The exterior of the Museum of Glass in Tacoma, with its signature chimney that vents its active glass studio in its center. courtesy: museumofglass.org

Wednesday July 12, 2017 | by Sarah Thaw

Taking a page from Corning’s successful GlassFest, the Northwest glass museum launches public event

Filed under: Announcements, Events, Museums

GlassFest is the massive four-day glass art celebration that has taken the Gaffer District in Corning, New York, by storm. Although the event is sponsored and supported by the world-renowned Corning Museum of Glass, it is the business association known as the Corning Gaffer District itself which throws the event — closing its Historic Market Street off to car traffic to instead fill the space with art, food and entertainment vendors. Having completed its 8th celebration in May 2017, GlassFest has become a cherished community event celebrating glass artistry in and around the town of Corning, proving that glass can thrive outside the walls of the famed museum and setting a precedent for other cities to follow. Taking a page (and the name) from the New York event, the Museum of Glass in Tacoma will be co-hosting its first ever glass festival, Glass Fest Northwest, a free event to showcase Pacific Northwest glasswork. Taking place on Sunday, July 23rd from 12 noon to 5 PM, the event will feature over two dozen local artists and artisans who will join together with area art institutions to celebrate, display and sell artwork made from glass. There will also be live glassmaking demonstrations, food, beer and wine, music and family-oriented activities for the community to partake in.

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Alison Kinnaird, Bed of Roses II, 2015. Optical glass, wheel engraved, LED lighting with dichroic colour. H 20 W 13 D 7 in. photo: robin morton

Wednesday July 12, 2017 | by Lindsay Hargrave

OPENING: Alison Kinnaird marries tradition and innovation for exhibit at Edinburgh Fringe Festival

In a former church in the Scottish countryside just 12 miles south of Edinburgh, Alison Kinnaird works at her copper engraving wheel and plucks away on her harp. Her large-scale, figurative panel pieces as well as her traditional harp music are the artist's pursuits of forms of expression that are universal, something that can be found in the recesses of tradition as well as the cutting-edge. An upcoming exhibition in her studio will feature multiple smaller scale works as well as two installations, one of which has been touring Scotland since 2014. The exhibit, entitled "Art in Glass" will open on August 4, 2017, as a part of Edinburgh’s Festival Fringe.

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Pae White, Qwalala, 2017. Hand-cast glass, structural sealant. H 7.9, L 246, W varies. photo: Enrico Fiorese

Tuesday July 11, 2017 | by Stella Porter

Timed to the Venice Biennale, American Pae White’s project mixes architecture and glass art

Filed under: New Work, News, Public Art

American artist Pae White’s newest work, Qwalala, is at once a visceral experience of color and a carefully crafted work of architecture. The outdoor installation, measuring 246-feet-long and almost 8-feet in height, is made of thousands of glass bricks winding in a snake-like form. The public art piece was installed to coincide with the Venice Biennale, and is part of a city-wide series of outdoor exhibitions across Venice, and was commissioned by Le Stanze del Vetro (which translates into “rooms for glass” in English), where it opened on the Island of San Giorgio Maggiore.

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courtesy: karlis bogustovs

Monday July 10, 2017 | by Sarah Thaw

Themes of innovation and sustainability explored at decennial “Young Glass” juried exhibition

A lot can change in 10 years, and at the once-a-decade exhibition "Young Glass," the progression within glass art is on full display. Since it's launch in 1987 at the Glasmuseet Ebeltoft in Denmark, the competition has intended to inspire and encourage innovation in the realm of glass art. 

"Young Glass 2017" is the fourth iteration of the series, showcasing the rising generation of young glass artists. In June, works from 57 selected artists under the age of 35 went on display, where it will remain through October 29, 2017. The GLASS Quarterly Hot Sheet spoke with a participating artist, an event organizer, as well as a museum official to better understand what's changing about this important international survey exhibition of new talent in glass.

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courtesy: engravedglass.cz

Monday July 10, 2017 | by Sarah Thaw

CALL FOR APPLICATIONS: International Symposium of Engraved Glass in Kamenický Šenov

Applications are still being accepted for the 7th International Symposium of Engraved Glass in Kamenický Šenov, Czech Republic. Registration for active participation is open until July 15, 2017 for the event taking place September 11- 17, 2017 at the Kamenický Šenov Glass Museum.

The symposium's primary goal is to draw more attention to engraved glass, the historical standard for glassmaking in the town of Kamenický Šenov. Glass traditions in Czech will be the focus of the event, however, numerous artists across both Europe and the United States will be in attendance.

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Amber Cowan, Bridesmaid's Forest, 2017. Flameworked American pressed glass, mixed media. H 30 W 38 D 12 in. courtesy: the artist

Saturday July 8, 2017 | by Lindsay Hargrave

OPENING: Amber Cowan’s upcycled transformations get museum treatment at the Fuller

Amber Cowan likes to “hang out” with her figures before she assembles them. She likes to take her time and get to know the bits of cullet and used milk glass that she finds in old factory yards, thrift stores, flea markets, or is gifted by friends and strangers alike before she intuitively incorporates them into her dense floral wall pieces, or flameworks them into something else entirely before placing them. However, her current show at the Fuller Craft Museum on view through October 8, 2017, is somewhat of a departure from the monochrome, recycled assemblages with which she has made her name. Also included are a few large-scale installation pieces, still made from recycled milk glass, but involving fewer tiny details. Cowan said in a phone interview that these installations “gave me an immediacy to the material, and all the things that related to my other work, but in a more kind of quick and fun sense that wasn’t this laborious process.”

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Charlotte Potter. courtesy: Echard Wheeler

Friday July 7, 2017 | by Stella Porter

EXCLUSIVE: Charlotte Potter leaving the Chrysler to focus on family and her personal art practice

After playing a major role in bringing the 2017 Glass Art Society Conference to Norfolk, Virginia, last month, Chrysler Museum of Art Glass Studio manager and program director Charlotte Potter is heading for the exits. Potter told the GLASS Quarterly Hot Sheet that she plans to leave the job she's held since 2011 by the end of this month. Potter, whose leadership put the Chrysler Museum of Art’s Perry Glass Studio on the glass-art map, plans to move back to her home state of Vermont by the beginning of August. There she will focus on raising her newborn daughter and continue to pursue her successful art practice. Though it hasn't yet launched an official job search for Potter's replacement, the Chrysler Museum of Art is starting the process of finding a new glass studio manager and programming director to take over Potter's important role running the studio, which itself is in the process of being expanded in response to its considerable success drawing crowds and attention.

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Lino Tagliapietra. courtesy: schantz galleries

Thursday July 6, 2017 | by Lindsay Hargrave

OPENING: Lino Tagliapietra to visit Schantz Gallery exhibition on Friday, July 7

This Friday, July 7, Schantz Gallery in Stockbridge, Massachusetts will hold an opening reception to a comprehensive exhibition of Lino Tagliapietra’s work form the last 20 years or so, and the maestro himself will be in attendance. The exhibition includes approximately 30 pieces, mostly comprised of work from the past year, but also some more classic pieces, such as glass panels. “The phenomenal thing is that at 82, that Lino is still creating some of the best work of his career," art dealer Jim Schantz told GLASS Quarterly Hot Sheet in a telephone interview, adding that many of these pieces that have gone in some ways beyond what he’s done with his previous, earlier work. "He’s still raising the bar in terms of what can be done with the material.”

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courtesy: Tyler School of Art

Thursday June 29, 2017 | by Stella Porter

HELP WANTED: Tyler School of Art in Philadelphia is looking for an assistant professor of glass

The Tyler School of Art at Temple University is searching for a full-time non-tenure-track assistant professor for its glass program. Candidates with mastery of traditional and contemporary glass techniques should apply by July 12, 2017, to receive priority. The ideal applicant would be able to teach a range of courses from introductory to advanced and conduct research-based classes that are both conceptual and experimental. Applicants should also have produced work shown in national exhibitions and demonstrate a passion for teaching their skill. 

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Noel Hart, Waiting for a twenty eight parrot, 2017. Handblown glass. H 16.5, W 13 H 3 in. courtesy: the artist

Thursday June 29, 2017 | by Stella Porter

OPENING: At Tansey Santa Fe, Noel Hart takes flight in colorful new works referencing bird plumage

Noel Hart’s solo exhibition, entitled “The Rewilding,” will open at Tansey Contemporary's Santa Fe location on July 7th. The Australian artist's latest work reveals an evolution toward more transparency, a greater sheen to the glass, as well as more depth to the individual works. Inspired by his close observations of the bird life in the backyard of his home in the Australian rainforest, which is teeming with birds and is a showcase of biodiversity and species interaction.This daily intimacy with biological diversity has led to increasingly vibrant artworks. “He’s going into a more sculptural direction," said Tilly Badham, marketing director for Tansey Contemporary, in a telephone interview with the Glass Quarterly Hot Sheet. The new work also has a glassy transparent finish rather than an etched finish.” Hart, who was showing at Jane Sauer Gallery before it was purchased by Tansey four years ago, sees an increase in scale, and confident approach to color that betrays Hart's training as a painter.

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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.