The Winter Garden at Brookfield Place (formerly the World Financial Center) is the site for a recently unveiled installation by renowned Thai artist Pinaree Sanpitak. A leading artist from Thailand, and enjoying an international reputation, Sanpitak was already an established multidisciplinary artist when she became intrigued by glass on a 2008 trip to Murano, Italy, where she collaborated with Italian masters to create several glass sculptures, She continued to work with the material, including during a 2014 visiting artist residency at the Toledo Museum of Art. Her most recent achievement in glass is on display at one of the busiest public spaces in New York City.
The Pittsburgh Glass Center is accepting applications for the full-time position of Development Manager. The nonprofit art center includes a public-access glass studio, visiting artist residencies, an education program, and ambitious exhibitions. This brand new position has been created to support the glass center's expansion. The center has come to grow and develop its individual giving, corporate sponsorship, and new foundation support. As part of the job, the development manager will be responsible for a number of tasks that uphold fundraising. These tasks include, "researching new foundation prospects, grant writing, funder reports, individual donor research, cultivation, and tracking, corporate sponsorship and other administrative duties".
In her tenure as director of marketing and communications at the Pilchuck Glass School, Diane Wright became enamored of the little-known print collection in the school's archive of work made through the glass plate printing process known as vitreography. These are works in paper that are printed using a cold-worked sheet of glass as the plate, offering a number of advantages over a metal plate, including that it can be laid over the paper it will eventually be printed on during its creation, and it doesn't break down during repeat uses. Since she was appointed curator of glass at the Chrysler Museum of Art in December 2013, Wright had been looking forward to giving a platform to highlight this less well-known artform. "I wanted to be able to show them here in an environment where we have a strong focus on glass, but we also show a lot of other work," Wright said in a telephone interview with the GLASS Quarterly Hot Sheet. "There's this wonderful marriage between 2-D work that uses glass as a printing matrix and it also illustrates an interesting range of artists who who have worked at Pilchuck."
Sibylle Peretti a German-born artist who renders nature-inspired dreamscape will unveil a new body of work at her upcoming exhibition entitled "It Was Such a Beautiful Promise," where she explores a world of complex relationships and issues of survival. Exhibiting at Callan Contemporary in New Orleans from May 4 to June 25, 2017, Peretti’s glass panels are a continuation of her previous work, The Land Behind, where she explored the effects imagination has on creating space. Compared to her earlier work, which exhibits similar themes, the glass artist evolves her use of external symbols, (i.e., bees, vegetation, and crystals) to a different found object: pearls.
San Francisco-based glass sculptor and designer Nikolas Weinstein is not completely comfortable with any of those terms. At least he said as much in a feature article in the Spring 2011 edition of the print magazine (GLASS #122). Weinstein's singular focus is to create large-scale, unorthodox glass sculptures that exist in conversation with the architectural spaces that house them. They also happen to do things you might never have imagined glass can do. Just before Christmas 2016, Weinstein and his team installed their largest and most complex sculpture yet in the lobby of a Jakarta, Indonesia, office building. Weinstein had been asked by the developers of the Noble House, a premier office tower in downtown Jakarta, to design something that would set their new building apart, and the results didn't disappoint.
From May 25th through 28th, 2017, the Glass Art Association of Canada will hold its member conference, this time with the theme of "Re:DO." The concept is to urge artists to "re:think, re:inspire and re:connect" with both their peers and glass art, according to the event website. The keynote speaker will be Canadian-born artist and educator Katherine Gray, who teaches at California State University, San Bernardino. The theme of "re:connect" will be especially apt because this will be the first time the organization has convened its full membership since 2010. The planned 2013 event, which would have taken place in Calgary, Alberta, had to be canceled because of low projected attendance by the organizers, who cited financial struggles of glass artist members.
Tea and the ceremonies it inspires have brought people people together across centuries and across continents. People have gathered, celebrated, and connected as they share the product of hot water and tea leaves that is steeped in teapots, a simple device that has brought people together and inspired complex traditions. For over a decade, Morgan Contemporary Glass Gallery, has organized their annual teapot invitational, which is a multi-media celebration of the time-honored vessel, as well as an opportunity to showcase the creativity of artists working in glass and other materials. The gallery, which was Pittsburgh's first art gallery devoted to contemporary glass, is currently exhibiting its 11th annual teapot exhibition, and features striking new ways of thinking about this vessel that can be traced back to 13th-century China.
In her 16-year-tenure at the Museum of Glass in Tacoma, Washington, Susan Warner has served as executive director, artistic director, and director of public programs. Last week, she announced she'll be leaving her current position as the institution's artistic director and major gifts officer next month to once again assume the title of "executive director" but at a very different arts organization. The Vashon Center for the Arts is located on the largest island in the Puget Sound, which sits almost midway between Tacoma and Seattle. Unlike the glass museum, the Vashon is primarily focused on performing arts, and grew out of an arts league established in 1949. It currently has a staff of eight full-time employees, offers 120 classes a year, and puts on over 40 events per year, both exhibitions in its galleries and performances in its newly built theater. The GLASS Quarterly Hot Sheet recently spoke with Susan by phone about her impressive tenure at the Museum of Glass, her reflections on how the institution has changed over the years, and the accomplishments she's most proud of.
With glass a relatively new art material (Harvey Littleton's seminal Toledo Workshop took place only in 1962), it's perhaps no surprise that the secondary market for work in glass is only now experiencing a maturation as resales pick up in volume. The value of works in glass, once mostly set in private transactions brokered by glass dealers or by appraisers documenting museum gifts, is being hammered out at public auction as an increasing supply of works at all price levels comes up for sale. As the generation that championed Studio Glass as it was ascendant in the 1980s and 1990s has reached an age where many are looking to sell or donate works, the supply of secondary works is growing, and sales are increasingly taking place in the open air of an auction with both established and new players. New York City auction houses such as Sotheby's and Bonham's organized Studio Glass sales throughout the 1990s and early-2000s, but in recent years, much of the activity has coalesced around Lambertville, New Jersey-based Rago Auctions, which studiously publishes sales prices of its glass-art auctions and provides exhaustive condition reports at all price levels.
As a special bonus, current subscribers to GLASS: The UrbanGlass Art Quarterly will once again receive the latest version of The Corning Museum of Glass's annual exhibition in print of notable new work for no extra charge. Overseen for the first time by Corning's new curator of modern glass, Susie Silbert, New Glass Review 38 will identify the 100 most important new works in glass from over 1,000 submissions from around the world. Subscriber copies will arrive in mailboxes on June 1st, 2017, poly-bagged with the extra bonus of the beautifully printed 2017 edition of New Glass Review. Newsstand copies will also include the extra bonus issue, but the retail cover price will be higher than the typical $11/copy. Subscribers, who already enjoy a discount off the cover price, pay nothing extra to receive this definitive publication that has successfully picked some of the most important new artists to emerge in its nearly two-decade run.