Christopher Taylor led the Philadelphia-based Clay Studio for over seven years before accepting the position as Pilchuck's new executive director.

Wednesday February 21, 2018 | by Andrew Page

Pilchuck's new executive director, Christopher Taylor, is former head of prominent ceramics nonprofit

In the months since James Baker announced he'd step down as Pilchuck's executive director last August after eight years at its helm, the board of Pilchuck Glass School have been searching for a replacement to lead this international glass center. Tonight, Baker's replacement has been announced: Christopher Taylor, who has been leading The Clay Studio based in Philadelphia since 2011, will be relocating to Washington State. The official announcement by Pilchuck cites Taylor's success growing the ceramics organization, expanding its audience, and boosting fundraising power, as well as his potential in helping to grow the glass center's outreach to youth and underserved youth in the Northwest Coast area.

Tiffany Studios, River Of Live Window, early 20th century. Leaded glass. Photography by: John Faier. Courtesy: Driehaus Museum.

Wednesday February 21, 2018 | by Valerie Hughes

For first time, a prized set of Tiffany works travel from their Chicago museum home

A treasure trove of Louis Comfort Tiffany masterpieces is going on its first-ever tour. Sixty pieces that have never before travelled outside of the Richard H. Driehaus Museum in Chicago form a new exhibit titled "Louis Comfort Tiffany: Treasures from the Driehaus Collection," which will remain on display through May 27, 2018 at the Taft Museum of Art in Cincinnati. This exhibition will be followed by a national tour of eight U.S. venues through 2021. At its conclusion, the works will return to the Driehaus Museum.

Carolyn Swan Needell will take over as the Barry Curator of Glass on April 2nd.

Tuesday February 20, 2018 | by Valerie Hughes

Chrysler Museum announces scholar Carolyn Swan Needell will be its new curator of glass

The Chrysler Museum of Art in Norfolk, Virginia, has announced that Carolyn Swan Needell, P.h.D., will be the new Carolyn and Richard Barry Curator of Glass, assuming the position on April 2, 2018. In September 2017, Chrysler Museum of Art’s previous curator, Diane Wright, announced her departure to take on the role of curator of glass at the Toledo Museum of Art in Ohio. The Chrysler holds one of the largest glass art collections in the world with more than 10,000 objects spanning 3,000 years. The core of its collection comes from its namesake, Walter P. Chrysler, Jr., who donated thousands of objects from his private collection to the Museum. With Swan Needell’s 15 years of experience in the study of glass, she hopes to engage audiences of all interests and backgrounds.

Heidi Jalkh. Entre Medio Ed.#3. Ceramic, glass. courtesy: the artist.

Thursday February 15, 2018 | by Allison Adler

Designer Heidi Jalkh's "Entre Medio" pushes the uneasy relationship between fused glass and ceramic to find compatible form and commentary on freedom

Buenos-Aires-based Colombian industrial designer Heidi Jalkh stepped out of her prescribed role for a new series "Entre Medio" ("In Between" in English), which fuses glass and ceramic without a glaze or glue. In an interview with the Glass Quarterly Hot Sheet, Jalkh said of industrial design: “you want things to work.” For "Entre Medio," however, she shifted her focus away from creating perfect products that adhere to a predetermined blueprint to embrace experimentation and the process of creation. She was especially intrigued by the push and pull that occur when glass and ceramic, which are normally fired at different temperatures, are fused solely based on form. The resulting pieces appear to be frozen in the act of creation and bear the cracks and fissures that result from thermal shock. "Entre Medio" embodies Jalkh’s focus on matter, morphology, and technique. It also reflects her overall practice, which is, in part, about receptivity and working within and around the constraints of the properties of given materials, themes that also speak to the larger environment in which she works in Latin America.

Thursday February 15, 2018 | by Allison Adler

CALL FOR APPLICATIONS: Deadline nears for submissions for prestigious 2018 glass residency at Southern Illinois University Carbondale

Southern Illinois University (SIU) Carbondale glass program is currently accepting applications from professional glass artists for a semester-long residency (from August 20th to December 14th, 2018). The application, which is due on February 22nd, is open to both national and international artists (the latter must meet requirements for the University’s J-1 VISA Exchange Visitors).

Mary Van Cline, Dan & Owen, 2017.

Wednesday February 14, 2018 | by Valerie Hughes

Artist Mary Van Cline's self-financed portrait project is her love letter to the glass-art community

In her own art practice, Mary Van Cline often blends pâte de verre elements with large-scale images rendered on photosensitive glass plates, creating a dynamic interplay between two- and three-dimensionality. But recently she's turned her focus squarely on the two-dimensional with an ambitious photography project. Since early 2017, she's been traveling the U.S. to take photographs of glass artists, prominent dealers, collectors and critics in an effort to document and immortalize the unique artistic ecosystem that defines the Studio Glass world. Since earning her MFA in glass sculpture and design from MassArt in 1982, Van Cline has been an active participant in this community, but more recently, she's realized that it's on the verge of a major transition as the major players are aging. In response, she launched "The Documenta Project," which she has financed almost entirely on her own, in which she hopes to build an archive of life-size photographic portraits that capture the unique personalities of the major figures.

Myrna and Sheldon Palley Pavilion for Contemporary Glass and Studio Arts Exterior Facade.

Friday February 9, 2018 | by Valerie Hughes

The Lowe Art Museum unveils renovated Paley Pavilion and a year of special events

To honor the 10th anniversary of the Myrna and Sheldon Palley Pavilion for Contemporary Glass and Studio Arts, Miami’s Lowe Art Museum has declared 2018 as the "Year of Glass," which will be commemorated through new exhibitions and programs. The event kicked off with a February 6 party featuring a lecture from artist Therman Statom. The site of this celebration is the newly-renovated Palley Pavilion that houses a $3.5-million collection of work by international glass and ceramic artists. Designed by architect Ronald Mateau, the gallery was designed with plenty of natural light to showcase the innate qualities of glass.

Anne Vibeke Mou, Diamond Window, 2016. Diamond point engraving on glass. courtesy: the corning museum of glass.

Thursday February 8, 2018 | by Valerie Hughes

The Corning Studio announces 2018 Artist Residents, as well as recipients of new Whitehouse Research Residency

The Corning Museum of Glass has announced the recipients for its 2018 Artists-in-Residence program and they include: Anne Vibeke Mou, Jim Butler and Frederick Kahl, Pavlina Čambalová, Trenton Quiocho and Erika Tada, Aaron Pexa, Charlotte Potter and Penelope Rakov. The 2018 recipients of the brand-new David Whitehouse Artist Residency for Research are Annie Cattrell, Claire Bell, Josh Simpson, and Anna Riley. Every year, the Studio of The Corning Museum of Glass invites artists from all over the world to be a part of its residency program. Through the program, the artist spends a month at the Studio to further develop works. They also have access to the Museum, Rakow Research Library, and other Studio resources.

James Carpenter, Rondel Screen.

Thursday February 1, 2018 | by Allison Adler

Schantz Galleries now offering residential architectural commissions by James Carpenter

For artist and designer James Carpenter, glass is not a passive, transparent medium. It is a medium capable of being manipulated, either in itself or through architectural elements, to modify natural light, engage viewers, and transform our experience of an interior space and the natural world around it. We see this at play in his large-scale architectural projects like the exterior envelope and lobby of 7 World Trade Center Tower, the campus of the Israel Museum, and the Gucci Asia Headquarters in Tokyo.

Beth Lipman, One Portrait of One Man, 2017. Glass, metal, paint, adhesive. H 120, W 108, D 16 in. courtesy: the artist. photo: weisman art museum, university of minnesota.

Thursday February 1, 2018 | by Allison Adler

EXHIBITION: In a museum commission, Beth Lipman's artistic dialogue with renown American painter Marsden Hartley spans a century

Beth Lipman spent almost ten years planning a commissioned work for the Weisman Art Museum (WAM) that reflects on the paintings of acclaimed American Modernist Marsden Hartley. The invitation came as part of the Minnesota museum's series entitled "Sympathies", in which artists were invited to, in the words of senior curator Diane Mullin, "ponder their own work with and through the work of other artists/makers" in the museum's permanent collection. Mullin has long been an admirer of Lipman's explorations of material culture inspired by the 17th-century Still Life tradition, and chose her because of "the manner in which she entwine[s] material, history and biography in her salient objects and arrangements."

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.