Michael Crowder, Une Petite Pipe Morte (A Little Pipe Death), 2009. Cigarette ashes, resin. H 3, W 5 1/2, D 1 1/2 in. photo: david a. brown. courtesy: houston center for contemporary craft.

Wednesday February 28, 2018 | by Allison Adler

EXHIBITION: Houston museum takes a craft perspective on Surrealism, focuses on work by Michael Crowder

The above image is not a pipe. It is a representation of a pipe created from cigarette ashes and resin by artist Michael Crowder, inspired by René Magritte’s iconic painting The Treachery of Images (1928-1929). This pipe is one of several of Crowder’s works currently on display in the exhibition Treachery of Material: The Surrealist Impulse in Craft at the Houston Center for Contemporary Craft (HCCC). The exhibition presents a series of “puzzling and beautiful” objects made by Houston-based Michael Crowder and Estonia-based artist Julia Maria Künnap.

Kiki Smith, Sainte Geneviève And The Deer, 1999. Fired paint on glass panels. 2 parts, H 54 ¼, W 48in / H 89, W 46 ¾ in. Courtesy: Alexander Tutsek-Stiftung.

Tuesday February 27, 2018 | by Valerie Hughes

EXHIBITION: German foundation presents glass works by major contemporary artists organized around a common theme

In Munich, Germany, the Alexander Tutsek-Stiftung’s exhibition "Viewing the Other" features a significant collection of glass works from big-name contemporary artists such as Tony Cragg, Mona Hatoum, Ki-Ra Kim, Raimund Kummer, Alejandra Seeber, Kiki Smith, and Pae White. The exhibition will remain on view until June 29, 2018. With its focus on modern sculpture and photography, the Alexander Tutsek-Stiftung is a former sculptor studio in an Art Nouveau villa in Munich-Schwabing that was established as a nonprofit foundation in December 2000.

Sarah Schultz will take over as Amercian Craft Council executive director in April 2018.

Monday February 26, 2018 | by Valerie Hughes

The American Craft Council announces new executive director Sarah Schultz, inducts artist Beth Lipman as fellow

On April 2, the American Craft Council will officially welcome Sarah Schultz as its new executive director. A further addition to the ACC community is Beth Lipman, who was just inducted to the ACC’s College of Fellows. The American Craft Council (ACC) was founded by Aileen Osborn Webb in 1939 as a nonprofit. For the past 79 years, the organization has emphasized the impact crafts have on individuals and their communities. Every year, there are American Craft shows in Baltimore, Atlanta, St. Paul, and San Francisco that attract up to 45,000 people. ACC also has a research library that contains more than 6,500 documents on the history of studio craft. Additionally, ACC publishes a magazine six times a year that reiterates the benefits of creative living.

Performance: Julianne Swartz's Sine Body with Estelí Gomez. 2018. photo: heidi bohnenkamp. courtesy: the artist.

Thursday February 22, 2018 | by Allison Adler

SEEN: The shape of sound explored in Julianne Swartz's NYC performance using blown glass, trained voice, and ambient air pressure

Stepping into a curtained section of the fifth-floor gallery of New York City's Museum of Arts and Design (MAD) on Sunday February 11th, I picked up a perceptible hum in the room. It wasn't the hum of the crowd (which, initially, was absent) or the muffled hum of the city outside. Instead, it seemed to emit from the glass and ceramic vessels arranged on three large flat tables in the gallery. The vessels appeared to be frozen in various stages of flow, or, perhaps more accurately, transformation, like bulbous glass snakes shedding their skin or larvae playfully moving in and out of their delicate cocoons. The works were from Julianne Swartz’s Sine Body series of glass and ceramic vessels that each produce a particular sound generated through an electronic feedback mechanism. The live performance was just one part of the Sine Body installation, itself a part of a larger exhibition at MAD titled "Sonic Arcade: Shaping Space with Sound" (on view through February 25 2018), which consists of multiple installations and interactive environments that explore how sound shapes spatial and interpersonal relations.

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.

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.