Gabe Feenan, Rider, 2016. Blown and solid hot-assembled glass. H 30 1/2, W 10, D 3 in. courtesy: the artist

Thursday June 14, 2018 | by Chelsea Liu

EXHIBITION: Bellevue Arts Museum readies its "Glasstastic" biennial surveying Northwest glass art

From Chihuly to Tagliapietra, glass has long had a storied history in the Pacific Northwest. That the Bellevue Museum in Washington will be devoting the last in its series of materials-based biennials to the medium is a fitting finale for the fifth iteration. The museum's juried exhibition has been occurring every two years, and offers a curated platform for regional, established and up-and-coming voices in art, craft, and design. On the heels of past shows on clay, fiber, wood, and metal, this fall's 2018 "Glasstastic Biennale" will celebrate the medium perhaps closest to Seattle’s heart. As executive director and chief curator of BAM Benedict Heywood stated in an exhibition announcement: “With Seattle being the undisputed center for the development of glass as an art form in North America, it was natural that this medium should have been selected to culminate the Museum's series of media-based biennials...The simplicity of its composition, the complexity of its production, the many forms it can take—blown, cast, frit, stained—as well as its many uses, from the stained-glass of a medieval cathedral to the modernist skyscraper, from the Venetian goblet to the IKEA tealight, attest to the fact that glass is a paradoxical material, that has inspired the artists of the Northwest for generations."

Matthew Curtis, Section Teal Uranium, 2018. Blown and fused glass, stainless steel. H 11 3/4, W 17 1/4, D 7 3/4 in. courtesy: beth hirsch.

Thursday June 7, 2018 | by Chelsea Liu

OPENING: Mesmerizing new work by Matthew Curtis debuts in "Intersect" exhibit at LewAllen Galleries in Santa Fe

Mesmerically patterned and radiant, the works of Australian artist Matthew Curtis are something uncanny in how they read as both organic and artificial. Inspired by what Curtis describes in his artist statement as the "exquisite architecture of cellular growth and how these biologically derived structures are reflected in our built environment," the interplay between the man-made solidity of the materials and the light and delicacy of glass filaments. With an opening on June 8th and running through July 15th, they will be on view at LewAllen Galleries in Santa Fe, New Mexico, in an exhibition entitled "Matthew Curtis: Intersect."

Laura Donefer and Dave Hickie wear designs by Nancy de Du Bois.

Wednesday June 6, 2018 | by Andrew Page

GALLERY: Images and a conversation with Laura Donefer on the historic Murano Glass Art Society fashion show

In 2017, artist Laura Donefer's phone rang. It was the executive director of the Glass Art Society gushing about the idea of having one of Donefer's signature glass fashion shows on boats during the 2018 Murano conference. She loved it, a definite "yes!" There was only one problem: Donefer says she'd never proposed it. The concept had been pitched by the artist and conference steering committee member Lucio Bubacco. "I was like WHAAA?" Donefer said in an exclusive interview with the Glass Quarterly Hot Sheet. "It usually takes me three years to organize one of my big events, and this gave me very little time. And I was totally unsure of how this all would unfold…."

The cover of the new issue of Glass.

Tuesday May 29, 2018 | by Andrew Page

HOT OFF THE PRESSES: The Summer 2018 edition of Glass (#151)

The Summer 2018 edition of Glass: The UrbanGlass Art Quarterly (#151) is hitting newsstands and subscriber mailboxes this week. Bundled with the summer 2018 edition of GLASS is a copy of the completely redesigned exhibition-in-print, New Glass Review (#39), which is produced by The Corning Museum of Glassand bundled with each summer issue of GLASS magazine at no extra charge to subscribers (newsstand copies carry an increased cover price for the special bonus issue)

René Roubíček in a 2016 photograph.

Sunday May 27, 2018 | by Milan Hlaves

In Memoriam: René Roubíček (1922 - 2018)

Born in Prague in 1922, the world-renown glass artist René Roubíček died in his native city on Sunday, April 29, 2018, after a brief illness. Despite his age and until his last moments, Roubíček was actively engaged in artistic pursuits and full of contagious energy. He is recognized as an artist who, from the 1940s, contributed greatly to enhancing the perception and use of glass as a full-fledged sculptural material.

Wednesday May 23, 2018 | by Andrew Page

HELP WANTED: UrbanGlass seeks education coordinator

UrbanGlass, the Brooklyn, New York, non-profit art center that publishes the GLASS Quarterly Hot Sheet, is seeking a full-time education coordinator to be responsible for the day-to-day logistics of the various types of education programs. The successful applicant will work in close coordination with the director of education, the registrar, and the youth coordinator, and will be responsible for logistics for workshop, youth, and university programs at UrbanGlass.

Libbey Glass Company, Punch Bowl and Stand with 23 Cups. Thick colorless glass. H 21 ½, W 23 ⅞, D 23 ⅞ in. courtesy: libbey glass company.

Wednesday May 9, 2018 | by Valerie Hughes

EXHIBITION: The Toledo Museum of Art celebrates the industrial glass empire that has supported it since 1901

In 1995, when the legendary graphic designer Steff Geissbuhler was asked to re-imagine the logo of the Toledo Museum of Art, he chose a bluish-green color for his window-shaped logo that evoked the hue of float glass as a way to acknowledge the importance of industrial glassware producer Libbey Glass. The company's owner, Edward Drummond Libbey, was the founding patron of the museum, and his generous endowment made it possible to not only acquire significant paintings and sculptures that make it a top-flight art museum, but to offer free admission with no support from the city of Toledo. In 2017, another large gift from Libbey, Inc. endowed the top post at the museum, and Brian Kennedy is now known as the Edward Drummond and Florence Scott Libbey Director. In yet another honor of its great patron, the museum has turned over its Glass Pavilion exhibition space to two centuries of its corporate patron's production, using its own extensive holdings of unusual or notable glass objects by Libbey for its current exhibition "Celebrating Libbey Glass, 1818 - 2018," which runs through November 25, 2018.

Pam Koss pictured during the 2016 Glass Art Society Conference in Corning, New York.

Tuesday May 8, 2018 | by Andrew Page

After 14 years, Pam Koss will step down as executive director of the Glass Art Society

Following next week's ambitious 2018 Glass Art Society annual conference in Murano, Italy, the artist organization's long-serving executive director Pam Figenshow Koss has announced that she will step down. Though she plans on staying on through the end of June 2018, the announcement issued late last night brings the curtain down on her 14-year tenure.

A detail from DuGrenier's work Super Art, a work involving glass and bees, which was displayed in New York City's Fulcrum Gallery in the 1990s.

Thursday May 3, 2018 | by Valerie Hughes

Designer and artist Robert DuGrenier inducted into Illinois State University's fine art hall of fame

This April, Townshend, Vermont-based artist Robert DuGrenier was inducted into the Illinois State University’s College of Fine Arts Hall of Fame nearly forty years after receiving an MFA in Sculpture from the university. DuGrenier trained as a glassblower and goldsmith at Philadelphia College of Art and Hornsey College of Art in London before continuing on to ISU. His career has been defined by works inspired by environments that gradual change due to the forces of nature. DuGrenier visited ISU to receive the award and presented a hot glass workshop and lecture.

In Chicago, James Yood delivered the 2014 Glass Art Society Conference Strattman Lecture entitled “W(h)ither Glass? The Next 50 Years.” photo: heather ahrens. courtesy: glass art society

Tuesday April 24, 2018 | by Andrew Page

In Memoriam: James Yood (1952 - 2018)

An important critical voice on visual art fell silent last weekend with the sudden death of James Yood, who regularly penned articles for Artforum, art ltd., and Aperture in addition to Glass: The UrbanGlass Art Quarterly, the print magazine which produces the Hot Sheet. Yood's first article as a contributing editor to Glass was a Spring 2001 review of a Jim Dine exhibition in Chicago, where Yood immediately revealed his keen eye not only for sculpture, but sensitivity to the unique nature of glass and the commitment required to unlock its unique material properties. Calling the exhibition at Richard Gray Gallery "more of a roller coaster experience than one might have expected going in," he pointed out how Dine's embedding of found tools contrasted with Mary Shaffer's exploration of similar terrain. Unintimidated by Dine's art-star reputation, Yood drew a pointed contrast with another artist's richer approach: "Dine seems to use glass as some kind of silicon paint, as colored or clear substance that is optically penetrable and an excellent sheathing for his tools, while Shaffer sees glass as volumetric and weighty, often using slumping as a device to emphasize gravity and process."

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.