As head of the Chrysler Museum of Art glass studio for six years, Charlotte Potter advanced performance glass and put the Norfolk, Virginia, venue on the art map. A graduate of both the Rhode Island School of Design and Alfred University, she tirelessly cultivated a glass culture inside and outside the museum, co-founding the NEON (New Energy of Norfolk) district, an area of town that fosters local artists. In 2017, Potter left the Chrysler Museum to raise her newborn daughter, returning to her native Vermont, where she went on to have a second child and devoted herself to parenting as well as her personal glass practice. Yet a unique opportunity to run an educational program close to home was impossible for her to resist, and she is taking on the title of executive director at the Yestermorrow Design/Build School in Waitsville, Vermont.
Artist, educator, writer, and curator Suzanne Peck has been fascinated by the push and pull of molten glass for years. Drawn to its hot glow and honey-like qualities out of the furnace, she was equally aware of its very real danger. Investigating this dual nature is a central theme in her upcoming performance project entitled Half A Bubble Off Plumb, which will channel the seductive nature of glass through similar materials such as honey, soap bubbles, and cotton candy. Before her performance coming up on Saturday, January 26th at UrbanGlass, the Glass Quarterly Hot Sheet spoke with Susie about the creative process that went into preparing for the performance. (Disclosure: The Glass Quarterly Hot Sheet is published by UrbanGlass.)
Through January 26th, Sager Braudis Galleryin Columbia, Missouri, is hosting a group exhibition that includes work by glass artist Susan Taylor Glasgow. Her diverse media sheds light on the feminine ideals passed down to her by her mother. In an email exchange with the Glass Quarterly Hot Sheet, Glasgow explains: "I pursue beauty and sensuality in my work giving the viewer a reason to examine it more closely and find their own personal meaning." Her drive to create arose from her love of aesthetically beautiful objects. She loves to problem-solve and build things."Sculptural glass and mixed media is perfect for how I like to work. It requires a lot of engineering, trouble-shooting, and patience," says Glasgow.
The Studio of the Corning Museum of Glass has announced its Researchers and Artists-in-Residence for 2019. Twelve artists selected from around the world were invited to utilize the studio and indulge in their craft for one month
John Drury, a contributing editor for the print edition of Glass, doesn't care for rules or limitations, having made a name for himself as one half of the subversive art project known as "CUD," his long-standing collaboration with Robbie Miller which stresses boundary-breaking and social awareness in art-making. Most recently, Drury curated a group exhibition (currently on view at Heller Gallery in New York City through February 23, 2019) titled "The Other Glass: An Alternative History." Featuring a wide range of work by a diverse list of artists that includes Nancy Cohen, The Hansen Brothers, Lonnie Holley, Amy Lemaire, Shari Mendelson, Robbie Miller, Jerry Pethick, Walter Robinson, Buster Simpson, Megan Stelljes, and Robin Winters, the exhibition will remain on view at Heller's Chelsea location through February 23rd. The Glass Quarterly Hot Sheet caught up with Drury to ask him about his goals for this ambitious exhibition.
Northwest Coast glass artist Greg Owen has been diagnosed with brain cancer, and an online fundraiser with a target of $50,000 to help him meet his medical expenses has already passed $30,000. An accomplished artist, Greg is currently the lead educator and program manager at the Museum of Glass in Tacoma, where, since 2013, he's managed the "Hot Shop Heroes: Healing with Fire" program for soldiers and veterans. With a BFA from California College of the Arts, Owen's worked for Dale Chihuly and Pilchuck, and also developed his own artist practice. On New Year's Day, Owen came down with an unrelenting and brutal headache. Seeking answers, he finally checked himself into a hospital where the diagnosis was not good: a tumor the size of a grape was discovered in his brain. He chronicled his search for answers in a series of brutally frank Facebook and Instagram posts starting with a Janurary 7th posting sharing that he discovered the cause of his headache was the tumor.
The artist behind the current installation Mettre la tête où l’on pense, on view in Montreal through March 16, 2019, Michèle Lapointe was presented with the 2018 Jean-Marie-Gauvreau Award in December. An annual award presented by the Conseil des métiers d’art du Québec, the prize was created in 1976 in honor of the founder of the Salon des métiers d’art du Québec and is considered to be one of the most important distinctions of the fine-craft community of Québec. A professional craftsman must have at least 10 years of practice to be considered, and the winner receives a $10,000 scholarship for the success of a work created within the past five years. The work must stand out by it’s uniqueness, and Lapointe's work seems to have done so effectively.
Through February 16th, the artist featured on the cover of Glass Quarterly's Fall 2018 edition (#152), Etsuko Ichikawa, is exhibiting at the Winston Wachter Gallery in New York City. Ichikawa was born in Tokyo and is based in Seattle. The title of the exhibition, "Vitrified, is also the title of the body of work itself. In this series as well as in much of her other work, Ichikawa is concerned with the "various impacts of human existence on our environment." What drove this particular body of work was the artist's shock at the 2011 Fukushima nuclear disaster in her native Japan, which caused a mass amount of radioactive material to be released into the air. Based in Seattle, Ichikawa creates visual abstractions through glass that echo the frightening yet mesmerizing draw of chemical power, stirring up in her audience a complicated mix of fear and entrancement.
British Artist, Rebecca Louise Law, has installed a work at the Toledo Museum of Art in Ohio that encapsulates the powerfully immersive experience of nature. "Painting in air," as the artist terms her technique, Law used 520,000 flowers from 10,000 different local plant species to create an immersive experience that echos being in the actual natural world. Law "pockets," as she puts it, organic forms and incorporates them into her work. Glass is not an aspect of the current installation, which is on view through January 13th, but a second project is planned that will encase Law's work in silica to preserve it and present it in new ways.
The upcoming exhibition titled "New Glass Now" at The Corning Museum of Glass is the latest iteration of the annual emerging-artist exhibition-in-print that has been published annually since 1979, a showcase of the most important new work in glass from around the world. (Note: New Glass Review is distributed with the Summer edition of Glass Quarterly, and comes as a special bonus to subscribers) But the 2019 edition, number 40, will not only be the latest in the series. Next year, Corning curator Susie Silbert is lavishing extra attention on this annual event, expanding the juried publication into a museum exhibition, that has ambitions to update the landmark exhibitions "Glass 1959," and "New Glass: A Worldwide Survey," which followed in 1979.
GLASS: The UrbanGlass Quarterly, a glossy art magazine published four times a year by UrbanGlass has provided a critical context to the most important artwork being done in the medium of glass for 35 years.