Viewing articles by Andrew Page

The cover of GLASS: Virtual, Real scheduled to be published in Fall 2016.

Tuesday February 21, 2017 | by Andrew Page

GLASS Magazine gets a new look, rolls out redesign in celebration of 40th anniversary of UrbanGlass

FILED UNDER: Announcements, News, Print Edition

The Spring 2017 edition of GLASS: The UrbanGlass Art Quarterly (#146), on its way to newsstands and subscriber mailboxes, sports a new look. Completely redesigned in honor of the 40th anniversary of its parent, UrbanGlass, the new issue features an updated graphic style with fresh type treatments, more abundant white space, and an increase in photographs of individual artists as well as their work. It's the first major update to the magazine's design since 2003 and reflects the keen insights of the magazine’s longtime art directors, Stephanie and John Stislow, who for more than a decade have been honing the visual presentation of articles by some of the top arts writers to illuminate their critical insights.

Dante Marioni

Thursday February 16, 2017 | by Andrew Page

A new student film provides insight into the Seattle glass scene

FILED UNDER: News, Video

The lighting during interviews could be a little brighter, and viewers might wish for more context on the changing marketplace for glass art, but a short documentary just posted to YouTube by a freshman at Oberlin College offers an insightful look at the contemporary Seattle glass scene. The last name of the aspiring filmmaker -- Mahlon "Dizzy" Farbanish -- provides a clue to how he got access to Dante Marioni, Preston Singletary, Janusz Pozniak, and Paul Cunningham. But the deft editing and crisp camera work are solely the work of the precocious younger Farbanish, who became fascinated by video editing when he began putting together videos of his and his friends' skateboarding exploits, which led him to take film classes in high school, and attend a summer workshop to further hone his skills. The short film holds together well, and its professional qualities don't betray that it's a student project.

The artist during installation. photo: will howcroft, courtesy massart

Friday February 3, 2017 | by Andrew Page

CONVERSATION: Dan Clayman discusses his Rainfield public-art project at MassArt

FILED UNDER: Artist Interviews, New Work, Public Art

Last week, the Massachusetts College of Art in Boston unveiled a public artwork made up of more than 10,000 individual glass droplets. Installed in the atrium of the art college's Design and Media Center on campus, the project was the culmination of an innovative interdisciplinary course taught by independent artist and visiting professor Dan Clayman. A group of MassArt students worked alongside the Providence-based artist to realize this the work entitled Rainfield, which marks the single largest-scale installation realized by Clayman. In an exclusive interview with the GLASS Quarterly Hot Sheet, the artist explains how the project came about and how it was realized.

Thursday February 2, 2017 | by Andrew Page

CALL FOR PAPERS: October 2017 UrbanGlass academic symposium to focus on post-graduate outcomes

FILED UNDER: Announcements, Call for Submissions, Events, News

For its third biennial academic symposium, UrbanGlass is again partnering with the Robert M. Minkoff Foundation to present an international gathering of department heads, professors, and educators to discuss best practices in the lecture hall and studio. The upcoming symposium, titled "Issues in Glass Pedagogy: Curriculum and Career," will take place from October 12 -14, 2017 in New York City, and will examine the factors that determine students' post-graduate success. Among the areas of interest are investigations into the economic challenges facing professional contemporary artists, as well as the educational interventions that are most effective in preparing graduates to thrive. The symposium organizers are now accepting proposals for lecture presentations, panel dicussions, and studio demonstrations that address how academic curricula and programs can affect career outcomes, with a special focus on best practices, statistical analysis, and case studies.

Martin Blank pictured with one of the two glass artworks that animate a city park in lower Manhattan.

Friday January 27, 2017 | by Andrew Page

CONVERSATION: Martin Blank on the installation of his NYC public-art project

FILED UNDER: Announcements, Architecture, New Work, News, Public Art

Martin Blank has called the concept of "flow" the unifying theme of the last 25 years of his career as an artist, and this is readily apparent in his latest public art commission. Set to be unveiled in Spring 2017 in the small city park next to the recently opened Four Seasons Hotel New York Downtown, Blank has created two working fountains in which the multiple glass elements mediate the falling water, and reference it in its cascading forms that appear like splashing water, or eddies. Contrasting with the restrained "New Classical" style of the building's architect, Robert A. M. Stern, Blank's exuberant work animates and enlivens the exterior space with its celebration of gravity and the shared fluidity of water and glass. The GLASS Quarterly Hot Sheet spoke to Blank after installation was complete, but before the water would be turned back on, about the project that he calls "the hardest installation he's done in his career."

The full overview of the Rainfield work with a human figure to indicate the massive 60-foot-long scale of the work.

Monday January 23, 2017 | by Andrew Page

OPENING: Dan Clayman’s largest installation to date debuts at MassArt

FILED UNDER: Announcements, Etsy-find, New Work, News, Public Art

More than 10,000 individual glass droplets have been strung up in the atrium of the Design and Media Center at Boston's MassArt, the culmination of a project by the college's visiting professor Dan Clayman that is being unveiled this evening. The work is entitled Rainfield, and was constructed during "Structured Light," an interdisciplinary course with 18 MassArt students who worked alongside the Providence-based artist to realize this piece that measures 60-feet long. The completed project represents the largest-scale work Clayman has completed, the latest in his assemblage works that aggregate multiple glass elements to create a massive structure, as he did in his 2014 work Dispersion at Brown University. The installation will remain on view through summer,

Jutta-Annette Page

Tuesday January 17, 2017 | by Andrew Page

CONVERSATION: Curator Jutta-Annette Page on leaving Toledo to lead new museum in Virginia

FILED UNDER: Announcements, Museums, News

Jutta-Annette Page, the senior curator of glass and decorative arts at the Toledo Museum of Art in Ohio since 2003, will be leaving her position of 13 years for a new job as director of the Barry Art Museum, a brand-new institution to be built at Old Dominion University in Hampton Roads, Virginia. Page will be moving to Virginia in March 2017 to begin the hard work of getting a new art museum off the ground. The building itself is yet-to-be-completed but there is no shortage of tasks, including hiring a full- and part-time staff, developing the museum's systems and protocols, and planning its inaugural exhibition of its namesake's collection. Last summer, Richard and Carolyn Barry announced a $35-million gift to Old Dominion, where they both have professional and personal connections (his father was a professor and he himself served as rector, while she taught there for a time as an adjunct). When it opens in 2018, the Barry Art Museum permanent collection will include more than 200 works of art, with over 100 works from the Studio Glass era. In an extended telephone interview, the GLASS Quarterly Hot Sheet discussed Page's tenure in Toledo, what interested her about the new opportunity, and some of her early plans.

Anna Boothe, Amber Sentient

Tuesday January 10, 2017 | by Andrew Page

OPENING: Anna Boothe’s perfume bottles in group exhibition about scent

FILED UNDER: Announcements, Design, Exhibition, Opening

Practically across Fifth Avenue from the Metropolitan Museum of Art in Manhattan, the Tambaran Gallery will show work by a painter, perfumer, and glass artist in a collaborative project exploring the power of scent through history. Painter Frances Middendorf, perfumer Leonardo Opali, and glass artist Anna Boothe have been working together on "The Scent Project," which has seen four exhibitions of their evolving bodies of work — two in Connecticut, and two in Venice.

The opaque steel walls of the flameworking studio at the Toledo Museum of Art Glass Pavilion include a wide picture window that allows the public to view its activities through the exterior walls. photo: © floto + warner studio

Friday December 23, 2016 | by Andrew Page

BOOK REPORT: Toledo Museum of Art celebrates 10-year mark for iconic Glass Pavilion with new tome

FILED UNDER: Book Report, Museums

With an unusual curved corner that echoes the rounded-glass-wall architecture of its subject, a new hardcover book entitled simply The Glass Pavilion ($44.95) is a 144-page love letter to the The Toledo Museum of Art's eye-catching annex designed by the Prizker Prize-winning Japanese architecture firm SANAA. Featured on the cover of GLASS magazine when it opened in 2006, the Glass Pavilion added 76,000 square feet of ethereal exhibition space and a state-of-the-art working glass studio to the 100-year-old museum. The museum wanted to make sure the new building devoted to art would be architecturally significant as would befit a facility dedicated to the same material on which museum founder Edward Drummond Libbey built his industrial empire. It was also at the Toledo Museum that Harvey Littleton held his famous 1962 workshop that many consider the birth of Studio Glass.

Thursday December 22, 2016 | by Andrew Page

BOOK REPORT: A conversation with artist and author Paul Stankard on the publication of his 3rd book

FILED UNDER: Artist Interviews, Book Report

GLASS Quarterly Hot Sheet: You've already published an autobiography, No Green Berries and Leaves (McDonald & Woodward, 2007), and a manual for artists entitled Spark the Creative Flame (McDonald & Woodward, 2013). What inspired you to come out with Studio Craft as Career (Schiffer, 2016) and how does it differ from your first two books? Paul Stankard: Well, my first book was a memoir, and the second one was a guide to finding and renewing motivation. But I decided to write this book because I was hearing so many people trying to make it as artists who believed it was all about who you knew. I wrote this book to say 'Wait a minute, it's not who you know, it's all about the work.' I wanted to give people a way to educate themselves about what excellence is, and to hand over tools for self-directed learning. People who read this book will hopefully think about how they need to see themselves in competition, not only with the best work in the contemporary realm, but also the best work that has come before. It's about studying the best work that's been done in your field and engaging in a dialog with it — to understand it, and to respond to that work in your own unique way.

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.