DOCSLIB.ORG

For the Creative Professional Working in Hot, Warm, and Cold Glass November/December 2014

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
For the Creative Professional Working in Hot, Warm, and Cold Glass November/December 2014 For the Creative Professional Working in Hot, Warm, and Cold Glass November/December 2014 $7.00 U.S. $8.00 Canada Volume 29 Number 6 www.GlassArtMagazine.com Email-Only Offers Sign Up Today One Fire Mountain Way, DEPT C066 Grants Pass, OR 97526-2373 1-800-355-2137 Request your Free America’s Favorite 392 page catalog or go online to see Beading and Jewelry over 120,000 hot Supply Company® jewelry-making products You supply the creativity, we supply everything else!® Showcasing the artwork of Deborah Weaver, OR Fire Mountain Gems and Beads© 2014 Pro Series THE ARTIST WHY RYAN LIKES THIS KILN Ryan Staub is a glass artist who has • Best one on the market. blown glass in 11 different coun- • Gathering port is just right, not so tries and territories, working with all small it’s hard to gather out of, not kinds of glass and glass equipment. so big it dumps all the heat when He currently owns and operates you gather. his own studio in his hometown of • Great for a small home or garage Seattle, Washington. His work can studio. be found in many collections world- • Good addition to a full sized glass- wide as well as online at: blowing studio as an affordable www.ryanstaub.com color pot. • Easy to ramp down slowly, minimiz- ing risk to your crucible. Find out more at • Small and easy to store when not in skutt.com use. • Easily programmable controller with indefinite hold. • Easy to install. • Low energy use, high efficiency. (Average cost is $15/day) staub Gas.indd 1 1/15/14 1:31 PM Letter from the Editor 6 A Fall Farewell to David Alcala by Shawn Waggoner Pioneers in Glass 8 Fritz Dreisbach’s 50 Years of Blowing Glass by Shawn Waggoner November/December 2014 Volume 29, Number 6 Independent Artist Adam Holtzinger 14 The Art of Teamwork by Shawn Waggoner Winning Glass 18 Bullseye Emerge 2014 Winners by Michael Endo GAS News Glass Art Conference 2015 20 Honoring Paul J. Stankard and Mary B. White for a Lifetime of Creativity by The Staff of the Glass Art Society Working Greener UrbanGlass 24 All that Was Made New Again by Colleen Bryan Skills and Techniques Pâte de Verre Eggshell Thin Technique 30 Design, Fabrication, and Text by Shin-ichi and Kimiake Higuchi 35 Readers’ Forum Marketing 36 Tips for Increasing Your Social Media Presence by Mark Veit Art Glass Studio Profile Indre McCraw 38 Making Her Unknown Known by Shawn Waggoner SGAA News 44 Infinite Horizons SGAA’s 2015 Summer Conference Exhibition Educational Glass Vetrate Artistiche Toscane 46 Stained Glass Apprenticeship in Tuscany by Shawn Waggoner AGG News 5 0 A “Glasstopia” Success by Tony Glander 2014 Glass Craft Emerging Artist Award Winner 52 Filip Vogelpohl GEAA Gallery of Excellence 54 Glass Craft & Bead Expo Celebrates 20 Years by Shawn Waggoner What’s New Above: Shin-ichi Higuchi, Butterfly, 10 cm x 9 cm x 5cm. Featuring the latest in books and On the cover: Fritz Dreisbach, Flamingo, Grapes, and 59 products for the glass enthusiast Pink Singing Scallops Goblets, tallest 15", 1991. by Darlene Welch Like us on Facebook. Also pin us on Pinterest. 62 Advertisers’ Index 4 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 5 Glass Art Letter from the Editor Volume 29, Number 6 A Fall Farewell to David Alcala Publisher ~ Maureen James Editor ~Shawn Waggoner On September 6, 2014, the world lost one of the Copy Editor ~ Darlene Welch good ones. David Alcala was a generous, kind, talented, Accounting ~ Rhonda Sewell and creative soul who touched all those he met with his Circulation Manager ~ Kathy Gentry gracious and positive personality. Born in Stockton, California, in 1951, Alcala served in the U.S. Army Advertising ~ Maureen James and later pursued his artistic side in Hawaii. A resident Graphic Artists ~ Dave Burnett of Pacific Grove for the past 14 years, Alcala and wife Mark Waterbury Claudia established their Sand To Glass Design Studio Contributing Artists and Writers there. Beginning in 2011, David traveled throughout the Colleen Bryan, Michael Endo United States, Canada, and Europe as one of the top instructors and innovators in the glass industry. He was respected and honored by many for his selfless contributions. Tony Glander, Kimiake Higuchi Alcala, who worked for many years as a master sand artist, turned the kiln forming Shin-ichi Higuchi, Mark Veit world on its edge with his vertical approach to designing with layers of frit. His “Sand The Staff of the Glass Art Society Tapestry” technique involves standing two pieces of glass upright with a small space be- Shawn Waggoner, Darlene Welch tween them. The space is filled with layers of colored frit to create incredible imagery. Says Glass Art™ long-time friend and fellow kiln forming pioneer, Gil Reynolds: “This was a breakthrough approach. What he proposed to me was a new glass binder that would hold frit together ISSN 1068-2147 is published bimonthly in sheets that could be cut with scissors. The binder had to be strong, flexible, and burn by Glass Patterns Quarterly, Inc. away clear. Together we tried multiple chemical compositions until we came up with just POSTMASTER: Send address the right formula, and Flexi-Glass was born.” Alcala periodically spent time at Reynolds’ changes to Glass Art, studio where the two devoted many hours to testing, experimenting, and just playing with 8300 Hidden Valley Road, glass. “We had some wonderful times. He was a joy to be around, and he will be missed.” P.O. Box 69, Westport, KY 40077 Alcala is survived by his wife Claudia, sons Mark and Sean, sister Laura Alcala-Murray, stepchildren, 12 grandchildren, numerous cousins, nieces, and nephews, and a world of Telephone: 800-719-0769 glass artists and friends. 502-222-5631 Alcala was doing what he loved, teaching, when he passed away. Says Claudia: “I Facsimile: 502-222-4527 have received kind words from many people whose lives he touched. Thank you so much. Website: www.GlassArtMagazine.com He would think he was not deserving of all the attention. David truly loved teaching and E-mail: [email protected] inspiring others by sharing his ideas and his passion for art.” Subscriptions: United States, Canada, Keeping Alcala’s legacy alive by staying creative, and Mexico (U.S. Funds): one year $30; two years $48; three years $60. Foreign (U.S. Funds): one year $56, one year Shawn Waggoner airmail $70. Single copy price (U.S.) $7. Editor All subscriptions must be paid in 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. ©2014 Glass Patterns Quarterly, Inc. All items submitted to Glass Art become Blue Opal by David Alcala the sole property of Glass Art and cannot be reproduced without the written con- Donations for the David Alcala Memorial Fund are being accepted to help Alcala’s family sent of the publisher. Advertisers and/or at www.biddingforgood.com/auction/item/Donate.action?auctionId=222539796. agencies assume all liabilities for printed Deadlines for Advertising advertisements in Glass Art. Opinions January/February 2015 March/April 2015 expressed in Glass Art may not necessar- ily reflect the opinion of the magazine, its Ad Closing November 20, 2014 Ad Closing January 20, 2015 Ad Materials November 30, 2014 Ad Materials January 30, 2015 management, or its advertisers. Issue Mails December 23, 2014 Issue Mails February 20, 2015 6 • Glass Art TM • November/December 2014 www.GlassArtMagazine.com www.GlassArtMagazine.com Glass Art TM • November/December 2014 • 7 Pioneers in Glass FritzFritz Dreisbach’sDreisbach’s 50 Years of Blowing Glass “In works ranging from the delicate to the gigantic, from fluted, crystalline goblets that epitomize the moment of their making to massive vases that alter the time and space of their apprehension, Dreisbach has identified the knack of blowing glass closely with the art produced more thereby than anyone before.” Geoffrey Wichert by Shawn Waggoner Fritz Dreisbach at Benjamin Moore Inc., Seattle, Washington, 1990. qual parts artist, scientist, and historian, Fritz Dreisbach has spent the last five decades teaching and demonstrating glass- Eblowing around the world. This “Johnny Appleseed of Glass” has himself played a vital role in the history of the American Studio Glass movement that he now strives to preserve and share with the next generation of artists and enthusiasts. Born in Cleveland, Ohio, Dreisbach grew up in Akron as part of a family of educators. His father, a college chemistry professor, and mother, a high school music and literature teacher, laid the founda- tion for their son to eventually achieve the level of Conciatore— versed in both art and science. A classic glass alchemist, Dreisbach holds two bachelor degrees, one in art and one in math. This duality is reflected in both his technical consulting for glass studios and factories as well as his continued exploration of hot glass. Dreisbach studied painting at the University of Iowa, earning his Master of Arts degree. Planning to eventually teach college level art, his advisor instructed him to study a wide variety of media. A two-credit, experimental course in glassblowing was part of the curriculum. Serendipitously, his love affair with glass began the sum- mer of 1964, only two years after the seminal ’62 Toledo Museum of Art (TMA) workshops. That summer, Dreisbach first met and was inspired by three pioneers of Studio Glass—Harvey Littleton, Dominick Labino, and Erwin Eisch. Dreisbach continued studies at the University of Wisconsin, earning his Master of Fine Arts degree.
Load more

Recommended publications
  • Edward M. Eyring
    The Chemistry Department 1946-2000 Written by: Edward M. Eyring Assisted by: April K. Heiselt & Kelly Erickson Henry Eyring and the Birth of a Graduate Program In January 1946, Dr. A. Ray Olpin, a physicist, took command of the University of Utah. He recruited a number of senior people to his administration who also became faculty members in various academic departments. Two of these administrators were chemists: Henry Eyring, a professor at Princeton University, and Carl J. Christensen, a research scientist at Bell Laboratories. In the year 2000, the Chemistry Department attempts to hire a distinguished senior faculty member by inviting him or her to teach a short course for several weeks as a visiting professor. The distinguished visitor gets the opportunity to become acquainted with the department and some of the aspects of Utah (skiing, national parks, geodes, etc.) and the faculty discover whether the visitor is someone they can live with. The hiring of Henry Eyring did not fit this mold because he was sought first and foremost to beef up the graduate program for the entire University rather than just to be a faculty member in the Chemistry Department. Had the Chemistry Department refused to accept Henry Eyring as a full professor, he probably would have been accepted by the Metallurgy Department, where he had a courtesy faculty appointment for many years. Sometime in early 1946, President Olpin visited Princeton, NJ, and offered Henry a position as the Dean of the Graduate School at the University of Utah. Henry was in his scientific heyday having published two influential textbooks (Samuel Glasstone, Keith J.
    [Show full text]
  • Bullseye Glass Co. / Classes & Special Events
    Bullseye Glass Co. | Classes & Special Events May to September 2012 • Emeryville, California From the Director Artist Klaus Moje at Resource Center Portland, 2007. What is Kiln-Glass? In 1974 three self-described “hippie glassblowers” started Bullseye Glass Company, a small factory for making specialty sheet glass in Portland, Oregon. While they initially focused on making colored sheets for use in stained glass, they aspired to do what had never been done before: to produce a palette of colored glasses tested to be compatible for fusing with one another for producing works in the kiln. By 1979 they had succeeded, but immediately ran into a challenge: they had created something remarkable for which almost no demand existed. Ever the innovators, they decided to embark on a long-term program of research projects working directly with artists to help pioneer and expand the technical, aesthetic and conceptual development of the field that is today known as kiln-glass. Kiln-glass is a term that describes an enormous range of techniques and outcomes that are radically more accessible than many other working methods, such as glassblowing, in which one must first develop basic physical skills for years before being able to effectively realize well-executed works. By contrast, many of the skills required for kiln-glass are things that most artists already possess: an understanding of design, composition, color theory, and the ability to conceive of layers of process and material application. And while kiln-glass does require basic knowledge of technical issues and nuances, these are readily obtained in short order through publications and curriculum that have been developed as an outgrowth of Bullseye’s years of collaboration with artists.
    [Show full text]
  • Art Glass Classes 2017 CONTENTS
    Art Glass Classes 2017 CONTENTS About Kiln-Glass 2 Kilncasting 15 Bullseye Resource Centers 3 Open Studio 17 Introductory Classes 4 Instructors 18 Kilnforming Techniques 7 Registration and Policies 23 Drawing, Painting and Printmaking 13 Locations 23 ABOUT KILN GLASS Richard Parrish. See his class on page 11. Kiln-glass provides an enormous range of levels—from glass fusing beginners to advanced kilnformers—in a techniques and results that are easily accessible. supportive and inspirational environment. Working with this remarkable material requires two things that most artists already possess: an And as you learn to do amazing things with kiln-glass, you’ll also benefit from Bullseye’s decades of research into materials, processes, understanding of design, composition, and color products, and equipment. theory; and the ability to conceive of layers of process and material application. Note: This catalog provides an overview of the kinds of courses we offer, but our Research & Education team continues to design While kiln-glass does require technical knowledge, this can be new courses. The complete schedule of offerings is available at obtained in short order through courses in this catalog, developed bullseyeglass.com/classes. You can also sign up for email updates at by Bullseye through years of collaboration with artists from bullseyeglass.com/email (we never share or sell your address). many mediums. We offer classes year round for students at all 2 BULLSEYE RESOURCE CENTERS Bullseye’s Resource Centers are world-class teaching centers, offering short courses year round for students at all levels, as well as free artist talks and demonstrations.
    [Show full text]
  • FUSED GLASS PLAID PLATE Free Fused Glass Project
    Come Join Us! FUSED GLASS PLAID PLATE Free Fused Glass Project #551 Materials List: Materials List for COE 90 or COE 96 COE 90 Item# 90905 (Qty 2) White Opal Base Sheet Glass 8 x 8 OR use Clear Glass and make sure of slumping mold size) Item# 90915 Qty 1 Clear Sheet Glass 8 x 8 Item# 90906 Qty 1 Deep Royal Purple Sheet Glass 8 x 8 Item# 90945 Qty 1 Green Sheet Glass 8 x 8 Item# 90902 Qty 1 Light Turquoise Sheet Glass 8 x 8 COE 96 Item# 96905 (Qty 2) White Opal Base Sheet Glass 8 x 8 OR use Clear Glass and make sure of slumping mold size) Item# 96915 Qty 1 Clear Sheet Glass 8 x 8 Item# 96906 Qty 1 Deep Royal Purple Sheet Glass 8 x 8 Item# 96945 Qty 1 Green Sheet Glass 8 x 8 Item# 96902 Qty 1 Light Turquoise Sheet Glass 8 x 8 FUSING SUPPLIES: Other Items: Item# 41513 Bullseye Shelf Paper 1 square foot or Item# 41514 Papyros Shelf Paper 1 square foot Item# 41232 Mold Curved Square (This project will work other square molds and look wonderful so do not limit yourself to just one mold.) Item# 41507 Fuser's Glue Other Materials: · Cold Polishing - (one of the following) · Grinder · Abrasive Stone · Diamond Nail File · 3M™ Diamond Coated Sanding Sponges Clean Up Supplies: · Rubbing Alcohol, Dish Washing Detergent · Cloth with very little lint (old T-shirt) Step 1 - Preparation · Grind to round each of the 4 corners of the larger square used as the base piece of glass.
    [Show full text]
  • Ghana's Glass Beadmaking Arts in Transcultural Dialogues
    Ghana’s Glass Beadmaking Arts in Transcultural Dialogues Suzanne Gott PHOTOS BY THE AUTHOR EXCEPT WHERE OTHERWISE NOTED hanaian powder-glass beads first captured spread of West African strip-weaving technologies. my attention in 1990, when closely examin- With the beginnings of European maritime trade in the late ing a strand of Asante waist beads purchased fifteenth century, an increasing volume of glass beads and glass in Kumasi’s Central Market. Looking at the goods were shipped to trade centers along present-day Ghana’s complex designs of different colored glasses, Gold Coast,1 stimulating the growth of local beadworking and I was struck with the realization that each powder-glass beadmaking industries. The flourishing coastal bead had been skillfully and painstakingly crafted. This seem- trade achieved a more direct engagement between European Gingly humble and largely unexamined art merited closer study merchants and trading communities than had been possible and greater understanding (Fig. 1). I worked with Christa Clarke, with the trans-Saharan trade, and enhanced European abilities Senior Curator for the Arts of Global Africa at the Newark to ascertain and respond to local West African consumer pref- Museum, to develop the 2008–2010 exhibition “Glass Beads of erences. This interactive trade environment also facilitated the Ghana” at the Newark Museum to introduce the general public impact of the demands of Gold Coast consumers on European to this largely overlooked art (Fig. 2). The following study pro- product design and production, a two-way dynamic similar to vides a more in-depth examination of Ghanaian glass beadmak- the trade in African-print textiles (Nielsen 1979; Steiner 1985).
    [Show full text]
  • GLASS in a NEW LIGHT JUNE 9-11, 2016 Corning2016
    Corning2016 GLASS ART SOCIETY’S 45th ANNUAL CONFERENCE CREATING CONTEXT: GLASS IN A NEW LIGHT JUNE 9-11, 2016 Corning2016 THE GLASS ART SOCIETY is a 501c3, non-profit, international organization whose purpose is to encourage excellence, to advance education, to promote the appreciation and development of the glass arts, and to support the worldwide community of artists who work with glass. BOARD OF DIRECTORS 2015-2016 STAFF President Cassandra Straubing Pamela Figenshow Koss, Executive Director Vice President Kim Harty Kristin Galioto, Communications Manager Vice President Natali Rodrigues Shelbey Lang, Executive Assistant Treasurer Roger MacPherson Ted Cotrotsos, Graphic Designer* Secretary Tracy Kirchmann Laurie Streiner, Event Planner* Alex Bernstein Marc Petrovic Anne Beranger Giese, Corning Logo Designer Chris Clarke Charlotte Potter *part-time/contract Kelly Conway Stephen Rolfe Powell Matt Durran Masahiro Nick Sasaki REGISTER BY MARCH 1, 2016 for the lowest BJ Katz Jan Smith conference fee. Register online: www.glassart.org Ed Kirshner David Willis Jeff Lindsay Student Rep Amanda Wilcox GAS 2016 CONFERENCE CO-CHAIRS 6512 23rd Avenue NW, Suite 329 Ellen Corradini Michael Rogers Seattle, Washington 98117 USA Steve Gibbs Chris Sharkey Tel: 206.382.1305 Fax: 206.382.2630 Angus Powers [email protected] www.glassart.org 2 CONTENTS Centerway Square, downtown Corning 02 GAS Board & Staff 15 Students and Schools 04 Welcome to Corning • Education and Professional Resource Center 04 Letter from the Conference Co-Chairs • Poster Presentations
    [Show full text]
  • Glass Shards • Page 2
    GlassNEWSLETTER OF THE NATIONAL Shards AMERICAN GLASS CLUB www.glassclub.org Founded 1933 A Non-Profit Organization Summer 2016 News Highlights from the 2016 Seminar in Norfolk There were many wonderful experi- Museum. After her lecture, we were historic glassblowing techniques, blew ences that the attendees of the 2016 divided into two small groups and re- one of his favorite styles, a pillar- Seminar shared during the three-day ceived the rare opportunity of visiting molded pitcher. Although we have all gathering but a few events were high- the Ceramic and Glass Vault. Attend- seen glassblowing demonstrations lights of the Seminar. After visiting ees sat around tables and objects from countless times, Art, who was assisted the incredible home of Carolyn and the collection were discussed, passed by a Studio staff member, had the Richard Barry, filled with the amazing around, and handled. group captivated by working and art and spectacular contemporary glass, Another highlight was the glass- discussing each step in the process. the attendees traveled to the DeWitt blowing demonstration by NAGC Amazingly, Art had not blown a piece Wallace Museum of Decorative Arts Second Vice President Art Reed. The of glass for four years since concen- at Colonial Williamsburg. Chrysler Museum of Art acquired an trating on his wooden glassblowing Suzanne Hood, Curator of Ceramics old bank across the street from the block and mold business. and Glass at the Colonial Williamsburg museum and renovated the building Both the visit to Colonial Williams- Foundation (CWF) gave us an informa- into a glass studio. The Studio has be- burg’s DeWitt Wallace Museum of tive lecture about the glass collection come one of the most popular venues Decorative Arts and the glassblowing and why the CWF acquired the pieces.
    [Show full text]
  • (Pdf) Download
    RESUME Tapiaco (pseudonym for Willi Smeuninx) Hasselt °03 08 1944. EDUCATION 1962 - '66: "Provinciaal Hoger Instituut voor Architectuur en Toegepaste Kunsten" (PHL University College for Architecture and Applied Arts) in Hasselt (speciality: graphic art, stained glass art and monumental art) directed by. H. Pauwels, R. Daniëls en J. Jans; 1968 - '72: "Koninklijke Academie voor Schone Kunsten" (The Royal Academy of Fine Arts) in Antwerp (free student painting art) directed by R. Meerbergen, J. Vaerten, F. De Bruyn, V. Dolphijn, W. Pas; 1969: “Akademie Vytvarnich Umeni in Prague” (Academy of Fine Arts) Specialization scholarship granted by the Flemish Ministry of Culture: painting art and lithography) directed by F. Jiroudek, Cepelak; 1979: "Vysoka Skola Umeleckoprumyslova" in Prague (Academy of Arts, Architecture and Design) (Research scholarship granted by the Flemish Ministry of Culture: glass art) directed by Libensky, Harcuba; 1979: Autodidact glass etching techniques. EXHIBITIONS Individual Exhibitions - 1964: August Cuppensbibliotheek (Library August Cuppens), Beringen (B) (Applied arts); - 1967: “Le Soutien aux Jeunes Peintres”(Support to Young Painters), Brussels (B); - 1968: Euro-Artes, Airport Deurne, Antwerp (B); - 1969: Klub 17-november University, Prague; - 1969: “Akademie Vutvarnich Umeni” (Academy of Fine Arts), Prague; - 1977: Gallery Hendrik De Braeckeleer, Antwerp (B); - 1977: Gallery Stijn, Hoboken (B); - 1977: Gallery Acantus, Hasselt (B); - 1984: Gallery Casino, Beringen (B) (Provincial Cultural Centre Limburg); -
    [Show full text]
  • Bullseye Glass Catalog
    CATALOG BULLSEYE GLASS For Art and Architecture IMPOSSIBLE THINGS The best distinction between art and craft • A quilt of color onto which children have that I’ve ever heard came from artist John “stitched” their stories of plants and Torreano at a panel discussion I attended a animals (page 5) few years ago: • A 500-year-old street in Spain that “Craft is what we know; art is what we don’t suddenly disappears and then reappears know. Craft is knowledge; art is mystery.” in a gallery in Portland, Oregon (page 10) (Or something like that—John was talking • The infinite stories of seamstresses faster than I could write). preserved in cast-glass ghosts (page 25) The craft of glass involves a lifetime of • A tapestry of crystalline glass particles learning, but the stories that arise from that floating in space, as ethereal as the craft are what propel us into the unknown. shadows it casts (page 28) At Bullseye, the unknown and oftentimes • A magic carpet of millions of particles of alchemical aspects of glass continually push crushed glass with the artists footprints us into new territory: to powders, to strikers, fired into eternity (page 31) to reactive glasses, to developing methods • A gravity-defying vortex of glass finding like the vitrigraph and flow techniques. its way across the Pacific Ocean to Similarly, we're drawn to artists who captivate Emerge jurors (and land on the tell their stories in glass based on their cover of this catalog) exceptional skills, but even more on their We hope this catalog does more than point boundless imaginations.
    [Show full text]
  • Capturing, Preserving, and Sharing the Sounds of Glassmaking
    arts Article Makers Marks: Capturing, Preserving, and Sharing the Sounds of Glassmaking Lisa Naas 1,* and David Faleris 2 1 School of Design, Edinburgh College of Art, University of Edinburgh, Edinburgh EH3 9DF, UK 2 Independent Composer, Glasgow G12 9SW, UK; [email protected] * Correspondence: [email protected] or [email protected] Received: 30 November 2018; Accepted: 24 January 2019; Published: 30 January 2019 Abstract: The Makers Marks Collaborative, an international team of glass artists, visual designers, composers, and engineers, embarked on a project together from 2015–2016 to use the glassmaking studio as a staging ground for interdisciplinary, collaborative making. The team aimed to capture and preserve the sounds of traditional studio glassmaking, and then to share them outside the workshop domain through digital technologies and glass art objects. The goal was also to fulfill a public engagement grant from the Royal Academy of Engineering to highlight the engineering through the art and the engineers’ vision within the art making. The team recorded and isolated the unique sounds of the glassblowing process and its studio environment, and then used the resulting digital sound collection as the foundation for developing artistic outputs: a virtual instrument library, a glass object-instrument of performance, a series of glass objects translating selected virtual instruments, and a music composition. They questioned the nature and materiality of glass through dialogue between media and conversation among team members, while exploring the practice-based research question: “How can we embed our recorded sounds of the glassmaking process back into the glass itself?” This paper focuses on the collaborative, interdisciplinary making process of the team, the project outputs, and the metaphorical language that was a key process facilitation tool.
    [Show full text]
  • ORNAMENT 30.3.2007 30.3 TOC 2.FIN 3/18/07 12:39 PM Page 2
    30.3 COVERs 3/18/07 2:03 PM Page 1 992-994_30.3_ADS 3/18/07 1:16 PM Page 992 01-011_30.3_ADS 3/16/07 5:18 PM Page 1 JACQUES CARCANAGUES, INC. LEEKAN DESIGNS 21 Greene Street New York, NY 10013 BEADS AND ASIAN FOLKART Jewelry, Textiles, Clothing and Baskets Furniture, Religious and Domestic Artifacts from more than twenty countries. WHOLESALE Retail Gallery 11:30 AM-7:00 PM every day & RETAIL (212) 925-8110 (212) 925-8112 fax Wholesale Showroom by appointment only 93 MERCER STREET, NEW YORK, NY 10012 (212) 431-3116 (212) 274-8780 fax 212.226.7226 fax: 212.226.3419 [email protected] E-mail: [email protected] WHOLESALE CATALOG $5 & TAX I.D. Warehouse 1761 Walnut Street El Cerrito, CA 94530 Office 510.965.9956 Pema & Thupten Fax 510.965.9937 By appointment only Cell 510.812.4241 Call 510.812.4241 [email protected] www.tibetanbeads.com 1 ORNAMENT 30.3.2007 30.3 TOC 2.FIN 3/18/07 12:39 PM Page 2 volumecontents 30 no. 3 Ornament features 34 2007 smithsonian craft show by Carl Little 38 candiss cole. Reaching for the Exceptional by Leslie Clark 42 yazzie johnson and gail bird. Aesthetic Companions by Diana Pardue 48 Biba Schutz 48 biba schutz. Haunting Beauties by Robin Updike Candiss Cole 38 52 mariska karasz. Modern Threads by Ashley Callahan 56 tutankhamun’s beadwork by Jolanda Bos-Seldenthuis 60 carol sauvion’s craft in america by Carolyn L.E. Benesh 64 kristina logan. Master Class in Glass Beadmaking by Jill DeDominicis Cover: BUTTERFLY PINS by Yazzie Johnson and Gail Bir d, from top to bottom: Morenci tur quoise and tufa-cast eighteen karat gold, 7.0 centimeters wide, 2005; Morenci turquoise, lapis, azurite and fourteen karat gold, 5.1 centimeters wide, 1987; Morenci turquoise and tufa-cast eighteen karat gold, 5.7 centimeters wide, 2005; Tyrone turquoise, coral and tufa- cast eighteen karat gold, 7.6 centimeters wide, 2006; Laguna agates and silver, 7.6 centimeters wide, 1986.
    [Show full text]
  • Download New Glass Review 15
    eview 15 The Corning Museum of Glass NewGlass Review 15 The Corning Museum of Glass Corning, New York 1994 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, daB sie inner- the 1993 calendar year. halb des Kalenderjahres 1993 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 Telephone: (607) 937-5371 Fax: (607) 937-3352 All rights reserved, 1994 Alle Rechte vorbehalten, 1994 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland Standard Book Number 0-87290-133-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Library of Congress 81-641214 unter der Nummer 81 -641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstlerlnnen und Objekte 10 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 58 etztes Jahr an dieser Stelle beklagte ich, daB sehr viele Glaskunst- Jury Statements Ller aufgehort haben, uns Dias zu schicken - odervon vorneherein nie Zeit gefunden haben, welche zu schicken. Ich erklarte, daB auch wenn die Juroren ein bestimmtes Dia nicht fur die Veroffentlichung auswahlen, alle Dias sorgfaltig katalogisiert werden und ihnen ein fester Platz in der Forschungsbibliothek des Museums zugewiesen ast year in this space, I complained that a large number of glass wird.
    [Show full text]