UrbanGlass, the Brooklyn, New York, nonprofit art center that publishes the GLASS Quarterly Hot Sheet, is looking to hire a studio head technician to lead the organization's technical staff in maintaining the studio operations, which include hot glass, flameworking, neon, kilnforming, and stained glass studios as well as a moldmaking and coldworking shop. The position reports to the UrbanGlass director of operations who will help on the planning and review of maintenance activity and long-term projects.
A connection between a managing parter of the design gallery Maison Gerard and a client, the president of the U.S. fundraising arm for the Bezalel Academy of Arts and Design in Jerusalem, has resulted in a unique exhibition of artfully designed glass perfume bottles by students of the glass and ceramic department that debuts on Monday, December 15th, at the East 10th Street showroom in downtown Manhattan. Benoist F. Drut, managing partner at Maison Gerard, told the GLASS Quarterly Hot Sheet that "I was thrilled with the work and find it quite beautiful. I thought they would be perfect to show at holiday time, as they are so unique they make ideal gifts... I really thought the students should benefit from this. So we’ve priced to sell for $980 and $1500 depending on the size and intricacy of the design."
Glass cameo engraving dates back to Roman times, when skilled jewlers started experimenting with glass carving to ultimately achieve masterpieces such as the Portland Vase. The technique saw a revival in Rennaisance Europe, and came into vogue again in Napoleanic France and again during the Victorian era in England. Inspired by the extensive cameo collection at the Chrysler Museum of Art, where she manages the glass studio and directs its programming, artist Charlotte Potter has embraced the historic form and updated it, employing the labor-intensive carving techniques once used to depict gods and monarchs to honor Facebook friends, contrasting relationships in an era of social networking with the more static dynamics of an earlier era. This work, which debuted at the 2012 group exhibition "Fusion: A New Century of Glass" at the Oklahoma City Museum of Art, was briefly on view at the Chrysler before it closed for a more-than-year-long renovation. Entitled "Charlotte's Web," it has been reinstalled to anchor the new glass gallery where it will remain on view through June 28, 2015. Potter will give a talk about her work this Sunday, December 14th, from 1:30 to 2:30 PM at the museum.
The work of pioneering Dutch glass artist Sybren Valkema will soon be available worldwide to anyone with internet access. The Rakow Research Library at The Corning Museum of Glass has announced its collaborative efforts with the Netherlands Institute for Art History (RKD) to digitize his research archive, which has been in the Dutch institution's care since his death in 1996. The archive, ripe with notes, drawings, slides, and more is expected to be made available by the end of 2015. Artists and researchers alike will be able to tap into this vast reservoir of information without having to make a trip to the Netherlands.
On Sunday, the celebrities from the worlds of entertainment and from the international contemporary art scene that have descended on Miami, Florida, for the star-studded Art Basel - Miami Beach and the longer-running Art Miami expositions will head home as the annual event winds down. Glass is playing a lead role in several of the works displayed at both of the glittering twin art fairs which bring an impressive pedigree to their respective events. Art Basel has been around since the 1970s, originally founded by three gallery owners (Trudi Bruckner, Balz Hilt and Ernst Beyeler) in the Swiss city for which the fair is named. Over the decades, its influence has grown within the artistic community, drawing in work from galleries and artists from across the world. This year, Art Basel Miami Beach turns 12 and boasts a total of 250 galleries in attendance. While Art Miami isn’t quite as international, it is turning 25 this year, and boasts a similar level of exclusivity within the community, playing hosts to a number of galleries known for showing work in glass. This year in particular, Art Miami has 125 galleries in attendance.
Two days after his 90th birthday, Irvin J Borowsky died peacefully surrounded by family last Tuesday, November 25, 2014. The founder of the National Liberty Museum in Philadelphia, Borowsky was a prominent publisher and philanthropist. By the age of 14, he’d already started his first business, a printing company named City Wide Press. Among his accomplishments was the creation of TV Digest (a prototype magazine bought out in 1953 by Walter Annenberg who then used it to make the TV Guide), the North American Publishing Company (responsible for the creation and distribution of over a dozen publications nationwide today), and the founding of the American Interfaith Institute (created to rid the New Testament of anti-Semitic language in order to improve Christian/Jewish relations in the United States).
The Winter 2014 edition of GLASS: The UrbanGlass Art Quarterly (#137) has hit newsstands and subscriber mailboxes. On the cover is a mixed-media work by Emma Woffenden, an artist who is currently serving as the artistic director of North Lands Creative Glass in northeast Scotland. In a wide-ranging interview with artist and Alfred assistant professor Karen Donnellan, Woffenden discusses her complex relationship to glass, a material in which she is highly trained but which she approaches with restraint. Her often-visceral multimedia works investigate the subconscious in installations that veer between figurative and abstract — and often deal with power dynamics. Woffenden is especially fond of deploying contrasting materials for heightened effects, and freely pairs glass with materials as diverse as jesmonite, polystyrene and even bandages. In addition to her successful fine art career, she is also a sought-after designer, and her collaboration with Dutch-born, London-based industrail designer Tord Boontje on a line of repurposed wine bottles is in the collection of the Museum of Modern Art.
Black Friday Sale: New or existing subscribers can give the gift of GLASS for only $17 (for U.S. subscriptions only). That's half off the regular subscription price of $34. You must be a subscriber to take advantage of this very special offer. Don't subscribe yet? New subscribers can sign up AND give a gift subscription to someone who loves glass for only $51.
Nina Westman’s newest installation in The Glass Factory in Boda Glasbruk, Sweden, pays tribute to two-time Nobel Prize winning physicist Marie Curie. Entitled “Je T’aime Marie - I Love You Marie,” Westman’s work encompases an entire room, filling it with sixty pieces made from uranium glass to create a dream-like vision of a radioactive laboratory. The effect of the luminous glass is intensified by the room’s lack of abundant light typically seen in exhibition spaces, instead only utilizing a hint of black light to aid the illuminative aspects of the glass itself. Westman spoke of her work as well as her admiration of Marie Curie in a telephone interview with the GLASS Quarterly Hot Sheet.
GLASS Quarterly Hot Sheet: What are you working on?
Scott Chaseling: As artist-in-residence for the last three months at the glass program at Southern Illinois University, I've dedicated time into research about being an artist who creates while in transit: looking at contemporary nomadism and its effects on the making of artworks via new geographical, political, and aesthetic influences without cultural pillaging. My sculptures, digital prints and drawings are situation-specific, that is to say, the current position I'm in denotes the techniques applied. Through its glass program, the residency at SIU offers the studio space, great facilities, and an abundance of time to work.