GlassNEWSLETTER OF THE NATIONAL Shards AMERICAN CLUB www.glassclub.org Founded 1933 A Non-Profit Organization Summer 2016

News

Highlights from the 2016 Seminar in Norfolk

There were many wonderful experi- Museum. After her lecture, we were historic glassblowing techniques, blew ences that the attendees of the 2016 divided into two small groups and re- one of his favorite styles, a pillar- Seminar shared during the three-day ceived the rare opportunity of visiting molded pitcher. Although we have all gathering but a few events were high- the Ceramic and Glass Vault. Attend- seen glassblowing demonstrations lights of the Seminar. After visiting ees sat around tables and objects from countless times, Art, who was assisted the incredible home of Carolyn and the collection were discussed, passed by a Studio staff member, had the Richard Barry, filled with the amazing around, and handled. group captivated by working and art and spectacular contemporary glass, Another highlight was the glass- discussing each step in the process. the attendees traveled to the DeWitt blowing demonstration by NAGC Amazingly, Art had not blown a piece Wallace Museum of Second Vice President Art Reed. The of glass for four years since concen- at Colonial Williamsburg. Chrysler Museum of Art acquired an trating on his wooden glassblowing Suzanne Hood, Curator of Ceramics old bank across the street from the block and mold business. and Glass at the Colonial Williamsburg museum and renovated the building Both the visit to Colonial Williams- Foundation (CWF) gave us an informa­ into a glass studio. The Studio has be- burg’s DeWitt Wallace Museum of tive lecture about the glass collection come one of the most popular venues Decorative Arts and the glassblowing and why the CWF acquired the pieces. in Norfolk. The Studio and Museum demonstration by Art Reed were mem­ Ms. Hood is an enthusiastic speaker staff graciously gave permission for orable parts of the 2016 Seminar not who is obviously passionate about the one of our members to demonstrate to be forgotten. collections at the DeWitt Wallace at their facility. Art, who mastered

Suzanne Hood, Curator of Ceramics and Glass at Colonial Williamsburg Art Reed demonstrating at the Chrysler Museum Foundation and member Mary Mills discuss glass with attendees in the of Studio. Photo courtesy Joe Heyman. Ceramics and Glass Vault at the DeWitt Wallace Museum of Decorative Arts. Glass Shards • Page 2

President’s Letter

Dear Members, Baker from the years he was curator Museum of American Glass. Save the at Chrysler were thrilled that he spoke date of May 11–13, 2017. Those of us who attended the 2016 to us about the glass collection It is with deep regret that I report Annual Seminar had a wonderful at the museum. Saturday at the hotel, the death of longtime member and time. On the first day, we visited the we had our annual meeting, and infor- past President of NAGC, Kenneth incredible residence of contemporary mative lectures by Cynthia Williams, Lyon. Ken was an avid collector and glass collectors Carolyn and Richard our two scholarship recipients Carrie authority on 18th-century glass. As Barry. Then we drove to the DeWitt Greif and Greg Bingham, and Kirk President of NAGC, he organized our Wallace Museum of Decorative Arts Nelson. At the banquet Saturday night, first operations manual to better define where we heard a lecture by Suzanne we had an enjoyable and profitable si- the workings of our organization. He Hood, Curator of Glass and Ceramics, lent auction. The highest prices real- was a generous and caring gentleman and we were given the rare opportuni- ized in the silent auction were three who will be sorely missed. ty to handle glass from the Colonial stunning pieces made and donated by As I have mentioned in previous Williamsburg Foundation collection. Art Reed. Thanks goes to Art for his President’s letters, we are actively Friday began with a fabulous demon- generous contribution to the club. working on a new NAGC Web site. If stration by NAGC Board member Art Plans have begun by Loreen Ryan you have Web site experience and Reed in the Chrysler Museum of Art and Karen Petraglia for our 2017 An- would like to be involved with this Glass Studio. We heard a lecture by nual Seminar in Charleston, West Vir- ongoing project, please contact me. Diane Wright on the history of the ginia. We will be visiting the Blenko Have a wonderful summer. Chrysler Museum’s founding and ex- Glass Company, the Huntington Mu- — Gay LeCleire Taylor pansions. Many of us who know Gary seum of Art and the West Virginia President

Kenneth William Lyon (1922–2016) Kenneth William Lyon, 93, of Ken put his mapping skills to work American Glass Club (now NAGC), Fishers Hill, Virginia, passed away and created a life-long business as a and also coordinated the renowned April 15, 2016, at Greenfield Senior realtor specializing in undeveloped Dorflinger Chapter glass show in Living in Strasburg. land in the Washington suburban area. Maryland for over a decade. He was Ken served as a cartographer for He was highly regarded for his in­ honored by being selected as a Fellow the U.S. Coast and Geodetic Survey tegrity and for his ability to identify of The Corning Museum of Glass and and studied special aerial mapping parcels with unique potential. later as a Trustee of the Fellows. techniques at Massachusetts Institute Developing an avid interest in 18th- Along with his interest in antique of Technology (MIT) while serving century American glass, Ken became glass, Ken enjoyed a love of all things in the U.S. Army Air Forces during a nationally respected collector and historical, the natural environments of World War II. He was assigned to the supporter of glass museums. the Shenandoah Valley and Maine, 24th Combat Mapping Squadron and Along with writing articles for and he enjoyed birdwatching, with a “flew the hump” many times in the antique glass publications, he served special love for the Eastern Bluebird. India-Burma Theater. as President of the National Early

29th Annual Cape Cod Glass Show and Sale Westchester Club The Cape Cod Glass Club is a September 17–18, 2016, and at a new Donates $200 to NAGC group of glass collectors who gather location. This year the show, which is to become educated in identifying and now sponsored by the Cape Cod Glass The Westchester Glass Club recent- learning about all types of glass. The Club, will be located on the campus ly donated a total of $200 to the Na- club was established in 2001 as a of Cape Cod Community College in tional American Glass Club’s Memo- chapter of the National American Barnstable, MA. rial Fund. One hundred dollars each Glass Club and its 33 members meet Visit the Web site and learn about was given in honor of Westchester monthly to discuss and attend presen- the Club and more about this event. Club members Shirley Reed and Ted tations of glass and glassmaking by Anthony. top artisans and experts. Cape Cod Glass Club The 29th Annual Cape Cod Glass (301) 924-2293 Show and Sale will be held on www.capecodglassclub.org Glass Shards • Page 3

Glass Light Up Children’s Museum

Visitors to the Fireworks of Glass You can relax on a revolving plat- Children’s Museum Indianapolis won’t be able to take their eyes off form and gaze up at the magnificent 3000 North Meridian St. this beauty! The colossal blown 43- glass ceiling. Children can learn to Indianapolis, IN 46208-4716 foot glass tower is one of the largest identify the different shapes and forms (317) 334-4000 permanent by renowned used by Chihuly. They can create their www.childrensmuseum.org artist . Featuring over own colorful from plastic 3,200 stunning pieces of brilliant shapes that the originals and blown glass, the tower rises above a blow glass virtually or explore glass- glass ceiling and can be viewed from blowing on the computers. all sides.

A view of “Fireworks of Glass” at the Children’s Museum in Indianapolis. Detail of glass sculpture by Dale Chihuly.

Liberty Museum to Hold Glass Auction and Gala

On September 24, 2016, the Nation- people to find their own place in the al Liberty Museum will hold the 17th story of liberty. Visitors to the muse- annual Glass Auction and Gala, an un- um enjoy an inspiring and entertain- forgettable evening of stunning glass ing experience, as they interact with art and merriment in the Grand Ball- incredible stories of heroes and a col- room of the Marriott Downtown Phil- lection of contemporary art. Our core adelphia. There will be a Champagne themes for young people and adults cocktail reception, dinner, a live auc- include leadership and good character; tion, and silent auctions all evening. diversity and inclusion; peaceful con- Join them as they honor Dr. Arlene flict resolution; and civic engagement. Silvers, their 2016 Hero of Liberty, Our primary art form is , as it in recognition of Dr. Silvers’ lifetime makes the point that freedom is as of contributions to the contemporary fragile as glass. glass art movement and passionate Dale Chihuly’s Cobalt Blue Basket will be support of the National Liberty Muse- National Liberty Museum raffled off at the Liberty Museum’s Annual Glass Auction and Gala. um’s work with youth. 321 Chestnut St. Located in the heart of historic Phil- Philadelphia, PA 19106 adelphia, the National Liberty Museum (215) 925-2800 is dedicated to preserving America’s www.libertymuseum.org heritage of freedom by encouraging Glass Shards • Page 4

David Huchthausen: A Retrospective Selection

Museum of Glass will present the has inspired and motivated many of “Most people are completely mes- West Coast premiere of “David Huch- the young artists working in glass to- merized by Huchthausen’s work,” thausen: A Retrospective Selection” day.” notes Bonnie Wright, Curator of Edu- from July 23, 2016, to January 8, 2017. Huchthausen has played a vital role cation and Community Engagement. Over his four decades of work, David in the evolution of glass from to “One of our goals is to help explain to Huchthausen has made a significant fine art form. As a recipient of Ful- visitors the pioneering techniques that impact on the history of contemporary bright U.S. Student Grants, professor, are demonstrated in many of these glass, with much of his art utilizing the museum consultant, and artist, Huch- pieces.” slower, cold working glass processes thausen has been at the forefront of such as cutting and polishing rather contemporary glass. His work has Museum of Glass than the hot glass techniques more been exhibited in over 400 national 1801 Dock St. widely known in the Pacific North- and international exhibitions and is in- Tacoma, WA 98402 west. According to Susan Warner, cluded in more than 65 museum per- (253) 284-2130 Artistic Director at Museum of Glass. manent collections. www.museumofglass.org “This retrospective show will allow visitors to see the full breadth of Huchthausen’s enigmatic and myste- rious work—from his earliest mixed- media sculptures and landscape ves- sels to his trademark integral color Mirage by laminations and spheres designed to David Huchthausen. be enjoyed from all directions. While Huchthausen came to glass through blown techniques . . . he quickly be- gan composing and assembling sculp- tures that combine multiple layers of color and glass along with smooth and serrated edges, to create a myriad of light and color reflections that have been compared to the Post-Painterly Abstraction movement. . . . This legacy

The Good, The Bad and The Ugly: New Works by Andrew Miller

Andrew Miller is an artist whose value are reduced to cheap, second- practice investigates the function and hand trinkets. Andrew Miller changes non-function of objects. He is motivat- their status and perceived value again ed by a fascination with our relation- through his work. The exhibition is on ship to objects and how we encounter view through October 9, 2016. them. In his recent work Andrew Miller considers how discarded or National Glass Centre damaged objects are reappropriated (Part of the University of Sunderland) through human interventions to create Liberty Way new and inventive objects which func- Sunderland SR6 0GL tion under a different guise. A major UNITED KINGDOM element of the exhibition explores www.nationalglasscentre.com work originating from glass found in charity shops. These pieces may once have been the height of good taste or perhaps their emotional value to the original owner was important. Later Mute by Andrew Miller. Photograph in the life of the object perceptions of by Donald Nisbet. Glass Shards • Page 5 Glass Calendar (Confirmation of dates and schedules advised. More information is available on ourWeb page at www.glassclub.org)

Through September 6, 2016 **** THE CORNING MUSEUM OF Through September 18, 2016 GLASS SWEDISH AMERICAN MUSEUM Studio Faculty Presentations Crystal Art from Master Craftsmen at The Studio Mats Jonasson and Ludvig Löfgren One Museum Way 5211 N. Clark St. Corning, NY 14830 Chicago, IL 60640 (800) 732-6845 (773) 728-8111 www.cmog.org www.swedishamericanmuseum.org

The first glassworks in Målerås, Sweden, was founded in 1890. Now 125 years later, the same company Swamp Sparrow with Snowdrops and Mush- continues to produce handmade rooms by Rick Ayotte. Swedish crystal sculptures featuring wildlife, florals, Swedish icons, and nature, and his friendship with Paul more. This exhibit will feature works Stankard, allowed him to explore by two of the principal artists from glass as a creative means of expres- Målerås Glasbruk—owner Mats sion. This collection of 125 works Jonasson and designer Ludvig highlights a career that joins his pas- Löfgren. sion for nature with his artistic destiny.

**** Through September 25, 2016 SWEDISH GLASS MUSEUM Table, Set Thyself! Margareta Hennix: Ceramics and Glass Södra Järnvägsgatan 2 35234 Växjö Småland SWEDEN +46470-704200 www.kulturparkensmaland.se

For more than 50 years, Margaret Design drawing for Peacock, Ludvig Löfgren Hennix has worked as a potter, glass artist, and designer. In the summer of **** Untitled by Suellen Fowler. 2016, the museum will be holding a Through December 31, 2016 retrospective exhibition of her collec- Attend free, informal lectures by Stu- BERGSTROM-MAHLER tions of glass and ceramics. dio faculty, some of the best-known MUSEUM OF GLASS glassmakers in the world, including The Artistry of Rick Ayotte: Selections Suellen Fowler, Michael Schunke, from the Gordon Park Collection Mel Douglas, Emilio Santini, and 165 N. Park Ave. Denise Stillwaggon Leone. Please Neenah, WI 54956 visit the Web site for information on (920) 751.4658 the artists and lectures by the Studio www.bmmglass.com faculty. Rick Ayotte began his career as a scientific glassblower, but his love of Work by Margareta Hennix. Glass Shards • Page 6

Works by Charlotte Potter Showcased in Exhibition

Houston Center for Contemporary transparency of the glass exposes it. traditional elements of armor, such as Craft is pleased to present “Charlotte The layered swatches of skin abstract the chest plate, she overlays the phys- Potter: Glass Armory,” on view her form at close proximity and are ical characteristics of different people through September 3, 2016. This solo brought into focus from a distance. to create ambiguous bodily forms that exhibition investigates the physical This piece makes manifest the uni­ border on the uncanny. manifestation of identity through the versal desire to understand how it intersection of glass and the body’s feels to be in someone else’s skin, Houston Center largest organ and protective barrier, which is both inviting and haunting. for Contemporary Craft the skin. Using slides, In the new works created for this ex- 4848 Main St. along with lenses and window glass, hibit, Potter uses skin as a metaphor to Houston, TX 77002 Potter constructs a series of glass ar- discuss how one’s identity is affected (713) 529-4848 mor pieces that provide a frame into through relationships. Employing www.crafthouston.org the psyche, allowing the viewer to ex- plore how skin—with all of its blem- ishes, scars, and imperfections—is fundamental to one’s sense of self. The foundational piece in this series, Armor (2014), is a cascading Artist Charlotte Potter glass garment with photo decals of works on her piece Armor. every inch of the artist’s skin trans- ferred onto microscope slides. Like chainmail, glass pieces are linked by an underlying structure of sterling silver. This piece shrouds the body,

while the transposed nude form and

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