DOCSLIB.ORG

Denver Conference Program

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Denver Conference Program Stained Glass Association of America 96th Annual Summer Conference Stained Glass Painting: Fusing the Old and the New June 20 – 24, 2005 • Denver, Colorado The DoubleTree Hotel Conference Hosts: Jenkyn Powell, Powell Brothers & Sons Glass Art Jon Rarick, Reusché & Co. of T.W.S., Inc. SGAA Headquarters • 10009 E. 62nd Street • Raytown, MO 64133 800.438.9581 • 816.737.2801 fax [email protected] • www.stainedglass.org • www.sgaaonline.com Denver 2005: Full Conference Schedule of Events Monday, June 20th 8:00 am – 2:00 pm Golf at Buffalo Run 1:00 pm – 3:00 pm Early Registration Crystal Foyer 3:00 pm – 5:00 pm Stained Glass School Board Meeting Colorado Three 5:00 pm – 10:00 pm Executive Board Meeting Colorado Three Tuesday, June 21st 8:30 am – 12:00 pm Committee Meetings Boardroom 10:00 am – 3:00 pm Registration Crystal Foyer 3:00 pm – 4:30 pm General Assembly Crystal Two 4:30 pm – 6:00 pm Industry Overview: Product Safety & Selection with Jon Rarick Crystal Two 6:30 pm – 7:30 pm Welcome Reception, Sponsored by Northwest Art Glass Grand One 7:30 pm – 10:30 pm Welcome Buffet: Speaker David Wagner of Derix Studios Sponsored by Wissmach Glass Company Grand One Wednesday, June 22nd 8:00 am – 9:00am Continental Breakfast Grand One 9:00 am – 11:00 am First General Business Meeting Crystal Two & Three 11:00 am – 12:00 pm Section Meetings Colorado One & Two 12:00 pm - 1:30 pm Lunch on own 1:30 pm – 3:00 pm Roy Coomber: Glass Painting Techniques, Part 1, Sponsored by the Stained Glass School Crystal Two & Three 3:00 pm - 3:30 pm Presentation of Albinas Elskus DVD Crystal Two & Three 3:30 pm – 5:00 pm Traveling Through Painted Stained Glass with Marie Foucault-Phipps Crystal Two & Three 5:00 pm – 6:30 pm Artist’s Panel Discussion “Vision & Technique” Moderated by Ellen Mandelbaum Crystal Two & Three 7:00pm – 11:00pm Free Evening or Blues Night with Denver Glass Machinery at Herb’s Bar with Bar-B-Q on the patio. Transportation is on your own. The hotel provides a free shuttle to the downtown area or grab a group and grab a cab together. Thursday, June 23rd 8:00 am Be in lobby for Denver Glass Machinery Tour. Bus will leave promptly. 8:30 am – 11:30 am Denver Glass Machinery Tour 12:00 pm – 1:00 pm Member Slide Lunch Grand One 1:30 pm – 3:00 pm Roy Coomber: Glass Painting Techniques, Part 2 Sponsored by the Stained Glass School Crystal Two & Three 3:00 pm – 5:30 pm Kiln Care and Safety with Eunice Parrish of Evenheat Kilns Colorado One & Two or Competing with the Heavens: Painting in High Places with Rick Prigg of Willet Studios Crystal Two & Three 5:30 pm – 7:00 pm HOAF Speedburn Kiln Demonstration. (Dinner on your own.) 7:00 pm – 8:30 pm Airbrush, Enamels and Untraditional Painting Techniques with Joy Day Crystal Two & Three 8:30 pm – 10:00 pm Painting on Float Glass and Methods for Reverse Painting with David Wagner Crystal Two & Three 2 The Stained Glass Association of America www.stainedglass.org / www.sgaaonline.com Friday, June 24th 8:00 am Be in lobby for Stained Glass Tour. Bus will leave promptly. 8:30 am – 12:00 pm Stained Glass Tour: Whatley Chapel, PISMO, St. John’s Cathedral 12:30 pm – 1:30 pm Salad and Sandwich Bar at the Doubletree Grand One & Two 1:30 pm – 3:30 pm 2nd Business Meeting Grand One & Two 4:00 pm – 5:30 pm Executive Board Meeting Boardroom 5:30 pm – 6:30 pm Freshen up 6:30 pm – 7:30 pm Awards Reception and Live Auction Sponsored by Northwest Art Glass Grand One & Two 7:30 pm – 10:00 pm Awards Banquet: Speaker Peter McGrain Sponsored by S.A. Bendheim Grand One & Two Saturday, June 25th Sponsored by Kokomo Opalescent Glass 8:00 am Be in lobby to meet bus to D & L in Boulder Bus will leave promptly. 9:00 am – 12:30 pm Class 1 Traditional Glass Painting/Alternative Approaches with Peter McGrain Class 2 Flesh Painting with Terry Mominee 12:30 pm – 1:30 pm Box Lunch served. 1:30 pm – 5:00 pm Class1 Traditional Glass Painting/Alternative Approaches with Peter McGrain Class 2 Flesh Painting with Terry Mominee Class 3 Silk Screening with Jules Mominee The Stained Glass Association of America 3 www.stainedglass.org / www.sgaaonline.com President’s Message: Welcome to the Denver Conference! Welcome members and guests to the 96th Annual Summer Conference of the Stained Glass Association of America, which is held this year in Denver, Colorado! This conference promises to be one of the most informative conferences yet. We will be exploring both traditional and creative innovations in glass painting. There is no better way to stimulate personal creativity than to be in proximity with other creative minds. Ideas gathered here and expressed through your own work can lead to new dimensions in the stained glass world. That is what this Conference is all about. Enjoy! Karen Hendrix SGAA “Active Challenge: 2005” The Stained Glass Association of America is comprised of two professional categories. The first is the Accredited level of full-service studios and artist/designers that have been approved through a review of competence process. The second professional category of mem- bership is made up of our Active Members. This level, almost two-thirds of our organization, is made up of individuals who contribute greatly to the production, awareness and quality of the craft of stained glass. This Active Challenge: 2005 competition is to showcase the talents of SGAA Active Members. The challenge was to design and fabricate a panel of four square feet or less. Most of these panels are for sale with 25% of the proceeds retained to support SGAA programs. Judging is by popular vote of Conference attendees, so please fill in a ballot! Those chosen as the four best of the show will be up for live auction during the awards reception Friday evening. Our thanks to Leslie Silverman of D&L Stained Glass Supply, Inc., and our sponsors — Evenheat Kiln, S.A. Bendheim, DHD Metals and Reusché & Co. of T.W S. Inc. — whos sup- port made this competition possible. Many thanks also to the Glass Art Fellowship of Denver for the loan of their display equipment. 4 The Stained Glass Association of America www.stainedglass.org / www.sgaaonline.com Our Thanks to Conference Donors! Each year, it is with the financial support from our manufacturer, suppliers and members that special events are made possible at the annual Summer Conference. Please show your support for these donors in the year to come with your stained glass purchases. FRIENDS PATRONS Dick Blick Art Supplies DHD Metals, Inc. Glass Patterns Quarterly Kokomo Opalescent Glass Co. Ed Hoy’s International Reusché & Co. of TWS Inc. Shepherd Products Verrerie de Saint-Just Anne Wolff Glass Design Rambusch Decorating Company SOLE PATRONS S.A. Bendheim CONTRIBUTORS Denver Glass Machinery Bob Jones Evenheat Kilns, Inc. Glasmalerie Peters Modern Litho-Print Inc. Helene Weis Northwest Art Glass Anonymous Donation Reusche Consultants The Stained Glass Quarterly DONORS Stained Glass School Gemini Saw Co., Inc. Paul Wissmach Glass Company Glastar Corporation HOAF Infrared Technology Powell Brothers & Sons Spectrum Glass Company Special Thanks to Modern Litho-Print Inc., Printers of the Stained Venture Tape Corporation Glass Quarterly, for the Donation of this Conference Program SOLE CONTRIBUTORS A & H Art & Stained Glass J. Sussman, Inc. The Stained Glass Association of America 5 www.stainedglass.org / www.sgaaonline.com Tuesday, June 21st L. Reusché & Co. was founded in 1906 in New York City and serves the glass and ceramic industries. In 1929 the three 8:30 am – 12:00 pm Committee Meetings divisions (sales, color manufacturing and decorative precious Boardroom metals) of L. Reusché & Co. were moved to Newark, NJ. The business remained a family run business until it was sold in 10:00 am – 3:00 pm Registration 1988 to Trans World Supplies, Inc. and renamed Reusché & Crystal Foyer Co. of T.W.S. Inc. A new manufacturing facility was built on a three acre site in Greeley, Colorado, and the company was 3:00 pm – 4:30 pm General Assembly moved in 1996. Crystal Two Reusché & Co. today services the ceramic and porcelain 4:30 pm – 6:00 pm Painting Safety and Product decorating; beverage container decorating; tableware and Selection with Jon Rarick glassware; promotional products; stained glass (new and Crystal Two restoration); appliance glass; lighting; decal manufacturing; cosmetic containers; art glass (hot and free formed); and elec- 6:30 pm – 7:30 pm Welcome Reception tronics (ceramic capacitors etc.) markets. Sponsored by Northwest Art Glass Grand One 7:30 pm – 10:30 pm Welcome Buffet Speaker David Wagner of Derix Studios Sponsored by Wissmach Glass Co. Grand One Presentation: Recent Developments in Glass Painting The approach to and methods of application of this ancient craft have undergone great changes in the last few decades. This presentation will provide an overview of some of the more significant recent projects in glass painting and the way in which they were developed, interpreted and executed. Jon Rarick Industry Overview: Product Safety and Selection Work fabricated by the Derix Studios. Jon Rarick will discuss how the products we use are derived from other industries in glass decorating. This discus- David Wagner is an art consultant specializing in architec- sion will include a history of the products and how they have tural art glass. Previously, he spent many years as a designer for evolved.
Load more

Recommended publications
  • Bullseye Glass Co. / Classes & Special Events
    Bullseye Glass Co. | Classes & Special Events May to September 2012 • Emeryville, California From the Director Artist Klaus Moje at Resource Center Portland, 2007. What is Kiln-Glass? In 1974 three self-described “hippie glassblowers” started Bullseye Glass Company, a small factory for making specialty sheet glass in Portland, Oregon. While they initially focused on making colored sheets for use in stained glass, they aspired to do what had never been done before: to produce a palette of colored glasses tested to be compatible for fusing with one another for producing works in the kiln. By 1979 they had succeeded, but immediately ran into a challenge: they had created something remarkable for which almost no demand existed. Ever the innovators, they decided to embark on a long-term program of research projects working directly with artists to help pioneer and expand the technical, aesthetic and conceptual development of the field that is today known as kiln-glass. Kiln-glass is a term that describes an enormous range of techniques and outcomes that are radically more accessible than many other working methods, such as glassblowing, in which one must first develop basic physical skills for years before being able to effectively realize well-executed works. By contrast, many of the skills required for kiln-glass are things that most artists already possess: an understanding of design, composition, color theory, and the ability to conceive of layers of process and material application. And while kiln-glass does require basic knowledge of technical issues and nuances, these are readily obtained in short order through publications and curriculum that have been developed as an outgrowth of Bullseye’s years of collaboration with artists.
    [Show full text]
  • Art Glass Classes 2017 CONTENTS
    Art Glass Classes 2017 CONTENTS About Kiln-Glass 2 Kilncasting 15 Bullseye Resource Centers 3 Open Studio 17 Introductory Classes 4 Instructors 18 Kilnforming Techniques 7 Registration and Policies 23 Drawing, Painting and Printmaking 13 Locations 23 ABOUT KILN GLASS Richard Parrish. See his class on page 11. Kiln-glass provides an enormous range of levels—from glass fusing beginners to advanced kilnformers—in a techniques and results that are easily accessible. supportive and inspirational environment. Working with this remarkable material requires two things that most artists already possess: an And as you learn to do amazing things with kiln-glass, you’ll also benefit from Bullseye’s decades of research into materials, processes, understanding of design, composition, and color products, and equipment. theory; and the ability to conceive of layers of process and material application. Note: This catalog provides an overview of the kinds of courses we offer, but our Research & Education team continues to design While kiln-glass does require technical knowledge, this can be new courses. The complete schedule of offerings is available at obtained in short order through courses in this catalog, developed bullseyeglass.com/classes. You can also sign up for email updates at by Bullseye through years of collaboration with artists from bullseyeglass.com/email (we never share or sell your address). many mediums. We offer classes year round for students at all 2 BULLSEYE RESOURCE CENTERS Bullseye’s Resource Centers are world-class teaching centers, offering short courses year round for students at all levels, as well as free artist talks and demonstrations.
    [Show full text]
  • FUSED GLASS PLAID PLATE Free Fused Glass Project
    Come Join Us! FUSED GLASS PLAID PLATE Free Fused Glass Project #551 Materials List: Materials List for COE 90 or COE 96 COE 90 Item# 90905 (Qty 2) White Opal Base Sheet Glass 8 x 8 OR use Clear Glass and make sure of slumping mold size) Item# 90915 Qty 1 Clear Sheet Glass 8 x 8 Item# 90906 Qty 1 Deep Royal Purple Sheet Glass 8 x 8 Item# 90945 Qty 1 Green Sheet Glass 8 x 8 Item# 90902 Qty 1 Light Turquoise Sheet Glass 8 x 8 COE 96 Item# 96905 (Qty 2) White Opal Base Sheet Glass 8 x 8 OR use Clear Glass and make sure of slumping mold size) Item# 96915 Qty 1 Clear Sheet Glass 8 x 8 Item# 96906 Qty 1 Deep Royal Purple Sheet Glass 8 x 8 Item# 96945 Qty 1 Green Sheet Glass 8 x 8 Item# 96902 Qty 1 Light Turquoise Sheet Glass 8 x 8 FUSING SUPPLIES: Other Items: Item# 41513 Bullseye Shelf Paper 1 square foot or Item# 41514 Papyros Shelf Paper 1 square foot Item# 41232 Mold Curved Square (This project will work other square molds and look wonderful so do not limit yourself to just one mold.) Item# 41507 Fuser's Glue Other Materials: · Cold Polishing - (one of the following) · Grinder · Abrasive Stone · Diamond Nail File · 3M™ Diamond Coated Sanding Sponges Clean Up Supplies: · Rubbing Alcohol, Dish Washing Detergent · Cloth with very little lint (old T-shirt) Step 1 - Preparation · Grind to round each of the 4 corners of the larger square used as the base piece of glass.
    [Show full text]
  • Glass Pavilion Floorplan
    MyGuide A Monroe Street Lobbey Dale Chihuly, Chandelier: Campiello del Remer #2, 1996/2006 Dale Chihuly’s “chandelier” greets visitors at the Monroe Street entrance. Chihuly’s team installed the 1300-pound hanging sculpture so that its 243 components complement the arcs of the curved walls and the Crystal Corridor that bisects the Glass Pavilion floorplan. B Gallery 5 Roman, Jar with Basket Handle, late 4th–5th century Glass The most elaborate jar of its type known from the late Eastern Roman world, this is one of thousands “As physical borders blur and of glass objects given by glass industrialist and TMA founder/benefactor Edward Drummond Libbey blend, so do notions such as Pavilion (1854–1925) of the Libbey Glass Company. He wanted the Museum to display a comprehensive program and context. This fits Since opening in August 2006, the history of glass art for the education and enjoyment the dynamic environment at the Toledo Museum of Art Glass Pavilion of the community. The Museum continues to build on has attracted a lot of attention from his vision today. Toledo Museum of Art, where around the world. This guide sheds a a wide range of collections little light on this architectural marvel are allowed to interact in new and the stellar collection it houses. C The Glass Study Gallery The Glass Study Gallery provides open storage of constellations, where workshop works not on display in the exhibition galleries. interacts with collection…and Divided into cases featuring ancient, European, American, and contemporary glass, the Study Gallery where the Museum campus allows visitors to compare many examples of similar objects, to contrast different techniques, and to enjoy interacts with neighborhood and the full range of the Museum’s varied collection.
    [Show full text]
  • Bullseye Glass Catalog
    CATALOG BULLSEYE GLASS For Art and Architecture IMPOSSIBLE THINGS The best distinction between art and craft • A quilt of color onto which children have that I’ve ever heard came from artist John “stitched” their stories of plants and Torreano at a panel discussion I attended a animals (page 5) few years ago: • A 500-year-old street in Spain that “Craft is what we know; art is what we don’t suddenly disappears and then reappears know. Craft is knowledge; art is mystery.” in a gallery in Portland, Oregon (page 10) (Or something like that—John was talking • The infinite stories of seamstresses faster than I could write). preserved in cast-glass ghosts (page 25) The craft of glass involves a lifetime of • A tapestry of crystalline glass particles learning, but the stories that arise from that floating in space, as ethereal as the craft are what propel us into the unknown. shadows it casts (page 28) At Bullseye, the unknown and oftentimes • A magic carpet of millions of particles of alchemical aspects of glass continually push crushed glass with the artists footprints us into new territory: to powders, to strikers, fired into eternity (page 31) to reactive glasses, to developing methods • A gravity-defying vortex of glass finding like the vitrigraph and flow techniques. its way across the Pacific Ocean to Similarly, we're drawn to artists who captivate Emerge jurors (and land on the tell their stories in glass based on their cover of this catalog) exceptional skills, but even more on their We hope this catalog does more than point boundless imaginations.
    [Show full text]
  • Download New Glass Review 15
    eview 15 The Corning Museum of Glass NewGlass Review 15 The Corning Museum of Glass Corning, New York 1994 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, daB sie inner- the 1993 calendar year. halb des Kalenderjahres 1993 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 Telephone: (607) 937-5371 Fax: (607) 937-3352 All rights reserved, 1994 Alle Rechte vorbehalten, 1994 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland Standard Book Number 0-87290-133-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Library of Congress 81-641214 unter der Nummer 81 -641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstlerlnnen und Objekte 10 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 58 etztes Jahr an dieser Stelle beklagte ich, daB sehr viele Glaskunst- Jury Statements Ller aufgehort haben, uns Dias zu schicken - odervon vorneherein nie Zeit gefunden haben, welche zu schicken. Ich erklarte, daB auch wenn die Juroren ein bestimmtes Dia nicht fur die Veroffentlichung auswahlen, alle Dias sorgfaltig katalogisiert werden und ihnen ein fester Platz in der Forschungsbibliothek des Museums zugewiesen ast year in this space, I complained that a large number of glass wird.
    [Show full text]
  • Revised International Art Glass Catalog 1924
    Luxfer Prism Co., Ltd. TORONTO “REVISED” International qAky Glass Catalog DOMESTIC Showing designs of the highest £rade of Art &lass. Art Nouveau patterns, also clear leaded, Leveled plate and Mitred Cut Glass. Special attention given to Memorial, Mausoleum and Society windows. Copyright 1924 hy the National Ornamental Glass Manufacturers Association .. .. of the United States and Canada Published exclusively by SHATTOCK & McKAY COMPANY 426-38 South Clinton Street, CHICAGO GENEKAL INFORMATION DOMESTIC CATALOG When ordering lights from this catalogue give the numbers of designs. NEVER CUT OUT THE DESIGNS. All windows are made to order to size given. In ordering give the maximum time, otherwise will assume that we will have 30 days to fill orders. When selecting a design compare the size and shape of glass wanted with the size and shape of designs. Have them as nearly alike as possible. Window lights ordered to fill a smaller space or of a different shape than indicated in design, we reserve the right to modify the design or increase the price. For odd shapes or sizes send in full size paper patterns. Windows that are grouped draw a rough plan showing how they go. in ordering mention width first—upright lights thus 18 x 60 or transom thus 60 x 18. Odd or fractional parts of inches charged as even inches of next larger size, for example a 22Yz x 23^4 will be charged as a 24 x 24. All sizes under 3 sq. ft. will be charged at the rate of 3 sq. ft. Lights measuring less than 12 inches in height or width will be charged at the rate of 12 inches high or wide.
    [Show full text]
  • Download New Glass Review 21
    NewG lass The Corning Museum of Glass NewGlass Review 21 The Corning Museum of Glass Corning, New York 2000 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, dass sie in- the 1999 calendar year. nerhalb des Kalenderjahres 1999 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass please contact: Review konnen angefordert werden bei: The Corning Museum of Glass Buying Office One Corning Glass Center Corning, New York 14830-2253 Telephone: (607) 974-6479 Fax: (607) 974-7365 E-mail: [email protected] All rights reserved, 2000 Alle Rechte vorbehalten, 2000 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland Standard Book Number 0-87290-147-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Library of Congress 81-641214 unter der Nummer 81-641214 Table of Contents/In halt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstlerlnnen und Objekte 16 1999 in Review/Ruckblick auf 1999 36 Bibliography/Bibliografie 44 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 73 Jury Statements Here is 2000, and where is art? Hier ist das Jahr 2000, und wo ist die Kunst? Although more people believe they make art than ever before, it is a Obwohl mehr Menschen als je zuvor glauben, sie machen Kunst, "definitionless" word about which a lot of people disagree.
    [Show full text]
  • Understanding Firing Schedules
    Understanding Firing Schedules Learn about the components of a glass fi ring schedule so you can create your own schedule for any project you want to try. BASICS – Ramp - Temperature - Hold HEATWORK – Time/Temperature Tango. COE – how it aff ects fi ring schedules. VISCOSITY – how it aff ects fi ring schedules. THICKNESS– how it aff ects fi ring schedules PREDICTION - ending accidents. ANNEALING – how and why EVENIVITY– the magic word. VOLUME CONTROL SPECIAL SCHEDULES for special eff ects. My Personal Promise The temperatures and times I refer to here for fi ring schedules are not guesswork and are not copied from comments of others. There are the result of 40 years working as a glass artisan and over 20,000 kiln fi rings. I made it a point to do comparison tests to rigid standard. Some of those tests are included in chapters here. Dennis Brady Glass Campus Publishing Understanding Firing Schedules CONTENTS CONTENTS Cover ……………………. 1 Slump ………………………21, 22 Index …………………….. 2 Drops ………………………23 Introduction …………….. 3 Fuse ………………………..24 Attitude ………………….. 4 Casting …………………….25 COE ………………………..5, 6 Heatwork …………………..26, 27 Viscosity …………………...7 Evenivity …………………...28, 29, 30 Compatibility ………………8, 9 Adapting Schedules ………31, 32 Definitions …………………10 Special Schedules ………. 33, 34, 35 Ramp ……………………...11, 12, 13 Creating Schedules ……….36 Hold ………………………..14 Volume Control ……………37, 38 Temperature ………………15, 16 Question Everything ……...39, 40, 41 Anneal …………………… 17, 18 Keep Records ……………..42 Drape ………………………19, 20 2 Understanding Firing Schedules Introduction What happens to glass when fired in a kiln depends directly on the firing schedule. When you first learn to fuse and cast glass, you start by using firing schedules created by others.
    [Show full text]
  • The AGG Honors Barbara Krueger
    AGG News Featuring the latest from the American Glass Guild The AGG Honors Barbara Krueger by Patrice Schelkun f there’s one person whose passion for the art and craft of stained glass has flavored much of her life’s work, it is Michigan’s historic preserva- Itionist, stained glass artist, and American Glass Guild (AGG) founding member, Barbara Krueger. At this year’s AGG Conference in Chicago, Illinois, Krueger will be recognized as the 2016 recipient of the Joseph Barnes Lifetime Achievement Award. As many of us who know her can Barbara Krueger at work in her studio. attest, few can match the energy and enthusiasm of this wonderful lady when it comes to her love of glass. Krueger joins the ranks of past Barnes Award recipients including Peter McGrain, Jack Cushen, Sylvia Nicholas, Rowan LeCompte, and Nicholas Parrendo, who sadly passed away several months ago. The Barnes Award acknowledges distinguished accomplishments and service by those in the stained glass field. It was initiated in 2008 when Joseph Barnes himself was honored by the AGG. Barnes was a longtime employee of glass dis- tributor S.A. Bendheim, well-known and respected by many glass artisans who counted on his assistance when selecting art glass at the warehouse. Celebrating a Multifaceted Artist Born and raised in California, Krueger has spent much of the last four decades in the Midwest, where she has been an integral part of, and now Director of, the Michigan Stained Glass Census, founded through the Michigan State University Museum 30 years ago. She co-authored the award-winning book, Detroit’s Historic Places of Worship (Wayne State University Press, 2012), a result of years of research on the art and architecture of the city.
    [Show full text]
  • 1973-03-16 Darbininkas
    ATVIRAS LAIŠKAS Europos LF Bičiulis “Motinos laukas” buvo pažymė­ 1973JH.4 skelbia “Atrią laiš­ ti diplomais ir premijomis. E ką”, kuj parašė Lietuvos re- > Teatras sėkmingai vykdo finan­ sinius planus. Tokia sėkmė ga­ damas nuo propagandą pje- lėtų režisierių patenkinti. Ta­ 910 JOUGHBY avė. „nhl čiau kas slypi toliau? •TN, N.T. 11221 ™ ’ VoL LVm Nr. 11 Metais trunkanti kova už tei­ ką Vilniuje, negu sužalotų vei­ sę statyti subrandintą spektak­ kalų režisavimą. lį. Nesibaigiantys disputai ra '. Laiško tekstas toks. — apsidraudėliais, įrodinėjant bū­ SAVAITĖS PANAIKINTOS KETURIOS TAUTINĖS simo spektaklio svarbą vi­ suomenei. Beprasmiškai eik­ ĮVYKIAI PARAPIJOS CHICAGOJ LTSR Kultūros minhter-tfai, vojama energija, besiginant Kauno Valst. Dramos teatrui, nuo demagogiškų bandymų į- Kovo 5-12 Chicagoje kai kuriose vietose Roselando apylinkėje, Chica- Vladas Mažrimas ir pasakė pa­ Lietuvos teatro draugijai, laik­ žiūrėti dar negimusiuose spek­ baltiesiem savo gyvenvietes už­ gos arkivyskupo patvarkymu, mokslą, ragindamas nepamiršti raščio “Literatūra ir Menas” takliuose autorių kėslus. Kūri­ PRANCŪZIJA leidžiant juodiesiem, sušlubavo Visų šventųjų (lietuvių įkurta lietuvių kalbos, vargonais grojo, redakcijai nio audinio /'darkymas, kate­ 1907), šv. Rožančiaus (slovakų giesmėms vadovavo varg. Povi­ Eilę metų dirbus teatre, pri­ goriškai išreikalaujant nuimti POZICIJĄ katalikų bažnyčios tapo pustuš­ įkurta 1907), šv. Nicholo (vo­ las Skridaila. brendo' būtinybė išsakyti su­ netgi esminius akcentus. Galop, EUROPOJE ATLAIKĖ tės. - kiečių įkurta 1890) ir šv. Louis sikaupusias mintis, liečiaračias spektaklių eksploatacijos apri­ (prancūzųn— įkurta 1886) panaild-r—~— t Visų Šventųjų parapija buvo režisieriaus kaip menininko ir, bojimas arba visiškas jų už­ Tarp užsienio įvykių labiau­ žuvo ir 243 sužeisti. Spauda narm>s; iš jų jmdamma viena ra- pradėta organizupti l906 ~me- piliečio veiklos principus.
    [Show full text]
  • Lazy Man's Guide to Stained Glass
    A Lazy Man’s Guide to Stained Glass Professional tips, tricks, and shortcuts 3rd Edition by Dennis Brady Published by: DeBrady Glass Studios 566 David St. Victoria, B.C. V8T 2C8 Canada Tele: (250) 382-9554 Email: [email protected] Website: www.glasscampus.com All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage system, without permission in writing from the author, except by a reviewer who may quote brief passages in a critical article or review. Copyright 2002 by Dennis Brady Printed in Canada This book is dedicated to my son Brant. He introduced me to stained glass and helped me start DeBrady Glass Studios. It’s unfortunate he couldn’t stay long enough to see what it became. Recognition Covers and Illustrations by: Lar de Souza 4 Division Street Acton, Ontario L7J 1C3 CANADA Tele: (519) 853-5819 Fax: (519) 853-1624 Email: [email protected] Website: http://www.lartist.com/ Swag lamp and transom: Inspired by designs from Somers-Tiffany Inc 920 West Jericho Turnpike Smithtown, NY 11787 Tele: (631) 543-6660 Email: [email protected] Website: http://www.somerstiffany.com Prairie table lamp: Inspired by a design by Dale Grundon 305 Lancaster Ave Mt. Gretna, PA 17064 Tele: (717) 964-2086 Email: [email protected] Website: http://www.DaleGrundon.com Acknowledgement So many people helped me over the years that there wouldn’t be space here to say thank you to all those it was due.
    [Show full text]