The Toyama City Institute of Glass Art (TIGA) in Toyama, Japan invites international glass artists to apply for its Artist-in-Residence program, now in its ninth year. The residency, which will last six weeks from October 17 through November 27, 2019, grants the artist access to the facilities of the Toyama Glass Studio, including the hot shop, kiln shop, and cold shop, to create new work. Works made during the residency will be featured in a solo exhibition at the Toyama Glass Museum at the end of the six weeks.
UPDATED: 11/8 11:50 AM -- Artist and educator Jeff Mack, after seven years as the manager of the studio at the Toledo Museum of Art Glass Pavilion, will be joining the The Corning Museum of Glass in December as the Hot Glass Programs and Projects Supervisor. This position, created in light of the recent museum expansion and the rapidly evolving hot glass programs at the Corning institution, will involve managing the daily operations of the popular Hot Glass Show, scheduling the team of glassmakers and guest artists, and managing hot shop maintenance and supplies. Though he will be doing some travel with the Hot Glass Roadshow and GlassLab Design Program, Jeff will not be heading out to sea with the cruise ship glassblowing programs, primarily facilitating recruitment and deployments from the home base in Corning. "I hope to realize the potential of the CMOG's incredible new space," he says, referring to the renovated Hot Glass Show amphitheater.
Recently opened at the Museum of Glass in Tacoma, Washington, the exhibition “Healing in Flames” features work produced by the spring and summer 2015 instructors and students of the museum’s "Hot Shop Heroes: Healing with Fire" program, an educational project to offer glassblowing and art-making experiences to soldiers and veterans. The exhibit showcasing this life-changing program will remain on view through March 2016.
The Glass Art Society established the Technologies Advancing Glass Grant in 2014 to fund the research and development of projects that incorporate technology into glass art. The 2015 recipients of the grant include Saman Kalantari, who has been awarded the top prize of $5,000; with runners-up Michal Czeisler, Jin Won Han, and a collaborative group from the Chrysler Museum of Art Glass Studio and the NASA Langley Research Center each set to receive $2,000 to further their respective projects. The artist organization also recently announced the recipient of its annual Lifetime Achievement Award will be artist, designer, and architect James Carpenter and its Honorary Lifetime Membership Award for outstanding service to the Glass Art Society will go to Jutta-Annette Page, the curator of glass and decorative arts at the Toledo Museum of Art who recently served as president of the board. Both awards will be presented during the 2016 annual conference taking place in Corning, New York.
Glass, one of the most useful materials at our disposal but one of the hardest to handle, has been a final frontier of sorts in the world of 3-D printing. Even as approaches to printing materials like plastics, polymers, wax, ceramics, and metals, have been increasingly refined, glass has been mostly relegated to crude attempts to form with digital printers that approximate a glass effect. That may be about to change. Driven by the transformative potential that 3-D printed glass could have in art, architecture, medicine, aerospace, communications, safety and security, and more, researchers and engineers, are making progress in overcoming the inherent obstacles to 3-D glass printing (3DGP). Years' worth of experimentation and invention has led to the groundbreaking innovations we have seen this summer - Micron3DP, an Israeli company that designs and manufactures 3-D printer parts, announced a prototype of a new high-temperature extruder printe in June, and MIT recently announced the 3-D hot glass printer developed by the Mediated Matter Group in collaboration with MIT's Department of Mechnical Engineering and MIT's Glass Lab.
A large-scale sculpture by identical twins Doug and Mike Starn, the duo's second-ever work in glass, will be installed in mid-September on the lawn of the Princeton University Art Museum. The site-specific sculpture, titled (Any) Body Oddly Propped (2015), features steel, cast bronze trees and six 18-foot tall colored glass panels. According to the official announcement, the sculpture “continues the artists' exploration of organic energy systems through root and branch forms that here also respond to the arboretum-like character of the Princeton campus.” An attempt to evoke the complex experience of light filtering through trees, the sculpture will play off the contrast between the permanence of the structure and the ephemerality by interaction between natural light conditions and the colored glass.
Andrew Erdos and Yasue Maetake, Amorphous Terrain, 2018. Blown glass, copper corrosion stain on pulp (kozo, abaca and cotton), steel, industrial safety glass, cane and jute rope. H 144, W 60, D 54 in. photo: kariya hirofumi.
A new work in stained glass by Brooklyn-based artist Beau Stanton is featured in “Art Collector Starter Kit III” at the Corey Helford Gallery in Culver City, CA, a large group exhibition featuring 12-inch-by-12-inch paintings from 37 artists that opened on Saturday, July 25th. The use of glass is a recent addition to Stanton's art practice, which typically includes paintings, prints, and murals.
Since its inception in 1999, the New York Metropolitan Glass Club has met in the Parish Hall of St. Michael’s Church at Amsterdam Avenue and West 99th Street in Manhattan. The interior of St. Michael’s is a sanctuary where glass enthusiasts can connect with each other amongst windows, mosaics, and lamps designed by Louis Comfort Tiffany between 1895 and 1925. Members step into the Upper East Side church on the first Tuesday of every month from October through May to enjoy wine, cheese, and a lecture given by a visiting expert in the glass field. While the first meeting of 2014-2015 is still a couple months away and not all lecture topics have been set in stone yet, the Metropolitan Glass Club has announced its speakers and meeting dates for its upcoming season.
The International Summer Academy Bild-Werk Frauenau has developed into a prime center for glass art education over the past three decades. Home to the Glasmuseum Frauenau and to Erwin Eisch, considered the founding father of the Studio Glass movement in Europe and one of the founders of the Academy, Frauenau is located in a leading glass region between the Bavarian Forest in Bavaria, Germany, and the Bohemian Forest in the Czech Republic. The Academy began teaching workshops in 1987 with a primary focus on glass art, but has expanded into teaching in other disciplines such as painting, ceramics, wood, and bronze. Studio rentals for artists are available at Bild-Werk as well, making the studio and the region of Frauenau a great resource for artists living in or visiting this part of Germany.
The work of ten glass artists from the Northern United Kingdom is currently on display in “Glass in the Bank”, an exhibition housed in the Lytham Heritage Centre in Lytham St Anne’s, Lancashire in England. The exhibition was organized by Northern Hub of The Contemporary Glass Society, an organization that aims to support both emerging and established artists working in glass and to promote contemporary glass within the scope of the greater art world. To this end, the CGS organizes exhibitions, publishes Glass Network magazine, and holds conferences and workshops.
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.