The Contemporary Glass Society announced the winners of its "2017 Glass Prize," a contest conducted by the Society for recent glass-art graduates in the U.K. The first place winner, Phöebe Tan of University College Falmouth, will receive a £250 cash prize; £250 in warm glass vouchers; a feature article in the 16-page publication Graduate Review distributed to the entire CGS membership; a two-year membership to the CGS; and other benefits.
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.”
Traver Gallery in Seattle is honoring its historical lineage with its 40th anniversary group exhibition this month, but the focus of its two upcoming exhibits in August is decidedly forward-looking. Straying from its long history as a premier gallery for top-tier glass artists such as Lino Tagliapietra, Traver Gallery will open two exhibits by experimental artists this evening, timed to the opening of the Seattle Art Fair. John Kiley, known for his intense style of breaking glass, will open alongside artist couple Matthew Szosz and Anna Mlasowsky, who push the limitations of the material through the unconventionality of their work. This is the couple's first exhibit at Traver Gallery.
Artist and professor Maria “Mia” Hall will bring her respect for the importance of craftmaking in contemporary culture when she takes over for the retiring Jean McLaughlin as director of the Penland School of Crafts in January 2018. “This is a lifelong dream. I couldn’t ask for anything better,” she told the GLASS Quarterly Hot Sheet by telephone. “I’ve always been struck by everything there. It’s such a concentration of talent and innovation, and that has always been really fascinating for me,” she added. The craft school, located in the Blue Ridge Mountains in North Carolina, has selected Hall to become the director at the start of 2018. She will succeed longtime director McLaughlin who made many important changes to the institution, including a large studio renovation project and an endowment increase from $2 million when she started in 1998 to $17 million today.
Glass artist Jeff Zimmerman continues to skirt the line between art and design with his work included in a summer group exhibition at design gallery R & Company. The exhibit will remain on view through August 17 and is notable for some strikingly fresh geometric work for an artist known for fluid, kinetic forms.
Bullseye Glass Company,the innovative company that developed a wide palette of sheet glass suitable for fusing in a kiln, is now giving the public a chance to participate (to an extent) in its creation. On Thursday, July 27 at noon, Bullseye’s Portland, Oregon location will be holding a class for 20 students to assist in the casting of two separate sheets of colored glass, some of which will be doled out to students. This is the first time that Bullseye had opened the floor for students to take a class in creating the product that Bullseye innovated almost 40 years ago in the form of a public class.
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.
Brooklyn-based artist Amanda Patenaude has proved that one person’s trash can literally become another person's treasure, as she facilitated a community project to recast dangerous shards of broken glass into works of art. It all began in 2014, when a public park association known as the Fort Greene Park Conservancy (FGPC) turned to nearby arts nonprofit UrbanGlass in search of an artist to make use out of all the broken glass swept up in their efforts to beautify this urban green space. Patenaude, who describes her practice as “a nice blend of working with garbage and the things we throw away, as they relate back to our habits and the environments we inhabit,” was a perfect fit.The Brooklyn-based artist presented the FGPC with a list of what could be accomplished with the waste glass and from there, the work began. After six months of clean-up, the discarded glass that was accumulated was re-melted and blown into an ornament that was presented at a 2015 tree-lighting ceremony organized by FGPC and the community organization known as the Myrtle Avenue Revitalization Project.
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.
Friends and colleagues of Joe BenVenuto are uniting to help the glass artist as he explores alternative treatments for anaplastic astrocytoma, a brain cancer with which he was diagnosed last year. BenVenuto has undergone a round of radiation and chemotherapy treatment, but he must now seek non-traditional treatments to mitigate the growth of the tumor for as long as possible.BenVenuto is looking into alternative treatments such as Hyperbaric Oxygen Therapy (HBOT) and other holistic treatments in the U.S. and abroad. But some of the costs of radiation and chemotherapy as well as alternative treatments are not covered by his insurance, leaving him to shoulder the cost on his own. Hoping to give Joe a chance to recover without being limited financially, his friends at Preston Singletary Studio decided to help. The studio will host a benefit open to the public with a silent auction at Traver Gallery in July. His friends are also raising money through an online donation page.
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.