The Bergstrom-Mahler Museum of Glass in Neenah, Wisconsin, is seeking a graduate-degreed candidate with museum experience to fill the open position of assistant curator. With a wide range of responsibilities -- from maintaining exhibit records to assisting in their organization, from overseeing exhibit installation to managing the museum's collections database, from maintaining donor records to engaging visitors through tours and written materials -- this full-time position that reports to the museum's executive director, Jan Smith, requires a masters degree in art, art history, museum studies, or related experience, as well as demonstrated ability in the Past Perfect museum collection management software.
At the intersection of architecture, steel forging and glass casting lies the work of Albert Paley. This convergence is explored in an exhibition entitled "Complementary Contrasts: The Glass and Steel Sculptures of Albert Paley" opening at the Museum of Glass in Tacoma, Washington, on September 9th, 2017. Running through September 2018, the year-long exhibit aims to view glass and its applications through the eyes of artists who may not work in the medium exclusively.
The National Liberty Museum in Philadelphia will feature Separation, a sculpture by Jen Blazina as part of its 18th annual glass auction and gala coming up on October 7, 2017. The museum fundraiser not only supports this unique institution that sees a linkage between the material of glass and the concept of freedom, but also calls attention to the work of community role models, as well as spotlights the philanthropic efforts of an individual artist. This year’s honorees are Sandy and Steve Sheller, who funded the Stephen and Sandra Sheller Center for Social Justice at Temple University Beasley School of Law, The Stephen and Sandra Sheller 11th Street Family Health Services Center of Drexel University, and The Stephen and Sandra Sheller Commons of the South Philadelphia Free Library. This year’s "artist hero" is Pearl Dick, who co-founded Project Fire, an initiative to use glassblowing as a healing and mentoring, and job-creating tool for trauma victims and young victims of gun violence.
When Daphne Farago, a lifelong benefactor and supporter of Studio Craft, died on July 23rd, 2017, she left her collection of over 100 pieces to the Museum of Fine Arts in Boston. During her lifetime, Farago donated almost 1,000 objects to the museum, mostly made up of jewelry and textile pieces, though she also donated a substantial amount of ceramics, glass, wood, metal, and folk art. In 2012, she gave the museum their largest donation ever, totaling 161 craft objects. “Mrs. Farago really collected across the spectrum of craft,” Emily Zilber, curator at the Museum of Fine Arts, told the GLASS Quarterly Hot Sheet. “Her gifts have transformed what we do, and have really made craft much more visible at the museum because we have them.”
Washington State-native flameworker Micah Evans does not consider himself a performance artist, but he undoubtedly put on a show for the Chrysler Museum of Art in Norfolk, Virginia, recently while working as a visiting artist from July 20th to 23rd. Evans grew up in Seattle, Washington in the 1990s, surrounded by a culture heavily saturated with marijuana and glass pipe-making. This environment presented Evans with a less-than-traditional gateway into glass art, as he got his start by making smoke pipes at a local flameworking studio. Evans’ work has since expanded to include traditional craft forms and personal sculptural work, which lead him to be recognized as the first flameworker to receive a residency at Penland School of Crafts in North Carolina, which he completed from 2012 until 2015.
New York-based artist Caroline Woolard set out to satisfy her curiosity about the links between an ancient container to transport liquids and a ubiquitous symbol of our contemporary digital moment. For good measure, she extends this inquiry into speculation on how this typographical element might further evolve. This journey into the past, present, and imagined future of the symbol for digital communication "@" is the subject of her project Carried on Both Sides, which she will be discussing at the Metropolitan Museum of Art this Friday evening, July 28, 2017 with her collaborators present. To realize the project, Woolard partnered with glass artists Helen Lee and Alexander Rosenberg as well as textile artist Lika Volkova during residencies at the Pilchuck Glass School and UrbanGlass. She explained her intent for Carried on Both Sides in her proposal for the residency at Pilchuck as a project “that traces the transmutation of an ancient vessel into a common computer symbol -- the @ [at sign]. Our work links 6th-century terra cotta and glass amphorae to the handwritten @ of 16th century mercantile scripts to the ubiquitous contemporary vector graphic we use in email and in social media.”
Jens Gussek, an accomplished artist in his own right and a winner of the 2015 International Glass Prize in Lommel, Belgium, has also worked steadily as a university professor throughout his career. He currently holds the title of Head of the Institute of Ceramic and Glass Art (IKKG) at the University of Applied Science in Koblenz, Germany. A unique exhibition of work by 11 of his former students is opening at a commercial gallery in Berlin this summer, a testament to the caliber of work Gussek has helped his students achieve. Entitled “subtext glas(s),” the exhibition opens July 22 and will run through September 2, 2017, at the lorch+seidel contemporary gallery in Berlin, Germany.
When Tate Britain unveiled a monumental neon installation by Welsh sculptor and filmmaker Cerith Wyn Evans in Spring 2017, the project was certain to have a massive impact on the field of light art for its sheer scale alone. Forms in Space...by Light (in Time) was produced for the 2017 Tate Britain Commission, which invites contemporary British artists to respond to the museum’s Duveen Galleries, the oldest galleries in England specifically designed to show sculpture. Made from over a mile of glass tubing, Wyn Evans’ bright white neon installation hangs just over museum-goers' heads, arranged to invite viewing from multiple angles, all the while redefining the space and activating the museum's high-ceilinged airy architecture. It remains on view through August 20, 2017.
The Corning Museum of Glass will be hosting a lecture from Martin Janecky and Martin Rosol on the evening of Tuesday, January 18th, as a part of an ongoing lecture series by Corning Studio faculty in an effort to bring some of the most well-known names in glass to the public, free of charge. While the talk is open to the public, the Studio aims these weekly lectures at the students taking their intensive classes during the summer.
Think of the Bergstrom-Mahler Museum of Glass and what might come to mind is the Neenah, Wisconsin, institution's wide array of historic glass paperweights and Germanic glass that make up the bulk of its permanent collection. That's why the museum's recently acquisition of Quantum, a contemporary installation by Angus Powers, Jon Clark and Jesse Daniels that incorporates glass with light, sound and video, was so significant. The installation, a gift of the artists to the museum, is currently on view through August 20, 2017, after which it will be stored and kept in the museum’s rotation dependent upon available space. The new work joining the mostly historic permanent collection signals the museum's expanded embrace of contemporary glass art, which is also reflected in its recent acquisition of a 2003 work by Alex Bernstein.
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.