Viewing articles by Eve Aaron

Etsuko Ichikawa, Leaving a Legacy, Orb installation, 2017. Hot sculpted glass with uranium, installation. 40 x 42 x 42 in.

Tuesday January 15, 2019 | by Eve Aaron

EXHIBITION: Etsuko Ichikawa's "Vitrified" at Winston Wachter New York City

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.

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Rebecca Louise Law, Community, 2018. Installation. Courtesy the Toledo Museum of Art. 

Friday January 11, 2019 | by Eve Aaron

INSTALLATION: British artist Rebecca Louise Law brings nature indoors at the Toledo Museum of Art, with plans for glass project to follow

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.

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Ans Bakker, Zeeuws Licht no. 1, 2017. Glass blown in sand molds. 26 x 27 x 27 cm. courtesy: Johan Kole

Wednesday December 26, 2018 | by Eve Aaron

EXHIBITION: The Corning Museum announces artists selected for ambitious "New Glass Now" exhibition opening in 2019

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.

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Artist/designer Luisa Restrepo in the studio.

Friday December 14, 2018 | by Eve Aaron

CONVERSATION: Mexico City-based artist-designer Luisa Restrepo discusses her upcycling design practice and her conceptual exploration of excess

Mexico City has always been a place of craft and in recent years that reputation has expanded as fine artists from everywhere flock to the city. Colombian glass artist, Luisa Restrepo works out of her studio "El Taller" in one of the city's oldest neighborhoods, The Guerrero. Much of her work is made from reused glass that she "upcycles," totally transforming what we might call "waste" into high-end design and jewelry pieces. Last summer, Restrepo taught a class at Urban Glass called Shift, which was based upon this idea of the reusability of glass. Restrepo has been exploring ideas of excess and obesity in her more conceptual work, finding fascination in our changing reality as a reflection of the changing physical form.

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Groundbreaking, Photo: Courtesy SCC

Wednesday December 12, 2018 | by Eve Aaron

Salem Community College in New Jersey building an expanded glass studio to accommodate growing interest in flameworking curriculum

Salem Community College in Carney Township, New Jersey, offers two glass-related associate's degrees - one in applied science for scientific-glass technology and another in fine arts. Both degree programs have proved so popular, with enrollment up by 220 percent and 115 percent respectively, that the institution is constructing a new, much-larger glass studio. The new building, named for the college's major benefactors Sam and Jean Jones, will include a 15,000-square-foot studio/lab as part of its 20,000-square-foot total area. The studio/lab space will be named in honor of the school's alumnus and internationally respected glass artist, Paul J. Stankard. The facility will replace the current Samuel H. Jones Education Center, which is located twelve miles from the campus in the town of Alloway.

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Photo: Courtesy the Bergstrom-Mahler Museum of Glass

Wednesday November 28, 2018 | by Eve Aaron

EXHIBITION: "Sharper Edges" at the Bergstrom-Mahler Museum of Glass honors the artform's female voices

Celebrating female artists working with glass, the Bergstrom-Mahler Museum of Glass in Wisconsin has opened a new exhibition, "Sharper Edges: Women Working on the Edge of Glass." The artists in this exhibition grapple with social issues through their work, expressing their views on politics, gender biases and the environment. An art form largely dominated by male protagonists, glass has a somewhat hidden female history of subtly powerful influence. For more insight into the background of this exhibition, The Glass Quarterly Hot Sheet spoke with the museum's director, Jan Smith, and with exhibiting artist Audrey Handler. Handler is a former student of renowned glass artist and teacher Harvey Littleton, and is referred to by Smith as the "grande dame of contemporary glass."Glass Quarterly Hot Sheet: What was the impetus for this exhibition?Jan Smith: Although there is some concern in the arts community about identifying women artists in a way that seems to segregate them further, there is also reason to emulate their accomplishments in a year that has focused on women's initiatives and wellbeing. About two years ago, Audrey Handler mentioned an inquiry she began with the National Museum of Women in the Arts in Washington D.C. about glass representation by women in their collection. Apparently, women were under represented and the broad spectrum of their work by women in this medium was lacking. Audrey Handler felt compelled to do something about it and asked if I would consider helping with an exhibition proposal.

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Joshua Bernbaum, Fraunhofer Lines (Horizontal Pane), 2017. H 12, W 25 in.

Thursday November 22, 2018 | by Eve Aaron

CONVERSATION: Artist Joshua Bernbaum and Dealer Simon Abrahms talk optics, color, and glass art

The Chesterfield Gallery in New York City is curently featuring new work by Vermont-based glass artist Joshua Bernbaum that stretches outside of the artist's usual signature aesthetic, departing from design and moving into a much more conceptual, abstract realm. Bernbaum is deepening his focus on color and gesturing towards science as he does so. The Glass Quarterly Hot Sheet spoke with both Bernbaum and the owner of the Chesterfield Gallery, Simon Abrahms, to learn more about this new exhibition.

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Sunday November 18, 2018 | by Eve Aaron

HELP WANTED: Pilchuck announces search for a new artistic director, a redefined position likely with less operational duties

The Pilchuck School is seeking a new artistic director to bring the institution into its next phase of educational and artistic programming. The official job posting for the position states that the artistic director will "Set and lead the organization's programmatic vision; represent the organization to its past, present, and prospective constituents; and manage interactions with an array of creative professionals on and off campus." The deadline to apply is December 21, 2018.

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Photo: Courtesy of Kyle J. Mickelson

Friday November 9, 2018 | by Eve Aaron

Reclaiming words that hurt, an edgy New York City venture seeks to defuse language by recontextualization

Artist Matthew Day Perez, has stepped away from his usual methodical and material-focused work style and is endeavoring in a new project that sits heavily in the world of social politics. Perez and his collaborator, neon artist Kate Hush -- or, as they like to call her, "The Madame of Neon" -- have created a limited-liability company that they adventurously call FagSigns, an unusual moniker that reflects the company's goal to reclaim hurtful language used against the LGBTQ community as well as any other individuals that might feel marginalized. The company's product line are personalized neon signs with a word of the customer's choice that he or she has felt particularly affected by. Through Kickstarter, the artists have nearly raised 90-persent of the funds needed to start a workshop in which to produce the signs and their ultimate goal is to be able to open an apprenticeship that will bring employment opportunity to disadvantaged individuals, particularly from the LGBTQ community, who are interested in working in glass.

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Sarah Briland, Problematica (Pink Slump/Pink Crystal), 2015

Thursday November 8, 2018 | by Eve Aaron

Artist Sarah Briland, winner of the 2018 Irvin Borowsky International Prize Winner in Glass Arts, lectures Philadelphia this evening

Sarah Briland, who has been chosen as the 6th annual winner of the Irvin Borowsky International Prize in Glass Arts, will deliver her award lecture this evening at The University of the Arts in Philadelphia. Briland was selected by an international panel of artists, educators and collectors. Her recent work consists of combining glass with found objects such as wasps nests, honey and architectural fragments to make organic and environmentally inspired forms that mimic natural scientific processes like crystallization and fossilization. She takes much of her influence from the surroundings she was exposed to at an early age in West Virginia's coal mining region, thinking about man's connectivity to the earth. She has additional knowledge in the fields of environmental science and landscape architecture, backgrounds that continue to play a large role in her work as well.

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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.