Friday October 17, 2014 | by Andrew Page

3 Questions For ... Eoin Breadon

Filed under: Artist Interviews, New Work

GLASS Quarterly Hot Sheet: What are you working on?
Eoin Breadon: I like to work in two or three directions at the same time ... it helps to keep my ideas and art from becoming too formulaic. Both current ideas are based in my interest in self-identification, tradition, and process. One is the continuation of object-based works that explore my interest in Celtic craft, history, and legend. The smaller scale provides a more intimate, personal exploration of the object. The second (and most recently exhibited) involves the use of repetition of a recognizable form (in this case a brick) to a point of almost mass production, as a method of exploring process and understanding of the object through the repetition of creation. These works tend to be larger and less intimate.

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A portrait of Bennett McKnight from the memorial page that has sprung up at

Thursday October 16, 2014 | by John Drury

IN MEMORIAM: Bennett McKnight (1971 – 2014)

Filed under: Announcements, In Memoriam, News

Friends and family will gather this evening in Seattle to celebrate the life of Bennett McKnight, who died earlier this week at the age of 42. It is ironic that a man known for having such a huge and loving heart would have it fail on him. To attempt to encapsulate a light so bright is surely to do injustice to his legacy, but to avoid the challenge would be blasphemy. It's a daunting task to summarize the many contributions that Bennett McKnight made. You'd be hard pressed to name an individual who has as selflessly shared as much of himself with the Studio Glass movement in America. With his sudden passing, Seattle and beyond is rocked to the core. Testament to the love felt for Bennett, a website was posted just hours after his death by his friend Ragan Peck, and a book documenting his life and work is already in the works. There will be a scholarship to the Pilchuck Glass School offered in McKnight’s name.

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Chrystalla Achilleos, a masters student in the glass and ceramics program at the Royal College of Art, appears in a promotional video for the program on the RCA website.

Thursday October 16, 2014 | by Andrew Page

HELP WANTED: London’s Royal College of Art seeks “Senior Tutor in Glass”

Filed under: Announcements, Help Wanted

The ceramics and glass department in the School of Material at the Royal College of Art in London, England, is looking for a senior tutor in glass. Applications for the two-days-a-week position that pays an annual salary ranging from £ 20,531 to £ 22,970 (approximately US $33,000 – $37,000) are due by November 3rd, 2014. According to the official job listing, "This post offers an exciting opportunity to be part of a team setting the future creative and intellectual direction of our students. You will be working closely with the Head of Programme to deliver a comprehensive course for postgraduate students and to promote the Glass strand of the MA course, as well as developing and maintaining relationships with the relevant creative industries."

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Rebecca Arday in the studio with David Schnuckel.

Sunday October 12, 2014 | by Andrew Page

3 Questions for ... Rebecca Arday

Filed under: Artist Interviews, New Work

GLASS Quarterly Hot Sheet: What are you working on?
Rebecca Arday: The past year I’ve been mostly working towards the start of a collaborative body of work with my partner, David Schnuckel. The work we've created together is an exploration of our mutual interest in things like alchemy and transformation, using scientific principles such as chirality for inspiration. We are combining our technical backgrounds – his is often glassblowing and image based, and mine is often kiln casting and object based. This has also led us to collaborative teaching starting with a recent class at Pilchuck Glass School.

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Lisa Aronzon is the founder of the Veterans' Glassblowing Day event that has been taking place at her rural Virginia studio and at more than a dozen glass studios around the U.S.

Thursday October 9, 2014 | by Claudio Martino

A conversation with the founder of Veterans’ Glassblowing Day, coming up on November 8th

Filed under: Announcements, Events, News

When President Obama adressed the nation in 2012 with a plea to aid veterans in whichever way possible, Lisa Aronzon took the request to heart. She set out to not only open her own studio in rural Virginia to veterans in honor of their service, but to organize more than a dozen schools, centers, and studios across the nation to teach men and women who have served or are currently in service how to blow glass. November 8, 2014, will mark the second annual Veterans Glassblowing Day, which Aronzon spoke about in a telephone interview with the GLASS Quaterly Hot Sheet.

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Tuesday October 7, 2014 | by Andrew Page

GLASS magazine now available as digital subscriptions or single-issues

GLASS: The UrbanGlass Art Quarterly, which for 35 years has been the magazine of record for art and design in glass, is now available in a digital edition. Of special interest to foreign subscribers who pay a premium for postage, a digital GLASS subscription costs only $33.99 per year, regardless of geography. Digital single issues are available for purchase for $9.99.

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Ginny Ruffner, The Force That Shapes Seashells, 2006. Stainless steel, bronze, glass. H43, W60, D30 in. image:

Friday October 3, 2014 | by Claudio Martino

OPENING: No retrospective, Ginny Ruffner museum exhibition keeps focus on latest work

Few people in the world have exhibited as much resilience as artist Ginny Ruffner, who has overcome extreme adversity through her will and by the sheer force of her creativity. The devastating 1991 car crash that came very close to ending her life and her remarkable artistic career, did neither. In fact, she defied her diagnosis and soon learned to walk again, and with equal swiftness reengaged her art career with even greater intensity, harnessing the power of imagination. A new museum exhibition devoted to her work opens on October 4th, 2014 at the Huntsville Museum of Art in Huntsville, Alabama, and explores the connections Ruffner makes between scientific breakthroughs and sculptural expression.

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Prototyping a hot-glass, 3D-printing method at Massachusetts Institute of Technology, from proposal by Michael Stern, Shreya Dave, Markus Kayser and John Klein.

Thursday October 2, 2014 | by Claudio Martino

Glass Art Society announces the winners of inaugural Technology Advancing Glass grant

Filed under: Announcements, Award

The Glass Art Society (GAS) has announced the winners of its first-ever Technology Advancing Glass (TAG). The winner, Anna Mlasowsky, will receive an award of $5,000, while the two runner-ups each receive a stipend of $2,500. All three are to use the money to conduct and fund research on new materials, techniques, methods, and applications of technology in the creation of glass art. The funding for TAG was made possible through the donations of long-time glass collectors Ted and Melissa Lagreid as well as those of former GAS board member and glass artist Wayne Strattman.

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From top-left to bottom-right: Cutrone ,Potter, Valdez, Mc Neal

Thursday October 2, 2014 | by Claudio Martino

OPENING: Wexler Gallery group show seeks to frame a new approach to glass art, and to make a market

Filed under: Exhibition, News, Opening

As the 50th anniversary celebration of Studio Glass wound down in 2012, a sense of restlessness came over the glass art world struggling to define itself going forward. Several prominent university professor positions have been filled by a new generation of glass artists who approach the material with more of a conceptual strategy. A group of art school grads curated their own shows under the banner of Hyperopia Projects, with future plans for a possible publication and exhibitions defining a new terrain of glass art. In March 2015, The Corning Museum of Glass will unveil its new wing that joins contemporary artists fabricating work in glass with recent works by artists steeped in glass. And a Facebook group attempts to distinguish those glass artists "seceeding" from what its organizers consider outdated forms of glass art. While these nonprofit and institutional developments have helped to identify new directions in glass, this area has so far failed to find much of a market. But an upcoming Wexler Gallery exhibition with the ambitious title of "Flux: Four Artists Redefining Glass" may signal a new embrace of this work by a commercial gallery.

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April Surgent, Self Portrait at High Latitude, 2014. Cameo-engraved glass. H 15 1/4, W 23 1/2, D 2 in. Courtesy: Traver Gallery

Tuesday September 30, 2014 | by Claudio Martino

OPENING: April Surgent’s haunting Antarctic engravings at Traver on Thursday

During the summer of 2013, glass artist April Surgent travelled into the Antarctic as part of the National Science Foundation’s Antarctic Artist and Writer’s program, an experience she'd spoken about with GLASS magazine for a major feature examining how artists are inspired by Antarctica in the Summer 2014 edition (#135). Eight weeks of fieldwork resulted in a number of engraved cameo pieces which will be displayed on Thursday evening at the Traver Gallery in Seattle for an exhibition that will run through November 2, 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 35 years.