For the Creative Professional Working in Hot, Warm, and Cold Glass

For the Creative Professional January/February 2014 Working in Hot, Warm, and Cold Glass

$7.00 U. S. $8.00 Canada

Volume 29 Number 1www.GlassArtMagazine.com One Fire Mountain Way, DEPT C066 Grants Pass, OR 97526-2373 1-800-355-2137

America’s Favorite Beading and Jewelry Supply Company® Request your Free 448 page catalog online You supply the creativity, we supply everything else!®

Showcasing the artwork of Jessie Stern, MD basicallybuttonsandbeads.com

Introducing the Mini Scarab Backed by Skutt We are not happy unless Balanced Stainless you are happy. Two full Steel Main Door time techs on staff, 5 days a Opens and closes to a week. tight seal with ease.

Mini Scarab - $2535.00 Optional Outboard Point Rest $65 Smooth Hinge Powder Coated Re-engineered hinge is smooth and precise. Durable and Environmentally friendly.

Balanced Wood The Ultimate Upgrade Door Handle New Secondary Point Rest Cool to the touch. smoothly moves up and down and in and out with ease. New scalloped profile.

Easy-Glide Point Rest Front and Back Handles Optional 4” rests Four sturdy nickel plated available for more handles are positioned for loading flexibility. ergonomic lifting.

Stays Cool Just Press Go! Vent holes keep electronics cool. Easy to use controller designed by Flame Working Artist Marcel Slide-out Chassis Braun specifically for Easy access to compo- Borosilicate Glass. nents. “You just press GO!”.

MODEL PHASE VOLTS AMPS WATTS TEMP CU. FT. HEIGHT WIDTH DEPTH SHIP WT. WIRE BREAKER RECEPTACLE

MINI SCARAB 1 240 16 3840 1700 1.4 16.25” 12” **12” *220 LBS 12 20 5-20

*WEIGHTS ARE ESTIMATES ONLY **ADD 2” TO INCLUDE STEP MEASUREMENT

for more information on Skutt Kilns or to find a local distributor, visit us at :www.skutt.com or call us directly at 503.774.6000 Letter from the Editor The New Year Fosters New Opportunities 6 by Shawn Waggoner January/February 2014 Volume 29, Number 1 Hot Glass Studio Profile Renee Wiggins 8 Taking Ownership of a Business through Strategic Use of Social Networking by Colleen Bryan

Working Greener Jackson County Green Energy Park 12 Transforming Waste to Fuel Glass by Colleen Bryan

International Glass Just Glass 16 A Showcase of Contemporary Kiln Formed Glass by Michael Barrett

Marketing Facebook Paid Advertising 18 by Mark Veit

Independent Artist Outside of Time 20 The Engraved Works of Alison Kinnaird by Shawn Waggoner

Pioneers in Glass Life, Death, and the Moments In Between 28 Ruth Brockmann’s Legacy by Shawn Waggoner

Skills and Techniques Dichroic Starfish Design 34 An Introduction to Using Dichroic Extract in a Fusing Environment by Kate MacLeod

Art Glass Studio Profile No Rules, No Limitations 40 The Etched and Stained Glass Art of Kathy Barnard by Shawn Waggoner 47 Readers’ Forum Architectural Glass Providing Glass for Frank Lloyd Wright’s Usonian House 48 by Shawn Waggoner

What’s New Featuring the latest in books and products for the glass enthusiast 54 by Darlene Welch

AGG News A Lesson from the Past 58 by Anthony Glander

SAMA News Enthusiastic Response to SAMA’s Mosaic Demonstration at SOFA Chicago 60 by Gwyn Kaitis

Advertisers’ Index 62 Above: Beads by Renee Wiggins On the cover: Crocodile Shaman by Ruth Brockmann

4 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com At Ed Hoy’s, we work with your business, not against it.

No retail sales

No online competition

Experience the difference

www.edhoy.com

Mark Abelgaard educate. lead. inspire.

COATINGS BY SANDBERG, INC.

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 5 Glass Art Letter from the Editor Volume 29, Number 1 Publisher ~ Maureen James The New Year Fosters New Opportunities Editor ~Shawn Waggoner This issue of Glass Art includes a special look into Copy Editor ~ Darlene Welch the lives and work of three artists who have made Accounting ~ Rhonda Sewell stunning contributions to the glass art world. Ruth Circulation Manager ~ Kathy Gentry Brockmann was one of the pioneers of kiln formed Advertising ~ Maureen James glass and the Bullseye fusing movement. A disciple of Boyce Lundstrom’s, Brockmann put fused glass on the Graphic Artists ~ Dave Burnett map with her groundbreaking masks and large public Mark Waterbury commissions. Copper wheel engraving artist, Alison Contributing Artists and Writers Kinnaird, combines thought-provoking content, modern imagery, and hi-tech lighting to Michael Barrett, Colleen Bryan tell her luminous stories about mankind and its struggles. Kathy Barnard creates deeply Tony Glander, Gwyn Kaitis carved and etched glass, stained glass pieces, and carved granite-and-tile murals for site- specific commissions. Kate MacLeod, Mark Veit All three were self taught, relying upon mentors and a shared pool of knowledge to Shawn Waggoner, Darlene Welch advance their art. All three achieved their aesthetic and technical goals through experi- Glass Art™ mentation and discovery, adding their own knowledge to the pool in the great circle of ISSN 1068-2147 is published bimonthly community sponsored learning. Barnard reflects: “I didn’t know the rules, but I also didn’t know the limitations.” by Glass Patterns Quarterly, Inc. The glass art industry is unique. Artists in this tight-knit community have been able to POSTMASTER: Send address advance and prosper due to the experimental nature of pioneers and visionaries who came changes to Glass Art, before. Their willingness to share information is the cornerstone of our success. In keeping 8300 Hidden Valley Road, with that tradition, Glass Art announces upcoming Glass Expert Webinars for 2014. These P.O. Box 69, Westport, KY 40077 live, two-hour interactive Web workshops with renowned glass artists require no traveling and provide the opportunity to expand your skills. Visit the Glass Expert Webinars™ link Telephone: 800-719-0769 under “What’s New” at www.glasspatterns.com for more details and local times. 502-222-5631 Glass Art magazine and its sister publications, Glass Patterns Quarterly and The Flow, Facsimile: 502-222-4527 are also proud to sponsor the Gallery of Excellence and the Demo Stage at the 2014 Glass Website: www.GlassArtMagazine.com Craft & Bead Expo, held March 26–30 at the South Point Hotel and Casino in Las Vegas, E-mail: [email protected] Nevada. Celebrating its 20th anniversary, the Expo offers 250 classes in hot, warm, and cold glass with nationally acclaimed instructors. The exhibit hall will be open to wholesale Subscriptions: United States, Canada, and retailer buyers and feature beautiful glass art and beads. We hope to see you there. and Mexico (U.S. Funds): one year $30; two years $48; three years $60. Foreign Wishing you a year of discovery, exploration, and ignoring limitations, (U.S. Funds): one year $56, one year airmail $70. Single copy price (U.S.) $7. Shawn Waggoner All subscriptions must be paid in Editor U.S. dollars, with an international money order or with a check drawn on a U.S. bank. Periodicals Postage Paid at Westport, KY 40077 and additional mailing offices. ©2013 Glass Patterns Quarterly, Inc. All items submitted to Glass Art become the sole property of Glass Art and cannot Detail of etched panel by Kathy Barnard. be reproduced without the written con- sent of the publisher. Advertisers and/or agencies assume all liabilities for printed advertisements in Glass Art. Opinions Deadlines for Advertising expressed in Glass Art may not necessar- March/April 2014 May/June 2014 ily reflect the opinion of the magazine, its Ad Closing January 20, 2014 Ad Closing March 20, 2014 management, or its advertisers. Ad Materials January 30, 2014 Ad Materials March 30, 2014 Issue Mails February 11, 2014 Issue Mails April 14, 2014

6 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 7 Hot Glass Studio Profile

Renee Wiggins Taking Ownership of a Business through Strategic Use of Social Networking by Colleen Bryan

henever Renee Wiggins isn’t spending time at the torch or shipping product, she is working at the computer on the WInternet. Most glass artists realize that they have to turn to social networking and the Internet to help them market their work these days, but Wiggins, of Tucson, Arizona, uses the medium to strategically advance her business goals with a savvy and sophistication that set her apart. Beyond simply throwing messages over the wall in hopes that they will keep her visible to prospective buyers, the lampworker leads us through a constellation of Internet tools and describes how each contributes to her overall business plan.

Marketing As Wiggins comes up with new designs or product, she advertises Renee Wiggins Belize. them on her Facebook page for Renee Wiggins Design. Intermittent postings deal with what is new, sale items, upcoming shows, and The artist is especially excited at the prospect of Etsy Whole- other promotional concerns. Wiggins makes good use of images and sale, which is now in beta testing and has the potential to provide adjectives in her Facebook posts, which feature richly photographed online visibility to wholesale buyers. Her business plan calls for her beadwork and jewelry. to diversify away from strictly original one-of-a-kind pieces and Wiggins maintains two Etsy stores on that virtual marketplace. move toward making more sets and collections. She would like to She first established JetAge Studio in 2008 to sell a small line of mur- distribute those products through wholesalers rather than acting as rine, and it blossomed to include frit and changeable jewelry supplies her own retailer. As Wiggins’ business plan makes these shifts in for other beadmakers and glass artists. When she perceived that her the next few years, the emergence of Etsy Wholesale could provide art was taking a back seat to the supply lines, Wiggins opened Renee ready access to wholesalers who now are reachable only through Wiggins Design. This store features handmade beads and jewelry— buyers’ markets and trade shows. primarily loose beads and completed jewelry pieces—and targets Wiggins has a background in digital arts and photography, so customers and jewelry designers who are looking for something she handles all the steps involved in posting her own work from completely unique. Each Etsy storekeeper enters the items into the photography to listing. Other artists might choose to be represented inventory, sets prices, handles shipping, and establishes the policies by an entity such as Artful Home, where they send a portfolio of for her store. Etsy charges a minimal listing fee of twenty cents per their work to a jury. If the entity decides to carry them as represented item and 3.5 percent of every sale. “There are lots of jewelers, fiber artists, the company photographs their work and represents them artists, paper artists, beadmakers, vintage art, and supplies on Etsy professionally. But that service comes for a fee. The right choice for today, and their target is evolving from small pieces to larger work, artists depends on their own particular mix of skills, interests, and even handmade furniture.” resources and how they choose to expend their energy.

8 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com Renee Wiggins Felt and Glass Necklaces.

Gauging Interest Wiggins uses the Pinterest website to gauge interests, track trends, and elicit immediate feedback on her work. Pintrest is a virtual corkboard where the user can “pin” things they like. Subscrib- ers follow what their friends like or follow the tastes of people they admire. Whenever someone in a network pins something, Pintrest triggers e-mail notifications. The site allows users to go through various boards dealing with everything from recipes to craft projects, products to movies, and inspirational quotes to inspirational scenery. Pintrest is highly visual, which makes it a good match for the graphic medium of glass. People on Pintrest love to post about what others are doing, making it easy to see the kinds of designs and color schemes that stir them. “As an artist, I can take responses from Pinterest and incorporate current feedback into my art.” This dramatically shortens the feedback loop that once spanned months as artists made the product, took it to market, got feedback from customer comments or sales figures, and brought that response back into the studio to inform another round of production. Pintrest draws a broader demographic to Wiggins’ work than she has seen before—predominantly female, selectively visual, and highly design focused, but also homemakers. People on Pintrest come from all walks of life throughout the United States. Etsy, by contrast, is worldwide and is more of a boutique marketplace than Pintrest. Etsy draws all manner of artists and buyers. “You can attract new followers who want to see something new and like your work on both venues. The critical thing is to keep your work fresh, since everything is happening in real time.” The sites have some capability to trigger linked communication. “Every time I list something new on Etsy, an application there lets me click and post the image on both Facebook and my Pintrest corkboard. The Pintrest site opens to an upfront aggregated list of all new postings since the subscriber last visited. This creates the potential for my work to be seen by people who are just browsing Renee Wiggins what’s new and are drawn to my corkboard.” Inochi 2. Etsy allows the artist to see how many people come to her door through the storefront at Etsy. “Its limitation, like Facebook, is that updates are sent only to one’s friends, whereas Pintrest extends to people who have never found me before.”

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 9 Learning Wiggins depends on time-consuming online research but believes that taking time to make educated decisions supports her success as an artist. “I’ve made a few mistakes buy- ing products that I hadn’t thoroughly researched and that didn’t work well in my beads. There is always tension. You want to make money but you don’t always have the answers from your experience. An apprentice would get a master’s help along the way, but online research may not provide that. Giving yourself time to do the research is more likely to result in an accurate decision.” One strategy Wiggins uses is participating in online forums that engage other artists in creative dialogue. “I belong to Lampwork Etc., which has been around since early 2000. It provides a springboard for artists to talk to each other and share their work. That’s an essential part of learning. Prior to the Internet, artists would gather in artist colonies. Now that has been replaced by online groups and bulletin board threads.” The structure of such sites is straightforward. People log in, select and read various threads of conversation, and participate if they choose. Usually these sites have administrators who monitor the conversations. “I started out on another forum that didn’t quite suit me. I wasn’t getting the right kind of help. I did some shopping and quickly located Lampwork Etc. because it is such a large forum. I also check into a bead-and-button jewelry blog. The task is to figure out where you appreciate other people’s art, what they are saying, and how they express themselves. It takes some time but is well worth the investment.”

10 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com Strategic Choices When artists show their art on the Internet, there is the potential for someone to try to replicate it. The adage is that you can’t police the In- ternet. In the bead industry, much of the product coming from China or India is getting more sophisticated, presenting a frustrating challenge to artisans. Wiggins advises being educated about what artists can do to protect their work and prevent others from representing that work as their own. That includes steps such as making work that is very original so it is not prone to duplication, having a personal watermark and a copyright on your imagery, and being vigilant in monitoring your artwork. “The more original a bead, the better chance I have to make a sale. That is what my customers are looking for.” As independent glass artists move into an increasingly Web-reliant future, Wiggins sees an urgency to learn about and strategically assemble social networks to replace traditional venues for creative collaboration, market analysis, marketing, and distribution. And social networking is no longer about taking a dive into one medium—Facebook or EBay or Grou- pon. Rather, it requires gauging one’s market and designing a business plan that leverages multiple sites for different purposes. It also requires Wiggins to evolve with technologies to meet changing demands if she hopes to reach larger audiences. “In a year, I will have to re-evaluate where I am with Internet sales. I try to remind myself of my goals every day and to think about what I am missing now that could help me do better next month.” There are many good resources to help artists gain skills with Internet business tools. “I worked with online business coaches specifically targeted to artists. I read the blog of an independent retailer for the artists she represents. The IRS website also has a wonderful section about small businesses. Doing the research to find the information that works for you is important. Even now, I devote a couple of hours a day to researching and keeping up on current events. “Independent businesses need to develop competence in working with social media in an era when you can’t rely on people coming into your store or gallery. People must take ownership of their own businesses and devise a strategy for how to market themselves and distribute their work when the sidewalks exist in virtual reality.”

Look for Subscriber Benefits coming to Subscribers Only via links in upcoming e-mails from Glass Art. This Bonus Content will include more information about Renee Wiggins’ torchwork and her ambitions for the hot glass industry.

Renee Wiggins Design www.reneewigginsdesign.com www.jetagestudio.com

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 11 Working Greener

Jackson County Green Energy Park Transforming Waste to Fuel Glass

Photos Courtesy of Jackson County Green Energy Park by Colleen Bryan

lassworkers everywhere face the challenges of life inside a carbon-intensive industry. Particularly troublesome is the Gsteady escalation of utility and supply costs, which few glassworkers have found good ways to mitigate. “Half of glass shops in the country have shut down in the last ten years, because they can’t afford the energy expense,” says Timm Muth, an energy engineer in North Carolina. Muth is not a glass man, but he directs a glass studio operation that offers some exciting possibilities across the broader glass industry. His approach views all manner of waste as inherent energy and creative potential. It shifts paradigms from many individual owners toward shared studios, kilns, and equipment as people work across disciplines in a creative community enterprise. Tall vase by Judy McManus.

A Hot Shop within an Energy Park Muth enlisted Tracy Kirchman, a student and glass artist from Since 2005, Muth has been the director and the mind behind nearby Western Carolina University in 2007 to design the studio the Jackson County Green Energy Park (JCGEP) in western North space and procure equipment. “Our budget wouldn’t accommodate Carolina. Its glass shop is one of only three hot shops in the country purchasing outright all the equipment we needed. A gentleman up the fueled by methane, otherwise known as landfill gas (LFG). Other road was retiring from glassblowing, and we bought out his entire heritage arts studios in the park are dedicated to energy-concentrated studio.” The purchase included a Stadelman electric furnace plus crafts: blacksmithing and metalworking, greenhouses, ceramics, both hot glass and cold working equipment. “Our hot shop alone and pottery. would cost $175,000 to $200,000 to replicate,” Muth estimates. Amidst the general contraction of the glass industry, Stadelman’s went out of business. The furnace works fine, but Muth reports difficulty finding other suppliers when he needs to replace heating elements or a ceramic crown. “Thankfully, glassblowers tend to be a handy bunch. Lots of times when we wanted another piece of equipment, we just build it. Two years ago the artists wanted to replace their glory holes and the previous hydraulic doors, which prevented the artists from closing them quickly to keep the heat in. A pickup truck with two artists and two glory holes appeared on site, and Muth traded the new equipment and installation for shop time. “Lots of artists have time and ability but not so much money. We do a lot of trades that work out well for everyone involved.” As a county run, community-based project, JCGEP encourages artisans and others in the community to help in any way they can. Muth is especially delighted when the community buys into the park’s culture of materials reuse. “Someone showed up with a long, framed stained glass panel from a restaurant to decorate our cold glass studio. People bring us glass to use in mosaic tile work with kids. Reverse axis pieces by Tadashi Torii. Our metal artists sculpted garden animals from stainless steel sinks for our sculpture garden. People enjoy seeing materials reused and being able to contribute to a project.”

12 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com Aaron Shufelt demonstrating to kids at one of the festivals. The Business Proposition The basic business proposition at the JCGEP glass shop is to leverage no-cost LFG and shared resources to rent studio space Aaron Shufelt sea cucumber. to artisans more cheaply than they could otherwise afford. Muth notes: “I have spoken to glassblowers who spend $1,000 to $2,000 a month on propane. We set our rental fees at just what we need to Not all of the glassworkers are local, however. “One Seattle, charge to recoup our investment over five years. That comes to a Washington, gentleman is coming in for the third time to blow glass. flat fee of $32 an hour, and if an artist commits to renting a block of He exhibits annually at a show in Atlanta, Georgia, and calculated time, we lower the fee to $25 an hour.” The fee covers 24 hours in that the cost to create his work and ship it from Seattle to Atlanta the annealer and the use of any of the studio’s tools and equipment. was prohibitive. Now he flies to JCGEP to make his pieces and Artists bring their own colored glass to keep studio costs down. drives them to the show.” Less breakage, less cost, and a collegial JCGEP offers beginning glassmakers a place to practice their work environment. Word spreads. craft at a reasonable cost while they build skills. This is a welcome The JCGEP glass studio appeals to many people who are sup- prospect in an industry where emerging artists are pressured to be portive of green technology, Muth says. “My artists set great prices immediately saleable so they can afford to pay for costly energy for their work, which they can do given the low cost of fuel, but and materials. “We rent our shop to anyone who can use the equip- their work sells more easily and customers will pay a premium for ment without hurting themselves.” The studio draws local college it, because it is made using renewable energy.” Tellingly, through students and interns from farther afield who come to spend a few the recent economic trough, which hit North Carolina hard, most months learning the craft. Many move on to settle in Asheville, North JCGEP artists continued to produce and maintain their sales. Carolina, an hour away. To date, Muth knows of six apprentices who learned or developed their skills at JCGEP and are now working as Technical Challenges and Advantages full-time glass artists. Muth found relatively few technical issues associated with us- Current resident artists at the JCGEP glass studio include Ta- ing LFG rather than natural gas or propane to fuel the glass shop. dashi Torii, a Japanese-born glassmaker who has spent the past 20 Natural gas has 1000 British Thermal Units (BTUs) compared to years generating a body of work, multimedia artist Aaron Shufelt, LFG’s 650. Landfill gas produces less energy per unit but costs glassblower Judy McManus, and glass intern Carla Cammasso. The nothing to generate. Shops use the same equipment and burner artists and interns who use the glass shop run an active trade pro- heads with either energy source. Muth heard some speculation that gram. Muth credits them two-for-one value in shop time when they contaminants in the LFG might affect the quality or color of the tour visitors, put on glass demonstrations, or take on the plethora of glass, but that did not materialize. other jobs involved in running the facility. “Artists appreciate being Intermittent power surges do occur. “LFG is an active system, able to earn time in the shop without cash having to change hands. I and a power outage or surge in the power lines can bring the whole do it out of necessity, since I can’t keep up with everything myself. system down. Every few days, a voltage spike shuts down the “Artists train me. I train interns to recast the door on the glory blower. I reset it, and we are back up in 10 minutes.” As the park hole, tear down the blower, or grease a motor and cell housing. Trade upgrades its control panel next spring, Muth plans to find ways to provides a nice opportunity to share information among ourselves. filter out the surges. They do their best work because they and their friends are going JCGEP’s glass studio realizes an unexpected efficiency advan- to use the finished product, and we end up with solid equipment tage for the artists. “Glory holes use lots of gas, and many glass that we built ourselves and can be proud of. It makes us a tight-knit shops lower the temperature in an effort to curb gas bills. We run group and builds shared ownership in the park.” Muth also makes our glory holes scorching hot all the time. Our artists report that every effort to buy materials and services locally rather than shop- it takes them half the time to work their glass here compared to a ping cheap remote suppliers. conventionally powered glass studio.”

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 13 CLEAR RODS

“No scum, not “shocky”, and clear, clear, clear! Uroboros 104 doesn’t need elaborate washing and skimming - it saves me time and nothing is wasted. Thank you Uroboros!” —Laura Maddams

Richard and Jan Ritter making a murrine apple. Photo courtesy of Ashley Stevens. Even Great Ideas Need Marketing Between revamping buildings, fabricating equipment, managing artists, and engineering energy recovery, Muth finds plenty of work to hold his interest and stay busy. Much of his work is outside his area of expertise. Interns and long-term steady volunteers help with off-hours coverage of the studios; maintenance and improvement of the facility, equipment, and gardens; and staffing biannual festivals. One area where Muth acknowledges needing more emphasis and expertise is marketing and advertising. The park often advertises in glass, pottery, and blacksmithing magazines, and one of its interns attends the Glass Art Society conference. “The glass community is pretty small, so we rely predominantly on word of mouth. But if we have a weak point across our projects, it is marketing and advertising.” That includes marketing the park to successive waves of new county commissioners. As they take office, it is common to base decisions on what they’ve heard from constituents, who themselves have never visited JCGEP. “Welcoming visitors, educating them about our facility and programs, and inviting them into classes and events to make something beautiful all are important to marketing and maintaining support for our program.” A recent budget request proposes a full-time manager with expertise in marketing and managing galleries and artists so that Muth can focus on the technical aspects of the operation. In the meantime, much of the marketing concentrates on two annual events. For six years running, a Youth Arts Festival that is run by 50 volunteers has taken place in late September. Muth boasts that the youth festival is the opposite of most street fairs he has seen. “When I first moved to town with my mountain biking business, I noticed that the

Mary Van Cline , 5’ wide, frit castings street fair had little to offer people without money to spend. Jackson County is a Tier One county, a Department of Commerce designation for the most economically distressed coun- ties in the nation. Money is not available to a lot of people. Creating an experience where they can spend the day, enjoy themselves, and learn something without spending money is Find URO104 Clear Rod, Sheet, and Noodles something I can give back to my community.” The youth festival pays artists a $50 honorarium and requires them to demonstrate online or at your dealer their craft, preferably doing something hands on with the kids. Activities range from mak- UROBOROS® GLASS ing pots, chalk art, and egg-carton bugs to creating recycled planters and greeting cards 503-284-4900 plus stamping, printing, and basket weaving. Huge rainwater collection tanks that supply the greenhouses are decorated by the handprints of local children. In the hot shop, artists demonstrate making glass ornaments. This year, an intern staged a glass mosaic activity for the first time. The fair has grown from 200 attendees in the first year to 35 artists and 1,500 attendees last year. Muth is clearly moved recounting a vignette from a past festival. “A lady with four little children came up to me at the end of the day and said, ‘I’ve been here for five hours with my kids. It only cost me $10 for a round of hot dogs. There is no other place I can take my uroboros.com kids without money. This has been a great day.’” The park is also on the tour schedule for several local school groups.

14 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com Every color tells a story.

When looking to work with a glass company to accomplish challenging commissions, I found Uroboros. My art has never been the same… Uroboros, you’re the best! - Mary Van Cline

Carla Cammasso carafe set.

At Christmastime, artists set up their wares for sale in the gallery, and the park foregoes its commission. North Carolina can have nice weather even in December, so Muth’s crew brings in food and invites the local arts community to hang out making connections. Last year the studio hosted four gallery shows and a kiln opening. The gallery hosted three major visiting glass artists. Fritz Dreisbach, widely recognized as an original pioneer of the Studio Glass movement, and his contemporary Richard Ritter conducted a show and lecture plus a two-day demonstration workshop at JCGEP in conjunction with their lectures at Western Carolina University. “It doesn’t hurt to have world-class artists coming to us here in the middle of Appalachia.” Muth is eager to share what he learns from his groundwork in converting biomass to fuel for community arts projects. He invites requests for consultation from people seeking to develop similar projects. Information is all in the public sphere and available for the asking. “The important thing to remember is that the challenge is not about how to capture and repurpose LFG, but figuring out alternative ways to meet the energy needs of a particular community. Whether the local resource is wood chips, scraps from a paper mill, or pig poop, there are lots of organic materials that are generally considered waste that can be turned into an energy source. And that energy can fuel creative projects that otherwise would be unaffordable.”

Look for Subscriber Benefitscoming to Subscribers Only via links in upcoming e-mails from Glass Art. This Bonus Content gives background information about how Jackson Mary Van Cline , 5’ wide, frit castings County, North Carolina, came to develop its energy park with a hot glass studio, the trans- formation they have been able to effect, and their plans for the future. Make your next story a memorable one

Timm Muth, Director with Fusion FX® 90 or System 96®, Jackson County Green Energy Park available now from suppliers worldwide. Physical Address 100 Green Energy Park Road UROBOROS® GLASS Dillsboro, North Carolina 503-284-4900 Mailing Address 401 Grindstaff Cove Road Sylva, North Carolina 28779 (828) 631‑0271 [email protected] www.jcgep.org s © Copyright 2013 by Glass Art. uroboros.com system96.com All rights reserved.

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 15 International Glass Just Glass AA ShowcaseShowcase ofof ContemporaryContemporary KilnKiln FormedFormed GlassGlass

by Michael Barrett

n astounding variety of glasswork will fill PM Gallery & House as it opens its first show devoted to the art of contemporary Aglassmaking. Just Glass, on view January 24–March 8, 2014, features a new collection of abstract sculpture, wall hangings, functional vessels, and chandeliers by world-renowned artists. PM Gallery & House in Ealing, West London, England, is the extension to one of Sir John Soane’s great architectural treasures, Pitzhanger Manor, designed by Soane as a place to entertain his friends and display his collection of art and antiquities. Just Glass will highlight the beauty that can be achieved with kiln formed glass. The exhibition will feature established and emerging glass artists belonging to the Just Glass collective, including five nominees for the prestigious international Coburg Prize for Contemporary Glass 2014. They include Tracy Nicholls, Sabrina Cant, Deborah Timperley, Alison Allum, and Matt Durran, who will create a new version of his Theatre of Glass 10 years after his original Jerwood Award–winning installation. Exhibiting artists will also include two winners of the British Glass Biennale, Max Jacquard and Nicholls. Featuring new work inspired by Soane’s Pitzhanger Manor and his groundbreaking use of architectural glass, the show will also spotlight the best work of Just Glass artists from the last 10 years.

Jackie Kingsley, The Space We Occupy (detail). Photo by Simon Bruntnell.

Deborah Timperley, Dialogue at the Threshold “Contained Dialogue,” 2012. Photo by Ric Jackson.

16 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com The Just Glass Society The Just Glass Society was formed in 2003 to provide Richmond School of Art’s glass studio with a vehicle for exhibiting and promoting glass art. The first exhibition was mounted in Kew in 2003, followed in 2005 by the highly acclaimed exhibition entitled Trail of Glass, which covered six different venues across Richmond, Kew, and Twickenham. In 2008, Shift took place at the prestigious London Glass Art Gallery in Southwark. More recently, to celebrate the society’s 10th Anniversary, a selected exhibition of members’ work was shown during June and July 2013 at The Stables Gallery, Orleans House, Twickenham, one of the group’s most successful recent shows. The society boasts more than 50 members, all either tutors or current and former students of the glass department at Richmond School of Art, London. The Just Glass Society is also renowned for its now well-established biennial seminars, held in central London, at which leading international glass artists share their knowledge with other glass artists and collectors of studio glass. The next seminar, Mixing the Media: Glass Plus . . ., will be held on Saturday, October 25, 2014, at The Conway Hall, Holborn.

Alison Allum, Sectioned, 2012. Photo by Bernard Allum.

The Seductiveness of Warm Glass Just Glass will include a special display explaining kiln formed glass techniques that cover processes such as casting, fusing, and slumping glass in a kiln. It will illustrate cold-working methods used to create the finished pieces, such as grinding and polishing, gilding, etching, and engraving. Exhibiting artist Julie Light says: “Studio glassmaking has achieved the status of a serious art form. It has been over half a century since glassmaking was revolutionized, taken out of the factory and into small studios. Since then, it has spread across Europe, the USA, Australia, New Zealand, China, and Japan. Never before have so many people been captivated by this seductive material, both as creators and as collectors.”

Visitor Information Just Glass at PM Gallery & House Walpole Park, Mattock Lane, Ealing, London W5 5EQ Admission is free to all visitors. Hours: Tuesday–Friday 1–5 p.m., Saturday 11a.m.–5 p.m. Closed on Sundays & Mondays Su Herbert, Scent of the Jungle, 2010. www.ealing.gov.uk/pmgalleryandhouse Photo by Jonathan Warren. © Copyright 2013 by Glass Art. All rights reserved.

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 17 Marketing Facebook Paid Advertising

by Mark Veit

n past articles, I have written about the importance of building a strong social media base on sites Isuch as Facebook, Twitter, Pinterest, blogs, and others. I have emphasized the importance of not adding or “friending” people for the sole purpose of just adding followers, but rather to research the person or business and make sure they fall within your target market. The old adage “quality versus quantity” applies in this situ- ation, and I will show you how building a targeted audience on your Facebook business page will pay off with Facebook paid advertis- Building a Contact Database ing. Let me share my experience as well as the experiences of other Paid Facebook advertising can also be used to build an e-mail small businesses who have employed this advertising technique. list. It is not uncommon for a company to offer a discount or free product in exchange for an e-mail address. We all know how impor- Targeted Advertising Payoffs tant an e-mail database is, and using Facebook can be an affordable When Facebook started allowing paid advertising, I was a bit way to build that database in a short amount of time. Remember, skeptical. I didn’t want my Facebook page to be smothered with the most successful posts and e-mail campaigns are those that of- tons of advertisements, and I wasn’t sure if it was worth it for me fer something of value to the consumer. If you are willing to share to pay for advertising on a site that has always been free for my knowledge or a discount or a new product with your targeted group, purposes. Sitting back and studying the way small businesses they will be more likely to see what you have to offer and read were using this advertising option led me to think of ways to more about your business. incorporate it with my own advertising. The first thing that stood This is also a great platform to get the word out about a out to me was the fact that this type of marketing is able to hit contest you are running. There are several different ways to a targeted market very easily at an affordable cost. In fact, construct a contest, but you can simply offer a piece of your advertisers decide exactly how much they want to spend fused glass art to a random winner among a group of people per ad, starting at five dollars. Not only am I able to hit a willing to share your Facebook page with their friends. targeted market of customers; I am also able to offer them The goal here is to have your targeted social media a targeted product, class, or video, which is more likely base work for you. When they share your page with to catch their attention. all of their friends and some of those friends share I began putting a few ads together announcing new with their friends, the number of people who will products and classes that we had to offer, determined see your work will multiply, and you won’t have to how much I wanted to spend per ad, and kept track do any of the work. You will continue to build on that of the response. To my delight, the response from strong foundation, and those contacts will continue to these targeted ads was more than expected. I knew the work for you. audience I was reaching was engaged, because I was I have read many thoughts that Facebook advertis- fielding comments and messages with specific questions ing is very affordable now and will most likely increase associated with the posts I was promoting. Once a poten- in cost in the years to come. While I can see this hap- tial customer contacted us, the Facebook ad had done its pening, I realize that I don’t have any control over this. job, and it was up to me to explain our products and services Therefore, I will learn as much about the process while I to this new customer. When you know people are interested in can at these prices so I can be fully aware of how best to use what you have to offer, it is easier to speak with them and get them this avenue should Facebook advertising costs rise in the future. excited about your product. I would suggest giving Facebook paid advertising a try, but be Each Facebook ad can be customized with regard to price per sure to start small. By doing this, you will see which angle works day, duration, targeted audience, and more. At first I started by best for you and can access and adapt based on those results. Then spending small on several ads. I found that some worked better than invest in those ads that work best for you and grow from there. You others, so I invested more in the ones that worked and scrapped the will engage those readers who already follow you as well as develop ones that didn’t. There is no long-term commitment. You can start a larger following of targeted readers. Without a long-term commit- and end an ad any time you want. This flexibility really appealed ment, the financial risk is minimized, and you have total control of to me and allowed me to grow my audience. the message you want to send. Good luck to all.

18 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com Mark Veit currently owns and operates www.aaeglass,com along with partners Tanya and John Veit. They create enamel waterslide decals for glass artists and sell them on their website along with unique silver settings for glass. They also wholesale their fused glass jewelry to galleries and boutiques. Constantly attending workshops, seminars, and classes with master artisans helps Veit and his partners evolve their work and makes it possible for them to offer glass and jewelry artists a unique medium to maximize their sales. Visit www.aaeglass.com or e-mail [email protected] for more information.

Jewelry by Dolly Libby www.heartsongmemorybeads.com

Photography by Janis Foley

GLASS Visit our NEW website, www.aaeglass.com. FREE Videos, Marketing Tips, Project Pictures & Tutorials Your one-stop shop for glass fusing supplies! Order online, by phone, or stop in at our shop. CLASSES & WORKSHOPS • 7,000-Square-Foot Teaching Facility & Bullseye Glass Warehouse • 25% Off All Bullseye Products, All Day, Every Day DVDs • Retail Store with Unique Fused Glass & Hot Glass Supplies • Bullseye Kiln Glass Resource Center • Classes, Workshops & Visiting Guest Instructors • Distributors of Bullseye Glass, CBS Dichroic, Olympic Kilns, Covington & More • Free Open Studio SETTINGS DECALS Now Accepting Wholesale Accounts

AAE Glass Art Studio 1228 Lafayette St. Cape Coral, Florida 33904 239-471-7724 For a list of current classes & workshops, visit www.aaeglass.com.

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 19 Independent Artist Outside of Time The Engraved Works of Alison Kinnaird

Alison Kinnaird by Shawn Waggoner

hough copper wheel engraving has remained Alison Kinnaird, Maze (detail), 2007. basically unchanged for 2000 years, it is a Photo by Robin Morton. Ttechnique mastered by few. It requires a special personality as well as patience, attention to detail, and aptitude for “The harp and glass are both very beautiful things to work with fine handwork. Alison Kinnaird combines all of these characteristics and can easily be pretty. The challenge is to do work in both areas with thought-provoking content, modern imagery, and high-tech that is strong and meaningful.” lighting to tell her luminous stories about mankind and its struggle through the journey of life. Background and History “Wheel engraved images have a gem-like precision and delicacy, It seems a blessing in disguise that Kinnaird was not accepted and a subtlety of modeling that is impossible to achieve with any to Edinburgh College of Art, because it indirectly caused other vital other technique. It is superlative for detailing the play of muscle doors to open. Instead she studied archaeology and Celtic studies at and the velvet sheen of skin of the human figure, the main subject Edinburgh University from 1968 to 1971. While at the university, of my work.” she went on holiday and visited the town of Forres, a small town in Kinnaird has an international reputation as a visual artist and northern Scotland. There she read an article in the local newspaper musician. One of the world’s leading engravers, with work in public, about a glass engraver named Harold Gordon and decided to visit royal, and private collections throughout Europe, America, and the his studio. “I was very impressed with the work he was doing.” Far East, her glass ranges from small, intimate pieces to architectural Gordon saw some of Kinnaird’s drawings and invited her to work installations that incorporate light and color. A recipient of many with him during the summer of 1969. In her drawing she worked awards and winner of many competitions, her contribution was rec- small, precisely, and delicately, and the art of glass engraving suited ognized in 1997, when she was presented with the Most Excellent the way she thought about and saw her artwork. “Wheel engraving Order of the British Empire (MBE) award for services to art and has a very special character compared to some of the other forms music. Her piece Icarus traveled to SOFA Chicago in 2013 with of engraving. It’s used to create forms within the glass itself, almost Craft Scotland, where it was on view November 1–4. like sculpture within the glass. I just got hooked on it.” One of the foremost exponents of Scottish harp music, Kinnaird Still finishing her degree at the university, Kinnaird would call plays both gut- and wire-strung Scottish harps. She was the first into the Edinburgh College of Art and use its equipment on an infor- player to make a recording of Scottish harp music and co-wrote, mal and occasional basis. Eventually she bought a wheel engraving with Keith Sanger, A History of the Harp in Scotland. She records lathe for herself and set up shop in a shed in her parents’ back garden. with producer and husband Robin Morton at their home studio and “You start off doing a wedding present for someone, and another is much in demand at home and abroad as a performer, lecturer, and person sees it and commissions something for a birthday.” Word teacher in both music and glass engraving. spread and she found there was actually work for a glass engraver.

20 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com “Alison Kinnaird’s imagery is simply outside of time and alludes to a world long gone. And yet it embraces questions about identity and relationships, about naked truth and social pretense. Her figures relate to the human condition as we think of it today.” Dan Klein, Artists in Glass

Alison Kinnaird, Maze, 15.75" x 4' 3" (40 cm x 130 cm), 2007. Photo by Robin Morton.

Commissions inspired personal work and vice versa. Her first Wheel engraving is an ancient technique that hasn’t changed from exhibition was held in 1975 at her former studio in Edinburgh five Roman times. Kinnaird uses a small lathe that turns spindles with cop- years after she began engraving. Kinnaird completed her first major per wheels on the end that measure anywhere from 4 inches down to the commission in 1971 for American tapestry agent, Gloria Ross, size of a pinhead. Each wheel has a different profile or edge and makes sister of Helen Frankenthaler, for a client who had just renovated a different cut. She applies Carborundum powder mixed with oil and a castle and wanted an image of it engraved on a decanter. The paraffin to the wheel as it’s turning. The glass is held underneath and piece was made for the grand opening, at which Kinnaird also brought up to meet the wheel. The engraver must learn how to blend played the harp. the different cuts together in order to achieve the desired imagery. The deeper the cut, the more the imagery stands out from the glass. Studio, Tools, and Process For 25 years, Kinnaird worked with copper wheels exclusively. Kinnaird and husband Morton live and work in a converted She discovered diamond wheels around 2000 and now uses those for church, a beautiful early Victorian Gothic located right outside of roughing out and for larger scale engraving. Though diamond wheels Edinburgh. Morton runs his studio, recording all of his wife’s harp can cope with harder glass, she always finishes her work with copper music in addition to other musical projects, and Kinnaird engraves wheels and Carborundum powder, because “there’s no comparison her glass. The recording studio takes up most of the church, and with the subtlety of the surface and the modeling that can be achieved the engraving studio is located on a landing at the top of the stairs. with this process.” “Wheel engraving doesn’t take up much room. All I need is a Kinnaird gets her glass from a variety of sources in Japan, China, 6-foot by 6-foot space. People joke about it here, asking, ‘Do you and Eastern Europe. She has had pieces cut for her by distinguished still work on the landing?’” As she engraves, Kinnaird looks out U.S. glass artists such as Kreg Kallenberger and Steve Weinberg. In at the beautiful countryside through a huge Gothic window that Scotland, she often has glass blown for her by David Kaplan of Lindean lets in the perfect light. Mill Glass, including cased and double cased pieces.

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 21 “It depends on the piece, but the softer the glass, the better. Lead crystal is ideal.” Even Steuben invited her to work with its glass. This was the first time the company sent glass outside of the United States for a foreign engraver to work on. In a small gatehouse on the grounds, Kinnaird also has a sandblasting studio. “Sandblast- State of the ART ing on the whole produces quite a flat effect. You’re basically stenciling. Peopledo use it to carve glass deeply, but I use it for shading only, because I do my modeling with the wheel. Dichroic Glass I like to combine both techniques, especially in my lit pieces, because the sandblasting produces a very gentle shading that you can’t get with the wheel. This combination technique I have developed means that I can use looser, more impressionistic effects.”

LED Lighting and Engraved Glass Kinnaird is always interested in trying new techniques. “Combining techniques can open some great doors for you as an artist. Modern processes allow for many results that were not possible before. But I also love the fact that I have reached a point now where technique does not dictate where the work will go or how I can express myself.” Psalmsong, her first glass installation work to showcase her use of light and color, was made possible by a Creative Scotland Award from the Scottish Arts Council in 2002. It took a year to complete and utilizes engraved crystal panels with dichroic color and optical fiber lighting, digital photography, printed textiles, and music. “I learned so much from this project. I discovered that I could combine lights and use them to enhance my engraving. I could layer the color, which afforded many possibilities I hadn’t come across before.” The panel, which measured 3 meters long, was exhibited for a year at the Victoria & Albert Museum in London, then purchased by Scottish Parliament. We have what The glasswork was based around a piece of music of the same name, composed and you need in 90, 96, performed by Kinnaird on the Scottish harp, using a characteristic form of traditional and 104 COE. Scottish harp music. The notes of the melody were recorded and analyzed at the Physics Department of Edinburgh University, and the patterns produced by sampling across the sound wave formed the basis of the glass design. The human figures and the colors represent Visit the emotion in the music. www.dichro.com for our New 2013 Product Catalog.

Visit www.dichro.com for our New 2013 Product Catalog

16813 Radholme Ct., Bldg. B Round Rock, TX 48664 1-800-268-6163 512-246-1122 (phone) 512-246-1133 (fax) [email protected] www.dichro.com Alison Kinnaird, Psalmsong (detail), 15.75" x 10.24" (40 cm x 26 cm), 2003. Photo by Simon Hollington.

22 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com Light Cherry Red Lemon Chiffon Yellow Lime Green Aqua Blue Alison Kinnaird, Icarus, 19.69" x 10.24" x 1.57" (50 cm x 26 cm x 4 cm), 2012. Photo by Robin Morton. Sky Blue Cobalt Blue The lights and colors make use of optical fiber technology, and the shadow projected by the engraving was photographed and digitally printed to produce a shadow banner, 4.5 meters long, which hung behind the glass. In 2008, Kinnaird completed a major commission for the Royal Museums of Scotland. Frit Sample The installation, titled Maze, is composed of engraved optical glass panels, measures 1.3 Sets Available meters long, and includes programmed LED lights, dichroic color, and painted textile. Each set contains one 0.5 oz Mazes are symbolic in many cultures of both life and death—paradise or hell. The circles packet of each of our new frit in the background are based on patterns formed by the natural drying process of some liquids colors plus black and clear and represent both decay and regeneration. The figures are linked by a golden line that is (coated RB). Sets are available programmed to appear as if running through the piece. The golden thread was often used in both 90 & 96 COE. in legend to find a way out of the maze and symbolizes the line of life. “I was astonished how amazing the combination of colored light and engraved glass looked. A lot of experienced glass artists were curious to know how I was accomplishing this look. It seemed quite mysterious, but it’s just edge-lighting the glass. It’s not rocket science. The combination with engraving makes the images look as if they’re floating in the glass. But working out how to incorporate the LEDs and to layer the colors effectively took a great deal of time and effort from myself and Robin. 16813 Radholme Ct., Bldg. B “A lot of galleries and museums don’t show glass very well, especially engraved glass. Round Rock, TX 48664 I wanted to know that when I sent my work away to an exhibition, it would look the way I 1-800-268-6163 wanted it to look. My husband and I worked out a turnkey system so the glass is locked into 512-246-1122 (phone) a frame and can travel to a show, where someone will just plug it in and it looks fantastic.” 512-246-1133 (fax) [email protected] www.dichro.com

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 23 Other Notable Commissions Four years ago, the Scottish National Portrait Gallery closed for a major refurbishment. The gallery had already commissioned Kinnaird in 2003 to create a portrait in glass of Roy Dennis, an ornithologist, which had been very well received by the public. Kinnaird was also commissioned to create a Donor Window that recognized the generosity of major benefactors towards the refurbishment of the building. It was the only new artwork commissioned for the event. The window measures 3 meters high by 1.5 meters wide and features 12 portraits of the donors plus 14 more roundels representing various trusts and institutions that donated money toward the project. A portrait of Queen Elizabeth was also included, and Her Majesty unveiled the window during her official visit on July 2, 2012, the first Scottish engagement of her Jubilee tour.

Alison Kinnaird, Queen Elizabeth, 19.69" (50 cm) diameter, 2012. Photo by Vivien Ross-Smith.

It took Kinnaird a long time to work out how she wanted to create the portraits. “They had to look like the people, so I couldn’t do something such as a Picasso-esque interpretation of a portrait. It had to be a good likeness that would stand out strongly at a distance.” She decided to work on flashed glass and represent most people in profile. Working through the flash layer, she created a line of light that shaded each profile and made it stand out when viewed from a distance. Sculptural depth was created on the back of each piece using deep intaglio engraving. The window comprises more than 240 pieces of glass, at least 200 of which are engraved. In addition to the portraits, the gallery requested a botanical theme to complement architectural elements in and around the space. Each of the donors chose a flower or plant to surround their image that had a personal or symbolic significance. Charitable trusts and other organizations were also represented in the window with a bouquet of thanks, as Kinnaird did not wish to include logos. Small, abstract figures represent the people of Scot- land and the public money donated to the gallery. Patrick Ross-Smith, a respected stained glass expert from Shetland, assembled and installed the window in the gallery next to the original Donor Window, which dates from the establishment of the building in 1891. Ross-Smith had previously worked with Kinnaird on another major commission for Dornoch Cathedral in Sutherland, Scotland. This 13th-century cathedral houses windows from early Victorian times to the present day, and every window is completely different from the next. Commissioned by the widow of the organist and choirmaster, the 2004 window represents the concept of praise. Kinnaird chose to create a figure in silhouette with its arms raised, representing the dual images of a person in praise and a choir director. “Someone pointed out to me that this is the only figure they’d seen in a church window where the figure is looking out of the church. I think that is a good thing in this day and age.” It was because of Kinnaird’s musical connection that she was contacted for the commission. Her Praise window will soon be accom- Alison Kinnaird, The Donor Window, Scottish National Portrait Gallery, panied by two new smaller ones titled Let All Creation Dance slated 9' 10" x 4' 7" (3 m x 1.40 m), 2012. Photo by Robin Morton. for installation in the north porch and based on the idea of dance.

24 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com Premium Glass Products, Inc. Can Your Present Supplier Give You Quality Bevels This Small?

Actual size of our smallest Bevel

We Can Do It … And a Lot More! Production, Custom, and Hand Beveling Mirrored, Tempered, and Insulated Bevels Specializing in small parts for the Lighting, Gift, and Stained Glass Industries Decorative Door Entryways Art Glass • Commercial Glass Mirrors and Showers

Eric Markow (left) and Thom Norris (right) with their Paragon Pearl-56. Eric and Thom spent several years de- Quality and Service veloping the woven glass technique shown above. Photo by Marni Harker. to the Glass Industry since 1988 “We love the even, consistent heat 1813 Bertrand Dr. • Lafayette, LA 70506 (337) 234-1642 • FAX (337) 234-1646 1-800-752-3501 of the Paragon Pearl-56” www.premiumglass.com — Markow & Norris Eric Markow and Thom Norris are noted for creating woven glass kimonos, Our Events Calendar which have been called “impossibly beau- has gotten tiful.” The kimonos weigh an average of 125 pounds. too big for the Eric and Thom fire their glass in nine magazine we had Paragon kilns. “Now that we’ve done all our testing, and have actually cooked to move it to the Web. sculpture in the Pearl-56, it is our favorite kiln and we love the even, consistent heat,” they said recently. The Pearl-56 has elements in the top, sidewalls, and floor. The kiln uses advanced power ratio technology to balance the heat between the top and bottom sec- tions in increments of 10%. The digital Pearl-56 has lockable cast- ers, levelers, two peepholes in the front, two vent holes in the top, mercury relays, and a ceramic fiber lid. The Pearl-56 fir- Go to: ing chamber is 30” wide, 56” long, and 16 Autumn Sunset Kimono by Markow & Norris. The part- ½” deep (top to bottom). ners fire their glass in Paragon kilns. Photo by Javier www.GlassArtMagazine.com Agostinelli. If you are not yet ready for the massive Constantly finding ways to www.GlassPatterns.com Pearl-56, then choose the exact size make better kilns. Paragon kiln that you need. We offer a www.TheFlowMagazine.com full range of glass kilns from the small FireFly to the intermediate Fusion and 2011 South Town East Blvd., Mesquite, Texas 75149-1122 CS clamshells to the Ovation ovals. for all the newest workshops 800-876-4328 / 972-288-7557 For more information on these excit- Toll Free Fax 888-222-6450 and events in glass ing kilns, see your distributor, or call us www.paragonweb.com around the world. for a free catalog. [email protected]

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 25 Carving Content In July and August 2013, Kinnaird exhibited work in a solo show, The Art of Alison Kinnaird – Luminesce, at the Edinburgh Festival Fringe Exhibition. This one-person show featured a number of lit works, smaller engraved pieces, and cameo engraved wall panels, as well as a series of her drawings on glass. She also works on a large scale in different media, and the show included charcoal, pencil, and ink-wash paintings. “It was important to me to be able to exhibit a range of work and to show drawings and paintings alongside the glass. I’m always amazed how many people say, ‘I never knew you could draw.’ People seem to think that the image just appears on the glass, but if you can’t draw it, you can’t engrave it.” Having taught music and glass engraving for more than a decade, Kinnaird plans to continue sharing her passion for both art forms. “I love seeing people get hooked on glass engraving. You have to have both the aptitude and mindset that will let you persist with it until you are in control.” She taught at Bild-Werk Frauenau in Frauenau, Germany, in July 2013 and UrbanGlass in Brooklyn in November 2012, and is scheduled to teach at The Studio of the Corning Museum of Glass, Corning, New York, in 2015. As Kinnaird works on new windows for Dornoch Cathedral, she develops designs for the doors of Lanercost Priory, Cumbria, England, which dates back to 1169. This project may eventually involve not only glass, but also land art. Though engraving is associated with small-scale traditional work, Kinnaird continues to push the boundaries of her techniques and aesthetics. She hopes one day engraving will be judged on its own merits and strives to use the special characteristics of the technique to make architectural and artistic work with content.

Look for Subscriber Benefits coming to Subscribers Only via links in upcoming e-mails from Glass Art. This Bonus Content will include additional information on glass engraving and the work of Alison Kinnaird.

Glass Lathes Alison Kinnaird MBE www.alisonkinnaird.com

The Covington Glass Lathes are Durable, Versatile Machines designed for reliability and years of use!

Proudly Made in Redlands, CA U.S.A. Alison Kinnaird, Lybster Bird, ink and wash, 5' 10.75" x 3' 11.25" 715 West Colton Avenue Redlands, CA 92374 (1.8 m x 1.2 m), 2011. Photo by Robin Morton. 877-793-6636 ~ 909-793-6636 [email protected] www.covington-engineering.com © Copyright 2013 by Glass Art. All rights reserved.

26 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com ® Fused Fantasies Toyo Supercutter Series

NEW! The last circle cutter you will ever need: • Self-oiling Toyo cutting wheel cuts 6 miles of glass Studio-Size • Self-aligning thrust bearing for the cleanest score Circle • 13” bar for 3”–25” circles (longer bars available) ® • Demarcated suction cup Supercutter for easy alignment

Books now available from Glass Patterns Quarterly Thick glass cutting heads are available for glass 1/4”to 3/4” in thickness See the full line of Toyo tools from Glass Accessories International at your retailer or visit: www.glassaccessories.com

Complete step-by-step fusing instructions! 800-719-0769 www.GlassPatterns.com

We’ve Got Your Back! Pendants, www.rings-things.com Glueable Rings, 1 (800) 366-2156 Hair Findings, Bracelet Forms, Pin Backs, Earring Posts & Backs and More.

Quality Products with Quantity Pricing Everything you need to bring your 1-800-296-5456 euclidkilns.com art to the market!

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 27 Pioneers in Glass

Life, Death, and the Moments In Between Ruth Brockmann’s Legacy

Ruth Brockmann in her studio laying out a mask on a shelf, shows compatibility test strip and white "Spray A" covering pieces to prevent devitrification. This piece was fused flat and then slumped over a fiber mold, 1983. Photo by Richard La Londe. by Shawn Waggoner

uth Brockmann’s totemic masks and animal figures address Public Work Rthe interconnectedness and spirituality of all living things. In addition to her gallery work, Brockmann designed and pro- Inspired and informed by Pacific Northwest mythologies, her fused duced a number of sizeable architectural glass art commissions as and cast work paved the way for a new generation of kiln formed one of the first kiln working artists to tackle large public art projects. and fused glass artists as she became one of a group of women at- In the early ’90s she won a competition sponsored by the Oregon tracting international notoriety for her art during the early days of Arts Commission to create a pair of murals for the lobby of the the Studio Glass movement. Portland State Office Building. Created in collaboration with her Brockmann, age 58, died on July 9, 2013, at her home in Vancou- partner Hal Bond and fellow kiln working artist Michael Dupille, ver, Washington. Says longtime friend and fellow kiln working artist, the two murals covered a total of 320 square feet and comprised Gil Reynolds: “Ruth didn’t show you a photographic representation fused glass, kiln cast glass, and colored cement. of a bird. She showed you the spirit of the “At the time,” says Dupille, “this was bird. She showed you the energy of the “Over the years I’ve discovered endless the most ambitious art glass project out bird. She showed you Birdness as a state there in terms of the variety of techniques of being. It was beautiful and poetic.” magic communicating with nature and and use of materials. We had to make all Included in the 1991 book Out of our own frit, because it wasn’t available. the Fire, Contemporary Glass Artists spirit. That’s what keeps me going. My We had five kilns running all the time by Bonnie Miller, Brockmann had life is an incredible journey of discovery, and only one controller for the large cast been creating and innovating with art work. It was pretty crazy. I still get com- glass since 1978. A leader in the North- and I’ve come to know who I am through ments from people who see this work.” west kiln formed glass movement, she my work. I experience many things that Based on two Native American shared her groundbreaking techniques legends, A Legend of Multnomah Falls at schools such as the Pilchuck Glass are unexplainable. I communicate the measures 6 feet 6 inches by 23 feet, School in Stanwood, Washington, and and The Bridge of the Gods measures Boyce Lundstrom’s Camp Colton in mystery and magic more through my 6 feet 6 inches by 26 feet 5 inches. “It Colton, Oregon. Her work appears in nu- work than I do with words.” is a revolutionary piece of art in its merous museums and public collections imagery, scale, and cutting-edge glass throughout the United States including – Ruth Brockmann techniques,” says Reynolds. “Ruth the Corning Museum of Glass, the immersed herself in the project and Washington and Oregon State Art Commissions, and the Wheaton covered every base. Typical of Ruth, she actually went and vis- Museum of American Glass. ited the Native American tribes and got their blessings to tell Although Brockmann was best known for her fused glass masks, their stories. This is part of their heritage, and these are important she also created several other series, which often incorporated dif- spiritual legends that have been passed down orally for hun- ferent techniques and approaches. These included her Deer Man dreds of years. Ruth respected what this history meant to them.” series, which were upright kiln cast sculptures, kiln cast bowls, and The Washington State Arts Commission awarded Brockmann upright kiln cast “light tablets.” three additional major installations. In 2003, she created a storyboard

28 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com Ruth Brockmann, Cac Mumal Ain, Ruth Brockmann, The Story of the Bridge of 18" x 17", 2004. Gods, one of two murals for the Portland State Office Building, 6' 6" x 26' 5", early 1990s.

for the media center in the Shahala Middle School in Camas, Wash- ington. She researched the Shahala Indians, the indigenous tribe who lived in the area and essentially died off after two generations of contact with Anglos. Her piece Singing the Souls Home depicted the departed spirits on their final journey. In 2006, Brockmann created another storyboard, Roots and Wings, for the Ridgeline Middle School in Yelm, Washington. The committee asked her to depict past, present, and future scenes of the local area. She wove the life cycle of the Pacific salmon throughout these images. The final section shows salmon smolts heading off to sea, metaphorically representing the eighth-graders moving on to high school. Her third installation for the Washington State Arts Commis- sion—and the final project of her career—was installed at the Sun Valley Elementary School in Sunnyside, Washington, in June of 2013. This school is unique in that all 600 students are kinder- garteners. Brockmann’s fused glass depicted 26 animals, each representing a letter of the alphabet. Titled Coming to Our Senses, this collaboration with architect and wood carver Stan Zielinski displayed Brockmann’s fused glass pieces in a carved tree of life. “Ruth’s health was declining so rapidly at this point that she was unable to travel or participate in the installation. It is to Stan’s credit that he installed the project himself, represented the two of them at the dedication ceremony, and completed all of the paperwork with the Arts Commission,” says Bond. Brockmann and Bond shared a life and home for 24 years. To- gether they created public art commissions for at least 16 schools in addition to projects for libraries and state buildings. Most involved large, complex murals or storyboards that displayed folklore and other narrative subjects using glass elements and other materials. When not making art, they planted, tended, and harvested from their large vegetable and flower garden. Guests to their home always left with canning jars full of goodies. A variety of bird feeders attracted many winged visitors, and the couple loved watching and identify- Ruth Brockmann, Best Wishes Jinni, ing them. They also enjoyed four Valentine’s Day trips to Mexico, 33" h (84 cm) x 11" w (28 cm) x 6" d (15 cm). visiting colorful marketplaces, which provided Brockmann with Fused and slumped Bullseye glass with real human hair and inspiration for new series in glass. beads, 1984. Photo by Roger Schreiber, Seattle, Washington.

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 29

“Hal was a huge part of her life,” says Reynolds. NORTEL NORTEL “He was a talented NORTELand loving friend, partner, and collaborator. They built art, a house, an unbeliev- MANUFACTURING MANUFACTURING able garden,MANUFACTURING and an incredible life together. It was LIMITED LIMITED a special relationshipLIMITED on so many levels.” Glassworking Glassworking Explorers DiscoveringGlassworking a New Art Form Burners and Torches Burners and Torches In 1980, onlyBurners a few artists—Klaus and Torches Moje, Da- vid Ruth, and Lundstrom—were experimenting Bench Burners Bench Burners with glass fusing, saysBench Richard Burners La Londe. “In the Major • Midrange Major • Midrange Major • Midrange beginning,Minor all of • theMega people Minor fusing • Midrange Bullseye Plus glass Minor • Mega Minor • Midrange Plus Minor • Mega Minor • Midrange Plus either worked for Bullseye, bought glass for stained Red Max • Rocket Red Max • Rocket Red Max • Rocket glass projects directly from the factory, or knew New New Lundstrom. By 1981, theNew early fusers using Bulls- MEGA MINOR MEGA MINOR eye Glass includedMEGA Ray Ahlgren, MINOR Michael Barton, BENCH BURNER BENCH BURNER Ruth Brockmann, myself, Lundstrom, Liz Mapelli, Marty McNelly,BENCH Gil Reynolds, BURNER and Rob Snyder.” Lundstrom established the Bullseye Fusing Ranch in the summer of 1982 to promote scientific fusing knowledge and hone teaching principles in Ruth Brockmann, Primordial Soup, order to encourage growth of the new art form. light tablet. Eventually Brockmann, Reynolds, David Ruth, and La Londe joined him and became the four original instructors who traveled around the United States and Canada, thus launching glass fus- photography: dougbaldwinphoto.com photography: dougbaldwinphoto.com ing as wephotography: dougbaldwinphoto.com know it today. The Fusing Ranch was also the birthplace of Brockmann’s fused glass masks. “Ruth’s masks were featured on the cover of Glass Fusing: Book One by Lundstrom RED MAX RED MAX and Daniel Schwoerer.RED Her MAX early masks emanate raw energy. As they evolved over the BENCH BURNER BENCH BURNER years, her artworkBENCH incorporated BURNER more and more aspects of nature and our relationship to our home, Mother Earth,” says La Londe. “Ruth was an early pioneer in glass fusing. I Minor Surface mix Minor Surface mix Minor Surface mix or Premix Topfire or Premix Topfire remember the goodor times.” Premix Topfire Brockmann and La Londe were married for 10 years, and each contributed to the beginning of the Bullseye Fusing movement. The couple built a house and studio on 10 acres and commercial-fished together in Alaska. “I think Ruth influenced me with her design abilities, and I influenced her with my grasp of technique.” In 1984, Brockmann was a Pilchuck teaching assistant for Moje, who had broken his leg and needed extra help with his class. She went above and beyond the role of the average assistant, earning Moje’s gratitude and respect. Says La Londe: “Over the years, she bumped into him periodically, and they held each other in high regard.” The following year, Brockmann and La Londe taught together at Pilchuck with Reynolds as their TA.

Hand Torches Hand Torches Hand Torches Multimix • Unitorch Multimix • Unitorch Multimix • Unitorch Twinfuel • Ranger Twinfuel • Ranger Twinfuel • Ranger Compare these features: Compare these features: Compare these features: • Precision needle valves • Precision needle valves • Precision needle valves for smooth control for smooth control for smooth control • Red Max or Red Rocket • Red Max or Red Rocket • Red Max or Red Rocket available for foot pedal use available for foot pedal use available for foot pedal use In the USA, contact your local In the USA, contact your local In the USA, contact your local Glass Art Distributor. Glass Art Distributor. Glass Art Distributor.

2040 Ellesmere Road, Bldg 18 2040 Ellesmere Road, Bldg 18 2040 Ellesmere Road, Bldg 18 Toronto, Ontario Toronto, Ontario Toronto, Ontario M1H 3B6 Canada M1H 3B6 Canada M1H 3B6 Canada Phone: 416-438-3325 Phone: 416-438-3325 Phone: 416-438-3325 Fax: 416-438 7140 Fax: 416-438 7140 Fax: 416-438 7140 www.nortelmfg.com www.nortelmfg.com Ruth Brockmann, Singing the Souls Home, Shahala Middle www.nortelmfg.comSchool media center, Camas, Washington, 2003.

30 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com

Gryphon Zephyr+

Ruth Brockmann, The Story of the Bridge of Gods, detail The Ring Saw from one of two murals of the Portland State Office Building, Premier 6' 6" x 26' 5", early 1990s. • Quieter Operation • Bigger 7” Blade with extra clearance After teaching a few more workshops for Bullseye, Brockmann became a successful • Powerful DC Motor • Heavy Duty bearings last longer gallery artist with her masks and kiln cast sculpture, exhibiting at Heller Gallery, New York, • Less Maintenance New York, and other prestigious galleries. This early success catapulted fused glass into • Faster Cutting the limelight, and though it took more than a decade, it was partially responsible for the popularity the technique enjoys today. “Her ability to maintain a childlike approach to her imagery and her unique way of ex- pressing herself, as seen in the early mask series, is Ruth’s legacy. She played a significant role in creating an art form,” says Dupille. Unencumbered Artistic Vision In the early days of Lundstrom and The Fusing Ranch, Brockmann freely shared her knowledge, talents, and enthusiasm. In her studio, she would work, experiment, and persis- tently pursue a desired result. Sometimes it was a new variation of a glass technique. Other times it was a fresh aesthetic direction. In both cases, be it process or product, Brockmann’s determination allowed her to make significant discoveries. “When Boyce could get all of us together every six months or so at his Fusing Ranch, Now Two blades and later at Camp Colton, we would all spill our guts about what we had learned on our own. As a result, our communal glass knowledge grew rapidly. We didn’t all have to reinvent and maintenance kit the wheel. We were a team solving a big puzzle,” says Reynolds. included with every saw! “I remember there was one effect that had us all stumped involving gold paint pens. After writing on the glass, you fired it and ended up with a beautiful line of 24-karat gold. But it only worked on the surface. If you put it between layers of glass, it would go away or make bubbles. Ruth showed up with some glass jewelry that had gold designs fused Four Blades Available Standard inside the layers of glass. She fired the gold on the surface first, then put a layer of clear The best choice for all-around cutting glass on top. Simple, yet no one had thought of that yet. She was determined to figure out a way to make it work. That is just one little puzzle she solved, but throughout her career Separating Make inside cuts without a lead-in she solved literally hundreds of these little puzzles.” Brockmann discovered which mold materials worked best for her cast glass sculptures Fine and used her own recipe. “She made these drying chambers out of moisture resistant dry- The best choice with delicate material such as dichroic glass wall. They were pretty big, 6 feet long by 4 feet high and a couple of feet wide. There was a slow-moving fan and heater at one end that blew warm air through this box filled with Aggressive her molds. There were little openings on the other end for the air to exhaust. These molds For fast cutting would dry for several weeks until she had reduced the moisture content to a specific point. She had a very precise system for curing her forms so that they wouldn’t crack when she Gryphon Corporation filled them with glass and fired them to high temperatures,” says Reynolds. Our 52nd Year! www.gryphoncorp.com

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 31 JEN-KEN Pro-Fusion GLASS KILNS From our Drawing Board to your Studio! Pro-Fusion LiteTop-Firing Glass Kiln Heats and Cools Quickly Fuses Glass in about 1.5 Hours This 16" square kiln weighs only 45 pounds! Features ● Element at Lid in Quartz Tubes ● 120Volts – 15 Amps Draw AF3P 16 Square ● Clamshell Design ● Stay-Back Lid for Easy Project Assembly ● 1700ºF Maximum Temperature ● Small Kiln with Big Kiln Features ● 1-Year Limited Warranty Ruth Brockmann and Stan Zielinski, Coming to Our ● All Rigid Fiber Construction Senses, Sun Valley Elementary School in Sunnyside, ● Even Heat Distribution Perfect for Fusing, Washington, 64" x 64". Slumping, Annealing, and Painting

1-800-329-KILN www.jenkenkilns.com The artist also created unique display systems to present her Manufacturers of the finest electric kilns since 1951 glass pieces. No technical challenge was allowed to defeat her artistic vision. Be it glass, gardening, or fishing, she did it all with an artist’s enthusiasm. “She had an artist’s lack of fear, a desire to be unique, and a determination to leave a mark, blaze a trail, and glass art make a difference,” says Reynolds. A Final Farewell society Finishing her third and final installation for the Washington State Become a memBer Arts Commission was Brockmann’s last loose end. “Its successful The Glass Art Society is an international non-profit completion allowed her to let go and have a peaceful journey in the organization founded in 1971. We strive to last month of her life. She was pain free, able to visit with many stimulate communication among artists, educators, good friends, and kept her smile to the end, which was a huge students, collectors, gallery and museum personnel, blessing,” says Bond. art critics, manufacturers, and all others interested Ruth is survived by three siblings: Kathie Brockmann of Van- in and involved with the production, technology, couver, Washington; Bob Brockmann (wife Bunny) of Tumwater, and aesthetics of glass. GAS offers many great member benefits including Washington; and John Brockmann (wife Cathy) of Olympia, Wash- four online issues of GASnews per year, access ington. Her older brother Bruce Brockmann of Olympia passed to the Member Directory, free classified listings, away 12 hours after Ruth. domestic insurance benefits and much more. Brockmann’s memorial service was held at Evergreen Memorial Gardens in Vancouver on August 3, 2013. Says Dupille: “Right up join us in chicago March 19-22, 2014 to the end, Ruth was making art. She said, ‘My art is about life, Strengthening Community, Collaboration, death, and the moments in between.’” Forging New Bonds The 43rd annual GAS conference will feature prominent and emerging artists from around the Look for Subscriber Benefits coming to Subscribers Only via world in demos, lectures, and panels. links in upcoming e-mails from Glass Art. This Bonus Content will include information on Ruth Brockmann’s collaboration with Dan Dailey, Wonder, 6512 - 23rd Avenue NW Individuals series, 2011 Stan Zielinski for the Sun Valley Elementary School in Sunnyside, Photo: Bill Truslow Suite 329, Seattle, WA 98117 Washington, as well as comments from friends and colleagues. 206.382.1305 Shane Fero, Blue Jay Way, 2011 www.glassart.org Photo: Mary Vogel [email protected] © Copyright 2013 by Glass Art. All rights reserved.

32 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com Your Subscription Any Way You Want it • Print • Digital PDF • PDF on CD

For the Creative Professional Working in Hot, Warm, and Cold Glass

Jed Malitz www.GlassArtMagazine.com 800.719.0769

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 33 Skills and Techniques Dichroic Starfish Design An Introduction to Using Dichroic Extract in a Fusing Environment

Design, Fabrication, and Text by Kate MacLeod Photography by Don McKinney

he luminescent new product, Dichroic Extract, from Coatings By Sandberg (CBS) presents an impressive innovation to the Tworld of glass art. Moving beyond the spectrum of glass enamel, Dichroic Extract adds the brilliance of increased light refraction and reflection to the art of painting on glass. This increased ability to create imagery unleashes yet one more constraint on our finite world. Dichro Extract eliminates the patience and tedium required for painting an image using traditional glass powder to achieve detail and background or to enhance imagery. It allows even the novice glass artist to fuse “one and done” with great results. A very attractive feature of this new CBS product is that it works with any COE. You can use it within whichever art glass compatibility Coatings by Sandberg system you normally utilize in your studio. Black 90 COE Glass for the Starfish, 3/4 Sq. Ft. Another property is that the color of your un- Clear 90 COE Glass Powder derlying glass acts not only as the canvas, but Dichroic Extract™ also as the shading color, affording unlimited Tools and Materials opportunities for color manipulation without Bullseye GlasTac Firing Glue threat of chemical reaction. And to top it all Stiff Brush Small Plastic Cup off, you can realistically see the end product Distilled Water while you work! 2

Gather the tools and materials 1 that you need to complete the project, then cut the starfish from the black glass. Dust clear glass powder of the same COE as the starfish glass onto the surface area to be painted with Dichroic Extract to roughen the surface of the starfish.

34 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com You can, of course, roughen the surface of the glass by sandblasting, which affords the added ability to create fabulous tracery type images. Dusting with clear glass powder, however, is an easier method that does not require any additional or specialized equipment. 5 Apply the I generally give two light passes of the clear glass powder with Dichroic Extract my sifter about 24" from the surface, producing a uniform thickness to the desired areas overall. You will want to adjust the density of the powder to your of the starfish. specific preference.

Starting with the highlighted dichro color, put a small amount Follow with a 3 in a small plastic cup and dampen it using an eyedropper to add very light tack- drops of distilled water to the Dichroic Extract. Load the dampened fuse schedule as Dichroic Extract onto the brush so that it is sufficient to draw a line recommended by your without clumping. glass manufacturer. If the Dichro Extract clumps or looks grayish or cloudy, there is too much of the medium in one place. You will need to disperse it more in order for its brilliance and color to shine. Continue to fill the area designated for that color so that the density of the Dichroic Here’s the one I use for a single sheet of 90 COE in my Paragon Extract builds brighter color for the advancing areas while allowing Pearl 22. the base color of the glass to blend to shadow.

Segment 1: Ramp 400ºF/hr to 1250ºF and no hold. Segment 2: Ramp 600°F/hr to 1300°F and no hold. Segment 3: 9999 (AFAP*) to 900ºF and hold 30 min. Segment 4: 150ºF/hr to 700ºF and no hold. 6 Segment 5: 9999 (AFAP*) to 80ºF and no hold. *as fast as possible

You don’t need any hold time at 1300°F and can immediately start the drop to anneal. A quick powdering and annealing at this point takes very little time or effort. That not only provides the proper surface for painting with Dichroic Extract but also ensures Apply the Dichroic Extract that any stress is out of the surface glass as you handle it through with light, even brushstrokes. the balance of the process. Start with a reasonably simple drawing to get the feel of applying the Dichroic Extract. It handles much like paint in its ability to mix Work the second color in the sequence into the first by lay- colors, but it follows different rules of application. ing it down on the newly dampened surface, unless it is already sufficiently damp, in the same manner as the first color. Then use For a smooth the brush tip to crosshatch the and uniform 4 colors to blend them together, distribution of the leaving the true color at the Dichroic Extract, respective sides of the field. first apply a coat of Crosshatching is the same Bullseye GlasTac movement as used when Firing Glue to wet rendering a drawing in pencil to the work surface. create shading and depth. The Dichroic Extract tends to adhere The GlasTac takes a long time to dry, which allows for ma- as it is worked onto the surface, and as the nipulation of the medium. Dichroic Extract is a more particulate surface dries it will look a bit cloudy. Keep substance than a true paint and thus requires a stiff brush to drag it the surface wet and work the Dichroic Extract in, over a rough surface, depositing material along the way. The brush continuing in the same manner with each successive stroke must be deliberate. Undoing is not impossible, but using an color until you blend down into the base color of the exact initial application technique proves to be much more efficient. glass. Use less and less Dichroic Extract as you go Start by using only GlasTac to define the area. Practicing with a along, thus allowing the glass to play into the composi- dry brush on your drawing helps to perfect the movement of your tion. You may elect to use a fine mist spray of distilled hand, and thus the brush. Choose a brush with bristles that have a water to assist in keeping the work uniformly damp correct tip for the shape of the brushstroke. until you are satisfied with an area.

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 35 7

Create shading and shadows for the starfish by blending the Dichroic Extract colors.

Using the glass color as the final color in the sequence provides not only a variance of hue, but it also affords a balance to the mir- ror effect so that your work evokes a painterly effect. Fortunately, Dichroic Extract follows the WYSIWYG principle—what you see is what you get. Unlike glass powders, particularly those that strike, Dichroic Extract presents its color immediately. This near factual color will matte as the conduit dries, but it reappears on firing. I have found this method of blending to be very efficient in persuading not only a perfectly blended transition but also a good conservation of the material. Given the slight difference in the various shapes and weights of the Dichroic Extract particles, a dry blend prior to application is not efficient unless a large field of the specific ratio is desired. 8

When you are satisfied with the design, allow the surface to dry naturally, then dust with a couple more light passes of clear glass powder and fire.

GlasTac will hold the material as the water evaporates. After you are finished dusting the starfish again, fire the same as you normally would for your desired results. Although Dichroic Extract fires into the base glass with amazing adherence, I prefer the thin cover of glass powder. 9 Treat the piece as you would any other project with subsequent firings if you like.

36 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com From Journey – Carnivale by Beth Williams You’ve got the passion, the photography by Steve Gyurina drive, and the dreams ...

The ISGB is the leading organization for the promotion, education, and appreciation of the art of glass beadmaking for wearable, sculptural and functional art.

Our mission is to preserve the rich and diverse traditions We’ve got the tools to make your of the art of glass beadmaking and glassworking techniques; promote educational initiatives and dreams come true. professional development; and encourage innovative use of complementary mediums among artists and craftspeople.

We invite you to join us in our journey through the world of glass. For information about a membership level that suits you, please visit us at www.isgb.org or call 614.222.2243 408.288.7978 www.artcoinc.com [email protected]

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 37 Discovering the Wonderful World of Dichroic Extract Initially Dichroic Extract falsely impacts the artist as expensive. I found Di- chroic Extract, however, to cover more area than the equivalent of dichroic-coated Tanya glass. The trade-off between the cost of powders or enamels, the time savings, and most importantly the greatly expanded opportunity for the artist all far outweigh the cost. That said, conservation besets my soul, and I use small plastic cups to capture any residual material. Veit By rinsing your brushes in distilled water within your color combination range, you can essentially save any extra by simply letting the water evaporate. In case you missed it . . . The residual Dichroic Extract may be used again, and noting the composition on the cup helps with guesswork later on down the line. Removal of excess Dichroic Extract requires numerous passes with the brush, dipping in the water, then brush- ing off the misplaced material. Dichroic Extract has no chemical reaction within its spectrum, which affords the artist the ability to mix any color without regard to its chemical composition. Consider the intrigue of a rainbow bending in previously impossible wavelengths of light, or a brown mixed from complementary colors, wherein the eye perceives vibrations from both colors in seemingly the same spot. Glass Patterns Quarterly presents Glass A companion video to this article may be viewed at www.cbs-dichroic.com. Expert Webinars™ with Tanya Veit, now Go to the video tab and click on “Painting With Dichroic Extract.” available as Data DVDs for your computer. You have been introduced to the basics of working with Dichroic Extract from Coatings By Sandberg. Now unleash your talent.

Tanya shares her famous Picasso “break the mold” techniques for working with dichroic glass plus tips for pattern creation, layering glass, and scenic engraving in dichroic jewelry.

Kate MacLeod works through the medium of glass, solving architectural challenges by adding color and bending light to infuse subtle brilliance to the environment. She often manifests an abstraction of the ordinary, such as her production of beautiful Visit www.GlassPatterns.com in the glass skis and snowboards. In addition to her production items “Books, CDs, and DVDs” section of the and commission work, she interprets colorful characters and Shopping Cart for more on these 2-hour- natural beauty into glass art, adding richness and heightening plus classes and Tanya’s new standard the expectations of the art connoisseur. DVD, Extreme Fused Glass Jewelry Vol. 1. Early in MacLeod’s pursuit of artistry, she took a course in glass enameling, which culminated in a glass breastplate that later found its way into the musical performances of Lady BoDiddley. Enjoying the unique combination of a BFA and an MBA in finance, she sees special relationships in terms of abstract mathematics. When MacLeod’s heightened sense of color is added, you have the basis for extraordinary concepts. She has answered the challenge to surpass the ordinary, providing inventive solutions to aesthetic needs across the spectrum of architecture plus two- and three-dimensional art forms. You can find more of her glass art at katemacleodglass.com. © Copyright 2013 by Glass Art All rights reserved.

38 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com Glass Art Subscriber Benefits

Be sure we have your current e-mail address so you won’t miss this extra value offered to sub‑ scribers only.

Look for these January/February GK Drop Bottom_4.625x3.75.ai 10/29/2013 6:40:17 AM 2014 Subscriber Benefits Articles in E-mails from Glass Art!

Renee Wiggins Design Coming to Glass

Alison Kinnaird Working with Light and Color C Ruth Brockmann M INTRODUCING Coming to Our Senses Y Ruth Brockmann’s Last CM THE GK SERIES Public Art Project MY DROP-BOTTOM GLASS KILNSLNS

Kathy Barnard CY Your ideal solution to manipulatingng The Birth of Kathy Barnard’s CMY hot glass with minimal heat loss.s. Freestanding Outdoor K Sculpture . . . And How She Used Kickstarter Professionals and hobbyists alike are enthusiastic aboutbout to Fund It our new drop-bottom action technology, which allowsows fforor

artists to manipulate their creations while hot and malleable.alleabblee. THE

Cress Manufacturing • www.cressmfg.com • (800) 423-4584

Renee Wiggins www.GlassArtMagazine.com [email protected] 800.719.0769 502.222.5631

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 39 Art Glass Studio Profile � No Rules, No Limitations The Etched and Stained Glass of Kathy Barnard

by Shawn Waggoner

athy Barnard never spent time training in a traditional etched or stained glass studio, but perfected her art through experimenta- Ktion and discovery. “I didn’t know the rules, but I also didn’t know the limitations.” Her successful career can be attributed to her dedication to challenging and educating� herself, her mantra that you learn something new every day, and her endless passion for working with clients. She allows the client/artist relationship to inspire and inform her creativity, often leading her to reach new artistic heights. Barnard creates deeply carved and etched glass, stained glass pieces, and carved granite and tile murals for site-specific commissions. Her work can be found in public spaces, churches, private homes, and galleries throughout the United States, including Alaska and Hawaii, and in private collections in Apia Samoa, England, Scotland, Germany, and Japan. It is difficult for her to say if she works primarily as a glass etcher or a stained glass artist. “People ask me all the time which I do more, because they come into my studio and there are so many samples of different kinds of work. I always answer the same way: It varies from year to year and according to which clients and commissions I work with in a given time period. Right now I’m focusing on outdoor sculptural pieces in carved, laminated, and slumped glass.” Currently Barnard is finishing six large carved glass commissions for a priests’ retirement chapel at the Catholic Care Center in Northwest Wichita, Kansas. She has designed a gallery of windows depicting The Life of St. John Vianney, the patron saint of priests. The work is a unique combination of deep carved and etched glass set within an intricate stained and leaded glass border. Two carved entryway doors will illustrate the symbols of the Eucharist. New liturgical furnishings will incorporate panels of carved glass inset in cherry and walnut wood. The Priest Retirement Chapel is her third project for the Catholic Care Center, with whom her working relationship began in 1996. Upon seeing her Breath of God window at the St. Lawrence Catholic Care Center in Lawrence, Kansas, one of the priests visited Barnard in her Kansas City studio. She was in the middle of making work for both the Stillwater National Bank Building in Tulsa, Oklahoma, and a Mormon temple in Houston, Texas—projects that took her two and a half years to complete. But the priest was willing to wait and told Barnard, “When you have time, call us.” To date she has completed work for the Chapel of Mercy (a chapel with an assisted living facility) and a bishop’s residence. “That’s a testament to a really good work- Kathy Barnard, Bees in the Sunflowers, ing relationship with a client, how it can ebb and flow, and continue 11"-tall vase. Photo by Hollis Officer. throughout the years of your business.”

40 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com From Hallmark to Glass Etching Barnard graduated from the University of Kansas in 1977 with a degree in graphic design and illustration. She hoped to one day illustrate books or work in advertising and began her graphic arts career at Hallmark Cards Inc., where she worked until 1980. During this time, she discovered etched glass. “In 1978, I took a trip to Los Angeles, California, and booked a tour of the 1930s ocean liner, the Queen Mary. For the first time I saw art glass sculptural divider panels. They were edge lit and deeply molded and carved. A bas-relief art glass bandstand enclosure in one of the ballrooms was truly amazing. I was hooked!” Barnard continues: “Already captivated by the art of Steuben and René Lalique and the art and architecture of the late 1920s and ’30s, I was sandblasting one-of-a-kind custom signs in wood. But after touring the Queen Mary, I was inspired to go beyond my work in wood and experiment with glass. I had no idea how to etch and carve glass, but I thought I might be able to sandblast my designs and illustrations into glass with some of the same tools I used working with wood. Always in my mind was the question, how could I make beautiful designs and carvings in glass like the old masters, Lalique and Steuben?” In 1980, a Stained Glass Association of America (SGAA) conference was held in Crown Center, Kansas City. Barnard created a piece for the National Stained Glass Competition and won third place. This success inspired her to quit her job at Hallmark to pursue glass full time. She opened her studio and never looked back.

Kathy Barnard, detail of carved and etched doorlights created for Grace Covenant Presbyterian Church, Overland Park, Kansas.

Kathy Barnard, Stillwater National Bank & Trust building, Tulsa, Oklahoma. Scene includes 24 panels of deep-carved and etched glass spanning 40' x 35'.

Kathy Barnard, detail of the panels created for Stillwater National Bank & Trust.

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 41 Kathy Barnard, The Healing Waters, chapel headwall of stained glass with custom steel framework, Porter Adventist Hospital, Denver, Colorado, 12' x 9'. Photo by Dave Haggard.

In 2003, the self-taught Barnard received a call from an art designer in Denver who worked with the Adventist hospitals in Colorado. From 2003 to 2008, Barnard worked almost exclusively on hospital projects. “They kept me so busy that I thought, why should I look for clients or promote my studio when I had more work than I could handle? I was booked two years in advance just for that one client.” In 2006, she was traveling back and forth between Denver and Kansas City so frequently that she decided to buy a second studio in Golden, Colorado. She now travels to her Rocky Mountain studio about five times a year for various projects. In 2008, the stock market crashed, Obama was elected, and hospitals became unsure of how much funding would be available to them. Barnard was paid by the hospital on some jobs and by donors and the foundation on others. Although her contracts covered two additional years of work, making windows for the hospital came to an abrupt end in October of that year. It was time to reinvent herself.

Forays into Stained Glass Barnard lives to work with clients, and her love of this collaborative process introduced her to a new art form. From 1987 through 1990, she traveled to three American Craft Council Shows per year and would return to her studio and make work for galleries. “I rarely met any personal clients as I worked mostly through galleries all over the USA. The people who bought my work at the shows I may never see again. There was a disconnect between art and client. I wasn’t designing something with someone. I wasn’t challenged by clients to do something I’d never done before. I wasn’t challenged by the requirements of a particular space or building.” In fact, it was a client challenge that introduced Barnard to stained glass. A client said, “I love your work, but I really want color.” Barnard was etching glass for the Gilbert Rob- inson’s restaurant chain, which owned a stained glass studio in Kansas City. There, Barnard met stained glass artists, one of whom she paid to fabricate her design while teaching her the techniques of stained glass. “My first design for stained glass probably challenged the artist too much with the cutting because of the curves and thin lines I wanted. From the start, I got to see how my designs could work in another medium.” Barnard was married at the time to an architect, so she was able to approach art glass from an engineering and architectural perspective. “I knew it not only had to be beautiful but buildable, structural, and work to code.”

42 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com There was just one hitch—the stained glass she required to execute some of her designs was not always available. In 1988, one of her first stained glass projects, the Tree of Life, was designed for the Jewish Community Center Campus and Offices of the National Jewish Federation in Overland Park, Kansas. This circular stained glass window measured 15 feet in diameter and featured a tree in medium hues and shades of blue. “After my watercolor rendering was approved by the client, I traveled to New York to select glass at S.A. Bend- heim. But someone had been there the week before and had gotten all the medium colors and shades of blues that I was intending to use in this piece. Robert Jayson said they’d get another shipment in, but it wouldn’t come for six weeks.” Barnard had to double and triple glaze her glass to create all of the different color variations she needed and also had to explain to her client that the watercolor rendering would not be an exact representation. Though the client was agreeable to the delay, Barnard decided to stop working in stained glass temporarily. “My commitment to the client and my own color and design aesthetic caused me to stop for a number of years.” Eventually Barnard returned to Bendheim and discussed having glass made in Germany specifically for her projects. “I needed more control over the colors and blends of colors of the glass.” In 2003 she made her first trip to Lamberts in Germany and started working with them to custom blow her raw glass and colors, a process she continues to this day.

Art That Heals Many of Barnard’s groundbreaking and prestigious commissions fall under the category of Art that Heals. “They put art in hospitals to calm the spirit and to provide beautiful things for the patients to look at. Studies show that when a hospital is full of art, patients feel better. You’d think they would just want to stay longer, but it’s been proven that if you offer a beautiful, calming environment, patients heal faster.” One of Barnard’s most comprehensive, diverse, and large commissions was completed in 2008 for Porter Adventist Hospital in South Denver. The 25-foot by 25-foot stained glass wall in the lobby, along with the 16-foot carved donor wall, two carved glass entry doors, and the 12-foot by 9-foot stained glass headwall to the chapel took Barnard and her assistant, Boris Livak, two and a half years to complete.

Kathy Barnard, The Tree of Life, stained glass with custom steel framework, entrance to White Theatre at the Jewish Community Center campus, Overland Park, Kansas, 15' diameter.

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 43 Kathy Barnard, library entrance tile-and-glass wall, Salon de la Leonardo da Vinci, Northeast Community Center and Scuola Vita Nova. Photo by Dave Haggard. Art that Teaches The older hospital was competing with newer facilities Education is and wanted to create a new grand entranceway and lobby. a subject near Six panels installed in custom steel frameworks comprise and dear to Bar- Ode to Joy, Flight of Doves, which features mouthblown, nard’s heart, and custom-made Lamberts glass. Beautiful colors inspired by she has produced changing skies and the brilliant colors of a Colorado sunset many commis- now fill the lobby. The flock of doves in flight symbolizes sions to enhance hope, peace, and lifting of the spirit. The doves were created the learning en- Detail of Vitruvian Man in clear Baroque that is etched to give a super white appear- vironment. In ance. The wall was particularly challenging for Barnard, as 1995 she began it had to be artificially lit. making work for the Northeast Community Center, now the Scuola Hospital visitors are greeted by a donor wall of carved glass Vita Nuova Charter School in Kansas City. Her work for the school next to the reception desk. Five panels comprise the wall and are includes nine individual pieces of art glass, a tile wall mural for the framed and edge lit with neon hidden within a cherry wood frame. entryway and the library, and two carved glass illustration panels Barnard’s design includes Colorado flora as well as native animals. to complete the interior library wall. The glass is backed by a work on canvas that depicts the foothills, In 1908, the Italian Mission was created in Kansas City to pro- created by Colorado artist Susie McLean. vide medical services and child care, English lessons, youth activi- Two large, carved entry doors appear to the left of the donor ties, and education to the increasing number of Italian immigrants wall, with a hint of color behind. Each door includes a set of two entering the city. Dr. John Bisceglia made sure those needs were panels of carved glass with air space in between, creating a 3-D met. Following his death, Bisceglia’s son-in-law, Judge Charles perspective with tree braches overlapping one another. “It’s as if Shangler, revived the campus and provided many cultural exchanges you’re looking through a forest.” and opportunities for the changing multicultural neighborhood. In When the doors to the chapel are opened, one sees a stained 1999, Judge Shangler applied for and received permission to open glass window called The Healing Waters, inspired by a quote from a charter school on the campus called Scuola Vita Nuova (School Revelation 22:1–2. “And he showed me a pure river of water of of New Life or SVN). His desire was to provide local families with life, clear as crystal, proceeding from the throne of God and of the educational opportunities that included exposure to the arts. Cur- Lamb. In the middle of its street, and on either side of the river, was rently SVN serves kindergarten through eighth grades. the tree of life, which bore twelve fruits, each tree yielding its fruit Judge Shangler referred to SVN’s library as the Salon de la every month. And as the leaves of the tree were for the healing of Leonardo da Vinci. He wanted the artwork to inform students of the nations.” Barnard used crystal jewels throughout the leaves and da Vinci’s accomplishments and asked Barnard to etch the Vitruvian branches to symbolize healing droplets of water. Man on the library’s glass doors. “But the door glass was only 2 Behind the stained glass window the hospital created a medita- feet wide, and Vitruvian Man would have to be so small to fit in the tion garden, a waterfall, and a pond. When the sun hits the sparkling space. I wanted to find a way for him to be full size and take up the water outside, that movement gets reflected on the stained glass entire door. I designed this whole wall and incorporated the carv- window inside. Aspen leaves from a tree outside also create move- ing into the tile work that I created to surround the door. I was now ment and project dappled light onto the stained glass. “What they designing for an 18-foot-long wall.” Barnard combined glass mosaic created on the outside works with the stained glass in such a magical with illustrations she did of da Vinci and the Mona Lisa in a glaze- way that you think the stained glass window is alive.” based conte crayon on tile, which was fired and incorporated into

44 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com the wall. She etched da Vinci’s inventions and discoveries in a wall of tile and glass. Barnard followed her library wall with etched windows honoring both Galileo Galilei and Luigi Pirandello, Nobel Prize winner in literature. The work for SVN was a particular joy for Barnard, as she loves doing intense research for her work. “How can you teach children about all of these discoveries unless you do research? I was delighted to spend time at the Linda Hall Library, renowned for its collection of ancient books, going through Galileo’s published books dating back to the 1600s. It’s amazing how much kids can learn and retain when they have something visual and beautiful to look at.” In the fall of 2013, Barnard’s freestanding laminated art glass sculpture, entitled The Monarch Migration, will be installed in the school’s garden. The sculpture was a donation to the school from Barnard in appreciation of Judge Shangler. This work was funded through a successful Kickstarter campaign and fabricated at Derix Glasstu- dios in Taunusstein, Germany.

Art for Enjoyment Throughout her career, Barnard has loved working closely with clients, and nowhere is that more intimate and intense than when making work for a client’s home. “I become part of these people’s lives for a while.” Her work at the Perley residence in Overland Park, Kansas, and now their new New Bullseye Frits for Kiln-Glass home at Lake of the Ozarks in southern central Missouri, began with one simple divider panel in the master bedroom. This led to sidelights around the door, a dining room table, and a shower enclosure. When the couple moved recently, all of the artwork had to be relocated to the new house. “They’re quite attached to their pieces, which are a part of their family.” Barnard’s loft piece for client Dr. Brian Williams tells a story, too. “They are not just pieces of glass flanking his wine cellar. I took elements from his past and his love of Tuscany and incorporated personal detail in the windows. It tells Brian’s story as well.” Sometimes as a break from the large, Left to right: Indigo Blue Opal (000148), Dusty Blue Opal (000208), complex commissions in stained and etched Celadon Opal (000207), Cream Opal (000420), Warm White Opal (000920), Fern Green (001207), Tan (001419), Sea Blue (001444) glass, Barnard will etch clear and colored vases. These smaller works aid her in working out ideas for imagery and technique on a shop.bullseyeglass.com/newfrits smaller scale. She works with found pieces and European crystal, though she wants to locate a glassblower interested in blowing blanks for her work.

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 45 On the Horizon If you’d like to visit Barnard’s studio but cannot make it to Kan- Upcoming sas City, the artist is participating in a project called XOTV, which provides subscription-based access to her studio via live streaming video. “XOTV is unedited reality TV 24 hours a day, seven days Glass Expert Webinars™ per week. A camera is set up so people can watch me sandblast and carve, as well as learn the day-to-day art of running a business like for 2014 mine. It will show me working with new clients, sponsoring studio events, and making work. Eventually we will branch out to include Live, Two-Hour, tours of other studios and artists. We will archive the visits to view Interactive Web Workshops upon request. I think this is going to be an interesting adventure. People have asked me to teach and lecture. I love to travel, and I with Renowned Glass Artists don’t want to stop doing that, but I think this would be a way for students to have a continuing connection to the studio for future No Traveling Required! Web classes.” Barnard also hopes to create more outdoor sculptural pieces at Derix Studios. Then she will try to find a home for them in the United States. “I can now sympathize with artists who put so much Joe Porcelli into their work and don’t know who will buy it. I work mostly with January 9 clients who offer contracts and commissions. I know I am being paid for the work and can continue to keep my studio open. It is interesting to work the other way around.” Michael Dupille Michael Dupille From June 9–11, 2014, the SGAA will hold its summer conference and retreat called The Artist’s Retreat at The Elms. Held at The January 14 and 16 Elms Hotel & Spa in Excelsior Springs, Missouri, the conference will feature Barnard’s lecture on the creation and Kickstarter fund- Brent Graber ing of her sculpture The Monarch Migration. February 4 and 6 E-mail [email protected] for links to XOTV subscriptions and class information.

Joe Porcelli Brent Graber Look for Subscriber Benefits coming to Subscribers Only via links in upcoming e-mails from Glass Art. This Bonus Content will February 11 and 13 include more information on Kathy Barnard’s successful Kickstarter Peter McGrain campaign and The Monarch Migration project. February 25 and 27 Margot Clark and Saulius Jankauskas March 11 and 13

Margot Clark

Kathy Barnard Peter McGrain Kathy Barnard Studio 1605 Locust Street Visit the Glass Expert Webinars™ Kansas City, Missouri 64108 (816) 472‑4977 link under “What’s New” at [email protected] www.GlassPatterns.com www.kathybarnardstudio.com for more details and local times. © Copyright 2013 by Glass Art. All rights reserved.

46 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com Readers’ Forum Stan dreams big ... Stan thinks big ... Now, Stan can create BIG!

Dear Maureen, Thank you so much for the copies of the November/December 2013 issue of Glass Art you sent that included the “Glass in the Class” article. I was happy to have the Stan Price, Covenant Art Glass of Everett, Washington, asked Olympic Kilns to create a custom bell kiln so that he could create larger commission pieces. Working with Stan, Olympic Kilns designed chance to share how the glass art projects a 29 cubic foot bell kiln (electronic lifting chamber) with a rollout floor. Stan thinks big, and now he created by students at their new San Di- can create big! Learn more about Stan at www.covenantartglass.com. ego charter school, Old Town Academy, raised a large sum of money to help with See what Olympic Kilns can do for you! the school’s operating expenses. The kids, administrators, teachers, and parents loved Phone 800.241.4400 / 770.967.4009 • www.greatkilns.com the article and were so impressed with the magazine! Maybe a few new subscriptions

will emerge? I hope so. Best Regards, � Quality warm & hot glass supplies Steve Shupper from a quality-conscious supplier! Glass Accessories International, Inc. Choose from thousands of products including: • An expanded line of COE 90 glass including choices from Wissmach and Uroboros

Expand your glass horizons with these product • System 96 glass offerings! Don’t be limited to flat glass projects or the usual textures of glass. There’s a whole exciting world waiting to be tapped in fused and • Dichroic glass slumped glass that’s within your reach! Glass Art would like to extend a sincere • Evenheat Kilns & Digital thank-you to our readers who take the time Using a kiln ... start making jewelry items, Kiln Controllers slumped bowls and plates, to let us know how we are doing. Whether fused window panels, and it’s to let us know about� something that you a whole lot more! think we’ve done well or to show us how you think we can improve, we value your input. You can share your opinions by con- • Vitreous paints, enamels & stains tacting us via postal mail, e-mail, or phone. & • Instructional books Glass Art and DVDs 8300 Hidden Valley Road Westport, KY 40077 [email protected] (800) 719‑0769 (502) 222‑5631 Sign up for our semi-monthly email newsletter and we’ll be happy to send a copy of our CD-rom catalog to you. Loaded with more The thoughts and feelings expressed than just products – you’ll find hundreds of free patterns, Spectrum’s Score mini-magazine, hot glass tips, glass history and MORE! in the Readers’ Forum do not necessarily 111 Industrial Parkway www.SunshineGlass.com Toll-free: 800-828-7159 reflect those of the publisher or Glass Art Buffalo NY 14227-2712 A quality-conscious supplier! [email protected] magazine.

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 47 Architectural Glass ProvidingProviding GlassGlass forfor v FrankFrank LloydLloyd Wright’sWright’s UsonianUsonian HouseHouse

Photography by The Maguires of Lakeland

by Shawn Waggoner “I believe I speak for the entire team n October 31, 2013, a house designed 74 years ago when I state that as this house came by Frank Lloyd Wright was unveiled on the campus into being, it continually amazed us Oof Florida Southern College (FSC) in Lakeland, Florida. The Usonian House serves as FSC’s Sharp Family Tourism throughout the process. We learned a and Education Center. The 13th of 18 structures, it adds great deal about how Wright’s concept to the world’s largest single-site collection of Wright’s of organic architecture was conceived completed buildings, all built on a campus designed by the architect himself. and executed, and if I have any The 1,700-square-foot Usonian house is the first Wright regret it is that I feel it is unfortunate design to be built on the original site for the original client in almost 60 years. It was designed in 1939 as a simple, low- that many more could not share this cost home with a distinctly American character and was experience. If they could, I believe intended for faculty housing, although it was never built. our architecture and our architects Under the direction of restoration architect and Wright scholar, Jeff Baker of Mesick Cohen Wilson Baker of Al- would be transformed.” Jeff Baker bany, New York, the Usonian design is faithful to Wright’s architectural plan. The striking one-story building has many signature Wright features—cantilevered wooden beams, expanses of floor-to-ceiling glass doors that make the beauty of nature an element of the home, and inter- locking “textile” blocks inset with nearly 6,000 squares of colored glass. Ron Bearer Jr. and wife Rocio Bearer of Cocoa, Florida, facilitated the making of the glass blocks that were then water jet cut, cold worked, and beveled. The finished glass, installed in custom concrete blocks, accents the space with colored light. “I visited the house many times during its construction,” says Baker, “but I did not see the glass installed until a few days before the opening. When I first stepped into the house after the glass was in, I could not stop myself from laughing with joy and amazement. As beautiful as I found the house to be without the glass, the colors glowing within the holes in the blocks raised it to a level that can only be described as magical. The glass transformed the experience, and as many times as I have seen the house partially built or in a computer model format, I was completely unprepared for the beauty I beheld. Moreover, the effort and craftsmanship resonating from the work made me appreciate Ron, Rocio, and Ken at a profound level.”

48 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com The completed house takes its place in the historic South Lake Morton neighborhood.

Usonian Architecture Usonian architecture grew out of Wright’s earlier Prairie style homes. Both styles featured low roofs and open living areas and made use of brick, wood, and other natural materials. Usonian houses were set on concrete slabs utilizing piping for radiant heat from beneath. Kitchens incorporated living areas, and carports replaced garages. These houses were built with no attics, no basements and little ornamentation to control cost and keep them affordable for the common person. Wright used the term Usonian to describe a house made of inexpensive concrete blocks, though the term is also said to be an abbreviation for the United States of North America. He designed the three-inch-thick modular blocks to be assembled in a variety of ways and secured with steel rods and grout, hoping that home buyers would save money and build their own houses. But assembling the modular parts proved complicated, and most buyers hired pros to (Above) An unexpected feature of the glass near the ceiling is the construct their homes. Despite Wright’s aspirations for economy, reflection in the finely finished wood planks. (Left) Light pours Usonian houses often exceeded budget and became custom homes through one of the green inserts, showing the character of the glass. for families of comfortable means.

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 49 The Concrete Blocks The molds for Wright’s unique concrete blocks were constructed from the original drawings, but the mixture of ingredients had to be changed to provide a higher degree of resilience and strength. Natural cement was chosen over the more commonly used Portland cement for several reasons. One of the most important is its rapid set up time of two hours. The molds were filled on a vibrating table to ensure quick and complete settling and then submerged in water in order to prevent cracks. Led by master preservation mason, Ken Uracius, the casting crew at Stone and Lime Inc., in Brookfield, Massachusetts, spent almost two years perfecting the process. After a fair amount of trial and error, Teflon was eventually selected for use in the molds to create the shapes and perforations. Many of the standard design parts were machined at the nearby shop of Advanced Manufacturing Technologies, and the chief mold maker, Eugene “Geno” Castonguay, assembled the parts with demanding accuracy.

Care was taken to randomize the inserts so that no two adjacent ones were the same color. The small square holes also carry light and add sparkle to the effect.

50 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com The Wood Wright’s desire to bring the beauty of nature into the living environment is honored in the use of beautiful, warm southern cypress that trims and fills the house. Beginning with 16-foot, rough-sawn boards that were milled, sanded, shaped, and machined to meet precise specifications, Tom Sharrett of DeMoss Cabinetry brought the architect’s aesthetic to life. His process began with a rugged, powerful planer and ended with every square foot of wood protected by a hand application of color or varnish.

In classic Wright style, the entrance through a narrow hallway (left) ends in the wide-open space and high ceiling of the living room.

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 51 The Glass Every spiritual structure benefits from the inspiration of colored starts to cool, the steel mold is lifted off of the glass block. When light entering a room. To achieve this affect, Ron Jr. and Rocio the glow fades and the glass stiffens, the blocks are picked up and Bearer contacted Kokomo Opalescent Glass (KOG), Kokomo, placed in an annealing oven, which maintains their temperature Indiana, to create glass block in color batches using a 100-year-old at over 900ºF. The kiln slowly cools over three days to anneal the technique. KOG has been in continuous operation at its current glass, preventing any stress within the blocks. location since 1888. Water jet machines were used for basic cutting—an expensive While the blueprints provided exact detail for the size of the process due to the use of garnet powder as the cutting medium. Small glass inserts, the concrete blocks that housed them were handmade. pieces would fall through the water jet cutting grid and eventually Therefore, a test set was fabricated from half-inch window glass and were left with an 1/8-inch tab that connected them. These glass sent to Baker. New measurements were provided, and the blueprints pieces were snapped apart, then hand beveled to erase all signs of were adjusted. the tabs. The second set was made from half-inch aluminum. This mate- The final shaping included a blend of techniques. Glass saws rial was chosen because it is durable and could be pressed into the with diamond blades were used to cut complex angles. A beveler cement blocks without the risk of cracking. Aluminum could also be was used to fine-tune the angles and remove the rough look of the fine-tuned with a normal metal file eliminating the need for power cuts made by diamond blades. The glass was not beveled to a perfect tools. It also acts as a good material from which to make molds and finish, because texture is needed for the adhesive to bond onto dur- cutting jigs. Once the final shape is set, it acts as a guide to hold ing installation. Ken Berman, artist and owner of The Glass Onion angles while cutting. in Lakeland, Florida, initially installed 5,000 glass blocks using a To cast the final glass blocks, molds made of solid steel square silicone-based adhesive. Rocio eventually suggested switching to a bar were placed on graphite slabs. Graphite can endure the heat and powdered cement to match the color of the cement blocks, creating remain slick enough that the glass will not stick to it. When the glass a flawless, finished look.

The southeast corner of the living room is bejeweled with more than 100 inserts from floor to ceiling.

52 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com The small rectangular inserts await installation.

Perpetuating the Legacy As you walk through the rooms of Wright’s Usonian house, the light comes through the glass blocks at different angles, affecting the very character of the space. Glass is the conduit for light and warmth, bringing the beauty of the sun itself from the outside into the living space. At age 19, Rocio became a glass artist and always had a passion for both Louis Comfort Tiffany and Wright. Her 24 years of experience include extensive glass slab work and architectural glass experience in South America. “She came up with most of the solutions to make the glass portion of this project happen,” says Ron. “She specializes in creative concepts for blending techniques.” The Sharp Family Tourism and Education Center is expected to serve 100,000 annual visitors to the campus. It was dedicated over two days, with a special ceremony for the FSC Board of Trustees and community dignitaries on October 31 and a public ceremony on November 1. In addition to the Usonian house, the center includes a specially commissioned bronze statue of Wright and a fountain designed in Wright’s style. “As a glass artist, you always hope to be involved with something that lasts through time,” says Ron. “It’s an honor to be involved with a Frank Lloyd Wright piece and a project of this magnitude, a dream come true.”

Visit www.BuildingTheUsonianHouse.com for more photos, behind- the-scenes information, and videos. Light streams through a west-facing © Copyright 2013 by Glass Art. insert in late afternoon. All rights reserved.

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 53 What’s New

KleenMaster Sinks presents the Ultra-2238 KleenMaster Wash & Rinse Sink. This 11‑5/8" deep by 22‑3/8" wide by 38" long sink comes in its natural color of white polypropylene and includes a stainless steel frame and pullout faucet. These sinks are all hand machined and welded together with a matching backsplash that attaches to the back and each end. Each leg is ~built by artisans for artisans ~ adjustable to accommodate uneven floors. All sinks come with an armrest on all sides, are made in Wisconsin in the USA, and will last a lifetime. The shelf is optional. These sinks are also available in Black with optional costs. Visit the company’s website for more details. 920‑382‑1807 www.kleenmastersinks.com

SCREEN MELT STEEL RING MOLDS SETS & SYSTEMS Paragon Industries L.P. announces that John Hohenshelt will be stepping down as president of Paragon Kilns. The Hohenshelts, who purchased Paragon Industries thirty-one years ago, will continue to own the company and look forward to building kilns well into the future. Todd Lokash, who brings a lot of experience in manufacturing to the company, has been selected as the next president and is looking forward to maintaining the reputation for quality that Paragon enjoys while continuing to STEEL MOLDS WEAVING MOLDS improve designs and services. 800‑876‑4328 972‑288‑7557 www.paragonweb.com

Coatings By Sandberg will be hosting several classes Febru- ary 20–23, 2014, at the CBS facility in Southern California. Kate MacLeod will be teaching a class on using Dichroic Extract. Tanya Veit will also be teaching an advanced fusing class, and Kent Lauer will be teaching cold REVERSIBLE MOLDS CASTING MOLDS working and beveling. For additional information, visit the “Glass Classes” link on the company’s website. 714‑538‑0888

FRIT MAKER www.cbs-dichroic.com

Uroboros Glass Studios has five new System 96® frit colors in shades of blue and one green to expand and enhance the company’s SIFTER/SORTER existing frit palette. All five new colors are available in all five grain sizes and three package sizes. Colors include: Payne’s Gray Opal, a shadowy Gray-Blue; Chambray Opal, Blue-Gray complex tone; Hydrangea Opal, the lightest Cobalt Blue with a hint of Violet; Blue Topaz Transparent, a tropical-toned blue that falls between Sky Blue and Deep Aqua; and Apple Jade Green, a lush Green-Blue that bridges the gap between Turquoise Green and Turquoise Blue PACKAGED PRODUCTS PRECUT STENCILS 503‑284‑4900 www.uroboros.com Master Artisan products are available from many wholesale distributors and will be exibited by Victorian Art Glass Stanley Klopfenstein, who has been in the stained glass industry at GlassCraft & Bead Expo Las Vegas. since 1964 and has been classically trained by old-world masters in the centuries-old skills of glass painting, has developed his own techniques Master Artisan Products over the years for painting glass without the use of gums or oils. Join 566 David Street. Victoria BC V8T 2C8 Stanley in his educational video #SK-1, The Stanley K Way, where Tel: 250-382-9554 he shows his techniques for painting drapery, wood grain, a rose, and Fax: 250-382-9552 a butterfly using lining, shading, stick lighting, and more. Also ask about his new #SK-2 DVD, Painting Faces. www.masterartisanproducts.com 321‑632‑6979 [email protected]

54 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com D&L Art Glass Supply has always offered exciting and innovative workshops with renowned instructors, and 2014 will be no exception. Lisa Becker, Mark Abildgaard, and Richard La Londe are just a few of the glass artists who will be teaching intensive workshops in D&L’s state-of-the-art classroom during the upcoming year. Visit the company’s website to view the full workshop schedule. 800‑525‑0940 303‑449‑8737 www.dlartglass.com

Skutt Kilns introduces the FireBox 8x6 LT, a new kiln that gives the glass, ceramic, and metal clay artist plenty of options. There are built- ~built by artisans for artisans ~ in programs for glass, ceramics, and PMC, but users can also write their own programs with Ramp/Hold. The kiln plugs into Turn your scraps into glass art with a standard household voltage, and it easily stores away in a closet Master Artisan SCREEN MELT SYSTEM when not in use. 503‑774‑6000 www.skutt.com

The Glass Art Society (GAS) will hold its upcoming 43rd conference for the first time ever in Chicago, Illinois, March 19–22, 2014, with preconference workshops on March 15–19. The conference will offer participants from around the globe the opportunity to interact with some of the greatest glass artists and creators in the world. The conference will be hosted by Ignite Glass Studios and West Supply and will include Chicago native and visual artist Theaster Gates as keynote speaker, A Day of Glass tour of the city’s most influential glass art studios, the 19th Goblet Grab, and a live and silent auction. Visit the website for more details. 206‑382‑1306 [email protected] www.glassart.org Make matching stands for your projects using Gryphon Corporation presents the Gryphon Zephyr Diamond Ring Master Artisan REVERSIBLE MOLDS Saw that offers advantages not found in other glass saws. The round blade can cut in any direction, and operation is very smooth and quiet. The Zephyr has a large work surface that is free of obstructions and an overhead blade support that is slender, allowing artists to have a clear view of the material as it is cut. Critical moving parts are shielded for protection from glass dust, and the highest quality bearings and wheels are used to extend part life. The Gryphon Zephyr will cut glass, tile, rock, and all other similar hard materials and has a choice of blades that includes a separating blade to allow inside cuts requiring a lead-in spot. Visit the company’s website for more details. 818‑890‑7770 [email protected] www.gryphoncorp.com

His Glassworks, Inc. is pleased to announce that it is now a full-line distributor for Suhner power and pneumatic grinding tools. The company will be stocking electric and pneumatic water-fed, right-angle grinders Master Artisan products are available including the new LXB-10 2"-diameter water-fed grinder. Additional from many wholesale distributors and will be exibited by Victorian Art Glass information on these products is available online. at GlassCraft & Bead Expo Las Vegas. 800‑914‑7463 828‑254‑2559 www.hisglassworks.com Visit our website to view examples of different projects you can create with Master Artisan tools and molds. Hang Your Glass presents Edge Grip Stand-Offs, a product that is designed to grip around the edges of Master Artisan Products 566 David Street. glass art. The stand-offs are great for flat glass and are Victoria BC V8T 2C8 especially designed for standard thicknesses of glass Tel: 250-382-9554 art. These stylish stand-offs have openings in which the Fax: 250-382-9552 glass is cradled around the edges and are available in two different options for background glass that is up to 1/4" and 1/2" thick. No drilling or www.masterartisanproducts.com adhesives are required for the stand-offs, which are available in polished, black, or white

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 55 finishes. Visit the website for more details. Fantastic Tools, Exceptional Service, 650‑353‑4642 [email protected] www.hangyourglass.com Depth of Experience Austin Thin Films now has Frit Sampler Sets available for Dichro- Magic® Color Frit. Each set contains one 0.5-ounce packet of each of the company’s new frit colors plus black and clear (coated RB). The sets are available in both 90 and 96 COE. 800‑268‑6163 512‑246‑1122 www.dichro.com

His Glassworks, Inc. Uroboros Glass Studios, after launching 2000 Riverside Drive, Suite 19 five new System 96® products in Octo- Asheville, NC 28804 USA It’s what we deliver! p 828-254-2559 ber 2013, now has an additional seven f 828-254-2581 www.hisglassworks.com exciting new products to join the company’s System 96® line. Gold-Pink Striker sheet glass, #60-105-96, is a lighter, brighter pink than Deep Gold-Pink and is correspond- ingly less expensive. It is 2.5 mm thick and comes in 24" x 15" sheets and four-packs of 12" x 12". Deep Gold-Pink Striker Noodles and Stringer (#N-103-96-5/#S-103-96-5) are a rich, deep pink like the sheet form. Special firing schedules available from Uroboros will allow users to attain Cerise/Fuchsia or Royal Purple from these products depend- ing on the schedule chosen. The company also has Payne’s Gray Opal (#N-078-96- 5/#S-078-96-5) and Apple Jade Opal (#N-726-96-5/#S-726-96-5) Noodles and Stringers in the blue-gray range. These classic colors add depth and complexity to the System 96® Opal palette. 503‑284‑4900 Angle Stays Black™ www.uroboros.com Lead Shears™ Patina for Zinc for Lead Came Artists Ed Hoy’s International now offers the Skutt Firebox 8x6 No more uneven colors LT Kit that is per- when you patina zinc fect for glass proj- channel with solder or lead ects, metal clay, or ceramics. It’s three kilns in one. Visit the Available in 4 oz., 8 oz., 16 oz. company’s website for more details. ALS-V - No tools needed to change blade and studio size 32 oz. bottles 800‑323‑5668 [email protected] www.edhoy.com Both products available exclusively from 1Glass Impressions 1GlassImpressions.com (920) 382-1807

56 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com GLASS CRAFT & BEAD EXPO

and

� �

Introduce the Glass Craft Emerging Artist Award Winner Demetra Theofanous

Visit www.sculpturebydemetra.com to view more of Demetra’s glass art. www.GlassCraftExpo.com www.TheFlowMagazine.com www.GlassArtMagazine.com AGG News

Featuring the latest from the American Glass Guild The American Glass Guild’s Dedication to Education

by Tony Glander

hose visiting the American Glass Guild (AGG) website will find its mission statement in the very first line: “We Tare an inclusive organization that actively seeks the partici- pation of all people with an interest in stained, leaded, and decorative glass and its preservation and restoration.” Just one of the inspiring ways that AGG makes a difference in the stained glass community is by offering scholarships. Nowhere is this more evident than in the Guild’s dedication to raising and distributing educational funds in the form of scholarships. Jim Whitney, a stained glass artist who strongly believed not only in educating for our future, but also in using education to bring people into a community, inspired the scholarships. Recipients enjoy the stained glass educational opportunities made possible by the scholarships. Behind the dedication are also a fair amount of good times experienced while raising and using these funds. The AGG holds an auction at its annual summer conference to raise funds for the scholarships. Members begin collecting items from the stained glass community over the winter months. The auctions consistently feature more than 100 items for sale, including artwork, materials, supplies, and services. In previous auctions, donated artwork has been responsible for a large amount of the funds raised. Two incredible examples consist of the stained glass piece of a miner by Michael Mezalick and Matthew Kibert and the 3-D theater piece, Tosca: Act I, by Celeste Parrendo. Both pieces inspired high bidding. Education is also a fundraiser at the conferences. Many classes, from traditional painting to screen printing, are auctioned as a means of promotion. The auction has become a highlight of the conference, since it offers an evening of fun, good-natured competition, and great items.

Scholarships Provide Invaluable Opportunities The funds raised through the annual auction are distrib- Auction panel by Michael Mezalick and uted each year through the James Whitney Scholarship Fund. Matthew Kibert. Photo by Tony Glander. Since 2007, the AGG has awarded 68 full and partial scholarships for educational opportunities, such as conferences and workshops. At the 2013 conference, 16 scholarships were awarded for learning opportunities across the country and even internationally, such as 12 days of glass painting with Gianni Bracciali, in Italy.

58 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com Paul Jurgens of Jacksonville Art Glass used his scholarship to attend a glass painting workshop led by J. Kenneth Leap and Kathy Jordan in historic Wheaton Village in New Jersey. “By the end of the week, each person had completed between two and four pieces that they were able to take home. That in itself is noteworthy, but I feel I brought home something even more important—a more profound knowledge base of stained glass painting techniques to be built upon and referred to for future projects as well as memories of good times and friendships.” Ekaterina Reier used her scholarship for the same class. “We learned; we laughed; we exchanged experiences. And none of that would have been possible for me and several others in the group if it were not for the scholarship fund.” The scholarship awarded to Whitney Capps allowed her to em- bark on a “glass odyssey.” The odyssey included travels from Boston, Massachusetts, to the Big Easy. “None of those experiences would have been possible without the James C. Whitney Scholarships I received from the American Glass Guild and its generous members. I’m happy to say that I can see improvement in my work and am a more confident glass artist today than I was a year ago,” said Whitney.

1732 Wright Ave, Richmond CA (800) 227-1780 [email protected]

www.glashaus-magazin.de www.glasshouse.de

AGG workshop at Hunt Stained Glass led by Nick Parrendo GLASHAUS attended by students using AGG scholarship funds. Internationales Magazin für Studioglas Photo by Tony Glander.

Education, Dedication, and Inspiration The education, camaraderie, and dedication to the craft described by the participants would have made the scholarship’s namesake proud. Whitney was a strong supporter of the American Glass Guild during its inception. He approached his life, craft, and art with great passion and a high level of integrity. His zest for life and his pursuit of excellence have inspired many artists to increase their understanding and love of stained glass. The 2014 scholarship deadline is January 31, 2013, with notifica- tion of awards by February 28, 2014. Information and applications can K49413 EUR GLASHAUS / GLASSHOUSE 4/2013 7,50 be found at the AGG website as well as information on the 2014 conference, which will be held at Bryn Athyn College June 26–29, 2014. GLASSHOUSE

Visit www.americanglassguild.org for more information on becoming a member of the American Glass Guild. Tobias Hedwig Young Machiko Gerd © Copyright 2013 by Glass Art. Kammerer Emmert Masters Etchu Sonntag All rights reserved.

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 59 SAMA News

Featuring the latest from the Society of American Mosaic Artists Enthusiastic Response to SAMA’s Mosaic Demonstration at SOFA CHICAGO by Gwyn Kaitis

ore than 34,000 people attended the 20th year of SOFA CHICAGO, an art Mfair dedicated to Sculpture, Objects, Func- tional Art + Design, held at Navy Pier’s Festival Hall November 1–3, 2013. Galler- ies from 11 countries exhibited the work of numerous established and emerging glass, ceramic, wood, fiber, jewelry, and metal artists. The Society of American Mosaic Artists (SAMA) was pleased to participate in SOFA CHICAGO for the fifth year by presenting a space in which fairgoers could learn about mosaic art and materials while watching artists work continuously during the fair to create a “mosaic of mosaics.” This year’s demonstration had artists utilizing all-white tesserae out of glass, stone, and ceramic, which were then used to construct a larger wall mosaic that pro- gressively developed over the course of the fair.

Educational Partnership SAMA shares a commitment to education with SOFA that makes for an industrious affili- ation. The partnership has undergone growth over the years, beginning with a table in the Partner Pavilion and culminating in live demonstrations over the past three years. SOFA’s educational mission was read- ily apparent in the wide array of lectures and special events that took place during the show. Part of the show, Special Exhibits, is organized by museums and arts organizations. The latest exhibits included Intuit: The Center for Intuitive and Outsider Art, which created an “exquisite corpse” game for visitors to use their smartphones to explore their creativity and interact with other visitors. More than 3,300 people attended this year’s Lecture Series, which included talks by such luminaries as Lino Tagliapietra, William Morris, and Richard (Above) William Morris, Burial Urn, blown glass, steel stand and photo courtesy of Jolley and included “Paley on Park Avenue,” a William Morris Studio, Wexler Gallery. discussion with Albert Paley about his current New York City public sculpture installation. (Right) Mosaic created by Terrie Bollaert during SOFA CHICAGO demonstration. Photo by SAMA.

60 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com Collectors, curators, students, and artists discovered many new facets of the contemporary art world during the show. “I learned some of my first lessons about the contemporary craft field as a visitor to SOFA CHICAGO, and it continues to be an invaluable gathering of the field’s best and brightest,” said Dr. Glenn Adamson, newly appointed Nanette L. Laitman director of the Museum of Arts and Design in New York City. “Nowhere else can you see such a breadth of objects in glass, ceramics, textiles, and other media.” Visitors to SAMA’s exhibition area expressed considerable interest and enthusiasm in learning of the work involved in creating mosaic art as well as seeing the breadth of contemporary mosaic as shown in continuously looping DVDs of Mosaic Arts International (MAI) exhibitions, a juried show sponsored each SAMA artists demonstrating mosaic art year by SAMA in various parts of the country. The next Mosaic to the public at SOFA CHICAGO. Arts International will take place at the Williams Tower Gallery in Houston, Texas, April 24–May 30, 2014. Also in Houston, more A Prime Mosaic Marketplace than 500 international artists and arts enthusiasts are expected Sales were reportedly lively throughout the show with a Morris to attend the American Mosaic Summit, April 30–May 4, 2014. work from the Man-Adorned series selling for six figures by Wexler Gallery, which also sold works by Richard Marquis, Toots Zynsky, and Tagliapietra. A number of works by Jolley were sold by Litvak The Society of American Mosaic Artists, a nonprofit organization Gallery. Gallery owner, Thomas Riley of Thomas R. Riley Galleries of over 1,200 members, is dedicated to educating, inspiring, and in Cleveland, Ohio, shared: “SOFA CHICAGO has become a prime promoting excellence in mosaic arts. SAMA is the largest mosaic market driving force with a 20-year history of presenting fine art in arts organization in the world. More information about SAMA can a three-dimensional format. Artists and galleries have learned that be found at www.americanmosaics.org. this venue deserves the newest and best work.” © Copyright by Glass Art. All rights reserved.

www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 61 Advertisers' Index

Advertiser Page 1 Glass Impressions (920) 382-1807 www.1GlassImpressions.com 56 AAE Glass (239) 471-7724 www.aaeglass.com 19 A.R.T.CO +1.408.288.7978 www.ArtcoInc.com 37 Austin Thin Films, Inc. (800) 268-6163 www.dichro.com 22/23 Bullseye Glass www.bullseyeglass.com 45 C & R Loo Inc. (800) 227-1780 www.crloo.com 59 Coatings By Sandberg, Inc. (714) 538-0888 www.cbs-dichroic.com 5 Covington Engineering Corp. (877) 793-6636 www.covington-engineering.com 26 Cress Manufacturing (800) 423-4584 www.cresskilns.com 39 D&L Art Glass Supply (800) 525-0940 www.dlartglass.com 26 Denver Glass Machinery, Inc. (303) 781-0980 www.denverglass.com 45 Ed Hoy’s International (800) 323-5668 www.edhoy.com 5 Euclid’s Elements (800) 296-5456 www.euclids.com 27 Evenheat Kiln, Inc. (989) 856-2281 www.evenheat-kiln.com 56 Firelite Forms (888) 800-3901 www.fireliteforms.com 36 Fire Mountain Gems and Beads (800) 355-2137 www.firemountaingems.com 2 Flow, The (800) 719-0769 www.TheFlowMagazine.com 57 Franklin Art Glass (800) 848-7683 www.franklinartglass.com 10/11 Fused Fantasies (800) 719-0769 www.glasspatterns.com 27 Fusion Headquarters (503) 538-5281 www.fusionheadquarters.com 33 Gemini Saw Company, Inc. (310) 891-0288 www.geminisaw.com 63 GLAHAUS www.Glasshouse.de 59 Glass Accessories International www.glassaccessories.com 27 Glass Art (800) 719-0769 www.GlassArtMagazine.com 25/33/39 Glass Art Society (206) 382-1305 www.glassart.org 32 Glasscraft www.glasscraftinc.com 33 Glass Craft & Bead Expo (800) 217-4527 www.glasscraftexpo.com 62 GlassCraft Supply (800) 231-0148 www.glasscraft.net 42/43 Glass Expert Webinars™ (800) 719-0769 www.GlassPatterns.com 46 Glass Patterns Quarterly (800) 719-0769 www.GlassPatterns.com 38/42 Glastar (800) 423-5635 www.glastar.com 37 Gryphon Corporation (818) 890-7770 www.gryphoncorp.com 31 Hang Your Glass (650) 353-4642 www.HangYourGlass.com 36 His Glassworks, Inc. (828) 254-2559 www.hisglassworks.com 56 ISGB (612) 222-2243 www.isgb.org 37 Jen-Ken Kilns (800) 329-KILN www.jenkenkilns.com 32 Master Artisan Products (250) 382-9554 www.masterartisanproducts.com 54/55 Nortel Manufacturing (416) 438-3325 www.nortelmfg.com 30 Northwest Art Glass (800) 888-9444 www.nwartglass.com 7 Olympic Color Rods (800) 445-7742 www.glasscolor.com 19 Olympic Kilns (800) 241-4400 www.greatkilns.com 47 Paragon Industries (800) 876-4328 www.paragonweb.com 25 Paul Wissmach Glass Co., Inc. (304) 337-2253 www.wissmachglass.com 64 Premium Glass Products Inc. (800) 752-3501 www.premiumglass.net 25 Professional Glass Consultants (888) ETCHPRO www.EtchMaster.com 39 Ransom & Randolph (419) 794-1290 www.glass-cast.com 39 Rings & Things (800) 366-2156 www.rings-things.com 27 Skutt Kilns (503) 774-6000 www.skutt.com 3 Sunshine Glassworks Ltd. (800) 828-7159 www.SunshineGlass.com 47 Uroboros Glass Studios (503) 284-4900 www.uroboros.com 14/15

62 • Glass Art TM • January/February 2014 www.GlassArtMagazine.com www.GlassArtMagazine.com Glass Art TM • January/February 2014 • 63