Bullseye RCBA Gallery Opens Painterly Glass Exhibit

>Bullseye Glass had earlier this year opened their new facility in the California’s Bay area near the Silicon Valley/Berkely/San Francisco corridor of Emeryville, CA. The place is called Resource Center Bay Area (RCBA) and this facility (the third of BE owned centers) offers workshops, supplies and a gallery.

RCBA, Bullseye Glass’ new home in California. 4514 Hollis Street, Emeryville, CA

One of the upcoming exhibits at the RCBA Gallery opens this coming Saturday, Aug 4, 2012. Titled: Facture: Artists on the Forefront of Painterly Glass, a number of the works were shown at BE’s Portland gallery early this year in a show of the same name. The exhibit will showcase kilnformed glass paintings (mostly frit on sheet glass) from the artists Abi Spring, Kari Minnick, Martha Pfanschmidt, Ted Sawyer, Jeff Wallin, and WGS’ Michael Janis.

Jeff Wallin Residue of a Figure Study

kilnformed glass

from the BE website:

Facture: Artists at the Forefront of Painterly Glass is a group exhibition that explores many of the concerns of contemporary painting, but does this exploration with glass. Painting exists in a continuum with centuries of tradition while simultaneously embracing aspects of sculpture, installation and collage. Painting today goes beyond pigment on a surface; it is an approach to image making that encompasses the ways in which a material is used to construct a work, how an artist approaches a subject, and even how an image is conceived. The artists included in Facture are constructing paintings using glass.

Michael Janis Observation of Signals

kilnformed glass and steel 

Glass, unlike traditional painting materials, is both surface and solid. Value and intensity can be created on the suface as well as volumetrically. Paintings made from glass are image and object; illusion and reality, and these artists, at the forefront of this young method, are scratching at the boundaries of both.

Martha Pfanschmidt Last Year

kilnformed and coldworked glass

View the exhibition: Bullseye Resource Center Bay Area Gallery, August 4 – October 20, 2012.

Opening Reception: Saturday, August 4, 3–5pm. 4514 Hollis Street, Emeryville, CA 94608
Go to map & driving directions

Getting GAS’d Up – Glass Art Society Conference Opens in Toledo

>In recognition of the Toledo Museum of Art’s role as the cradle of the American Studio Glass Movement, GAS will be holding its 2012 conference in Toledo, Ohio, June 13 – 17, 2012. 
Toledo is welcoming again artists from around the world to celebrate the achievements of the past and to explore the seemingly endless possibilities of glass. Professor Tim Tate will be on a panel with Matthew Szosz, Alexander Rosenberg and moderated by Andrew Page. The discussion is titled: Post Studio Glass    and will discuss how:
The work in glass being shown in galleries and art fairs still focuses on formalist object on a plinth. A new generation of glass artists is breaking with the existing glass art field to apply new strategies. Panelists speak with GLASS Quarterly editor Andrew Page about this generational shift and its implications.

POST STUDIO GLASS PANEL A Look at the New Parameters 
for Work in Glass
Saturday,June 16 at 1:45-3:15pm in the Seagate rooms 202-208


Click HERE for the conference program pdf.

If you are going to GAS, be sure to avail yourself of all the exhibitions that are part of the Studio Glass Movement’s 50th Anniversary. One of the shows (just outside of Toledo in the suburb of Perrysburg, OH) is a great mix of art work by artists that work with narrative imagery. Artwork by leading glass artists April Surgent, Therman Statom, Tim Tate, Marc Petrovic, Susan Taylor Glasgow, and Michael Janis.

Images

June 11- Sept 14, 2012

Walter E. Terhune Gallery

Blue Spiral 1 Gallery Looks to Studio Glass’ Future

>North Carolina’s Asheville was named one of AmericanStyle magazine’s “Top 25 Arts Destinations” . This week, another of its top galleries – this time Blue Spiral 1 – opens a show that looks to honor the 50th Anniversary of the American Studio Glass Movement.

WGS is well represented in the list of artists!

Blue Spiral has curated the show with an eye to the future of glass with “compelling sculpture [that] speaks to conceptual and narrative directions the medium takes in the 21st Century”.


Artists include a number from the Washington Glass School extended family – Tim Tate, Sean Hennessey, Michael Janis, Marc Petrovic, Christina Bothwell and Susan Taylor Glasgow.


With Erwin Timmers’ work showing at nearby Bender Gallery – its like a Washington Glass School summer camp in the Blue Ridge Mountains!


Glass Secessionism
June 7 – July 26, 2012
Opening Reception, June 7, 5-8 pm
Blue Spiral 1 Gallery
38 Biltmore Avenue
Asheville, NC 28801

Saturday – Meet the Artists @ Artomatic

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This Saturday is the “Meet the Artists” night at DC’s Artomatic Art Fair – from 7 – 9 pm.


The James Renwick Alliance will also host a reception at Artomatic on Saturday, June 2 from 5:00 to 7:00 PM in the JRA Education Room, #1106, on the 11th floor. Many of artists whose work was selected the JRA as recipients of the Award of Excellence will be at the reception – starting around  6 PM. At the Prince George’s County Parks and Recreation Room on the 3rd floor @ 7:30pm, they will announce the Department’s purchases of artwork by Prince George’s County artists for the Department’s permanent collection – for a bit of art excitement!

See you there!

Dave D’Orio / glass / Level 8

Michael Janis  / glass / Level 2
Sean Hennessey /glass / Level 9
Donna McCullough / metal / Level 1

Artomatic 

1851 S. Bell Street, Arlington, VA, 22202 

(one block from Yellow Line Metro – Crystal City stop)

Free 

James Renwick Alliance Selects its Artomatic Favs

>The James Renwick Alliance (JRA) is an independent national nonprofit organization dedicated to advancing scholarship and education on contemporary American craft, to supporting activities directed toward this purpose, and to encouraging connoisseurship and collecting. The JRAassists the Smithsonian American Art Museum in adding to its permanent collection of American craft. For over 25 years, the JRA has supported activities and programs involving hundreds of artists, art supporters, galleries, and partnering institutions from across the nation and around the world.
As part of their mission for the arts, the JRA are sponsors of a workshop/reception “Renwick Alliance Room” in the huge DC Arts Fair – Artomatic. Located on the 11th Floor of the festival, the JRA has planned workshops and talks throughout the month long run of the show (thru June 23). 


Members of the JRA has also went thru the 10 floors of artwork – selecting their Top 10 media-based artists for their 2012 Artomatic “Award of Excellence”. 

James Renwick Alliance 

Recognition of Excellence 

ARTOMATIC 2012

Artist 

Work 

Type 

Floor 

Location 

Brad Taylor 

Chaise 

Wood and Metal Furniture 

305 

David D’Orio 

Installation 

Mixed Media (Glass) 

147 

Donna McCullough

Body of Work 

Metal Sculpture 

152 

Helen Baribeau 

Body of Work 

Fiber Sculpture 

121 

Julia Bloom 

Installation 

Wood Sculpture 

208 

Matt MacIntire 

Body of Work 

Mixed Media 

160 

Michael Janis

Body of Work 

Glass                 

173 

Pierre Davis

Body of Work 

Wood Sculpture 

10 

152 

Sean Hennessey 

Body of Work 

Glass                 

141 

Zofie Lang 

Installation 

Mixed Media 

112 

Congrats to the WGS/DC Glass artists & all the artists involved in the huge event!
And a big hug to the James Renwick Alliance!


The James Renwick Alliance welcomes the public to join them in a pre meet-the-artists-night reception. Mingle with other craft lovers! 
The JRA will be distributing maps they have created to help you find the media-based artists of Artomatic.
Saturday June 2
5:00pm-7:00pm
The Renwick Alliance Room, 11th floor


Dinner with the Board of University of Sunderland and More Workshops!

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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.

London Affordable Art Fair & Imagery In Glass

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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, Creative Cohesion, 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

Bombay Encyclopedia

Jeffery Sarmiento talks about his work “Ossify”

Ossify 2010 British Glass Biennale Award Runner up


Emotional Leak Jeffrey Sarmiento & Erin Dickson, 2011

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Cate Watkinson

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!

Fulbright Scholars at University of Sunderland

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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.

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James Maskrey

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 sculptured glass 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.

Coming Next - London Affordable Art Fair & Imagery in Glass Class and featured Sunderland Artists: Jeff Sarmiento, Cate Watkinson and more!

Washington, DC Fulbright Scholars Connect with Ancestral Home of President George Washington

>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.

University of Sunderland Welcomes Fulbright Scholars Michael Janis & Tim Tate

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