Winter Open Studios Set for Dec 14th! Mark Your Calendars!
Join us in the DC region’s largest one-day visual arts event! On Saturday, Dec. 14th, from Noon til 5PM, Washington Glass School and its Resident Artists, Teachers and Students will participate in the Winter Open Studios! See what we’ve been up to!
Come visit hundreds of working artist studios in the Gateway Arts District, along Route 1 from the DC line/ Mount Rainier up to Hyattsville, MD.
This week, glass universe goes south – to Florida! The Glass Art Fair takes place in Sarasota, FL from Feb 1st – 4th Ringling College of Art + Design Studio A. Habatat Galleries‘ 4-day glass art experience “Glass Coast Weekend” features six special exhibits of contemporary glass.
The event includes a pop-up exhibit of over 150 pieces at the Ringling College of Art + Design’s Studio Labs Sound Stage A. Explore four themed curated exhibitions, two solo exhibits, and visit the newly opened Sarasota Art Museum and the Basch Gallery on the Ringling College campus. Additional highlights include a Masterworks Auction, a demonstration by artist John Kiley, artist talks, a Ringling Museum mystery, Habatat-Zoom Live, the Imagine Museum’s Annual Fire and Light Gala.
Hope to see you at the first HUGE glass event of the year!
Tis the Season!
All of us at the Washington Glass School & Studio Wish You and Family a Joyous Holiday Season! And a Happy Healthy New Year!
(L-R) Patricia De Poel Wilberg, Erwin Timmers, Christina Helowicz, Nancy Kronstadt, Kate Barfield, Tim Tate, April Shelford, Michael Janis, Trish Kent and John Henderson. Not pictured: Graciela Granek, Sean Robinson, Diane Cabe, Gabrielle Morris, Kyle Crosby, and Daphne Matyas.
Glass Sculptor and Artist Tim Tate looks back on 20 years of creating a community. He recently put together some of his observations on well, how did we get here?
“I had been raised in a household filled with craft materials. I rarely saw my mother’s hands empty, always creating something. I inherited this love. I spent my early adult years being trained in the methods revolving around studio glass while attending the 2 weeks to 2-month workshops of Penland, Pilchuck, Corning, Pittsburg, etc. (I had no money to attend grad school …though I yearned for Cranbrook). These years of varied workshops and practitioners was the perfect way to obtain a broad outlook on the entire field. We founded the Washington Glass School in 2001 with very specific goals. Let me see if I can make this clear.
1). We wanted to be something other than a traditional studio glass shop. From the beginning we realized we wanted a much broader approach; something that reflected the mission of education centers like the Crucible in Oakland and Penland in NC. We embraced mixed media work from the beginning with varied classes in kiln formed glass, steel, electronics, encaustics, etc. Our idea was not to in any way denigrate the rich history of studio glass, but to live just outside of those confines to see what would happen. To step slightly away from the 20th century.
2). As a gay man in glass, it was apparent that diversity was sorely lacking in every way in the glass world. So we did outreach and advertised our classes in many publications that went to diverse populations, rather than wait for these populations to approach us. This worked very well. Even now we go to the Facebook pages of different neighborhoods to show our class schedules.
3). We have embraced social media in every way possible, from individual and school Facebook and Instagram pages (where we post regularly) to administering a Facebook discussion group. This group is called “21st Century Glass/Conversations and Images/Glass Secessionism” and maintain over 8000 members from 97 countries.
With William Warmus we came up with the original concept of “Glass Secessionism”…to step slightly away from the recognized canon of 20th century glass and to create as much dialog and critical analysis as possible. There have been over 1.5 million words written and over thousands of images shared on this page focusing almost entirely on that theme.
4). We participated in many local shows here in the DC area, such as the spectacular Art-O-Matic show that truly put us on the map. We also curated many shows over the years to include local emerging artists. I have served on a dozen boards and juried dozens of shows and grant applications to stay in the loop and form a community bond. There are 3 Co-Directors here, all sharing a similar mission….to create a large regional, national and international community to foster new growth within our field.
5). Our first class was on Sept. 13, 2001…. a difficult day in history to start anything being right after 9/11. We thought no one would even attend the first classes. But we discovered something else….no one cancelled. It appeared that while the purchase of art slowed to a trickle around the country, the creation of art thrived. Our first class was filled with artists who wanted to make narrative work about the devastation of that event. From that moment on we embraced narrative work with all our hearts. Works about political events, social injustices and inequalities were common within our sculptural classes, and certainly in my own works. We have now been in operation over 20 years, with over 6000 students. 60% of those were and are women, we have a large population of BIPoC students and we have worked with hundreds of LGTBQ students. We are so very proud of this fact.
My purpose for serving on boards right now is to focus on the building of communities as an artistic practice. I want to take a slight step away from academia as these institutions can become elitist, and I want to be non-elitist as we have been from the beginning. I also like regional boards that focus in the mid-Atlantic.
My personal practice had been deeply imbedded in the world of glass galleries and museums, though frequently as an outsider. I have stepped away from this in the last few months. I have moved towards the fine art world once again, as I had started there. It feels great to go back to my roots, surrounded by a community that reaches far beyond anything we ever anticipated.” – Tim Tate, October, 2022
17 national and international finalists have been selected for this biennial exhibition in glass art, featuring newly created, innovative works.
Glass is itself a transformation: created when ordinary sand encounters extreme heat. In this breathtaking exhibition, glass is transformed again, this time by 17 contemporary artists from across the globe. The resulting work pushes the boundary of traditional craft techniques and takes glass from the realm of the ordinary to the extraordinary.
Transformation 11: Contemporary Works in Glass is Contemporary Craft’s 2022 Elizabeth R. Raphael Founder’s Prize juried exhibition. The winning artist and their work will be announced and presented at the public opening of the exhibition on Friday, September 9, 2022, where they will receive a cash prize. The 2022 prize will be awarded in the category of glass, and must meet the requirement that it has been made within the last 12 months and addresses the theme of “transformation.” Seventeen contemporary artists from across the globe explore creative concepts and innovative approaches in their use of the glass medium, with the winning artist sending additional works to demonstrate the breadth of their work.
The 2022 Raphael Prize finalists are: Dean Allison, Pittsburgh, PA; Eunsuh Choi, Rochester, WI; Donald Friedlich, Madison, WI; Michael Janis, Washington, DC; Lauren Kalman, Detroit, MI; David King, Danville, KY; Eriko Kobayashi, Carbondale, IL; Weston Lambert, Tacoma, WA; Patrick Martin, Emporia, KS; Hisayoshi Muto, Yatomi, Aichi, Japan; Aya Oki, San Bernardino, CA; Miroslava Ptackova, Zlín, Zlínský kraj, Czech Republic; David Schnuckel, Rochester, NY; Michaela Spruzinova, Ústí Nad Labem, brná, Czech Republic; Ben Wright, Stanwood, WA; Ayano Yoshizumi, Everard Park, SA, Australia; and Hoseok Youn, Toledo, OH.
The jury for the 2022 prize includes Anna Rothfuss, Project Development Manager, Derix Art Glass Consultants, LLC U.S., Portland, OR; Heather McElwee, Randi & L. Van V. Dauler, Jr. Executive Director, Pittsburgh Glass Center, Pittsburgh, PA; Alexandra Raphael, enameller, London, England; Catherine Raphael, metalsmith and writer, Pittsburgh, PA; Rachel Saul Rearick, Executive Director, and Kate Lydon, Director of Exhibitions (retired), Contemporary Craft, Pittsburgh, PA
Contemporary Craft hours: Mon-Sat: 10 AM – 4 PM
September 9, 2022 – March 18, 2023
This opening is free and open to the public.
ABOUT CONTEMPORARY CRAFT
Contemporary Craft presents contemporary art in craft media by regional, national, and international artists. Contemporary Craft offers cutting edge exhibitions focusing on multicultural diversity and contemporary art, as well as a range of artist-led studio workshops, community engagement programs, and a store. Located at 5645 Butler Street in the Upper Lawrenceville neighborhood of Pittsburgh, PA. For more information, visit www.contemporarycraft.org
Sad news to report – world-renowned glass artist and painter Erwin Eisch has died at the age of 94. Erwin Eisch fell asleep after midnight in the retirement home in Zwiesel, where he had lived since October. “On January 7, he celebrated a diamond wedding with his wife,” said Katharina Eisch-Angus. The parents Erwin and Gretel Eisch had celebrated the 60th anniversary of their marriage together in the home. The death was unexpected, as Erwin Eisch was in good health. The last few days, when his condition had deteriorated, someone from the family had always been with him.
Erwin Eisch was a pioneer German artist who was considered a founder of studio glass in Europe and the world. He was also a painter, draughtsman, and printmaker. Working with friend and colleague in glass Harvey Littleton, Eisch’s work in glass embodies the ideas of the international Studio Glass movement.
Eisch’s non-traditional approach to glassmaking had a profound impact during the formative years of the American Studio Glass movement, and his relationship with American glass pioneer Harvey K. Littleton forged an important link between European and American studio artists working in glass.
Michael Janis and Tony Porto glass/mixed media exhibit has dominated Michigan’s press as the news agencies and tv shows all feature works by the artists and their story.
Click here to read story in Detroit News.
Local Fox News – Fox 2 – sent reporters into the gallery to interview Director Aaron Schey and get the story on the Not Grandmas Glass (NGG) exhibit and competition as well as an eyeful of the artworks. Click here to jump to one of the three interviews by Fox.
Click Here to jump to article about the Janis/Porto exhibit in the Oakland Press.
Click HERE to jump to article on Not Grandmas Glass exhibit in the C & G newspaper.
Mary Van Cline; The Floating Sea of Time;
Photosensitive glass, pate de verre, 24 x 20 x 5 in.
Mary Van Cline artwork blends pâte de verre elements with photographic images creating a new quality in dimension. Recently she has focused on the photography aspect to create “The Documenta Project,” which she hopes to build an archive of life-size photographic portraits that capture the unique personalities of the major glass world figures.
Mary Van Cline has been known for her artwork combining photography and glass since 1978.
Since early 2017, she’s been traveling the U.S. to take photographs of glass artists, prominent dealers, collectors and critics in an effort to document and immortalize the unique artistic ecosystem that defines the Studio Glass world. Mary’s goal is support to capture the spirit of the people who enabled and contributed to the glass community using life size photographic images where their gestures and presence will be preserved on large format B&W film, and high-resolution color digital files.
Glass Artist Laura Donefer captured by Mary Van Cline
Mary said that she has taken some 10,000 photos. From each session alone, she took at least 400 photos with the digital camera.
NYC Uber collectors Susan and Fred Sanders
Though almost entirely self-funded so far, Mary hopes that others who appreciate her project and the progress she’s made on her own might approach her with offers of support. This year the project has been invited back to SOFA and, in April, Van Cline hopes to bring it to Detroit during the Flint Museum opening and the Habatat International.
The fact is that such an ambitious project is costly and donations are needed in order for it to continue. The Tacoma Art Museum has agreed to accept nonprofit donations on behalf of Van Cline, and transfer any funding directly to the project with no fee.
WGS Glass Artists Michael Janis & Tim Tate documented for the Documenta Project
Donations can be mailed to the Tacoma Art Museum at the following address:
Tacoma Art Museum
Rock Hushka, Curator
Attention: Documenta Project
1701 Pacific Avenue
Tacoma, Washington 98402
For any questions, contact Mary Van Cline at: mary@maryvancline.com
Habatat Galleries was established in 1971 in a suburb of Detroit, Michigan. It is the oldest and largest gallery in the United States devoted exclusively to artists working with glass as their medium. The 12,000 sq. ft. gallery in Royal Oak, MI, is the home of the International Glass Invitational, which for 42 years has introduced and exhibited the greatest artists working creatively with glass. This year, three artists from the Washington Glass School – Sean Hennessey, Michael Janis and Tim Tate are included in the exhibition.
Habatat Galleries – Michigan works with many museums and art centers where they have developed exhibits that have been displayed in over 100 public institutions. Each year Habatat publishes catalogs celebrating these both national and international events.
Habatat Gallery has the catalog for the 42 International Glass Invitational online – click on image to jump to online publication.
We mourn the passing of the “Father” of the American Studio Glass Movement, without whom none of us glass artists would be where we are now.
Harvey K. Littleton (1922-2013) was the seminal glass artist whose work ranged from functional vessels to sculptural forms. His father was a physicist at Corning Glass Works providing him early exposure to glass in the factories. Trained as a ceramicist, he began experimenting with hot glass in his studio in the 1950’s. Through two landmark workshops and by establishing the first Studio Glass curriculum at the University of Wisconsin, Madison, he helped to bring glass out of the factory and into the artists’ studio. Harvey died on December 13, 2013, at his home in Spruce Pine, North Carolina, at the age of 91. A letter circulated by his family states that his death came “after a long decline.” A private celebration of his life, and that of his wife, Bess, who died in October 2009, will be held by the family on January 11th.
He attended Brighton School of Art in England, received his Bachelors of Design at the University of Michigan, and received his M.F.A. from Cranbrook Academy of Art.
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| Harvey Littleton, left, with student Dale Chihuly, right, in 1974. Photo courtesy of Chihuly Inc. |
In his role as an educator, Harvey was an “…outspoken and eloquent advocate of university education in the arts.” He organized the first hot glass program at an American university (the University of Wisconsin–Madison) and promoted the idea of glass as a course of study in university art departments in the Midwest and northeastern United States. Several of Harvey Littleton’s students went on to disseminate the study of glass art throughout the U.S., including Marvin Lipofsky, who started a glass program at the University of California at Berkeley and Dale Chihuly, who developed the glass program at the Rhode Island School of Design and later was a founder of Pilchuck Glass School in Stanwood, Washington.
Harvey retired from teaching in 1976 to focus on his own art. Exploring the inherent qualities of the medium, he worked in series with simple forms to draw attention to the complex interplay of transparent glass with multiple overlays of thin color.
Harvey was married to Bess Tamura Littleton in 1947. She died on October 8, 2009.The couple had four children: Carol L. Shay, Thomas Littleton, Maurine Littleton and John Littleton. All work in the field of glass art. Carol L. Shay is the curator at Littleton Studios; Tom Littleton owns and manages Spruce Pine Batch Company, which supplies batch (the dry ingredients of which glass is made) to artists and art departments around the U.S.; Maurine Littleton is the owner and director of Maurine Littleton Gallery which specializes in glass art, in Washington, DC. With his wife and collaborative partner, Kate Vogel, John Littleton is a glass artist in Bakersville, NC.
Harvey’s work can be found in the collection of the High Museum of Art, Los Angeles County Museum of Art, The Metropolitan Museum of Art, Museum of Modern Art, New York, Renwick Gallery of the Smithsonian Institution, the Victoria & Albert Museum in England, amongst others.
From our friends at the Corning Museum of Glass: Donations in Harvey Littleton’s name can be made to The Hospice and Palliative Care Center of Mitchell County that provided invaluable support to his family in the care for Harvey, and/or to the Penland School of Crafts “Harvey and Bess Littleton Scholarship Fund” that provides one full scholarship for a two-week summer session in hot glass.