Friday February 22, 2019 | by Andrew Page

Citing legal costs and capital investments to meet new environmental regulations, Bullseye to close flagship Portland gallery in city's Pearl district

In January 2019, when the Bullseye Glass Company settled a class-action lawsuit spurred by the public outcry over possible heavy-metal emissions from the colored art glass factory's Portland facility, the company looked forward to moving on after doling out a total of $6.5 million and without admitting any blame for exposing the public to dangerous toxins, as was alleged by the community members who brought the lawsuit. Now, the 45-year-old company cites the economic impact of meeting new environmental regulations and the extensive negative publicity it endured as the factors that are forcing it to shutter its two-decade-old flagship gallery in Portland's Pearl district, where it showcased some of the top artists working with the company's glass products.

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Mireille Perron, 2018. Courtesy: Taygan Crapo.

Thursday February 14, 2019 | by Eve Aaron

EXHIBITION: Mireille Perron's "Glass Menagerie" explores decorative glass, museology, and the natural world.

Mireille Perron's new exhibition, "The Anatomy of a Glass Menagerie: Altaglass" curated by the University of Calgary's Christine Sowiak, is playful in its celebration of decorative glass figures, but there is no shortage of conceptual inquiry into the territory of art history and museology. The aptly titled exhibition features a literal glass menagerie made up of glass figurines of animals, as well as a collection of cyanotype images depicting plants and organic forms. Meditating on the human relationship to objects as well as to nature, Perron explores the histories of particular glass museums, namely, The Corning Museum of Glass and Altaglass, a family-run glass business run out of Alberta, Canada that operated between 1950 and 1981. Altaglass specialized in pressed, blown and free form glass wares of anything from animals to vases and was founded by John Furh, a Czechoslovakian immigrant who fled the Nazi regime. After his death, the factory donated its inventory to the Historical Society of Medicine Hat and District.

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Wednesday January 30, 2019 | by Eve Aaron

After departing the Chrysler Museum to raise a family in her native Vermont, Charlotte Potter takes on an executive director post at educational program

As head of the Chrysler Museum of Art glass studio for six years, Charlotte Potter advanced performance glass and put the Norfolk, Virginia, venue on the art map. A graduate of both the Rhode Island School of Design and Alfred University, she tirelessly cultivated a glass culture inside and outside the museum, co-founding the NEON (New Energy of Norfolk) district, an area of town that fosters local artists. In 2017, Potter left the Chrysler Museum to raise her newborn daughter, returning to her native Vermont, where she went on to have a second child and devoted herself to parenting as well as her personal glass practice. Yet a unique opportunity to run an educational program close to home was impossible for her to resist, and she is taking on the title of executive director at the Yestermorrow Design/Build School in Waitsville, Vermont.

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Friday January 25, 2019 | by Ivana Pencheff

CONVERSATION: Susie Peck discusses her inquiry into the sensuality of glass in an upcoming performance-art project

Artist, educator, writer, and curator Suzanne Peck has been fascinated by the push and pull of molten glass for years. Drawn to its hot glow and honey-like qualities out of the furnace, she was equally aware of its very real danger. Investigating this dual nature is a central theme in her upcoming performance project entitled Half A Bubble Off Plumb, which will channel the seductive nature of glass through similar materials such as honey, soap bubbles, and cotton candy. Before her performance coming up on Saturday, January 26th at UrbanGlass, the Glass Quarterly Hot Sheet spoke with Susie about the creative process that went into preparing for the performance. (Disclosure: The Glass Quarterly Hot Sheet is published by UrbanGlass.)

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Memento Mori Chandelier Dress by Susan Taylor Glasgow.

Wednesday January 23, 2019 | by Ivana Pencheff

CONVERSATION: Susan Taylor Glasgow talks about exhibiting in her local gallery and the inspiration for her chandelier dress

Through January 26th, Sager Braudis Galleryin Columbia, Missouri, is hosting a group exhibition that includes work by glass artist Susan Taylor Glasgow. Her diverse media sheds light on the feminine ideals passed down to her by her mother. In an email exchange with the Glass Quarterly Hot Sheet, Glasgow explains: "I pursue beauty and sensuality in my work giving the viewer a reason to examine it more closely and find their own personal meaning." Her drive to create arose from her love of aesthetically beautiful objects. She loves to problem-solve and build things."Sculptural glass and mixed media is perfect for how I like to work. It requires a lot of engineering, trouble-shooting, and patience," says Glasgow.

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Friday January 18, 2019 | by Andrew Page

CONVERSATION: John Drury, curator of the "Alternative History" exhibition at Heller Gallery, discusses his view of "other glass"

John Drury, a contributing editor for the print edition of Glass, doesn't care for rules or limitations, having made a name for himself as one half of the subversive art project known as "CUD," his long-standing collaboration with Robbie Miller which stresses boundary-breaking and social awareness in art-making. Most recently, Drury curated a group exhibition (currently on view at Heller Gallery in New York City through February 23, 2019) titled "The Other Glass: An Alternative History." Featuring a wide range of work by a diverse list of artists that includes Nancy Cohen, The Hansen Brothers, Lonnie Holley, Amy Lemaire, Shari Mendelson, Robbie Miller, Jerry Pethick, Walter Robinson, Buster Simpson, Megan Stelljes, and Robin Winters, the exhibition will remain on view at Heller's Chelsea location through February 23rd. The Glass Quarterly Hot Sheet caught up with Drury to ask him about his goals for this ambitious exhibition.

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Thursday January 17, 2019 | by Ivana Pencheff

Fundraiser launched for artist and educator Greg Owen who was recently diagnosed with brain cancer

Northwest Coast glass artist Greg Owen has been diagnosed with brain cancer, and an online fundraiser with a target of $50,000 to help him meet his medical expenses has already passed $30,000. An accomplished artist, Greg is currently the lead educator and program manager at the Museum of Glass in Tacoma, where, since 2013, he's managed the "Hot Shop Heroes: Healing with Fire" program for soldiers and veterans. With a BFA from California College of the Arts, Owen's worked for Dale Chihuly and Pilchuck, and also developed his own artist practice. On New Year's Day, Owen came down with an unrelenting and brutal headache. Seeking answers, he finally checked himself into a hospital where the diagnosis was not good: a tumor the size of a grape was discovered in his brain. He chronicled his search for answers in a series of brutally frank Facebook and Instagram posts starting with a Janurary 7th posting sharing that he discovered the cause of his headache was the tumor.

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Thursday January 17, 2019 | by Ivana Pencheff

Quebec glass artist Michèle Lapointe wins $10,000 scholarship for installation that deploys blown glass for visual interaction

The artist behind the current installation Mettre la tête où l’on pense, on view in Montreal through March 16, 2019, Michèle Lapointe was presented with the 2018 Jean-Marie-Gauvreau Award in December. An annual award presented by the Conseil des métiers d’art du Québec, the prize was created in 1976 in honor of the founder of the Salon des métiers d’art du Québec and is considered to be one of the most important distinctions of the fine-craft community of Québec. A professional craftsman must have at least 10 years of practice to be considered, and the winner receives a $10,000 scholarship for the success of a work created within the past five years. The work must stand out by it’s uniqueness, and Lapointe's work seems to have done so effectively.

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Etsuko Ichikawa, Leaving a Legacy, Orb installation, 2017. Hot sculpted glass with uranium, installation. 40 x 42 x 42 in.

Tuesday January 15, 2019 | by Eve Aaron

EXHIBITION: Etsuko Ichikawa's "Vitrified" at Winston Wachter New York City

Through February 16th, the artist featured on the cover of Glass Quarterly's Fall 2018 edition (#152), Etsuko Ichikawa, is exhibiting at the Winston Wachter Gallery in New York City. Ichikawa was born in Tokyo and is based in Seattle. The title of the exhibition, "Vitrified, is also the title of the body of work itself. In this series as well as in much of her other work, Ichikawa is concerned with the "various impacts of human existence on our environment." What drove this particular body of work was the artist's shock at the 2011 Fukushima nuclear disaster in her native Japan, which caused a mass amount of radioactive material to be released into the air. Based in Seattle, Ichikawa creates visual abstractions through glass that echo the frightening yet mesmerizing draw of chemical power, stirring up in her audience a complicated mix of fear and entrancement.

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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.