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For the Creative Professional Working in Hot, Warm, and Cold Glass May/June 2015

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For the Creative Professional Working in Hot, Warm, and Cold Glass May/June 2015 For the Creative Professional Working in Hot, Warm, and Cold Glass May/June 2015 $7.00 U.S. $8.00 Canada Volume 30 Number 3 www.GlassArtMagazine.com Pro Series THE ARTIST WHY RYAN LIKES THIS KILN Ryan Staub is a glass artist who has • Best one on the market. blown glass in 11 different coun- • Gathering port is just right, not so tries and territories, working with all small it’s hard to gather out of, not kinds of glass and glass equipment. so big it dumps all the heat when He currently owns and operates you gather. his own studio in his hometown of • Great for a small home or garage Seattle, Washington. His work can studio. be found in many collections world- • Good addition to a full sized glass- wide as well as online at: blowing studio as an affordable www.ryanstaub.com color pot. • Easy to ramp down slowly, minimiz- ing risk to your crucible. Find out more at • Small and easy to store when not in skutt.com use. • Easily programmable controller with indefinite hold. • Easy to install. • Low energy use, high efficiency. (Average cost is $15/day) staub Gas.indd 1 1/15/14 1:31 PM Letter from the Editor 4 You Can Go Home . and Should by Shawn Waggoner Pioneers in Glass Scott Benefield May/June 2015 Volume 30, Number 3 6 The Road Back to Pilchuck and Beyond by Colleen Bryan Glass Talk 12 Glass Weekend ’15 at WheatonArts by Janet Peterson GAS News 14 The 2015 GAS Emerging Artists Presentations by The Staff of the Glass Art Society Working Greener Ignite Glass Studios 18 Greener by Design in Large Ways and Small by Colleen Bryan Hot Glass Studio Profile Amber Cowan 24 The Enchantment of Excess by Shawn Waggoner ISGB News 28 Reflections on the 2014 ISGB Gathering XXII by Heather Behrendt SGAA News 30 Expanding Horizons SGAA 106th Annual Summer Conference Warm Glass Studio Profile Redefining Beauty 32 Ted Sawyer’s Kiln Formed Glass by Shawn Waggoner Educational Glass 36 A Hands-On Workshop Experience at Bryn Athyn College by The Staff of Bryn Athyn College AGG News 38 The AGG at the Washington National Cathedral by Tony Glander Marketing 40 Finding Success in a World of Change by Mark Veit Independent Artist Rachel Rader 42 Ancient Truth Investigator by Shawn Waggoner AGASC News 48 Sharing Glass Art through Public Venues by Leslie Perlis Skills and Techniques 50 Creating a Sawtooth Bowl with Cast Foot Design, Fabrication, and Text by Randy and Carole Wardell 57 Readers’ Forum Above: Vetro Mosaico, by Scott Benefield. Photo by David Pauley. What’s New On the cover: (Detail), Featuring the latest in books and products for the glass enthusiast The Lion and the Fox 58 by Amber Cowan. Photo by Matt Hollerbush. by Darlene Welch 62 Advertisers’ Index Like us on Facebook. Also pin us on Pinterest. www.GlassArtMagazine.com Glass Art TM • May/June 2015 • 3 Glass Art Letter from the Editor Volume 30, Number 3 You Can Go Home . and Should Publisher ~ Maureen James Editor ~Shawn Waggoner The cover of Glass Art’s May/June 2015 issue fea- Copy Editor ~ Darlene Welch tures a flameworked detail by Amber Cowan, winner Accounting ~ Rhonda Sewell of The Corning Museum of Glass 29th Rakow Com- Circulation Manager ~ Kathy Gentry mission. Cowan’s history as both teacher and teaching Advertising ~ Maureen James assistant at CMOG did not prepare her for the surprise of winning the prestigious award. “I feel like I grew up Graphic Artists ~ Dave Burnett at Corning, and that made it special.” Her piece Garden Mark Waterbury of the Forgotten and Extinct on page 25 is now a part Contributing Artists and Writers of Corning’s permanent collection. Heather Behrendt, Colleen Bryan Studio Glass movement pioneer Scott Benefield further disproved the adage, “you can Tony Glander, Leslie Perlis never go home,” by returning to Pilchuck Glass School to lead a team of 28 glassblowers Janet Peterson in producing centerpieces for the school’s prestigious annual auction. Assuming the role Staff of Bryn Athyn College of designer as distinct from that of a maker was an unusual experience for Benefield. His Staff of the Glass Art Society travels to the United States and the Far East, as he has worked across markets on those continents and Europe, led the artist to be less fearful of change within the glass industry. Mark Veit, Shawn Waggoner Benefield shares how to tailor one’s work toward the particular aesthetics and demands Carole Wardell, Randy Wardell of any given market. Darlene Welch Home is where the “art” is at Bullseye Glass Co., where kiln forming artists Ted Saw- Glass Art™ yer and Rachel Rader were surrounded by prestigious artists working on groundbreaking ISSN 1068-2147 is published bimonthly projects. Sawyer, director of Research and Education at Bullseye since 2002, confronts by Glass Patterns Quarterly, Inc. our notion of beauty in work that conjures a mood and energy inherent in its color and POSTMASTER: Send address form. Rader, now working at UrbanGlass, combines the nuances of performance art and changes to Glass Art, kiln formed glass, blurring the line between truth and fiction. Like the blossoms of spring, trade show season returns. From June 5–7, the 44th Annual 8300 Hidden Valley Road, Glass Art Society Conference, Interface: Glass, Art, and Technology, will take place in P.O. Box 69, Westport, KY 40077 San Jose, California. The Stained Glass Association of America presents its 106th Annual Telephone: 800-719-0769 Summer Conference, June 10–12, in Portland, Oregon, followed by The American Glass 502-222-5631 Guild’s 10th anniversary conference in Washington, D.C., held June 18–21. The summer Facsimile: 502-222-4527 show season ends with the International Society of Glass Beadmakers’ Forging Connec- Website: www.GlassArtMagazine.com tions: Celebrating Community, in Albuquerque, New Mexico, July 15–19. E-mail: [email protected] If you can’t travel to a show or class, Glass Art magazine continues its ongoing series of Subscriptions: United States, Canada, Glass Expert Webinars™, including Fusing with Lisa Vogt, The Joy of Fusing with Randy Wardell, Fritography with Michael Dupille, and Images on Glass with Barry Kaiser. Visit and Mexico (U.S. Funds): one year $30; www.glassartmagazine.com for details and times. No travel required! two years $48; three years $60. Foreign (U.S. Funds): one year $56, one year Inviting readers to return home to the pages of Glass Art, airmail $70. Single copy price (U.S.) $7. All subscriptions must be paid in U.S. dollars with an international Shawn Waggoner money order or with a check Editor drawn on a U.S. bank. Periodicals Postage Paid at Westport, KY 40077 and additional mailing offices. ©2015 Glass Patterns Quarterly, Inc. All items submitted to Glass Art become the sole property of Glass Art and cannot be reproduced without the written con- Ted Sawyer, loom, 24" x 48" x 0.325" 2008. Photo by Jerry Sayer, Courtesy of Bullseye Glass. sent of the publisher. Advertisers and/or agencies assume all liabilities for printed Deadlines for Advertising advertisements in Glass Art. Opinions July/August 2015 September/October 2015 expressed in Glass Art may not necessar- Ad Closing May 20, 2015 Ad Closing July 20, 2015 ily reflect the opinion of the magazine, its Ad Materials May 30, 2015 Ad Materials July 30, 2015 management, or its advertisers. Issue Mails June 26, 2015 Issue Mails August 27, 2015 4 • Glass Art TM • May/June 2015 www.GlassArtMagazine.com www.GlassArtMagazine.com Glass Art TM • May/June 2015 • 5 Pioneers in Glass Scott Benefield The Road Back to Pilchuck and Beyond Scott Benefield, Pilchuck Auction Centerpiece proposal, 2014. Photo by David Pauley. by Colleen Bryan Designing against Precedent n 2014, hot glass artist Scott Benefield returned to Pilchuck Previous centerpiece designs tended to be monumental pieces Glass School. He had first found himself there as a student of dominating the 10-person dinner tables. Their large scale and Ithe glass arts in the late 1980s. This time, however, he returned as significant, substantial, sculptural qualities drew lots of attention. a renowned professional artist selected by Pilchuck to lead a team When it came his turn, Benefield says, “I wanted to do the oppo- of 28 glassblowers in producing centerpieces for the school’s pres- site of that. Rather than making one tremendous knockout piece tigious annual auction, which for 36 years has underwritten much of glass, I wanted to make a cluster of objects that, taken together, of the school’s operations. contributed to the atmosphere of the room.” He fabricated a series Benefield was born in Japan, reared in the United States, has of neutral-colored cylinders that varied in proportion and were lit worked for extended periods throughout Europe and China, and now with tea lights. Many had patterns with small-scale detail, especially has settled in Northern Ireland. This international exposure brings possible to render with cane. “I clustered six or eight of the cylinders a unique awareness of the influence of culture on art and informed on each table to create an overall effect of glowing centers when you his Pilchuck centerpiece design. walked into the room and also rewarded the diners with interest- Each year Pilchuck solicits submissions by an open competition ing detail while they were seated.” The cylinders were grouped as that includes a design, a prototype, a detailed production schedule, sets by opacity, color, size, and shape, and sold to bidders. “Each and estimates of the number of people and amount of the materials set was contained enough that people could take it home and find required to carry out the proposal.
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