In honor of its fifth anniversary, Chihuly Garden and Glass, the for-profit long-term Chihuly exhibition in Seattle Center, is offering a $10,000 scholarship for an emerging glass artist in the Seattle region to take classes at either Pilchuck Glass School or Pratt Fine Arts Center. The program is offered in conjunction with the Chihuly Studio. Though announced through Facebook and a press release, information on how to apply for this opportunity hasn't been easy to locate. The application is on the Garden and Glass website, but only under "Events," where it comes up at the bottom of an article about the organization's fifth-anniversary activities. Still, this is a generous opportunity, one of a series of initiatives to give back to the glass art community, and worthy of attention for every Seattle-area glass artist who fits the criteria.
New Orleans-based artist James Vella, known for his strikingly realistic glass trout and delicate goblets, has assumed the position of glass studio manager as of May 1, 2017, at YAYA (Young Aspirations Young Artists), a New Orleans-nonprofit that offers classes and after school programs to local children and teenagers. Vella's full-time position will be responsible for duties formerly filled by two part-time employees, and this expanded role was developed in response to the organization’s growing audience and educational ventures in the New Orleans community.
Artist Rachel Berwick, the head of the Rhode Island School of Design's glass department, will deliver the keynote lecture at the 2017 Robert M. Minkoff Foundation Academic Symposium at UrbanGlass this fall. Berwick's presentation, entitled "Alchemy: Innovation and Experimentation in Studio Practice," will lead off the third iteration of this biennial academic symposium set to take place from October 12 -14, 2017 in New York City. With the theme of "Issues in Glass Pedagogy: Curriculum and Career," the international gathering of glass educators will examine the factors that determine students' post-graduate success through a program of lectures, panel discussions, and demonstrations. Note: through May 1st, the symposium organizers are accepting proposals for presentations that address how academic curricula and programs affect career outcomes, with a special focus on best practices, statistical analyses, and case studies.
In June 2017, The Rosenberg Residency at Salem State University, now in its fifth year, will offer month-long access to its glassblowing facilities for four artists to pursue individual and group projects.
The upcoming international flameworking conference, which will run from March 24th through 26th at Salem Community College in Carney's Point, New Jersey, will be the 17th gathering of artists specializing in borosilicate glass. It will also mark a notable shift as many of the featured speakers and demonstrators are graduates of fine-art-degree programs, including the featured artist Amber Cowan. Throughout the programming of the three-day event which has recently featured highly skilled flameworkers such as Eusheen Goines (2016), Vittorio Costantini (2013), Loren Stump (2007), Cesare Toffolo (2004), a decidedly more academic tone is notable, starting with the opening-night lecture on the history of flameworking courtesy of The Corning Museum of Glass's reference librarian Beth Hylen joined by the museum's properties of glass programs supervisor Eric Goldschmidt. Featured artist Amber Cowan not only holds an MFA in glass and ceramics from Tyler School of Art of Temple University, but is also on faculty. Other presenters include Beccy Feather, Jacob Moskowitz, Zach Puchowitz, Ryan Tanner, and Kim Thomas, all of whom studied art at the university level. The GLASS Quarterly Hot Sheet checked in with conference co-chair Amy LeMaire to learn more about the lineup for the 2017 event.
In many words and pictures, Penland School of Crafts' new book, entitled Inspired: Life In Penland’s Resident Artists and Core Fellowship Programs, tells the story of this North Carolina craft center's mission and artist outcomes through the voices of its staff and 32 of the artist residents. These voices share their positive experiences during their time in residency, whether it was for 8 months or the uniquely long 3 year fellowship, and how they benefited from the institution's educational and residency programs. Over the course of 192 pages, this new coffeetable book delves into the history of Penland, first founded in the 1920s (it established its first glass program in 1965), and the core reason for its existence: to provide the perfect balance of solidarity and isolation for upmost creative growth. This hardcover book, according to Penland executive director Jean McLaughlin on page 8, "aim[s] to acknowledge the remarkable near-fifty-year history of these two programs and begin to document this history through the stories of participating artists."
A mix of artists, designers, and new-technology innovators have been invited to travel to the remote Stanwood, Washington, campus of Pilchuck this summer as part of the glass school's annual artists-in-residence program. These residents will explore how glass might dovetail with their own artistic vision, and will be assisted by highly-skilled glass gaffers. In the process, their presence is designed to act as a creative catalyst for the unique mix of students who come together each summer, drawn by this legendary school's unique approach to exploring expression and artistic exchange through the material of glass. Since being named permanent artistic director of the program in 2013, visual artist and educator Tina Aufiero has designed each summer's program, and she selected this year's artists in residence and instructors. (For an in-depth profile of Aufiero, see the Winter 2016-17 edition of GLASS (#145).)
The recent passing of Klaus Moje (1936 - 2016), who died at the age of 79 on September 24, 2016, after a protracted illness, has unleashed a global outpouring of grief and appreciation. Honored for his disciplined approach to technique and visionary work taking kiln-forming into the fine-art realm, Moje's impact on the glass art field is immeasurable. Celebrated as an artist, Moje was also hugely influential as an educator, and created the glass program at the Canberra School of Art, which has since been incorporated into the Australian National University's College of Arts and Social Sciences. Consciously not opening with a hot glass furnace, Moje designed the program in 1982 with a radically different approach than most glass education facilities in the world. In honor of Moje's legacy, the GLASS Quarterly Hot Sheet is republishing an article from the Spring 2005 print edition (GLASS #98) that provides unique insight into the founding of the Canberra program. In the article below, Moje shares his singular perspective on not just education but what it takes to become an artist.
The Toyama City Institute of Glass Art in Japan is accepting applications for its annual 6-week artist-in-residence program that will take place from October 20 through November 30, 2016. The application materials state the residency will go to a glass artist "who has potential to stimulate the glass art scene in Toyama by his/her works, regardless of age, gender and techniques he/she utilizes." The successful applicant will have access to a full suite of facilities to create his or her own work in a supportive and enthusiastic environment. The work made by the resident artist will receive a solo exhibition. Along with creating, the artist is expected to participate in lectures and demonstrations, and to interact and share his or her knowledge and experience with the many students and fellow artists on campus.
If there were a skills test in glassblowing, the ultimate exam would probably be flawlessly executing a 17th- or 18th-century Venetian goblet. In Venice, those that reach the pinnacle of skill in this form (and who have achieved full technical knowledge about glassblowing) are recognized with the title “Maestro,” but, here in the U.S., the highest award is when a member of the small pantheon of American glassblowers such as a James Mongrain would be impressed enough with your finished “cup” to say “Hey! You’re really good!”
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.