Sunday May 22, 2016 | by Andrew Page

HOT OFF THE PRESSES: GLASS #143, Summer 2016

The Summer 2016 edition of GLASS: The UrbanGlass Art Quarterly (#143) is hitting newsstands and subscriber mailboxes next week. It comes bundled with the just-published 2016 edition of New Glass Review (#37), a special subscriber bonus at no additonal charge (the special GLASS plus New Glass Review bundle is also available at select newsstands, but at a higher cover price). Gracing the cover of the new edition of GLASS is a striking work by hot sculptor Martin Janecky, who has built on the advances of William Morris and his collaborative team, and added his own techniques to take three-dimensional glass into portraiture, with new levels of detail and precision. Students flock to Janecky’s classes, awed by his ability to sculpt full-scale human busts in real time, statues emerging magically while the glass is still hot on the pipe. Contributing editor John Drury experiences the magic by sitting for a portrait by the rising Czech star as part of his research for this article, which examines how Janecky is moving into more complex rendering of human form while developing a rationale for his highly realistic approach.

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A flame shop demo during a recent Open House at UrbanGlass.

Thursday May 19, 2016 | by Andrew Page

HELP WANTED: UrbanGlass seeks full-time educational coordinator

Filed under: Announcements, Help Wanted

UrbanGlass, the Brooklyn, New York, non-profit art center that publishes the GLASS Quarterly Hot Sheet, is seeking a full-time education coordinator, who will be responsible for the day-to-day logistics of  workshop, youth, and university programs. The new position has been created in response to the growth of education programs since the 2013 renovation of the facilities at UrbanGlass, and more than 1,200 students took some type of class in 2015. The successful applicant will work in close coordination with the director of education and educational assistant on the organization, procurement, and inventory of materials, tools, studios, and equipment for classes. Other duties include a role in the planning for upkeep and improvement of the facilities and equipment. In addition, the new hire will be responsible for staffing events and programs as well as managing the payroll of teachers, assistants, and techs. 

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William Gudenrath, Amy Schwartz, and David Whitehouse at the opening of the Studio at The Corning Museum of Glass in 1996.

Wednesday May 18, 2016 | by Andrew Page

Looking Back: Amy Schwartz on the Corning Studio as the program she helped build turns 20

In 1995, a pregnant Amy Schwartz and her husband, William Gudenrath, relocated to Corning, New York, at the invitation of museum director David Whitehouse (1941-2013) to begin the planning for The Studio at The Corning Museum of Glass, a new initiative that would redefine and expand the museum's role as a place where glass was not only studied and exhibited but also made and taught. To take their new positions as studio director and resident advisor, respectively, Schwartz and Gudenrath were both leaving jobs in New York City — she managed the computer system of a law firm on Wall Street and he was a longtime instructor at UrbanGlass (and one of the first to join its precursor, The New York Experimental Glass Workshop). The Studio at Corning opened its doors in 1996 with a block party that included an ice cream truck and guests such as gallerist Doug Heller and artist Paul Stankard. The couple's newborn daughter, Sophia, also attended the Studio's opening on May 26, 1996, taking it all in from a stroller. Twenty years later, as the studio has hosted hundreds of instructors and artists in residence, as well hundreds of thousands of museum visitors making their own glass, the GLASS Quarterly Hot Sheet spoke with the Studio's director about the highlights of the past two decades.

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Beccy Feather, Candlelooper, 2016. Flame worked glass. H 21, W 30, D 14 in. Auction estimate: $1,800.

Tuesday May 17, 2016 | by Andrew Page

Upcoming UrbanGlass Gala and Auction supports multiple programs including what you are reading now

The funds raised through the upcoming 2016 UrbanGlass Gala on the evening of May 24th, as well as proceeds from its now-live online auction, will go toward supporting the Brooklyn, New York-based art center's multiple programs, which include publishing the GLASS Quarterly Hot Sheet blog and GLASS: The UrbanGlass Art Quarterly, archived by libraries around the world as the magazine of record for the glass-art field. The fundraising auction and gala are key to maintaining the nonprofit's state-of-the-art 17,000-square-feet of artist studios — including an expansive hot shop, cold shop, kiln room, flameworking shop, mold room, and flat-working area, which are a vital resource to artists, and help make glass an active part of the contemporary art dialogue in the world capital of culture New York City.

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This ensemble by Tsuga Studios was designed and blown by Nick Kekic, whose father, Thomas Kekic, helped build the first glass studio and program for R.I.T. in Rochester, New York.

Monday May 16, 2016 | by Andrew Page

OPENING: Group exhibition by Vermont Glass Guild members opens Saturday

From May 21st, Vermont Glass Guild members will display their work at an exhibitiion entitled "Modern Alchemy: The Art of Glass," on view at the Southern Vermont Arts Center in Manchester, Vermont, though July 12, 2016. Though the association of Vermont and glass might bring to mind Simon Pearce's successful artisinal glass- and ceramic-design business operating out of a historic mill in Queechee, Vermont, the fact is that independent studios can be found throughout the "Green Mountain State." Established in 2010, the Vermont Glass Guild seeks to bring together these often far-flung members working in all forms of glass for "mutual support and enrichment."

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Friday May 13, 2016 | by Andrew Page

Citing overcapacity and new regulations, Spectrum Glass to close; future of product lines unclear

Filed under: Announcements, News

Spectrum Glass, a leading supplier of art glass materials including its System 96 family of products that includes compatible sheet glass and cullet for furnaces, shocked the glass world on Wednesday, May 11th, with its announcement it has begun an appoximately two-month process of closing its operations. For four decades, the Woodinville, Washington, company has been a major supplier of materials for stained glass and fusing projects, and also offered a popular line of premelted cullet used by many studios to speed the time for charging furnaces while also offering compatibility with the company's extensive line of sheet glass. In its communication to customers, Spectrum cited the twin factors of overcapacity and a more complex regulatory climate for glass producers as the reasons for this decision. The announcement cited the dramatic sales decline that followed the economic recession in the late 2000s, and now estimates that the company is operating at only 40 percent of capacity. "Our consistently reduced levels of sales simply cannot cover the fixed costs required to operate a facility of our size," reads the official announcement posted on the company hompage.

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Lino Tagliapietra, Alhambra, 2016. Aventurine glass. H 20 1/4, W 12 1/2, D 7 3/4 in. courtesy: schantz galleries

Thursday May 12, 2016 | by Andrew Page

OPENING: On Saturday, Lino Tagliapietra to attend Boston exhibition of new aventurine work

On May 14th, Lino Tagliapietra will make a personal appearance at a pop-up exhibition in Boston for an afternoon reception hosted by Schantz Galleries. Titled "A Golden Age of Glass," the Schantz exhibit will feature a new series of work by the maestro in "avventurine" glass. Also known as "Goldstone glass," this is a unique type of glittering glass studded with bits of copper or gold mineral that shares its name with a variety of quartz with mineral inclusions. Aventurine glass dates back to at least 17th-century (Corning says 15th-century) Venice, and requires low-oxygen conditions during melting, as well as a strategic lowering of temperature at a key phase of the process for the metal inclusions to properly form. It is one of the hardest types of glass to work with from the furnace, with failure a constant risk given the complexity of the precise temperature changes required. Annealing is another hazardous aspect of this unforgiving material.

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The "Oled Moon Chandelier" by Dominic Harris & Cinimod Studio places OLED panels inside a polished acrylic sphere, and is featured on the OLEDWorks Website.

Wednesday May 11, 2016 | by Andrew Page

CALL FOR ENTRIES: Design competition offers $10,000 award for OLED “Lighting without a Bulb” contest

Lesser known than their more commercially developed LED counterparts, OLEDs generate broad-spectrum light that is far closer to the light cast by incandescent light bulbs than the harsh whiteness associated with LEDs. An OLED is a sandwich made up of an organic material layered between two electrodes, and these layers are deposited (they can be printed with an ink-ket) onto a transparent substrate. The many advantages of OLED technology — better quality of light, potentially lower cost than LED if mass produced, cool temperatures, higher response times if used for displays versus backlit LCD screens — must be balanced against the comparatively shorter lifespan and changing color balance over time, problems that are being addressed by researchers. Advances in OLED engineering hold great potential for the technology not only for touch-screens (where they are already being used in some smartphones), but for ambient lighting as well. A new design competition co-sponsored by Corning Inc. and the OLEDWorks company, is seeking innovative lighting designs incorporating today's OLED technology, and is offering $10,000 cash awards as well as opportunities to develop prototypes for winning ideas.

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Curator and artist Yuka Otani

Tuesday May 10, 2016 | by Andrew Page

A conversation with artist/curator Yuka Otani about her plans for the “Emancipation” of glass art

Yuka Otani wants to challenge the current classification and labelling of "glass art," and she is doing so with an independent exhibition entitled "Emancipation: how to make a work of glass that isn't glass" taking place during the upcoming Glass Art Society conference in Corning, New York (June 9 - 11, 2016). Otani, who holds an MFA from the Rhode Island School of Design (2008) and a BFA from Tama Art University in Tokyo (2000), has organized provocative exhibitions before. In 2009, concurrent with an earlier GAS conference at Corning, she and co-curator Anjali Srinivasan organized a group exhibition entitled "How is This Glass" in multiple venues. In 2010, Otani and Srinivasan also put together a "Post-Glass Video Festival" that was screened at Heller Gallery and other venues. But her latest project is unique in its break with the material of glass itself — none of the work actually includes glass but Otani feels embraces it as a quality or metaphor. The GLASS Quarterly Hot Sheet recently had the opportunity to explore the ideas behind "Emancipation" in a conversation with Otani to better understand the concepts fueling the project. —AP

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Tuesday May 10, 2016 | by Andrew Page

OPENING: Amsterdam student and faculty exhibition a bid to claim glass as a conceptual art material

The glass department at a top European art academy is framing an upcoming exhibition as a bid to present glass art squarely in conceptual territory. Student and faculty of the Gerrit Rietveld Academie's glass department will show new work at an exhibition taking place at the Arti et Amicitae, a historic artists' society in Amsterdam. With an opening reception on Friday, May 20th, from 8 PM to 10 PM, the exhibition organized by department head Jens Pfeifer seeks to "discover and research the possibilities of both immaterial and conceptual attributes of glass within the realm of contemporary art."

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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.