Viewing: Announcements

courtesy: engravedglass.cz

Monday July 10, 2017 | by Sarah Thaw

CALL FOR APPLICATIONS: International Symposium of Engraved Glass in Kamenický Šenov

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

Applications are still being accepted for the 7th International Symposium of Engraved Glass in Kamenický Šenov, Czech Republic. Registration for active participation is open until July 15, 2017 for the event taking place September 11- 17, 2017 at the Kamenický Šenov Glass Museum.

courtesy: Echard Wheeler

Friday July 7, 2017 | by Stella Porter

EXCLUSIVE: Charlotte Potter leaving the Chrysler to focus on family and her personal art practice

FILED UNDER: Announcements, Artist Interviews, Help Wanted, Museums, News

After playing a major role in bringing the 2017 Glass Art Society Conference to Norfolk, Virginia, last month, Chrysler Museum of Art Glass Studio manager and program director Charlotte Potter is heading for the exits. Potter told the GLASS Quarterly Hot Sheet that she plans to leave the job she's held since 2011. Potter, whose leadership put the Chrysler Museum of Art’s Perry Glass Studio on the glass-art map, plans to move back to her home state of Vermont by November. There she will focus on raising her newborn daughter and continue to pursue her successful art practice. Though it hasn't yet launched an official job search for Potter's replacement, the Chrysler Museum of Art is starting the process of finding a new glass studio manager and programming director to take over Potter's important role running the studio, which itself is in the process of being expanded in response to its considerable success drawing crowds and attention.

Lino Tagliapietra. courtesy: schantz galleries

Thursday July 6, 2017 | by Lindsay Hargrave

OPENING: Lino Tagliapietra to visit Schantz Gallery exhibition on Friday, July 7

FILED UNDER: Announcements, Exhibition, Opening

This Friday, July 7, Schantz Gallery in Stockbridge, Massachusetts will hold an opening reception to a comprehensive exhibition of Lino Tagliapietra’s work form the last 20 years or so, and the maestro himself will be in attendance. The exhibition includes approximately 30 pieces, mostly comprised of work from the past year, but also some more classic pieces, such as glass panels. “The phenomenal thing is that at 82, that Lino is still creating some of the best work of his career," art dealer Jim Schantz told GLASS Quarterly Hot Sheet in a telephone interview, adding that many of these pieces that have gone in some ways beyond what he’s done with his previous, earlier work. "He’s still raising the bar in terms of what can be done with the material.”

courtesy: Tyler School of Art

Thursday June 29, 2017 | by Stella Porter

HELP WANTED: Tyler School of Art in Philadelphia is looking for an assistant professor of glass

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

The Tyler School of Art at Temple University is searching for a full-time non-tenure-track assistant professor for its glass program. Candidates with mastery of traditional and contemporary glass techniques should apply by July 12, 2017, to receive priority. The ideal applicant would be able to teach a range of courses from introductory to advanced and conduct research-based classes that are both conceptual and experimental. Applicants should also have produced work shown in national exhibitions and demonstrate a passion for teaching their skill.

Noel Hart, Waiting for a twenty eight parrot, 2017. Handblown glass. H 16.5, W 13 H 3 in. courtesy: the artist

Thursday June 29, 2017 | by Stella Porter

OPENING: At Tansey Santa Fe, Noel Hart takes flight in colorful new works referencing bird plumage

FILED UNDER: Announcements, Exhibition, New Work

Noel Hart’s solo exhibition, entitled “The Rewilding,” will open at Tansey Contemporary's Santa Fe location on July 7th. The Australian artist's latest work reveals an evolution toward more transparency, a greater sheen to the glass, as well as more depth to the individual works. Inspired by his close observations of the bird life in the backyard of his home in the Australian rainforest, which is teeming with birds and is a showcase of biodiversity and species interaction.This daily intimacy with biological diversity has led to increasingly vibrant artworks. “He’s going into a more sculptural direction," said Tilly Badham, marketing director for Tansey Contemporary, in a telephone interview with the Glass Quarterly Hot Sheet. The new work also has a glassy transparent finish rather than an etched finish.” Hart, who was showing at Jane Sauer Gallery before it was purchased by Tansey four years ago, sees an increase in scale, and confident approach to color that betrays Hart's training as a painter.

William Traver and Sarah Traver pictured in the gallery with "White on Black Z Leaves" by Dante Marioni. photo: ben lerman/traver gallery

Monday June 26, 2017 | by Lindsay Hargrave

Traver Gallery turns 40 on July 7th, and there’s much to celebrate

FILED UNDER: Announcements, Events, Exhibition, News

On July 7, 2017, Traver Gallery, an icon in the Seattle glass art community as well as in the Studio Glass Movement, will turn 40, and it plans to celebrate with a party that evening. Founded in 1977, the gallery exhibits paintings, ceramics, and installation art of all kinds, but it has been the medium of glass where the gallery has had a particularly consequential role in developing the careers of artists as prominent as Bertil Vallien and Lino Tagliapietra. The gallery lays claim to helping discover such notable glass artists as Martin Blank, Sonja Blomdahl, Gregory Grenon, Doug Jeck, Dante Marioni, Preston Singletary, Therman Statom, and Jamie Walker. The story of the founding of the gallery by a young interior designer who discovered a need for better sourcing of local artists, is one of seizing an opportunity, and then executing it so well it changes the field. Seattle's role as an epicenter of glass art would not have been as firmly established without Traver's important role as a leading art dealer in the field.

Former Corning Museum of Glass director and curator David Whitehouse (1941 - 2013). courtesy: corning museum of glass

Friday June 23, 2017 | by Lindsay Hargrave

CALL FOR ENTRIES: A new residency allows artists time to research at Corning’s Rakow Library

FILED UNDER: Announcements, Call for Submissions

The Corning Museum of Glass announced a new artist residency program, only this one won’t take place in their studio, but instead in their library. The David Whitehouse Artist Residency for Research will offer one artist up to three weeks in The Corning Museum's Rakow Library, which they are free to peruse (along with the museum’s permanent collection) in any sort of research effort to expand their knowledge of glass technique and history. This residency is similar to the Rakow Grant, which the Corning Museum offers to scholars to conduct research, but the Rakow is reserved for scholars alone and does not necessarily have to take place on site. The Whitehouse residency, on the other hand, is exclusively for artists, is completely onsite, and can last from one to three weeks. The deadline to apply is August 31, 2017.

Baptiste Debombourg, Contextual installation in laminated glass 33/1 from "Raging Dreams", 2017. broken windows. courtesy: artist.

Wednesday June 21, 2017 | by Gabi Gimson

Channeling collective unease, Baptiste Debombourg shatters glass in three European exhibitions

FILED UNDER: Announcements, Exhibition, Seen

For the past decade, French artist, Baptiste Debombourg, has exploited the fragility of glass to explore the “evidence of humanity" out of scenes of apparent wreckage, as GLASS Quarterly contributing editor Victoria Josslin put it in a Fall 2015 (GLASS #140) profile of the artist. And Debombourg’s three recent exhibitions prove just as gasp-inducing as their predecessors. “RAGING DREAMS—over the horizon” by Debombourg opened May 19 at Gallery S12 in Bergen, Norway to celebrate the gallery’s 10th anniversary. According to the S12 event announcement, energy and the power of dreams are guiding motifs in the installation, composed mostly of laminated broken glass. Like the artist’s previous works, “RAGING DREAMS” references the destructive power of natural forces with large, immersive and engulfing installations that creep from the gallery walls to its floors with edges that resemble a breaking wave.

Richard Royal, Optical Lens Series (untitled), 2017. Blown glass. H 18, W 18, D 18 in. courtesy: the artist.

Friday June 16, 2017 | by Stella Porter

Richard Royal, fusing math and art, to headline the Pittsburgh Glass Center’s fundraiser

FILED UNDER: Announcements, Artist Interviews, Auction, Education, News

The Pittsburgh Glass Center (PGC) will feature Richard Royal at its annual Art on Fire celebration and auction this September, coinciding with his residency at PGC. Royal, a former gaffer for Dale Chihuly at the Pilchuck Glass School, creates art fueled by his interest in the math inherent in nature, and he is drawn to the geometric possibilities of the material, as well as its optical properties. He's been blowing glass for more than 30 years and combines both blown and solid glass elements in his internationally recognized and highly photogenic work. Royal’s art has been on exhibit at the Mint Museum of Art and Design, the High Museum, and the New Orleans Museum of Art, among others. Royal is a prolific teacher, including a regular at the Pilchuck School. He has also taught before at PGC. As honorary artist, one piece of Royal’s work from his optical lens series will be for sale at the auction.

Penland executive director Jean McLaughlin has overseen the crafts school for nearly two decades. courtesy: penland school of crafts

Wednesday June 7, 2017 | by Lindsay Hargrave

CONVERSATION: Jean McLaughlin to retire as executive director of Penland School of Crafts

FILED UNDER: Announcements, Education, News

After a dynamic career spanning nearly 20 years (19 and three-quarters to be exact), Jean McLaughlin will retire as executive director of the Penland School of Crafts in December 2017. She will leave behind an institution far stronger financially, more accessible to the physically challenged, and with greater outreach to the North Carolina rural communities which surround this important craft school. And yet the school McLaughlin came to lead remains recognizable to those who remember it before her tenure, a sense of continuity which she was careful to cultivate and preserve in this organization that dates back to 1929.