2011 WGS Year-In-Review

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Looking thru the Washington Glass School postings (both official school blog and the more casual Facebook page) and events from a few months ago seem like ages ago. The strange phenomena of time flying by is observed again. Many of the years past events were months – or years- in planning and preparation, and seemed like they would never happen, now seem faraway, and the impact, both good and bad will be here for a while. Some high points, some sad loss. Month by month – here is a quick review of Washington Glass School’s 2011:

January 2011

The year started out with some new artistic directions.

Jeff Zimmer works on his layered glass imagery.
WGS Alum Jeff Zimmer worked on some new pieces for the school’s 10th Anniversary show.
Its been a great year for Jeff – his work was part of the Philadelphia Museum of Art Craft Show in Oct.

artist: Christina Bothwell media:clay & glass.
The foundation for “
Glass Secessionism” was outlined as a challenge for the aesthetics of the 21st century.

Matt (m l duffy) checks for tin side. The school’s new-fangled digital tin-o-meter also arrived in 2011.
Matthew Duffy began working on fabrication of the Washington Glass Studio’s public art project for Safeway Bethesda.

Susan documents Rob Kincheloe’s lampwork process. Susan’s strong photographic skills will be part of her book series.
Susan Lomuto (aka Daily Art Muse) arrived into the area to do a residency in the glass school and the surrounding ceramics studios.

February

artist: Kirk Waldroff media cast glass, led lighting, wood
Kirk Waldroff opens his mixed media/glass print exhibit at Glenview Mansion. Dr Claudia Rousseau reviewed his artwork.

March

photo by : Pete Duvall
American Craft Magazine has a large feature of the collaborative works by Tim Tate and Marc Petrovic.

April

This glass work is good enough to shout about.
Kirk Waldroff’s printmaking with glass class is one of the stronger design class of the year, with a number of students taking off in creative directions.

Ready for framing and the Smithsonian.
Glass artist Judith Schaechter held a creativity workshop for the JRA at the Washington Glass School.

artist: Elizabeth Ryland Mears, Tex Forrest Crowds packed the gallery
The Washington Glass School 10th Anniversary exhibition opens at Long View Gallery in Washington, DC.

Post critic Michael O’Sullivan’s in-depth review of the show.
The Washington Post reviews the Long View show, asking “Is Glass Only Pretty?”.

June

Gallery 555 exhibit of WGS student work.
Gallery 555 also hosted an exhibition in honor of the 10th Anniversary of WGS, with a successful show of student works.

Rob Kincheloe coldworks the glass, evaluating the quality of the recycled float glass casting.
National Geographic commissioned the Washington Glass Studio to create a special “environment” award for singer Jack Johnson. The development of the award design and creation was documented in the blog’s new feature column “The Process”.

Tim Tate’s work at Wheaton Arts. View of Maurine Littleton Gallery space during GlassWeekend.
Rising Star – Michael Janis
The Bi-annual “GlassWeekend” was this year with a huge show at WheatonArts The Creative Glass Center of America (CCGA and theArt Alliance for Contemporary Glass (AACG) named our Michael Janis a “Rising Star” at the event.

July

Tim Tate is filmed by PBS documentary crew as he speaks to the tour group.
Wendy Rosen brought a contingent of international guests – leaders of national craft federations and craft advocacy groups, as well as diplomats and government officials – as part of the World Craft Council held in Washington, DC.

yeah, hand-forged steel is nice and all… but what about the glass?
Chris Shea’s forged metal and glass sculpture/furniture was added to the Smithsonian’s permanent collection of the Renwick Gallery.

Conner Contemporary hosted a book release party in honor of F Lennox Campello’s book “100 Artists of Washington, DC” – one of the more successful in the Schiffer Books line of artist reference series.

August

An unusual month in terms of “natural events”. An earthquake hit DC, causing some minor damage to the glass display area in the student gallery of the school. Later in the month – a massive heatwave sent temps over 100 degrees F, and also Hurricane Irene hit DC.

Michael talks with art patrons about the imagery in glass. Michael Janis’ solo show at Fuller Craft Museum opened. Perry Price – the Associate Curator of the Museum later commented that they had some of the highest media coverage of the show, and that the Docents worked the educational aspects of the show with the visiting school students.

Installation began on the Safeway public art project. Evan Morgan returned to help install.

WaPo columnist Kris Coronado interviews Erwin and share a laugh. Erwin Timmers was featured in the Washington Post Magazine on the “Art of Recycling“.

Jason Burnett showcases Tim’s video reliquary at the auction.
Tim Tate’s artwork was part of the Penland School Auction – and sets a new record!

September

Architectural artwork by artists, instructors and students commemorating the 10th Anniversary of the Washington Glass School was installed on the facade of the school.

Zenith Gallery hosted a book release exhibition for the “100 Artists of the Mid Atlantic” that featured each of the WGS directors.

The national organization Art Alliance for Contemporary Glass (AACG) held its annual meeting in Washington, DC this year. Part of the events included tours of glass spots – museum tours, collector’s homes, gallery talks and a fun night at the Washington Glass School. A huge bar-be-que was on the menu that night, with an ice cream truck dispensing Good Humor to all.

October

Safeway’s new public art lights up the Bethesda streetscene.
The public art and architectural installation created for Safeway supermarket in Bethesda opened in spectacular fashion.

DC’s Seed Charter School had a class at WGS that mixed art, history, chemistry, mathematics and physics.

November

Maurine Littleton Gallery space at SOFA Chicago 2011. Marc Petrovic’s work at Heller Gallery. Tim Tate’s work at Jane Sauer Gallery.
The BIG show – SOFA Chicago. Allegra Marquart, Michael Janis, Tim Tate each did well at the huge international art fair this year, and the hope that the trend continues to the next year is held by all!

The United States Committee for Refugees and Immigrants (USCRI) celebrated its centennial with glass. The organization commissioned special artwork for families of Edward Kennedy and Dwight Eisenhower in memory of the work each had done. The red carpet gala event feature celebrities and performances by Wyclef Jean.

December

As Rob Kincheloe sets up a dedicated Torch work studio in Virginia, Mick Coughlan joined the school as the new studio coordinator.

The Fulbright Program named Tim Tate & Michael Janis each as recipients of Fulbrights. In 2012, both will be off to University of Sunderland starting in March.

Nicole Puzan, 1983-2011, Studio Coordinator, Artist, Friend

After a battle with cancer, our Nicole Puzan passed away in December.

There are so many stories from the last year, this posting started as a short list and there were so many events and shows that these are the ones that made it to this (almost) final posting for the year.

Here’s to the hope that 2012 will be a good year for all!

New Fall Class Schedule – Part 1

>Ready to leave this summer behind and fire up your fall?

The Washington Glass School’s 2011 fall courses are now available and enrollment is open. The schedule has some of our classic classes, and some exciting new classes with all-new techniques!

New classes like “Using Neon in Sculpture” where neon has left the tube! The gas is still contained and charged – but into forms made by either lampworking or blown glass or or KILN FUSING! Awesome!

Maybe you are looking for a jolt to your visual expression and are looking to branch out from your comfort zone by incorporating video, but had no idea how to start. Here’s a way! The 2-day workshop “Video As A Sculptural Medium” will help you begin your understanding of shooting and editing video. Awesomer!


More practical minded? How about rolling up your sleeves and getting to work making an environmentally friendly table? In “Eco-Tables” you will make the steel base (and learn the basics of welding) and glass top from recycled glass (learning the art of fusing).


recycled glass and steel table


glass sconce by Nancy Donnelly

Or “Making Glass Sconces for Your Home” where you learn to cut, fuse and shape glass into a sconce. You will make the hardware to mount the light. Build your own dream house – from the inside out! Awesome Domestic Bliss!

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Fall 2011 Schedule

(Lampworking Class Schedule next posting)

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Class 1120- 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 2 times in the fall session.

Instructor: Robert Kincheloe
Dates: Session A : Sat/Sun – Sept. 24/25
Session B : Sat /Sun Nov 12/13
Time: 1pm to 5pm each day
Tuition: $300 per student (all materials included)

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Class 1121 – Going Green

Green up your life by doing something creative to help the environment! This is an exploration into using recycled glass to make sculptural pieces, tableware, and architectural elements. We will delve into multiple techniques, including casting, fusing and slumping. Glass chemistry, coloration, and firing temperatures will be explained for each particular application. It is a fantastic way to learn aspects of any warm glass work while focusing on recycling! Once you start down the path of recycled glass, you will see more and more opportunities for experimentation around you. No prior experience is necessary – you are encouraged to bring in materials you’d like to try…and you will leave with several very cool items!

Instructor: Erwin Timmers
Dates: Wed Evenings Sept 14, 21 & 28
Time: 7pm to 9:30pm
Tuition : $350

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Class 1122 – Eco-Tables

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 12, 19, 26 and Nov 2
Time: 7pm to 9:30pm
Tuition: $400 per student (all materials included)

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Class 1123 – Using Neon In Your Sculpture – Not Your Grandfather’s Neon

Neon doesn’t only come in a tube anymore! This is a great way to use neon in new ways! Expand your vocabulary of your sculptural glass by lighting up your forms. This class will focus on 2 areas. You must pick one:
A).Designing hollow sculpture for experienced flameworkers at a bench torch.
B). Fusers who would like to incorporate neon in bullseye or plate glass by creating a void. Very new idea!
The students will make hollow forms that will be filled and illuminated with noble gases (such as neon, argon, krypton, or xenon). The course will provide a basic understanding of neon. Demonstrations and discussions will encompass different gases, the effects of gas pressure (including plasma), different effects achieved by varying forms and transformer use. By the end of the workshop, you will leave with glass forms that are filled with gas and will illuminate the possibilities. Cut off date to register for this class will be OCT 1st!

Instructor: Jason Chakravarty
Dates: Columbus Day Weekend/ Sat-Sun-Mon /Oct 8-9-10
Time: 2 to 6pm each day
Tuition: $500 per student

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Class 1124 – Making Glass Sconces for your Home


wall sconce by Nancy Donnelly

Are you looking to brighten up your life? Do you want to see your house in a new light? Well, come in and make your own in this class! You’ll learn to cut, fuse and shape glass into a sconce. You will design your own mold, and make the hardware to mount the light. You will also learn how to safely wire and install your new sconce. No glass or electrical experience is necessary.

Instructor: Erwin Timmers
Dates: Wednesday eves, Nov 9 &16
Time : 7pm to 9:30pm each day
Tuition: $300 per student (all materials included)

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Class 1126 -Video As A Sculptural Medium

Have you been interested in the thought of working with video? Have you thought that maybe its time to add video to your artwork? Well, here’s the way! This 2 day workshop will help you begin your understanding of shooting and editing video. Using simple equipment, we will cover shooting, lighting, editing with iMovie and FinalCut, using video with current artwork, and narrative concepts. This class will be easier if you have a MacBook with iMovie or FinalCut loaded, or a PC Laptop with those programs. Come and get started with this adaptable artform! This class limited to 6 participants.

Instructor: Tim Tate / Pete Duvall
Dates: Sunday afternoons in Oct 23 & 30
Time : 1pm to 5pm each day
Tuition: $300 per student

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Class 1127- Work At Your Own Pace / Open Studio

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.

Instructor: Studio Staff
Dates: Wed/Thurs/Sat afternoons (call to confirm appointment)
Time: 1pm to 5pm
Tuition: $300 for 4 sessions

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For the list of NEW Fall 2011 Lampworking Classes – click HERE

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PayPal Class Registration




BECon 2011

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This coming June, Bullseye Glass hosts their glass arts conference in Portland, OR. The biennial conference is a great way to see the latest BE glass products, tour the factory and network with other glass artists and educators. Scholarships are available – read below:

BECon 2011

CROSSOVER: A Material Exchange
Exploring the interface between kiln-glass and other media

What can the “makers” in the field of kiln-glass learn from artists working in other media? What lies at the interface of kiln-glass and forms of expression like painting, architecture, photography, digital technologies, printmaking and textiles? Exploring such questions is precisely the goal of the Bullseye Conference, 2011.

WHAT IS BECON?
Every two years, aspiring and accomplished kiln-glass professionals from around the globe enjoy the opportunity to gather, network, compare notes and expand their horizons. That opportunity is known as BECon (the Bullseye Conference).

WHEN IT WILL HAPPEN
June 16-18, 2011.

WHERE IT WILL HAPPEN
Portland, Oregon, USA—on the metropolitan campus of Portland State University, which is central to the city’s vibrant, arts-rich core.

WHO WILL SPEAK
A partial list of presenters includes:
Elizabeth Aro Invorio, Italy
Steve Brown London, England
Bruce Guenther Portland, Oregon, United States
Alex Hirsch Portland, Oregon, United States
Alex Hoare Winchester, England
Munson Hunt Santa Fe, New Mexico, United States
Tom Jacobs Portland, Oregon, United States
Silvia Levenson Lesa, Italy
Dante Marioni Seattle, Washington, United States
Richard Parrish Bozeman, Montana, United States
Marc Petrovic Essex, Connecticut, United States
Laurel Porcari New Orleans, Louisiana, United States
Rick Potestio Portland, Oregon, United States
Judith Schaechter Philadelphia, Pennsylvania, United States
Shapeways Eindhoven, The Netherlands
Karlyn Sutherland Lybster, Scotland
Lino Tagliapietra Venice, Italy
Karen Yair Birmingham, England

WHO WILL ATTEND
About 250 artists, designers, fabricators, instructors, and students from around the globe.

PRE- AND POST-CONFERENCE WORKSHOPS
Are in the planning stages. Update – click HERE to jump to BE workshops.

STUDENT SCHOLARSHIPS
Bullseye is offering 25 scholarships for students. Recipients can attend the conference for $250, less than half the standard price. To qualify, you must currently be enrolled full time in an accredited university or have graduated from an accredited university no earlier than May 2010.

To apply for a scholarship, please email the following information to marketing@bullseyeglass.com by February 13, 2011:
1) your contact information, including name, website (if applicable), mailing address, and email address
2) your CV or résumé
3) a short paragraph describing how you will use what you learn at BECon 2011
4) four to six .jpg files showing your work (no file larger than 100 kb.)
5) a list identifying each work shown in the .jpg files by title of image, title of work, year, technique/media, dimensions, and photographer.

Scholarship recipients will be notified by email no later than February 27, 2011. Once notified, recipients will be able to register for the conference at the reduced rate of $250.

APPLICATIONS
Will open early in 2011.

CONTACT & INFO
Contact conference@bullseyeglass.com for more information.
Click here and here to learn about Portland, Oregon.

Judith Schaechter Creativity Workshop

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The Sin Eater Glass 25 x 46 x 6 inches

As part of the James Renwick Alliance Distinguished Artist Series, Judith Schaechter will teach a Creativity Workshop on May 21, 2011. Designed to help artists explore ways to break through “artists block” and expand their creative practice, participants will engage in group discussions as well as individual exercises. On Sunday, May 22, Judith Schaechter will present a lecture on her work in the Grand Salon at the Renwick Gallery. The lecture will be free and open to the public.

Lockdown Glass 21 x 31 x 6 inches

Judith Schaechter, renowned stained glass artist, is the recipient of many grants, including the Guggenheim Fellowship, two National Endowment for the Arts Fellowships in Crafts, The Louis Comfort Tiffany Award, The Joan Mitchell Award, the Pew Fellowship in the Arts and a Leeway Foundation grant. Her work is in the collection of the Victoria and Albert Museum in London, the Philadelphia Museum of Art, The Corning Museum of Glass, The Smithsonian American Art Museum’s Renwick and numerous other collections. Judith’s work was included in the 2002 Whitney Biennial, and she is a 2008 USA Artists Rockefeller Fellow.

The Minotaur (detail) Glass 38 x 25 x 6 inches

Workshop Description:
Creativity is mysterious, miraculous and utterly crucial to an artists’ practice. Because Judith Schaechter herself experienced some difficult bouts of artist’ block, she did a great deal of research into this fascinating and elusive subject. How does one become inspired? How does one choose the one idea to pursue amongst many ideas? Are there techniques to improve oneself creatively?


Ultimately, Judith divided creativity into the following: Inspiration, Perspiration (developing ideas into pieces), Practice (work habits, motivation), Audience and Beliefs.
This workshop will begin with a questionnaire, which should identify areas of interest to the participants. Judith will then share a presentation on what she has discovered. Lively group discussions and individual exercises will follow.

Distinguished Artist Series workshops are $30 for members, $40 for non members. The subscription cost for all four programs is $100 for JRA members and $140 for non-members.
For more information or to register for any of these programs please e-mail: admin@jra.org

GAS Clarifies Arizona Conf Cancellation

>An earlier post listed the Glass Art Society (GAS) cancellation of the planned 2011 GAS Conference in Tuscon Arizona.

The Board of Directors for GAS has issued a clarification, emailed out to the members of the glass artist organization on the reasons behind the decision to cancel the Arizona conference.

“Dear GAS Members:

The Board of Directors and the Executive Director would like to thank you for your many communications regarding the recent decision to cancel the 2011 Annual Conference in Tucson for financial reasons. It became evident from the many comments we received, both supporting and opposing the decision, that further explanation regarding our organization’s budgeting process would be helpful to all.

From the onset, the Board did not make this decision based on the new Arizona immigration law. Personal opinions of Board Members cannot be allowed to influence such an important decision, and the diversity of the Board ensures this. GAS depends financially on its Annual Conference to generate funds for operating the association. Our membership dues alone do not pay for all we do: staffing, office rental, communications, travel, website, GASnews, the GAS Journal, etc…we need to make money at the Conference not just to survive, but to thrive. A poorly attended Conference puts a serious strain on the finances, if not jeopardizing the organization financially.

Without getting into too much financial detail (a budget is provided and discussed at the annual business meeting): the Conference needs to have a surplus of about $175,000 to cover all associated costs. In addition, a financial “bolster” is needed to cover the International Conferences, which are part of our mission but are also much more costly. We do have a contingency account invested for the long term, but due to the economy and conference attendance, this reserve will be tapped into this year. GAS therefore finds itself in a particularly sensitive year financially, which affects all of its decisions.
How does the Conference support the organization? In several ways:
REGISTRATION FEES
HOTEL REBATES TO NON-PROFITS
TOURS
WEDNESDAY PRECONFERENCE RECEPTION/DINNER (Fundraiser)
THE GAS AUCTION
SITE CITY CONTRIBUTION ($100,000 MINIMUM)
Our finances become critical when attendance is poor. The following leads to losses for the organization:
LOSSES IN REGISTRATION FEES
HOTEL ATTRITION PAYMENTS INSTEAD OF REBATES
CANCELLATION OF TOURS
NO INCOME AT THE BENEFIT
LOWER INCOME AT THE AUCTION
DROP IN MEMBERSHIP INCOME DUE TO LACK OF RENEWALS (SOME MEMBERS TEND TO RENEW ONLY WHEN THEY COME TO THE CONFERENCE)

All of this adds up, sometimes in the hundreds of thousands, and goes against our Annual Budget. How did this affect our decision to cancel Tucson?

POOR ATTENDANCE AT ANY CONFERENCE, DESPITE A BEAUTIFULLY PLANNED PROGRAM, MEANS WE WILL BE DIPPING INTO OUR CONTINGENCY FUNDS.
THE TUCSON SITE COMMITTEE HAD YET TO SECURE ENOUGH FUNDS FROM THE CITY OR REGIONAL PROVIDERS TO MEET THE $100,000 COMMITMENT, DESPITE GOING THROUGH THEIR HIGH SEASON.
THE PROSPECT OF MEMBERS NOT ATTENDING BECAUSE OF THEIR OPPOSITION TO THE IMMIGRATION POLICY WOULD HAVE MEANT AN EVEN GREATER FINANCIAL BURDEN TO THE ORGANIZATION.
WE HAVE A SMALL WINDOW TO FIND ANOTHER LOCATION THAT WOULD NOT BE OBJECTIONABLE TO OUR MEMBERSHIP.

We, the Board of Directors of the Glass Art Society, have a difficult job ahead of us. Not only do we oversee the programming for the organization and the Conference, we also have the responsibility for its financial survival. We want to be able to pass the Board over to future members in sound shape, as we have so far. Let me assure you that we have struggled with the weighty decision of canceling a Conference site, we did so to guarantee Conferences in the future.
The Board will be meeting on Saturday, June 12, at 12 noon the Rose Room of the Marriott Hotel for the Annual Business Meeting. Anyone who has further questions about Tucson, the budget, or GAS in general, should attend this meeting, as it is open to all members.

Best regards,

Shane Fero
President
Glass Art Society “