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This week
Urban Glass
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Benajmin Edols and Kathy Elliott, "Surge" series, 2015. Blown Glass, wheel carved. H 17, W 11 1/2, D 7 in. photo: ben townsend

Tuesday August 9, 2016 | by Malcolm Morano

The collaborative career of Ben Edols and Kathy Elliott featured in museum exhibition in Japan
FILED UNDER: Artist Interviews, Exhibition, Museums, New Work
Benjamin Edols and Kathy Elliott have been creating polished, largely opaque, and intensely colored glass forms over a 24-year collaborative career. The full range of this prolific partnership is currently on view at the Toyama Glass Art Museum. Entitled “Light Marks,” and on exhibit through September 25, 2016, the show marks the first time their modestly-scaled, buoyant works have been shown in a full career retrospective. In addition to the 46 works that span the pair's history, four previously unseen examples from their latest "Deluge" series of more-transparent, meticulously carved vessels, are also included in this extensive exhibition.

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Fractograph10
John Kiley's Fractographs (2016) are shattered optical crystal blocks, 21 by 13 1/2 by 3 inches.

Wednesday August 3, 2016 | by Andrew Page

A conversation with John Kiley about his “big break”
FILED UNDER: Artist Interviews, Exhibition, New Work
From Cassandria Blackmore to Marta Klonowska to Yorgos Papadopoulos, there is no shortage of artists who use shattered glass as a central element of their work — but John Kiley, among the best glassblowers in the U.S., has taken a unique approach. Unlike the plate glass used by the previously cited artists, Kiley went for 3-inch thick blocks of optical crystal, which he shattered and then reconstructed, producing a stunning visual record of the violent encounter between a sledgehammer and glass. The aggressive fracture blooms into space like a ribbon of chaotic energy ripping through the serene frame of the thick optically pure crystal. Kiley's recent work already had an undertone of violence as he cut away sections of his exquisitely blown spheres to create architectonic constructions, but there was always a strong measure of restraint. In the newest work, in the painstaking reconstruction of the glass, the rigorous nature of Kiley's practice is preserved. But make no mistake: This work represents a literal and figurative break for the artist sought-after for his signature precision. The GLASS Quarterly Hot Sheet caught up with Kiley as he was preparing for the opening of his new exhibition "10,000 MPH" opening this evening at Traver Gallery (and running through August 27, 2016) to talk about this bold new direction. (Editor's note: See the video at end of this post for 360-degree views of the new works.)

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Johnkileyfractograph
John Kiley, Fractograph #2, 2016. Solid borosilcate crown glass. H 13 1/2, W 20 1/2, D 3 in. photo: jeff curtis

Monday August 1, 2016 | by Sarah Canny

OPENING: In an experimental mood, Traver features new work by John Kiley and Justin Ginsberg
FILED UNDER: Announcements, Exhibition, Opening
On the evening of Wednesday, August 3rd, Traver Gallery will debut two new solo exhibitions and one new permanent one. John Kiley will be unveiling "10,000 MPH," a radical departure for this seasoned glassblower and cutter. Also opening is the work of up-and-coming conceptual artist Justin Ginsberg, who will exhibit his work in an exhibit entitled  "What is Known is Uknown." The two are working to "push the (glass) medium to absolute extremes" in their new works, according to the exhibition announcement. Kiley is known for his colorful and imposing sculptures of geometric works strategically bisected to interrupt symmetry yet create another kind of logic. In his latest sculptures, the dissonance is stronger, with the dense shatter-pattern bringing forth the idea that "beauty is revealed in the broken," as cited in the announcement. Ginsberg is known for his willingness to push glass into uncharted territory. His latest work features handmade coils of glass displayed seemingly in motion, with minimal lighting to give his pieces a dark, compelling feel. The two combined solo exhibitions are working to challenge their audience, and make them appreciate glass artworks that are atypical, or "other," in their style and ideas. Both exhibitions are described as experimental. 

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Family Portrait
Susan Stinsmuehlen-Amend, "Man View III," 2015. Kiln-fired paint and photo decals on glass, wood/metal support. H 32, W 21, D 1 1/2 in. courtesy: susan stinsmuehlen-amend.

Thursday July 28, 2016 | by Malcolm Morano

OPENING: Susan Stinsmuehlen-Amend’s new group exhibition more than a family affair
FILED UNDER: Announcements, Exhibition, Opening
Curators will sometimes put together a group of artists who explore similar territory as a way to present varied takes on an individual theme. A new exhibition at the Studio Channel Islands' Blackboard Gallery this August groups works allied not only by subject matter but by blood ties. Glass artist Susan Stinsmuehlen-Amend will join her husband, painter Richard Amend, and son, ceramic sculptor Wyatt Amend, in the wittily-titled exhibit "Making Amends," which will run from August 4th through the 27th. Individual works as well as cross-media collaborations will reveal shared artistic methods and concerns that take the exhibit's rationale well beyond simple familial ties.

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Hayat Connected Bag
Yves Hayat, Connected Bag (Femmes Au Bord de la Crisse de Guerre), 2014. Three-layer digital print on plexiglas. Edition of 3. H 39, W 39 in.

Thursday July 21, 2016 | by Ana Donefer-Hickie

In Paris exhibit, Yves Hayat utilizes material transparency to combine images of violence and luxury
FILED UNDER: Exhibition, New Work
On view until the 31st of July at Mark Hachem Gallery, multi-media artist Yves Hayat's most recent solo exhibition examines the complex relationship between contemporary politics and consumer culture. The exhibition is entitled "Sale Temps," which translates from French to "Bad Weather" and references the perfect storm of social, economic, religious, and cultural tensions that dominate the current international political climate and constitute the subject matter of the works in the exhibition.

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Chihuly Schantz Gallery
Dale Chihuly, Golden Amethyst Persian Wall, 2016. Blown glass. H 35, W 74 in. courtesy: chihuly studio.

Wednesday July 20, 2016 | by Malcolm Morano

Gallery exhibition in the Berkshires offers Chihuly at a human scale
FILED UNDER: Exhibition, New Work, News
Dale Chihuly is best known for his monumental glass sculptures that transform museums, botanical gardens, or even cities where they are installed, remaking and forcing new ways of seeing well-known spaces. This summer offers a unique opportunity to see new site-specific Chihuly works in a more intimate setting. Through August 28th, Schantz Galleries is presenting its first-ever exhibition of Chihuly’s work, and it's a rare chance to see Chihuly work at a relatively more modest scale. That said, three site-specific installations are on display, a Persian Wall and two Chandeliers in addition to many smaller works, such as work from his "Venetians" and "Black Cylinders" series.

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Connor Garton Specimen Series Photo Dave Williams
From the "Specimen" series by Connor Garton, first prize winner. photo: dave williams

Wednesday July 20, 2016 | by Sarah Canny

AWARD: Glass art association identifies top emerging artists in the U.K.
FILED UNDER: Award, New Work, News
The British organization known as the Contemporary Glass Society has announced its annual glass prize winners for 2016. A special 16-page publication entitled "New Graduate Review" featuring all the winners of 2016, as well as runners-up, will be published as part of the award, that includes a top cash prize of £ 250 (about US $329). Connor Garton of the University of Sunderland took first prize, Jade Tapson also of the University of Sunderland took second, and Becky Dennis of Nottingham Trent University took third. The full list of winning artists can be seen here. Judge and CGS board member Karen Murphy stated that the work made by these young men and women "represent a snapshot of the best of British art glass coming out of our educational establishments this year."

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Maxwell
Dr. Christopher Maxwell will take his place as curator of European glass at The Corning Museum of Glass in October 2016. courtesy: corning museum of glass.

Tuesday July 19, 2016 | by Malcolm Morano

After two-year vacancy, The Corning Museum of Glass welcomes new curator of European glass
FILED UNDER: Announcements, Museums, News
Filling a position that was vacated when Audrey Whitty left for a position at the National Museum of Ireland in 2014, the Corning Museum of Glass (CMoG) has appointed Christopher Maxwell as its new curator of European glass. Currently working as a European associate at the U.S.-based art dealer Travis Hansoon Fine Art, Maxwell will be responsible for cataloging and exhibiting the Corning’s extensive collection of European glass works that date back to the early medieval period, when he assumes his new post in October 2016. Maxwell has worked in various roles including curator at the U.K.'s Royal Collection Trust, and as an assistant curator of ceramics and glass at the Victoria & Albert Museum in London. He earned a Ph.D. from the University of Glasgow in 2014.

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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.