Glass Sparks: Michael Janis

photograph by Tom Wolff

Michael Janis studied architecture at Mies van der Rohe’s IIT in his hometown of Chicago, IL. In 1993 he moved to Australia and there he worked on a number of large scale architecture projects, including work for the 2000 Sydney Olympics. It was in Australia that Michael first started working with glass, designing walls of cast glass.

Moving back to the United States in 2003, glass artwork became his focus. Michael began glass blowing at a Baltimore hot shop and was soon taking glass courses at art centers such as Haystack Mountain in Maine, North Carolina’s Penland School of Craft, and Urban Glass in New York.

Michael at Penland School of Craft

Attracted to the experimental and adventurous approach to the medium that defined the Washington Glass School, he soon became involved with the school as the Studio Coordinator.

L-R Washington Glass Studio directors Erwin Timmers, Tim Tate, Michael Janis. From the 2006 American Style article “Filling Glass With Meaning“. Photo by Roger Foley.

In 2005, Michael became one of the Co-Directors of the Washington Glass School, and he is the Director of Public Art projects for the Washington Glass Studio.

“The Gravity Between Us” Hotel Palomar, Washington, DC

Public Art sculpture for Prince George’s County Circuit Court

Michael continues teaching at the Washington Glass School, and also has taught glass art workshops at Istanbul’s Glass Furnace, the Penland School of Craft and the Bay Area Glass Institute (BAGI) in California.

Michael teaching fused glass technique class at Washington Glass School, 2005

Michael Janis teaching at California’s Bay Area Glass Institute, 2010

His kilncast bas-relief glass and steel sculptures were featured in the seminal “Compelled By Content” exhibition at Bethesda, Maryland’s Fraser Gallery. In this show, artists that used glass with narrative content showed how the traditional craft of glass was evolving.

“Liar Paradox” Collection of Susan and Fred Sanders. Photo: Anything Photographic

Michael began incorporating imagery into his glass works, and by manipulating crushed glass powder he has been able to create intricate detail images within the glass, layering the images to emphasize the depth within.

Text and imagery work their way through Michael’s artwork panels, similar to an architect’s diagrams, suggesting elements of stories not fully disclosed. Michael’s work references the Surrealist artists of the early twentieth century and Neo-Dada concepts as seen in the work of artists like Robert Rauschenberg, Joseph Cornell and Jasper Johns.

Click HERE to jump to a short documentary on Michael and his sgraffito frit powder technique.

From the catalog of the 2011 exhibit “Material World”:

“When viewers see images of Michael Janis’ work, they may not immediately recognize it as glass art…The virtuosity of Janis’ technique supports his imagery, which is often tinged with a nostalgia for days where innocence reigned and magic seemed possible. Janis is not simply naïve, for there is a darker undercurrent to these works that speaks to the loss of this sense of wonder.” Stephen Boocks curator, April 2011

Maurine Littleton Gallery space, SOFA Chicago 2009

In 2007, Maurine Littleton Gallery began exhibiting his glass artwork at international art shows such as Art Miami, SOFA Chicago and SOFA New York. Currently, his work is on exhibit at the Flemish Center for Contemporary Glass Art in Lommel, Belgium.

In 2009 he was awarded Florida’s “Emerging Artist” award by the Florida Glass Art Alliance, in 2010, he received the Saxe Fellowship from California’s Bay Area Glass Institute. This year, Janis will be named a “Rising Star” by the Creative Glass Center of America and the Art Alliance for Contemporary Glass at the biannual glass art conference held at the Museum of American Glass at WheatonArts, in New Jersey.

The Memory of Orchids, 2011

His first museum solo show will open this year (August 6 thru November 6, 2011) at the Fuller Museum of Craft, in Brockton, Massachusetts. Michael Janis also was just awarded a Fulbright Scholarship, and will be at the UK’s University of Sunderland and National Glass Center in 2012.

Detail from “In the Evening Twilight”

Michael will be one of the featured artists in Long View Gallery’s exhibition of Artists of the Washington Glass School:

Washington Glass School: The First 10 Years
LongView Gallery
1234 9th Street, NW, Washington, DC May 19 – June 19,2011
Artist Reception, May 19th, 6:30-8:30 PM

For other Washington Glass School artist profiles:

Diane Cabe

Sean Hennessey

Allegra Marquart

Teddie Hathaway

Elizabeth Mears

Jackie Greeves

Erwin Timmers

Jeff Zimmer

Robert Kincheloe

Chicago’s Art Institute Re-Opens Chagall "Windows"

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Emily Heye, associate conservator of objects, uncovers the restored Chagall stained glass windows at their new location in the Art Institute Wednesday. The windows, which were removed five years ago for the construction of the Modern Wing, will open to the public on Nov. 1. (Michael Tercha/Chicago Tribune)

After five years out of sight, one of the Art Institute of Chicago’s most popular works is back.

Artist Marc Chagall’s “America Windows,” dismantled in 2005 for safe keeping during the lengthy, construction of the Art Institute of Chicago’s new Modern Wing, reopens to the public Monday.

Chagall created the stained glass panel wall as a result of the city’s and the Art Institute’s response and support for his mosaic “Four Seasons.” He presented the work to the museum in 1977 and dedicated it to Mayor Richard J. Daley for supporting public art.

The artist called his piece America Windows to recogize a country on its bicentennial that valued and supported the arts.

Bueller…Bueller?

The glass wall was also featured in the classic John Hughes film “Ferris Bueller’s Day Off“.

After nearly 30 years on view overlooking the Art Institute’s McKinlock Court, the glass windows, subject to slight condensation, had attracted atmospheric deposits of oil and calcium carbonate, which appeared as a sheer white film dulling their filtered, colored light, muting the brilliance of colors. Seizing on the opportunity provided by the 36-paneled windows’ removal during the lengthy construction, the museum’s conservation staff investigated various methods of cleaning, and, beginning about two years ago, the restorative work began.

Detail of one of the Chagall windows.

Associate Conservator Emily Heye commented: “Imagine large Q-tips and lots of time spent carefully rinsing after the fact.” Simultaneous to Heye’s immaculate restorative work, a new exhibition space was designed and constructed for the windows in the east end of the museum’s Arthur Rubloff building.