From the RISD Glass website, a picture of a student performance featuring now-alumna Anna Riley.

Tuesday November 13, 2018 | by Andrew Page

HELP WANTED: RISD seeks a full-time assistant professor of glass

The glass department at the Rhode Island School of Design, which is within the division of fine arts, is looking to fill a full-time faculty position of assistant professor that will start in the fall of 2019. The job posting states that it's "essential that applicants are conversant with contemporary art history, critical theory, and both traditional and nontraditional approaches to glass," and that applicants' "studio practice and teaching must show a solid commitment to innovative research, investigation and experimentation." In addition, demonstrated technical ability and conceptual problem solving are necessary, as is an active studio practice and "facility with a broad range of critical discourses, writing, and contemporary social and cultural dialogues." The deadline to apply is January 11, 2019.

Photo: Courtesy of Kyle J. Mickelson

Friday November 9, 2018 | by Eve Aaron

Reclaiming words that hurt, an edgy New York City venture seeks to defuse language by recontextualization

Artist Matthew Day Perez, has stepped away from his usual methodical and material-focused work style and is endeavoring in a new project that sits heavily in the world of social politics. Perez and his collaborator, neon artist Kate Hush -- or, as they like to call her, "The Madame of Neon" -- have created a limited-liability company that they adventurously call FagSigns, an unusual moniker that reflects the company's goal to reclaim hurtful language used against the LGBTQ community as well as any other individuals that might feel marginalized. The company's product line are personalized neon signs with a word of the customer's choice that he or she has felt particularly affected by. Through Kickstarter, the artists have nearly raised 90-persent of the funds needed to start a workshop in which to produce the signs and their ultimate goal is to be able to open an apprenticeship that will bring employment opportunity to disadvantaged individuals, particularly from the LGBTQ community, who are interested in working in glass.

Sarah Briland, Problematica (Pink Slump/Pink Crystal), 2015

Thursday November 8, 2018 | by Eve Aaron

Artist Sarah Briland, winner of the 2018 Irvin Borowsky International Prize Winner in Glass Arts, lectures Philadelphia this evening

Sarah Briland, who has been chosen as the 6th annual winner of the Irvin Borowsky International Prize in Glass Arts, will deliver her award lecture this evening at The University of the Arts in Philadelphia. Briland was selected by an international panel of artists, educators and collectors. Her recent work consists of combining glass with found objects such as wasps nests, honey and architectural fragments to make organic and environmentally inspired forms that mimic natural scientific processes like crystallization and fossilization. She takes much of her influence from the surroundings she was exposed to at an early age in West Virginia's coal mining region, thinking about man's connectivity to the earth. She has additional knowledge in the fields of environmental science and landscape architecture, backgrounds that continue to play a large role in her work as well.

Portrait of Mark Peiser. courtesy: the corning museum of glass

Wednesday October 31, 2018 | by Andrew Page

Mark Peiser named Corning Specialty Glass Resident for 2019

In an informal conversation at the 2009 Glass Art Society conference in Corning, artist Mark Peiser told me how hard it was to come to the many glass-art conferences at The Corning Museum of Glass (they've been held there as far back as 1976), where the adjacent research facilities closely guarded their groundbreaking trade secrets. Especially for an artist as dedicated to the technical possibilities of glass, the conferences put him in tantalizingly close proximity to some of the world's most knowledgeable experts in the material, but with strict controls over who could access the multi-million dollar research facilities. Fast forward to today, when Peiser has just been named the 2019 recipient of the Specialty Glass Residency that pairs artists and scientists to explore artistic applications of cutting-edge glass technologies. It's fitting that Peiser, an artist who has developed innovative and technically intricate solutions to working the material, was chosen. He follows on the heels of former artist residents Albert Paley (2014-2015), Tom Patti (2015), Toots Zynsky (2016), Anna Mlasowsky (2016), and Karen LaMonte (2018), and marks an opportunity for Peiser to partner with the leading experts on the material.

Mike Hernandez, Utopia, Neon, H 40, W 84, D 6 in. courtesy: huntington beach art center

Monday October 29, 2018 | by Eve Aaron

EXHIBITION: "Shines Through" celebrates the unique glass-art community in Southern California

Representing the third part of the contemporary art series "The Power of Pigment: A Celebration of Color" at the Huntington Beach Art Center in Southern California, Hiromi Takizawa curated "Shines Through," an exhibition featuring 33 established and emerging glass artists whose works cover a wide range of glass-making practices.

Tuesday October 23, 2018 | by Victoria Josslin

SEEN: Kait Rhoads' sinewy monumental work at the Bainbridge Island Museum of Art celebrates oceanic forms

Until February 3, 2019, drivers coming off the Seattle-Bainbridge Island ferry are enjoying a visual feast in the windows of the Bainbridge Island Museum of Art. Every four months the museum has to find an artist who can bring that 15-foot tall, two-story space to life. Kait Rhoads’s Bloom, a sculptural representation of bull kelp, enlivens the entire space – there is no emptiness, only the sculpture and the ocean that you imagine. What else would surround the kelp and keep it insubtle motion?

Thursday October 18, 2018 | by Andrew Page

Memorial service for the late art critic James Yood to be held on November 1st at the School of the Art Institute of Chicago

The late art critic James Yood (1952 - 2018) was a regular presence at the annual Sculptural Objects Functional Art Fair in Chicago, where, if he wasn't giving a public lecture or leading a panel discussion, he could be found walking the show in search of compelling artists to write about for Glass or the many other important art publications to which he regularly contributed. It is fitting, then, that his memorial service will take place on the opening night of the big art fair. On the evening of Thursday, November 1st, Yood will be remembered by the many people whose lives he touched at the ballroom of the School of the Art Institute of Chicago, where he taught for some three decades.

Video still from Yixuan Pan's film "How to Clean a Window -- at Fishers Island," one of several works in a group exhibition at the Hicks Art Center Gallery.

Wednesday October 17, 2018 | by Andrew Page

CONVERSATION: Artist Megan Biddle discusses the "Solid States/Fluid Language" exhibition she curated

An exhibition at the Hicks Art Center Gallery at Bucks County Community College in Newtown, Pennsylvania, brings together the diverse work of six artists under the title "Solid States/Fluid Language." Guest curated by artist Megan Biddle, the exhibition is organized around the idea of testing the boundaries of glass, and features a range of approaches from sculpture to video, from installation to performance art by Jessica Jane Julius, Amy Lemaire, Yixuan Pan, Nate Ricciuto, Esther Ruiz, and Kristen Neville. The Glass Quarterly Hot Sheet caught up with Biddle for an email interview about her goals for the exhibition which runs through this evening.

Tuesday October 2, 2018 | by Andrew Page

CONVERSATION: Kim Harty, the curator of the StreetKraft exhibition at Habatat, on the genesis of this atypical gallery exhibition

Artist Kim Harty is an assistant professor at the College for Creative Studies in Detroit, Michigan, where she is the section chair of the glass program. In addition to her regular schedule of exhibitions and writing projects (Harty edited GAS News after serving as the managing editor of Glass Quarterly for several years), she has also done a number of curatorial projects dating back to her Cirque du Verre performance-art project in the late 2000s. Currently, Harty has an unusual exhibition on view at Habatat Galleries in Royal Oak, Michigan, a commercial gallery in a affluent suburb of Detroit. The Glass Quarterly Hot Sheet recently spoke with Harty about this exhibition, which remains on view through October 17, 2018.Glass Quarterly Hot Sheet: First of all, how did this exhibition come about? It doesn't seem to be a typical exhibition that Habatat would hold. Kim Harty: About a year ago, Habatat invited me to curate an exhibition and gave me a lot of creative freedom in how to approach it. When I was thinking about the show, I wanted to do something that would be a good fit for the gallery, that took on a subject matter that was relevant to Detroit, and that would contextualize glass in a new way. One thing I knew about Corey Hampson, one of the owners of Habatat, is that he has a passion for street art and has a small collection of it. That, married with many of the shows and street art projects I had seen around Detroit, as well as some of the work I had been paying attention to in glass, came together as the impetus for StreetKraft. I also felt that StreetKraft could be a visually compelling exhibition and could draw people in through the rich surfaces, colors, and imagery.

Tuesday September 11, 2018 | by Andrew Page

Her studio destroyed in a massive fire, Christina Bothwell looks ahead to rebuilding and recovery

First came the raging fire that obliterated her studio building on August 8th, and then, just four days later, the flood that extinguished the smoldering embers but went on to inundate her basement, washing away a nearby bridge and the long dirt driveway to her home. Because the studio structure in rural Pennsylvania wasn't insured as a commercial property, Christina Bothwell was told she'd get no compensation for the total loss of her workspace and all the work she and her husband had stored there. Though the summer of 2018 was one of disaster at an almost biblical scale, Bothwell has emerged, a month later, ready to rebuild and get back to work to overcome the significant financial challenges ahead. As the main earner in her family of five, her loss of her longtime studio is a devastating blow. But being Bothwell, an artist whose glass and ceramic figures populate a dreamworld of her own personal mythologies, she prefers to look at it with gratitude. None of her family were injured in the inferno, and the artwork she lost gives her an opportunity to remake the pieces with all the improvements she thought about as they emerged from the kiln. Even in the intensity of the fire, and the desperate wait for the volunteer fire brigade, she never lost her appreciation for aesthetics, awestruck by the vision of her oldest daughter framed against the backdrop of angry flames, berating the late-arriving firemen in profanity-laden curses as a marvelous and breathtaking moment of beautiful intensity she will never forget.

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.