The International Exhibition of Glass in Kanazawa, a prominent platform for contemporary glass, is seeking applicants for its 13th annual showcase. Artists from 40 countries have exhibited in this juried exhibition over the yeras, and the yearly event takes place in a Japanese city known for its history as a center for craft and traditional arts. Aside from discovering potential in current glass art works, the International Exhibition represents Kanazawa's bid for "synergestically stimulating" its local industries, as stated in the official announcement of the competition.
"Canberra + Berlin," a collaborative exhibition between the nonprofit center Berlin Glas e.V. and the Australian National University, will open on September 18th in Berlin. The show features a variety of artists graduating from the Australian art school (ANU-SOA). Founded by Hamburg-born artist Klaus Moje in 1982, the glass program at ANU's School of Art was one of the first that was not limited to glassblowing, emphasizing instead kiln-forming, carving, and cold-working techniques. Moje's significant influence on Australia's glass movement came from his formative effect on the country's first university curriculum for glass as a fine art medium, which he created to stress technique as much as concept. Moje's own work has advanced the international Studio Glass movement through its aesthetic of glass fusing, through which rods, strips or canes are joined in an interplaying pattern which is then melted together. Moje's role in glass education is credited for a generation of artists using glass as a principal material, several of whom will be represented in the upcoming show.
Alison Lowry's "Captive," a series on the brain as construct and constraint, just opened at S12, the artist-run workshop and gallery space in Bergen, Norway. Lowry's work is an ever-developing exploration of memory, and her series follows up on "A place for Everything/Everything in its place," her solo show at the Ebeltoft Museum in January. The artist's previous series will also be on display with her new works, as she continues a conversation about what the past does for us, how it carries us and vice-versa. The focus in her sculptures and installations is the body's varying ways of remembering, including the emotional and physical, the personal and collective.
On view through January 4, 2016, the "Chihuly's Venetians" exhibition at The Museum of Glass focuses on a recreation of Venetian Art Deco glass, an elaborate reimagining of the era's peculiar aesthetics and forms. To realize this series which ran from 1989 to 1997, Chihuly collaborated with Pino Signoretto and Lino Tagliapietra. Chihuly was inspired by an affecting encounter with original 1920s-30s pieces in Venice in 1999, and the artist worked with the two masters to yield intensely colorful and subversive glass pieces, classical Italian forms with a vibrant twist.
Through the end of August 2015, the Luan Gallery in Ireland is exhibiting "Delicate Matter," a show compiling the works of Karen Donnellan, Jennifer Hickey and Liz Nilsson joined together under the theme of "human existence," with each artist's series varying on a spectrum of elemental inspirations. A mix of glass, china sculpture and conceptual installations, the pieces share a spiritual and ethereal aesthetic, each medium exploring a different subject, focusing in the metaphysical, nature, and memory.
Set to open on August 7, 2015 is "502," an exhibition that aims to bring attention to the forerunners of the glass scene in Louisville, Kentucky. Taking place at the gallery of Flame Run, one of the five glass galleries that operate in the region, the show promises to be an homage to the people who first worked in their backyards and garages to produce hot and blown glass works. The exhibition will celebrate artists that paved the way for glass art in the community before it could be practiced through public access.
The Corning Museum of Glass has chosen Tom Patti for the 2015/16 Speciality Glass Artist-in-Residence, an award granted for a unique opporutnity to work with cutting-edge formulations of glass. The residency will allow the artist freedom to work in an industrial laboratory with the assistance of the museum's glassmakers, research scientists, and curators. Patti is the second selected artist in the invite-only program after Albert Paley. Beginning this month, the residency will take place in the research and design facility known as Sullivan Park, where Patti will have the opportunity to experiment with patented glass formulations from the Corning Archives, giving him the chance to further explore the medium. Known for his innovative techniques that push the physicality of glass, Patti will use the residency to further explore how temperature affects the material. Since his primary concern is to conduct research, he told the GLASS Quarterly Hot Sheet that he is going into the process without a specific creative agenda, but to simply further his knowledge of what glass is capable of doing.
"Glass Doors", opening on June 11th, will be the inaugural show at The Grey Area gallery in Collingwood, Victoria, as well as the debut of work from a new collaborative project of Australian artist Elaine Miles and photographer Adrian Lander. In experimental works dealing with perspective and light, glass installations will be paired with photographs lining the walls to explore the concept of "photogenic glass," or the kind of stylized images that you might see in a home catalog or interior design magazine and subverting them by creating unnerving tableaus.
Since 1992, Bernardine de Neeve Exhibition has been celebrating new developments in contemporary glass among Belgian and Dutch artists. Taking place once every three years, the seventh iteration of this competition has been narrowed down to three 2015 finalisits who are exhibiting their nominated works at DordtYart, an industrial shipyard turned contemporary art center. The finalist will be annnounced on June 28th.
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.