The Irish Invasion - Pilchuck Session7, 2014

Fred Curtis and TA Conor in the Cold shop 

Glass. Rarely seen glass. Mother Teresa. Water/Waader/Wawsher. Hot Glass. Painting Party. Crown Jewels. Irish Glass. S’mores. Beer. The Pond. Falling into the Pond. Cold Glass. Volleyball. Cartwheel Races. Golden Apron. Laughing. Crying. Glass Music. The Bell. Hot Shop Party. Climbing Walls. Silent Auction. Crazy Hair. Glass. Glass. Glass. Pilchuck was something else. A week just wasn’t enough.

The cold shop on a beautiful day

Unlike other summer classes at Pilchuck, Session 7 was an open-studio session where students were free to work in all areas of the campus. This session attracted students of all levels and backgrounds many using the open studio experience as a chance to explore glass for the first time. A diverse and intriguing programme was on offer from instructors Róisín de Buitléar (hotshop), Fred Curtis (coldshop), Walter Lieberman (glass painting), Armelle Bouchet O’Neill (kilnforming) and Amber Cowan (flameshop).The enthusiasm of the students, the knowledge, skill and personalities of the instructors and the addition of inspirational live-wire Laura Donefer as the Artist in Residence into the mix resulted in the creation of some distinct, exciting, experimental art and enthralled students.

Fred with his TA's

This was my first time at Pilchuck and I was both delighted and nervous to be tasked with serving as a Teaching Assistant (TA) to the great Fred Curtis, Master Glass-Cutter from the Waterford Crystal Factory. I spent my time in Pilchuck’s fantastic cold shop, organising materials and equipment and attending to the students. Despite being a fellow Wexfordian, this was my first time meeting the famous Fred. My glassy adventure began at the Museum of Glass in Tacoma, where I met Róisín, Fred and Antoine Brodin (one of Roisin’s TA's). The ground-breaking Caution Fragile! Exhibition was just about to come down. It was really great to witness such inspirational pieces of Irish Glass in such an important international venue. I was delighted to get the chance to see it before the end.

Fred Curtis getting out of his comfort zone in the Hotshop

 My day at the museum set the tone of the trip; I was already in awe of Fred, relaxed, laughing and surrounded by Irish artists. For such a small nation we were exceptionally well represented that session, to to the roll call there was: Róisín De Buitléar, Fred Curtis, Meadhbh McIlgorm, Aoife Soden, Andrea Spencer (English but now lives in Antrim so we're claiming her), Rozarii Lynch (Irish now living in Seattle) and myself - plus other honorary Irish (shout out to Conor McClellan Fred’s other TA, Irish in name)! It was great to see the appreciation that the students and staff, including the other instructors, showed towards us, with Fred being held in particularly high esteem. His reputation had definitely crossed the Atlantic with his demonstrations attracting the awe and complete attention of the audience. His cold shop grew in popularity throughout the week with students of all abilities getting their first experience of the infinite possibilities of cold glass.

A bunch of Irish people and some honorary one's half way around the world :) 

The week was a whirlwind - nonstop from start to finish. The campus was a real hive of activity with artist talks on all week when we weren’t making use of the world class facilities. Two talks of note were presented by our own Róisín De Buitléar and Fred Curtis. Róisín gave an excellent heartfelt presentation on the plight of Waterford Crystal and her work in response to this. Fred’s slide show took a different direction with a montage of some of his most famous and technically ingenious pieces. Its fair to say there were a few amazed expressions while Fred presided over the room.

Pilchuck Olympians Aoife Soden and Roisin de Buitleir

The old mantra of “work hard play hard” definitely rang true in the misty mountains of the Pacific Northwest. There was a real sense of fun about the entire week and this manifested itself in a number of interesting guises: From the tamer pursuit of hiking up the mountain to inspiration point - bottle of wine in tow and floating along the lake with fellow Irish TA Aoife Soden, to some more exuberant activities including an end of session hot shop party, dancing in the ‘Trojan Horse’ and the international athletic extravaganza that was the Pilchuck Olympics. With such a frantic week in the creative bubble of Pilchuck Fred, Aoife, Antoine and I eased ourselves back into the real world with a visit to the Dale Chihluly Gardens and Glass before leaving. A fantastic end to a truly ‘awesome’ week! ;)

At Chihuly Gardens, Seattle. 

End of adventure selfies

Written by Sinead Brennan 

Glass Art Society Conference Chicago 2014

Richard Royal Demo

Coming from NCAD’s glass programme in Dublin, I was excited about the opportunities that going on student exchange at Southern Illinois University would bring. One of these opportunities was to attend the annual Glass Art Society Conference, held this year in Chicago. The conference ran from March 19-22 and was hosted across a few venues in Chicago. The lectures took place in the Palmer House Hotel near Chicago’s busiest area, the Loop. Demonstrations from artists took place in Ignite Glass Studios and West Supply Glass Studio. I had the fortune to stay at the Palmer House with the students from Southern Illinois University; I already knew this would be the nicest hotel I would stay in for a long time! Day one began with a welcome note, Lifetime Achievement Lecture and the Keynote Address in the Grand Ballroom of the Palmer House. What a beautiful surrounding for some great talks! Demonstrations were held during the latter part of the day in West Supply and Ignite Glass Studios. Marc Petrovic demonstrated his iconic birds in West Supply while Richard Royal tested the capacity of the glory holes in Ignite with a massive glass ball.  The opening reception was held in the Grand Ballroom later that night, with delicious signature food and punch from the Palmer House served on silver platters, no expense was spared!

Karren's lecture 

It was an early start for the second day of the Glass Art Society Conference in Chicago. The Emerging Artists talks are often one of the most popular lectures at the conference and this year was no exception, the room was filled with early birds. Jiyong Lee, currently on the Board of Directors for the Glass Art Society, and head of the Glass programme at Southern Illinois University introduced the three speakers; Steven Ciezki, Charlotte Potter and our very own Karen Donnellan. Karen, the only Irish speaker at the conference, received her Bachelor of Design from the National College of Art and Design (NCAD) in Glass, her Master of Arts from Rochester Institute of Technology (RIT) in New York State and is currently aArtist in Residence at NCAD. Karen begins her presentation with “Dia daoibh”, a friendly Irish phrase for my Irish ears.  She apologises for the early start as there were a few tired heads from the opening reception held the night before, but nevertheless looking bright-eyed herself. She explains that she is a qualified Reiki practitioner. The influence this has in her work becomes apparent as the lecture continues.  When Karen was an undergrad, she also participated in a student exchange at Southern Illinois University.  She discusses the work she developed there based on Chakras and shapes associated with feelings of being grounded and low centres of gravity.  Karen admits that colour for her was a language she used freely at an undergraduate level, but whilst studying in RIT she challenged herself not to use colour and thus found a new language in texture and form.  This language can very much be seen in the work that follows.  Her work has a meditative quality. Donnellan discussed how she signified this in her work 21 Days: this being the required timeframe to complete the healing process in Reiki cleansing.

Karen Donnellan 21 Days

Quite refreshingly, Donnellan shows a video of some glass-making processes, the audio of ringing solfeggio tuning forks filled the room, uninterrupted by any audience member. Again her focus on meditation can be recognised in this piece. Much of her lecture consists of talking about her time spent in an Emerging Artist Residency in Pilchuck Glass School in Seattle. She talks about the collaborative work she created with John Hogan. This work is more recent and explores the light and optics of glass.  Recently she has been invited to have a solo exhibition at the National Craft Gallery in Kilkenny. She talks about her interest in sound and the grant she recently received from the County Council to employ a sound technician. 

Donnellan mentioned other achievements but unfortunately one could only write so fast. She is an emerging artist with huge potential and is beginning to be recognised on the world glass art stage. Her pathway from undergrad on exchange at SIU to Emerging Artist at the GAS conference is a colourful, busy and a successful example for Irish glass artists.

After Karen’s lecture, I headed to the demonstrations later that day. I got the chance to see two marvellous demonstrations in Ignite and luckily for me I had a good vantage point of both lampworking and blowing studios. Chris Carlson demonstrated marble making with colour chip pick-ups and Martin Janecky also tested how large a piece could fit in the glory holes with a huge bull head.  Both demonstrations were heavily attended.

Chris Carlson making marbles 

Martin Janecky making a giant bulls head

At 5 o clock the Gallery Hop kicked off. Unfortunately I was not able to participate but the feedback was excellent. The hop featured many of Chicago’s exciting galleries such as the Made Gallery. The last day of the conference had an early start with demos beginning at 8am. I attended Kiva Ford’s lampworking demonstration in West Supply where he maticulously created a bottle within a bottle using blown borocilicate tubing.

   

Kiva Ford Flameworking demo

The Student Exhibition was open to the public later that evening and I took the opportunity to present my work in this show. Another highlight of the evening was the Neon Exhibiton also held in the Palmer House. Other services were available on the last day including the portfolio review open to all students, where one had the opportunity to have their body of work reviewed by a panel containing some of the Board and the demonstrators from the conference. The closing night party was held in Chicago’s Culture Centre and no better place to gather all these glass fanatics together than under its famous Tiffany glass dome.

The conference took place over three days and the schedule was jam-packed with demonstrations, lectures and several educational resources.  The Glass Art Society offers a discounted conference ticket price to members so it is definitely worthwhile becoming a GAS member. It also allows you to apply for scholarships to attend their conferences.  It was announced this week that the GAS Conference 2015 will be held in San José, hopefully there will be more Irish glass artists out in full colour there!

Myself, Karen Donnellan and Jennifer Mulligan, all GSoI members at the Closing Party

                                       

Written by Laura Quinn, GSoI Student Rep Dublin 

Bright Adventures: Interview with Karen Donnellan

In my new position as one of the National College of Art and Design (NCAD) glass artists in residence, I have the pleasure of sitting beside one of the most interesting emerging artists in Irish Glass today: Karen Donnellan. We have been acquainted for some time, meeting at glassy events and giving the awkward nod of acknowledgement which says ‘I know who you are...ish’ on campus. While she was a familiar name to me, I was otherwise concerned with important student matters (drinking and danc- I mean intensive study) but now we’re desk-neighbours. The significance and scope of her practice to date has seriously impressed me. 

'Ensō II', Pâte De Verre,Karen Donellan, 2011

Karen is my favourite kind of hippy; one with a great work ethic. The circle often features in her works and she treats the intricate, repetitive methods of her making process as a meditation or mantra. At its core, her practice explores the potential for healing via the manipulation of universal energy. It is thoughtful, considered work, made with care and informed conceptually by her extensive study of metaphysical philosophies. She also practices what she preaches; I've seen her burning sage to clear a space of “dense energies” and she’s a qualified Reiki healer.

'Essentia' -  Karen Donellan  

Since she graduated with her MFA from the Rochester Institute of Technology (RIT), New York in 2011, Karen has worked and exhibited extensively. Many readers will be familiar with her Essentia series which featured in last year’s Future Makers prize-winner’s exhibition at the NCAD Gallery and most recently at the Irish Craft Portfolio Exhibition at the RHA. 

Sometimes as an artist, you come across a web-page that is the visual equivalent of a particularly delicious ice-cream. Recently my little bit of internet delight has been J/K: Light Glass and Space: The blog began as part of an ongoing collaboration between Karen and American glass-artist John Hogan and thus far has led to their exciting Emerging Artist Residency (EAR) at Pilchuck Glass School last autumn. This blog is packed with my favourite kind of internet eye candy; sculptural light and experimental glass.

After combing though the blog for an unhealthy amount of hours I asked Karen if she would do a short interview about the experience and her future plans:

MM: The work you made at Pilchuck is visually very different to your previous work from your MFA. Was that because it was a collaboration or have you moved your work in a different direction?

KD: A lot of people have said that; that it doesn't look anything like my work, but I wear ridiculous colours all the time! I worked with colour the whole way through NCAD and the light and projection has always been an interest. In core year at NCAD I worked a lot with plastics, water and light. Then again during the masters, I spent some time experimenting with an overhead projector and seeing how different glass objects projected. I've dabbled on and off with those ideas and maybe I wasn't encouraged or didn't have the confidence to bring it any further but it’s always been an interest.

Collection of 'curios' , cut polished and laminated glass,  J/K 2013

MM: How did you decide to collaborate with John Hogan?

KD: We met at Pilchuck in 2012 when we were both Teaching Assistants. We were sharing the same studio space and assisted each other a bit in the hotshop. John works as a glass blower and designer in Seattle. He’s also done a lot of casting and cold working. (He did a residency last year in the Czech Republic with the maestro Milan Handl.) John showed me his work and I was just really into it – he was using a lot of dichroic glass and gave me some to try out. I’ve always been fascinated by dichro. You don’t see it used much in contemporary work, it’s completely underrated! I suggested a collaboration and when the Pilchuck residency came up we just said, “let’s go for it”!

Projection. J/K 2013

ME: You did loads of different things during your time at Pilchuck, is this collaboration going to continue?

KD: Yes, definitely. The work we've made so far is really experimental and even though it was a seven week residency it felt like we had only got going when we had to finish. The work developed in various directions but on the next residency we’d like to hone in on the rear projection systems.

MM: So I guess the last question is what’s next for you?

 KD: Work-wise I’m getting to grips with neon and developing some new projects around glass and sound. I’ve also just begun working on some lighting designs with Suzannah Vaughn and Perch. At the end of the month I’m heading to Cill Rialaig in Ballinskelligs for a retreat residency. The plan is to get away from glass for a while and just read, draw, paint…and maybe print.

Since I spoke to Karen for this interview there have been several exciting developments: Firstly it’s been confirmed that she will teach a pate de verre workshop this August at the Glass Furnace in Turkey. She has also been awarded an Emerging Artist Lecture at this year’s Glass Art Society Conference in Chicago.

Finally, massive news for J/K – Karen and John will continue their collaboration with a week’s residency at the Toledo Museum of Art in Ohio from March 14^th – 19^th. I can’t wait to see what they do next!

'Golden Rectangle' - hand made sheet glass, wood. 73x16x5, J/K, 2013

Written by Meadhbh McIlgorm,
GSoI Media and Communications Officer

(top image: Scan of dichroic glass, J/K 2013)  

The Pilchuck Expereince - Apply Apply Apply

There's a place near Seattle, half way round the world from our rainy little island, that's synonymous with glass art: Pilchuck Glass School.

Every year Pilchuck serves as melting pot (pun intended) for glass art enthusiasts worldwide. The school offers summer intensive classes from May through to September and several artist residencies throughout the rest of the year. 
A trip to Pilchuck is a truly unique experience where you learn far more than the syllabus of your chosen class; It is an unequalled opportunity to make international connections and see in one place the vast diversity and scope of the international glass art practice. Once you have an open mind and a desire to learn, you are never to old or too inexperienced to enjoy a trip to Pilchuck.

Money. We all wish we had more of it, I won't lie Pilchuck course fees are expensive and travelling from Ireland will cost the guts of a grand for flights. There are however a range of options to help with the costs including scholarships, campus internships and teaching/artist assistant positions. 

Almost one third of Pilchuck students receive some kind of financial assistance through scholarship programmes. Some are full scholarships, covering tuition, accommodation and travel to Pilchuck. Half scholarships, which are more numerous, cover half the cost of tuition and accommodation but do not cover the cost of travel. Those with studio experience in glass can also apply to work as Artist or Teaching Assistants: TAs and AA's receive accommodation, meals and covered or subsidised travel to the Pilchuck campus. 

The iconic hotshop 

All staff on campus, from the ones who clean the bathrooms to those who process the paperwork, are practising artists. Artsits can apply to work in a range of positions (kitchen staff, maintenance staff etc...) for two or more of the summer sessions. Staff get accommodation, meals, a small subsidy and some time to do some personal work between sessions. Mainly though, working as seasonal staff is a great opportunity to meet and connect with the visiting artists and students, make some great friends and have some great experiences. As it is not a paid position, Irish applicants can go on a travel visa (avoiding the great expense of an american work visa). 

Two NCAD glass students went to Pilchuck in summer 2013. I asked them for a few words on their experience: 

Gwyn Grace

'Gwyn Grace went to Pilchuck Glass School in August 2012 on a Partner half-scholarship through NCAD having just finished 3rd year. Her course was lost-wax kiln-casting ‘Shape into form’ with Joel Hurlbert and Karin Tornell - glass artists working in Stockholm, Sweden. There were 9 on the course, a mix of students and established artists and teachers. Kiln casting is a long process so time for finishing and cold-working was short as most of the pieces were only ready a few days before the end however most of us were able to take our work with us to complete once we'd returned home. All the class worked long hours, often well after midnight preparing for a kilnfiring but we had lots of fun as well. The pace of the kiln-casting class gave us lots of opportunity to see demonstrations happening in other classes and meet the rest of students.  She summed up here experience with a toast: “ Here's to fond memories, future plans and heart-felt thanks to everyone's generosity of spirit!”'

Looking at the casts with the class 

Jesse Gunther

Jesse Gunther travelled to Pilchuck on a scholarship after finishing his BA in Glass in NCAD, summer 2013. Jesse proves that you never know what a trip to Pilchuck might bring. Here's what he had to say about it:
 
'For starters it was an amazing experience! I took Tom Rowney's class; ‘Cups with Cane’ and focused on making different styles of cane, ranging from straight to very intricate twisty cane. After that we learnt how to turn these canes into straight cups and footed vessels. In the last week we started using the garage to make more complex goblets. Our entire class were all newcomers to Pilchuck, and the skill level was very even throughout the class, which made for a great experience for everyone.

Tom Rowney's cane seahorses

I got really lucky after Pilchuck; I had a while before my return flight and I got to help out Jeff Ballard in the Tacoma Museum for two days where he was Artist in Residence, that was a great experience! Then two days later I also got to work one day for Martin Blank in his studio who was just preparing for a big exhibition, amazing stuff..'

Some of Jesse's work from the class

Deadlines for scholarship/assistant/staff applications are coming up in FEBRUARY. See their website for more details and remember guys, if you do go, the GSoI wants to here all about it!! 

Written by Meadhbh McIlgorm

GSoI Media and Communications Officer

Karen Donnellan writes about Jeff Zimmer for GAS Newsletter

Jeff Zimmer’s background in acting retains a strong influence over his work. The series, Theatres of Glass (2010-2011) is an obvious offshoot, but even the newest works from the whitewash series feel like a scene, set for action. After completing a Bachelor of Arts in Theatre Studies, Zimmer realised the vulnerability inherent in acting in the rehearsal stage was too much for a lifetime’s pursuit. Conversely, creating an object separate from the artist allowed him to experiment with creative abandon in the privacy of his own studio. Thus began his career as a visual artist and maker.

The artist’s current series, whitewash, is decidedly political in content. In each of these beautiful snow-scapes, the debris and reminders of death are only partially hidden from view. It is an anti-war statement, but is made in a way that “those who supported the war can look at it and appreciate it.” Jeff employs a Taoist approach in the assertions he makes
within the work. Being very conscious of the growing polarization of politics and society in the US, his work is an empathetic communication of his ideals. While consciously making them as beautiful as possible, it allows for the ugly message to be put across in a more digestible way. In doing so, he hopes for the audience to appreciate the duality without judgment. In his own words, the work alludes to “the way in which we all try to whitewash something of ourselves, as individuals and as nations. It’s a human need to see oneself as someone who is good on some fundamental level, so that tension between the desire to present ourselves as good, is in conflict with the knowledge we have of the bad things we have done.” 

The key moment that redirected his creative energies towards painting in particular, came to pass at an exhibition of cubist art at the Montreal Museum of Fine Arts. Jeff describes this as “an incredible damascene moment where I suddenly started to see the world rendered in flat planes of three-dimensional stained glass. It was unlike anything I had seen in my life, but I knew then that I was going to work with flat glass.” Following several years of researching and solitary experimentation on the kitchen table with a 7” square kiln, Jeff came across a work by Judith Schaechter called Little Torcher at Renwick Gallery in DC. This pivotal discovery brought about some drastic technical and visual changes in Zimmer’s work and Schaechter later became a mentor.

 He also recognizes Tim Tate and Michael Janis of the Washington Glass School among those who inspired and supported him early on in his glass career. “Tim Tate was there at the beginning, being able to share a studio with him as he set up the Washington glass school opened so many doors, and the fact that he was so interested in taking glass and pushing it forward in terms of content was significant,” Zimmer says.

In 2004, Zimmer began working towards a Master’s to allow for a more focused and full-time exploration of the technique. His research of programs on both sides of the Atlantic lead him to the Edinburgh College of Art (now part of the University of Edinburgh). The program, then lead by Ray Flavell and Alec Galloway, was one of few that offered Architectural glass on a full time basis. It was here that his ideas on perception and ambiguity developed, which remain strong themes in his work to date. Upon graduation, he was offered a position as Artist in Residence, in addition to teaching architectural and stained glass to part-time students in conjunction with the college’s Office of Lifelong Learning Program. Jeff still runs the part-time stained glass course and is presently a Temporary Lecturer in Glass within the main Glass Department.

A residency at North Lands Creative Glass in 2006 brought about another shift in artistic direction for Jeff. Having arrived in this remote landscape at the Northern tip of Scotland with a very cerebral proposal for new work, it proved difficult to resolve. However, he couldn’t help but respond to the 360-degree horizon he found there, which his first landscapes. The impetus of the series was in part, “to capture that elemental feeling of such vast space.” Previous to that opportunity, Jeff’s work had been strongly figurative, but as I found out, his military father painted landscapes as a hobby. Jeff’s work does stem from a very different emotional place, but even so, perhaps it is no surprise that he has been drawn to the genre.

Despite these references and the suggestive title, we were All wrong, the work retains an element of ambiguity. As for the frames, those are scoured from second-hand shops and auctions. The more ostentatious and grandiose, the better. As a classic marker of important and perhaps conservative art, Jeff conciously utilizes them to undermine the cosy nature that the patina of time gives to older art, implying a feeling of safety.

The notions of borders will be explored in Jeff’s next body of work, which is particularly relevant as the Scottish Independence Referendum is coming up in 2014. Where, as the artist notes, “We will have the whole country deciding how we define ourselves... Who is in? Who is out?”

Jeff is the editor of the Scottish Glass Society newsletter, which is published on
a quarterly basis. His work is represented by The wexler Gallery in Philadelphia and Maurine Littleton Gallery in washington, DC a quarterly basis. 

Jeff Zimmer will be teaching a glass painting workshop at the National Sculpture Factory this April, for more info see the NSF website: HERE 

This article was first published in GAS News, January 2013

The GSoI would like to thank  the GAS for allowing the reproduction of the above article for our blog

By Karen Donnellan

NEW GLASS REVIEW – DEADLINE EXTENDED

The Corning Museum of Glass invites artists, craftspeople, designers, and architects worldwide to submit images of new works using glass. In late November or early December, a jury selects 100 images from the submissions. New Glass Review is published every spring by The Corning Museum of Glass in conjunction with Neues Glas (New Glass), published by Ritterbach Verlag, Frechen, Germany, and GLASS: The UrbanGlass Art Quarterly, published by UrbanGlass, Brooklyn, New York.

Participants are requested to complete the entry form, submitting a total of three digital images illustrating one work per image. Three images of different pieces are preferred, although participants may send multiple views of one or two pieces. Digital photographs must be of actual objects designed and made between October 1, 2011, and October 1, 2012. The deadline for submissions is 15th October 2012.

W: http://www.cmog.org/research/publications/new-glass-review

CORNING MUSEUM OF GLASS RESIDENCY OPPORTUNITIES

The Corning Museum of Glass is currently accepting proposal to participate in a studio residency. Proposals with all supporting materials included must be received at The Studio by October 31st 2012. No late submissions will be considered. Residencies will be held in March, April, May, October, and November. One or two individuals will be selected for each month. Residents are expected to make their own work during a residency.

Transportation, as well as room and board, will be arranged for those invited to participate in these month-long programs. All basic supplies will be provided, and the facility will be made available whenever classes are not in session. Residents will have access to the Rakow Research Library and the collection of The Corning Museum of Glass.

If you are interested in being considered, please submit your application including 10 digital images of your work, two letters of recommendation, a written proposal (including detailed information on your residency plans; necessary supplies, equipment, and assistants), the best months for you to participate, and a résumé.

W: http://www.cmog.org/glassmaking/studio/residencies

CRAFTFORMS 2012 CALL FOR ENTRIES, USA

The 18th international Craft Forms juried exhibition is dedicated to enhancing the public’s awareness of contemporary craft, while providing a venue for established and emerging artists alike to share their functional and sculptural creative endeavours. The exhibition will take place between 30th November 2012 and 26th January 2013. The deadline to submit is 13th September 2012.
 
All work must have been completed within the past two years and may not have been previously exhibited at the Wayne Art Center, PA, US.

W: http://www.wayneart.org/exhibition/craft-forms-2012

ASSISTANT PROFESSOR OF ART, SALISBURY UNIVERSITY, USA

The Department of Art at Salisbury University, Maryland, is accepting applications for the position of Assistant Professor of Art, Tenure Track to teach Hot Glass (area of specialization: Hot Glass and 3D Studio).

The primary job duties will involve teaching three hot glass classes per semester with a total of 18 contact hours of teaching per week. Studio and equipment maintenance and the implementation of and adherence to safety protocols will also be required, alongside programme development for glass, active recruitment of majors, advisement, and departmental committee work. The successful candidate will also be expected to utilize effective teaching and classroom management strategies which will enhance the success of diverse learners.

Minimum qualification is MFA with an emphasis in hot glass. Preference will be given for prior teaching experience and an active exhibition record. Applications will be accepted via Salisbury University’s Online Employment Application System. The deadline for the receipt of applications is 22nd October 2012.

W: http://www.salisbury.edu/HR/Jobs/

KAREN DONNELLAN SOLO EXHIBITION, BUFFALO
Karen Donnellan creates work that is about process and material. Working primarily in glass, her creative method results in an object that is both true to a physical material origin but also suggests a potential for something naturally generated. Works in this solo exhibition entitled Essentia will include those made during a recently completed Bullseye residency. Donnellan is a native of Ireland and MFA candidate at the Rochester Institute of Technology.

Essentia will show at the Burchfield Penney Art Centre, Buffalo State College, NY, from 10th August 2012 until 27th January 2013.

T: 00 1 716 878 6011
E: burchfld@buffalostate.edu
W: www.karendonnellan.com
W: www.burchfieldpenney.org

CHRYSLER MUSEUM OF ART STUDIO ASSISTANTSHIP, USA

The Chrysler Museum Glass Studio is accepting applications for its October 2012 to January 2013 Studio Assistantship term. Applications are due by 10 a.m. on 12th September, 2012.

Volunteer Assistantship
The Studio Assistantship is an educational opportunity designed for students who have completed an initial course of glass study (B.F.A./A.A. or multiple workshops) and are looking to gain practical, professional studio experience in a Museum setting. Studio Assistants will help the studio team with public glass demonstrations, classes, and general operations of the Studio for up to 10 hours a week for four months. The assistantship is unpaid, but offers many benefits including the opportunity to build skills, perform, and teach; studio time; significant discounts on classes; working with world-recognized visiting artists, and the opportunity to participate (commission-free) in the studio’s quarterly art sale. Studio assistants must have prior experience working with hot glass.

Travelling Assistantship
During each four-month session, the Chrysler Museum Glass Studio accepts one Travelling Assistant. The traveller typically comes from afar to participate in this certificate program. The Museum provides a free apartment for this Assistant during the duration of their assistantship. The Traveller has additional responsibility and is expected to have slightly more glass studio experience. Please make a note in your letter of interest if applying specifically for this position. We are now accepting applications for the February – May 2013 term Travelling Position.

W: http://www.chrysler.org/about-the-museum/glass-studio/studio-assistantships/
E: cpotter@chrysler.org

WHEATON ARTS FELOWSHIP, PHILADELPHIA

The CGCA Fellowship Program at WheatonArts is a professional level program providing focused and self-directed artists working in glass with a concentrated period of time to work alongside their peers. Fellows work toward a common goal of advancing their careers through the perfection or refinement of techniques needed to develop a new or expanded body of work. The CGCA program is an environment where we provide the facilities, equipment and a technical orientation; however we do not have technical assistance on hand.

Artists have the use of private studios and excellent facilities within a respectful sanctuary of concentrated time. This is an exceptional opportunity for artists to utilize one of the finest facilities of the glass medium, known internationally. Not only do artists get exceptional access to these facilities and various process mediums, but they also receive generous stipends, private studios, technical assistance, comfortable housing and institutional support. In addition, they are embraced by a dedicated and warm staff, all on a beautiful 65-acre campus that is truly a creative sanctuary, just 45 minutes south of Philadelphia.

The application is simple and the jury process exceedingly sensitive and fair. Only ten C.G.C.A. fellowships are given per year but the process is free, easy and surprisingly open. The deadline is 25th October 2012.

W: http://www.wheatonarts.org/creativeglasscenteramerica/fellowshipprogram

SONORAN GLASS SCHOOL ARTIST IN RESIDENCY PROGRAMS, ARIZONA

Sonoran Glass School (SGS) is excited to announce their new Artist in Residency (AIR) Programs, available to glass artists, both professional and emerging, between October 2012 and May 2013. The purpose of the residency programs is to provide selected artists with a place to work and the time to develop their glass art and ideas, while supporting the development and growth of Tucson community glass arts education in alignment with SGS’s mission.

AIR Programs will run 3-4 weeks and will involve studio usage, teaching opportunities (1-3 classes per week, or more if preferred), equipment/studio maintenance responsibilities (emerging only), public slide show/demo event(s), exhibition of work created during program, creating 1-2 auction pieces for SGS, living accommodation, and a small stipend.

W: http://www.sonoranglass.org
T:  520-884-7814
E: info@sonoranglass.org

WINDGATE ESTABLISHED ARTIST FELLOWSHIPS

UrbanGlass in Brooklyn, New York, offers two Windgate Charitable Foundation Visiting Established Artist Fellowships to artists wishing to work in glass. Fellowships are for an eight week period and include access to all areas of the interim Studio on a scheduled basis, technical support and materials as stipulated in the Fellowship Agreement. Due our current location in an interim studio, the 2012 fellowship will be available for flameworking, fusing and/or kiln casting techniques. Dates of fellowship and budget will be discussed with the artist. The Fellowship does not include room and board; however, each Visiting Artist receives an honorarium of $1,500 for his/her discretionary use.

W: http://urbanglass.org/?q=Opportunities

PILCHUCK EMERGING ARTIST IN RESIDENCE PROGRAMME

The EAiR program at Pilchuck supports artists who are making a transition in their professional lives. Whether moving from academia to a professional studio practice, taking up a new medium, or beginning a new body of work, artists find this independent residency ideal for contemplation, research, and experimentation. The program provides artists with a place and the time to develop an idea or project in glass, with the potential for realizing a new body of work.

The residency requires a project proposal and supports kilnworking, coldworking, printmaking, and use of mixed media but not hot glassworking. The EAiR program is an independent artist’s residency, so no instruction is available and some glassmaking experience is required.

Residents have access to many Pilchuck studios, including the glass-plate printmaking (vitreography) studio; plaster studio; fusing, slumping, and casting kilns; flameworking torch; and coldworking equipment. No hot glassworking is available.

Included in the residency award is a stipend of US$1,000 per artist, open studio space, shared cooking facilities, and a private room in a cottage with shared bath. Materials, instruction, food, and travel reimbursement are not provided.

The closing date for entries is 12th March 2012 and the residency will run from 24th Setember to 16th November 2012. For more information, please contact Ruth King, Artistic Director, at rking@pilchuck.com or 360-445-3111 ext. 31.

W: www.pilchuck.com/residencies/EAiR_v2012.aspx

SPECIAL EVENTS ASSISTANT, PILCHUCK GLASS SCHOOL

Special Events Assistant will be a seasonal position (2nd April to 2nd November 2012). Position Overview: Assists the Special Events and Volunteer Coordinator with special events (including Annual Auction, Open House, Spring Group Tours, and other special events as needed) to provide general operating support for Pilchuck Glass School. Applications will be accepted until the position is filled.

To apply for this position please send a cover letter, resume and references to slansberry@pilchuck.com.

W: http://pilchuck.com/opportunities/job_openings.aspx

TEACHING ASSISTANT AND ARTIST ASSISTANT POSITIONS, PILCHUCK

Teaching Assistants (TA) and Artist Assistants (AA) participate in a leadership capacity during the summer programme at Pilchuck Glass School. All assistants must have extensive studio experience and an interest in collaboration. Successful candidates would have great project planning and time management skills, be proactive, and enjoy problem solving.

TAs develop their own teaching abilities by working with students and supporting the instructional and creative efforts of an instructor. Previous TA experience at Pilchuck is helpful but not necessary. AAs assist artists in residence by facilitating their use of studios and helping to solve technical and creative problems. They gain valuable insight into professional art practices through working with accomplished artists. AAs must have previously attended Pilchuck in some capacity and should possess a broad range of glass-working skills.

TAs and AAs receive housing and meals, a $50 store credit for supplies, studio access, and partial reimbursement for travel costs. The deadline for applications is 13th February 2012.

E: rking@pilchuck.com
W: http://pilchuck.com/summer_program/teaching_artist_assistantships_v2012.aspx

HOUSTON CENTRE FOR CONTEMPORARY CRAFT ARTIST RESIDENCY, TEXAS

Houston Center for Contemporary Craft is currently accepting applications for their Artist Residency programme. The HCCC Residency accepts applications from artists working in wood, glass, metal, fiber, clay and mixed media and a wide variety of professional opportunities and resources are offered. Three, six, nine and twelve month residency durations are accepted. The residency programme offers a monthly stipend and free studio space. Programme applications must arrive by 15th March 2012.

W: www.crafthouston.org

MINNETRISTA – GLASS: A JURIED ART SHOW

Minnetrista, in partnership with The Marilyn K. Glick Center for Glass at Ball State University, will host its first cooperative juried glass show. This exhibition is focused on portraying the breadth and range of glass in contemporary contexts of craft, sculpture, and mixed media art. The juror will consider and select works that contain glass or are glass-related. We welcome work with a variety of styles and approaches. We encourage works in and about glass, ranging from decorative to experimental in approach. This exhibit is supported by a grant from the Art Alliance for Contemporary Glass (AACG). The deadline for entries is 24th February 2012.

W: http://www.minnetrista.net/index.php?src=gendocs&ref=Glass&category=Exhibits%20Programs&submenu=Exhibits

LIVE-STREAMED ARTIST DEMONSTRATIONS FROM CORNING MUSEUM OF GLASS

The Studio of The Corning Museum of Glass will be offering weekly, free, live-streamed artist demos this winter via the Museum's Ustream channel. Every Wednesday until 8th February 2012.


January 25th: Engraving and Cold Working Techniques with Max Erlacher

February 1st: Refining and Solidifying Your Techniques with William Gudenrath

February 8th: Beadmaking: Expanding Your Skills with Kristina Logan

W: www.cmog.org/live