CALL FOR PROPOSALS (updated): The 2019 UrbanGlass Academic Symposium will focus on criticism, critique, and critical thinking

The 2019 UrbanGlass Academic Symposium will take place on the updated dates of October 24th, 25th, and 26th in venues in Brooklyn and Manhattan. The jury has also been updated to include artist and educator Alli Hoag. In addition, the deadline for proposals on the expanded theme of "criticism, critique, and critical thinking" has been extended to June 1, 2019.

R & Company principals Zesty Meyers (L) and Evan Snyderman.

Thursday April 18, 2019 | by Andrew Page

Upcoming UrbanGlass Gala to honor artists Tauba Auerbach and Keith Sonnier, as well as gallerists Zesty Meyers and Evan Snyderman

UrbanGlass, the nonprofit art center that publishes the Glass Quarterly Hot Sheet, will celebrate its 2019 Gala + Auction on May 16, 2019. The event will honor UrbanGlass-affiliated contemporary artists Tauba Auerbach and Keith Sonnier as well as principals Zesty Meyers and Evan Snyderman of the design gallery R & Company. The annual gala is a critical fundraiser for the Brooklyn non-profit's year-round programs serving more than 12,000 people each year through exhibitions, studio demonstrations, performances, and the internationally distributed magazine Glass: The UrbanGlass Art Quarterly. Since its founding in 1977 as the New York Experimental Glass Workshop, UrbanGlass has been a resource for major artists such as Robert Rauschenberg and Kiki Smith who have relied on its facilities and community to realize their ambitious projects in glass. This year's honorees continue that tradition:

Thursday April 4, 2019 | by Andrew Page

OPENING: Kim Harty's photographic and sculptural homage to historic Venetian glassmaking at Heller

Opening today at New York City's Heller Gallery is "Memoria Technica: Old Venetian Glass," a solo exhibition by artist Kim Harty who serves as the head of the glass department at the College for Creative Studies in Detroit. The title, "Memoria Technica," refers to a mnemonic device -- a system for remembering things -- which is appropriate as the works' main subject is object memory. The exhibition includes photographs and small-scale sculptures that extend upon Harty's 2013 project in which she made slow-exposure light drawings in total darkness to reproduce her impressions of 72 historical glass vessel forms she discovered in a book of the holdings of Czech collector Vojtech Lanna simply titled Old Venetian Glass. The resulting photos featured Harty's blurred body in the background with the lines of light a relic of her hand movements, which brought home the relationship between these glass vessels and the human body. The work in the Heller exhibition takes the translation one step further. Working with a expert in 3-D printing, Harty has created new objects based on the photographed light drawings which bring the project back to three dimensions.

Thursday March 21, 2019 | by Andrew Page

CONVERSATION: UrbanGlass education director Ben Wright shares his thoughts about taking on the artistic director position at Pilchuck

A day after the official Pilchuck announcement that Ben Wright would succeed Tina Aufiero as artistic director, the outgoing UrbanGlass education director sat down with the Glass Quarterly Hot Sheet (which is published by UrbanGlass) to share his thoughts on taking on the new post, which he plans to do sometime in May. Ben has presided over the steady growth and expansion of the educational offerings of UrbanGlass since he took the position in January 2014, shortly after the Brooklyn non-profit reopened after an extensive renovation. Among his most proud accomplishments have been his institution of a scholarship program that allowed 300 people to take workshops in the past year, his work as a professional mentor with the students of the UrbanGlass Bead Project, the expansion of outreach programs to youth and seniors in the community, and expanding the education program to become "a significant source of support for working glass artists here in New York." We asked him about his relationship with Pilchuck, and his vision for what he hopes to accomplish in this new high-profile role at the leading residential glass-education program.

Wednesday March 20, 2019 | by Andrew Page

IN MEMORIAM: Stephen Rolfe Powell (1951 - 2019)

The glass art world is still reeling from the news that one of its leading artists and educators Stephen Rolfe Powell died suddenly last weekend at the age of 67. The sad event is even more shocking because of Stephen's vitality. Though he may have been old enough to retire, Stephen's possessed a legendary physical strength that allowed him to make his massive vessels festooned with colorful murrini plumage, as well as unfailingly upbeat energy that fueled his drive to make tiny Centre College in Danville, Kentucky, into an unlikely center for glass education. He exuded a youthful vigor and intensity that belied his years. Equally impressive was his warmth, generosity, and hospitality, a reflection of his Southern roots, which helped establish his prominence in the glass community. Until recently, he was vice-president of the Glass Art Society, and a highly visible presence at the landmark Murano conference in 2018.

Mark Eliott, Down at the Water Table (Detail), 2018. Blown and sculpted borosilicate glass, recycled Australian Red Cedar, water. H 22 3/4, W 27, D 6 1/4 in. photo: richard weinstein

Thursday March 14, 2019 | by Andrew Page

Flameworker Mark Eliott wins 2019 Tom Malone Prize, which comes with AU$ 15,000 cash award

Mark Eliott has been named the winner of the 2019 Tom Malone Prize, marking the first time a flameworker has been awarded this prestigious Australian award The multi-media artist and Canberra Glassworks instructor who works primarily with borosilicate glass joins previous awardees Clare Belfrage, Gabriella Bisetto, Charles Butcher, Cobi Cockburn, Brian Corr, Mel Douglas, Deirdre Feeney, Kevin Gordon, Marc Leib, Jessica Loughlin, Tom Moore, Nick Mount and Benjamin Sewell. Along with the winning work being acquired by The State Art Collection at the Art Gallery of Western Australia, Eliott will also eceive a cash award of AU$ 15,000. The prize has been offered since 2003 and is supported by philanthropist Sheryl Grimwood, who recently increased the award amount from AU$ 12,000 to AU$ 15,000.

Wednesday March 13, 2019 | by Andrew Page

With wine-tasting event, New York art dealer uses functional experience to sell hand-blown wineglasses

After several years running a bricks-and-mortar gallery on New York City's Lower East Side, art dealer Simon Abrahms is exploring new way of promoting artists working with glass. He recently hosted a social event at his work-and-live space on the city's Upper East Side that brought top American glassblower Michael Schunke to Manhattan to showcase his one-of-a-kind glassware. Rather than putting the works on pedestals, the glasses were all available to be used as drinking vessels, underscoring that they are durable, and suitable for function as well as visual appreciation.

Thursday February 28, 2019 | by Andrew Page

HOT OFF THE PRESSES: The Spring 2019 edition of Glass (#154)

The Spring 2019 edition of Glass: The UrbanGlass Art Quarterly (#154) is hitting newsstands and subscriber mailboxes. On the cover: "Glass on Glass," the newest series by Dale Chihuly, marking an inward turn for this world-famous artist known for intense coloration and flamboyance. Initially developed for a sanctuary for meditation at a Nebraska cancer center, the series of large translucent wall panels has become a focus for Chihuly, who is embracing the opportunity to work with more diluted colors and expanding the initial series. As contributing editor Victoria Josslin writes in her feature article, "without losing any of the spontaneous gestures and brilliant color that have always characterized his work, the artist has entered new territory ... "

Friday February 22, 2019 | by Andrew Page

Citing legal costs and capital investments to meet new environmental regulations, Bullseye to close flagship Portland gallery in city's Pearl district

In January 2019, when the Bullseye Glass Company settled a class-action lawsuit spurred by the public outcry over possible heavy-metal emissions from the colored art glass factory's Portland facility, the company looked forward to moving on after doling out a total of $6.5 million and without admitting any blame for exposing the public to dangerous toxins, as was alleged by the community members who brought the lawsuit. Now, the 45-year-old company cites the economic impact of meeting new environmental regulations and the extensive negative publicity it endured as the factors that are forcing it to shutter its two-decade-old flagship gallery in Portland's Pearl district, where it showcased some of the top artists working with the company's glass products.

Friday January 18, 2019 | by Andrew Page

CONVERSATION: John Drury, curator of the "Alternative History" exhibition at Heller Gallery, discusses his view of "other glass"

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.

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 more than 40 years.