University of Sunderland Welcomes Fulbright Scholars Michael Janis & Tim Tate

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Fulbright Travelers Check In

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University of Sunderland poster for the visiting Fulbright Scholars.

Tim Tate and I have been powering through our stay here at the University of Sunderland in the beautiful northeast of England. This is a blog update of some of the adventure we have participated in whilst on our Fulbright Scholarship to the UK.

The University of Sunderland Glass Centre and the glass roof deck.

Kevin Petrie, Head of the Glass & Ceramics Department

We arrived on Thursday, met at the airport by the University’s head of the Glass and Ceramics Department, Kevin Petrie. Kevin took us on a whirlwind tour of the massive building complex. The centre, built in 1998, has a glass panel roof – where one is invited to walk across and watch the blowing facilities down below.

Tim Tate takes a walk on the glass.

The size, equipment and state-of-the-art facility was overwhelming. It was great to see some old friends that had come to DC in years past waving a welcoming hello from across the acreage of studio space. We would be coming back to the University after a couple workshops in town.

Some of the many huge kilns at the university.


Here I am wandering thru one the centre’s exhibition halls.

The beach in front of the hotel in Seaburn.

Our hotel could not have been better – sweeping views across the North Sea, with Seaburn beach in front of our hotel. Nice.

Creative Cohesion’s new studio and exhibition center in Sunderland.

The arts organization, Creative Cohesion, held a cocktail reception to welcome us and inaugurate the new hotshop at their new facility in Sunderland city centre . For those of you from DC, you might remember the organization and its many talented artists that participated in the 2006′s Glass 3 exhibit in Georgetown, organized by Artomatic. In 2009, many more artists from Sunderland participated in the Artomatic held near the Navy Yard/near the new Nationals Ballpark. The non-profit arts organization began over 10 years ago, initially designed as a way to help for glass artists coming from the university mature into professional artists. The success of the organization’s mission has expanded and now includes ceramic and visual arts, performance artists, and poets in its umbrella of services.

Our arrival coincided with the center’s celebration of the opening of their new hotshop – our workshop would be the first for the glass shop. Upon arrival – we see a familiar face – a poster of the UK artists working in Dave D’Orio’s DC Glasswork’s hotshop is in the window.

We saw some old friends in unexpected places…

Tim and I planned to do a few workshops to allow for collaboration between the DC & UK artists. The first up workshop was creating fused glass rollups.

The artists from Sunderland listen with intent.

The big burly electrician Richie tries fusing for the first time. And shows real talent.

The next day, the glass panels are placed onto the pastorellis and artist Roger Tye works the Bulls-eye glass into a rollup.

Roger Tye gets the glass into shape.

Click HERE to jump to video of the roll-up process by Jo Howell Photography and Maverickart

The next day, Tim Tate and I were welcomed at the University of Sunderland. We first gave a lecture about our work, the Washington Glass School & Studio and the Glass Secessionism movement.

Professor Tim Tate speaks about his work and influences.


Coming up soon – a posting or two about the workshops at the National Glass Center, touring around the area and the London Affordable Art Fair! Stay posted!

Amazing Penland/Asheville Art Tour

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Hey There…

I wanted to take this time to tell you a bit about an upcoming art experience I have organized on behalf of the James Renwick Alliance. Over the years, my favorite and the most enjoyable trips I ever take is to Penland School of Crafts outside of Asheville North Carolina. This area of the country is dense with amazing artists. You may know my work, but you may not know what Penland and the artists in the Asheville area have meant to my career.

I first attended a class at Penland in 1989. It was a survey casting class…the only non-blowing class I could find anywhere in the country. Without hot glass facilities in the Washington region, I wanted to focus my skills towards a different aesthetic…one that I could work with while back at home. Thus began my lifelong relationship with this spectacular school and the generous artists who surrounded it. Here is a link to an article that goes into depth on why I have such a strong commitment to this area.

http://washingtonglass.blogspot.com/2012/01/compelled-by-tim-tate.html ;

A central focus of this trip will be attending Penland’s Annual Benefit Auction, the centerpiece of a gala weekend in the North Carolina Mountains featuring the sale of over 200 craft items. The Penland auction is one of the premier collecting events in the Southeast, and it is a wonderful opportunity to interact with fellow craft enthusiasts. Additionally, we will be visiting the studios of some of the most talented artists surrounding Asheville and the region. This will honestly be the best 5 day excursion you have ever taken…at least I’m gonna try to make it that way!. Here is the schedule of events:

Wednesday, August 8

We arrive in at the Inn at Little Switzerland on the Blue Ridge Parkway with spectacular views of the valley…a favorite spot for travelers in this area….either by plane or driving down, your choice. If you come by plane, you would come to Asheville, where we will arrange pick up. Our plan is to share the cars that come down, and caravan to each location. Close to both Asheville and Penland, this will be our base. Our first event will be a Wednesday evening welcome dinner and cocktails at the Inn.

Inn at Little Switzerland

Thursday, August 9th

After a quick bite at the Inn, we leave at 8:30 and head out to see the sites of Asheville and to some amazing artists studios for private tours. Most of these studios are in the surrounding area, but we will end up in the heart of the city. Here is a list of those studios:

Michael Sherrill

Ceramist Michael Sherrill received a visual arts fellowship from the North Carolina Arts Council in 1992. His work is in several major collections, including the Mint Museum of Art, Charlotte, North Carolina and the Renwick Museum. He has been making pots for more than twenty years. Originally, his work was completely functional, but it has evolved into work that is now wholly sculptural. He is one of the most thoughtful and articulate sculptors of our time.

Michael Sherrill


Stoney Lamar
Lamar received his BS degree in industrial arts (wood technology) from Appalachian State University. A friend’s borrowed lathe led him away from his original goal to design and build furniture, however, to sculptural woodturning. He apprenticed with Mark and Melvin Lindquist and the year’s experience there freed him from many self-imposed restrictions and limitations of traditional lathe approaches. It opened new avenues and processes for the expression of his aesthetic.

His work is in such collections as High Museum of Art (Atlanta), American Craft Museum (NY), Renwick Gallery, Smithsonian Institute, Yale University Gallery of Art, Mint Museum of Craft & Design (NC), Minneapolis Institute of Art, Wustum Museum of Fine Arts and the Detroit Institute of Art.

Lunch that day will be at Stoneys restaurant just outside Asheville.

Stoney Lamar


Hoss Haley
Hoss Haley has worked in metal for over twenty years, creating sculpture, paintings, and public art. Hoss’s work is in several collections including Lowes Corporation, McColl Center for Visual Art, and the Mint Museum of Craft + Design, and he is represented by the New Gallery of Modern Art in Charlotte, NC. Hoss has been a resident artist at Penland School of Crafts and the John Michael Kohler Arts Center.

Hoss Hailey


Dan Essig
Frequently thought of as the pre-eminent book art maker in this country, you will not find any of Daniel Essig’s books on the shelves of a library. These wordless works of art are sewn, woven and carved into magnificent artists’ books and sculptures. Formerly a photographer, Essig is inspired by found objects that he comes across every day. A self-described hoarder, he will incorporate these items—fossils, shells, coins and old nails—into his artwork. His studio is located next to the Grove Point Inn, where we will peak in for a quick look at their amazing Stickley Collection.


Dan Essig



Blue Spiral Gallery
No trip to Asheville would be complete without a visit to the famous Blue Spiral Gallery. This amazing gallery presents work by exceptional Southern artists and object makers in a beautifully renovated building in the heart of downtown Asheville. The light-filled, 15,000 square-foot gallery spans three floors connected by an open stairway. This spacious setting allows Blue Spiral 1 to offer considerable diversity, affording accessibility to various tastes and aesthetics.


Blue Spiral Gallery


Now, on to dinner! We are planning our meal at the spectacular Posana Restaurant in the center of Asheville. Then back to the Inn at Little Switzerland.

Posana Restaurant


Friday, August 10th
Today we will stay closer to Penland, exploring several studios and then joining in the festivities surrounding the Penland auction, which begin at 3pm with auction previews.

Christina Cordova/Pablo DeSato
This husband and wife team have their amazing studios on the grounds of Penland itself, and are 2 of the most widely known artists on this tour.

De Soto Glass Design was formed around the idea of creating and designing objects that enhance living spaces and environments. As a company we make a wide variety of work. A large portion of what we do revolves around glass blown vessels and functionally oriented works. Lighting design is quickly becoming an influential part of the sum. We also use our facilities and skills for creating glass blown objects for other designers and artists.

Cristina Cordova is a studio artist living in Penland,NC. Originally from Puerto Rico, she received her BA from the University of Puerto Rico in Mayaguez and went to earn her MFA from the New York State College of Ceramics at Alfred University. In 2005 she concluded a three year residency at Penland School of Crafts in North Carolina. She was the recipient of an American Craft Council Emerging Artist Grant as well as a North Carolina Arts Council Fellowship Award.


Christina Cordova


Pablo Sato


Lunch this day will be on grounds at the Penland Dining Hall.

Penland Gallery
No trip to Penland would ever be complete without a visit to the Penland Gallery. The Penland Gallery–featuring work by artists affiliated with Penland School of Crafts–is a stop worth adding to your trip through Western North Carolina. It is the perfect place to choose a gift, add to your craft collection, or learn about contemporary craft. You will see such artists as Marc Petrovic, Marc Peisser and yours truly, Tim Tate.

Marc Petrovic

Now its on to the auction. It begins at 3pm with the silent auction in the new state of the art facilities in the Print/Letterpress Studio. Dozens of Penland’s artists will be showing there. Then on to a lovely dinner and wine under the beautiful tent overlooking the valley on Penland’s grounds while the main Friday night auction goes on. After this, its back for a quick cocktail at the Inn at Little Switzerland.

Auction Tent under the Penland Sky


Saturday, August 11th
The morning begins with coffee and breakfast at The Barns at Penland, where we will be treated to a show by the resident artists here at Penland. Always a highlight and much fun. from the we attend a show given by the Core Students where we will see the work of tomorrows most promising artists. On to the Saturday silent auction and artist chats….then on to the main festivities of the luncheon and live auction. This will definitely be the highlight of the weekend!

Resident Artist Barns at Penland

2 major works will be the big spotlight! One by Beth Lipman, one by Dan Clayman….both stunning!

Beth Lipman

Dan Clayman


After the auction we will head back to the Inn at Little Switzerland, where we will have time to freshen up before a lovely farewell cocktail and dinner party where you will be able to swap stories with the new friends you made on this spectacular trip!

Sunday, August 11th
travel day…..those that need a ride to the airport, we will arrange it.

Please give me this opportunity to show you why I hold this area of the country in such high esteem. I guarantee it will be a stupendous trip.

To reserve a space for this trip, its first come and space is limited. Contact Cecie at the James Renwick Alliance at admin@jra.org or call to 301- 907-3888

Tim Tate
Co-Director
Washington Glass School
3700 Otis St.
Mt. Rainier, Md. 20712
WashGlass.com

New Video Work From Tim Tate

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Newest Video Project


I was recently advised by a spectacular gallery that while they loved the video reliquary pieces, I should consider doing important work. No offense was meant, and in response I have decided to take that advice to heart with this next project. Important or not…it is a show without constrictions. I did that by separating glass and video for this project. My fascination with miniaturizing still worked for the glass part of my brain…..but the video part of my brain had to abandon glass temporarily. It was the scale of glass that held me back.


In the summer of 2013 I will be presenting an all video exhibit at Washington, DC’s American University’s Katzen Art Center. In one of the rooms I will be presenting an updated version of my video installation “The Waking Dreams Of Magdelena Moliere”. Magdelena is a fictitious character whom you get to know and understand thru her dreams. You enter her world by passing through the portals of shadow and light. These are the pieces I have been working on these last several months.


The portals of shadow and light flank each side of the entrance to Magdelena’s room. They consist of 2 vertical flat video screens with ornate regency frames, one painted a satin black, the other a soft cream. Each is approximately 3 ft by 4ft.


Inside the cream colored Portal Of Light I have a video of slowly roiling clouds surrounded by soft blue electricity. Into this scene drops 3 plumb bobs at different speeds and heights continually unwinding from above , chaotic at first, then finding balance and ascending again.


Inside the satin black Portal Of Shadow I have a video of roiling smoke surrounded by small slow flames. Inside that an image of a glass vase floats up from the bottom and smashes against the top of the video screen into many pieces, which slowly reassemble and descend again to darkness.

If the videos do not work below in this posting, they can be seen on my facebook page under videos.


I find these portals extremely compelling. They have the look and feel of a Victorian painting, while incorporating new media to depict the narrative inherent in the video portals. I plan on investigating this format many times over the next few years.


London’s Calling (Tim Tate & Michael Janis)

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Bon Voyage Guys!
Professors Janis and Tate are on the Road to England. As mentioned in earlier posts, the Fulbright Scholars will be at the UK’s National Glass Centre at the University of Sunderland, in the northeast of England. The boys will also be exhibiting their artwork at London’s Affordable Art Fair, this March 15-18. They have promised to post updates of their adventures across the pond. I am sure we can expect photos of their sights – perhaps a glimpse of Tateat the Tate!

For those of you in the land of John Bull, here are the dates and location of the show in London’s Battersea area:
London Affordable Art Fair
Cohesion Glass Network Booth
Battersea Park

London
SW11 4NJ
15 -18 March 2012

"The New Materiality" Goes to Little Rock

>The New Materiality: Digital Dialogues at the Boundaries of Contemporary Craft is an exhibition that Fo Wilson had curated originally for the Fuller Craft Museum in Massachusetts in 2010. It has started a national tour and was on view at the Milwaukee Art Museum and the Asheville Museum in North Carolina. This April it will also travel to the Arkansas Art Center, opening April 13, 2012.

The exhibition examines the work of sixteen established and emerging makers working in traditional craft disciplines who are treading compelling territory between traditional mediums and emergent technologies.

The Arkansas Arts Center features nine galleries as well as classrooms and a theater. The permanent collection includes American and European paintings, drawings, and sculptures from the 16th century to the present times.

A children’s theater and decorative arts museum is also part of the center. As home to famous Renaissance and Impressionist paintings as well as modern drawings and sculptures, the Arts Center has devoted over thirty years to build a unique collection of American and European works.


Tim Tate American (Washington, D.C., 1966 – )
Personal Installation: My Heart is Unbreakable, 2007
glass, video, mixed media
Arkansas Arts Center Foundation Collection: Purchase, Tabriz Fund. 2007.048

Arkansas Arts Center,

501 East 9th Street, Little Rock, AR 72202

April 13 – August 5, 2012

click HERE to jump to Arkansas Arts Center website.

Jane Sauer Gallery Serves Up Tim Tate

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Tim Tate:Cooking Without Calories

February 24 – March 14

Jane Sauer Gallery will have a show of Tim Tate’s glass treats scheduled to coincide with Santa Fe’s 15th annual ARTfeast – a Santa Fe event that raises funds for children, education and the arts.

The works continue Tm’s obsession with miniaturization of objects and the relationship of scale – each work looking good enough to eat! My favorite is “Mostly Chocolate” (- finally a sweet that I can enjoy without guilt!)

From Jane Sauer Gallery: “In conjunction with ARTfeast, we are showing Tim Tate’s delightful cast glass delicacies of pie slices, tarts, ice cream cones, cupcakes, cotton candy, and donuts, artfully arranged in a pyramid of trays underneath a glass dome.”

Jane Sauer Gallery is located on Canyon Road in Santa Fe, New Mexico.

Jane Sauer Gallery 652 Canyon Road

Santa Fe, New Mexico 87501

phone: 505-995-8513

Washington Sculptors Group Lecture "The Changing Contemporary Art World"

>Washington Sculptors Group
Talk with Tim Tate: Artist’s Covenants and Social Media
on Wednesday, February 1, 2012 from 6:30pm to 8:30pm

Limited to 35 participants, R.S.V.P. to programs@washingtonsculptors.org

The Washington Sculptors Group presents an informal interactive seminar/discussion with participants interested in new ways to market their art in the 21st century. Tim Tate, a sculptor extraordinaire and Fulbright Scholar, will share a wealth of his experience in building one’s name, market and career within the contemporary art world. Filled with real life examples and possibilities, this workshop may change the way participants see themselves as artists.


Click HERE to jump to East City Art blog for more info

Click here for directions:
http://g.co/maps/zakbg

The Washington Glass School is located at 3700 Otis Street, Mount Rainier, MD 20712. Visit online at http://washingtonglassschool.com/school/

Visit The Washington Sculptors Group online at www.washingtonsculptors.org or call (202) 686-8696

Compelled by Tim Tate

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Many in the DC area know the work of sculptor Tim Tate – but I am sure many are not aware of the origins of his imagery and what drives him to make such personal artwork. Recently, Tim met with a museum curator for a show later to be installed this year and Tim outlined his obsessions. It is such a fascinating story – I insisted that the school blog share it with all:

The Foundations of Tim Tate’s Artwork

My art grows out of my life filled with unusual experiences, though it begins simply enough. I grew up in a household filled with art supplies, as my mother was an artist. My original intent as an adolescent was to take ceramics at Cranbrook, but my family could not afford to send me, so I had to settle, making art on the side while beginning a different career path.

Then, as a very young man, I received a terminal diagnosis. I was given less than a year to live, a very difficult concept for a young man to get his head around. I remember that one of my first thoughts was that I was living in someone else’s life. That I was living the life others wanted me to live. I decided at that instant to try to reclaim my artistic side.

With only a year to live, there was no need to apply to grad school….so I discovered the amazing workshops at Penland and threw myself into learning. Yet, at the end of a year, I was surprisingly still alive. They told me I was lucky, but that I should sew up my affairs, as I still had but a year at most. I heard this yearly for the next 10 years.

It’s hard to imagine, I know….to live for over a decade believing I would be struck down at any minute. It changes you and your priorities. Legacy becomes imperative. To be remembered after you are gone. It affected me the most by making sure that every free hour or trip I could spare was to Penland. My entire reason for surviving became the need to master and understand the artistic medium of glass, though I could only afford the 1- or 2-week classes. I lived this way for 10 years.

Then my mother passed away. In her will she left me enough money and instructions to take a concentration class at Penland. Now I had 2 full months to invest towards my work. Prior to this concentration I had completely focused on technique. The class completely changed my life. It focused almost entirely on narrative content. My final piece was a design to hold my mother’s ashes and memories. One of these works went straight to the Renwick Museum. Today it is in the Smithsonian American Art Museum.

So much about glass art at this time was technique driven, but I truly believed it could be so much more. I was determined to have glass taken seriously as a sculptural medium. My work revolved around healing and memory, heaven and hell, nostalgia and resurrection. I began working in the form of reliquaries.

Glass, and Penland, had saved my life to that point. I began seeing each of my pieces as a way to connect to the viewer…to act as a healing agent for them, as well as for me while creating the piece. At first these pieces simply included objects, then they began including text. I also became obsessed with miniaturizing objects. I would make them out of clay, then use lost wax casting to make objects…..hundreds of objects. Each one I made became a language in my image library. Each one carried significance, and by combining them I could produce a dialog. These dialogs became very elaborate, but always with my true themes of healing and memory, heaven and hell, nostalgia and resurrection.

I produced over 100 of these reliquaries….each one healing me just a little bit more. In my mind, each one was truly imbued with existential healing powers not only for myself, but for whoever owned them. I still believe this.

At a certain point I realized that by adding video to my work, my narrative could be exponentially expanded. I became as obsessed with video as I was with glass. Now I could really examine the themes I had become so interested in. I also started realizing that I could leave glass behind. My work separated into two distinct categories. For shows like S.O.F.A. and the material-based galleries that supported it, my work focused heavily on my interest in miniaturization of objects in glass. When I added video, the dialog in these forums was still frequently about the technique used in producing the glass, though the intellectual property had shifted. There will always be a fascination with small glass objects.

In the shows like ArtBasel and its satellite shows, however, as well as the galleries that support them, the dialog completely shifted to the concept behind the piece. This has allowed me to fully expand my specific narrative to video, not always including glass. Now I could expand my work to larger series, and have shows that were solely video. This will be the case in my large museum show next summer.

In all this, my narrative has not changed. Knowing that I am headed to Heaven (or more certainly Hell), I love inventing heaven and hell the way I want to see them. I still am always investigating man’s relationship with healing and reliquary…even when the reliquary takes the form of video. I still work through my own angst about memory and nostalgia, but I broaden it beyond my immediate experience to make it more universal…less specific. Thus my videos may be the most healing of all my work.

You are probably asking what happened to the terminal diagnosis – which was 28 years ago. Well, the diagnosis still stands. But fortunately the doctors were wrong regarding its speed. This helps explain why I’m driven so hard. I always believe I will be struck down suddenly.

My obsession with healing and reliquary continues, even in video form. Hopefully this will give you additional insight into each piece you see. The more a viewer relates to my work, the more successful it becomes to me.

I see my sculptures as self-contained video installations. Blending a traditional craft with new media technology gives me the framework into which I fit my artistic narrative. Revelation — and in some cases self-revelation — is the underlying theme of my electronic reliquaries.

My interactive pieces can be seen as disturbing because the face that stares back from the video screen — your own — prompts a variety of responses: amusement, discomfort, embarrassment, something akin to the feeling you have when someone catches you looking at your own reflection in a store window as you walk by.

But the important revelations here are in the viewer’s response to my hybrid art form and its conceptual nature. I try to bare everything — the guts of my materials and my inner thoughts — in deceptively simple narrative videos set into specimen jars. Nothing is random, all elements are thought out.

To me, these works are phylacteries of sorts, the transparent reliquaries in which bits of saints’ bones or hair — relics — are displayed. In many cultures and religions, relics are believed to have healing powers. My relics are temporal, sounds and moving images formally enshrined, encapsulating experiences like cultural specimens. And perhaps, to the contemporary soul, they are no less reliquaries than those containing the bones of a saint.