FALL 2011/WINTER 2012

The

Studiot h e c o r n i n g m u s e u m o f g l a s s Come and experience at The Studio of The Corning Museum of Glass. Whether you are new to glass or are a seasoned professional, we offer classes at all levels by the talented instructors who teach at our state-of-the-art facility.

In the fall, we offer classes on weekends and in the evenings, perfect for those who want to explore glassmaking without making an intense commitment. Techniques range from , flameworking, fusing, and to mosaics, photosandblasting, and even Precious Metal Clay with glass.

If you are looking for a more in-depth experience, please join us for one of our one-week intensive classes in the winter with famous instructors who come from around the world. This year, we are offering classes in a variety of techniques, including glassblowing, sculpting, kiln working, casting, flameworking, engrav- ing, cold working, and glass painting. We are also bringing back the popular Glassworking through the Ages, a special class focusing on important glass objects and the techniques that were used to create them.

While you’re here, we invite you to spend some time experiencing the Museum’s Rakow Research Library. The Rakow Research Library houses the world’s most comprehensive collection of materials on the art and history of glass and glass- making. Research glass formulae, view contemporary artist videos, and more.

As you work to create objects of beauty, enjoy free Museum admission to explore the world’s best collection of glass. This fall, special exhibitions include a focus show on Toots Zynsky’s work, and exhibits on Harvey K. Littleton and Dominick Labino to celebrate the 50th anniversary of the American movement.

Let us help you develop your passion for glass. Join us at The Studio this fall or winter…or both! 607.438.5100 • www.cmog.org 607.438.5100 • www.cmog.org

Amy Schwartz William Gudenrath Director, The Studio Resident Adviser, The Studio

The Studio of The Corning Museum of Glass • One Museum Way • Corning, NY 14830-2253 Phone 607.438.5100 • Fax 607.438.5150 • E-mail [email protected] THE STUDIO OF THE CORNING MUSEUM OF GLASS

FALL 2011/WINTER 2012 PROGRAMS

TABLE OF CONTENTS Fall Programs 2011 Ten-Week Sessions 2 Weekend Workshops 3 One-Day Workshops 7 Instructor Biographies 8 Registration Information 9

Winter Programs 2012 Intensive Classes 10 Registration Information 30

Additional Information Student and Artist Resources 33 Residency Programs 34 Other Glassmaking Experiences 35 Travel Information 35 The Studio’s Scholarship Funds 36 Application Form 37 FALL 2011 PROGRAM

TEN-WEEK SESSIONS

These 10-week courses allow students of all CONTINUING GLASSBLOWING FALL levels to explore glassmaking. Classes meet Wednesdays, 7:00 p.m.–10:00 p.m. once each week for three hours. Each class Instructor: Lorin Silverman begins the week of September 25 and ends the week of November 27. Tuition is $440 In this course, students will build their for the entire 10 weeks, which covers basic glassblowing confidence by improving their supplies for the class. Registration is on a gathering, marvering, blowing, and punty skills. first-come, first-served basis, as class sizes Some glassblowing experience is required. are limited. Full payment must be received before September 13 to ensure a spot in the FLAMEWORKING class. See page 9 for registration information. BEGINNING FLAMEWORKING GLASSBLOWING Mondays, 7:00 p.m.–10:00 p.m. Instructor: Josh Powers BEGINNING GLASSBLOWING Through demonstration and hands-on prac- Mondays, 7:00 p.m.–10:00 p.m. tice, students will develop a strong foundation Instructor: Allison Duncan for flameworking borosilicate glass. Topics will include properties of the material, color usage, Intended for beginners, this course will the techniques used in creating solid sculpture, emphasize learning the basic skills necessary and how to construct objects. No glasswork- to complete simple blown vessels. Class time ing experience is required. will be divided between demonstrations and 2 supervised work time, with individual attention BEADMAKING & for each student. No glassworking JEWELRY DESIGN experience is required. Wednesdays, 7:00 p.m.–10:00 p.m. INTRODUCTION TO Instructor: Linda McCollumn CANEWORKING Students will develop a foundation for creating Tuesdays, 7:00 p.m.–10:00 p.m. flameworked beads using Moretti soft glass. Instructor: Jeremy Unterman They will learn to shape beads with confidence 607.438.5100 • www.cmog.org 607.438.5100 • www.cmog.org This course will introduce students to the pro- and consistency, and explore jewelry design, cesses of making a variety of glass cane styles material usage (including advanced tech- and then incorporating them into solid and niques), and color blending. Students should blown forms. Students will begin by creat- bring notebooks to class. No glassworking ing the simplest single-color core cane, and experience is required. then move on to more complex cane styles. Students may bring drawings to class. Some glassblowing experience is required. WEEKEND WORKSHOPS

Weekend workshops, held Saturdays and FLAT GLASS FALL Sundays from 10:00 a.m. to 4:00 p.m., offer FUNCTIONAL FUSING students the opportunity to study glassworking Tuesdays, 7:00 p.m.–10:00 p.m. without making a long-term commitment. Instructor: Janet Dalecki Tuition for each weekend workshop is $220. See page 9 for registration information. Students will learn how to cut flat glass, arrange the pieces into patterns, and apply fusing tech- Participants in need of accommodations may niques to create functional dishes and other contact the nearby Days Inn of Corning at pieces of fused dinnerware. Students will fuse 607.936.9370. Please identify yourself as a their own designs into various shaped molds. student at The Studio. All hot-glass work No glassworking experience is required. requires overnight cooling in an annealer. Work created on Sunday may be picked up Monday or shipped at an additional fee.

GLASSBLOWING

BEGINNING GLASSBLOWING

October 1 – 2 Quinn Doyle October 8 – 9 Brenna Baker November 12 – 13 Brenna Baker 3

Students will learn the basics of blowing and manipulating glass. They will then create simple glass objects, such as colorful paperweights, flowers, free-form sculptures, and vessels. No glassworking experience is required.

NEXT STEPS IN GLASSBLOWING

October 15 – 16 Lorin Silverman November 19 – 20 Lorin Silverman

Students who have completed a beginning glassblowing workshop are invited to build on their basic skills. Using both colorless and colored glass, they will create objects such as cups, vessels, and sculptures. Basic glassblow- ing experience is required. WEEKEND WORKSHOPS Cont’d

GLASSBLOWING BEGINNING FLAMEWORKING FALL October 8 – 9 VESSELS Instructor: Jim Byrnes October 22 – 23 Through demonstration and ample hands-on Instructor: Lorin Silverman practice, students will develop a strong founda- In this class, students will learn multiple tion for many aspects of flameworking boro- approaches to creating blown glass vessels silicate glass, including creating solid sculpture (e.g., cylindrical, conical, hourglass, and and an introduction to hollow work. Color usage amphora shapes). Basic glassblowing will be covered. No glassworking experience experience is required. is required.

INTRODUCTION TO INTRODUCTION TO FLAMEWORKING: GOBLET CONSTRUCTION BEADS AND MARBLES November 5 – 6 October 22 – 23 Instructor: Jeremy Unterman Instructor: Josh Powers This furnace glassblowing workshop will focus on the many ways to create a goblet By gaining hands-on experience, students can using hot glass. Students will begin by making expect to achieve a strong understanding of clear goblets with simple stems pulled from techniques used in creating solid sculpture in soda lime and borosilicate glass, including 4 the bubble. More complicated techniques will be introduced as well. Basic glassblowing beads, pendants, marbles, and small sculpture. experience is required. Color usage will be included. No glassworking experience is required. FLAMEWORKING SEASONAL BEADS AND BEAD BASICS: INTRODUCTION SCULPTURES IN SOFT GLASS TO FLAMEWORKED BEADS October 29 – 30 October 1 – 2 Instructor: Elijah Schwartz 607.438.5100 • www.cmog.org 607.438.5100 • www.cmog.org Instructor: Linda McCollumn This class will build on basic soft glass tech- Students will learn the basics of forming round niques, including shaping, pattern application, beads, then move on to shaping and surface precision sculpting and proper heating. decoration. This workshop will concentrate Students will create seasonal-themed beads, on helping students develop a high level of small sculptures, and ornaments. Demonstra- competence in basic beadmaking and on pro- tion options include pumpkins, black cats, viding solid technical groundwork for further snowmen, candy canes, and much more! development. No glassworking experience Some flameworking experience is preferred, but not required. is required. FLAMEWORKING BOTTLES FLAT GLASS

AND GOBLETS FALL

November 5 – 6 PHOTOSANDBLASTING Instructor: Lee Silveri October 8 – 9 This workshop features perfume bottles, various Instructor: Denise Stillwaggon Leone drinking vessels, and larger scale vases. Students Halftones and black-and-white images will be will create functional objects and apply surface used in this workshop, which will explore the decoration. Some flameworking experience is fundamentals of photosandblasting on glass. required. Advanced students are welcome. Stencils will be created and used as resists in sandblasting projects. Students should bring FANCY ICICLES halftone positives or high-contrast black-and- November 12 – 13 white images to class. No glassworking Instructor: Caitlin Hyde experience is required.

This class will show students MOSAICS how to make fancy, vividly colored glass icicles from October 15 – 16 soda lime glass at the torch. Instructor: Janet Dalecki These icicles introduce Students will learn to cut flat glass and as- students to Venetian-style, semble the pieces into imagery or patterns off-mandrel flameworking on a prepared substrate. Students will have 5 techniques—and they make lovely window or time to complete a project and learn about holiday ornaments! Basic flameworking experi- the grouting and finishing process. No glass- ence is helpful, but not required. working experience is required.

OCEAN LIFE BEGINNING STAINED GLASS

November 19 – 20 October 22 – 23 Instructors: Elijah Schwartz Instructor: Tony Serviente Students will learn how to make small oceanic This workshop offers a spontaneous and playful sculptures and beads, and will bring home a way to become acquainted with stained glass. veritable aquarium of glass animals! Demonstra- Students will learn basic techniques (cutting tion options include sea turtles, octopi, blown and shaping glass, foil wrapping the pieces, seashells, and tropical fish. Bring pictures to work and soldering them together) and complete a from and a sketchbook for notes. All techniques small window. No glassworking experience is cross over to borosilicate, but soft glass will be required. Accompanied by parents, children used in class. No glassworking experience is over the age of 12 are welcome. (Please note required. that parents must contact the instructor be- fore they register children for the workshop. The Studio will provide contact information.) WEEKEND WORKSHOPS Cont’d

FLAT GLASS NEXT STEPS IN FUSING November 19 – 20 FALL FUSED JEWELRY Instructor: Glady West Students who have taken Beginning Fusing, or October 29 – 30 have basic cutting and fusing skills, are invited Instructor: Gayla Lee to learn more advanced decorative techniques. Students will learn to fuse glass on a small Hot pieces will be slumped or draped into shape scale to create jewelry. A variety of techniques using molds. Basic cutting and fusing experi- for designing and finishing pieces will be cov- ence is required. ered. This class will focus on the development of a solid foundation in and the PRACTICE OPPORTUNITIES realization of the students’ ideas in glass. No The Studio will remain open (by request) glassworking experience is required. after class on Saturdays so that students in glassblowing and flameworking workshops INTRODUCTION TO FUSING may rent practice time at reduced rates. November 5 – 6 Please contact us for details. Instructor: Glady West Students will learn how to cut flat glass, arrange it into patterns, and fuse the completed pieces in a kiln. Both flat plates and trays will be created with colorful enamel powders. No glassworking 6 experience is required.

PRECIOUS METAL CLAY AND GLASS USING COPPER AND BRONZE*

November 12 – 13 Instructor: Ed and Martha Biggar Students will learn basic techniques of

607.438.5100 • www.cmog.org 607.438.5100 • www.cmog.org fusing glass and incorporating silver metal clay around glass for finished pendants and earrings. Additionally, students will be intro- duced to the new copper and bronze metal clays. Some experience working with PMC and glass is preferred, but not required.

* Due to the cost of precious metal materials, an additional fee of $100 will be charged for this PMC class. ONE-DAY WORKSHOPS

One-day workshops are fun for the entire BEADMAKING family! No glassworking experience is required,

October 15 FALL but participants must be at least 10 years of age Instructor: Allison Duncan for beadmaking and 14 for furnace working. Parents are encouraged to register with their Students will learn the art of creating colorful children. The classes will meet from 10:00 a.m. glass mandrel-wrapped beads at the torch. The to 4:00 p.m., with one-hour lunch breaks on class will cover basic shaping and decorating your own. Tuition for each workshop is $110 techniques using rods, stringers, and various per person, which covers basic supplies for the hand tools. No glassworking experience is class. See page 9 for registration information. required. All hot-glass work requires overnight cooling MARBLE MAKING in an annealer. Pieces may be picked up the following day or shipped for an additional fee. October 16 Instructor: Quinn Doyle JEWELRY DESIGN WITH While learning color application and design, PRECIOUS METAL CLAY students will create glass marbles using AND * primarily borosilicate glass at the torch. October 1 No glassworking experience is required. Instructor: Beth Hylen Students will learn to mount pieces of sea glass PAPERWEIGHTS on a pendant and create a clasp from silver met- AT THE FURNACE al clay. Basic techniques for working with Pre- October 29 7 cious Metal Clay (PMC) will be covered. Chips of Instructor: Eli Smith sea glass and PMC are supplied. No experience This workshop will explore how to make is required. One pendant per student. paperweights that contain a broad variety *Due to the cost of materials, an additional of colorful and interesting glass inclusions, fee of $50 will be charged for this PMC class. which will be encased in crystal. No glassworking experience is required. FAST AND FUN: A LIVELY INTRODUCTION TO STAINED PUMPKINS AND GOURDS GLASS AND ETCHING AT THE FURNACE October 2 October 30 Instructor: Tony Serviente Instructor: Janet Dalecki This class will allow students to explore the Students can celebrate the harvest season by basics of two glass techniques to create decora- learning to form pumpkin and gourd shapes tive mirrors or small stained glass windows, and from molten glass! Those who have taken have a great time in the process. While the pace Beginning Glassblowing or have some experi- will be brisk, there will be ample opportunity for ence with furnace working will build upon their one-on-one guidance. No glassworking expe- basic skills and learn shaping techniques. Some rience is required. furnace-working experience is required. INSTRUCTORS

Brenna Baker first studied glassmaking at The Studio Linda McCollumn has worked with glass for 18 years, through a local high school arts program. Since then, exploring many techniques, including fusing, sandblast- she has gone on to study and work with some of glass- ing, diamond-etched and kiln-fired enamels, stained FALL making’s finest artists, including Pino Signoretto, for glass, and Precious Metal Clay. whom she has head assistant in Murano, Italy. Josh Powers has been flameworking glass for several Ed and Martha Biggar have more than 50 years col- years. He has worked as a flameworker for The Studio lective glassworking experience, as well as more than and currently owns World Glass, a glass supply shop in 15 years working with metal clay. Mrs. Biggar is a juried Corning, NY. member of the Southern Highland Craft Guild and the Elijah Schwartz is from a family of glassblowers and Artisan Center of Virginia. Mr. Biggar has created illumi- artisans. He has displayed and published his work since nated neon mixed-media works since the early 1990s. he was 15, and has mastered a variety of techniques They maintain a studio in the mountains of Virginia. during the past 20 years.

Jim Byrnes spent 30 years as a scientific glassblower Tony Serviente has been working with glass for more while making decorative items on the side. He is now than 20 years. He maintains a studio in Ithaca, NY, devoted full time to teaching his craft and selling his where he teaches, makes stained glass panels and decorative work at quality craft retailers across the lamps, and markets a line of giftware nationally. . Lee Silveri began working with glass in 1998. He Janet Dalecki was first introduced to in 1989 teaches flameworking regularly, and enjoys sharing through her family’s glass business. She received a his love of the art. Mr. Silveri’s work can be found in B.F.A. from Alfred University in 2002 and has worked in galleries, museum shops, and private collections many privately owned glass studios. throughout the United States. Quinn Doyle has been working with glass since 2004, Lorin Silverman works at a private studio near Ithaca, when she began taking classes in Philadelphia at a NY, and demonstrates/exhibits his work in studios and public-access glassblowing studio. Ms. Doyle is cur- galleries in New York City, Philadelphia, and Corning, 8 rently a member of the technical team at The Studio. NY. He received a B.F.A. in glass from Alfred University. Allison Duncan began pursuing glass as an artistic Eli Smith began working in glass through classes at medium in 2003. She received a B.F.A. in glass and The Studio in 2003. In 2007, he began blowing glass full a B.A. in art history from Southern Illinois University time at the Hot Glass Show and teaching at The Studio. Carbondale in 2006. She creates sculptural and func- tional pieces. Ms. Duncan is currently the team leader Denise Stillwaggon Leone began working with glass for the Fun with Glass program at The Studio. in 1970 as a student at the School of the Museum of Fine Arts, Boston. She has completed many commis- Caitlin Hyde has been working with glass and mixed- sions, and her work has been shown nationally. media sculpture and jewelry since 1996. She teaches

607.438.5100 • www.cmog.org 607.438.5100 • www.cmog.org flameworking and beadmaking workshops across the Jeremy Unterman began working with glass in 1999. United States and demonstrates at the Museum. He received a B.F.A. in 2003 from the Tyler School of Art, and is currently a member of the technical team Beth Hylen uses glass and Precious Metal Clay (PMC) at The Studio. to create wearable art and artwork that has been exhibited in galleries and shops, and featured in several Glady West is a graduate of SUNY at Alfred and Tuscu- publications. She is PMC certified. lum College. She has worked with glass since 1982, and enjoys the challenges of combining flat, kiln-formed, Gayla Lee has been working in glass for 10 years. and flameworked glass. She is a frequent visitor to The Studio, as a student, an instructor, and a resident artist. She currently works at a glassblowing studio in Baltimore.

FALL 2011 PROGRAM REGISTRATION INFORMATION

REGISTRATION AND PAYMENT FALL PROGRAM SCHOLARSHIPS Fall

Registrations are taken on a first-come, first- The Christopher John Kammerer Memorial served basis. Scholarship Fund was founded by the fam- ily and friends of the late Christopher John To register: Kammerer, who attended classes and rented > Call 607.438.5100 space at The Studio in the 1990s. It supports > Fax the application form on page 37 promising young artists from the Northeast, (with payment info) to 607.438.5150 and is available for courses that meet during > Visit The Studio during regular business hours the spring and fall sessions. (Monday – Friday, 9:00 a.m. – 5:00 p.m.) To apply for these scholarship funds, please We accept checks or money orders (payable submit five digital images of recent work and to The Corning Museum of Glass), and Master- an essay explaining why you wish to take a Card, Visa, American Express, or Discover. particular class. Include any appropriate information describing your financial need. No confirmation letter will be sent. Participants You also may include one or two letters of will be notified only if the requested workshop recommendation. is full. All scholarship applications will be reviewed REFUND/CANCELLATION by a committee. Applications should be sent POLICY to Christopher John Kammerer Memorial 9 A 50-percent refund will be given for cancella- Scholarship Fund, The Studio of The Corning tions made at least seven days before the start Museum of Glass, One Museum Way, Corning, of class. No refund will be given after that time. NY 14830-2253. If it is necessary for us to cancel a class for any reason, a full refund will be given. HOLIDAY OPEN HOUSE AND GLASS SALE The Studio will hold its annual Open House and Studio Glass Sale in conjunction with the Museum’s Open House, from 9:00 a.m. to 5:00 p.m. on December 3 and 4. Visitors may make a variety of projects at a reduced cost. Guests also can buy original glass pieces made by artists who use and support The Studio. All proceeds of the sale go to the scholarship fund and residency program. WINTER 2012

WINTER PROGRAM

Immerse yourself in glass during an intensive course. We provide excellent instruction by top artists and proximity to the world’s largest collection of glass. .

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Jordana Korsen Get Hammered WINTER 2012 PROGRAM SESSION ONE JANUARY 2– 7 ONE WEEK 1 A GREAT BALANCING ACT: WINTER THE ON-CENTER/OFF-CENTER FORM

JORDANA KORSEN AND JOHN MILLER Glassblowing The focus of this course will be learning to create the on-center/off-center forms that are both sculptural and functional. This class will offer the opportunity for creative expression through a skillful approach in the hot shop. We will discuss collaborative works and encourage students to explore this type of work. Two years of glassblowing experience are required.

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JORDANA KORSEN has been working with hot glass for more than 20 years, focusing on func- tional work with a sculptural touch. As a glassblower, she creates clean forms with a sense of humor. She has been running the glass program at Franklin Pierce John Miller University since 1995. Her The Perfect Hamburger architectural commissions JOHN MILLER has been working in glass Photo by Charley Freiburg. for restaurants and hotels for more than 20 years and focuses on blown Jordana Korsen can be seen throughout sculpture. He earned his M.F.A. at the Uni- Get Hammered the United States. versity of Illinois at Champaign-Urbana and has worked at Pilchuck Glass School for 15 years. He exhibits internationally, lectures and demonstrates nationally, and is an assistant professor and head of the glass department at Illinois State University. SESSION ONE Cont’d JANUARY 2-– 7 ONE WEEK 1 FLAMEWORKING AN EXPLORATION OF WINTER FOR EVERYBODY KILN FORMED GLASS

EMILIO SANTINI MARK SALSBURY Flameworking Kiln Working Realizing personal creativity through torch work This class is designed to establish a strong will be the focal point of this course. Students foundation in kiln-formed glass. Students will will be introduced to various sculpting and learn a wide range of techniques, including glassblowing techniques, using borosilicate kiln casting, enamel stenciling, basic fusing, and soft glass. They will use colored rods and and pattern bar. The class will also cover cold tubing to create objects, such as blown beads, working and developing firing schedules. ornaments, goblets, and human figures. This class is an opportunity to start learning Venetian techniques for making figures with about kiln-formed glass, or to advance current soft glass also will be demonstrated. No glass- knowledge. No glassworking experience is working experience is required; advanced required. students also are welcome.

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EMILIO SANTINI, originally from Murano, resides with his family in Williamsburg, VA, where he works glass full time in his studio. He also is a faculty member of the Virginia Common- 607.438.5100 • www.cmog.org 607.438.5100 • www.cmog.org wealth University glass Photo by Amber Marshall. department. His work is Mark Salsbury featured in private and Exponential Growth museum collections MARK SALSBURY is currently the direc- Photo by Ann Cady. around the world and he tor of the kiln working department at Emilio Santini has extensive teaching Third Degree Glass Factory in St. Louis, Untitled experience. MO. While earning his M.F.A. at Southern Illinois University Carbondale, he became interested in kiln-formed glass. His work was featured in the New Glass Review (29 and 32) and has been recognized in the Illinois Emerging Artist exhibit. SESSION ONE Cont’d JANUARY 2-– 7 ONE WEEK 1 AN IN-DEPTH INTRODUCTION VENETIAN TECHNIQUES TO VENETIAN TECHNIQUES IN GLASS PAINTING WINTERR

WILLIAM GUDENRATH LUCIA SANTINI Glassblowing Painting on Glass This course will provide a firm foundation in the This course will focus on the traditional basic movements of Venetian-style glassblow- Venetian techniques for painting enamels ing. It will include the making of well-formed on glass. Students will learn how to mix and thinly blown vessel bodies, excellent necks, and apply colors, and how to apply gold delicate mereses, and blown feet and stems. leaf. Technical and artistic aspects of glass When students have mastered these tech- painting will be covered, and plenty of time niques, they will proceed to making canes and will be allowed for practice. No glassworking studying caneworking processes. Objects from experience is required. The Corning Museum of Glass collection will be closely studied, initially to frustrate, and then to inspire students. One year of glassblowing experience is required.

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WILLIAM GUDENRATH, LUCIA SANTINI was resident adviser at The born in Murano to a Studio, is a glassblower, family with a 600-year scholar, lecturer, and glassmaking history. She teacher. An authority on learned from Muranese historical hot glasswork- masters of painting on ing techniques from glass. She works at her ancient Egypt through own studio in Murano and the Renaissance, he has frequently collaborates presented many lectures with Lucio Bubacco and and demonstrations. Mr. her brother Emilio Santini. Gudenrath also is the She teaches and exhibits

president of the Fellows Photo by Ann Cady. her work internationally. William Gudenrath of The Corning Museum Lucia Santini Sea Green Trio of Glass. Untitled SESSION TWO JANUARY 9– 14 ONE WEEK2 ADVANCED SOLID SCULPTURE ADVANCED FLORAL MURRINE WINTER PINO SIGNORETTO LOREN STUMP Hot Sculpting Flameworking This course is designed for advanced students Students will make a variety of complex who are interested in sculpting hot glass off murrine components to achieve high detail the pipe. Daily demonstrations and extensive in miniature floral design. The course will individual instruction will enable students to cover the construction of plant components develop the manual dexterity necessary to that are shaded, veined, and speckled, and make figural and abstract work using hot glass. then used for flat surface decoration and This is a juried course and significant hot three-dimensional surface application. glassworking experience is required. Please These components will be combined into submit three digital images of your work picture murrine for later use. Paperweight with your application. vacuum encasement also will be covered. Students should bring images of their three favorite flowers. Intermediate flameworking experience and some murrine experience is required. A prior class with Mr. Stump is 14 recommended.

PINO SIGNORETTO LOREN STUMP, a is a sculptor who Sacramento, CA, native, manipulates glass with began his career more rare strength and skill. than 35 years ago as He was trained by the a stained glass artist. glass master Alfredo He is now a self-taught Barbini, and he is now flameworker, tool and considered to be a technique developer 607.438.5100 • www.cmog.org 607.438.5100 • www.cmog.org master himself. A and teacher, known for Pino Signoretto portraitist and a nature such innovative tech- Pantalone e Colombina lover, Mr. Signoretto also niques as the manipula- is a popular instructor. tion of two-dimensional Photo by Rich Images. murrine slices into three- Loren Stump dimensional forms. Mr. Last Stand Stump has exhibited, demonstrated, and lec- tured around the world. 2 LARGE-SCALE

KILN CASTING WINTER

MILON TOWNSEND Kiln Working Working with student sketches, the class will emphasize teamwork. Students will work together to create lost-wax kiln castings on a much larger scale than is typically possible in a classroom or home studio. Students will mix large batches, make large silicone molds using a “mother mold,” pour and finish large waxes, build multiple-part molds, create large-scale reverse relief castings, and steam out large- scale molds. Students will not be producing work to take home. Some glass-casting experience is helpful, but not required.

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MILON TOWNSEND has been working with glass for more than 35 years, in flameworking, cold working, and kiln casting. He is the author of numerous books, vid- eos, and articles on glass, art, and marketing, and frequently presents at workshops, classes, and conferences. His work is Photo by Milon Townsend. represented in many fine Milon Townsend galleries, museums, and Koi Panel private collections around the world. SESSION TWO Cont’d JANUARY 9– 14 ONE WEEK 2 COLD CONSTRUCTION WINTER MARTIN ROSOL AND PAVEL NOVAK Cold Working Using solid blocks of glass, students will experiment with aspects of advanced cold working: grinding, polishing, the use of horizontal mill wheels and vertical lathes, and cutting with stone and diamond to create constructions from glass. Students also will learn the HXTAL gluing process to join glass elements. No glassworking experience is required.

16 607.438.5100 • www.cmog.org 607.438.5100 • www.cmog.org Photo by Debra Adelson. Martin Rosol Pavel Novak Galactica Swing Pendant

MARTIN ROSOL attended the School PAVEL NOVAK was born in the Czech for Arts and Crafts in Prague and received Republic. There, he was trained as a further training in his native Czechoslovakia cold worker and employed as a teacher as a cold worker. He came to the United at the Glass School in Novy Bor, where States in 1988 to further his career as a he taught cold working techniques. Mr. sculptor. He lives in Massachusetts, where Novak immigrated to the United States he maintains a glass studio. His work has in 2000, and currently lives and works in been exhibited throughout the United New Jersey where he makes his line of States and Europe. jewelry and sculpture. SESSION TWO Cont’d JANUARY 9– 14 SESSION THREE JANUARY 16– 21 ONE WEEK ONE WEEK 3 IF YOU CAN’T TAKE THE HEAT, GET OUT OF THE WINTER KITCHEN

ERICA ROSENFELD AND JESSICA JANE JULIUS Glassblowing During this course, the hot shop will turn into a kitchen! Students will create new recipes of glassmaking techniques and approaches to their work, and traditional techniques will be explored in new ways, through blowing, sculpting, and cane pulling. Students will create kiln compo- nents that can be hot-worked. Carving, polishing, and drilling along with gluing, will be addressed. Students should have bodies of work or concepts that they wish to evolve or explore. Some glassworking 17 experience is required.

Photo by James Dee. Photo by Ken Yanoviak. Erica Rosenfeld Jessica Jane Julius Family Tree Necklace Labor of Craft

ERICA ROSENFELD combines glass JESSICA JANE JULIUS is an adjunct and beading techniques to create kinetic professor at the Tyler School of Art, jewelry and sculpture. She is a founding Rochester Institute of Technology, with a member of “The Burnt Asphalt Family,” private studio in South Philadelphia. She a performance art group who combines is the co-founder and active member of glassmaking and cooking in their work. “The Burnt Asphalt Family.” Ms. Julius’ Her pieces are included in the collection work has been featured in the New Glass of the Museum of Arts and Design and Review in 2001, 2008, 2009, and 2010. featured in several publications. SESSION THREE Cont’d JANUARY 16– 21 ONE WEEK 3 FIORI E ANGELI WINTER (FLOWERS AND ANGELS)

PAUL STANKARD AND LUCIO BUBACCO Flameworking Two master glass artists will share their signa- ture flameworking styles and techniques in a celebration of flowers and angels. Students will create small-scale inclusions for encapsulation in clear glass paperweights. The inclusions will be cast into panels in the hot shop. Two years of flameworking experience are required.

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PAUL STANKARD’S LUCIO BUBACCO’S flameworked nature- works combine the themed objects are anatomic perfection of included in more than Greek sculpture with 50 museum collections the Byzantine gothic worldwide. In addition architecture of his native to authoring the book Venice. He is known for No Green Berries or his unique human and 607.438.5100 • www.cmog.org 607.438.5100 • www.cmog.org Leaves: The Creative fantasy figures, which are Journey of an Artist entirely hand-formed and in Glass, his detailed incorporated in blown glass interpretations vases or in casting. His of the plant kingdom work has been published Paul Stankard have set the standards Lucio Bubacco and exhibited around the Lotus Orb with Honeybee in the field. Ulisse le Sirene world. 3 PROBLEM SOLVING FOR WINTER

DANIEL CLAYMAN Glass Casting Drawing on Mr. Clayman’s 30 years of experi- ence casting glass into investment molds, this fast-paced class will help students develop a language for solving problems encountered in creating their own work. Using the students’ work as a platform for demonstrations, the course will cover a range of topics, includ- ing mold recipes, wax-working techniques, rubber mold making, glass sources, and kiln requirements. No glassworking experience is required; a foundation in basic sculptural materials is recommended.

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DANIEL CLAYMAN has been working with glass since 1979. He is the recipient of numerous grants and is represented in major museum collections, including the Museum of Fine Arts in Boston, The Corning Museum of Glass, and the Mil- waukee Art Museum. Photo by Mark Johnston. He lives and works in Daniel Clayman East Providence, RI. Clear Volume SESSION FOUR JANUARY 23– 28 ONE WEEK4 ABOUT CRAFT WINTER MATTHEW URBAN Glassblowing This class will focus on taking the basics of glassblowing (cone, sphere, cylinder, amphora, handles, and color), and making them quick and easy. The overall objec- tive will be to make as many forms as possible while maintaining consistency. The principals of glassblowing become clear and comprehensible when students understand the traditional vessel-making framework. Vessel making, as a form of exercise, will strengthen the way students approach projects at the bench. One year of glassblowing experience is required.

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MATTHEW URBAN has been working with glass since 1997, when he took a course at The Studio with maestro Gianni Toso. Since that time, he has studied and worked 607.438.5100 • www.cmog.org 607.438.5100 • www.cmog.org with numerous Italian glass maestros. Mr. Urban currently owns and operates a hot shop in Normal, Il. Matthew Urban Blue Group 4 EVERYTHING YOU EVER SPECIAL PROJECTS WANTED TO KNOW ABOUT IN FUSED GLASS WINTER FLAMEWORKED GOBLETS MARK DITZLER ERIC GOLDSCHMIDT Kiln Working Flameworking This class is designed for students who This class will cover all aspects of flame- wish to learn new skills, or who need help worked goblet making. Students will receive troubleshooting current projects in fused step-by-step instructions on how to make glass. In addition, students will learn to many cup shapes, and insight into how make unique design elements including to create shapes students may dream up color bars and wafers, canes and murrini, later. Many stems, feet, lids, color applica- vitreous enamels and lusters, silkscreened tions, and constructions will be considered. images, dichroics, and mica powders. Some Through detailed demonstrations, hands-on flameworking and hot shop techniques also practice, and visits through the Museum’s will be demonstrated. Discussions will also collection, students will gain keen insight include kiln operation, , and cold into the goblet as a functional and sculptural working techniques. Some glass fusing form. Some flameworking experience is experience is required. required. Students should be able to con- 21 trol hollow forms on the torch.

ERIC GOLDSCHMIDT has studied with, and assisted, several of the world’s most renowned flameworking artists through the course of his 15-year career. He has taught and demonstrat- Photo by Mark Ditzler. ed at several studios, in- cluding UrbanGlass, The Mark Ditzler Wall Panel Series Penland School of Craft, and The Studio. Mr. MARK DITZLER, a Seattle-based artist Photo by Christina Zawadecki. Goldschmidt also is the specializing in kiln-fired glass for art Eric Goldschmidt Museum’s Flameworking and architecture, has been working in Autumn Evening and Glass Demonstra- glass for more than 20 years. He has Cage Cup tions Supervisor. taught at The Studio for more than 10 years, and at Pratt Fine Art Center and The Glass Furnace in Istanbul. Mr. Ditzler’s work is exhibited nationwide. SESSION FOUR Cont’d ONE WEEK JANUARY 23– 28 4 ENGRAVING AND WINTER COLD WORKING TECHNIQUES

MAX ERLACHER Engraving and Cold Working A master engraver for more than 40 years, Mr. Erlacher will share his knowledge of copper, stone, and diamond engraving, and cold working techniques in this class. Students will learn by instructor demonstra- tion and ample hands-on engraving time, achieving their own engraved designs. This is a rare opportunity to work with this master! No glassworking experience is required.

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MAX ERLACHER has more than 40 years of experience with copper, stone, diamond engrav- ing, and cold working techniques. He received a Master Engraver Certi- fication from Lobmeyr in 607.438.5100 • www.cmog.org 607.438.5100 • www.cmog.org Austria. He then worked for Steuben Glass and owned his own business. Mr. Erlacher has worked Photo by Harry Seaman. on numerous art glass Max Erlacher projects for museums, as Wine Harvest Goblet well as private collectors. GLASSWORKING THROUGH4 THE AGES WINTER This course is a unique opportunity to engage with the curators of The Corning Museum of Glass to explore glassworking from antiquity to the present day. The class will divide its time between the Museum’s Glass Collection Galleries, the Rakow Research Library, and The Studio. Students will explore the galleries with the curators, learn research techniques at the Library, and experiment with glassmaking techniques used around the world, including cast- ing, fusing and , making cane, and blowing glass into molds. This course is ideal for students and artists who want to learn about the history of glassmaking. No glasswork- ing experience is required.

WILLIAM GUDENRATH, JANE SHADEL SPILLMAN resident adviser of The joined The Corning Museum Studio, is a glassblower, of Glass in 1965 and has scholar, lecturer, and been the curator of Ameri- teacher. An authority on can glass since 1978. She historical glassworking writes and lectures ex- techniques from ancient tensively on the history of Egypt to Renaissance Eu- American glass. She has rope, he has lectured and published numerous books 232 demonstrated in North and curated many of the America and Europe. Museum’s exhibitions.

TINA OLDKNOW is the DAVID WHITEHOUSE, curator of modern glass at senior scholar at The The Corning Museum of Corning Museum of Glass, Glass, and she is respon- joined the Museum as cura- sible for the Museum’s tor of ancient and Islamic collection of glass made glass in 1984, and was the between 1900 and the executive director from present. Her many publica- 1992 to 2011. He is currently tions include Contempo- preparing volumes two and rary Glass Sculptures and three of a catalog of the Panels (2008) and Voices of Museum’s Islamic collection. Contemporary Glass (2009). SESSION FIVE JANUARY 30– F EBRUARY 4 ONE WEEK5 GLASSBLOWING, DESIGN, WINTER PRODUCTION

DAN MIRER Glassblowing Students will explore the interdependence of concept and technique as they realize personal designs. The class will cover plaster model and mold making, various types of mold blowing, crack-off, bit work, use of special tools, and teamwork. Students are encouraged to bring ideas, problems, and objects to cast. One year of glassblowing experience is required.

24 607.438.5100 • www.cmog.org 607.438.5100 • www.cmog.org

Dan Mirer Snowman Jars

DAN MIRER has been working in glass since the age of 16. He attended the Rochester Institute of Technology, Alfred University, and Pukeberg School of Design, Sweden. Mr. Mirer lives in Corning, NY, as an independent artist. SESSION FIVE JANUARY 30– F EBRUARY 4 ONE WEEK 5 COLOR, FORM, AND LANDSCAPES IN DECORATIVE MOTIFS IN KILN-FORMED GLASS WINTER BOROSILICATE GLASS (DI FIORE’S TECHNIQUE)

SUELLEN FOWLER MIRIAM DI FIORE Flameworking Kiln Working This class will introduce students to John Starting with an image of a winter forest Burton’s “off-hand” flameworking, character- landscape, students will be led through a ized by building successive layers of clear and step-by-step process of realizing that colored glass on the end of a blowpipe, and image in kiln-formed glass with a very forming the result into a finished vessel. Stu- realistic sense of depth. Lessons will have dents also will experiment with solid sculptural a theoretical component so students will techniques. They will learn how to hand-mix understand the complexity of the process. and pull borosilicate cane, and will explore Some glass fusing experience is new ideas and techniques for more effective required. use of commercially available borosilicate color rods. Some flameworking experience is helpful, but not required.

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SUELLEN FOWLER has blown and sculpted glass for more than 35 years. She is the foremost practitioner of “off- hand” flameworking and considers herself Photo by Miriam Di Fiore. to be a colorist. She has devoted much Miriam Di Fiore Ticino River time and energy to developing and Photo by Ann Cady. refining various oxide MIRIAM DI FIORE has been working Suellen Fowler formulas to color with fused glass since 1985. Her land- Untitled borosilicate glass. scaped fused works are in many public and private collections, and have been displayed in numerous exhibitions around the world. Ms. Di Fiore cofounded the Vetroricerca Glass School in Italy and has been teaching for more than 15 years. SESSION FIVE Cont’d JANUARY 30– F EBRUARY 4 ONE WEEK5 REFINING AND SOLIDIFYING WINTER YOUR TECHNIQUES

WILLIAM GUDENRATH Glassblowing During this course, students who have previ- ously studied with Mr. Gudenrath are invited to review and refresh their Venetian techniques: well-formed and thinly blown vessel bodies, excellent necks, delicate mereses, and blown feet and stems. Students will move to the next level in their glassblowing through intensive explanation and repetition of processes. Stu- dents must have previously taken a course with, or studied under, Mr. Gudenrath.

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William Gudenrath Vibrant Plaid

WILLIAM GUDENRATH, resident adviser at The Studio, is a glassblower, scholar, lec- turer, and teacher. An authority on historical hot glassworking techniques from ancient Egypt through the Renaissance, he has pre- sented many lectures and demonstrations. Mr. Gudenrath also is the president of the Fellows of The Corning Museum of Glass. SESSION FIVE Cont’d SESSION SIX FEBRUARY 6– 11 JANUARY 30– F EBRUARY 4 ONE WEEK ONE WEEK 6 INTRODUCTION TO GLASS SCULPTING WINTER

BRENNA BAKER Glassblowing This class will consist of bit working and glass forming, as well as using additive glass bits of different shapes, sizes, colors, and tempera- tures. Starting off with whimsical fish, sea shells, and flowers, students will progress into their own designs and achieve projects together as a class. Students have the option of bringing unique tools, colors, and creative designs to share. One year of glassblowing experience is required.

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Photo by Harry Seaman. Brenna Baker Tropical Crab

BRENNA BAKER has been working with glass for 10 years. She has studied under many great artists in the United States and spent one year working with Pino Signo- retto in Murano, Italy. She now resides in Corning, NY, where she rents the facilities of The Studio to create her work as an independent artist. SESSION SIX Cont’d FEBRUARY 6– 11 ONE WEEK6 BEADMAKING: WINTER EXPANDING YOUR SKILLS

KRISTINA LOGAN Flameworking This course is designed for people who would like to expand their flameworking and beadmaking skills. Students who have questions or difficulties with any beadmaking techniques will especially benefit. A broad spectrum of techniques will be explained and demonstrated: various surface decorations, dots galore, clear casing, working large beads, and troubleshooting common mistakes and difficulties. Some beadmaking experience is required.

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KRISTINA LOGAN is recognized internation- ally for her precisely patterned and delicate glass beads. She travels throughout the world teaching workshops and lecturing on glass beads 607.438.5100 • www.cmog.org 607.438.5100 • www.cmog.org and jewelry. Her work is in the collections of many museums, includ- ing The Smithsonian, Photo by Dean Powell. The Corning Museum Kristina Logan of Glass, and the Musée Constellation Necklace du Verre de Sars-Poter- ies in France. SESSION SIX Cont’d FEBRUARY 6– 11 ONE WEEK 6 PAINTING THE VOID: BEGINNING GLASSBLOWING SANDBLASTING AND WINTER VITREOUS PAINTING AMANDA GUNDY Glassblowing DENISE STILLWAGGON LEONE This course is designed to create a relaxed, Sandblasting and Painting safe, and fun environment for students who This class offers a foundation in image making have little to no hot glassworking experience. inspired by intaglio printmaking. Students will In order to learn the basic skills of glassblowing, develop fluency in the production of hand-cut students will participate in a series of exercises sandblast stencils and photo-resists. They also to build confidence and coordination at the will explore methods of stage-blasting, carving, bench. The class will then move on to explore and shading in order to gain a working knowl- different forms and techniques that will give edge of how light and shade are developed in students a better understanding of molten sandblasted imagery. Basic methods of vitreous glass and its properties. No glassworking painting on glass will be established. Students experience is required. also will exploit the complexity of overlapping imagery using different types of layered glass. No glassworking experience is required.

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AMANDA GUNDY earned a B.F.A. in photography before a growing interest in led her to UrbanGlass in Brooklyn, NY. There, she studied glassblowing, worked as a technician Photo by Rich Grant. and glassblowing as- Denise Stillwaggon Leone sistant, and gave private Jumping into the World (detail) lessons to beginners. Today Ms. Gundy lives in DENISE STILLWAGGON LEONE designs and upstate New York, where fabricates architectural art glass commissions, Amanda Gundy she teaches and works as and has participated in numerous art competi- Untitled a freelance glass artist. tions. Her work can be found in the public spac- es of universities, hospitals, libraries, and places of worship. Ms. Stillwaggon Leone’s autonomous glass sculptures have been published in New Glass Review and 25 Years of New Glass Review. WINTER 2012 PROGRAM REGISTRATION INFORMATION

TUITION AND CLASS SIZE ROOM AND BOARD Each course is limited to a maximum of nine Tuition is $750 for a one-week course. students. WINTER

The cost for room and board is $520 per week, REFUND AND CANCELLATION plus an eight-percent sales tax. Accommoda- POLICY PROCESS tions are provided by Days Inn of Corning, with A refund, less a $200 cancellation fee and your standard, air-conditioned rooms containing application fee, is available if cancellations are two double beds. The Days Inn is conveniently made at least 30 days before the first day of located just a short walk (about 800 feet) from class. Thereafter, if refunds are requested at least The Studio. Each room will be shared by two seven days before the start of class, a 50-per- students. cent refund will be given for tuition only, not for A few single rooms are available for an addition- room and board. No refunds will be given after al $320 per week, plus an eight-percent sales tax. that time. If, for any reason, it is necessary for us Room availability is subject to change, and there to cancel a class, a full refund will be given for is no guarantee that you will get a single room. If tuition and for room and board. you prefer not to share a room, we suggest that you make separate housing arrangements. A few non-smoking rooms also are available on a first- 30 come, first-served basis and may be requested upon arrival.

Please note: guests of the Days Inn must be 21 years of age or accompanied by a guardian. If you are not 21, please call us to discuss alterna- tive housing options.

Meals are provided by local restaurants, which

607.438.5100 • www.cmog.org 607.438.5100 • www.cmog.org can accommodate vegetarian diets. All room and meal costs are included, except for dinner on Saturday night following a one-week course.

COLLEGE CREDIT

College credit is available through Corning Community College. In certain cases, an additional fee is required. Please inquire for further details. APPLICATION PROCESS PROGRAM FORMAT AND PAYMENT Each course begins with an informal (not man- To apply for a course, please complete the ap- datory) dinner at 7:00 p.m. on Sunday night and WINTER plication form on page 37. A $20 non-refundable then an orientation at 8:30 a.m. on Monday at application fee must accompany each com- The Studio. pleted application form. This fee may be used to apply for one or two courses. If you wish to apply Classes generally run from 9:00 a.m. to 4:00 p.m. for more than two courses, please use a separate with a one-hour lunch break. Instructors may application form and enclose a $20 application alter the schedule if necessary. The Studio is fee for each two additional courses. open until 11:00 p.m. for practice. Most days there are special events. One-week courses Mail your application forms and fees to end at 6:00 p.m. on Saturday. The Studio of The Corning Museum of Glass, One Museum Way, Corning, NY 14830-2253. A full schedule of events will be given to each Applications also may be faxed to 607.438.5150 student on the first day of class. Students should if payment is to be made by credit card. plan to check in at the Days Inn no earlier than 3:00 p.m. the day before their courses begin, Applications received before October 15 will not and to leave either the evening the courses end be processed until that date, and they will be or early the next day. Following a one-week selected in random order. Those received on or course, students are on their own for dinner after October 15 will be processed next, in the Saturday evening, and they must check out of 31 order that they are received, until all spaces are the hotel by 11:00 a.m. on Sunday. filled. Confirmation letters will be mailed soon thereafter, as classes are filled.

Once you are notified of acceptance into a course, full payment must be received by December 1. We will not hold spaces in a course after that time without full payment. Acceptable forms of payment are check (made payable to The Corning Museum of Glass), money order, and credit card (MasterCard, Visa, American Express, and Discover). ADDITIONAL INFORMATION

STUDENT AND ARTIST RESOURCES

DVDS FROM THE STUDIO GLASSWORKING: PROCESSES AND PROPERTIES The Studio produces several DVD series which may be purchased at the GlassMarket This DVD features 43 segments with of The Corning Museum of Glass or online at renowned artists teaching a variety of http://glassmarket.cmog.org. techniques employed in glassworking: blowing, flameworking, cold working, MASTER CLASS DVD SERIES and casting. Other topics include the These 30-minute videos present a portrait of composition of glass, glass coloring, an artist and teaches the viewer a glassworking and annealing. Some segments are technique. available for download at www.cmog.org.

• Cane Working with Lino Tagliapietra GLASS MASTERS AT WORK • An Introduction to Venetian Techniques DVD SERIES with William Gudenrath v Award-winning documentary filmmaker Robin • Engraving on Glass with Jirí Harcuba Lehman catches the drama and intensity of • Pâte de Verre with Shin-ichi and master glassmakers at work. Kimiake Higuchi • Flameworking with Cesare Toffolo • Glass Masters at Work: Pino Signoretto 32 • Kiln-Worked Glass with Rudy Gritsch • Beadmaking with Kristina Logan • Glass Masters at Work: Lino Tagliapietra • Working with Murrine with Davide Salvadore • Glass Masters at Work: Mark Matthews • Glass Masters at Work: Vittorio Costantini FOUNDATIONS DVD VIDEO SERIES • Glass Masters at Work: Mark Matthews This series is designed to give beginners a • Glass Masters at Work: William Gudenrath foundation in various glassworking techniques.

• An Introduction to Furnace Glassblowing 607.438.5100 • www.cmog.org 607.438.5100 • www.cmog.org with William Gudenrath • An Introduction to Flameworking with Emilio Santini STUDENT AND ARTIST RESOURCES

STUDIO RENTALS Cont’d Many of The Studio’s spaces are open for rental when there are no classes or other events in progress. We have a state-of-the- art dedicated rental hot shop with a 1,000- pound furnace and two glory-hole stations. Studio time must be booked in advance. Please call for rates and schedules or check the Museum’s website.

PHOTOGRAPHY ROOM

Our photography room is equipped with a professional lighting setup, a high-end digital camera and tripod, a slide scanner, photo printer and Photoshop. At no charge during their course enrollment, students and teachers may take images of their work. The room is available for hourly rental to non- students. During summer and winter intensive 33 classes, a photographer is available during certain hours. STUDENT AND ARTIST RESOURCES RESIDENCY PROGRAMS RESIDENCY PROGRAMS JOINT ARTIST-IN-RESIDENCE AT THE STUDIO PROGRAM WITH KOHLER ARTS CENTER The Studio offers Artist-and Researcher-in- Residence programs. Transportation, room The Studio partners with the John Michael and board, and basic supplies are provided, Kohler Arts Center for a joint Artist-in-Residence as well as access to facilities. program to provide multi-media residencies. Artists spend one month at The Studio and Residencies for 2012 will be held in March, two to six months in Kohler Co.’s foundry April, May, October, November, and December. (casting iron or brass) or (slip casting There is no formal application process. If you are clay) in Sheboygan, WI. Artists are required to interested in being considered, please send the have experience working with glass, but do not following materials to Residency Programs, The need experience working with clay or metal. Studio of The Corning Museum of Glass, One Travel, accommodation, supplies, equipment, Museum Way, Corning, NY 14830-2253. technical assistance, and a food stipend are provided. • Ten digital images of your work To apply, please include two copies of the (300 dpi, 4 x 6, JPEGs) with captions following materials: • Two letters of recommendation • Written proposal (including detailed • Completed application form (download 34 information on your Residency plans; from www.cmog.org) necessary supplies, equipment, and • Brief (200-word) proposal for a unified assistants; and the best months for project incorporating the resources you to participate) available from both institutions • Current résumé • Current résumé

Applications for all 2012 residencies • Brief (200-word) cover letter explaining must be received by October 31, 2011. relevant experience and qualifications

607.438.5100 • www.cmog.org 607.438.5100 • www.cmog.org • Twenty digital images (300 dpi, 4 x 5, JPEGs) with captions

Applications for the 2013 Corning/Kohler Joint residency must be received by April 1, 2012.

OTHER GLASSMAKING TRAVEL INFORMATION

EXPERIENCES

MAKE YOUR OWN GLASS TRAVEL BY AIRPLANE/ TRANSPORTATION TO AND For a small fee, all ages can experience FROM THE AIRPORT glassworking in 40-minute sessions, offered daily, year-round. Projects include blowing The Elmira/Corning Regional Airport is holiday ornaments, shaping glass flowers, a 15-minute car ride from The Studio. fusing colorful creations, or sandblasting Transportation from the airport to the designs on glass (age limits apply to certain hotel is available at a cost of $24.00 each activities). Visit www.cmog.org for Make Your way. To make arrangements, call Bill’s Taxi Own Glass hours, and to book an experience. at 607.731.8801 at least 24 hours before you plan to arrive in Corning. Please men- FUN WITH GLASS FOR GROUPS tion that you are a student of The Studio.

In a hands-on glassworking adventure, your group of 10 or more can blow hot glass TRAVEL BY CAR ornaments, fuse colorful pieces of glass into Corning is easy to reach by car. Take suncatchers, or sandblast drinking I-86/NY Route 17 to exit 46 and follow the with original designs. Adults and children can signs for The Corning Museum of Glass. participate in these hands-on activities, and Corning is 255 miles from New York City; sample a variety of glassworking techniques. 280 miles from Washington, D.C.; 235 miles Events range between one and three hours from Toronto; and 210 miles from Albany. in length depending on the size of the group 35 and the number of activities planned. The cost is $32.00 per person. Contact Erin Wing at 607.438.5800 or [email protected] to register your group. SCHOLARSHIP FUNDS AND GIVING OPPORTUNITIES

Through our scholarship programs, we support The Christopher John Kammerer Memorial developing glass artists and students. You may Scholarship Fund was founded by the friends donate to any of the funds listed here to give and family of the late Christopher John Kam- an emerging artist working in glass the oppor- merer. It aims to support promising, young, tunity to study with the best at The Studio. regional artists and is available for courses that By contributing to one of our scholarship pro- meet over our spring and fall semesters. grams, you are not only supporting promising artists who may not otherwise be able to afford The Silver Trout Fund was founded by Sue to develop their skills, but you are also invest- Schwartz in memory of her husband Tom, ing in the future of the glass community. who worked at Corning Incorporated for many years. It supports the Artist-in-Residence The Studio Scholarship and Residency Fund program. is supported by the sale of glass works do- nated by instructors, staff, and students over The Elio Quarisa Scholarship Fund has been the course of the year; by the Celebrity Cruises established to support furnace glassworkers Glassmaking Scholarship Fund; and by pri- who shared Mr. Quarisa’s passion for Venetian vate grants and other contributions. The fund glassblowing. provides general summer scholarships and also is used to support our Artist-in-Residence The Celebrity Cruises Glassmaking Schol- program. arship Fund is made possible by the col- laboration between Celebrity Cruises and The 36 The Paul and Patricia Stankard Flamework- Corning Museum of Glass. The Museum is ing Scholarship Fund, created with the sup- demonstrating glassblowing at sea on Celebrity port of friends of Paul and Patricia Stankard and Cruises. At the end of selected cruises, some of collectors of Paul’s work, is earmarked for the the best pieces made during hot glass demon- support of one developing flameworking artist strations are auctioned. The proceeds benefit a each summer. scholarship fund to help developing artists and students who want to work in glass, allowing them to take classes or work as resident artists. 607.438.5100 • www.cmog.org 607.438.5100 • www.cmog.org

Cover Image Fabrication des bouteilles, from Les Grandes usines de France: etudes industrielles en France et à l’étranger, Volume 7, pg. 232–233. Collection of the Rakow Research Library, The Corning Museum of Glass. FALL 2011/WINTER 2012 APPLICATION

PAYMENT CHART FOR WINTER COURSES:

Course Length Tuition Room & Board Additional charges Application fee for single room (non-refundable) (subject to availability) One week $750.00 $520.00 + sales tax $320.00 + sales tax $20.00 = $561.60 = $345.60

Please complete this application form and mail it to The Studio of The Corning Museum of Glass, One Museum Way, Corning, NY 14830-2253. Applications made by credit card may be faxed to 607.438.5150. There is no application fee for fall classes. Please include a $20 non-refundable application fee for one or two winter courses. Use a separate application form and enclose a $20 non-refundable application fee for each two additional winter courses.

Name ______Address ______City ______State ______ZIP Code ______Country ______Email ______Home # ______Work # ______Fax # ______

COURSE SELECTION

First Choice (include session #) ______

Fall Winter Date ______Instructor ______

Second Choice (include session #) ______37

Fall Winter Date ______Instructor ______I would like to take both courses. If a course(s) is (are) filled, please place me on a waiting list.

WINTER PROGRAM ONLY

I would like housing. I am Male Female Age: ______. I am attending with ______and we wish to room together. I would like a single room ($320 + sales tax = $345.60 extra per week. Availability not guaranteed.)

METHOD OF PAYMENT Enclosed is a money order in the amount of $______. Enclosed is a check payable to The Corning Museum of Glass in the amount of $ ______.

Please charge to: MasterCard Visa Discover American Express Name as it appears on card ______Card number ______Expiration date ______If you check this box, we will charge your tuition and room and board to your credit card upon acceptance into a course. I’d like to contribute $______to the ______Scholarship Fund. The Studio Corning Museum of Glass

The Corning Museum of Glass One Museum Way Corning, NY 14830-2253

ADDRESS SERVICE REQUESTED

The Studio’s catalog is also available online at cmog.org. If you would prefer not to receive this printed version in the future, simply update your preferences at cmog.org/choices.

Don’t Miss The Studio’s HOLIDAY OPEN HOUSE AND GLASS SALE December 3 and 4, 2011 9:00 a.m. to 5:00 p.m.

See page 9 for details.