>Final Report by Michael Janis and Tim Tate regarding their Fulbright Specialist Program at the University Of Sunderland and the National Glass Center.
The bonds that were forged years ago when The City of Washington & Washington Glass School hosted the UK artists from Cohesion Glass Network art Artomatic’s Glass 3 event in Georgetown have been strengthened. Our connection with Washington, DC’s UK Sister City, Sunderland, the National Glass Center and the University of Sunderland; will continue throughout our careers. While our mission as Fulbright Scholars was to impart information, we leave having learned many lessons.
Our time in England began with presentations of our artwork and discussions of on new directions the glass world was embracing, such as Glass Secessionism, where artists are looking to move from the aesthetic of pure technique, materials and process and are advancing glass as a medium of sculptural expression in the narrative realm. The participants in the audiences came from the student body of the University as well as working artists from Sunderland, Newcastle, even as far away as Edinburgh, Scotland. The audience stayed long after the talk, and topics from the discussion continued to come up during our entire Fulbright program stay (and indeed, afterwards via the internet) showing the strong relevance of the concepts.
We created workshops for both the National Glass Center and Sunderland’s Creative Cohesion studio; the city’s artist incubator (that, in fact, used the Washington Glass School as its educational and business model). The City of Sunderland invited us to speak with students at a local secondary school during our stay, where we talked about careers in art.We also worked with the Leaders of the University’s Glass and Ceramics program and outlined methods we could extend the cooperative agreement that exists between Sunderland and Washington, DC.
The British tertiary arts education system is different from the US university model. Their MA program blends an MFA and BFA into a very concentrated program. The amount of expertise, materials and techniques they make available to students seems staggering. Sunderland’s may be the finest glass program in the world. With the National Glass Center, the physical space alone dwarfs any facility in the US (or even if one combined the arts centers of Pilchuck, Penland, Corning into one place). The University of Sunderland also offer a doctorate in glass, which is similar to an MFA, though the focus is research, as this is one of the primary methods for the University to receive funds. At the end of a student’s time at Sunderland University, they have a much broader base of knowledge regarding glass and its parameters. In many ways the educational system in the UK is ahead of the US, especially in how they treat glass sculpturally.
Our talks with the students included observations on the differences between the art practices of the two countries. The gallery/collector focus on technique driven vessels that drove the US Studio Glass Movement for over 40 years did not occur to the same extent in England. Instead of being gallery driven, the UK arts education sector seems to be more exhibition and grant driven. University and museum -sponsored art shows are more common as the way an artist would establish themselves. With this as their foundation, artists do not find it as necessary to focus on a single form. They are able operate with the freedom of each installation being potentially a different medium, voice, direction (though many times I would have liked to see the directions pushed much further.) In the US, with the galleries / collector based system, there exists the perception that an artist’s work be recognized for a particular form and for the work be within a series format.
The courses we held at the University included a mix of graduate and undergraduate students, and the workshops allowed and encouraged students working in different modules to interact. We found the students of the University to be some of the most engaged and accomplished students we have ever worked with. They wanted to absorb as much information as possible. Their energy was refreshing, and we added another workshop and added one talk more into the schedule.
Our final discussion was on Artist Covenant’s and how artists can create a network using social media as a way to support each other as a group. This informal talk was packed, standing room only. The artists were voracious in seeking advice on how to get their work seen and recognized. We hope we have helped energize them and perhaps rally them to work together towards their common good. The interest and respect we received from the students was over-whelming. Many of the artists have connected to us online.
We would like to thank all those who made this academic interaction possible: The Fulbright Commission, the Council for International Exchange of Scholars (CIES), The University of Sunderland and the National Glass Center, The City of Sunderland and Creative Cohesion. Each in their own way has made our visit into a life changing experience.
Our mission is to now to reflect and contemplate on not only what we have achieved, but to think of ways on how best to extend our hand and continue our symbiotic and synergistic relationship so that it will not only survive but thrive.
Lets all bridge the Atlantic for many more decades.
Tim Tate & Michael Janis,Co-Directors, Washington Glass School
UK based glass artist Jeffrey Sarmiento shows Michael Janis his artwork. I’m sure he has not yet noticed the panel I’m holding is missing yet.
Artist Jeffrey Sarmiento popped into the University of Sunderland’s Architectural Glass studio where our Fulbright workshop classes were being held with an invitation to show how he uses the National Glass Center’s waterjet to cut intricate and delicate glass elements for his artwork. Naturally, I was excited to see 1.) how the waterjet works and 2.) Jeffrey at work.
Jeffrey Sarmiento and Michael Janis
Jeffrey offered to make one of the component layers for the demo piece I was using to show how the sgraffito process can be achieved in glass, and he explained the process. We looked thru some of his images that were in the computer to save time, and selected one of his images of the nearby Tyne bridge that was part of his series “Invisible Cities“.
Using a CADD program, Jeffrey cleans up the cut-off sections and outlines areas that will be positive or negative.
Jeffrey checks on the initialization of the process. The pressurized water cuts through the glass and wood support panel. The grit overflow tub. The compressor unit located beyond the waterjet machinery. The verticals of the waterjet cut Bullseye glass panel section are 3mm (less than 1/8″) thick. Jeffrey pulls apart and assembles the positive and negative. The connector nibs are pulled off each element. The panels section loaded and fused in the kiln. The fired panel integrated into the demo piece.
Washington Glass Fulbright duo of Michael Janis & Tim Tate (plus Kay Janis as chaperone) soldiered on with dinner at the National Glass Centre, hosted by the University of Sunderland Board of Directors. The food at the dinner was a treat – my first Yorkshire Pudding. I was told that Yorkshire pudding and was told the story that the origins of the dish was to provide a cheap way to fill the diners – thus stretching a lesser amount of the more expensive ingredients as the Yorkshire pudding was traditionally served first. The dinner was nothing but elegant.
L-R Fulbright Scholar Tim Tate; Graeme Thompson, Dean of Faculty of Arts, Design and Media; Dr Kevin Petrie, Leader of Glass & Ceramics; (not shown in photo Shirley Atkinson, Deputy Vice-Chancellor; Peter Fidler CBE Vice Chancellor & Chief Executive and James Bustard, Director of the NGC).
The Yorkshire Pudding served.
L-R Cathy Barnes, Chair of the NGC Board; Kay Janis; Chris Jobe, Governor of the Board
For dessert, Tim Tate said he hoped it would be the traditional English (and to American sensibilities, questionably named) “spotted dick“. We were served a beautiful light custard filled confection that was dubbed “spotted hemorroid” as a way to keep in the spirit of the night.
Though not “lite” in the sense of calories, it was a delectable, light dessert that was served.
It was a lovely, fun evening that was filled with discussions on how we can create opportunities in both countries that would facilitate the exchange artists, ideas and ways we can strengthen the relationships we have developed. We had time for one more workshop, held at Sunderland’s not-for-profit artist center, Creative Cohesion. This was to be a much more casual workshop, more a conversation – about the differences in the perceived US and the UK approach towards art and education, the changes that social media had on the art world, how artists can survive in tough economic times, the advantages of creating artist covenants.
Anne Tye, the Creative Industries Development Manager at Sunderland City Council introduces Tim and Michael to a packed audience.
The talks were packed with artists from Sunderland, Newcastle – as far away as Edinburgh, Scotland. Tim Tate tells all.
The evening talk was the last of our scheduled Fulbright Scholar events. Our short project length had us fly out of town the next morning, heading back to Washington very early. UK Artist profiles Part 3:
Andrew Livingston
Andrew Livingston works as an artist and is also Leader of CARCuos Ceramic Arts Research Center and MA Ceramics Program Leader at the University of Sunderland, The National Glass Center, Sunderland, UK.
Andrew’s work uses a range of media which acknowledges the interface between both traditional practice and new media. His continued exploration aims to challenge and expand contemporary locations in respect of the traditional positioning of ceramics. The integration of digital media and new technologies has become central to his artwork where new media is often positioned and juxtaposed with more traditional elements.
Andrew’s Parallax View series works in creating a fresh perspective on Tullie House‘s porcelain collection and explores preconceived notions of ceramics. Surfeit 621 621 cast ceramic components, looped video, and drawings made from clay & graphite. Britannia. ceramic and glass vitrine.
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Roger Tye
Roger Tye graduated from Manchester Poly in 1975 with a BA(Hons) in 3D Design – Glass and Metal. Roger to concentrate his work on sculptural and installation pieces that integrated glass and other media. Roger is the guiding force of the new not-for-profit artist studio – Creative Cohesion, located in Sunderland. Though Roger often works in creating beautiful traditional blown glass forms, he also works with slate and cast glass.
glass and slate cast glass sheep, slate and steel
Up next posting: One more workshop video link and final thoughts on the Fulbright program. Click HERE to jump to first posting about the Sunderland trip.
Click HERE to jump to the start of the postings about some of the super-cool UK artists.
2012 London Affordable Art Fair held at London’s Battersea Park.
The first big workshop, Bas-Relief dry plaster casting at the UK’s National Glass Center had gone well (phew!) The Sunderland arts organization,CreativeCohesion, was participating in the London Affordable Art Fair and had invited Tim Tate and I to exhibit our work in the contemporary art show. Which we readily agreed. Tim, my wife Kay & I jumped on a train down to London, and joined the exhibitors at the fair that had opened a couple of days earlier.
Kay Janis watches the North Sea whizz by on the train to London. Crowd watching is part of the fun of an art fair and at London AAF it included celebrity-sightings of Johnny Depp and Joanna Lumley (Joanna looks loverly, BTW)
Tim Tate’s artwork was featured in the Creative Cohesion Booth. L-R Dinner with the Creative Cohesion artists Kay Janis, Tim Tate, Robyn Townsend, Joanne Mitchell, Roger Tye, Anne Tye
Tim Tate tuckered out on return train trip.
Our time in London was too short, soon we were back on the train to Sunderland, and preparing for my multi-day class “Imagery in Glass” that was held in the Architectural Glass Studio of the National Glass Center.
Outlining the basics for getting detailed imagery into fused glass. Showing the different glass powder tools and how an artist can manipulate imagery. The master level class is tasked with creating a number of sample panels. Students drew inspiration from the view over the river. The first firing of glass powder imagery. Reviewing fused glass samples with class.
Discussing options for creating effects within the layered imagery. Jeffrey Sarmiento created a component layer for the class demo project – the artwork suggests creating bridges between the art communities.
University of Sunderland Artists Part 2:
Jeffrey Sarmiento
Jeffrey Sarmiento was recently appointed Reader in Glass at the National Glass Center at the University of Sunderland. A Filipino-American artist, he holds an MFA in Glass from the Rhode Island School of Design. His research has led him to work widely in the US and Europe, having been awarded a Fulbright Scholarship Denmark. He was also a finalist for the Louis Comfort Tiffany Award and the Bombay Sapphire Prize. His most recent project is a 600kg glass map, permanently housed in the new Museum of Liverpool.
Liverpool Map Jeffrey Sarmiento and Inge Panneels, 2010
Cate Watkinson trained in 3-D Design, Glass with Ceramics at Sunderland Polytechnic.After leaving college Cate worked in Cambridge and the Channel Islands before returning to the North East to set up her architectural glass studio. Cate continues to run her business, Watkinson Glass Associates, while teaching at the University of Sunderland.
Over the years Cate has built on her experience, optimizing developments in new technologies, including new developments and techniques in construction. She has successfully completed a varied range of commissioned projects from glass public seating in city centers to a 22’ high sculpture for a shopping mall. From a stained glass window for Newcastle Cathedral to a laminated glass screen for the Arrivals Hall at Newcastle International Airport in the UK.
Other research activities include exploring the use of text and light through the public art commission entitled `Total Policing’, a glass and stainless steel sculpture situated at the front of the new head quarters for Northumbria Police in North Tyneside.
Total Policing
Baltic Business Quarter Public art/seating made with recycled glass.
Lookout
Next Up – Creative Cohesion artist development talk, dinner with the Uni Board, and more great UK artists!
Tim Tate gets the class working in the kilns at the UK’s National Glass Center.
Our Fulbright schedule began to fill the days.The first workshop we held at the University of Sunderland’s National Glass Center: “Affecting Sheet Glass – Bas-Relief Imagery in Glass” was filled. The technique of “dry plaster casing” was outlined, and firing schedules were converted from Fahrenheit to Celsius – along with converting all dimensions from imperial to metric. (Why did the US decide to not join the world in the 70’s when we were supposed to go all metricationed?)
Tim Betterton sets up the kilns for dry plaster casting. After the firing, its like Christmas day as the students eagerly retrieve their kilnformed glass sculptures.
Removing the still warm glass from the kiln.
The fusing classes in the bas-relief method were a great success. It was great to work with students from many different levels at University, from foundation through PhD.
We were able to meet a number of incredibly talented artists that were associated with the University and their work was so strong that we will post some of the work and profiles about the artists in each of the next few blog updates:
Kevin Petrie
Dr Kevin Petrie leads the Glass and Ceramics department at the University of Sunderland. Kevin studied Illustration at the University of Westminster and Ceramics and Glass at the Royal College of Art. He holds a PhD in ceramics and print from University of the West of England, Bristol. Kevin’s first book ‘Glass and Print’ established the crossovers between Glassmaking and Printmaking. The book forms the cornerstone of a period of research that established the cross over between two largely separate strands of creative activity. His second book, ‘Ceramic Transfer Printing’ draws together the great potential of print for ceramics. Kevin has written many articles and reviews for journals such as Ceramic Review and presented his work on glass, ceramics and print in Canada, Thailand, Hong Kong, Denmark, Germany, USA, Australia, and China. He was recently awarded a National Teaching Fellowship for his contribution to glass and ceramics teaching, in particular this relates to postgraduate at MA, MPhil and Ph.D levels.
Dr Petrie’s work often refers to the long tradition of graphic ceramic surface decoration at the same time as reflecting contemporary life.
St Pauls Church, kilnformed glass
Cell of Himself, Kiln form glass with printed inclusions, blown glass
Besides his own work as an artist, Dr Petrie is an author, lecturer, exhibition curator, and he is an authority and specialist on contemporary glass and ceramics matters. He has lectured at the following institutions: The University of the West of England, Bristol, The University of Westminster, London, Norwich School of Art and Design, Bath Central St. Martins School of Art and Design, London, Rajabhat Institute Changmai, Thailand, Australia National University, Canberra, Australia, Monash University, Melbourne, Australia, Sydney College of the Arts, Australia, Anla Glas, Denmark, Hong Kong Baptist University – Academy of Visual Arts.
If you are familiar with the first of the DC / Sunderland glass exhibition “Glass3” that was held in Georgetown in 2008, you might have seen James Maskrey‘s work. His work has really transformed into haunting and ethereal work. Social situations, overheard conversations, observed interactions and personal experiences hugely inspire Jim’s work. Tall stories, elaborate hoaxes and peculiar facts, usually from a bygone era, are then translated into glass, often resulting in flamboyant narratives, theatrical compositions or simple objects with a twist. The series below are from a series based on the polar expeditions by Edward Wilson to collect penguin eggs.
The Worst Journey in the World, blown and hot sculpturedglass details, 2011. Photo by David Williams
The Drayton Egg, blown and hot sculptured glass details, 2011. Photo by David Williams
Last Entry,Winter Journey, andThe Barrier, 2011, Blown and solid formed hot glass with printed glass inclusions.
Photos by David Williams
The works poetically and poignantly touches on themes of collecting and hubris. In the austral winter of 1911, Wilson led “The Winter Journey”, a doomed journey to the Emperor penguin’s breeding grounds at Cape Crozier to collect eggs for scientific study. The eggs were supposed to reveal the evolutionary links between dinosaurs and birds but their collection nearly killed the journey’s participants. Frozen and exhausted, they successfully collected three eggs and desperately exhausted they returned to Cape Evans, later describing this expedition “The Worst Journey in the World.”
James started working with glass in 1990. After graduating in 2000 with a Three Dimensional Design BA (Hons) degree in glass at The Surrey Institute of Art and Design he was appointed as Artist in Residence at the Surrey Institute. In 2001 James joined the Glass and Ceramics department at The University of Sunderland and graduated with an MA in Glass with distinction in 2004. Jim was recently named as one of the artists that will exhibit at the British Glass Biennale 2012.
>As our time in the UK continued, Fellow Fulbright Scholar Tim Tate and I were invited to speak with students from St. Anthony’s – a technical specialist college in Sunderland.
Tim Tate & Michael Janis talk about the future of the arts to students at St Anthony’s in Sunderland, England.
After meeting with the students, Sunderland City Council’s Catherine Auld then took the DC crew on a quick jaunt to a couple of scenic spots that are around the city of Sunderland. First stop, the Town Hall and Indoor Market of Durham.
Tim Tate and Kay Janis at the Durham Town Hall.
Durham Town Hall and Market place were on the site since the Middle Ages. The current building dates from 1800’s.
Kay Janis seeks out notions from the indoor markets.
Nearby is the famed Durham Cathedral. The magnificent Romanesque structure dates from the 10th century, and boasts fine stained glass panels.
Durham Cathedral (and denim jeans artwork installation). Catherine Auld, Kay Janis and Tim Tate at the Cathedral’s famed “Sanctuary Knocker”. “Daily Bread” stained glass in Durham Cathedral by Mark Angus, 1984.
More importantly, the Cathedral, cloisters and grounds were used as some of the sets in the Harry Potter movie series.
Professor Tate as Harry Potter and the Fulbright Scholar, 2012
Afterwards, Catherine took Kay, Tim and I to see the ancestral home of George Washington in the county now known as Tyne and Wear. Although the hall was closed, Catherine worked her magic and arranged for a private tour of the building.
Washington Old Hall
George Washington’s ancestors were natives of this area as far back as the 12th century, and members of his family continued to live there for almost five hundred years.
The Saxon Origin of the Washington Family Name: This was, in fact, where the purely Saxon name of Washington derived. Among the first to bear it were the descendants of William de Hartburn near Stockton [-on-Tees], who came to live in the manor now known as Washington Old Hall as long before as 1183.
At that time, people in England and elsewhere had no surnames as we know them today, and were most often identified by the locations in which they lived. “Washington” was one of them. The name originally meant “the estate of the Hwaes family.’ “Hwaes” in its turn was the name of a Saxon chief, while “ynga” meant “family” and “ton” – a typically Saxon suffix – stood for “estate.” These three terms were linked and given a tinge of French since, like many prominent families in England, the new Washingtons sought to identify themselves with the French Plantagenet kings who succeeded the Normans and ruled England after 1154. The result was the original form of Washington – “de Wessyngton”.
Washington, DC Fulbright Scholars Tim Tate and Michael Janis pay homage to the Washington Old Hall in Durham County, UK.
Washington Old Hall was pulled down and rebuilt by the Bishop of Durham, who purchased the property from William de Wessyngton in 1613.Sadly, though, some three centuries later, it had become very dilapidated. The Hall was condemned as unfit for human habitation, and destined for demolition. It was fortunately saved from demolition by a committee specially formed to preserve it, and after thoroughgoing restoration work, the Hall was officially opened in 1955 by the then American ambassador, Winthrop W. Aldrich. Two years later, the Hall was taken over by the National Trust, an organization dedicated to preserving places of historical interest or natural beauty.
Garth Clark lecture on Ai Weiwei ceramics
The next morning, Garth Clark, noted art historian and critic – who the Washington Glass School has posted about his thoughts on the Death of Craft previously – gave a fascinating and provocative lecture about the work of Chinese bad-boy ceramic artist Ai Weiwei.
Coming Next: Workshops at University of Sunderland.
Click here to jump to first part of the Fulbright Journey blog posts.
The UK’s University of Sunderland has published a news report about our visiting Professors Janis and Tate and the Fulbright Scholar program that sent them across the ocean as the World’s Top Scholars. Now that’s a title!
Two of the world’s most renowned glass artists have spoken about their work to students at the University of Sunderland.
Fulbright Scholars Tim Tate and Michael Janis gave a talk and met staff and students at the university’s National Glass Centre this week. The Fulbright Scholarship, founded in 1946, aims to promote cultural understanding through educational exchange. Both artists travelled from Washington DC to work with the Sunderland Creative Cohesion Group, the University of Sunderland and the wider community, to share their glass and ceramics practice and art work.
Michael Janis specialises in layering glass and using glass powder to create pictures, while Tim Tate blends the traditional craft of glass making with new media technology. Both work closely with artists in Washington DC to create public sculpture using the latest glass and ceramics advances.
Professor Kevin Petrie, Glass and Ceramics Team Leader at the university, says: “This is one of several recent visits by distinguished artists and scholars from around the world to the National Glass Centre, reflecting our international status in the fields of creative Glass and Ceramics.
“Tim and Michael offer our students, local schools and representatives from the region’s cultural sector important insights into methods for making glass art, perspectives on the art world in the USA and the work of the Washington Glass Studio where they are co-directors.”
The Washington Glass Studio is focused on providing public art projects and private commissions incorporating glass as a sculptural element, through collaboration with artists working in different media in the US capital.
The Fulbright Program is one of the most prestigious awards programs worldwide, operating in over 155 countries. Forty-three Fulbright Scholars have won Nobel Prizes, and seventy-eight have won Pulitzer Prizes. More Nobel laureates are former Fulbright recipients than any other award program.
University of Sunderland poster for the visiting Fulbright Scholars.
Tim Tate and I have been powering through our stay here at the University of Sunderland in the beautiful northeast of England. This is a blog update of some of the adventure we have participated in whilst on our Fulbright Scholarship to the UK.
The University of Sunderland Glass Centre and the glass roof deck.
Kevin Petrie, Head of the Glass & Ceramics Department
We arrived on Thursday, met at the airport by the University’s head of the Glass and Ceramics Department, Kevin Petrie. Kevin took us on a whirlwind tour of the massive building complex. The centre, built in 1998, has a glass panel roof – where one is invited to walk across and watch the blowing facilities down below.
Tim Tate takes a walk on the glass.
The size, equipment and state-of-the-art facility was overwhelming. It was great to see some old friends that had come to DC in years past waving a welcoming hello from across the acreage of studio space. We would be coming back to the University after a couple workshops in town.
Some of the many huge kilns at the university.
Here I am wandering thru one the centre’s exhibition halls.
The beach in front of the hotel in Seaburn.
Our hotel could not have been better – sweeping views across the North Sea, with Seaburn beach in front of our hotel. Nice.
Creative Cohesion’s new studio and exhibition center in Sunderland.
The arts organization, Creative Cohesion, held a cocktail reception to welcome us and inaugurate the new hotshop at their new facility in Sunderland city centre . For those of you from DC, you might remember the organization and its many talented artists that participated in the 2006’s Glass 3exhibit in Georgetown, organized by Artomatic. In 2009, many more artists from Sunderland participated in the Artomaticheld near the Navy Yard/near the new Nationals Ballpark. The non-profit arts organization began over 10 years ago, initially designed as a way to help for glass artists coming from the university mature into professional artists. The success of the organization’s mission has expanded and now includes ceramic and visual arts, performance artists, and poets in its umbrella of services. Our arrival coincided with the center’s celebration of the opening of their new hotshop – our workshop would be the first for the glass shop. Upon arrival – we see a familiar face – a poster of the UK artists working in Dave D’Orio’s DC Glasswork’s hotshop is in the window.
We saw some old friends in unexpected places…
Tim and I planned to do a few workshops to allow for collaboration between the DC & UK artists. The first up workshop was creating fused glass rollups.
The artists from Sunderland listen with intent.
The big burly electrician Richie tries fusing for the first time. And shows real talent.
The next day, the glass panels are placed onto the pastorellis and artist Roger Tye works the Bulls-eye glass into a rollup.
Roger Tye gets the glass into shape.
Click HERE to jump to video of the roll-up process by Jo Howell Photography and Maverickart The next day, Tim Tate and I were welcomed at the University of Sunderland. We first gave a lecture about our work, the Washington Glass School & Studio and the Glass Secessionism movement.
Professor Tim Tate speaks about his work and influences.
Coming up soon – a posting or two about the workshops at the National Glass Center, touring around the area and the London Affordable Art Fair! Stay posted!
I wanted to take this time to tell you a bit about an upcoming art experience I have organized on behalf of the James Renwick Alliance. Over the years, my favorite and the most enjoyable trips I ever take is to Penland School of Crafts outside of Asheville North Carolina. This area of the country is dense with amazing artists. You may know my work, but you may not know what Penland and the artists in the Asheville area have meant to my career.
I first attended a class at Penland in 1989. It was a survey casting class…the only non-blowing class I could find anywhere in the country. Without hot glass facilities in the Washington region, I wanted to focus my skills towards a different aesthetic…one that I could work with while back at home. Thus began my lifelong relationship with this spectacular school and the generous artists who surrounded it. Here is a link to an article that goes into depth on why I have such a strong commitment to this area.
A central focus of this trip will be attending Penland’s Annual Benefit Auction, the centerpiece of a gala weekend in the North Carolina Mountains featuring the sale of over 200 craft items. The Penland auction is one of the premier collecting events in the Southeast, and it is a wonderful opportunity to interact with fellow craft enthusiasts. Additionally,we will be visiting the studios of some of the most talented artists surrounding Asheville and the region. This will honestly be the best 5 day excursion you have ever taken…at least I’m gonna try to make it that way!. Here is the schedule of events:
Wednesday, August 8
We arrive in at the Inn at Little Switzerland on the Blue Ridge Parkway with spectacular views of the valley…a favorite spot for travelers in this area….either by plane or driving down, your choice. If you come by plane, you would come to Asheville, where we will arrange pick up. Our plan is to share the cars that come down, and caravan to each location. Close to both Asheville and Penland, this will be our base. Our first event will be a Wednesday evening welcome dinner and cocktails at the Inn.
Inn at Little Switzerland
Thursday, August 9th
After a quick bite at the Inn, we leave at 8:30 and head out to see the sites of Asheville and to some amazing artists studios for private tours. Most of these studios are in the surrounding area, but we will end up in the heart of the city. Here is a list of those studios:
Michael Sherrill
Ceramist Michael Sherrill received a visual arts fellowship from the North Carolina Arts Council in 1992. His work is in several major collections, including the Mint Museum of Art, Charlotte, North Carolina and the Renwick Museum. He has been making pots for more than twenty years. Originally, his work was completely functional, but it has evolved into work that is now wholly sculptural. He is one of the most thoughtful and articulate sculptors of our time.
Michael Sherrill
Stoney Lamar Lamar received his BS degree in industrial arts (wood technology) from Appalachian State University. A friend’s borrowed lathe led him away from his original goal to design and build furniture, however, to sculptural woodturning. He apprenticed with Mark and Melvin Lindquist and the year’s experience there freed him from many self-imposed restrictions and limitations of traditional lathe approaches. It opened new avenues and processes for the expression of his aesthetic.
His work is in such collections as High Museum of Art (Atlanta), American Craft Museum (NY), Renwick Gallery, Smithsonian Institute, Yale University Gallery of Art, Mint Museum of Craft & Design (NC), Minneapolis Institute of Art, Wustum Museum of Fine Arts and the Detroit Institute of Art.
Lunch that day will be at Stoneys restaurant just outside Asheville.
Stoney Lamar
Hoss Haley Hoss Haley has worked in metal for over twenty years, creating sculpture, paintings, and public art. Hoss’s work is in several collections including Lowes Corporation, McColl Center for Visual Art, and the Mint Museum of Craft + Design, and he is represented by the New Gallery of Modern Art in Charlotte, NC. Hoss has been a resident artist at Penland School of Crafts and the John Michael Kohler Arts Center.
Hoss Hailey
Dan Essig Frequently thought of as the pre-eminent book art maker in this country, you will not find any of Daniel Essig’s books on the shelves of a library. These wordless works of art are sewn, woven and carved into magnificent artists’ books and sculptures. Formerly a photographer, Essig is inspired by found objects that he comes across every day. A self-described hoarder, he will incorporate these items—fossils, shells, coins and old nails—into his artwork. His studio is located next to the Grove Point Inn, where we will peak in for a quick look at their amazing Stickley Collection.
Dan Essig
Blue Spiral Gallery No trip to Asheville would be complete without a visit to the famous Blue Spiral Gallery. This amazing gallery presents work by exceptional Southern artists and object makers in a beautifully renovated building in the heart of downtown Asheville. The light-filled, 15,000 square-foot gallery spans three floors connected by an open stairway. This spacious setting allows Blue Spiral 1 to offer considerable diversity, affording accessibility to various tastes and aesthetics.
Blue Spiral Gallery
Now, on to dinner! We are planning our meal at the spectacular Posana Restaurant in the center of Asheville. Then back to the Inn at Little Switzerland.
Posana Restaurant
Friday, August 10th Today we will stay closer to Penland, exploring several studios and then joining in the festivities surrounding the Penland auction, which begin at 3pm with auction previews.
Christina Cordova/Pablo DeSato This husband and wife team have their amazing studios on the grounds of Penland itself, and are 2 of the most widely known artists on this tour.
De Soto Glass Design was formed around the idea of creating and designing objects that enhance living spaces and environments. As a company we make a wide variety of work. A large portion of what we do revolves around glass blown vessels and functionally oriented works. Lighting design is quickly becoming an influential part of the sum. We also use our facilities and skills for creating glass blown objects for other designers and artists.
Cristina Cordova is a studio artist living in Penland,NC. Originally from Puerto Rico, she received her BA from the University of Puerto Rico in Mayaguez and went to earn her MFA from the New York State College of Ceramics at Alfred University. In 2005 she concluded a three year residency at Penland School of Crafts in North Carolina. She was the recipient of an American Craft Council Emerging Artist Grant as well as a North Carolina Arts Council Fellowship Award.
Christina Cordova
Pablo Sato
Lunch this day will be on grounds at the Penland Dining Hall.
Penland Gallery No trip to Penland would ever be complete without a visit to the Penland Gallery. The Penland Gallery–featuring work by artists affiliated with Penland School of Crafts–is a stop worth adding to your trip through Western North Carolina. It is the perfect place to choose a gift, add to your craft collection, or learn about contemporary craft. You will see such artists as Marc Petrovic, Marc Peisser and yours truly, Tim Tate.
Marc Petrovic
Now its on to the auction. It begins at 3pm with the silent auction in the new state of the art facilities in the Print/Letterpress Studio. Dozens of Penland’s artists will be showing there. Then on to a lovely dinner and wine under the beautiful tent overlooking the valley on Penland’s grounds while the main Friday night auction goes on. After this, its back for a quick cocktail at the Inn at Little Switzerland.
Auction Tent under the Penland Sky
Saturday, August 11th The morning begins with coffee and breakfast at The Barns at Penland, where we will be treated to a show by the resident artists here at Penland. Always a highlight and much fun. from the we attend a show given by the Core Students where we will see the work of tomorrows most promising artists. On to the Saturday silent auction and artist chats….then on to the main festivities of the luncheon and live auction. This will definitely be the highlight of the weekend!
Resident Artist Barns at Penland
2 major works will be the big spotlight! One by Beth Lipman, one by Dan Clayman….both stunning!
Beth Lipman
Dan Clayman
After the auction we will head back to the Inn at Little Switzerland, where we will have time to freshen up before a lovely farewell cocktail and dinner party where you will be able to swap stories with the new friends you made on this spectacular trip!
Sunday, August 11th travel day…..those that need a ride to the airport, we will arrange it.
Please give me this opportunity to show you why I hold this area of the country in such high esteem. I guarantee it will be a stupendous trip.
To reserve a space for this trip, its first come and space is limited. Contact Cecie at the James Renwick Alliance at admin@jra.org or call to 301- 907-3888
Tim Tate Co-Director Washington Glass School 3700 Otis St. Mt. Rainier, Md. 20712 WashGlass.com
I was recently advised by a spectacular gallery that while they loved the video reliquary pieces, I should consider doing important work.No offense was meant, and in response I have decided to take that advice to heart with this next project. Important or not…it is a show without constrictions. I did that by separating glass and video for this project. My fascination with miniaturizing still worked for the glass part of my brain…..but the video part of my brain had to abandon glass temporarily.It was the scale of glass that held me back.
In the summer of 2013 I will be presenting an all video exhibit at Washington, DC’s American University’s Katzen Art Center. In one of the rooms I will be presenting an updated version of my video installation “The Waking Dreams Of Magdelena Moliere”.Magdelena is a fictitious character whom you get to know and understand thru her dreams.You enter her world by passing through the portals of shadow and light. These are the pieces I have been working on these last several months.
The portals of shadow and light flank each side of the entrance to Magdelena’s room. They consist of 2 vertical flat video screens with ornate regency frames, one painted a satin black, the other a soft cream. Each is approximately 3 ft by 4ft.
Inside the cream colored Portal Of Light I have a video of slowly roiling clouds surrounded by soft blue electricity. Into this scene drops 3 plumb bobs at different speeds and heights continually unwinding from above , chaotic at first,then finding balance and ascending again.
Inside the satin black Portal Of Shadow I have a video of roiling smoke surrounded by small slow flames. Inside that an image of a glass vase floats up from the bottom and smashes against the top of the video screen into many pieces, which slowly reassemble and descend again to darkness.
If the videos do not work below in this posting, they can be seen on my facebook page under videos.
I find these portals extremely compelling. They have the look and feel of a Victorian painting, while incorporating new media to depict the narrative inherent in the video portals. I plan on investigating this format many times over the next few years.
