; A selection of historical<br />
paperweights from the Lewis and Ruth Sherman Collection,<br />
through 9/3/20<strong>06</strong>; Paul Stankard: Death, Sex, & God,<br />
9/10/20<strong>06</strong> - 1/7/2007<br />
10<br />
Oakland, The Oakland Museum of California, Tel: 510-238-2200/<br />
888-238-2200, www.museumca.org, Made in California: <strong>Glass</strong><br />
from the Golden State. This exhibit is being held in conjunction<br />
with the Bay Area <strong>Glass</strong> Institute and will be curated by<br />
Margery Aronson. The juried show includes artists Jaime<br />
Guerrero, Susan Longini, Candice Martin, Treg Silkwood,<br />
Randy Strong, Pamina Traylor, Mary White, and others,<br />
through 9/19/20<strong>06</strong>; 2300 F: Bay Area Contemporary <strong>Glass</strong><br />
Sculpture: Elin Chistopherson, Jeff Sarmiento, Pamina Traylor,<br />
Mary White. This exhibition is held off-site at the Oakland<br />
International Airport, through 9/22/20<strong>06</strong><br />
ILLINOIS<br />
Chicago, Function + <strong>Art</strong> / Prism Contemporary <strong>Glass</strong>,<br />
Tel: 312-243-4885, info@prismcontemporary.com,<br />
www.prismcontemporary.com, Prism’s Anniversary<br />
Invitational: Alex Bernstein, Janet Kelman, Elizabeth<br />
Mears, Martin Rosol, Afro Celotto, Kathleen Elliot, Kathleen<br />
Holmes, Scott Schroeder - as well as newcomers Paul Elia,<br />
Kimberley Haugh, Jeffrey Wallin, Martha Croasdale, and<br />
others, 9/16 - 11/28/20<strong>06</strong><br />
MASSACHUSSETTS<br />
Boston, TransCultural Exchange, Tel: 617-464-4086/ 888-464-4086,<br />
tce@transculturalexchange.org, www.transculturalexchange.org/<br />
tileproject, Tile Project Installation at Manila’s Cultural Center<br />
of the Philippines, 8/17 - 12/31/20<strong>06</strong>, Tile Project Installation<br />
at Boston’s Pauline A. Shaw School, 10/11 - 12/31/20<strong>06</strong>,<br />
Tile Project Installation at Chincón, Spain’s Ethnological<br />
Museum, 10/14 - 12/31/20<strong>06</strong><br />
Brockton, Fuller Craft Museum, Tel: 508-588-6000 ext. 114,<br />
Fax: 508- 587-6191, communications@fullercraft.org,<br />
www.fullercraft.org, Daniel Clayman: Line, Form, Shadow,<br />
5/21 - 10/1/20<strong>06</strong><br />
MAINE<br />
Round Pond, The Library <strong>Art</strong> Studio, Tel: 207-529-4210, The<br />
Almost Season: Sally DeLorme Pedrick, through 12/31/20<strong>06</strong><br />
TEXAS<br />
Dallas, Kittrell/Riffkind <strong>Art</strong> <strong>Glass</strong>, Tel: 972-239-7957/ 888-<br />
865-2228, Fax: 972-239-7998, <strong>Art</strong>glass@KittrellRiffkind.com,<br />
www.kittrellriffkind.com, Featured <strong>Art</strong>ists Series 20<strong>06</strong>:<br />
Greg Fidler, David Leppla, Kenny Pieper, Cathy Richardson,<br />
and Nancy Tobey, through 9/17/20<strong>06</strong>; 16th Anniversary Show:<br />
a celebration featuring unique works from artists nationwide,<br />
9/29 - 10/29/20<strong>06</strong><br />
WASHINGTON<br />
La Conner, Museum of Northwest <strong>Art</strong>, Tel: 360-466-4446,<br />
mona@ncia.com, www.museumofnwart.org, Italo Scanga:<br />
1932-2001, through 10/8/20<strong>06</strong><br />
Langley, Museo, Tel: 360-221-7737, Fax: 360-221-7737,<br />
museo@whidbey.com, www.museo.cc, Boyd Sugiki and Lisa<br />
Zerkowitz, 9/2 - 10/2/20<strong>06</strong>; Katrina Hude, 10/7 - 30/20<strong>06</strong><br />
Seattle, Pilchuck <strong>Glass</strong> School, Tel: 2<strong>06</strong>-621-8422 ext 22/360-<br />
445-3111 (summer), Fax: 2<strong>06</strong>-621-0713/ 360-445-5515 (summer),<br />
PWatkinson@Pilchuck.com, www.pilchuck.com, Pilchuck on<br />
Display: An Exhibition of International <strong>Glass</strong> at the Westin<br />
Hotel, Seattle, WA, 10/12/20<strong>06</strong><br />
Seattle, West Edge Sculpture Invitational, Tel: 2<strong>06</strong>-334-5040,<br />
info@westedgesculpture.com, www.westedgesculpture.com,<br />
West Edge Sculpture Invitational 20<strong>06</strong>: featuring Merrilee<br />
Moore and others. The exhibit is indoors, at Benaroya Hall,<br />
and outdoors, at The Harbor Steps, through 10/29/20<strong>06</strong><br />
Seattle, William Traver Gallery, Tel: 2<strong>06</strong>-587-6501, Fax: 2<strong>06</strong>-<br />
587-6502, info@travergallery.com, www.travergallery.com,<br />
Sean Albert: Blown <strong>Glass</strong> and Mixed Media, 8/4 - 9/3/20<strong>06</strong>;<br />
Jonathan Mossop: Blown <strong>Glass</strong>, through 9/3/20<strong>06</strong>; Ethan<br />
Stern: Blown and Carved <strong>Glass</strong>, through 9/3/20<strong>06</strong>; Nancy<br />
Callan: Blown <strong>Glass</strong>, 9/8 - 10/1/20<strong>06</strong>; Layla Walter: Kilncast<br />
<strong>Glass</strong>, 9/8 - 10/1/20<strong>06</strong>; Dante Marioni: Blown <strong>Glass</strong>; 10/6 -<br />
29/20<strong>06</strong>; Tobias Mohl: Blown <strong>Glass</strong>, 10/6 - 29/20<strong>06</strong>; Bertil<br />
Vallien: Sandcast <strong>Glass</strong>, 11/3 - 12/3/20<strong>06</strong>; Mary Fox: Blown<br />
<strong>Glass</strong>, 11/3 - 12/3/20<strong>06</strong><br />
Bayfield, ON, Marten <strong>Art</strong>s Gallery, Tel: 519-565-2222, Fax: 519-<br />
565-2217, sales@martenarts.com martenarts.com, Susan<br />
Rankin: Contained <strong>Glass</strong>, through 10/2/20<strong>06</strong><br />
Montréal, QC, Espace VERRE Centre des métiers du verre<br />
du Québec, Tel: 514-933-6849, Fax: 514-933-9830,<br />
direction@espaceverre.qc.ca www.espaceverre.qc.ca,<br />
Graduate Students Exhibition: Élise Brasseur, Carolyne<br />
Brouillard, Eulalie Gagné, David Goranitis, Annie Lacoursière,<br />
Amélia Lamoureux, Nancy Landreville, Marc-Antoine<br />
Lapointe, Julien Mongeau and Maxime Vaillancourt, through<br />
9/8/20<strong>06</strong>, Pate de Verre Exhibition, 15th Quebec <strong>Glass</strong> <strong>Art</strong>ists<br />
on Show: including Donald Robertson, 9/21/20<strong>06</strong> - 1/12/2007<br />
CZECH REPUBLIC<br />
Prague 1, Museum of Decorative <strong>Art</strong>s in Prague, Tel: +420 251<br />
093 111, Fax: +420 251 093 296, info@upm.cz, www.upm.cz,<br />
<strong>Glass</strong> and Light: 150 Years of the Secondary School of<br />
<strong>Glass</strong>making in Kamenicky Senov, through 9/17/20<strong>06</strong><br />
DENMARK<br />
Ebeltoft, Glasmuseet Ebeltoft Tel: +45 86 34 17 99, Fax: +45 86<br />
34 60 60, PAA@glasmuseet.dk www.glass.dk, Twenty Years On:<br />
Inaugural New Wing Exhibition including Laura Heyworth,<br />
Alison Kinnaird M.B.E., Alena Matéjková, Anna Norberg,<br />
Stig Persson, and Emma Woffenden, through 1/21/2007<br />
ENGLAND<br />
Church Eaton, Staffordshire, Oakland Studios, Tel: +44 01785<br />
823663, oaklandsct@hotmail.com, www.oaklandsstudios.co.uk,<br />
Staffordshire Open Studios 20<strong>06</strong> including Bob Thacker Solo<br />
Exhibition, 9/9 - 10/20<strong>06</strong> & 9/16 - 17/20<strong>06</strong><br />
County Durham, Teesdale <strong>Glass</strong> Engravers, Tel: +44 01833<br />
640545, enquiries@teesdaleglassengravers.co.uk,<br />
www.teesdaleglassengravers.co.uk, Teesdale <strong>Glass</strong> Engravers<br />
Winter Exhibition including Lawrence Staley, 10/19 - 25/20<strong>06</strong>
County Durham, The Bowes Museum, Tel: +44 01833 69<strong>06</strong><strong>06</strong>,<br />
Fax: +44 01833 637163, info@bowesmuseum.org.uk<br />
www.bowesmuseum.org.uk, Bowes Show: including<br />
Lawrence Staley, 9/9/20<strong>06</strong><br />
Henley on Thames, River & Rowing Museum, Tel: +44 01491<br />
415 600, Fax: +44 01491 415 601, museum@rrm.co.uk<br />
www.rrm.co.uk, Surfacing: Two Person Exhibition with<br />
June Kingsbury and Ian Moore, 9/16 - 10/29/20<strong>06</strong><br />
Leeds, Leeds City <strong>Art</strong> Gallery, Tel: +44 0113 247 8248,<br />
city.art.gallery@leeds.gov.uk, www.leeds.gov.uk/artgallery,<br />
Blown Away: including Paul Barcroft, Jenny Beardshall,<br />
Kamini Chauhan, Dominic Fondé, Maggie Hamlyn Williams,<br />
Steven Newell, Karinna Sellars, and Shan Valla, through<br />
10/28/20<strong>06</strong><br />
Lincolnshire, The Hub, Tel: +44 01529-308710, Fax: +44 01529-<br />
308711, hub@leisureconnection.co.uk, www.thehubcentre.org,<br />
Peter Layton and Friends: Celebrating 30 Years of London<br />
<strong>Glass</strong>blowing, 1/8 - 2/21/2007<br />
London, Dulwich Craft Fair, june.chris@virgin.net,<br />
www.dulwichcrafts.co.uk, Dulwich Crafts & Design Fair<br />
including Caroline Loveys, 12/9/20<strong>06</strong>, Dulwich Crafts<br />
& Design Fair including Lara Aldridge, Yvonne Freeborn,<br />
and Patrick Stern, 11/11/20<strong>06</strong><br />
London, The Crafts Council, Tel: +44 020 7278 7700,<br />
join@craftscouncil.org.uk, www.craftscouncil.org.uk,<br />
The London Craft Fair at Somerset House in London,<br />
10/3 - 15/20<strong>06</strong><br />
London, ZeST Contemporary <strong>Glass</strong> Gallery, Tel: +44 (0) 20<br />
7610 1900, Fax: +44 (0) 20 7610 3355, naomi@zestgallery.com<br />
www.zestgallery.com, Still Life: Anne Arlidge and Vic Bamforth,<br />
through 9/9/20<strong>06</strong><br />
Stourbridge, West Midlands, Ruskin <strong>Glass</strong> Centre, Tel: +44 1384<br />
399444, Fax: +44 1384 399469, info@ifg.org.uk, www.ifg.org.uk,<br />
British <strong>Glass</strong> Biennale, the largest juried exhibition of contemporary<br />
glass in the UK. A selling show, it is the highlight of<br />
the International Festival of <strong>Glass</strong> 20<strong>06</strong>, through 9/17/20<strong>06</strong>,<br />
Peter Layton and Friends: Touring Exhibition of The 30th<br />
Anniversary of London <strong>Glass</strong>blowing, 8/21 - 9/17/20<strong>06</strong><br />
Stourbridge, West Midlands, The Red House <strong>Glass</strong> Cone,<br />
Tel: +44 01384 812750, glassdenisehunt@blueyonder.co.uk,<br />
www.dudley.gov.uk/redhousecone, Love Contemporary <strong>Glass</strong>:<br />
Red House <strong>Glass</strong> Cone Resident <strong>Glass</strong> <strong>Art</strong>ists Exhibition<br />
including Ian Bamforth, Vic Bamforth, Dean Hopkins, George<br />
Jackson, Ian MacDonald, Karina Sellars, and Ann Vernon<br />
Griffiths; 8/18 - 9/15/20<strong>06</strong>; Collaborations One: Professional<br />
<strong>Art</strong>ists Programme. Site Specific Public Space Installation<br />
Exhibition including Mark Angus, Lynn Baker, Chris Bird-<br />
Jones, Kenneth Cantillon Howell, Iestyn Davies, Simon Eccles,<br />
Denise Hunt, Ian MacDonald, Hilary Poole, Tracey Snape,<br />
and Dave Ward, through 9/24/20<strong>06</strong>; Collaborations Two:<br />
Traditional Skills - Contemporary Wares. Touring Exhibition<br />
including Lynn Baker, Kenneth Cantillon Howell, Dominic<br />
Cooney, Iestyn Davies, Denise Hunt, and Helen Millard;<br />
8/19 - 9/24/20<strong>06</strong>; Erwin Eisch, through 9/24/20<strong>06</strong><br />
Sunderland, Tyne & Wear, <strong>Glass</strong> Gallery at the National <strong>Glass</strong><br />
Centre, Tel: +44 (0) 191 515 5555, Fax: +44 (0) 191 515 5556,<br />
info@nationalglasscentre.com, www.nationalglasscentre.com,<br />
Peter Layton and Friends: Celebrating 30 Years of London<br />
<strong>Glass</strong>blowing, 3/2 - 4/16/2007<br />
West Midlands, Broadfield House <strong>Glass</strong> Museum, Tel: +44-1384-<br />
812749, Fax: +44-1384-812746, glass.museum@dudley.gov.uk,<br />
www.glassmuseum.org.uk, Breaking The Mould: Contemporary<br />
Pâte De Verre: including Keith Cummings, George Jackson &<br />
Patrick Stern, through 10/15/20<strong>06</strong><br />
York, The Red House Antiques Centre, Tel: +44 01904 637 000,<br />
info@theginnel.com, www.redhouseyork.co.uk, Love<br />
Contemporary <strong>Glass</strong>: including Ian Bamforth, Vic Bamforth,<br />
Dean Hopkins, George Jackson, Ian MacDonald, Ann Vernon<br />
Griffiths & Karina Sellars, through 9/15/20<strong>06</strong><br />
FRANCE<br />
Biot, Galerie International du Verre, Tel: +33 4 93 65 03 00,<br />
infos@verreriebiot.com, www.verreriebiot.com, Verriales 20<strong>06</strong>:<br />
Memory: including Mark Bokesch-Parson, Clifford Rainey,<br />
David Reekie, and Colin Reid, through 12/31/20<strong>06</strong><br />
GERMANY<br />
Coesfeld-Lette, Glasmuseum Alter Hof Herding, Tel: +49 25 46<br />
93 050, Fax: +49 25 46 93 0550, info@ernsting-stiftung.de,<br />
www.ernsting-stiftung.de, Esther Jiskoot, Lieve Van Stappen,<br />
Gareth Noel Williams, Gerhard Ribka, Richard Meitner, and<br />
Louis Rice, 7/8 - 10/1/20<strong>06</strong><br />
Frauenau, Glasmuseum Frauenau, Tel: +49-9926-941020,<br />
Fax: +49-9926-941028, info@glasmuseum-frauenau.de,<br />
www.glasmuseum-frauenau.de, European <strong>Glass</strong> - 7 Masters:<br />
including Mark Angus, through 11/5/20<strong>06</strong>; 50 Vasen - 50<br />
Künstler: including Mark Angus, Alison Kinnaird M.B.E. &<br />
Gerhard Ribka, 10/1/20<strong>06</strong> - 3/31/2007<br />
Köln, CCAA Glasgalerie Köln GmbH, Tel: +49-(0)221-257-6191,<br />
Fax: +49-(0)221-257-6192, info@ccaa.de www.ccaa.de, Frank<br />
Meuer - Diana Stegmann: Glas-Korb-Objekte, 9/1 - 10/31/20<strong>06</strong><br />
Munchen, Alexander Tutsek-Stiftung, Tel: +45 89 343856,<br />
Fax: +45 89 342876, info@atutsek-stiftung.de, www.atutsek.de,<br />
Das Verlorene Gesicht Wieder Gefunden: The Face - Lost and<br />
Found Again including Mark Bokesch-Parsons, Alison Kinnaird<br />
M.B.E., Clifford Rainey, David Reekie, Gerhard Ribka &<br />
Gareth Noel Williams. A catalogue will be published for this<br />
exhibition, through 11/30/20<strong>06</strong><br />
Sinzheim, Baden-Baden, Galerie B, Tel: +49 7221 85585,<br />
Fax: +49 7221 85585, GlasgalB@aol.com, www.galerieb.de,<br />
Toots Zynsky, through 10/30/20<strong>06</strong><br />
JAPAN<br />
Kamo-gun, Shizuoka-ken, Koganezaki Crystal Park <strong>Glass</strong><br />
Museum, Tel: +81 558 55 1516, Fax: +81 558 55 1522,<br />
k-museum@kuripa.co.jp, http://www.kuripa.co.jp/,<br />
Vessels: The Exhibition of Contemporary <strong>Glass</strong> Koganezaki<br />
20<strong>06</strong>, through 9/28/20<strong>06</strong><br />
LUXEMBOURG<br />
Luxembourg, Jean-Claude Chapelotte Galerie, Tel: 352-471818,<br />
luma@jcc.lu www.jcc.lu, Ivan Mares, 10/1-27/20<strong>06</strong>; Vladimir<br />
Klein, 9/13 - 12/23/20<strong>06</strong><br />
NETHERLANDS<br />
Roermond, Galerie Mariska Dirkx, Tel: +31 (0) 475-317137,<br />
Fax: +31 (0) 475-31 7137, galerie.dirkx@wxs.nl,<br />
www.galeriemariskadirkx.nl, <strong>Glass</strong>tec: including Laura<br />
Heyworth, Richard Price, Helga Reay-Young, Gerhard Ribka,<br />
Elizabeth Swinburne & Gareth Noel Williams, 10/24 - 28/20<strong>06</strong><br />
SCOTLAND<br />
Edinburgh, Royal Museum, Tel: +44 0131 247 4422,<br />
Fax: +44 0131 220 4819, info@nms.ac.uk, www.nms.ac.uk/royal,<br />
Reflections on a Decade: 10 Years of North Lands Creative<br />
<strong>Glass</strong>, through 11/30/20<strong>06</strong><br />
Edinburgh, The Scottish Gallery, Tel: +44 0131 558 1200,<br />
Fax: +44 0131 558 3900, mail@scottish-gallery.co.uk,<br />
www.scottish-gallery.co.uk, Northern Lights North Lands<br />
Creative <strong>Glass</strong> 10th Anniversary Benefit Exhibition Edinburgh<br />
Festival Exhibition including Jane Bruce, Tessa Clegg,<br />
Brian <strong>Glass</strong>ar, Alison Kinnaird M.B.E., Dante Marioni, Dick<br />
Marquis, Keïko Mukaïdé, Elizabeth Swinburne & Bertil Vallien,<br />
through 9/6/20<strong>06</strong><br />
SPAIN<br />
Mava, Madrid, Museo de <strong>Art</strong>e en Vidrio de Alcorcon, Tel: +34 91<br />
619 9086, mava@ayto-alcorcon.es, www.ayto-alcorcon.es,<br />
First International <strong>Glass</strong> Bienale: Taliaferro Jones, 5/18 -<br />
9/7/20<strong>06</strong>; Internacional De Escultura En Vidrio: IV Bienal De<br />
<strong>Art</strong>es Plásticas De Alcorcón: Touring Exhibition including<br />
Philippa Beveridge, Chris Bird-Jones, Karen Heald, Max<br />
Jacquard, through 9/7/20<strong>06</strong><br />
Toots Zinsky, “Ibisita”, 8 x 15.5 x 8 in., filet de verre,<br />
at Galerie B, Sinzeim, Baden-Baden, Germany<br />
San Ildefonso, Segovia, Fundación Centro Nacional del Vidrio,<br />
Tel: +34 (0) 921 010700, Fax: +34 (0) 921 010701, rfc@fcnv.es<br />
www.fcnv.es, Bert Van Loo, through 9/24/20<strong>06</strong><br />
San Pedro, Malaga, The Norton Gallery, Tel: +34 952880463,<br />
suzanne@thenortongallery.com, www.thenortongallery.com,<br />
Amanda Notarianni & Charlie Macpherson, through 9/4/20<strong>06</strong><br />
SWEDEN<br />
Växjö, Sveriges Glasmuseum Smålands Museum, Tel: +46 0470<br />
70 42 00, Fax: +46 0470 397 44, reception@smalandsmuseum.se,<br />
www.smalandsmuseum.se, Fun Fearless Female: Two Person<br />
Exhibition with Åsa Jungnelius & Ulrica Hydman-Vallien,<br />
through 9/17/20<strong>06</strong><br />
Galleries/Museums/<strong>Art</strong>ists<br />
Please send images of work in upcoming exhibitions!<br />
We prefer digital images if possible ( jpeg, tiff ).<br />
Digital images must be high-resolution.<br />
We also accept prints and 35mm slides.<br />
E-mail to: Shannon@glassart.org or mail a disk to:<br />
<strong>Glass</strong> <strong>Art</strong> <strong>Society</strong>, Attn: Communications Coordinator,<br />
3131 Western Ave., # 414, Seattle, WA 98121 USA<br />
Saara Gallin,“Saara at Yum”, reed glass, flashed<br />
antique stained glass, antique glass, antique jewels,<br />
kilnforming and copper foil, at Yeshiva University<br />
Museum, New York, NY. Photo: Dan Creighton<br />
11
<strong>Glass</strong> <strong>Art</strong> <strong>Society</strong><br />
Board of Directors 2005-20<strong>06</strong><br />
President<br />
Shane Fero<br />
Secretary<br />
Beth Ann Gerstein<br />
Paula Bartron<br />
Eddie Bernard<br />
Andrew Erdos<br />
(Student Rep.)<br />
Susan Holland-Reed<br />
Ki-Ra Kim<br />
Kim Koga<br />
Jeremy Lepisto<br />
Treasurer<br />
Robin Cass<br />
David Levi<br />
Jutta-Annette Page<br />
Chris Rifkin<br />
Tommie Rush<br />
Elizabeth Swinburne<br />
Pamina Traylor<br />
Harumi Yukutake<br />
Staff<br />
Pamela Figenshow Koss, Executive Director<br />
Sarah Bak, Executive Assistant / Registrar<br />
Shannon Borg, Communications Director<br />
Emily Bowen, Bookkeeper<br />
Karen Skrinde, Database Manager<br />
Patty Cokus, Administrative Assistant<br />
3131 Western Avenue, Suite 414<br />
Seattle, Washington 98121 USA<br />
Phone: (2<strong>06</strong>) 382-1305 Fax: (2<strong>06</strong>) 382-2630<br />
info@glassart.org www.glassart.org<br />
Reach Your Target Market<br />
with a <strong>GAS</strong> Display Ad!<br />
For information on advertising in <strong>GAS</strong> NEWS<br />
or other <strong>GAS</strong> publications, please contact<br />
the <strong>GAS</strong> office at 3131 Western Avenue,<br />
Suite 414, Seattle, Washington 98121, USA.<br />
Tel: 2<strong>06</strong>-382-1305; Fax: 2<strong>06</strong>-382-2630;<br />
info@glassart.org; or check out our website at<br />
www.glassart.org and click on “Advertising”<br />
Contribute to <strong>GAS</strong> NEWS<br />
<strong>GAS</strong> NEWS is for the members of the <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong>.<br />
There are several ways to contribute:<br />
1. Listings: Every issue has 100s of listings and<br />
classified ads, free to members<br />
2. Member Profile: Gives members an opportunity<br />
to share their work, experience and thoughts with other<br />
members. Images and text welcomed.<br />
3. Student Profile: Students, send artist’s statement,<br />
a brief bio, images of your best, most recent work,<br />
your name, address and contact information.<br />
4. School Profile: Students or educators of accredited,<br />
degree-offering schools, send a brief article about your<br />
school and what it offers, and a few images.<br />
5. Workshops: Non-degree schools, send a brief<br />
article about your program and a few photos.<br />
6. International Window: <strong>GAS</strong> has members<br />
in over 50 countries. Each issue we highlight<br />
1 or more countries or events outside the U.S.<br />
Images and text welcomed.<br />
7. Critical Issues: Submit your ideas for an article that<br />
analyzes, interprets, or evaluates artistic works in glass.<br />
For more information on submissions, go to<br />
http://www.glassart.org, click on “<strong>News</strong>letter” or<br />
contact the Communications Coordinator at the<br />
<strong>GAS</strong> office. E-mail: Shannon@glassart.org<br />
The <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong> reserves the right to edit<br />
submissions for any reason deemed necessary by<br />
the editor, including clarity, length or grammar.<br />
Submission of material is not a guarantee that<br />
it will be published. Please include a SASE for<br />
return of materials sent via mail.<br />
The <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong> (<strong>GAS</strong>), its Board of Directors, members, and<br />
employees, are not responsible in any capacity for, do not warrant<br />
and expressly disclaim all liability for any content whatsoever herein.<br />
All such responsibility is solely that of the authors or the advertisers<br />
A <strong>copy</strong> of the <strong>Glass</strong> <strong>Art</strong> <strong>Society</strong>’s annual financial report may be<br />
obtained, upon request, from the <strong>GAS</strong> office, or from the Office of the<br />
Attorney General, Charities Bureau, 120 Broadway, New York, NY 10271