Artist Rachel Berwick, the head of the Rhode Island School of Design's glass department, will deliver the keynote lecture at the 2017 Robert M. Minkoff Foundation Academic Symposium at UrbanGlass this fall. Berwick's presentation, entitled "Alchemy: Innovation and Experimentation in Studio Practice," will lead off the third iteration of this biennial academic symposium set to take place from October 12 -14, 2017 in New York City. With the theme of "Issues in Glass Pedagogy: Curriculum and Career," the international gathering of glass educators will examine the factors that determine students' post-graduate success through a program of lectures, panel discussions, and demonstrations. Note: through May 1st, the symposium organizers are accepting proposals for presentations that address how academic curricula and programs affect career outcomes, with a special focus on best practices, statistical analyses, and case studies.
The upcoming international flameworking conference, which will run from March 24th through 26th at Salem Community College in Carney's Point, New Jersey, will be the 17th gathering of artists specializing in borosilicate glass. It will also mark a notable shift as many of the featured speakers and demonstrators are graduates of fine-art-degree programs, including the featured artist Amber Cowan. Throughout the programming of the three-day event which has recently featured highly skilled flameworkers such as Eusheen Goines (2016), Vittorio Costantini (2013), Loren Stump (2007), Cesare Toffolo (2004), a decidedly more academic tone is notable, starting with the opening-night lecture on the history of flameworking courtesy of The Corning Museum of Glass's reference librarian Beth Hylen joined by the museum's properties of glass programs supervisor Eric Goldschmidt. Featured artist Amber Cowan not only holds an MFA in glass and ceramics from Tyler School of Art of Temple University, but is also on faculty. Other presenters include Beccy Feather, Jacob Moskowitz, Zach Puchowitz, Ryan Tanner, and Kim Thomas, all of whom studied art at the university level. The GLASS Quarterly Hot Sheet checked in with conference co-chair Amy LeMaire to learn more about the lineup for the 2017 event.
In many words and pictures, Penland School of Crafts' new book, entitled Inspired: Life In Penland’s Resident Artists and Core Fellowship Programs, tells the story of this North Carolina craft center's mission and artist outcomes through the voices of its staff and 32 of the artist residents. These voices share their positive experiences during their time in residency, whether it was for 8 months or the uniquely long 3 year fellowship, and how they benefited from the institution's educational and residency programs. Over the course of 192 pages, this new coffeetable book delves into the history of Penland, first founded in the 1920s (it established its first glass program in 1965), and the core reason for its existence: to provide the perfect balance of solidarity and isolation for upmost creative growth. This hardcover book, according to Penland executive director Jean McLaughlin on page 8, "aim[s] to acknowledge the remarkable near-fifty-year history of these two programs and begin to document this history through the stories of participating artists."
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.