A mix of artists, designers, and new-technology innovators have been invited to travel to the remote Stanwood, Washington, campus of Pilchuck this summer as part of the glass school's annual artists-in-residence program. These residents will explore how glass might dovetail with their own artistic vision, and will be assisted by highly-skilled glass gaffers. In the process, their presence is designed to act as a creative catalyst for the unique mix of students who come together each summer, drawn by this legendary school's unique approach to exploring expression and artistic exchange through the material of glass. Since being named permanent artistic director of the program in 2013, visual artist and educator Tina Aufiero has designed each summer's program, and she selected this year's artists in residence and instructors. (For an in-depth profile of Aufiero, see the Winter 2016-17 edition of GLASS (#145).)
The recent passing of Klaus Moje (1936 - 2016), who died at the age of 79 on September 24, 2016, after a protracted illness, has unleashed a global outpouring of grief and appreciation. Honored for his disciplined approach to technique and visionary work taking kiln-forming into the fine-art realm, Moje's impact on the glass art field is immeasurable. Celebrated as an artist, Moje was also hugely influential as an educator, and created the glass program at the Canberra School of Art, which has since been incorporated into the Australian National University's College of Arts and Social Sciences. Consciously not opening with a hot glass furnace, Moje designed the program in 1982 with a radically different approach than most glass education facilities in the world. In honor of Moje's legacy, the GLASS Quarterly Hot Sheet is republishing an article from the Spring 2005 print edition (GLASS #98) that provides unique insight into the founding of the Canberra program. In the article below, Moje shares his singular perspective on not just education but what it takes to become an artist.
The Toyama City Institute of Glass Art in Japan is accepting applications for its annual 6-week artist-in-residence program that will take place from October 20 through November 30, 2016. The application materials state the residency will go to a glass artist "who has potential to stimulate the glass art scene in Toyama by his/her works, regardless of age, gender and techniques he/she utilizes." The successful applicant will have access to a full suite of facilities to create his or her own work in a supportive and enthusiastic environment. The work made by the resident artist will receive a solo exhibition. Along with creating, the artist is expected to participate in lectures and demonstrations, and to interact and share his or her knowledge and experience with the many students and fellow artists on campus.
If there were a skills test in glassblowing, the ultimate exam would probably be flawlessly executing a 17th- or 18th-century Venetian goblet. In Venice, those that reach the pinnacle of skill in this form (and who have achieved full technical knowledge about glassblowing) are recognized with the title “Maestro,” but, here in the U.S., the highest award is when a member of the small pantheon of American glassblowers such as a James Mongrain would be impressed enough with your finished “cup” to say “Hey! You’re really good!”
This May, The Studio at The Corning Museum of Glass (CMoG) will celebrate its 20th birthday. Founded in 1996, The Studio plans to highlight the milestone with a slate of special events including an exhibition, an online commemoration, and an open house. Entitled "Celebrating 20 Years of The Studio," a special exhibition will take place on the West Bridge of the museum, and will feature the work of artists who have taught classes or held a residency at the Studio over the past two decades. Meanwhile, inside The Studio, a display will showcase work created by artists who taught at the first-ever summer session in 1996. The celebration will culminate in an open house on May 26, featuring a giant glass cupcake create by John Miller. CMoG’s 2300° live glass blowing event and the ribbon cutting for the seventh annual GlassFest will also mark the anniversary.
James "Jim" Norton, who died unexpectedly on January 28, 2016, at the age of 58, was born and raised in Calgary, Alberta, where he studied art and glassblowing, and where he built his career as a glassblower and educator. After studying at the Alberta College of Art + Design (ACAD) in Calgary, and the Pilchuk Glass School in Stanwood, Washington, he worked as a glassblowing instructor at ACAD ifrom 1986 until 2014. Norton also led summer workshops at Red Deer College from 1986 until 2005. When not teaching, he could usually be found working in the studio. He assisted in developing Skookum Glass in the 1980s, and opened the Double Struggle Studio in 1985 with Marty Kaufman and continued running the studio with Barry Fairbairn.
After four years as director of education for the American Craft Council, Perry Price is departing from the Minneapolis-based non-profit to take over as executive director of the Houston Center for Contemporary Craft. In his new role running the 15-year-old nonprofit visual arts center with a mission of advancing "education about the process, product and history of craft," Price is charged with growing the Texas craft center into an organization with a national profile. He is slated to start in the new position on February 29, 2016.
The Toyoma City Insitute of Glass Art, which has been offering 2-year certificate programs in glass at the basic and advanced levels since 1991, is looking for a professor or associate professor of coldwork for a two-year contract, which may be renewed. The Ideal candidate will have a fine art degree in glass, experience as an artist or in higher-education, and bring at least 10 years of coldworking experience. Applications must be received by January 29, 2016. The position begins on September 1, 2016.
Even before construction of the new nanotechnology lab at MIT has been completed, the facility is already yielding unexpected discoveries. Workers digging into the campus near Building 26 unearthed a sealed glass time capsule that had been buried in 1957 by students and their famous MIT professor Harold Edgerton (1903 – 1990), best known for his strobe photography that froze splashing liquid or the impact of bullets and explosions. The flameworked capsule stuffed with paper and scientific samples bears clear instructions not to open until 2957, or 1,000 years from its time of burial. In an official MIT video, director of collections Deborah Douglas talked about what remains enclosed in the sealed capsule. Whether it will be opened or not is unclear from the video.
UPDATED: November 12, 2015 Of all the cities I've visited, New Orleans is the most human — the most alive. The city of New Orleans is a lot like a person, someone who is full of life, yet who has suffered and survived. A person with a story to tell, which undoubtedly begins and ends with an obstacle that has been overcome. Driving up to the YaYa Arts Center in Central City New Orleans, I was taken aback by how “new” the architecture of the buildings appeared. Construction had just been completed, and the shiny new center is surrounded by other new infrastructure, which, explained Lesley McBride, YaYa’s events and special projects manager, is the result of economic growth of the Central City neighborhood where the new YaYa is located.