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.

photo: atsushi suzuki

Thursday December 20, 2018 | by Andrew Page

CONVERSATION: Artist Rui Sasaki, who's been interested in the concept of "the corner" since RISD, on her recent museum exhibition in Japan

Rui Sasaki's recent exhibition in Japan (a group exhibition at the 21st-Century Museum of Contemporary Art in Kanazawa from October 30th through November 11th) was an exploration of the meaning of the Japanese term "Kogei," which can be roughly translated as "Craft" in English. It was no accident the setting was Kanazawa, a city that has been closely linked to "Kogei" since the 17th century. The city government has actively been promoting the association with this complex term, which is discussed at length in Japanese culture. The exhibition, entitled "Exploring the Possibilities of KOGEI x Architecture" sought to tease out some of the nuances of meaning of the "Kogei," and Sasaki was one of 14 artists, architects, designers, and philosophers asked to participate. The Glass Quarterly Hot Sheet recently caught up with Sasaki to ask her about her participation and impressions of the exhibition via an email exchange.

A nighttime exterior of the Barry Art Museum, designed by Saunders + Crouse Architects, the same firm behind the renovation of Norfolk's Glass Wheel Studio. courtesy: old dominion university

Wednesday November 14, 2018 | by Andrew Page

OPENING: The Barry Art Museum, a brand-new institution in Norfolk, Virginia, displays glass and other collections

Following a lunchtime reception, Old Dominion University in Norfolk, Virginia, will officially open the doors of its brand-new Barry Art Museum to the public during an open house from 4 to 7 PM today, November 14th. The newly constructed 24,000-square-foot museum was funded by art collectors and philanthropists Richard and Carolyn Barry, who also donated the art collection that will be exhibited in the two-story building on the Old Dominion University Campus. Their total gift of their collections and the money to build the museum is valued at $35 million, and considered the largest gift in the university's history. Less than three miles from the Chrysler Museum of Art and its glass studio, the Barry Art Museum, with its substantial contemporary glass art holdings, will bolster the importance of Norfolk as a center for art in the material.