For the Creative Professional Working in Hot, Warm, and Cold Glass November/December 2015 $7.00 U.S. $8.00 Canada Volume 30 Number 6 www.GlassArtMagazine.com Pro Series THE ARTIST WHY RYAN LIKES THIS KILN Ryan Staub is a glass artist who has • Best one on the market. blown glass in 11 different coun- • Gathering port is just right, not so tries and territories, working with all small it’s hard to gather out of, not kinds of glass and glass equipment. so big it dumps all the heat when He currently owns and operates you gather. his own studio in his hometown of • Great for a small home or garage Seattle, Washington. His work can studio. be found in many collections world- • Good addition to a full sized glass- wide as well as online at: blowing studio as an affordable www.ryanstaub.com color pot. • Easy to ramp down slowly, minimiz- ing risk to your crucible. Find out more at • Small and easy to store when not in skutt.com use. • Easily programmable controller with indefinite hold. • Easy to install. • Low energy use, high efficiency. (Average cost is $15/day) staub Gas.indd 1 1/15/14 1:31 PM Letter from the Editor 4 Reaping the Benefits of Shared Learning by Shawn Waggoner Historical Perspectives Tina Oldknow November/December 2015 Volume 30,Number 6 6 A Curator’s Legacy by Shawn Waggoner GAS News 16 Gas Announces Its 2016 Awards by The Staff of Glass Art Society Glass Talk 18 Pilchuck: A Dance with Fire Airs on PBS by Shawn Waggoner Skills and Techniques 22 Making Cameo Paperweights Design, Fabrication, and Text by Thor Walker Educational Glass The Glass Workshop at ANU Canberra 26 Reciprocity of Ideas and Materials by Colleen Bryan RAGS News 30 RAGSfest 2015 by Stan Price Marketing Easy and Effective Ways to Participate 32 in Social Media Groups by Mark Veit Winning Glass 34 The Glass Craft & Bead Expo 2015 Gallery of Excellence Retailer Profile Janet Parkhurst 40 Business as a Creative Enterprise by Colleen Bryan SGAA News 44 Verdant Beauty, Espresso, and Warm Glass by Bryant J. Stanton Pioneers in Glass Joseph Porcelli 48 Perfecting the Art of the Leaded Glass Lamp by Shawn Waggoner AGG News 54 The AGG Celebrates Its 10th Anniversary by Patrice Schelkun 56 Readers’ Forum What’s New Featuring the latest in books and products Above: Vase sur fond degrade by Thor Walker. 58 for the glass enthusiast On the cover: Garland Lamp by Joe Porcelli. by Darlene Welch 62 Advertisers’ Index Like us on Facebook. Also pin us on Pinterest. www.GlassArtMagazine.com Glass Art TM • November/December 2015 • 3 Glass Art Letter from the Editor Volume 30, Number 6 Reaping the Benefits of Shared Learning Publisher ~ Maureen James Editor ~Shawn Waggoner On the cover of Glass Art’s final issue of 2015 is the Copy Editor ~ Darlene Welch work of Joseph Porcelli, who spent much of his mid Accounting ~ Rhonda Sewell career promoting, teaching, writing, and making videos about glass. “My generation of glass people put glass Circulation Manager ~ Kathy Gentry instruction on the map. We all shared the same sense Advertising ~ Maureen James of commitment. If we were going to teach people how Graphic Artists ~ Dave Burnett to do something, we were going to teach them the right Mark Waterbury way.” Porcelli’s career began humbly at a small Brook- Contributing Artists and Writers lyn studio where he learned to make stained glass lamp Colleen Bryan, Stan Price shades. Now his original works sell at prestigious auction houses for thousands of dollars. A center for glass related information, inspiration, and promotion, The Corning Museum Patrice Schelkun, Staff of Glass Art Society of Glass, Corning, New York, bids farewell to its curator Tina Oldknow. Having retired in Staff of The Corning Museum of Glass September 2015, the curator spent the last 15 years convincing the world to accept glass as Bryant J. Stanton, Mark Veit art, one exhibition at a time. On March 20, 2015, Oldknow’s dreams, plans, and hard work Shawn Waggoner, Thor Walker came together with the opening of Corning’s new Contemporary Art + Design Wing. This Darlene Welch latest expansion for the Museum is the largest space in the world devoted to the display Glass Art™ and creation of contemporary art and design in glass. This issue of Glass Art also reviews a new PBS documentary, Pilchuck: A Dance with ISSN 1068-2147 is published bimonthly Fire, which presents the history of Pilchuck Glass School in Stanwood, Washington, as told by Glass Patterns Quarterly, Inc. through the eyes of early glass pioneers. In addition, we will introduce our readers to the POSTMASTER: Send address Glass Workshop at the School of Art, Australian National University at Canberra (ANU), changes to Glass Art, which has earned international respect for graduating glass artists with an innovative bent, 8300 Hidden Valley Road, and Janet Parkhurst, owner of Stained Glass Express, to whom business opportunities offer P.O. Box 69, Westport, KY 40077 creative grist comparable to that of the right tools in the hands of an artisan. Glass Art continues its “Come Back to Glass” campaign with upcoming comprehensive Telephone: 800-719-0769 online courses taught by industry experts through our Glass Expert Webinar™ and Master 502-222-5631 Glass Artisan Lecture Series™ programs. New Webinars will include Kaleidoscope Pat- Facsimile: 502-222-4527 tern Bars with Susan McGarry and Vitrigraphs with Dennis Brady plus Elastic Glass™ Website: www.GlassArtMagazine.com and Images on Glass classes with Barry Kaiser. Two new year-end Lectures will feature E-mail: [email protected] Marketing Art a New Way with Scott Ouderkirk and Printing with Light with Narcissus Subscriptions: United States, Canada, Quagliata. There are also many “Back by Popular Demand” offerings with great instruc- tors including Joseph Porcelli, Corina Tettinger, Margot Clark and Dr. Jankauskas, Randy and Mexico (U.S. Funds): one year $30; Wardell, and Tanya Veit. two years $48; three years $60. Foreign A Saturday class for all new Webinars will soon be introduced, allowing those who have (U.S. Funds): one year $56, one year weekends off and overseas attendees to participate. Visit www.glassartmagazine.com and airmail $70. Single copy price (U.S.) $7. click the “Glass Expert Webinars™” link under “What’s New” for complete details and All subscriptions must be paid in dates on these and many more upcoming Lectures and Webinars. Check back often, since U.S. dollars with an international we add classes on a continual basis. money order or with a check Posting the latest glass related news and developments on Instagram and Facebook, drawn on a U.S. bank. Periodicals Postage Paid at Westport, KY 40077 Shawn Waggoner and additional mailing offices. Editor ©2015 Glass Patterns Quarterly, Inc. All items submitted to Glass Art become Kate Nixon, Bric-a Brac, the sole property of Glass Art and cannot glass mosaic, 2013. be reproduced without the written con- Photo by Stuart Hay. sent of the publisher. Advertisers and/or agencies assume all liabilities for printed Deadlines for Advertising advertisements in Glass Art. Opinions January/February 2016 March/April 2016 Glass Art expressed in may not necessar- Ad Closing October 20, 2015 Ad Closing December 20, 2015 ily reflect the opinion of the magazine, its Ad Materials November 30, 2015 Ad Materials January 30, 2016 management, or its advertisers. Issue Mails December 22, 2015 Issue Mails February 29, 2016 4 • Glass Art TM • November/December 2015 www.GlassArtMagazine.com www.GlassArtMagazine.com Glass Art TM • November/December 2015 • 5 Historical Perspectives A Curator’s Legacy ina�ina �ldknow�ldknow Tina Oldknow. Photo by Matt Wittmeyer for American Craft. Additional Photos Courtesy of The Corning Museum of Glass. by Shawn Waggoner t would seem Tina Oldknow, who retired in September 2015 as story of art in glass. I have been privileged to work with today’s senior curator of modern and contemporary glass at The Corning leading artists and collaborate on meaningful commissions for the IMuseum of Glass (CMOG), has enjoyed a front row seat as glass has museum. The recent completion of the new Contemporary Art + evolved from craft to art. But in truth, through her responsibilities Design Wing is an important milestone and one that I think is the to the Museum’s collections, Oldknow has played a key role in en- perfect note to exit on.” couraging this new definition of the medium. Retiring in September CMOG President and Executive Director, Karol Wight shared: 2015, the curator has spent the last 15 years convincing the world “Tina has transformed the displays and collections of the Museum, to accept glass as art, one exhibition at a time. curated numerous popular exhibitions, is known as a leading expert During her tenure, Oldknow curated numerous special exhibi- in the field, and is simply a marvelous colleague. Her magnificent tions at the Corning Museum. Some of the more notable were Czech recent installation of our new Contemporary Art + Design Galleries Glass: Design in an Age of Adversity 1945–1980 (2005), Curiosities is the exclamation point to her career here and a gift to all who love of Glassmaking (2007), and Making Ideas: Experiments in Design contemporary art in glass.” at GlassLab (2012). She also developed focus exhibitions on in- Prior to her time at CMOG, Oldknow held curatorial and ad- fluential studio glass artists including Harvey K. Littleton, Erwin visory positions at the Los Angeles County Museum of Art, the J. Eisch, Richard Marquis, and Toots Zynsky. Paul Getty Museum, the Santa Barbara Museum of Art, the Henry In 2005, Oldknow facilitated the donation of the Ben W.