Rui Sasaki, Object Lessons "Residue" (overview), 2014. Glass, ash (from plants in Awashima), fluorescent light, mineral oil. H 31 1/2, W 23 1/2, D 47 1/4 in. Project at the Awashima Artist Village, Kagawa, Japan.

Thursday October 6, 2016 | by Andrew Page

AWARD: Rui Sasaki receives $5,000 UArts Borowsky Prize for 2016

FILED UNDER: Award, Events, News

Japanese native Rui Sasaki has been named the 2016 Borowsky Prize winner, a $5,000 award named for the late University of the Arts trustee Irvin J. Borowsky, and awarded by the Philadelphia arts institution each year. The prize seeks to identify "an artist whose work is conceptually daring, exemplifies technical skill and innovation, and advances the field of contemporary glass," and includes the invitation for the winning artist to present a lecture. Sasaki, who is currently based in Toyama, Japan, will deliver her lecture on November 10, 2016. In addition to the top prize, juror's awards have been given to prize finalists David King (who also won a juror's award in 2015) and Sean Salstrom.

Between Fragment and Whole: Ellipse, 2016. Glass. H 13 3/4, W 21 5/8, D 21 5/8 in. courtesy: heller gallery, new york

Tuesday October 4, 2016 | by Andrew Page

Speaking Volumes: A conversation with Jeannet Iskandar on her Heller opening tomorrow

FILED UNDER: Exhibition, New Work, Opening

Danish artist Jeannet Iskandar makes things complicated, but you wouldn't know that at first glance. From across the room, her ongoing series of deceptively simple spheres appear to be minimalist objects with perfect symmetry. But upon closer examination the cool exteriors give way to an internal world of engrossing intricacy, complex assemblages of individual blown glass elements deformed by gravity and glassblowing tools, and then further transformed by repeated heating in a kiln. Iskandar was once employed by fellow Dane Tobias Mohl, and his influence shows in her appreciation of patterning, which is formed in her work by the selection of individual elements and the jigsaw puzzle of putting them together. Splashes of subdued color — inky blues and somber blacks —punctuate her newest work, which brings new elliptical forms and a larger scale than Iskandar's earlier objects. On the eve of her solo exhibition at New York City's Heller Gallery, the GLASS Quarterly Hot Sheet spoke by phone with Iskandar from her studio in the seaside city of Ebeltoft, which is an outpost of international glass in Denmark.

Klaus Moje in 2015. photo: fotoheidesmith

Saturday October 1, 2016 | by Nola Anderson

IN MEMORIAM: Klaus Moje (1936 - 2016)

FILED UNDER: In Memoriam

Klaus Moje passed away in Canberra on September 24, 2016. He is remembered with great fondness by family, friends and colleagues throughout the world. His passion for glass and commitment to sharing its inspiration created bonds that stretched over decades, from his early years in Hamburg, through the heady experimental 1960s and 70s, and on to generations of emerging artists who have pushed the medium beyond all expectations. He will be remembered as a great artist who led by example, setting high standards for himself and always seeing the best in others.

Charlotte Potter, Bovidae Goat. Hand-sculpted glass, wood, metal, plastic, fabric. H 16, W 11, D 7 1/2 in. courtesy: walker contemporary.

Friday September 30, 2016 | by Malcolm Morano

Man and nature collide in Vermont contemporary gallery group show featuring Charlotte Potter

FILED UNDER: Artist Interviews, Exhibition, New Work

The complex relationship between the human and the natural worlds is rich territory for an art gallery set in the town of Waitsfield, Vermont, with its long history of forestry and agriculture. Through mid-October, art dealer Stephanie Walker has turned over her Walker Contemporary gallery space to an exhibition entitled “What Have We Done?”, which examines artists “grappling with the often precarious human versus nature relationship,” according to the gallery’s website. Among the five artists with work on display is the native-born Charlotte Potter, who grew up in Waitsfield before embarking on a notable career as a multi-media artist with a focus on glass. Holding a 2010 MFA from the Rhode Island School of Design, Potter is currently the studio manager/program director of the Chrysler Museum of Art’s Glass Studio, in Norfolk, Virginia, and her evolving artwork is represented by New York City's Heller Gallery. Potter's glass deer and elk antlers have actually been incubating in the artist’s mind and studio practice since 2008, and are recontextualized by showcasing them alongside paintings and drawings in which, as the gallery puts it, humans’ “meddling interference in the natural order of things…takes center stage”

The Glass Workshop circa 1986 (l to r): Richard Whiteley, Velta Vilmanis, Kirstie Rea, and Klaus Moje.

Thursday September 29, 2016 | by Andrew Page

FROM THE MAGAZINE: Looking back at Klaus Moje (1936 – 2016) and his founding of the Canberra program

FILED UNDER: Artist Interviews, Education, In Memoriam, Print Edition

The recent passing of Klaus Moje (1936 - 2016), who died at the age of 79 on September 24, 2016, after a protracted illness, has unleashed a global outpouring of grief and appreciation. Honored for his disciplined approach to technique and visionary work taking kiln-forming into the fine-art realm, Moje's impact on the glass art field is immeasurable. Celebrated as an artist, Moje was also hugely influential as an educator, and created the glass program at the Canberra School of Art, which has since been incorporated into the Australian National University's College of Arts and Social Sciences. Consciously not opening with a hot glass furnace, Moje designed the program in 1982 with a radically different approach than most glass education facilities in the world. In honor of Moje's legacy, the GLASS Quarterly Hot Sheet is republishing an article from the Spring 2005 print edition (GLASS #98) that provides unique insight into the founding of the Canberra program. In the article below, Moje shares his singular perspective on not just education but what it takes to become an artist.

Silvia Levenson, "Until death do us part," 2014. Kiln-cast glass. H 21 1/2, W 12, D 12 in. courtesy: bullseye project. photo: marco del comune.

Saturday September 24, 2016 | by Malcolm Morano

Silvia Levenson and Bruno Amadi to be awarded 2016 Glass In Venice Prize today

FILED UNDER: Announcements, Award, News

Argentinian-born artist Silvia Levenson and Italian glass master Bruno Amadi have just been announced as the recipients of the 2016 Glass in Venice Prizes. Supported by the Istituto Veneto di Scienze, Lettere, ed Arti and the Fondazione Musei Civici di Venezia, the Glass in Venice Prizes have been honoring outstanding glass artists for five years. Each year, two prizes are awarded: one to glass masters who have “distinguished themselves in glass art in the wake of the Murano tradition,” and another to international glass artists “who, using different techniques and methods, have chosen glass as their means of expression,” according to the Prize’s press release. The award ceremony will take place in the Palazzo Franchetti this evening, Monday, September 26th, at 5:30 PM. In addition, the work of the winning artists will be on display in the foyer of the Palazzo Loredan until October 24th, 2016.

Cappy Thompson, Dandelion, 2013. Blown and engraved glass. H 13 1/4, W 13 1/3, D 6 1/2 in. courtesy: traver gallery, seattle

Thursday September 22, 2016 | by Andrew Page

Drawing with Light: A conversation with Cappy Thompson on her new engraved work

FILED UNDER: Artist Interviews, Exhibition, New Work, News

Cappy Thompson, known for her folk-art-inspired reverse paintings on glass that explore contemporary themes, has been experimenting with engraving for the past few years. It's been a departure for Thompson, who is an expert grisaille painter, a process where a first-layer of enamel in gray tones is followed by second firing of brightly colored enamels, to create figurative works. Though grisaille involves the removal of an initial coat of gray color, most of Thompson's work was based on layering enamels onto glass to create densely colored surfaces. But etching into glass had been on Thompson's mind since a 1990 trip to then-Czechoslovakia, during which she was intrigued by acid etching using a resist. "It looked like ice that had been melted," Thompson remembers. The dangers of working with highly corrosive and toxic etching acids kept her from ever pursuing this technique at home. However, while she was teaching at Corning in 2012 with master engraver Max Erlacher, she became entranced by the possibilities of wheel-cutting glass. Her friend and fellow artist Charlie Parriott helped her acquire a lathe from the Czech Republic, and she was able to learn from April Surgent and two Czech master engravers during a Pilchuck residency. The GLASS Quarterly Hot Sheet recently caught up with Thompson for a telephone interview as she prepared an artist's talk at Traver Gallery scheduled for this evening to talk about this bold new direction for the work in her current exhibition "Bright Blue Light."

Joyce Scott at work in her studio. photo: john d. & catherine t. macarthur foundation

Thursday September 22, 2016 | by Andrew Page

Joyce J. Scott named as a 2016 MacArthur Fellow

FILED UNDER: Announcements, Award, News

Joyce J. Scott, a prominent artist working with glass beads and blown-glass to create works that probe the nature of violence and racial politics, and who was featured on the cover of the Fall 2014 edition of GLASS: The UrbanGlass Art Quarterly (# 136), has been named a 2016 MacArthur Fellow, one of the most prestigious annual prizes in the world of arts and sciences. Also known as "genius grants," the fellowship comes with a $625,000 award paid out over five years. The honor is bestowed upon between 20 to 30 recipients each year, irrespective of their field or media, who "are breaking new ground in areas of public concern, in the arts, and in the sciences, often in unexpected ways," according to MacArthur president Julia Stasch. Scott is one of 23 fellows named for 2016, ranging from scientists to playwrights to musicians to visual artists. "Scott upends conceptions of beadwork and jewelry as domestic or merely for adornment by creating exquisitely crafted objects that reveal, upon closer examination, stark representations of racism and sexism and the violence they engender," reads the MacArthur website about Scott's work in particular.

Sarah Blood creates pieces for her exhibition "Between Further and Farther," at the Chrysler Museum Glass Studio, one of three partners in the NEAR residency program. courtesy: the meridian group.

Saturday September 17, 2016 | by Malcolm Morano

Alfred professor Sarah Blood kicks off new Norfolk, Virginia, residency and exhibit program

FILED UNDER: Announcements, Artist Interviews, Events, Exhibition, News

A new Norfolk, Virginia, residency collaboration between The Chrysler Museum of Art, Glass Wheel Studio, and the Rutter Family Art Foundation, has culminated in “Between Further and Farther,” an exhibition currently on display at the Rutter-family-owned gallery and nightclub, Work|Release. Mixed-media artist Sarah Blood — the first recipient of the New Energy Artists Residency (NEAR) — used her residency to wrestle with ideas of actual and perceived distance and explore different ways to engage with the form of the paper airplane. The outcome, “Between Further and Farther,” incorporates mixed-media sculpture, large-format photography, video, and performance. Art goers of the Hampton Roads area can view the exhibition at Work|Release until September 24th.

BFF and School Night, 'EZ on Them Tootz.' courtesy: pilchuck seattle.

Thursday September 15, 2016 | by Malcolm Morano

Leading glass school de-stigmatizes pipemaking, exhibits top makers’ work in Pioneer Square gallery

FILED UNDER: Exhibition, News

The cleverly-titled exhibition "High Design," on view at the Pilchuck Glass School's Seattle exhibition space through September 29, 2016, showcases the work of five glass pipemakers who are some of the best-known figures in a subculture of functional flameworking that is seeing increasing engagement with the larger glass art world. The exhibition was spurred by two factors. First was a 2012 ballot initiative to legalize the recreational use of marijuana, which removed some of the legal shadows that kept pipemaking officially or unofficially off-limits for many glass programs. The other was the personal initiative of Pilchuck artistic director Tina Aufiero, who has challenged the rejection of glass pipes, and even offered a class — “C’est une Pipe” — at the most recent summer sessions at the Stanwood, Washington, program that openly taught techniques for making marijuana paraphernalia from glass.

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