The College for Creative Studies in Detroit has announced the appointment of Kim Harty to head the private college's glass program. Harty, whose title will be assistant professor in the college's craft department, will take over from Herb Babcock, who had led the glass section since 1974 until his recent retirement. Harty will be leading the glass program starting with the fall semester 2014, and will be part of a new generation of glass artists assuming academic positions in college and university art programs. She holds an MFA from the Art Institute of Chicago (2013) and a BFA from RISD (2006). Harty is currently a board member at the Glass Art Society and editor of the organization's GASNews publication. (Disclosure: Kim Harty is also the former managing editor of GLASS: The UrbanGlass Art Quarterly.)
Though not quite following the 2-year interval its name suggests (it was last held back in 2011), the 2014 Pittsburgh Biennial is an exhibition and celebration of regional artwork, and, thanks to a new program at the Pittsburgh Glass Center, it also includes fresh expressions in glass thanks to the pairing of artists who don't work in glass with skilled glass makers. In the 20 years since the biennial exhibition was launched at the Center for the Arts, it has steadily grown to become the largest showcase of contemporary art in Western Pennsylvania, and has spread out to take place at several venues in the Pittsburgh area.
UPDATED 7/21/2014 2 PM EST
Since taking over in March 2014, new Glass Art Society president Roger MacPherson has already brought his experience as a successful businessman to the artist organization, emphasizing advance planning, prioritizing key projects, and fundraising. A glass collector and amateur glass artist, MacPherson is the principal at MacPherson Construction & Design, a suburban Seattle full-service home design and building company specializing in waterfront homes. He is no stranger to the nonprofit world, with his long involvement with the Pratt Fine Arts Center, where he served as president as well as many other board roles. He is also active on the Pilchuck and Artist Trust boards.
“The pleasure of the senses comes back to me from my innocent childhood days…”, Caroline Ouellette begins to explain in her artist statement, referring to memories of her imagination and absorption in nature as a youth as her inspiration for her works in glass. A Canadian artist, Ouellette has been studying at the South Australian School of Art. She is also a graduate of Espace Verre in Montreal. Before moving to Australia for her studies, she and her husband, Patrick Primeau, owned Welmo Glass Studio in Ste-Julie, Canada.
Glass and jewelry artist Jane D’Arensbourg, known for her unique styles of wearable glass and multimedia art and sculpture, will be showcasing her work tonight at retail store and gallery “Project No. 8” at 38 Orchard Street, New York. D’Arensbourg possesses many items in her repertoire, including smaller sculptures, rings, earrings, bracelets, necklaces, and other etceteras. The exhibition will commence at 6 PM, with refreshments provided by Fung Tu restaurant.
The Association of Clay and Glass Artists of California, an organization that provides exhibition opportunities for artists working in ceramics and glass, is accepting entries to the 3rd Clay & Glass Biennial. Artists in the United States working in clay or glass are eligible to submit up to three artworks for consideration to be included in the exhibition, which will be held from January 24 through March 6, 2015 at The City of Brea Art Gallery in Orange County, California. This national competition will be juried by glass artist Mary Bayard White and ceramicist Lana Wilson, and the winner will be awarded a prize of $1,400.
Located on Brooklyn’s Red Hook waterfront, the Hot Woods Art Center will host the opening reception for a duo exhibition on July 25, featuring the glass firearms of multimedia artist Claire Lieberman. Since 1999, Lieberman has explored and subverted the functionality of form with her “Ice Gun” series. The guns, like something from an 80s sci-fi flick, are meant to be cartoonish in their design. Over the years, they have only become less and less realistic, most lacking vital components, such as bullets and triggers, that would make the firearms functional. This “purely aesthetic” effect is enhanced by the glass from which these pieces are sculpted. While some are colored, creating an almost candy like appearance, the majority are clear, as if crafted from ice.
GlassRoots, a Newark, New Jersey-based organization that prides itself on engaging at-risk youth through the art of glassmaking, has recently faced troubles of its own. In the midst of the appointment of new executive director Barbara Heisler and the introduction a several new programs, misfortune struck on June 8 in the form of an electrical fire. The fire, which sparked under the street in front of the studio, resulted in smoke damage, as well as power losses and surges that damaged essential glassblowing equipment.
Now, the non-profit organization, like the proverbial phoenix, hopes to rise from the ashes and raise funds to provide new backup and safety equipment. To facilitate this effort, they have launched an online fundraising campaign, which will be open for public contribution through September 5, 2014. Currently, they have raised $7,480, though aim to reach their goal of $15,000.
The American Craft Council, a nonprofit public educational organization that promotes the understanding and appreciation of American craft, has announced the recipients of its 2014 Awards, which includes the induction of two glass artists, William Carlson, currently an Endowed Professor at the Department of Art and Art History at the University of Miami whose works include cast glass sculpture and architectural commissions, and Philadelphia-based stained glass artist Judith Schaechter into its College of Fellows. Tina Oldknow, Curator of Modern and Contemporary Glass at the Corning Museum of Glass and former trustee of the American Craft Council, has
The Glass Art Society has announced a call for submissions for the recently created Technology Advancing Glass grant program. Generously funded by glass collectors Ted and Melissa Lagreid, the research grant of up to $5,000 will be awarded to an artist or group of artists to fund research into innovations that may benefit the glass art field. Ideas suggested on the GAS website include “new materials, production techniques, safe shipping techniques, new tools, adhesives, ways to create glass sculpture animated with electronics...”, but submissions are ultimately “limited by the imagination of [the] artists”. The