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2025 and Beyond: The Future of Glass

Art critic/curator/historian Willam Warmus reviewing artwork by Ai Wei Wei.

ART2025 impetus: We can’t predict the future, but we can create it.

As a group of artists, curators, collectors, and appreciators of artwork in glass, we are working together to develop ART2025, an international opportunity to investigate the future of this artwork through exhibitions, installations, publications, and a virtual conference. This document is designed to establish an intellectual framework as well as specific targeted goals of the ART2025 project.

Overview

We have chosen the year 2025 as an optimal time to start exploring significant shifts we have noted between 20th and 21st century glass art. 2025 represents a quarter century in the development of 21st century art. We feel this gives us sufficient perspective to look back and also predict how the art might evolve in the future by exploring its geography, aesthetics, and impact. We intend to help encourage, organize, and promote exhibits in museums around the world as well as lectures and discussions about this evolution, held in public and virtually. These exhibits and discussions will take stock of developments small and large, individual, and cultural, with artists working in the material of glass, and artists outside of the glass world stretching the boundaries of glass even further. In addition, digital and print publications will delve into the unique place that glass art in the 21st century holds and where it is headed.

Although this plan is eventually intended for diverse audiences, our first goal is to reach museum curators and encourage them to participate. Secondary targets are artists and collectors who might be willing to collaborate. We wish to reach curators, collectors, and artists who have been exclusively devoted to glass as well as those interested in other art forms that incorporate glass in some way. These forms might include performance and/or digital art, ceramics, painting, and sculpture. Eventually, we hope to connect to anyone who has an interest in the art of the 21st century and the expanding role that glass is playing, not only esthetically but culturally, socially, and politically. ART2025 is a movement steered by William Warmus, Tim Tate, and Merrily Orsini (see brief bios at end). This Paper was developed with the assistance of a group of curators, artists, collectors and advisors through a series of Think Tank discussions that are ongoing.

ART2025 asks all of these audiences: What has the contemporary art world of the 21st century, as expressed through glass, revealed from your vantage point? What is unique to art in the 21st century? What challenges are ahead?

Javier Perez, “Corona”, 2011, Murano Glass Chandelier and stuffed crows

Project Guidelines

We are encouraging curators and museums to participate by developing programming that includes 21st century artworks in glass. We have evolved a few guidelines that establish our definition of 21st century art. It could be:

1. Art made since 2000.

2. Work made by artists who emerged in the 21st century, whose reputations have become established since 2000.

3. Art that explores 21st century themes.

Some examples of these themes, suggested by our Think Tank, include art that addresses or is influenced by:

● The universality of the digital world.

● The rise of social media.

● The introduction of the iPhone and other smart phones.

● The globalization of the art world through proliferation of media and ease of travel within the US and Europe.

● Challenges to the “Western” (European and Euro-American) canon.

● The rise of social practice art.

● The rise of the art fair.

● The growth of the art market particularly in contemporary art.

● The rise of contemporary art within mainstream consciousness.(examples: Murakami and Yayoi Kusama)

● Postmodernism and dissolution of the “art movement”.

● A return to figuration especially in art which deals with the underrepresented/marginalization of the artist.

● An embrace with, and break away from, the era of modernism and hierarchical thinking.

● Art that addresses social and societal issues.

● The expansion of women, people of color, and LGTBQ individuals who are active and visible in all art forms, including glass.

For museums, we hope that this project represents:

● A call to collect and display all forms of art in their permanent collections.

● A challenge that museums have an obligation to address the realities of this expanding art universe.

● Encouragement for complete, non-hierarchical ecosystems of art, as something new (not only of the 20th century and before).

● The opportunity to show a complete ecosystem of art; not just paintings, but sculpture, glass and fashion, white and black, queer and unqueer, all in the same galleries.

Examples of suggested programming (exhibitions or events) for museums and other arts organizations:

● Mid-career retrospective exhibitions of artists.

● Argentinian glass, which has blossomed in the 21st century.

● A grand survey of glass in China.

● What is happening in Africa.

● A small select show comparing the 1925 Art Deco era to our 2025 era.

● A show of the American artists from Glasstress in Venice.

● 21st century architecture constructed with glass as the spectacular focal point.

● An Olafur Eliasson exhibition focusing on his glass and installations. (Warmus would love to curate such a show for interested institutions.)

● Glass artists from the 21st century fine art shows. (Olafur Eliasson, David Hockney, Kiki Smith, Damien Hirst, Joyce Scott, and Gerhard Richter, as examples.)

● A show of winners and other participants of the Blown Away series on Netflix.

● An LGTBQ glass show (names provided if you need them).

● A show focusing on kiln cast work that tells stories.

● How abstraction has evolved in glass from the late 20th into the 21st century.

● Exhibitions that compare and contrast 20th and 21st century glass. For example:

  • How the approach to the environment has evolved.
  • A discussion of the changes in narrative.
  • How art responded to the 1918 pandemic compared to our response to the 2020 pandemic.
  • Two (or more) collections compared: one formed mostly in the late 20th century, one formed primarily of work made after 1999 .
  • 5 artists to watch in the 21st century.
  • An exploration of how social media has transformed the ways we interact as an art community.
Andrea Galvani “Study on a Rotating Black Hole”, 2017, 6500K neon, cobalt blue blown glass

ART2025 Committee Contributions

The ART2025 organizing committee will:

● Serve as promoters, conveners, connecters, and documenters.

● Establish a web presence, hosted on the (working with an established art organization at present to be announced later) webpage, which lists all related programming around the world.

● Promote these events through our extensive mailing list as well as the ART2025 accounts on social media.

● Offer to connect museums and curators with artists, traveling exhibitions, and independent curators who can address this topic for a range of budgets and exhibition spaces.

● Help to organize a conference to share scholarship and artwork relating to our themes.

At the end of the projects, recognizing that despite technological advances, the internet remains ephemeral, we hope to create a book to record these efforts and to celebrate all of our participants.

Oben Abright, 2007, mold blown glass, oil paint and cement

In Conclusion

There is something about a silver anniversary that makes a look forward essential to understanding our accomplishments. The French realized this in 1925 when they held a World’s Fair whose name, The International Exhibition of Modern Decorative and Industrial Arts (Exposition Internationale des Arts Décoratifs et Industriels Modernes) showcased the avant-garde in architecture and the applied arts, defined Modernism, and gave the world the style now known as Art Deco. There were 15,000 exhibitors, and over 16 million people visited the Expo. In short, 1925 was a seminal year in art of the 20th century. We are proposing that ART2025 accomplish this and more, given the expanded possibilities for communication, display, and connection offered by the internet.

In 1925, the thousands of exhibitions found their way to Paris. In the 21st century we rely on the internet and social media to interconnect this web of institutions and museums into a single body of like-minded curation. This makes each institution connected to something larger than just a single show but part of an international movement.

Kohei Nawa, “ PixCell-Red Deer”, 2012, taxidermied Red deer, glass, acrylic, crystal beads

Next Steps

September 16, 2022: A presentation for AACG that will be housed on YouTube so we can send links to our growing mailing list (join and register at contempglass.org).

September 21, 2022, 1 pm EDT: An open Zoom event for museums, galleries, and artists to continue to spread ideas and make plans.

Register in advance for this meeting: click on link HERE

ART2025 Creator Bios

William Warmus

William Warmus is a Fellow and former curator at The Corning Museum of Glass. The son of a glassblower at Corning Incorporated, he studied with art critic Harold Rosenberg and philosopher Paul Ricoeur while at the University of Chicago.

Warmus became the curator of modern glass at The Corning Museum of Glass in 1978, and curated three landmark exhibitions: New Glass, which was also shown at The Metropolitan Museum of Art and at the Louvre; Tiffany’s Tiffany, which focused on the masterpieces Tiffany had in his home and studios; and the first major exhibition in North America of Emile Gallé’s work. He is the founding editor of New Glass Review.

Since leaving the Museum, Warmus has pursued a career as an independent curator, historian, and appraiser, specializing in modern glass, abstract art, and the aesthetics of the natural environment. The New York Times profiled him as a “Stylemaker,” while the University of Chicago magazine described him as a classical modernist. He is the author or co-author of more than 15 books, including biographies of Tiffany, Lalique, and Chihuly.

Warmus lives near Ithaca, NY. Warmus was the editor of Glass Quarterly, faculty member and visiting artist at the Pilchuck School of Glass, executive secretary of the Glass Art Society and board member at UrbanGlass. He is the recipient of the AACG award for outstanding contributions to contemporary glass. Warmus is a featured speaker at the 58th Annual Seminar on Glass at The Corning Museum of Glass.

Tim Tate

Tim Tate is co-founder of the Washington Glass School and Studio in Washington, DC. Tate’s work is in the permanent collections of a number of museums, including the Smithsonian’s American Art Museum. He was also the 2010 recipient of the Virginia Groot Foundation award for sculpture, 2nd place in the 2017 London Contemporary Art Prize, and is a 2018 James Renwick Alliance Distinguished Artist…among many other awards.

Tate taught in Istanbul in August 2007 and at Penland School on several occasions, and was the featured artist for the 2018 annual auction. He was the Development Chair for the Penland Board of Trustees from 2014 to 2018 and is the Program Chair for the James Renwick Alliance.

Tate received his Fulbright Award from Sunderland University in England in 2012. In 2018 he was asked to speak at Yale University on Craft and Conflict by Glenn Adamson to represent the Queer community and its history of art activism.

He participated in the Glasstress show with Ai Wei Wei and Vic Muniz during the 2019 Venice Biennale and the Boca Raton Museum Glasstress show in Jan. 2021, and that work showed in October 2021 at the Hermitage, in St. Petersburg, Russia.

Merrily Orsini

Merrily Orsini has a passion for contemporary glass art led to years of learning more about glass as art through travel, research, visits, and collecting. That interest led to board service as well: President of the Art Alliance for Contemporary Glass (2018-2020), the North Carolina Glass Center Board of Directors (2016-2018), and the South Arts (a regional component of the National Endowment for the Arts) Board of Directors (2010-2016), Secretary (2014-2016), and for one term each, the boards of Creative Glass Center of America and the Speed Museum Board of Governors (2014-2016). In addition, she served as Co-Chair of the Glass Art Society’s 40th Annual Conference in 2010, held in Louisville, Kentucky. In July 2022, she was elected to the board of the Penland School of Craft.

On the business side, Orsini is Founder and Board Chair of corecubed, a care services marketing company with clients in 38 states. Her unique background combines skills in technology, art, and people. Upon graduation from college in 1969, her first job was as a programmer and system analyst, with her first start-up business in 1981. corecubed is the fifth. While active in aging care, Orsini spoke nationally on topics that related to the future of the healthcare-at-home delivery system. For four years, she hosted the podcast, Help Choose Home, sponsored by the National Association for Home Care and Hospice, still available on iTunes and Google Play.

In 1996, Orsini was awarded the prestigious Ernst and Young Entrepreneur of the Year Award for Kentucky and Indiana, with an induction into the Entrepreneur of the Year Institute. She was the first woman president of the downtown Louisville Rotary Club, the 27th largest Rotary Club in the world, from 1998 – 1999. Orsini was also honored in 2017 with a Silver Stevie Award for Lifetime Achievement for Women in Business.

JRA Block Party! Woot! Woot!

On Saturday, September 17th, all are invited to join the James Renwick Alliance (JRA) and celebrate their 40 years supporting CRAFT with an Open Studio Block Party at the Washington Glass School & surrounding artist studios. The festivity will include open studios, artist demonstrations, LuvPlates food truck, a live mural painting and, of course, anniversary cake! Noon to 3 pm. Registration is strongly encouraged. https://www.jra.org/jracraftevents/jracraft-block-party

Participating artists and organizations include:

  • Zenith Foundation Mobile Wood Truck featuring a woodturning demonstration by the Montgomery County Woodturners
  • Blue Fire Ceramic Studio featuring a tile painting demo by Robert Devers and a Balik demo by Kelly Posey
  • Washington Glass School including Michael Janis, Tim Tate, Erwin Timmers, Christina Helowicz, with a demonstration of enameling on glass by Patricia De Poel Wilberg
    ​- Multimedia artist Martha Jackson Jarvis
  • Mosaic artist Valerie Theberge featuring a mosaic demonstration
    ​- Orange Door Studios including Ellyn Weiss, Veronica Szalus, Brian Williams and Ellen Sinel
  • Painter Janis Goodman
  • Blue Door Studios including Alec Simpson
  • Otis Street Art Projects including the studios of Chris Bohner, Gloria Chapa, Chris Combs, Elizabeth Curren, Art Drauglis, Liz Lescault, Kirsty Little, Shelley Lowenstein, CeCi Cole McInturff, Lisa Rosenstein, David Mordini
Party People!! Hands in the air!

Joyce J Scott @ The Washington Glass School!

Sharing a laugh in the Glass Studio. L-R Tim Tate, Joyce Scott, Cecelia Wichmann

The legendary artist – Joyce Scott– who was awarded the 2016 MacArthur Foundation “genius grant” is making artwork in the Glass School. Joyce is a printmaker, weaver, sculptor, performance artist, and educator, but she is probably most well known for her work in jewelry, beadwork, and glass. Her art reflects her take on all aspects of American popular culture, her ancestry, and her community.

Artists Tim Tate & Joyce Scott working in the front studio kilns.

Joyce is working with Tim Tate – creating new work for Joyce’s retrospective at the Baltimore Museum of Art. She was joined with Cecilia Wichmann – Associate Curator of Contemporary Art at the Baltimore Museum of Art.

WGS Co-Director Michael Janis describes to Joyce Scott the “one that got away” … in the glass school.
L-R Christina Helowicz, Tim Tate, Joyce Scott, Cecelia Wichmann

McLean Project for the Arts Presents: Continuum: Artists Teaching Artists

McLean Project for the Arts (MPA) – on of the DMV leading contemporary visual arts organizations will present an invitational exhibition focused on Artist/Educators.

Continuum: Artists Teaching Artists is an invitational exhibition highlighting works by artists who give significant time to teaching, mentoring, and community-building, while continuing to sustain and develop strong and innovative personal bodies of work. Continuum includes works from Artist/Educators from most of the area colleges and universities, including George Mason, George Washington, Georgetown, Northern Virginia Community College, University of Maryland, and Maryland Institute College of Art. Also represented are some teaching institutes such as the Washington Glass School.

All of the participants are as dedicated to their on-going artistic practice as they are to their students, and vice versa.

Continuum featured artists include: David Carlson, Patrick Craig, Robert Devers, Kate Fitzpatrick, Helen Frederick, Janis Goodman, Reni Gower, Michael Janis, Maria Karametou, Steve Prince, John Ruppert, Foon Sham, Judy Southerland, Tim Tate, Erwin Timmers, Stephanie Williams, Sue Wrbican, Peter Winant.

Continuum: Artists Teaching Artists

September 16 – November 10, 2022

Opening Exhibition Reception September 22, 2022 from 7-9pm

MPA Emerson & Atrium Galleries

1234 Ingleside Avenue, McLean, VA 22101

703-790-1953

info@mpaart.org

For more information and to register for the Opening Reception – click HERE.

Laurel Library Public Art Makes the Map!

The Public Art Archive (PAA) is a free, continually growing database of completed public artworks. The Archive aims to raise awareness about the value of public art and help make it possible for stakeholders to advance the professionalism of public artists and practitioners in allied fields.

The Laurel Library artwork “Involve Me and I Learn” made by Washington Glass Studio.

The PAA has an easy-to-use website that allows one to search for completed public artwork on its site using various descriptors. It also creates a fun graphic map of the artworks across the United States and PAA map can also be used to create awareness and help guide tours of public art in local communities.

We are proud to announce that our Laurel Library public art project “Involve Me and I Learn” community-based sculpture was selected from over 500 submissions representing diverse and innovative public art from all 50 US states for inclusion in the new map. The PAA website also includes other Washington Glass Studio public art projects, including the Library of Congress doors, Florida’s West Palm Beach Tourism Office, and the Beanes Community Center, and others.

Images of the selected USA Public Art installations are currently being made into the new map by Colorado-based illustrator Kara Fellows, which we will share with all upon its completion.

Original Public Art map – in the new version – Laurel Library will be in all its glory!

Michael Janis Finalist in 2022 Contemporary Craft Prize

Michael Janis, “Allowing Our Past to Become Part of Ourselves” detail, 2022, fused glass, glass powder imagery. Photo by Pete Duvall.

17 national and international finalists have been selected for this biennial exhibition in glass art, featuring newly created, innovative works.

Michael Janis glass art - title "Allowing Our Past to Become Part of Ourselves" 60"H x 40' W fused glass, glass powder imagery aluminum

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, 5645 Butler Street, Pittsburgh, PA 15201

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

Class 4206- Pumpkin votives.

Kick off spooky season by creating your very own pumpkin or jack o’ lantern that will never go bad! This fast pace class requires no prior glass knowledge. This special session is all about spooky fun and creating something GOURD-GOUS! All materials are included, pick up of items will occur on a later date after the work has been fired.

Class 4203- Lighting Solutions

This class will bring some serious color to your life and brighten up your living space. This is the perfect way to use glass in a most practical application: a lamp. You will design your own colored glass, determine your own shape, and have your choice of several different hanging or mounting options. For considerably less than the price of a designer fixture, you can put your own name on it.  Tuition includes glass, mold materials, and mounting hardware. No glass experience is needed, and electrical experience will be provided.

Janis & Tate @ Toronto’s Sandra Ainsley Gallery

Michael Janis & Tim Tate at Toronto’s Sandra Ainsley Gallery June 4 – July 30, 2022

Toronto, Canada’s famed Sandra Ainsley Gallery present the narrative glass artworks by WGS Co-Directors Tim Tate and Michael Janis. The show, titled “One Story is Not Enough” featured works by each artist as a solo, and a number of their collaborative wall murals.

Michael Janis’ imagery in frit powder is reflected in the gallery’s piano surface.

When Michael Janis and Tim Tate met, almost 20 years ago, they discovered a shared fascination of narrative sculpture- one that seeks to arrive at an image that is both unflinchingly candid in physical representation and psychologically evasive. Working together, they are interested in the simultaneous read of an immediately recognizable image that asks the viewer to linger over history and meanings that unfurl more slowly. Mark, line and material become an extension of touch in the act of representation. The relationship of hand to subject, negotiated through the material, can elicit a response of both visual and tactile.

“The Poetry of Everyday Objects” by Michael Janis & Tim Tate, 2021; Size:6H x 6W’; Cast Glass

With these confines they create work in many techniques, but if you stand slightly back and see their history a huge thread of interconnected stories weave through their work from day one. The beauty comes into focus and the viewer sees the edges of a world not dissimilar to this one, but so much more thoughtful.

Detail – “The Poetry of Everyday Objects”, Michael Janis & Tim Tate

They present this glimpse into that alternative world, seemingly unstuck in time somewhere between past and future.

Tim Tate, Lenticular series, 2022, each panel 41″H x 41″W, lenticular prints

Sandra Ainsley Gallery
The Warehouse
100 Sunrise Avenue, Unit 150
Toronto, Ontario Canada M4A 1B3

Sean Robinson @ Cid Bolduc Gallery

WGS Studio artist Sean Robinson responded to the call for artists at Cid Bolduc Gallery in Provincetown, MA. Sean’s glass art was immediately selected for exhibition for the month of July! Congrats Sean!!

Artist Sean Robinson works his magic with glass at Cid Bolduc Gallery.

The Cid Bolduc Gallery (CBG) is located at 53 Badford Street in Provincetown, MA.

CBG is open for the 2022 season on Thursday, Friday and Saturday from noon to 5 p.m.