Alison Kinnaird, Bed of Roses II, 2015. Optical glass, wheel engraved, LED lighting with dichroic colour. H 20 W 13 D 7 in. photo: robin morton

Wednesday July 12, 2017 | by Lindsay Hargrave

OPENING: Alison Kinnaird marries tradition and innovation for exhibit at Edinburgh Fringe Festival

FILED UNDER: Artist Interviews, Exhibition, Image Gallery

In a former church in the Scottish countryside just 12 miles south of Edinburgh, Alison Kinnaird works at her copper engraving wheel and plucks away on her harp. Her large-scale, figurative panel pieces as well as her traditional harp music are the artist's pursuits of forms of expression that are universal, something that can be found in the recesses of tradition as well as the cutting-edge. An upcoming exhibition in her studio will feature multiple smaller scale works as well as two installations, one of which has been touring Scotland since 2014. The exhibit, entitled "Art in Glass" will open on August 4, 2017, as a part of Edinburgh’s Festival Fringe.

Pae White, Qwalala, 2017. Hand-cast glass, structural sealant. H 7.9, L 246, W varies. photo: Enrico Fiorese

Tuesday July 11, 2017 | by Stella Porter

Timed to the Venice Biennale, American Pae White’s project mixes architecture and glass art

FILED UNDER: New Work, News, Public Art

American artist Pae White’s newest work, Qwalala, is at once a visceral experience of color and a carefully crafted work of architecture. The outdoor installation, measuring 246-feet-long and almost 8-feet in height, is made of thousands of glass bricks winding in a snake-like form. The public art piece was installed to coincide with the Venice Biennale, and is part of a city-wide series of outdoor exhibitions across Venice, and was commissioned by Le Stanze del Vetro (which translates into “rooms for glass” in English), where it opened on the Island of San Giorgio Maggiore.

courtesy: karlis bogustovs

Monday July 10, 2017 | by Sarah Thaw

Themes of innovation and sustainability explored at decennial “Young Glass” juried exhibition

FILED UNDER: Award, Events, Exhibition, Glass Quarterly, Museums

A lot can change in 10 years, and at the once-a-decade exhibition "Young Glass," the progression within glass art is on full display. Since it's launch in 1987 at the Glasmuseet Ebeltoft in Denmark, the competition has intended to inspire and encourage innovation in the realm of glass art.

courtesy: engravedglass.cz

Monday July 10, 2017 | by Sarah Thaw

CALL FOR APPLICATIONS: International Symposium of Engraved Glass in Kamenický Šenov

FILED UNDER: Announcements, Call for Submissions, Museums, News

Applications are still being accepted for the 7th International Symposium of Engraved Glass in Kamenický Šenov, Czech Republic. Registration for active participation is open until July 15, 2017 for the event taking place September 11- 17, 2017 at the Kamenický Šenov Glass Museum.

Amber Cowan, Bridesmaid's Forest, 2017. Flameworked American pressed glass, mixed media. H 30 W 38 D 12 in. courtesy: the artist

Saturday July 8, 2017 | by Lindsay Hargrave

OPENING: Amber Cowan’s upcycled transformations get museum treatment at the Fuller

FILED UNDER: Artist Interviews, Exhibition

Amber Cowan likes to “hang out” with her figures before she assembles them. She likes to take her time and get to know the bits of cullet and used milk glass that she finds in old factory yards, thrift stores, flea markets, or is gifted by friends and strangers alike before she intuitively incorporates them into her dense floral wall pieces, or flameworks them into something else entirely before placing them. However, her current show at the Fuller Craft Museum on view through October 8, 2017, is somewhat of a departure from the monochrome, recycled assemblages with which she has made her name. Also included are a few large-scale installation pieces, still made from recycled milk glass, but involving fewer tiny details. Cowan said in a phone interview that these installations “gave me an immediacy to the material, and all the things that related to my other work, but in a more kind of quick and fun sense that wasn’t this laborious process.”

courtesy: Echard Wheeler

Friday July 7, 2017 | by Stella Porter

EXCLUSIVE: Charlotte Potter leaving the Chrysler to focus on family and her personal art practice

FILED UNDER: Announcements, Artist Interviews, Help Wanted, Museums, News

After playing a major role in bringing the 2017 Glass Art Society Conference to Norfolk, Virginia, last month, Chrysler Museum of Art Glass Studio manager and program director Charlotte Potter is heading for the exits. Potter told the GLASS Quarterly Hot Sheet that she plans to leave the job she's held since 2011. Potter, whose leadership put the Chrysler Museum of Art’s Perry Glass Studio on the glass-art map, plans to move back to her home state of Vermont by November. There she will focus on raising her newborn daughter and continue to pursue her successful art practice. Though it hasn't yet launched an official job search for Potter's replacement, the Chrysler Museum of Art is starting the process of finding a new glass studio manager and programming director to take over Potter's important role running the studio, which itself is in the process of being expanded in response to its considerable success drawing crowds and attention.

Lino Tagliapietra. courtesy: schantz galleries

Thursday July 6, 2017 | by Lindsay Hargrave

OPENING: Lino Tagliapietra to visit Schantz Gallery exhibition on Friday, July 7

FILED UNDER: Announcements, Exhibition, Opening

This Friday, July 7, Schantz Gallery in Stockbridge, Massachusetts will hold an opening reception to a comprehensive exhibition of Lino Tagliapietra’s work form the last 20 years or so, and the maestro himself will be in attendance. The exhibition includes approximately 30 pieces, mostly comprised of work from the past year, but also some more classic pieces, such as glass panels. “The phenomenal thing is that at 82, that Lino is still creating some of the best work of his career," art dealer Jim Schantz told GLASS Quarterly Hot Sheet in a telephone interview, adding that many of these pieces that have gone in some ways beyond what he’s done with his previous, earlier work. "He’s still raising the bar in terms of what can be done with the material.”

courtesy: Tyler School of Art

Thursday June 29, 2017 | by Stella Porter

HELP WANTED: Tyler School of Art in Philadelphia is looking for an assistant professor of glass

FILED UNDER: Announcements, Call for Submissions, Education, News

The Tyler School of Art at Temple University is searching for a full-time non-tenure-track assistant professor for its glass program. Candidates with mastery of traditional and contemporary glass techniques should apply by July 12, 2017, to receive priority. The ideal applicant would be able to teach a range of courses from introductory to advanced and conduct research-based classes that are both conceptual and experimental. Applicants should also have produced work shown in national exhibitions and demonstrate a passion for teaching their skill.

Noel Hart, Waiting for a twenty eight parrot, 2017. Handblown glass. H 16.5, W 13 H 3 in. courtesy: the artist

Thursday June 29, 2017 | by Stella Porter

OPENING: At Tansey Santa Fe, Noel Hart takes flight in colorful new works referencing bird plumage

FILED UNDER: Announcements, Exhibition, New Work

Noel Hart’s solo exhibition, entitled “The Rewilding,” will open at Tansey Contemporary's Santa Fe location on July 7th. The Australian artist's latest work reveals an evolution toward more transparency, a greater sheen to the glass, as well as more depth to the individual works. Inspired by his close observations of the bird life in the backyard of his home in the Australian rainforest, which is teeming with birds and is a showcase of biodiversity and species interaction.This daily intimacy with biological diversity has led to increasingly vibrant artworks. “He’s going into a more sculptural direction," said Tilly Badham, marketing director for Tansey Contemporary, in a telephone interview with the Glass Quarterly Hot Sheet. The new work also has a glassy transparent finish rather than an etched finish.” Hart, who was showing at Jane Sauer Gallery before it was purchased by Tansey four years ago, sees an increase in scale, and confident approach to color that betrays Hart's training as a painter.

William Traver and Sarah Traver pictured in the gallery with "White on Black Z Leaves" by Dante Marioni. photo: ben lerman/traver gallery

Monday June 26, 2017 | by Lindsay Hargrave

Traver Gallery turns 40 on July 7th, and there’s much to celebrate

FILED UNDER: Announcements, Events, Exhibition, News

On July 7, 2017, Traver Gallery, an icon in the Seattle glass art community as well as in the Studio Glass Movement, will turn 40, and it plans to celebrate with a party that evening. Founded in 1977, the gallery exhibits paintings, ceramics, and installation art of all kinds, but it has been the medium of glass where the gallery has had a particularly consequential role in developing the careers of artists as prominent as Bertil Vallien and Lino Tagliapietra. The gallery lays claim to helping discover such notable glass artists as Martin Blank, Sonja Blomdahl, Gregory Grenon, Doug Jeck, Dante Marioni, Preston Singletary, Therman Statom, and Jamie Walker. The story of the founding of the gallery by a young interior designer who discovered a need for better sourcing of local artists, is one of seizing an opportunity, and then executing it so well it changes the field. Seattle's role as an epicenter of glass art would not have been as firmly established without Traver's important role as a leading art dealer in the field.

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.