Viewing: Exhibition

Beth Lipman, Distill #13, 2015. Cast iron, enamel, chrome plating. H 12, W 7, D 6 in. photo: arts/industry program of the john michael kohler arts center and kohler co.

Thursday June 23, 2016 | by Malcolm Morano

OPENING: Beth Lipman leaves glass behind in newest body of work

FILED UNDER: Exhibition, Opening

Of the thirteen new works Beth Lipman will unveil Saturday, June 25th, at an opening at Claire Oliver Gallery in New York City, none include the material of glass with which she made her career. Instead, the works in the exhibition entitled "Distill" are primarily cast iron. For this body of work, Lipman made dioramas by arranging ancient flora, such as conifer and ginkgo, alongside pieces of miniature furniture in cardboard boxes, which were then filled with molten iron. The result is a series of fossil-like tableaus, where seemingly ancient pieces of modern furniture are overtaken by organic matter.

Richard Royal's blown glass orbs. courtesy: schantz galleries

Thursday June 23, 2016 | by Sarah Canny

Annual outdoor contemporary sculpture exhibition turns focus to glass for the first time

FILED UNDER: Exhibition, New Work, News, Opening

When art dealer Jim Schantz was given the opportunity to curate the first all-glass exhibition at the annual contemporary and experimental sculpture show at the grounds of the historic Chesterwood, a Stockbridge, Massachussets, landmark, he saw an opportunity to push some of the leading glass artists he represents into new territory — environmental artwork. “It was an opportunity for them to realize their visions and perhaps work outside their comfort zone,” Schantz says in an email exchange with the GLASS Quarterly Hot Sheet. He reached out to artists Martin Blank, Peter Bremers, Nancy Callan, William Carlson, Daniel Clayman, Sidney Hutter, Richard Jolley, John Kiley, Thomas Patti, Kait Rhoads, Richard Royal, and Thomas Scoon, some of whom were well-acquainted with the challenges of exhibiting work outdoors, while others had never done so before. The result is the exhibiton "The Nature of Glass," which will remain on view through September 18, 2016.

Friday June 3, 2016 | by Andrew Page

OPENING: Glass Wheel Studio showcases work by members of its 2016 Studio Artist Program in Virginia

FILED UNDER: Announcements, Exhibition, New Work, Opening

Since opening in November 2015 in a 8,500-square-foot space in downtown Norfolk, Virginia, Glass Wheel Studio has offered exhibition galleries and affordable studio spaces to artists working in all materials but especially glass, a material that has received special focus in this town thanks to the bold programming and outreach of the Chrysler Museum of Art glass studio. In fact, the first 13 artists admitted to the nonprofit Glass Wheel Studio's "immersive studio practice program," includes several artists with connections to the museum's glass department, including its director Charlotte Potter.

Carmen Vetter, Flux #3, 2016. Kiln-formed glass. H 21, W 64, D 1 1/2 in.

Wednesday June 1, 2016 | by Andrew Page

OPENING: Carmen Vetter’s kiln-formed glass panels, skin self-portraits, at Traver

FILED UNDER: Announcements, Exhibition, New Work, Opening

Opening today with an evening reception at Seattle's Traver Gallery, the exhibition "Surface" features Carmen Vetter's latest body of work — studies of texture and pattern rendered in layers of powdered glass kiln-fired to look like weathered landscapes. Monochrome or muted in color palette, the surfaces of the work take center stage as the artist selectively built up or removed layers of glass powders to evoke close-up maps of territory altered by unseen forces of erosion and time.

Lino Tagliapietra, Osaka, 2011. Blown glass. H 20 1/4 in. courtesy: heller gallery

Tuesday May 31, 2016 | by Andrew Page

OPENING: Lino Tagliapietra at Heller Gallery on Thursday

FILED UNDER: Announcements, Exhibition, News, Opening

On Thursday evening, Heller Gallery will welcome maestro Lino Tagliapietra, who plans to attend the evening reception to kick off a month-long New York City exhibition of his work entitled "Celebrazione!" From June 2 through July 15, this gallery in the heart of the art scene in Manhattan's Chelsea neighborhood will feature a range of richly patterned sculptural vessels that showcase Tagliapietra's complex use of cane and murini to create bold abstract compositions on glass surfaces.

William Gudenrath, Amy Schwartz, and David Whitehouse at the opening of the Studio at The Corning Museum of Glass in 1996.

Wednesday May 18, 2016 | by Andrew Page

Looking Back: Amy Schwartz on the Corning Studio as the program she helped build turns 20

FILED UNDER: Announcements, Events, Exhibition, Museums, News

In 1995, a pregnant Amy Schwartz and her husband, William Gudenrath, relocated to Corning, New York, at the invitation of museum director David Whitehouse (1941-2013) to begin the planning for The Studio at The Corning Museum of Glass, a new initiative that would redefine and expand the museum's role as a place where glass was not only studied and exhibited but also made and taught. To take their new positions as studio director and resident advisor, respectively, Schwartz and Gudenrath were both leaving jobs in New York City — she managed the computer system of a law firm on Wall Street and he was a longtime instructor at UrbanGlass (and one of the first to join its precursor, The New York Experimental Glass Workshop). The Studio at Corning opened its doors in 1996 with a block party that included an ice cream truck and guests such as gallerist Doug Heller and artist Paul Stankard. The couple's newborn daughter, Sophia, also attended the Studio's opening on May 26, 1996, taking it all in from a stroller. Twenty years later, as the studio has hosted hundreds of instructors and artists in residence, as well hundreds of thousands of museum visitors making their own glass, the GLASS Quarterly Hot Sheet spoke with the Studio's director about the highlights of the past two decades.

Monday May 16, 2016 | by Andrew Page

OPENING: Group exhibition by Vermont Glass Guild members opens Saturday

FILED UNDER: Announcements, Exhibition, Opening

From May 21st, Vermont Glass Guild members will display their work at an exhibitiion entitled "Modern Alchemy: The Art of Glass," on view at the Southern Vermont Arts Center in Manchester, Vermont, though July 12, 2016. Though the association of Vermont and glass might bring to mind Simon Pearce's successful artisinal glass- and ceramic-design business operating out of a historic mill in Queechee, Vermont, the fact is that independent studios can be found throughout the "Green Mountain State." Established in 2010, the Vermont Glass Guild seeks to bring together these often far-flung members working in all forms of glass for "mutual support and enrichment."

Thursday May 12, 2016 | by Andrew Page

OPENING: On Saturday, Lino Tagliapietra to attend Boston exhibition of new aventurine work

FILED UNDER: Announcements, Exhibition, New Work, Opening

On May 14th, Lino Tagliapietra will make a personal appearance at a pop-up exhibition in Boston for an afternoon reception hosted by Schantz Galleries. Titled "A Golden Age of Glass," the Schantz exhibit will feature a new series of work by the maestro in "avventurine" glass. Also known as "Goldstone glass," this is a unique type of glittering glass studded with bits of copper or gold mineral that shares its name with a variety of quartz with mineral inclusions. Aventurine glass dates back to at least 17th-century (Corning says 15th-century) Venice, and requires low-oxygen conditions during melting, as well as a strategic lowering of temperature at a key phase of the process for the metal inclusions to properly form. It is one of the hardest types of glass to work with from the furnace, with failure a constant risk given the complexity of the precise temperature changes required. Annealing is another hazardous aspect of this unforgiving material.

1 Anne Siblings 2013 3`x 4`paper Salt Plastic Ink Vienna Gallery Hinterland Copy

Curator and artist Yuka Otani

Tuesday May 10, 2016 | by Andrew Page

A conversation with artist/curator Yuka Otani about her plans for the “Emancipation” of glass art

FILED UNDER: Announcements, Events, Exhibition, News

Yuka Otani wants to challenge the current classification and labelling of "glass art," and she is doing so with an independent exhibition entitled "Emancipation: how to make a work of glass that isn't glass" taking place during the upcoming Glass Art Society conference in Corning, New York (June 9 - 11, 2016). Otani, who holds an MFA from the Rhode Island School of Design (2008) and a BFA from Tama Art University in Tokyo (2000), has organized provocative exhibitions before. In 2009, concurrent with an earlier GAS conference at Corning, she and co-curator Anjali Srinivasan organized a group exhibition entitled "How is This Glass" in multiple venues. In 2010, Otani and Srinivasan also put together a "Post-Glass Video Festival" that was screened at Heller Gallery and other venues. But her latest project is unique in its break with the material of glass itself — none of the work actually includes glass but Otani feels embraces it as a quality or metaphor. The GLASS Quarterly Hot Sheet recently had the opportunity to explore the ideas behind "Emancipation" in a conversation with Otani to better understand the concepts fueling the project. —AP

Tuesday May 10, 2016 | by Andrew Page

OPENING: Amsterdam student and faculty exhibition a bid to claim glass as a conceptual art material

FILED UNDER: Announcements, Exhibition, Opening

The glass department at a top European art academy is framing an upcoming exhibition as a bid to present glass art squarely in conceptual territory. Student and faculty of the Gerrit Rietveld Academie's glass department will show new work at an exhibition taking place at the Arti et Amicitae, a historic artists' society in Amsterdam. With an opening reception on Friday, May 20th, from 8 PM to 10 PM, the exhibition organized by department head Jens Pfeifer seeks to "discover and research the possibilities of both immaterial and conceptual attributes of glass within the realm of contemporary art."

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.