Judith Schaechter, Minotaur, 2014. Kiln-cast and hand carved glass. H 17, W 8, D 8 in. courtesy: claire oliver gallery, new york

Wednesday August 27, 2014 | by Andrew Page

OPENING: Stained-glass star Judith Schaechter to debut sculptural work at New York solo exhibition

Filed under: Exhibition, New Work, News, Opening

In a 2010 interview, artist Judith Schaechter told the GLASS Quarterly Hot Sheet: "There’s only one challenge for me, and that’s to develop beyond what I think I am capable of — conceptually, design-wise, and technically." In her latest solo exhibition opening at Claire Oliver Gallery in New York City's Chelsea art district on September 4th and running through October 25th, 2014, Schaechter will unveil a major development in her career with ten new three-dimensional works, opaque figures hand-carved from kiln-formed glass. For an artist who has established herself as a preeminent stained glass artist, and who mines her unique interior world through highly personal iconography dramatizing fears, neruoses, and triumphs, Schaechter is taking a major risk of whether her vision can translate into a new format. The sculptural works featured in the show entitled "Dark Matter" depict her distinctive elongated figures weighed down by gravity, but without the intricate decorative elements that embelish her stained-glass lightbox works, which vibrate with pattern and color.

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Tuesday August 26, 2014 | by Andrew Page

Steven Ramsey to lead glass program at the University of Nebraska at Kearny

Filed under: Education, News

The University of Nebraska at Kearney, in Kearney, Nebraska, has appointed artist Steven A. Ramsey as assistant professor of glass and sculpture for its undergraduate programs. Ramsey left his decade-long position as professor of foundation studies at the Savanah College of Art and Design in Savanah, Georgia, where he taught courses on digital applications for sculpture as well as architectural glass preservation techniques. A practicing glass artist represented by Marta Hewett Gallery, Ramsey also has worked as a graphic designer. He holds a BFA from the Cleveland Institute of Art (1983) and an MFA from Illinois State University (1989).

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Number 4, the fourth iteration by Brian Chivers of an all-glass guitar that is functional and catching the eye of rock stars.

Friday August 22, 2014 | by Andrew Page

CURIOSITIES: Wisconsin glazier carves all-glass electric guitar that is getting notice

Filed under: Curiosities, Design, News

Brian Chivers plays drums, not guitar. For most of his 35-year career in the city of Waukashaw, Wisconsin, he has worked as a glass glazier replacing storefront windows rather than as a designer of musical instruments. But Chivers' uncanny ability to cut flat glass with a standard wood-handled glass cutter into intricate shapes led to him making glass guitar wall sculptures for his friends. When Chivers decided to present one of his guitar sculptures to fellow Waukashaw native and musical legend Les Paul after a 2007 concert in Milwaukee, the innovator of the solid-body electric guitar encouraged Chivers to develop a working glass guitar. Though Paul died in 2009 before Chivers felt he had perfected his prototype, the glass glazier found his calling. He has continued to develop his innovative glass electric guitar with his company BC Glass Studio in successive prototypes, and he is now on the fourth generation model which is as light as a wooden electric guitar (Chivers models his glass axes after the Gibson Les Paul wooden guitar) and far more eye-catching. The clear tone and uniquely transparent appearance of the guitar has won the attention of rock stars including Mick Jones, guitarist and founding member of the band Foreigner, who Chivers met backstage while showing off his guitar at a music festival.

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Silvia Levenson, Until Death Do Us Part II, 2009. Kiln-cast glass. H 11 3/4, W 20 1/2 in.

Thursday August 21, 2014 | by Elena Tafone

OPENING: Silvia Levenson takes on “A Subject to Avoid” in Santa Fe Exhibition

Filed under: Exhibition, New Work, Opening

It is estimated that one in four women will experience domestic violence at some point in her life. “Estimated” because most incidents are never reported. It is this silent epidemic that Argentinian artist Silvia Levenson gives voice to in her new exhibition “A Subject to Avoid,” opening at David Richard Gallery in Santa Fe on August 29th.

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A shot from the 2013 Art on Fire fundraising auction for the Pittsburgh Glass Center. photo: nathan shaulis

Thursday August 21, 2014 | by Andrew Page

ADDENDUM: Two more fall fundraisers to consider in Pittsburgh and Newark, New Jersey

Filed under: Announcements, Auction, Events, News

The GLASS Quarterly Hot Sheet missed two important fall glass art fundraisers in its recent roundup of events that chronicled the upcoming gala auctions at the Museum of Glass in Tacoma, Washington; the National LIberty Museum in Philadelphia; UrbanGlass in New York City; and Pilchuck in Seattle. On the evening of Friday, September 26th, the Pittsburgh Glass Center will be holding its annual Art on Fire Celebration and Auction, with honorary glass artist Jay MacDonell, and event co-chairs Cynthia Pierce Liefeld and Paul Liefeld.

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nstallation view of Masters of "Contemporary Glass: Highlights from the Marilyn and Eugene Glick Collection" courtesy: indianapolis museum of art .

Tuesday August 19, 2014 | by William Ganis

It’s been a summer of glass for two Midwest states where the 2012 Studio Glass gala continues

Filed under: Events, Exhibition, Museums, News

In Indiana and Ohio, curators and gallerists are building on the interest generated by all the exhibitions celebrating the 50th anniversary of American Studio Glass. Situated just south of the historic Toledo epicenter, museums in Fort Wayne, Indianapolis, Muncie and Dayton all have major exhibitions of glass art this summer. The new curator of collections and exhibitions at the Dayton Art Institute, Aimee Marcereau DeGalan, ascribes public interest as her impetus for curating “Dayton Celebrates Glass” a survey show that emphasizes the importance of Western Ohio to American Studio Glass. Informed by curatorial advisor Tom Hawk of Hawk Galleries in Columbus, Ohio, the exhibition also includes contemporary masters such as Lino Tagliapietra and the correspondence with Venetian techniques undertaken by Americans that include Stephen Rolfe Powell.

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Latchezar Boyadjiev, "Presence" H 40. W 24. D 4 in. Boyadijiev will be the featured artist during the National Liberty Museum's annual gala weekend.

Friday August 15, 2014 | by Elena Tafone

Fall is the season for glass art fundraising auctions

The fall 2014 glass art auction season will kick off with the Red Hot Party & Auction at the Museum or Glass on September 21st, featuring Dante Marioni as the special guest in the "Hot Shop After Party" event. It will be just the first in a series of fundraising galas that will take place in the coming months, including a triple-play of auctions in October.

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Virginia Poundstone, a 2013 Agnes Varis Visiting Artist Fellow, explores glass and bronze in her work.

Thursday August 14, 2014 | by Andrew Page

CALL FOR ENTRIES: Fall 2014 Agnes Varis Visiting Artist Fellowship

Applications are still being accepted for The Fall 2014 Agnes Varis Visiting Artist Fellowship at UrbanGlass, which will provide a woman artist the opportunity to develop a new body of work exploring ideas and techniques using the medium of glass. Fellowships are eight weeks in length, and include access to all areas of the recently reopened 17,000-square-foot studio at UrbanGlass.

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Nick Mount, Pear with Can of Pears #080312, 2012. Blown glass, carved, polished, assembled, olive wood stems, sliver leafed mild steel base. H 23 1/2, W 7 3/4, D 18 1/2 in. photo: pippy mount

Wednesday August 13, 2014 | by Elena Tafone

Nick Mount’s work to get museum treatment in Bellevue, Washington, this fall

Filed under: Announcements, Museums, News, Opening

Australian artist Nick Mount is slated to show his work at the Bellevue Arts Museum (BAM) in Washington state from October 1st through February 1, 2015. The exhibition, “The Fabric of Work,” will feature over 30 pieces, some of which will be premiering at BAM. Though identified as Australian, Mount’s education in glass has been international. When Venetian-trained American artist Richard Marquis came to Australia in the 1970s, Mount was taken by the medium of glass and went on to study under Marquis in the United States, as well as make his own journey to Murano, the birthplace of the Venetian glass tradition. It is the Venetian spirit that Mount seeks to invoke is his own work, paying homage to the art of the Renaissance with his flamboyant creations. It is the technical aspects of art and craftsmanship that has always captivated Mount and will be emphasized in “The Fabric of Work,” which will include glassblowing, murrina patterning, carving, polishing, and mixed media installations.

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Kathryn Wightman's screen-printed glass frit composition takes top honors in the 2014 Ranamok Glass Prize, the final year it will be awarded.

Tuesday August 12, 2014 | by Andrew Page

After 20 years of existence, the final Ranamok Prize goes to Kathryn Wightman

Filed under: Award, New Work, News

After 20 years of celebrating the achievements of Australia and New Zealand's glass artists, the final Ranamok Glass Prize chose 28 finalists, one of whom was just named the prize-winner for 2014: Kathryn Wightman who now lives in New Zealand, where she teaches at The Wanganui Glass School. British-born, and a graduate of the undergraduate, masters and PhD programs at the University of Sunderland, Wightman created a 10-foot long glass frit creation entitled Carpet, which was made by screen printing an oriental carpet pattern and then intentionally disturbing its geometry by walking on it before firing. As her artist statement for the Ranamok prize-winning work, she offers three short sentence fragments: "A series of steps ... A trail in the pattern .. A constant reminder of all that is imperfect."

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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 35 years.