Opening Thursday, September 1st, and running through the 2nd of October, a new exhibition at Seattle's Vetri Gallery showcases Michael Schunke's solo goblets. Entitled "Time Well Spent: A Show of Goblets," the exhibit features over 100 of the artist's exquisitely crafted goblets and represents the first time in over a decade that the gallery will devote its showroom solely to the art of goblet making, "Time Well Spent" demonstrates how far Schunke's capable hands take the form not just as remaking historic forms, but as a form of individual expression. Internationally known for his mastery of the material, Schunke's goblets demonstrate both his dedication to the practice of making and his sophisticated eye for contemporary design.
Judith Schaechter, who employs the radiance of stained glass to present human figures arranged against lushly patterned color fields in poses of transcendence or anguish, will open a solo exhibition at Claire Oliver Gallery in the Chelsea area of New York City on September 8th, 2016. Entitled "The Life Ecstatic" the exhibition does not present radical shifts in Schaechter's approach as did her previous exhibition "Dark Matter," which saw a foray into three-dimensional sculpture, or her preceding site-specific architectural installation at the Eastern State Penitentary in Philadelphia, where she installed her works in narrow prison-cell windows. Instead, the upcoming exhibition, which runs through October 15, 2016, represents a return to her career-long project of updating the Gothic tradition of stained glass to plumb the intersection of spiritual longing and psychological torment from a contemporary perspective. Evident in the latest work is how her meticulous craft and expanding ability to render complex narrative works continues evolving in her most intricate and nuanced works to date. The GLASS Quarterly Hot Sheet recently caught up with Schaechter for an email interview about her upcoming exhibition.
A sizable sampling of the holdings of the Gemeentemuseum Den Haag’s two-millennia-spanning glass collection will be showcased in "Look! Glass," an exhibit of 400 glass objects from across history. A single, long table will tell the history of the drinking glass through some 200 objects, from Ancient Roman glass to contemporary vessels. The massive survey will be complemented by a selection of contemporary Dutch glass, a gallery of works by Italian glass maestro Lino Tagliapietra, and a display comparing and contrasting the forms across time.
The Fall 2016 edition of GLASS: The UrbanGlass Art Quarterly (#144) is hitting newsstands and subscriber mailboxes next week. On the cover is a work by Christina Bothwell who creates sculptural vignettes using cast glass and ceramic elements. In Bothwell's hands, the smooth, shiny aspects of glass are hidden by pocked surfaces or rubbing with oil paints to further dull the finishes. Undimmed is the ability of glass to capture and transmit light, creating a glowing effect that effective serves the work's central themes of transformation, dreams, and the passage of time.
As part of the The European Glass Context 2016 exhibition, a biennial showcase of European glass and ceramics, The Royal Danish Academy, School of Design Bornholm has selected American artist Aric Snee for a six-week artist residency at The Royal Danish Academy of Fine Arts program in glass at KADK Bornholm. As social media opens a window of opportunity for artists and designers to crowd-source funding, Snee is taking a novel approach, eschewing sites like Kickstarter and Indiegogo, instead reaching out to his followers on Instagram to auction a selection of his latest work “Orbit Vases.” Snee, who has extensive glass-factory experience dating from his tenure at Simon Pearce and Steuben Glass Works, transitioned into academia with an MFA from Alfred University in 2012, putting an emphasis on sculpture/dimensional studies. During his upcoming residency in Denmark, Snee plans to plot new designs to produce himself. At the same time, he wants to develop designs to be manufactured by a third party. Ultimately, he wants to continue investigating how a prototype is essentially the "embodiment of idea," dependent of the context where the work is seen. In other words, if context changes, the meaning of the work changes. Snee, currently a gaffer for The Corning Museum of Glass and a product designer for the Danish glassware brand Holmegaard, recently answered questions from the GLASS Quarterly Hot Sheet about his fundraising effort via an email exchange.
Brooklyn-based artist Thaddeus Wolf has just been named the recipient of The Corning Museum of Glass’ 2016 Rakow Commission. Awarded annually to an emerging artist whose work has yet to be represented in the premier glass museum’s collection, the $25,000 award is designed to encourage “emerging or established artists to venture into new areas that they might otherwise be unable to explore because of financial limitations,” according to the official commission announcement. Wolfe's geometrically intricate mold-blown vessels will present many technical obstacles as he expands in scale. The choice of Wolfe for this honor provides some insight into the sensibilities of newly installed curator of modern and contemporary glass Susie Silbert, who has taken over this prominent role from recently-retired predecessor Tina Oldknow.
Despite a 45-year career spent creating pieces and installations around the world, it was only May 2016 that Swiss artist Not Vital opened his first U.K. exhibition. On view at the Yorkshire Sculpture Park through January 2, 2017, the large-scale solo show combines several new works designed specifically for the site with a collection of the artists's older pieces. Born in Sent, a small village in the Swiss Alps, Not Vital grew up in an isolated landscape. Since his childhood, however, he has travelled widely, producing and leaving site-specific installations in the Philippines, China, Indonesia, Brazil, and Patagonia. Both Not Vital's isolated upbringing and subsequent international career are reflected in the pre-occupation with landscape articulated in many of his works. Using glass and highly polished, chased stainless steel, the artist inexorably links his sculptures and paintings both to the Swiss landscapes that he occupied as a child, and the international landscape that he occupies as an artist.
Reprising its 2012 performance at the International Festival of Glass in Stourbridge, England, the collaborative multi-media group Torcher Chamber Arkestra that combines flameworked glass, fire, and percussion-heavy musical performance is being brought back to England for another audience-interactive, glass-centric appearance. On September 2nd and 3rd, 2016, the Birmingham arts center known as mac birmingham will be filled with the sights, sounds, and spectacle that is an Arkestra performance in an event put on by Craftspace Curates, a craft-development organization that works "to push boundaries and perceptions of crafts practice, presentation and learning" through programmes of touring exhibitions, research, and participatory projects. "Pushing boundaries" is certainly something that the Arkestra, currently featuring artist Carrie Fertig, composer Alistair MacDonald, and percussionist Stu Brown, is intimately familiar with. Best described as an interdisciplinary collaborative performance group, the Arkestra defies traditional categorization by merging craft production, performance, and audience participation to create musical soundscapes produced through the manipulation of glass.
North Carolina has multiple connections to glass art, from the remarkable residencies and classes at Penland to the glass supplier Spruce Pine Batch, run by the son of Studio Glass pioneer Harvey Littleton, who relocated to the state in 1977. Now the city of Asheville, North Carolina, which the state art council cites as home to "the third-largest number of craft artists in the United States," will get a boost for glass artists with the recently formed North Carolina Glass Center, a nonprofit art center gearing up to move into a brand-new facility in spring of 2017. NCGC will occupy state-of-the-art studios at River Arts Makers Place (known as RAMP), a multi-use 50,000-square-foot facility that will house facilities from a variety of institutions, including the University of North Carolina Asheville. The new glass center aims to offer studio rentals, glass classes and workshops, as well as gallery space. But even before the new building comes online next year, the new nonprofit is already in business, having purchased the assets of the privately-held Asheville Glass Center as of June 1, 2016. NCGC's executive director Kari Rinn, formerly the director of creative arts at Haywood Community College, told the GLASS Quarterly Hot Sheet that the nonprofit plans to vastly expand the glass education programs while keeping the public access that Asheville Glass Center offered.
North Lands Creative Glass, located on the rugged Northeast coast of Scotland, has filled its newly-created position of chief executive, hiring the executive director of RUA RED, a multi-faceted contemporary arts center in Dublin, Ireland. Karen Phillips will leave behind the Irish nonprofit that provided artist studios, art galleries, performance spaces and workshop facilities, to take the helm at North Lands on August 24th, 2016. In partnership with the artistic director, Phillips will be charged with building "upon North Lands reputation as an international centre for creative glass as well as a vital community facility for the people of Lybster and Caithness," according to a statement from Eleanor Hargrave, North Lands marketing officer, issued in response to a query from the GLASS Quarterly Hot Sheet. "This should build on existing activities and relationships and integrate and develop new ones," according to the statement. Phillips will have a new artistic director to work with this fall, as Emma Woffenden's three-year term in that role will end, and artist and educator Jeffrey Sarmiento will take over starting on October 1st, 2016.