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Resource Guide Self-Portrait Cameos Reading Lists Self-Portrait Cameos READING LISTS This lesson is designed to introduce the concepts of proportion and (Grades K-12) self-portrait while working with a Resources from the new medium, glass. This lesson can Metropolitan Library System be completed in approximately two 45- minute sessions. Nonfiction Petersen, Christine. The Materials: Glassblower. 2012. J666.122/ Large clear floral gems with flat backs (1 per student) P4841g/TWEEN. A look back White drawing paper (9” x 12”) at the lifestyle, work, and tools Pencils of a glassblower in Colonial Erasers America. Xerox copier Scissors Fiction Colored pencils Briceland, V. The Glass Maker’s Mod Podge Daughter. 2009. YA SCIFI/BRI. Paintbrushes (for applying Mod Podge) Sixteen year-old Risa lives in the magical city of Cassaforte, Optional Materials: and wants to leave home Extra fine black Sharpie markers to study how to create Mirrors enchanted glass objects. Jewelry hooks/loops or wire Hot glue Geeslin, Campbell. Elena’s Cording/twine for hanging cameo or wearing as a necklace Serenade. 2004. EASY/GEE. Little Elena lives in Mexico and Process: sets out to prove she can be a First, students should be shown Charlotte Potter’s installation, Charlotte’s glass blower, even though she Web, in the special exhibition, FUSION [A New Century of Glass]. Potter is told that’s not what girls do. uses Facebook profile photos of her friends to create small cameos of each person. Cameos were popularized by Queen Victoria of England Pierce, Tamora. Shatterglass. and often feature profiles of women. They were often carved out of gems, 2003. J SCIFI/PIE. Part of the shells, and even lava. How do traditional cameos differ from Charlotte Circle Opens fantasy quartet, Potter’s? How are they the same? this volume focuses on a gifted glassmaker Keth, who has to For the first class session, decide if students will complete a full face view learn to control his magic. for the portraits or if a profile would be preferred. Begin the project by leading students through a self-portrait while incorporating the rules of proportion. For instance, eyes are exactly half-way down the face. Also, a full face view of the head is 5 eyes wide. Use drawing paper, pencils, erasers, and mirrors if available. It may be helpful to guide the students step-by-step through the process, especially when working with younger children. Only the head, neck, and shoulders should be included in the drawing. Once complete, trace entire drawing with Sharpie markers. After students have completed a full-size drawing, teachers will shrink RESOURCE GUIDE each drawing on a copier so that it will fit on the back of a floral gem. Drawings will be very small and should be cut into an oval shape about the size of the floral gem. When students arrive for the next class, use colored pencils to apply color to the background only. The figure will remain white like a traditional cam- eo. Place colored self-portrait on flat side of floral gem so that the face can be seen on the curved side of the gem. Then, apply Mod Podge with a paintbrush to the back of the self-portrait. Allow to dry. If desired, a small hook can be attached with hot glue to the top of the cameo. Hooks can be purchased from a jewelry store or made from a small piece of wire. Then, cording can be attached to the hooks and cameos worn as a necklace. FUSION [A New Century of Glass] Making Art with Glass FUSION [A New Century for Glass] demonstrates the dynamic Historically, the American studio craft movement followed European role of glass in the twenty-first century. The exhibition includes craft movements that focused on traditional craft materials and 20 contemporary artists working nationally and internationally processes such as wood, woodworking, furniture making; glass who have engaged the medium of glass as part of their artistic or glassblowing; clay or ceramics and textiles; and metal or practice. These artists have created works that embrace the metalworking. diversity and depth of the human experience. Their objects reflect a range of subject matter and style and are in dialogue In the United States in the 1930s, crafts flourished at the local level thanks to the Works Progress Administration, and American art with concerns of the present day. Artists embrace themes Judith Schaechter (American, b. 1961). An Invocation, 2009.Stained glass programs began to include craft programs more and more as part of mounted in a lightbox.Courtesy Claire Oliver Gallery, NY of social isolationism, paranoia, the passage of time, and the fine arts curriculum. also address the impact of technology on humanity and the environment, while exploring the dichotomy of utopian ideals and the realities of modern daily existence. The safety A New Era for Glass and sacredness of the home, family life, gender roles, and Karen LaMonte (American, b. 1967). Chado, 2011. Cast glass. Over the past half century, glass has gained new awareness as interpersonal relationships are also questioned. Artists offer a Courtesy of the artist and Imago Galleries. Photographer: Martin Polak. © Karen LaMonte 2010. a fine art medium. With the advent of the American Studio Glass new context for historical models and art forms, contrasting the Movement in 1962, glass became a more accessible form for inherent beauty and intrigue of glass with their introspective creative expression. Artists such as Harvey Littleton established and personal approaches to the medium. independent workshops and influenced the next generation of artists, including Dale Chihuly. What is Glass? In 2002, the Oklahoma City Museum of Art opened the doors to a new downtown facility with Dale Chihuly: An Inaugural Exhibition. Glass is a rigid material formed by heating a mixture of dry Organized by the Museum in celebration of its 10th anniversary materials to a viscous state, then cooling the ingredients downtown, FUSION [A New Century of Glass] acknowledges the fast enough before they can form into the perfect crystal important role of glass at the Museum and presents alternate arrangement of a solid. Being neither a liquid nor a solid, but perspectives by a new generation of artists. sharing the qualities of both, glass is its own state of matter. Kari Russell-Pool (American, b. 1967). Peacemaker, 2006. Flame-worked glass, plate glass, wood, and paint. Courtesy of the artist Glass began to be worked by humans in the Middle East Processes and Techniques in 4000 to 3000 BCE Glassblowing followed later in the 1st century BCE when introduced in the Roman Empire around Cameo glass – Glass of one color covered, usually by casing, with the Mediterranean Sea. During the Middle Ages and the one or more layers of contrasting color(s); outer layers are acid- etched, carved, cut or engraved to produce a design that stands Renaissance, innovative techniques developed including Beth Lipman (American, b. 1971). Bride, 2010. Mouth-blown glass and painted wood. Courtesy Claire Oliver Gallery, NY out from the background enameling, gilding, and filigree. Glass boomed in America in the 17th and 18th centuries, particularly in the settlement Etched glass – dipping glass with acid resistant pattern into acid in Jamestown, Virginia, which produced glass bottles, solution windowpanes, and beads. Fused glass – glass that has been fired in a kiln at a variety of During the 1950s, studio ceramics and other craft media in possible temperatures (slumping, fusing) the U.S. began to gain in popularity and importance. The Mark A. Reigelman II (American, b. 1983). Breaking the Bottle Installation, catalyst for the development of studio glass in the U.S. was 2011. Glass and mixed media. Courtesy of Heller Gallery, New York, NY Glassblowing – inflating molten glass into a bubble with the aid of a Harvey K. Littleton, a teaching ceramist at the University of blowpipe or tube Wisconsin-Madison. Littleton began experimenting with hot Glass casting – process in which glass objects are cast by directing glass in his studio in 1958. He then realized that his desire to molten glass into a mold where it solidifies develop studio glassblowing in American could become a reality after encountering the small, historic glasshouses of Italy Lampworking – glasswork that uses a gas fueled torch to melt rods and experiencing limited success with his own glassblowing and tubes of clear and colored glass (also known as flameworking or experiments. From the 1970s through the 1980s, the Studio Glass torchworking) Movement became an international phenomenon. Luke Jerram (British, b. 1974). E. coli, 2010. Glass. Courtesy of Heller Gallery, Stained glass – colored glass material or the artworks made from it New York, NY Walter Martin (American, b. 1953) and Paloma Muñoz (Spanish, b. 1965) Source: http://www.cmog.org/research/glass-dictionary Traveler CCLXVII (267), 2009. Glass, water, wood, and plastic. Courtesy of the artists and P•P•O•W Gallery, New York.
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