3 Questions for ... Jeremy Lepisto

GLASS Quarterly Hot Sheet: What have you been working on? Jeremy Lepisto: Currently, my time is divided between my full-time position at the Australian National University’s School of Art and Design as a Technical Officer in the Sculpture Workshop as well as the School’s Work Health and Safety Officer, completing a long-overdue PhD degree, fabricating for others. and making new gallery work. As part of my PhD research, I'm creating a collection of stacking sculptures that compile together (physically and metaphorically) into a mixed-media series of sculptures. The shape and structure of these sculptures are based on the form of a common shipping container. This research looks to explore the duality of effects delivered to the agencies of people/places/objects through the utilization of the modern shipping container. …

(front view) Song File #1 - Friends of Prometheus by Julie Alland

Julie Alland, Song File #1 - Friends of Prometheus, 2016. Kilnformed and engraved glass, magnetic audiotape, vintage glass box. H 4 ½, W 6, D 4 in. courtesy: julie alland.

Tuesday April 17, 2018 | by Valerie Hughes

EXHIBITION: Philadelphia glass museum seeks to join the visual and the auditory in "Sound + Vision"

The relationship between sound and art has often been explored by artists who attempt to unite the visual and auditory worlds. Through June 10, 2018, the National Liberty Museum of Philadelphia will feature “Sound + Vision,” an exhibition of glass instruments and sculptures that grant a new perspective on sound and visual expression. Thirty-four featured artists created their own interpretations of the relationship between glass art and sound, ranging from glass instruments, some of which are playable, to mosaics of music legends. “Sound + Vision” presents the relationship between music and art through a multitude of stylistic glass works in a collection of different artistic skills and techniques.

Stephan Cox’s Yellow Spout looks like a crossing between the human body and an exotic, colorful glass bird.

Tuesday April 10, 2018 | by Allison Adler

Morgan Contemporary's twelfth annual teapot exhibition reveals a form rich in symbolism

The teapot is, at first glance, a simple object: a hollow vessel with spout, handle, and lid created for steeping and pouring. And yet, Morgan Contemporary Glass Gallery in Pittsburgh, Pennsylvania, describes the artists featured in the 2018 “teapots!12" exhibition as having “accepted the teapots! challenge.” So, what is the challenge of the teapot? Perhaps it is not only the challenge of translating an artist’s chosen media into innovative teapot-like forms, but also choosing between the various experiences and images that gather around this structurally simple, but symbolically-laden object. The teapot, after all, seems to simultaneously evoke childhood whimsy, domestic warmth, and sacred space. The more than 50 artists chosen to participate in this year’s twelfth annual teapots! invitational, like those before them, have created teapots that reflect their particular interests and chosen media, as well as their creative responses to the various images and experiences evoked by the teapot.

Andrew Erdos and Yasue Maetake, Amorphous Terrain, 2018. Blown glass, copper corrosion stain on pulp (kozo, abaca and cotton), steel, industrial safety glass, cane and jute rope. H 144, W 60, D 54 in. photo: kariya hirofumi.

Thursday April 5, 2018 | by Valerie Hughes

OPENING: A new collaborative work by Andrew Erdos and Yasue Maetake debuts on Friday in NYC

Andrew Erdos creates large-scale installations using glass (and often video) that engage the concepts of cycles of time and nature. Yasue Maetake is known for exploring environmental themes in monumental sculptures. The two, who are both based in New York, will unveil a collaborative site-specific installation entitled “Amorphous Terrain” on Friday, April 6, which will run through May 13, 2018 at mhPROJECTnyc. With the setting of an anonymous Manhattan office, the towering crystalline structure alludes to the breakdown of time and the shifting power dynamics between artist and material. The ambitious glass arrangement blends the ephemeral qualities of its chosen artistic materials such as hand-pulled glass cane and the industrially-made found objects like broken factory windows. The opening reception for “Amorphous Terrain” will be on Friday, April 6 from 6 PM - 9 PM.

Attendees at Expanding Horizons 2017 included (L to R) mentor Mark Morris with student Jeremiah Brown from YAYA, New Orleans; student Dantrell Blake with mentor Alex Krueger from Project Fire, Chicago; student Santiago Aquilera with mentor Josh Laabs from Ignite, Chicago; student Nia Fairley with mentor Joe Waropay from Ignite, Chicago; student Taquita Pendelton with mentor Tracy Kirchmann from After School Matters Program, Chicago; and student Tanner Martin with mentor Trenton Quicho from Hilltop, Tacoma.

Wednesday April 4, 2018 | by Andrew Page

Deadline Extended: Week-long, expenses-paid program for under-served glass students accepting applications through April 15th

Offering talented high-school-student artists from under-served communities the opportunity to experience glass art at a new level, the Expanding Horizons program will return in 2018. Applications will now be accepted through April 15th, 2018, for the expenses-paid week-long program designed to give high-school-aged students in after-school glass-art programs around the U.S. a chance to experience the wide world of glass art in greater depth. The project is a partnership between the Studio of The Corning Museum of Glass and the Robert M. Minkoff Foundation. (Disclosure: Glass Hot Sheet editor Andrew Page is also the Minkoff Foundation director)

GlassBarge 2018 Port Map. courtesy: corning museum of glass.

Wednesday April 4, 2018 | by Valerie Hughes

The Corning Museum's glassblowing barge readies for its summer-long tour of New York State waterways

The Corning Museum of Glass has announced the dates and times of ports of call for its four-month waterway tour known as "GlassBarge," a project which commemorates both the 1868 relocation of the Brooklyn Flint Glass Company from Brooklyn to Corning, New York and the last 150 years of glassmaking in Corning. The summer tour will bring glass-blowing demonstrations along the same route that the Brooklyn Flint Glass Company took through the Hudson River and Erie Canal. The company shipped its glass blowing equipment via the New York Waterways to Corning, where it eventually became the corporation known as Corning, Inc., which founded the museum in 1951. To honor this pivotal relocation, CMoG conceived of and built a 30-by-80-foot barge equipped with patented all-electric glassblowing equipment meant to bring the history of glass out of the museum and into the towns along New York State canals and rivers. Furthermore, the tour, which will kick-off on May 17 at Brooklyn Bridge Park (in conjunction with UrbanGlass, which publishes the Hot Sheet), is meant to honor the continued importance that waterways have on New York’s culture, communities, and industries. After its start in Brooklyn, the tour will conclude on land in Corning on September 22nd with a community-wide celebration. Before its end though, the tour will be hitting Poughkeepsie, Albany, Buffalo, and Seneca Falls, among other cities throughout the summer. The full list and accompanying dates are below.

Tuesday April 3, 2018 | by Andrew Page

The Museum of Arts and Design announces its new director will be Cranbrook's Christopher Scoates

The Museum of Arts and Design has selected Christopher Scoates as its next Nanette L. Laitman Director. Currently leading the Cranbrook Academy of Art and Art Museum, Scoates will bring a diverse range of accomplishments in his four years at the Bloomfield Hills, Michigan, art college including building an experimental media department, recruiting a more diverse board, and proven proficiency in fundraising, all of which were cited as highlights of his track record in the official announcement by the New York institution that has seen a parade of directors come and go. Glenn Adamson took over from MAD's long-serving director Holly Hotchner in 2013. He was replaced in 2016 by Jorge Daniel Veneciano, who served only five months at the post before resigning in January 2017. As a new search was underway, MAD board president Michele Cohen served as interim director, and she will be succeeded by Scoates when he officially takes the reins on July 1, 2018.

The cover of the most recent issue of New Glass Review.

Thursday March 29, 2018 | by Allison Adler

A longtime exhibition in print, Corning's New Glass Review will expand to include a major museum exhibit in 2019

FILED UNDER: Call for Submissions

For 40 years, glass artists, collectors, and curators have eagerly awaited the arrival of the annual Corning Museum of Glass publication New Glass Review as a rich and authoritative guide to some of the most important new work in glass from around the world. (Note: A special bonus for Glass magazine subscribers is a complimentary copy of New Glass Review bundled with each summer's issue) Under the leadership of the museum's new curator of modern and contemporary glass Susie Silbert, the next edition of this seminal publication will be significantly expanded, resulting in not only a fully redesigned publication but accompanied by an exhibition of the same name at the museum's Contemporary Art + Design Wing, all in a bid to expand the impact and prominence of the New Glass project.

Natsuki Katsukawa, Microworld Specimen, 2016. Blown and fused glass. H 23, W 34, D 34 cm. photo: natsuki katsukawa. courtesy: glassmuseet ebeltoft.

Tuesday March 27, 2018 | by Allison Adler

Once-a-decade European exhibition surveying emerging artists goes on view at a second venue in Sunderland, England

FILED UNDER: Exhibition

For the first time in its 40-year history, the "Young Glass" survey exhibition of new talent has traveled from Denmark’s Glasmuseet Ebeltoft — which, from its location in the old port of the town of Ebeltoft, has hosted the once-every-10-year event for the past four decades — to an additional venue. The second location is appropriately enough, another port and the site of a former shipyard in Sunderland, England, that now hosts The National Glass Centre at the University of Sunderland. This edition of "Young Glass" includes the works of 57 of “the finest young, international artists working in glass” (in this case, "young" being defined as being born after January 1, 1982) from 18 countries. The exhibition introduces fresh perspectives and innovative works to an area eager to cultivate and revive its artistic and cultural life.

Robin Rogers, who has been running the Perry Glass Studio as interim director, will now hold the full title. photo: eckard wheeler

Tuesday March 27, 2018 | by Valerie Hughes

The Chrysler Makes it Official: Interim manager Robin Rogers is the new Glass Studio manager and program director

When Charlotte Potter left the Chrysler Museum of Art in Norfolk, Virginia, last fall, her outsize role as the museum's Glass Studio manager and program director was filled on an interim basis by longtime assistant manager and technician Robin Rogers. Now the Chrysler has made it official and removed the "interim" from Rogers' title as the Perry Glass Studio manager and program director. In a prepared statement, museum director Erik Neil said he was pleased with Rogers’ performance filling in for Charlotte, adding that Rogers was “very effective in his interim role, increasing participation in classes and programs.” Not only that, but Neil also praised Rogers’ artistic practice.

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.