While the Chrysler Museum is on schedule to reopen in April 2014, after a major renovation and reconfiguration of its main building, its glass studio next door remains very much open for business. In fact, it has only intensified its work to expand the definition of glass art through performance art, collaborations with theater and musical troupes, and a general embrace of new approaches to the material. The GLASS Quarterly Hot Sheet recently spoke with Chrysler Museum of Art director of education and public programs Anne Corso and glass studio manager Charlotte Potter on what’s on tap for the glass studio this fall and winter, as its mothership remains closed for a major overhaul.
On July 7, 2013, after a two-year battle against cancer, Alice Chappell, owner of the former Chappell Gallery in Boston and Chelsea, died surrounded by family at her home in Woods Hole, Massachusetts. She operated a gallery in Boston from 1997 – 2004, and opened a New York City location in 2000, eventually focusing more on private selling. With her gallery exhibitions, appearances at art fairs, and carefully produced catalogs, Chappell worked to raise the profile of glass artists, especially from Asia and Australia.
Co-organized by the Prague Castle Administration and Museum of Decorative Arts in Prague, the prestigious 2013 Stanislav Libenský Award is now accepting applications according to an announcement by the Prague Gallery of Czech Glass. The competition is open to any graduates of BFA or MFA programs around the world who have used glass in their final thesis projects.
The jury consists of several experts in contemporary glass. The jurors include Sven Hauschke, the director of the European Museum of Modern Glass in Coburg, Germany and the curator of the art collections at Veste Coburg; Douglas Heller, the owner of Heller Gallery in New York, New York; Milan Hlave?, Ph.D., an art historian, curator, and the head of the glass, ceramics, and porcelain collections in the Museum of Decorative Arts in Prague; Martin Janecký, a Czech glass artist and educator active mainly in the U.S.; Sylva Petrová, an emeritus professor of the University of Sunderland in the UK; and Angela vander Burght, a Dutch writer, independent curator, and consultant who specializes in glass.
UrbanGlass, the Brooklyn-based nonprofit that publishes the GLASS Quarterly Hot Sheet as well as the print edition of GLASS, announced today that it will host an academic symposium on December 6th and 7th, 2013, entitled “Issues in Glass Pedagogy.” The two-day event will bring together department heads, faculty members, instructors, and students to share best practices and discuss all aspects of glass instruction. While designed for glass educators at degree-granting institutions, the symposium is open to anyone engaged in or curious about the teaching of art-making using glass. The conference keynote presentation will be made by Jack Wax, a professor in the Craft/Material Studies Department at The Virginia Commonwealth University School of the Arts, who will deliver a paper with the provocative title of ““Loud, Hyperbolic, and Self-Branding: How glass departments can redefine and reposition themselves in university art curriculums.” Ruth King, former artistic director of Pilchuck Glass School is a featured presenter, and will deliver a lecture entitled ““You Have to Get Out of It to Get Into It: How university glass programs can balance glass craft with issues in contemporary art.” Both Wax and King will participate in a panel discussion, joined by artist Dan Clayman and moderated by GLASS magazine editor and Robert M. Minkoff Foundation director Andrew Page, on the topic: “Does the inherently complex nature of glass process work for or against the development of a conceptual framework?”
The Edinburgh College of Art, part of the University of Edinburgh since 2011, is seeking a lecturer in glass, a part-time position that involves “a significant portion” of the program’s teaching to both undergrad and graduate students. According to the college’s Website, the glass curriculum is “student-led” and study is “based on personal areas of practice and research.” According to the official job posting, the position “will involve preparing, scheduling and delivering lectures, workshops, seminars, tutorials, overseeing course administration, and the setting and assessing of assignments.” The job is only open to those who are permitted to work in the United Kingdom. The deadline to apply is March 28, so those interested will need to act quickly.
Susan Taylor Glasgow, Restless Night, 2012. Glass/mixed media. H 8, W 15, D 15 in.
This Saturday, New York City’s Heller Gallery will host a reception to celebrate the glass slippers, lingerie, and dresses of artist Susan Taylor Glasgow, as part of the opening of her exhibition “Couture du Verre.” Works such as the contemporary strapless heel of Glasglow’s Restless Night (2012), a piece that rests on a pillow of glass framed in lace, might draw curious fashion world attendees in town for Mercedes-Benz Fashion Week. But here, the aesthetic is prioritized over the functional or purely decorative, and art collectors will likely outnumber the sparkling fashion demimonde who will be out in force during the late-afternoon opening.
Virginia Commonwealth University professor Bohyun Yoon and musical performer Kishi Bashi will collaborate during the inaugural “Glass Theater” using glass instruments, vocals, and feedback loops .
This evening at 7 PM (EST), the glass studio at the Chrysler Museum of Art in Norfolk, Virginia, will be the setting of an ambitious program to cultivate performance art using glass. The event, entitled “Phantom,” is part of the studio’s regular third Wednesday series of events open to the public, but it is also, more significantly, part of an ongoing project titled “Glass Theater.” Co-curated by artist and Chrysler glass studio manager Charlotte Potter and artist Kim Harty (the former managing editor of GLASS: The UrbanGlass Art Quarterly), the “Glass Theater is a theatrical space for invention, discovery and experimentation,” according to the project Website. While taking place at a glass studio, the event is clearly aimed at breaking down boundaries between materials, and includes sound artists, musical performers, writers, and photographers, to name just a few of those participating in the first event. Also from the Website: “The Glass Theater fosters interdisciplinary collaboration and aims to break down boundaries between craft, performance and critical discourse.” While all about breaking out of boxes, the organizers do state that participating artists will be “informed by hot glass” in some manner.
UPDATED 01/05/13 The cancellation late Thursday of the Glass Art Society conference planned to take place in Boston in June 2013 isn’t the first time the decision has been made to scrap years of planning. In 2010, the conference in Tucson, Arizona suffered a similar fate, ending in a mad dash to relocate the event to another venue. But the decision to cancel the Boston event was announced a scant six months before it was due to take place, making it impossible to move it elsewhere. This means that 2013 will be the first year since 1971 that glass practitioners will not gather to exchange technical information in demonstrations and lectures, honor their colleagues’ accomplishments with awards ceremonies, fund raise, and socialize. And so, the thousands of hours of work by the four conference co-chairs Beth Ann Gerstein (Society of Arts and Crafts), Peter Houk (MIT Glass Lab), James McLeod (Massachusetts College of Art and Design), and Wayne Strattman (Strattman Design); thirteen GAS board members; four full-time GAS staff members; and 80 local volunteers in Boston will not come to fruition. The official notice was delivered in a letter signed by GAS board president Jutta-Annette Page, who cited “unforseen problems” as well as the inability “to secure suitable venues and indispensable funding necessary for the conference’s success.” The limited fundraising, impenetrable Boston bureaucracy, and troubles communicating with the administration of Massachusetts College of Art and Design are emerging as key factors in the demise of a 2013 conference.
Danish artist Steffen Dam unveiled his new work entitled Flower Block, the 2012 Rakow Commission, at the Corning Seminar, which just wrapped up last weekend. It is made up of 24 of Dam’s signature abstract marine figures encased in glass.
During its 2012 annual seminar of glass, The Corning Museum of Glass unveiled the 27th Rakow Commission, an ongoing program to support new investigations in glass art. Steffen Dam of Ebeltoft, Denmark created a monumental work of 24 of his signature abstract marine elements, which he has discovered through experimentation with the reaction between metals and chemicals and glass. Dam is inspired by his grandfathers biology library. The new work measures 11-inches-tall by 23-inches-wide, and is titled simply Flower Block.