Download New Glass Review 08
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Homily 2Nd Sunday of Advent
Homily Bar 5: 1-9 Ps 126: 1-2, 2-3, 4-5, 6 2nd Sunday of Advent – C Phil 1: 4-6, 8-11 Rev. Peter G. Jankowski Lk 3: 1-6 December 8-9, 2018 The story I am about to share with you is entitled, The Cellist of Sarajevo and was written by Paul Sullivan for a periodical called Hope Magazine. This is the story… As a pianist, I was invited to perform with cellist Eugene Friesen at the International Cello Festival in Manchester, England. Every two years a group of the world’s greatest cellists and others devoted to that unassuming instrument – bow makers, collectors, historians – gather for a week of workshops, master classes, seminars, recitals and parties. Each evening the six hundred or so participants assemble for a concert. The opening-night performance at the Royal Northern College of Music consisted of works for unaccompanied cello. There on the stage in the magnificent concert hall was a solitary chair. No piano, no music stand, no conductor’s podium. This was to be cello music in its purest, most intense form. The atmosphere was supercharged with anticipation and concentration. The world-famous cellist Yo-Yo Ma was one of the performers that April night in 1994, and there was a moving story behind the musical composition he would play: On May 27, 1992, in Sarajevo, one of the few bakeries that still had a supply of flour was making and distributing bread to the starving, war-shattered people. At 4:00 p.m. a long line stretched into the street. -
Graphic Recording by Terry Laban of the Global Health Matters Forum on March 25, 2020 Co-Hosted by Craftnow and the Foundation F
Graphic Recording by Terry LaBan of the Global Health Matters Forum on March 25, 2020 Co-Hosted by CraftNOW and the Foundation for Advancement of International Medical Education and Research With Gratitude to Our 2020 Contributors* $10,000 + Up to $500 Jane Davis Barbara Adams Drexel University Lenfest Center for Cultural Anonymous Partnerships Jeffrey Berger Patricia and Gordon Fowler Sally Bleznack Philadelphia Cultural Fund Barbara Boroff Poor Richard’s Charitable Trust William Burdick Lisa Roberts and David Seltzer Erik Calvo Fielding Rose Cheney and Howie Wiener $5,000 - $9,999 Rachel Davey Richard Goldberg Clara and Ben Hollander Barbara Harberger Nancy Hays $2,500 - $4,999 Thora Jacobson Brucie and Ed Baumstein Sarah Kaizar Joseph Robert Foundation Beth and Bill Landman Techné of the Philadelphia Museum of Art Tina and Albert Lecoff Ami Lonner $1,000 - $2,499 Brenton McCloskey Josephine Burri Frances Metzman The Center for Art in Wood Jennifer-Navva Milliken and Ron Gardi City of Philadelphia Office of Arts, Culture, and Angela Nadeau the Creative Economy, Greater Philadelphia Karen Peckham Cultural Alliance and Philadelphia Cultural Fund Pentimenti Gallery The Clay Studio Jane Pepper Christina and Craig Copeland Caroline Wishmann and David Rasner James Renwick Alliance Natalia Reyes Jacqueline Lewis Carol Saline and Paul Rathblatt Suzanne Perrault and David Rago Judith Schaechter Rago Auction Ruth and Rick Snyderman Nicholas Selch Carol Klein and Larry Spitz James Terrani Paul Stark Elissa Topol and Lee Osterman Jeffrey Sugerman -
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. -
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. -
Comparative Study of Leaf, Arabesque and Ivy Motifs in Egyptian Fatimids Glass and Seljuks of Iran1
Volume 6 Issue 1 INTERNATIONAL JOURNAL OF HUMANITIES AND June 2019 CULTURAL STUDIES ISSN 2356-5926 Comparative Study of leaf, arabesque and Ivy motifs in Egyptian Fatimids glass and Seljuks of Iran1 Seyed Reza Hoseini2, Parisa Mohammadi3 Abstract: During the Islamic period, the art of glassware grew considerably in the era of the Fatimids of Egypt and at the same time during the Seljuqs dynasty of Iran. The coexistence of these two dynasties and the relationships between them can provide the basis for following the characteristics of each works. The aim of this study was to investigate the quality of the form and also to identify the similarities and differences in plant motifs of leaves, arabesque and ivy motifs in glassware of these two dynasties. Accordingly, the following question arises: What are the similarities and differences in the plant motifs of leaves, arabesque and ivy motifs in the Fatimids and Seljuks glassware? In order to answer this question, 55 works were employed; among them,19 items of the Fatimids dynasty glassware and 17 items of the Seljuqs dynasty glassware with mentioned motifs have been compared. Using a descriptive analytical approach, this comparative-historical research has been conducted based on the library resources. The results show that in Fatimids works, palm leaves are often similar to the original form of the leaf, in the form of a triangle and decorated with golden colour, which can indicate the importance of the motif, but in the Seljuqs works, the leaves have different forms and often an abstract form. Two dynasties' motifs were common in the use of empty space and curved forms. -
Du 18E CONGRÈS De L’ASSOCIATION INTERNATIONALE Pour L’HISTOIRE Du VERRE C Y M B C Y M B
ANNALES Thessaloniki 2009 du 18e CONGRÈS de l’ASSOCIATION INTERNATIONALE pour l’HISTOIRE du VERRE C Y M B C Y M B C Y M B ANNALES du 18e CONGRÈS de l’ASSOCIATION INTERNATIONALE pour l’HISTOIRE du VERRE Editors Despina Ignatiadou, Anastassios Antonaras Editing Committee Nadia Coutsinas Ian C. Freestone Sylvia Fünfschilling Caroline Jackson Janet Duncan Jones Marie-Dominique Nenna Lisa Pilosi Maria Plastira-Valkanou Jennifer Price Jane Shadel Spillman Marco Verità David Whitehouse B M Y C Thessaloniki 2009 C Y M B i C Y M B C Y M B C Y M B B M Y C Couverture / Cover illustration The haematinon bowl from Pydna. Height 5.5 cm. © 27th Ephorate of Prehistoric and Classical Antiquities, Greece. The bowl (skyphos) is discussed in the paper by Despina Ignatiadou ‘A haematinon bowl from Pydna’, p. 69. © 2012 Thessaloniki AIHV and authors ISBN: 978-90-72290-00-7 Editors: Despina Ignatiadou, Anastassios Antonaras AIHV Association Internationale pour l’Histoire du Verre International Association for the History of Glass http: www.aihv.org Secretariat: The Corning Museum of Glass One Museum Way B M Corning NY, 14830 USA Y C Printed by: ZITI Publishing, Thessaloniki, Greece http: www.ziti.gr C Y M B ii C Y M B C Y M B C Y M B C Y M B CONTENTS PRÉFACE – MARIE-DOMINIQUE NENNA . xiii PREFACE – MARIE-DOMINIQUE NENNA . xv GREEK LITERARY SOURCES STERN MARIANNE EVA Ancient Greek technical terms related to glass production . 1 2nd MILLENNIUM BC / BRONZE AGE GLASS NIGHTINGALE GEORG Glass and faience and Mycenaean society . -
Dale Chihuly | Chronology
Dale Chihuly | Chronology 1941 Born September 20 in Tacoma, Washington, to George Chihuly and Viola Magnuson Chihuly. 1957 Older brother and only sibling, George, dies in a navy flight-training accident in Pensacola, Florida. 1958 His father suffers a fatal heart attack at age fifty-one, and his mother has to go to work. 1959 Graduates from high school in Tacoma. Enrolls at College of Puget Sound (now University of Puget Sound) in his hometown. 1960 Transfers to University of Washington in Seattle, where he studies interior design and architecture. 1961 Joins Delta Kappa Epsilon fraternity and becomes rush chairman. Learns to melt and fuse glass. 1962 Interrupts his studies and travels to Florence to focus on art. Frustrated by his inability to speak Italian, he moves on to the Middle East. 1963 Works on a kibbutz in Negev desert, Israel. Reinspired, returns to University of Washington and studies under Hope Foote and Warren Hill. In a weaving class with Doris Brockway, incorporates glass shards into woven tapestries. 1964 Returns to Europe, visiting Leningrad and making the first of many trips to Ireland. 1965 Receives BA in interior design from University of Washington. In his basement studio, blows his first glass bubble by melting stained glass and using a metal pipe. 1966 Earns money for graduate school as a commercial fisherman in Alaska. Enters University of Wisconsin at Madison on a full scholarship, to study glassblowing in the first glass program in the United States, taught by Harvey Littleton. 1967 After receiving MS in sculpture from University of Wisconsin, enrolls at Rhode Island School of Design (RISD) in Providence, where he begins exploration of environmental works using neon, argon, and blown glass. -
The Wilman Collection
The Wilman Collection Martel Maides Auctions The Wilman Collection Martel Maides Auctions The Wilman Collection Martel Maides Auctions The Wilman Collection Lot 1 Lot 4 1. A Meissen Ornithological part dessert service 4. A Derby botanical plate late 19th / early 20th century, comprising twenty plates c.1790, painted with a central flower specimen within with slightly lobed, ozier moulded rims and three a shaped border and a gilt line rim, painted blue marks square shallow serving dishes with serpentine rims and and inscribed Large Flowerd St. John's Wort, Derby rounded incuse corners, each decorated with a garden mark 141, 8½in. (22cm.) diameter. or exotic bird on a branch, the rims within.ects gilt £150-180 edges, together with a pair of large square bowls, the interiors decorated within.ects and the four sides with 5. Two late 18th century English tea bowls a study of a bird, with underglaze blue crossed swords probably Caughley, c.1780, together with a matching and Pressnumern, the plates 8¼in. (21cm.) diameter, slop bowl, with floral and foliate decoration in the dishes 6½in. (16.5cm.) square and the bowls 10in. underglaze blue, overglaze iron red and gilt, the rims (25cm.) square. (25) with lobed blue rings, gilt lines and iron red pendant £1,000-1,500 arrow decoration, the tea bowls 33/8in. diameter, the slop bowl 2¼in. high. (3) £30-40 Lot 2 2. A set of four English cabinet plates late 19th century, painted centrally with exotic birds in Lot 6 landscapes, within a richly gilded foliate border 6. -
Morris Gallery Curatorial Records
Morris Gallery Curatorial records Collection ID: RG.02.01.08 Finding Aid prepared by Hoang Tran The Pennsylvania Academy of the Fine Arts 118-128 North Broad Street Philadelphia, PA 19102 [email protected] 215-972-2066 Prepared May 2015 Morris Gallery Curatorial records (RG.02.01.08) Summary Information Repository The Pennsylvania Academy of the Fine Arts, Dorothy and Kenneth Woodcock Archives Creator Morris Gallery curators (various) Title Morris Gallery Curatorial records Date [bulk] Date [inclusive] 1978-2010 Extent 11 document boxes Location note Language English Language of Materials note English Abstract The collection comprises of curatorial files for managing and curating exhibitions in PAFA’s Morris Gallery from 1978-2010. Additional curatorial materials can be found in Julien Robson curatorial records (RG.02.01.15) and Alex Baker Curatorial records (RG.02.01.14) and photographs for exhibitions found in PC.01.12. Preferred Citation note [identification of item], Title of Collection, Collection ID#, The Pennsylvania Academy of the Fine Art, Dorothy and Kenneth Woodcock Archives, Philadelphia, PA. Page 1 Morris Gallery Curatorial records (RG.02.01.08) Historical note Scope and Contents note Arrangement note Arranged chronologically. Administrative Information Conditions Governing Access note Collection is open for research. The archives reserves the right to restrict access to materials of sensitive nature. Please contact the department for further information. Conditions Governing Use note The collection is the physical property of the Pennsylvania Academy of the Fine Arts, Archives. The Museum holds literary rights only for material created by Museum personnel or given to the Museum with such rights specifically assigned. -
Wolff Resume
ANN WOLFF Born 1937 in Lübeck, Germany SOLO EXHIBITIONS SELECTION 1966 Varbergs Museum, Varberg, Sweden 1968 Galleri Wulff, Helsinki, Finland 1976 Galleri Doktor Glas, Stockholm, Sweden 1979,–84,–87,–93,–97 1980 Yamaha Galleries, Kyoto, Japan 1981 Galleri Mors Mössa, Göteborg, Sweden 1984 1982 Heller Gallery, New York/NY, USA 1987,1997 1983 Ivor Kurland Gallery, Los Angeles/CA, USA 1987 1983 Holsten Galleries, Palm Beach/FL, USA 1986 1984 Art Weeks, Kilkenny, Ireland 1986 Gotlands Fornsal, Visby, Sweden 1987 Galleri F15, Moss, Norway 1987 Karlshamns Museum, Karlshamn, Sweden 1987 Galerie Gottschalk-Betz, Frankfurt/M, Germany 1990 Visby Konstmuseum, Visby, Sweden 1990 Chateau d’Annecy, Annecy, France 1993 Musée Palais Bénédictine, Fécamp, France 1994 Gamla Riksbanken, Vänersborg, Sweden 1996 Sanske Gallery, Zürich, Switzerland 1998 Galleria San Nicolò, Venice, Italy 1999 Arch Gallery, Kalmar, Sweden 1999 Mejeriet, Alskog, Sweden 2001 Noack Werkstattgalerie, Berlin, Germany 2001 Landskrona Museum, Landskrona, Sweden 2002 Galerie B, Sinzheim, Germany 2003,–07,–11 2002 Kalmar Konstmuseum, Kalmar, Sweden 2002 Habatat Galleries, Detroit/MI, USA 2007,–09 2005 Ebeltoft Glasmuseum, Ebeltoft, Danmark 2005 National Glass Center, Sunderland, UK 2006 Glashütte Gernheim, Petershagen, Germany 2006 Rihimäki Glasmuseum, Rihimäki, Finland 2007 Mint Museum, Charlotte/NC, USA 2007 Landesmuseum, Schleswig, Germany 2008 Wärmlands Museum, Karlstad, Sweden 2008 Leo Kaplan Modern, New York/NY, USA 2009 Vänersborgs Konstmuseum, Vänersborg, Sweden 2009 Galleri -
Mise En Page 1
La Galerie Internationale du Verre La première exposition avait vu le jour lors talents côtoient les grands noms, et où de l’été 1977... l’émulation saine entre artistes les pousse à Plus de 30 ans consacrés à l’amour de l’Art, se sublimer pour offrir « la pièce » aux col - de l’éclectisme de l’expression artistique à lectionneurs attentifs. travers le verre, de la prééminence de l’ar - tiste, de l’homme et de l’artisan virtuose sur De l’aveu même des artistes, répondre au toute théorie de l’art. thème imposé est bien souvent une torture, mais aussi un moyen d’aller au-delà de sa Un amour sans cesse renouvelé au travers vision, d’enrichir son vocabulaire artistique d’expositions permanentes, de temps forts et de pousser la création dans ses derniers et, bien entendu, des Verriales. retranchements, pour aboutir à des œuvres Les Verriales : un événement à part entière, sublimes et toutes différentes. né en 1989, un rendez-vous incontournable, même pour les esthètes qui pensent avoir La Galerie s’inscrit également dans une ap - tout vu. Chaque année, le 1er vendredi de proche pédagogique pour que les visiteurs, juillet, elles regroupent plus de 30 artistes une fois sensibilisés aux techniques de fa - autour d’une thématique toujours renouve - brication, ressentent que l’essentiel de l’art lée. C’est l’occasion de découvrir des créa - est ailleurs, dans l’idée, le concept, l’artiste tions exclusives, des œuvres réalisées même, car, comme le disait si bien Ernst spécialement pour cet événement où l’excel - Gombrich : "l’art n’existe pas, il n’existe que lence est au rendez-vous de la qualité, de la des artistes." diversité et de la créativité. -
Catalogue Monthly Antique, Vintage & Collectibles
The Auction Barn Pty Ltd Phone 02 6239 2095 9 Wiluna Street www.theauctionbarn.com.au Fyshwick ACT 2609 Catalogue Monthly Antique, Vintage & Collectibles Auction Date and Time: 2019-08-25 10:30:00 Auction Type: Pre-Bid To be held at: 10 Wiluna St, Fyshwick Terms: Cash, EFTPOS, Visa and MasterCard (a 1.6% surchargeapplies to Credit Card Payments) Lot Description Closing Time Lot 1 105mm Military Mortar Shell 06:47 AM Lot 2 1970 Yalumba 2 Litre Magnum Shiraz-Cabernet-Malbec 06:47 AM Lot 3 Vintage Porcelain Character Jug - 27 cm 06:47 AM Lot 4 Large Oriental Metal Teapot - 62 cm 06:47 AM Lot 5 Vintage Waterford Crystal Three Wise Men Figurines 06:47 AM Lot 6 Vintage Foot's Artwork Cast Bronze Mermaid on Rock Sculpture Signed on Back 06:47 AM Lot 7 <p>Pair of Vintage Floral Cloisonne Vases 16 cm</p> 06:47 AM Lot 8 Vintage Style Cast Bronze Oriental Shoemaker Sculpture Signed to Base 06:47 AM Lot 9 Mats Jonasson Moose Paperweight 06:47 AM Lot 10 Chrome Clock/Barometer with Gemset World Globe Above 06:47 AM Lot 11 Vintage Replica WUI 2000 Cast Metal Horse & Foal Figurine 06:47 AM Lot 12 Art Deco Yalumba Niblick Bottle with Original Bakelite Lid - S. Smith & Son - Angaston SA 06:47 AM Lot 13 White Hand Blown Art Glass Polar Bear Figurine and a Small Bud Vase 06:47 AM Lot 14 Reproduction Cast Aluminium Negro Mechanical Money box 06:47 AM Lot 15 Antique Hallmarked Silver Levi & Salaman Birmingham c1909 Pierced Dish and an 800 Silver Dish 06:47 AM Lot 16 Two Oriental Silver Filigree Figures - Fish and Rickshaw with Driver 06:47 AM Lot 17 Swarovski