The Corning Museum of Glass has named a senior researcher from Corning Incorporated to the newly created post of "chief scientist," a position that will include a wide range of responsibilities including providing high-level technical expertise to a new museum residency focused on giving artists the opportunity to create with cutting-edge materials. Dr. Glen Cook, who brings 16 years of experience in experimenting with the composition and processing of inorganic materials as a senior research associate at Corning Inc.’s Sullivan Park R&D Center, will move over to the museum side, where he will be in charge of researching scientific and technical discoveries in glass, a responsibility that will aid curators, researchers, and practicing artists. In a telephone interview with the GLASS Quarterly Hot Sheet, Karol Wight, executive director of the Corning Museum of Glass, said that the new position will build on the museum's "research scientist" position, held by Dr. Robert Brill from 1960 to 2008.
Sheila McMath has been named the newest curator for the Canadian Clay & Glass Gallery at Waterloo, Ontario, taking over for Christian Bernard Singer who stepped down last summer. Taking over as of the first of December, McMath is currently employed at the gallery as its director of education, creating a variety of programming which include a series of youth art projects. The center's executive director Bill Poole stated in a press release, “I am absolutely delighted that Sheila emerged as the strongest candidate from an excellent field of well qualified candidates who applied for this position from across Canada. It is particularly gratifying to be able to promote from within.”
GLASS Quarterly Hot Sheet: What are you working on?
Anna Mlasowsky: For me, this is a time of many beginnings. I've recently started my graduate studies in the sculpture department at the University of Washington with the goal to provide myself with an environment where I can realize explorative and investigative sculpture without taking commercial or contextual constraints into account. I hope to take on some older and recent ideas where I will work with polarizing filters, obsidian, plastics, and photography. Some of the ideas I'm pursuing are based on expressing nothingness, stillness, and fear. I'm speaking in very vague terms, but this is due to a certain uncertainty that goes along with unfinished work or projects that only exist in one's mind. I guess I'm as curious of the outcomes as anyone else.
UrbanGlass' marked its one-year anniversary in the nonprofit organization's new home in the heart of the Downtown Brooklyn Cultural District with an October 21st gala entitled "CELEBRATE!" Honoring The Corning Museum of Glass, Sciame Construction, and Jeffrey Beers International. The event was co-chaired by UrbanGlass board members David Altman and Fredric M. Sanders. A total of 230 guests joined the board and UrbanGlass artists for dinner and a live and silent auction that took place on the UrbanGlass premises with a live auction preview in the street-level Agnes Varis Art Center, a silent auction and cocktail reception in the third-floor hotshop, and a seated dinner in the theater on the first floor of the building.
The De La Torre brothers, who just were awarded a prestigious United States Aritsts Fellowship of $50,000, sat down with the GLASS Quarterly Hot Sheet to talk about their work in a video interview you can see below. The De La Torres were at UrbanGlass for a two-week residency from October 4th through the 18th. In between presenting to university and high school classes taking place at the nonprofit art center, they gave public demonstrations and made some of their own work, and, generously, found some time to sit down and discuss their collaborative practice, sources of inspiration, and recent foray into lenticular printing.
On October 6, 2014, Dawson Ralph Kellogg, the longtime head of Columbus College of Art & Design’s glass program, died peacefully at age 49 due to complications of cancer. Kellogg received his MFA in Glass from Kent State University in 1996 stuying with Henry Halem. In 2013, Kellogg completed a four-week residency at the Glassworks Studio at Salem State University in Salem, Massachusetts. That same year, he was a presenter at the Robert M. Minkoff Foundation Academic Symposium at UrbanGlass, where he spoke about the evolution of the glass program at Columbus College of Art & Design, which he led for 17 years. Kellogg
The Vitraria Glass A+ Museum opened only a few weeks ago but it has a confidence and international sensibility that sets it apart from other museums. Even its mission statement on the cutting-edge English-language Website strikes a fresh and assured tone. "We present a holistic view on the fascinating world of glass: from its role in our everyday life via its artistic perception, to its latest technological and industrial utilization." Located in the Palazzo Barbargio Nani Mocenigo, a magnificent 16th-century palace housed along the Rio San Trovaso of the Dorsoduro district, the museum's artistic director is Ewald Stastny, who recently curated the Venice Pavillion at the 2013 Venice Bienalle. But aside from the connection between Venice and the museum's focus on art and design in glass, the institution is not exclusively interested in work by Venetians, but embraces an international roster of artists from around the world.
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.
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 43. 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.
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."