Lino Tagliapietra with Medusa at Schantz Galleries opening on July 13th. photo: kim saul. courtesy: schantz galleries

Tuesday July 24, 2018 | by Olivia Ryder

With exhibitions at two of the top East Coast galleries, Lino Tagliapietra reveals his experimental energy is undimmed

Never mind that he's well into his eighth decade, Lino Tagliapietra is constantly testing the boundaries of his own skills and imagination, taking color, pattern, and form to new levels of complexity. In a field where many successful glass artists become trapped making one type of work, Lino is constantly reinventing -- from exploration of ever-more-intricate patterning, to unusual vessel shapes on the pipe, to leaving the pipe behind to innovate large-scale glass panels that take shape in a kiln. His startling range is testament to his versatility as a Muranese maestro, a title he earned at the age of 21, when he had already spent a decade learning the centuries-old techniques. His last 65 years have been spent pushing glass-working techniques into new directions, and this spirit seem to be only intensifying as he advances in years. This summer, two leading glass galleries on the East Coast -- Heller Gallery in New York City and Schantz Galleries in Stockbridge, Massachusetts -- featured solo exhibitions of the master artist with openings one week apart. Though some overlap couldn't be avoided, both dealers feature exclusive works, so any serious collector or artist has no choice but to visit both Heller and Schantz to see what glass can do in the expert hands of an inveterate innovator.

Tuesday July 17, 2018 | by Chelsea Liu

PROFILE: Military veteran and Ohio glassblower Doug Frates created a monumental installation in North Carolina

Stepping into Vidrio, a Mediterranean restaurant in Raleigh, North Carolina, visitors are met at once by kaleidoscopic discs and whorls of color that recall shells and aquatic flora, and combine to create an immersive atmosphere. Through this 30-by-50-foot wall mounted assemblage by Doug Frates Glass, which consists of 700 hand-blown glass pieces hung by the artist and his two assistants, the seascape is evoked in a rich display that is offset by the restaurant interior's otherwise minimalist decor.

Thursday July 12, 2018 | by Olivia Ryder

AWARD: Percy Echols II wins the first Ron Desmett Memorial Award for Imagination in Glass

Percy Echols II is the first recipient of the Ron Desmett Memorial Award for Imagination in Glass established by the Pittsburgh Glass Center (PGC). Founded in memory of artist Ron Desmett, this award is given to an emerging glass artist that challenges conventional understanding of the medium and shows great potential in the same vein as the late co-founder of the center. Then a painter and ceramist, Desmett didn’t start his glass work until a year after opening the PGC with his wife Kathleen Mulcahy, a glass artist herself, who in 2002 asked artists from other materials to “think in glass.” Thus tasked, he began blowing opaque black glass vessels shaped inside hollowed out tree trunks which pushed the envelope of the previously polished and pristine glass vessels, embracing the notion that nothing is impossible and that glass doesn't have to be beautiful to make a powerful statement.

A veteran of Seattle's Pratt Fine Art Center, Brandi Clark was most recently the executive director of a museum devoted to Northwest Coast artists.

Thursday July 12, 2018 | by Andrew Page

Glass Art Society announces appointment of seasoned non-profit administrator as interim executive director

The Glass Art Society announced today that Brandi Clark, who had served as executive director of the Cascadia Art Museum in Edmonds, Washington, has stepped in to fill the position of executive director recently vacated by Pamela Koss after 14 years. A native Texan Clark has worked at a range of nonprofit organizations in Texas, Pennsylvania, and Washington, including a 7-year stint as events manager and then director of community initiatives at Seattle's Pratt Fine Arts Center.

At the 2018 UrbanGlass gala, executive director Cybele Maylone is flanked by honorees real-estate developer David Picket and artist Amber Cowan.

Tuesday July 10, 2018 | by Andrew Page

Cybele Maylone, executive director of UrbanGlass since 2013, moving on to lead regional contemporary art museum

Cybele Maylone, who has served as executive director of UrbanGlass (the nonprofit art center that publishes the Glass Quarterly Hot Sheet and Glass magazine) since May 2013, has announced she will be leaving the position to take on a leadership role at the Aldrich Contemporary Art Museum in Ridgefield, Connecticut. Maylone will depart in the middle of August and, in September, plans to begin her new position as executive director of the Aldrich. Since 1967, the Connecticut institution has been devoted to interdisciplinary exhibitions and programs, and it remains the state's only museum dedicated to contemporary work. The board of directors of UrbanGlass will soon begin the search for Maylone's successor, with details on the executive director hiring process to follow.

As Pilchuck's artistic director, Tina Aufiero brought her expertise in emerging technologies, such as 3-D printing, to update the experimental spirit of this glass school. She is pictured in the BotLab she built during her tenure.

Friday July 6, 2018 | by Andrew Page

Tina Aufiero to step down as artistic director of Pilchuck in December, will focus on personal art practice

At the end of 2018, Tina Aufiero will step down as Pilchuck's artistic director to focus on her own artistic practice. In her six years in this leading role, Aufiero has expanded the techniques taught at the Pilchuck Glass School to include emerging digital technologies such as 3-D printers, robotics, and scanners. She's also redefined the institution's relationship with the glass pipe-making world, embracing its technical innovations and their application to art-making, as well as initiating partnerships to offer glass art programs to underserved communities. Aufiero will not only stay through the end of this year, she will be planning the courses for 2019 as well.

Tanja Pak, Breaths, 2017. Blown glass. H 17-22, W 17-21 in. courtesy: TR3 Gallery.

Thursday July 5, 2018 | by Olivia Ryder

CONVERSATION: Tanja Pak wants you to think about breathing (hers and yours)

Conscious breathing seem like a trendy idea, but it goes back centuries as an aspect of religious practice of many faiths. It is also the subject of a new body of work by Slovenian artist and University of Ljubljana fine-art professor Tanja Pak. An artist committed to sculpture, the design of beautiful glass objects, and the architecture of meditative spatial installations, Pak employs her breath to create objects that invite contemplation and self-awareness. For her exhibition curated by Nataša Ivanović, "The Breath in Between," on view at gallery TR3 in Ljubljana through October 2018, Pak presents a grouping of dimpled white glass forms that bear evidence of their previous state as temporarily liquid hot glass. In these poignant organic shapes that seem to huddle together, Pak seeks to document that meditative moment in between breaths. The gently collapsing glass shapes can be seen as a reference to lungs in mid-exhale. Pak also works in photography and poetry which help to elucidate and expand upon the ideas she eloquently evokes through the translucent glass.

Friday June 29, 2018 | by Chelsea Liu

EXHIBITION: For its grand opening, the new Portheimka Glass Museum in Prague presents a Karen LaMonte exhibit "Clothed in Light"

Constructed in the 1720's to serve as a summer residence for the aristocratic Dientzenhofer family, the Baroque Portheimka Summer Palace has been repurposed as the Portheimka Glass Museum, the first institution devoted exclusively to glass art in Prague. The national cultural monument, named on its website “a baroque pearl of the Prague district of Smíchov,” was converted into a glass museum by Museum Kampa with the support of the Jan and Meda Mládek Foundation. Portheimka will present a permanent exhibition, host workshops for children, and is currently unveiling its first temporary exhibition, a display of American artist Karen LaMonte’s spectral glass figures that will remain on view through November 4, 2018.

In appreciation for her 14 years of service to the Glass Art Society, board vice president Stephen Rolfe Powell presents outgoing executive director Pam Koss with a Veronese Vase by Cesare Toffolo at the Murano conference. photo: manuel silvestri

Thursday June 28, 2018 | by Andrew Page

Longtime executive director of the Glass Art Society Pam Koss reflects on her 14-year tenure and her marvelous Murano send-off

One thing the outgoing executive director of the Glass Art Society wants everyone to know is that she is not retiring. On Friday, June 29th, after 14 years at the helm of the artists' organization whose annual conference is a must-attend event for artists, collectors, and suppliers to the field, Pamela Koss is moving on, eagerly looking forward to starting the next chapter of her career. The Glass Quarterly Hot Sheet caught up with her during the closing night party of the 2018 conference, a historic event in Murano, Italy — a longtime dream Koss finally realized last month. Still keeping a vigilant eye on the proceedings around us, and occasionally breaking away to direct staff and volunteers, Koss was able to sit down for a chat after the fashion show, in which artists wearing heavy glass costumes had all safely disembarked from gondolas. A raucous Italian party band was playing note-for-note renditions of American R&B dance classics while the attendees danced away in a historic churchyard that had been outfitted with a high powered sound system and massive video screens. The shiny new technology was a sharp contrast with old world architecture and this mix of old and new permeated the historic conference and seemed to help break through some of the centuries-old traditions of secrecy about glass process and technique.

19430159 887309494755439 2199446562180334751 N

Denis Longchamps will take over as executive director at the Canadian Clay & Glass Gallery in Waterloo in August.

Thursday June 28, 2018 | by Chelsea Liu

Denis Longchamps plans to explore history and boundaries as newly appointed executive director of the Canadian Clay & Glass Gallery

When asked by Glass Quarterly about his attraction to the mediums of clay and glass the newly appointed executive director of the Canadian Clay & Glass Gallery simply responded in an email interview: “The material." Denis Longchamps went on to explain that "both are transformed by fire. Clay and glass have always been at the core of my curatorial practice and I also like to include textiles, wood and metal to provide a broader context. I did take a few classes in clay and stained glass so there is a personal attraction to both mediums. But there is more — both are hard and strong materials yet fragile at the same time. These opposing forces offers many possibilities for concept exploration.” This abundance of possibilities reflects Longchamps view of the porous boundaries between art and craft, and his resistance to definitions and standard narratives.

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.