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GlassNEWSLETTER OF THE NATIONAL Shards AMERICAN GLASS CLUB www.glassclub.org Founded 1933 A Non-Profit Organization Spring 2013 The True History losopher Paul Ricoeur while at the invitation of the Australia Council for of Glass? University of Chicago. At The Cor- the Arts. Marquis’ relationship with ning Museum of Glass (1978–1984) Australian artist Nick Mount initiated Museum of Glass presents “The True he curated three landmark exhibitions: a lineage of blown glass artists in Aus- History of Glass?” with William War- “New Glass,” “Tiffany’s Tiffany,” and tralia. The second story centers on mus. “Emile Gallé: Dreams Into Glass,” kiln-formed glass and the relationship On Saturday, May 18, at 1:00 pm, while pursuing an encyclopedic ap- between Klaus Moje, founder of the the Museum of Glass in Tacoma hosts proach that increased the modern glass workshop at Australian National internationally acclaimed curator and glass collection by 1,200 objects. He University in Canberra, and the Bulls- author William Warmus for a lecture was the editor of Glass, faculty mem- eye Glass Company in Portland, OR. entitled “The True History of Glass?”. ber and visiting artist at the Pilchuck In 1979, Moje met Boyce Lundstrom, Warmus was in the right place at the Glass School, and executive secretary co-founder of Bullseye Glass Compa- right time, just as studio glass was of the Glass Art Society. Warmus is ny, while at a workshop at Pilchuck coming together as an art movement the author of more than a dozen Glass School in Stanwood, WA. At in the United States in the late 1970s. books, including biographies of Louis Moje’s urging, Bullseye Glass Com- But, was the era he and his American Comfort Tiffany, René Lalique, Dale pany developed a line of compatible, colleagues lived through the true his- Chihuly, Tom Patti, Dan Dailey, and fusible glass that solved long-standing tory of glass in the late 20th century? Fran tišek Vízner. The True History of technical problems. This glass is wide- Warmus explores alternate histories Glass, his book about the art, history, ly used by Australian artists today. of, and futures for, glass as an art and sociology of contemporary glass, Vicki Halper, curator of the exhibi- form. He explains how techniques, will be published by 2014. He is a con- tion, notes, “The connections between aesthetics, and narratives emerge and tributing editor to Glass Quarterly. Australia and the Pacific Northwest then struggle to find a balance in art are longstanding and fascinating, but and nature. Son of a Corning Incor- Museum of Glass the differences between the art of the porated glassblower, he studied with 1801 Dock St. two regions are just as intriguing. Aus- art critic Harold Rosenberg and phi- Tacoma, WA 98402 tralians excel in fused and cold-worked (253) 284-4732 glass, which are not as prevalent in the www.museumofglass.org Pacific Northwest. Opaque surfaces and muted colors are likewise more dominate in Australian glass than in Glass from Australia the Pacific Northwest. Expect to be and the Pacific Northwest awed by what you see.” “This exhibition is long overdue Links: Australian Glass and the Pacific given the excellence of the work being Northwest. Exhibition at the Museum produced in Australia, and the interest of Glass, May 12, 2013–January 19, in it shown by important American 2014. mu seums and collectors,” states Susan This exhibition tells two related sto- Warner, Executive Director of the ries that began in the 1970s. In 1974, Museum of Glass. American artist Richard Marquis trav- The artists represented by this ex- elled to Australia to lecture, demon- hibition include: Clare Belfrage, Giles William Warmus. strate, and build glass studios at the Bettison, Gabriella Bisetto, Jane Bruce, Glass Shards • Page 2 Scott Chaseling, Cobi Cockburn, sion of each of their residencies. The A full-color catalog, copublished Nadège Desgenétez, Mel Douglas, first of these residencies features Nick with the University of Washington Ben Edols and Kathy Elliott, Tim Mount with Richard Marquis—two Press, will accompany the exhibition. Edwards, Brendan Scott French, Mel of the artists who forged the first links Essayists include Vicki Halper (Seat- George, Steve Klein, Jessica Loughlin, between Australia and the Pacific tle) a specialist in the art of the Pacific Dante Marioni, Richard Marquis, Northwest. Northwest and American craft; es- Klaus Moje, Tom Moore, Nick Mount, On Saturday, May 18, at 3:30 p.m. teemed Australian art historians Grace Stephen Proctor, Kirstie Rea, Tom the museum will host a panel discus- Cochrane (Sydney) and Margot Os- Rowney, April Surgent, Janice Vitkov- sion about the exhibition in the Hot borne (Adelaide); and Lani McGregor sky and Richard Whiteley. Approxi- Shop including Nadège Desgenétez, (Portland, OR), co-owner of Bullseye mately four pieces from each artist Jeremy Lepisto, Richard Marquis, Glass and director of Bullseye Gallery. will be in the exhibition for a total of Dante Marioni, and Klaus Moje, and A DVD will be available in fall 2013 92 pieces. moderated by Richard Whiteley, head showing glass processes and inter- The Museum of Glass will also pre- of the glass workshop at the School views with the makers. sent 17 weeks of visiting artists, most of Art, Australian National University of whom are represented in the exhibi- in Canberra. The discussion will be Museum of Glass tion, over the summer of 2013. Visitors streamed live around the world and 1801 Dock St. will have the rare opportunity to see shown at Australian National Univer- Tacoma, WA 98402 these artists at work in the Hot Shop sity in Canberra on Sunday, May 19, (253) 284-4732 and attend their lectures at the conclu- at 9:30 am (EDT). www.museumofglass.org “Life on a String” Showcases Glass Beads Life on a String: 35 Centuries of the ment, as symbols of power and wealth, Glass Bead. Special exhibition at The as traded goods, and as objects of ritu- Corning Museum of Glass, May 18, al, as well as illuminate the processes 2013–January 5, 2014. of beadmaking and beadworking. Symbolizing power, enabling orna- Highlights of the exhibition include mentation, and facilitating trade, glass early Venetian chevron and millefiori beads are miniature masterpieces that beads, Roman mosaic beads, West Af- have played significant roles through- rica bodom beads, Egyptian eye beads, out time and across cultures. This ma- Chinese horned eye beads, Japanese jor exhibition explores glass beads magatama beads, Bohemian beads that and beaded objects made by various imitate precious stones, North Ameri- cultures, representing 3,500 years of can beadworked garments, and con- human history. Life on a String: 35 temporary beaded objects by Joyce Centuries of the Glass Bead will show- Scott and David Chatt. case, for the first time, many important The size of glass beads often belies works from the large historical glass their importance. They can represent bead collection of The Corning Mu- wealth, symbolize gender and family seum of Glass as well as objects on relationships, or indicate social status, loan from seven institutions. all through meaning signified in their Beadwork bag. Europe, probably Austria, Life on a String will explore the use color and patterning. Economic and 1875–1895. Multicolored; knitted. L. 31 cm, W. 20.5 cm (82.3.71). of glass beads for fashion and orna- political relationships around the globe —especially during the period of Euro- pean colonization—are embodied in found at ancient glass manufacturing the beads manufactured in Europe and sites in the eastern Mediterranean from distributed in Africa and North Amer- the second millennium B.C. The beads ica. Their styles influenced indigenous in the exhibition demonstrate the vari- bead production, and ultimately, beads ations in manufacturing techniques made in formerly colonized lands fol- used to create beads and beaded ob- lowed a reverse course back to Europe. jects through time. A loom for beading Traded globally for centuries, glass and molds used to make powdered Five goldfish beads. Japan, 1868–1912. Col or less, opaque dark blue, opaque red, opaque beads are among the earliest attempts glass bodom beads will be on display white. Wound. Average Diam. 1.2 cm (61.6.7). at glass production and have been along with images of beads being pro- Glass Shards • Page 3 duced around the world, to illuminate will host its annual Seminar on Glass seum of Art at Cornell University, and the vast and rich history of techniques focused on glass beads and beadwork Longyear Anthropology Museum at for bead production. through time and from around the Colgate University. During the run of the exhibition, the world. museum will offer special narrated Lenders to the exhibition include The Corning Museum of Glass flameworking demonstrations to show The Metropolitan Museum of Art, One Museum Way techniques used to make glass beads, American Museum of Natural History, Corning, NY 14830 and visitors will have the opportunity Eliot Elisofon Photo Archives at the (800) 732-6845 to create beads in hands-on “Make National Museum of African Art, www.cmog.org Your Own Glass” experiences. On Rock well Museum of Western Art, October 18–19, 2013, the museum Fenimore Art Museum, Johnson Mu- President’s Letter ously consider joining what promises we have had an excellent response to to be a memorable and enjoyable tour. our requests for members to volunteer Dear Friends, Webmaster Francis Allen has also to serve in leadership positions. The Registration packages for the 29th posted the tour brochure on our Web ballots for electing new officers and Annual NAGC Seminar, May 8–10, site. directors was mailed to members in have been mailed, and the information Karen Petraglia, who now handles March, and you will also be receiving and registration form are posted on our requests for NAGC videos and re- your dues renewal notices in the near Web site.