For the Creative Professional May/June 2016 Working in Hot, Warm, and Cold Glass $7.00 U.S. $9.00 Canada Volume 31 Number 3 www.GlassArtMagazine.com Artist Patty Gray demonstrating Pro Series Combing at Pacific Artglass in Gardena, CA. The Artist Patty Gray was introduced to glass blowing in 1973. She and her husband built their first glass- The Kiln blowing studio in 1975. Together they have been The GM22CS com- producing architectural fused/cast glasswork monly referred to for installations in major hotels, public buildings as “The Clamshell” ,and private residences for over ten years. Patty is particularly well is constantly on the road sharing her knowledge suited for combing of fusing in workshops all over the world. To see because of it’s easy more of Patty’s work visit: access design and the www.pattygray.com fact that a tilt switch cuts the power to the Combing elements whenever Combing is a technique used to distort patterns the lid is opened to prevent electrical shock. in molten glass for interesting effects. Typically a For more information on the GM22CS visit our tile is made of fused, varied-color strips of glass website at: and heated to a point where it is soft enough to www.glasskilns.com “comb” with stainless steel rods. The piece can then be blown into a vessel using a process called “a pick up” like the piece shown here. For more information on combing visit: www.glasskilns.com/proseries/combing Patty GrayV4.indd 1 12/13/11 8:53:09 AM Letter from the Editor A New Platform for Glass Education, 4 Support, and Community by Shawn Waggoner Pioneers in Glass May/June 2016 Volume 31, Number 3 Richard Marquis 6 Pioneering American Studio Glass through Italian Technique by Shawn Waggoner International Glass Expanding Glass Art through Collaboration 16 Helen Millard and Allister Malcolm at The Studio of The Corning Museum of Glass by Colleen Bryan CGS News 22 The CGS New Graduate Review 2016 Working Greener Ed Schmid and Dave Mireault 24 Harnessing Excess Furnace Heat for Cottage Industries by Shawn Waggoner Philanthropic Glass Dr. Laura Schlessinger 30 Using Glass Art to Help Veterans and Their Families through Operation Family Fund by Shawn Waggoner Warm Glass Studio Profile Walter Gordinier Charting a Deeper Collaborative Dialogue between 34 Architect, Artist, and Client by Colleen Bryan Historical Perspectives A Farewell to Marvin Lipofsky by Henry Halem 40 Preserving the Archive of Marvin Lipofsky by The Staff of The Corning Museum of Glass Marketing The Marathon of Building a Small Business 46 Celebrating Your Accomplishments by Mark Veit Glass Talk Toots Zynsky 48 Specialty Glass Artist in Residence at The Corning Museum of Glass by The Staff of The Corning Museum of Glass International Glass Lucia Santini 50 Where Art Is the Family Business by Sara Sally LaGrand AGG News Keep the Pencil Moving 52 A Tribute to Nick Parrendo by Tony Glander Independent Artist The Variety Show 54 Catching Up with Joseph Cavalieri by Keith Bearden SGAA News Above: Blue Helix, by Ed Schmid. 57 The SGAA 2016 Annual Summer Conference On the cover: Squirrel Dome on Wedding Cake by Richard Marquis. 59 What’s New 62 Advertisers’ Index Like us on Facebook. Also pin us on Pinterest. Check our blog on Tumblr. www.GlassArtMagazine.com Glass Art TM • May/June 2016 • 3 Glass Art Letter from the Editor Volume 31, Number 3 Publisher ~ Maureen James A New Platform for Glass Education, Support, and Community Editor ~Shawn Waggoner Let me introduce you to Glass Art magazine’s Copy Editor ~ Darlene Welch new podcast, Talking Out Your Glass! This biweekly Accounting ~ Rhonda Sewell show features interviews and discussions with world- Circulation Manager ~ Kathy Gentry renowned glass artists and respected experts in hot, Advertising ~ Maureen James warm, and cold glass. In Episodes 1 and 2, internation- Graphic Artists ~ Dave Burnett ally respected artist, Narcissus Quagliata, discusses his 2013 book, Archetypes and Visions in Light and Glass, Mark Waterbury as well as highlights from his 40 years of groundbreak- Contributing Artists and Writers ing glass projects. Subscribe on iTunes and Stitcher or Keith Bearden, Colleen Bryan go to the link on Glass Art magazine’s website www.glassartmagazine, where you’ll also Tony Glander, Henry Halem find our upcoming Webinar schedule and back issues of the magazine. Sara Sally LaGrand The cover art for Talking Out Your Glass is a detail of Razzle Dazzle Boats by Studio Staff of The Corning Museum of Glass Glass movement pioneer and Glass Art’s May/June 2016 cover artist, Richard Marquis. Freely sharing his knowledge of Italian glassworking processes learned in Venice, Mar- Mark Veit, Shawn Waggoner quis demonstrated and taught throughout the United States, Europe, Japan, Australia, and Darlene Welch New Zealand. The effect of Venetian glassblowing techniques on American studio glass Glass Art™ enabled glass artists to expand their technical vocabularies and, combined with new and ISSN 1068-2147 is published bimonthly experimental approaches, led to the redefinition of glass as an artistic medium. Stay tuned by Glass Patterns Quarterly, Inc. for my interview with Marquis on Talking Out Your Glass. POSTMASTER: Send address This early summer issue also showcases the architectural cast glass of Walter Gordinier and blown and carved work from the U.K.’s Allister Malcolm and Helen Millard made changes to Glass Art, during their collaborative residency at the Corning Museum of Glass. Additional features 8300 Hidden Valley Road, include a farewell to pioneer Marvin Lipofsky, Dr. Laura Schlessinger’s glass art auctioned P.O. Box 69, Westport, KY 40077 to help veterans through Operation Family Fund, and a look at the work of Ed Schmid Telephone: 800-719-0769 and Dave Mireault, who harness excess furnace heat from their hot shop in support of ad- 502-222-5631 ditional cottage industries. Glass Art Facsimile: 502-222-4527 Follow on Facebook, Instagram, Twitter, Tumblr, and Pinterest, and subscribe now to Talking Out Your Glass, your podcast source for information, conversation, and Website: www.GlassArtMagazine.com developments in hot, warm, and cold glass. E-mail: [email protected] Subscriptions: United States, Canada, Creating community through expanded glass coverage in print and online, and Mexico (U.S. Funds): one year $30; two years $48; three years $60. Foreign (U.S. Funds): one year $56, one year Shawn Waggoner Editor airmail $70. Single copy price (U.S.) $7. All subscriptions must be paid in U.S. dollars with an international money order or with a check drawn on a U.S. bank. Periodicals Postage Paid at Westport, KY 40077 and additional mailing offices. ©2016 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- sent of the publisher. Advertisers and/or agencies assume all liabilities for printed Deadlines for Advertising advertisements in Glass Art. Opinions July/August 2016 September/October 2016 expressed in Glass Art may not necessar- Ad Closing May 20, 2016 Ad Closing July 20, 2016 ily reflect the opinion of the magazine, its Ad Materials May 30, 2016 Ad Materials July 30, 2016 management, or its advertisers. Issue Mails June 28, 2016 Issue Mails August 26, 2016 4 • Glass Art TM • May/June 2016 www.GlassArtMagazine.com www.GlassArtMagazine.com Glass Art TM • May/June 2016 • 5 Pioneers in Glass Richard Marquis Pioneering American Studio Glass through Italian Technique by Shawn Waggoner Photography by R. Marquis “Richard Marquis, glassblower and collector of beat-up, vintage objects, has had an extraor- dinary influence on the development of contem- porary studio glass in America and around the world . His prolific body of astonishingly origi- nal, challenging, and exquisitely executed work illustrates his boundless range and exceptional versatility as an artist.” – Tina Oldknow, former Curator of Modern and Contemporary Glass at The Corning Museum of Glass and author of the book, Richard Marquis Objects. Richard Marquis, American Acid Capsule with Small Container, solid-worked glass, murrine, a canne and incalmo techniques, 2-3/4" x 4-1/2" x 2-3/4", 1969–70. Made at Venini Fabbrica, Mu- rano, Italy. Collection of Pam Biallas. dmired for his sophisticated understanding of color and form as In 1974, Marquis received the first of his four National Endow- much as for his humor and willingness to experiment, Richard ment for the Arts (NEA) Fellowships followed by three yearly grants AMarquis is the glass artist’s glass artist. Whenever his contempo- from the Australian Crafts Council, which allowed him to conduct raries speak of favorites, Marquis is consistently on the list, if not a series of workshops Down Under. As an artist in residence, he at the top. As a glassblower, he has influenced an entire generation built a glass shop at the Tasmanian School for Arts in 1976. Upon of artists working in glass who aspire to both his technical mastery his return to the United States, Marquis founded Marquis Deluxe and originality of voice. Studios in Berkeley with Jack Wax and Jody Fine, which lasted until Born a triple Virgo in Bumblebee, Arizona, the second of four 1981. Two years later, he and friend Ro Purser established Noble children to Chuck and Verna Marquis, Dick, as he is known to Effort Design on Whidbey Island in Puget Sound, which morphed all, moved to Berkeley, California, in 1963. Marquis entered the into Marquis’ current studio where he has worked since 1987. University of California, Berkeley (UCB) to study architecture On his glass journey, Marquis has accumulated mass quantities but ended up studying ceramics with legends Peter Voulkos, Ron of awards and accolades that include but are not limited to a third Nagle, and Jim Melchert.