Interstellar Glass Fun Facts
Astronomers said they had found another blue planet a long, long way from Earth — no water world, but a scorching, hostile place where it rains glass, sideways.
|Blue planet HD 189733b around its host star (artist’s impression)|
Using the Hubble Space Telescope, scientists from NASA and its European counterpart, ESA, have for the first time determined the true color of an exoplanet, celestial bodies which orbit stars other than our own Sun.
They concluded that HD 189733b, a gas giant 63 light-years from Earth in the constellation Vulpecula (the Fox), was a deep cobalt blue, “reminiscent of Earth’s color as seen from space.”
“But that’s where the similarities end,” said a statement. This planet orbits very close to its host star and its atmosphere is heated to over 1,800 degrees Fahrenheit.“It rains glass, sideways, in howling 4,350 miles-per-hour winds,” said the statement. The planet is one of the nearest exoplanets to Earth that can be seen crossing the face of its star, and has been intensively studied by Hubble and other telescopes.
“Measuring its color is a real first — we can actually imagine what this planet would look like if we were able to look at it directly,” said Frederic Pont of the University of Exeter, who co-wrote the paper in Astrophysical Journal Letters. Pont and a team measured how much light was reflected off the planet’s surface, a property known as albedo, in order to calculate its color.
HD 189733b was discovered in 2005. It is only 2.9 million miles from its parent star, so close that it is gravitationally locked. One side always faces the star and the other side is always dark.In 2007, NASA’s Spitzer Space Telescope measured the infrared light, or heat, from the planet, leading to one of the first temperature maps for an exoplanet. The map shows day side and night side temperatures on HD 189733b differ by about 500 degrees Fahrenheit. This should cause fierce winds to roar from the day side to the night side.
With apologies to the Weathergirls & writers of Its Raining Men:
Barometer’s getting low
According to all sources,the street’s the place to go
Cause tonight for the first time
Its gonna be badass
For the first time in history
It’s gonna start raining glass.
Its Raining Glass! Hallelujah!
Other WGS : Glass Fun Facts
Washington Glass School Sept-Dec 2013 Class Schedule
Class 1500 - Beginner’s Glass Lover’s Weekend
Our most popular class, this is the fastest way to learn all aspects of warm glass in the shortest amount of time! Under the supervision of a professional glass artist you will learn the fundamentals of fusing, slumping and dimensional kiln casting. Everything from bowls and plates to sculptural objects… this is the perfect way for a beginner to learn the basics of glass… and you will leave with several very cool items! Offered 3 times in the session.
Instructors Audrey Wilson
Class 1501 – MIG Welding For Dummies!
Ever wondered about learning to weld? Want to impress your friends, your older brother and that cute bartender? It’s easier than you think! In three evenings you will learn how to lay a bead, and handle all sorts of sharp and dangerous tools. You will be able to complete a small project and leave with lots of ideas and know-how for other projects. This class will teach you the basics of welding, metal work and design, joining, bending and finishing. And you will get dirty! Offered 2 times this calendar.
Wed. Eves in Sept. (11, 18, 25)
Session B Wed. Eves in Nov. (6, 13, 20)
Time : 7:00 pm to 9:30 pm
Tuition : $350 per student
Class 1502- Making Your Own Glass Board Game
Chess, Checkers, Parchesi, Scrabble….Whatever you want! Make a chess board fit for a king! Not only are these great gifts, but are also fun to make! From beginners to the most experienced. All glass and materials included!
Instructors: Audrey Wilson
Dates : Oct 12/13
Time: 1:30pm to 5pm
Tuition : $400
Class 1503- Found and Lost – An Overview Of Lost Wax Casting
Part One : Found (one day session)
A hands-on course that explores making flexible, reusable molds for the production of repeatable parts. Students will be asked to bring in a minimum of 10 small “found” objects (objects must not have any dimension thicker than1″.) We will discuss all the objects in terms of approaches for making flexible molds, then identify the best choices to make. Lab fee for mold materials.
Part Two: Lost ( 2 days)
In this “part 2″ course we will take the wax parts we make in our new flexible molds and turn them into “lost wax ” glass castings. Mysteries will be revealed about how the wax is “lost” and how glass takes its place. A variety of plaster mold making methods will be explained. Hand built versus poured? Reinforcement methods? Hi temp versus conventional plasters? Each student will make one small 3 dimensional glass casting.
Instructor: Debra Ruzinsky
Dates : Saturday Nov. 9th from 1 to 5pm
Tuition : $400 + lab fees
Class 1504 – Lecture Series – What Came Before / A Slide History Of The Studio Glass Movement.
Who was there, what they did, and why; in the US and abroad; male and female artists; people you may never have heard about! For Glass Seccessionists who want to learn a little bit of history, that isn’t just about the biggest names in the field. This is a great chance to get the overview you might have missed, from the person who has been in enough places to give the best presentation on it!
Lecturer : Debra Ruzinsky
When : October 5th
Time: 1 to 3pm
Cost : Free of charge….just show up! RSVP’s appreciated.
Class 1505 – Making a Glass and Steel Table
This is your chance to venture into furniture-making for your home. We will focus on using recycled materials to create a side table. You will get an introduction to welding and then cut and weld a steel frame. You will then cast or fuse an incredibly cool glass top to give you a one-of-a-kind table of your own design. No prior welding or glass experience is needed but not discouraged. There are size limitations for the glass top – not to exceed 18″ x 18″.
Instructor: Erwin Timmers
Dates : Wednesday eves, Oct 9, 16, 23 and 30
Time: 7pm to 9:30pm
Tuition: $400 per student (all materials included)
Class 1506 – Audrey’s Weekly Super Bowl Party!
You like bowls? So do we! So every Saturday come join Audrey Wilson at a super Bowl Making party! This is ongoing all summer (unless Audrey needs a break!). Email for availability…..and let the bowl making begin!
(email the instructor Audrey directly on this one – email@example.com)
Instructor : Audrey Wilson
Dates : the Super Bowl Party will take place on the following dates. Take just one or all of them!
Tuition : $75 for each session.(limit 6 students per session)
Class 1507- Open Studio – Work At Your Own Pace
Already know the basics of casting or fusing? Open Studio gives each student the opportunity to work independently in a world class studio. Tuition includes a kiln firing per session, clear base glass and colored scrap glass, use of studio tools. Note: students working in dry plaster casting need to schedule cleanup date with studio coordinator.
Instructor : Studio Staff
Time : 1pm to 5pm
Tuition : $300 for 4 sessions —————————————————————
While we overhaul our Paypal online registration connection, please send an Email (firstname.lastname@example.org) or phone the school at 202-744-8222 to register. —————————————————————
Tuition : $300 for 4 sessions
While we overhaul our Paypal online registration connection, please send an Email (email@example.com) or phone the school at 202-744-8222 to register.
Gateway Arts Center, 3901 Rhode Island Ave., Brentwood, MD 20722
Phil Davis – the Acting Director of the Brentwood Arts Exchange advises on the following opportunities at Gateway Arts Center:
The Brentwood Arts Exchange is hiring for multiple positions including instructors, gallery assistants, and event staff
Deadline for proposals: August 10, 2013 (received in office)
Send to Frannie Payne, Brentwood Arts Exchange, 3901 Rhode Island Avenue, Brentwood, MD 20722 or send to FrannieD.Payne@pgparks.com
The Brentwood Arts Exchange is in need of experienced instructors to teach comic book making for teens, painting and drawing classes for teens and adults and are requesting proposals from individuals interested in teaching those subjects. Classes should run for 4 or 6 weeks, and to be held in the afternoon (for teens) or evening hours (for adults). Include a class outline and a materials list in your proposal.
We’re always interested in hearing good ideas. If you would like to send a proposal on other art related classes and have experience teaching, we will accept those as well.
Deadline to apply: August 4, 2013 (received in office)
Send a resume and a brief cover letter to Frannie Payne, Brentwood Arts Exchange, 3901 Rhode Island Avenue, Brentwood, MD 20722 or send to FrannieD.Payne@pgparks.com
We are seeking a motivated individual who is passionate about the arts for a part time position as a Gallery Assistant. Job duties include but are not limited to the following:
· Providing customer service in person and over the phone including retail sales and class registrations
· Distributing mail within the Gateway Arts Center
· Routine office functions such as, copying, filing, data entry, and record keeping
· Hosting at special events,
· Assisting with installation of art exhibitions, including basic wall patching and painting, basic art handling and packaging.
· Maintaining the cleanliness of all areas of the facility, set up and clean for classes and events
This is an entry-level position with no experience required. The position holder must be able to lift and move up to 25 lbs. and be available to work evenings and weekends. The successful candidate will be outgoing and self-motivated to learn about gallery operations through hands-on work performing the duties above. Positive qualities in consideration for this position include the ability to communicate in Spanish, experience working in a retail environment, knowledge of craft media and techniques, and familiarity with the safe handling of art objects.
Special Events Staff
Deadline to apply: Ongoing
Send a resume and a brief cover letter to Frannie Payne, Brentwood Arts Exchange, 3901 Rhode Island Avenue, Brentwood, MD 20722 or send to FrannieD.Payne@pgparks.com
We are also seeking individuals interested in occasional work hosting special events and projects, including receptions, public lectures and third-party rentals. Most events occur on evenings and weekends, and shifts are typically 3-6 hours. Special events staff will assist with setting up, maintaining, and cleaning the gallery and classroom for events that include food and drinks. Customer service – greeting and answering visitors’ questions, etc. – is an essential component of the job. Special events staff will be on their feet throughout most of their work time, and should be able to lift and move up to 25lbs.
ON COLLECTING FINE ART
Collecting Sculpture, Glass & 3-dimensional Art
Thursday July 25th 6:30pm
|Tim Tate, Dreams of a Lost Love Found, Blown and cast glass, electronics, found objects, video|
Margery Goldberg, Zenith Gallery
Maurine Littleton, Maurine Littleton Gallery
Jerry Eisley, Eisley Fine Art
Dale Johnson, Watergate Gallery
Panel Moderator: Jack Rasmussen, Director and Curator, American University Museum at the Katzen Arts Center
|Tim Tate, Midnight Messenger, Blown and cast glass, electronics, found objects, video|
The seminar is scheduled for tonight, Thursday evening, starting at 6:30pm,
Abramson Family Recital Hall, Katzen Arts Center, American University
4400 Massachusetts Avenue, NW, Washington, DC
ON COLLECTING FINE ART is free and open to the public.
PO Box 55289, Washington, DC 20040 * Tel: 202-986-0105 Fax: 202-986-0448
|UK Glass Artist Susan Ratliff is overwhelmed by the Americanness of it all.|
Forget all the kerfuffle about the newest UK arrival at Buckingham Palace. The Washington Glass School has its own UK arrival – University of Sunderland artist Susan Ratliff has begun her artist residency thru August. Susan is about to begin third year as an undergraduate in Glass and Ceramics at Sunderland University. Susan came to glass after a career in the field of Special Educational Needs – both as a teacher and as a Head of Service.
Susan Ratliff, “Can You Remember” sandcast glass. The series of cast panels references loss of memory caused by Alzheimer’s disease.
Said Susan about her studies in glass: “I have always loved glass but only in the last few years have I learnt how to work with glass,it is an amazing material . I started by taking some classes at the National Glass Centre in Sunderland,which then led on to me studying at the University of Sunderland.”
Michael Janis discusses sgraffito techniques with Susan Ratliff at University of Sunderland, 2012.
“During my first year Michael Janis and Tim Tate came to the University of Sunderland on their Fulbright scholarship and taught two Masterclasses on Dry Plaster Casting and Sgraffito. They were amazing and I learnt many new techniques.”
Susan said about coming to Washington Glass School: “I came to learn about the real world of glass, to find out how a studio works, including day-to-day issues like balancing the cost of materials and equipment, setting kiln-firing schedules, dealing with the pressure of commissions and also the sheer joy of creating. I hope through the Internship to prepare myself a little for life after University as a working artist.…I inquired with Tim and Michael about internship opportunities and a year on, here I am at The Washington Glass School!”
|Susan Ratliff, “Landscape”, kilncast glass, mirrors. The 1st year presentation dealt with self image and identity. Susan had incorporated dry plaster casting techniques for the installation piece.|
If you are coming to the studio – make sure you stop by and say “Hi” to Susan, and make the Brit feel at home!
Big congrats to WGS alum Jeff Zimmer! Jeff is arguably one of the most successful artists from the Washington Glass School. Jeff was a teaching assistant here at the Glass School, and he went to the UK – to Edinburgh, obtaining a Masters degree in glass painting there in Scotland, where he currently lives. The Victoria and Albert Museum (V&A), London, is the world’s largest museum of decorative arts and design, housing a permanent collection of over 4.5 million objects. Jeff Zimmer ‘To See Ourselves As Others See Us’, enameled and sandblasted glass (mounted on LED), 27″w x 21″h x 7″d, 2012
The piece is called “To See Ourselves As Others See Us.” It was made as half of a pair (the other titled “Ae Fareweel, Alas, Forever”) made for an exhibition titled “Cultural Exchange” organized by the Scottish Glass Society, curated by Mieke Groot and which took place at NorthLands Creative Glass during their conference last year, which is where Reino Liefkes, Senior Curator of Ceramics and Glass at the V&A saw the artwork.
Jeff Zimmer ‘To See Ourselves As Others See Us’, enameled and sandblasted glass (mounted on LED), 27″w x 21″h x 7″d, 2012
Jeff describes his work in the exhibit catalog text :
As an immigrant, I am sensitive to political and social discussions of immigration. Every country experiences the same anxieties. People want to retain a perceived essence of place and culture, but rarely consider the effects on other cultures of their own desires to travel, emigrate and trade. The legacy of emigration is a large part of the Scottish psyche, and the ‘Highland Clearances’ are among the most well known and emotive aspects of Scottish history…
‘To See Ourselves As Others See Us,’ rescales the monumental homesick family from George W. Simpsons’s iconic panting ‘A Coronach In The Woods’ in a broader frame so the impact they have had on the lands that they colonized — often by squatting — can be glimpsed: felled trees, austere and uncompromising religion (the church on the outcrop referencing the notion of ‘the city on the hill’) and a reputation for drunken disorderliness. The title is a quote from Scottish national bard Robert Burns’ poem ‘To A Louse’.
|Singer Amanda Palmer (of the Dreseden Dolls) and Jeff Zimmer in Edinburgh.|
|Washington Post Article by Michael O’Sullivan
Thursday, May 26, 2011
As for other news, Jeff will be traveling to the beautiful Bavarian Forest to teach at Bild-Werk Frauenau. Jeff is also preparing for his debut solo gallery exhibition at Clara Scremini Gallery in Paris in the spring.
In 2011, Jeff was one the artists participating in the Washington Glass School 10th Anniversary exhibit held at Longview Gallery. The Washington Post art critic wrote about the show, singling out Jeff’s work as artwork that “fires up” imagination. It is great to see friends do so well in their passion and career!
Congratulations Jeff Zimmer!
The Gazette Newspaper reviews DC GlassWorks show (now thru Aug 18) at the Montpelier Arts Center.
|Dave D’Orio and Henrik Sundqvist – “Spray”
engraved hand-blown glass, cast aluminum, paper; photo Pete Duvall
Lavishing praise on the glass artwork – Dr Rousseau writes about Dave D’Orio’s artwork: ” At the entrance of the large and airy gallery space one finds his recent collaborative work called “Spray.” Made with the help of printmaker Henrik Sundqvist, the work is comprised of five hand-blown glass spray bottles with cast aluminum heads. Detailed glass engravings of insects grace the exteriors, and there are tags made of folded paper on which are etched the name of some kind of insect spray, images of insects and baroque crosses. The elegance of this work, each spray bottle set on its own little shelf against a gray wall, cannot be overstated. The critical narrative is clear here: these same vessels that look so beautiful to us are death to the creatures that are depicted on them. For D’Orio it’s more the facts of the situation that appeal to him. Spray bottles are a common object, found everywhere. Yet not like these. Confronting the conundrum of “ours against theirs” in this way brings many issues to mind, and forces the viewer to think about his/her own relation to the environment and our actions in relation to it. Yet, the remarkable effect of the work remains largely aesthetic….”
Click HERE to read the full article online. (Scroll down to “DC Glassworks”).
Montpelier Arts Center, 9652 Muirkirk Road, Laurel. 10 a.m. to 5 p.m. daily. For information call 301-377-7900.
|The students in Michael Janis’ “Visualizations in Glass” circle around the instructor.|
Our urban cowboy, Professor Janis, returns to Washington, DC after a teaching stint on the wide open ranges of Hot Glass Houston – looking a bit like he was rode hard and put away wet. (Like he normally does, without benefit of photoshop services.) He had a great time, and sent some photos of his frit powder imagery class, and tales of sitting by the campfire with the class.
|The students learned how to create imagery from frit powder.|
|The students dove right in, creating a series of samples of different techniques.|
|The class was very focused.|
|The students each created great images|
|A light touch…Michael divulged all his secrets of how to create fused layered images from frit powers and other media.|
|Besides the sgraffito technique, the students learned how to deconstruct an image into separate layers.|
|The images were assembled and fused into narrative studies – getting the 3 day class ready for larger works that pulled all the techniques together.|
|Cynthia Gilkey works on a piece that incorporates a tribute to her mother, Rieko.|
Cynthia’s artwork as she worked.
The finished work.
Glass artist Kathy Jordan Walsh shows off her imagery skills.
A dam built around the glass stack keeps the glass from flowing out during the firing process.
After firing, the colors mature – what a great piece!
The glass sets up their works inside the kiln – listening intently to Cynthia as she outlines how to minimize air bubbles and “edge needles”.
The finished works as they are removed from the kiln.
Honkey-Tonks and wet t-shirt contests? Hell yeah – This is Texas, after all!
Opposite from Hot Glass Houston studio is the Red River Dance Hall & Saloon.
|The July issue of The InTowner features review by Tony Harvey|
Review of Tim Tate / Pete Duvall / Richard Schellenberg collaborative exhibition at American University Museum Pg 8, July, 2013
by Anthony Harvey
Washington’s studio glass art star Tim Tate continues to astonish museum goers with the quality and beauty of his innovative and increasingly complex glass art. Tate is now adding another level of challenge to his work through his recent collaborations with video and conceptual artists and photographers Pete Duvall and Richard Schellenberg. The rich results of this collaboration are on display in a current exhibition at the Katzen Arts Center.
Entitled “TimTate: Sleepwalker,” the show opens with Tate’s knockout 2012 Dada’s (or the Astronaut’s) Dream , a bouquet of electronic, video facial body-part flowers — primarily two inquiring eyes — irregularly arranged on a small steel post. He then moves immediately into his collaborative works with Duval and Schellenberg.
First up is a triptych of images titled: “I Was Not In My Right Mind”, which presents three characters performing hypothetical pieces that reconstruct scenes from Carol Reed’s famous film noir melodrama, The Third Man. Set in allied occupied Vienna at the end of World War II, Tate and a second actor play the parts of Harry Lime (Orson Wells in the film) and Holly Martins (originally Joseph Cotton). The film’s romantic interest, Anna Schmidt, played by Alida Valli, is the mystery presence. Wells and Cotton as marionettes are cleverly portrayed in Tate’s triptych as a pair of song and dance men, both performing with canes — a riff no doubt on the running through dark streets and underground sewers that both do in the original film — with Schmidt, who has lost her lover Lime through the action of Martins, serving as the character in the triptych who plays the role of silence.
Tate’s “rosebud” is a thrown white ball first bouncing from right to left in the third panel, which uses the iconic Ferris wheel image of the film’s Viennese amusement park for its background, then through the second panel with its concluding film sequence of Schmidt walking down a tree-lined alleé, and finally to the first of the three triptych panels with our song and dance pair of Martins and Lime, whose jerky, puppets-on-a-string body movements are hilarious. The second panel also operates independently of the first and third, with Tate (as Lime) holding and intently viewing a pocket watch, seeming to time Schmidt’s long walk — or perhaps concerned about the timing of their respective flights from war-torn Vienna. As puzzling as it is engaging!
Black and white stills of objects in the triptych (and there must be a black rotary dial telephone somewhere in the triptych background’s flowing narrative) together with a pair of video boxes containing works called Portal of Light and Portal of Darkness provide further supporting context to the marvelous title work of the show —Sleepwalker.
Joseph Cornell immediately came to mind as I began absorbing the lush visuals of this work. Cornell, an influential early filmmaker as well as the creator of extraordinary aesthetically infused art boxes, once asserted that until we are able to record our dreams, motion picture film will have to suffice. Tate would add video and electronic to Cornell’s medium, and Sleepwalker is a mesmerizing example of what can be artistically accomplished with existing media. Comprising a large rectangular screen on which a video of an attractive young woman with a glorious head of flowing hair is shown shifting her head from side to side as she sleeps and no doubt dreams with the physicality of a sleepwalker. Flanking her video are six smaller, oval screens, three hanging on either of the two side walls, each of which seems to play across the room against its opposite number. The farthest two appear to deal with gender — a somewhat abstract frontal view of a female form; across the way is a rear view of a more realistically depicted male nude. The middle two posit an amusement park’s Ferris wheel — urban pleasure — against the innocence of a foliage covered suburban house while the closest pair juxtapose a hand that is writing and then erasing on a blackboard the words, “I see how far I’ve wandered” with a mouth that is softly speaking into a rotary dial telephone receiver. Equally soft orchestral music lulls one into a relaxed state, music with which to fall asleep and yet to dream!
Two other videos complete the collaborative portion of Tate’s photographic/performance/electronic show. The first is of a boy’s dream of flying on Superman’s shoulders until the boy falls dead on the floor and Superman discovers that it is the boy’s energy and drive that allows him to fly — and the subsequent consequences of the boy describing his dream to his mother. The second involves a young woman throwing dice — perhaps a play on Mallarme’s famous 19th century poem “A Throw of the Dice Never Will Abolish Chance”. In this video, the number of dice is eventually increased to that of a Niagara of falling dice — to apparently no avail.My last encounter in the show took me to Tate’s glass and mixed-media work, specifically to a viewing of two of his terrific glass reliquaries. Both dramatically advance Tate’s multi-media creativity by incorporating miniature TV monitors playing poignant video narratives as the centerpieces of each of the reliquaries’ glass enclosed found, cast, and sculpted objects. The first of these, Dreams of a Lost Love Found, is especially engaging, with its character of a nude, sleeping boy depicted with a second figure — an apparition — rising from his bed and walking into the background only to return to the boy in the bed as a nude woman.
For the full newspaper pdf article – click HERE - starting Pg 8.
|photo by Pete Duvall|
“Tim Tate: Sleepwalker” continues through August 11th.
American University Museum/Katzen Center
4400 Mass. Ave.
Tue.-Sun., 11am-4pm; Mon., closed
202-885-1300 • www.american.edu/museum
Ward 5 Panel Artist Talk
Wednesday, July 17, 6-8pm
Join Lavinia Wohlfarth (DC Commission on the Arts and Humanities Commissioner for Ward 5 and gallerist behind Wohlfarth Galleries in Brookland) as she discusses the history of art in the Brookland section of Washington, DC, as well as a variety of grant opportunities available for artists across the city.
Lavinia will answer your questions regarding the city’s grant application process for artists as well as the showing, selling, and promoting of your artwork.
Free and open to the public – RSVP to firstname.lastname@example.org
Off-Rhode Studio at Art Enables Gallery
2204 Rhode Island Avenue, NE
Washington, DC 20018