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."

Justin Ginsberg, Catching Glass Formed by Water #1, 2016. Glass. H 7 in, W 9 in, D 6 ½ in. Courtesy: Traver Gallery.

Tuesday January 30, 2018 | by Valerie Hughes

OPENING: Justin Ginsberg puts glass inquiries on display in Traver exhibit opening February 1

Justin Ginsberg has always been one to push the limits of glass and his upcoming exhibit, “LIQUID / ROPE / COILING” at Traver Gallery is no exception. It features a multitude of works from the past seven years, including drawings, videos, and glass pieces that were conducted during residencies at The Museum of Glass, S12 Studios, the Pilchuck Glass School, and the Toyama Institute of Glass. The exhibit opens on Thursday, February 1, 2018 and concludes on Saturday, March 31, 2018. The artist will attend the opening night from 5 PM -8 PM. Since 2013, Ginsberg has also been the head of the glass area at the University of Texas in Arlington, as well as an assistant professor of practice there.

Scholarship applications for the Pilchuck Glass School's Summer and Fall 2018 sessions are due on February 1st. courtesy: pilchuck glass school.

Friday January 26, 2018 | by Malcolm Morano

Only five days left to apply for a Pilchuck Summer 2018 scholarship

Pilchuck Glass School is offering a robust series of scholarships for its Summer 2018, and week-long Fall 2018, sessions. Due by midnight – Pacific time – on February 1st, scholarship applications will put students in consideration for general scholarships, a long list of specialized scholarships, and two incredible artistic merit scholarship opportunities: a residency at Norway’s S12 Open Access Studio and Gallery, and a multi-week live/work program in the glassmaking Mecca of Murano, Italy (supported by Laguna B).

Laura Donefer, Todesmarche Revisited, 2013. Cast glass and concrete. W 180 in. courtesy: alfstad& contemporary.

Monday January 22, 2018 | by Valerie Hughes

EXHIBITION: Laura Donefer's meditation on historical suffering is on view in "Shine the Light"

While glass artist Laura Donefer's works had dealt with violent themes in the past, their severity and scope reached new heights in her 2013 work, Todesmarche Revisited. The 15-foot long glass and cement work is comprised of approximately 900 cast glass feet, commemorating the millions of lives lost in the Holocaust through a reference to the eponymous Nazi Todesmarche, or "Death March." It can now be seen again at Alfstad& Contemporary of Sarasota, Florida, as part of the exhibition, "Shine the Light." The show recontextualizes Donefer's monumental work with photography by Charlotte Schmitz, and a film by Deborah Haber and Dave Marshall, each exploring persecuted voices of the past and present. It was curated by Deborah Haber of DEEP Arts, a non-profit arts organization focused on promoting new work, and runs through February 2nd. On Wednesday, January 24 at 4pm and Friday, January 26 at 6:15pm, Haber and Donefer will be discussing "Shine the Light" as part of Alfstad& Contemporary's Artist Talks Series.

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