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Download (1MB) s:::- 3 t:r tD ~ .. , ··'· . Editorial n Graham Stone 2 AusgLass Tribute to Annie o Mag ~ss~ If.194~ Robyn Hand & Pauline Delaney 3 NZSAG Pacific Light 1998 Conference 4-5 Number '97 eLeven Float Glass Specifications r+ Graham Stone 6-7 New Glass: The Painterly Alternative to Ellen Mandelbaum 8-9 Defining Technical Terms ::1 Graham Stone 10 r+ Book Review: Chaos Making a New Science by James Gleick va Bob Wilson 12-13 Observations Marc Grunseit 13 Glass News 14-15 Postcards From... 16 Front Cover I Letter from the President 17 Detail from Cactus drawing by Anne Hand. Cold Glass: Access Workshop 18 Hydrofluoric Acid Fatality Anthony Terry 19 Editorial Committee Magazine Ausglass Graham Stone Editor Letters and Correspondence to: President: Jane Bruce Graham Stone (Editor) Go Glass Workshop Dick Stumbles Advertising Cold Glass Workshop Canberra School of Art Tactix Design Design & Meat Market Craft Centre GPO Box 804 Production 42 Courtney Street Canberra ACT 2601 North Melbourne VIC 3051 Australia Brenda Page Board Fax (613) or (03) 9329 2272 Jenny Loft Members Please note the contact Advertising for membership enquiries Dick Stumbles and address changes: 54 Green Island Avenue Maggie Stuart Mount Martha VIC 3934 1 Charlotte Harrison Drive Ph. (613) or (03) 5975 5852 Woonoona NSW 2517 Ph. (612) or (02) 4284 7844 The views expressed in Ausglass Magazine are not necessarily the views of the Ausglass National Executive or the Magazine Board. - Graham Stone It has been more than a year since Melbourne glassblower Anne Hand took her own life. The front cover drawing is by Anne and this issue also contains a tribute to her. Anne's death had a resounding impact on the glass community (not to mention her family) and the repercussions are still being felt. When Penni Clarke also committed suicide months later it seemed as if the glass world in Melbourne was imploding. The traditional mid-winter darts/pool night was held recently at Toucan Glass Studio, and it seemed to mark the end of a dark era. Glass people responded to the event as If you have any queries regarding never before and everyone agreed articles or images in the magazine, that it was the best darts night to date. fax me at: Its real significance for me, though, Cold Glass Access Workshop, was that the glass community was Meat Market Craft Centre, beginning to heal. Ph: (613) or (03) 93292272 We will not forget our former colleagues, but the worst of missing them is over. Apologies to all for the absence of Ausglass Magazine for so long, but hello again and keep those cards and letters rolling in. Each edition of Ausglass Magazine from now on will carry an issue number. This one is issue 11. The number should facilitate establishing sequence, especially in the Northern Hemisphere where, of course, the seasons are reversed. I Ausglass i Tri to Annie Fortunately for us Anne was an artist and she has left us a lot of beautiful works in different mediums that were part of herself and therefore her memory will linger. Anne's career in glass panned fifteen years after finishing college with high distinctions, She has worked in many glass studios ranging from .... Cactus goblet JuliO Santos, Brian Hirst, Nick Mount, byAnne Hand Richard Morrell and the Meat Market Craft Centre, Anne also spent many years assisting Michael Hook in the setting up of his studio in Melbourne, She has exhibited widely throughout Australia and has works in private and public collections, Anne also sold her work to international clients, She has left behind an exquisite collection of unique articles, which she will be remembered for, as each piece portrays her zest for life, Anne was one of the leading female glass artists in Australia and has held respect and formed many friendships throughout the glass community, To hold a piece of Anne's glass in / &~I>-"'" T Cactus drawing your hands is to experience the essence by Anne Hand of life, '" .... ~. ·7.... She was a quiet achiever and we miss her very much, Robyn Hand and Pauline Delaney A ....... I ... ,. ... ~ ., .c.;. ~· 1 N,~. "" 1 9 9 8 The Workshops The artists the committee has C' July 1997 invited and the classes they shall Dear Ausglass Member, instruct are as follows: I hope that work and play is in Ann Robinson, New Zealand full swing for all. Your neighbours - the Cast Glass Seminar - from the conception Kiwis - have been hard at it organising of idea through process, to finishing. the next major Southern Hemispherical jam, Following is information compiled KLaus Moje, Germany/Australia to date. All artists and venues have Fused and Slumped Glass been confirmed for workshops/ Dana Zamecnikova, Czech Republic conference and exhibitions planned Mixed Media Assemblage for Pacific Light. The NZSAG Committee has Marian KareL, Czech Republic recently submitted an extensive grant Monumental Concepts proposal to Creative NZ (our funding Hank M Adams, USA body for the arts). Such an ambitious Teamwork - Direct furnace casting, extensive happening as described construction and performance. requires substantial support. I have full confidence this event will come to William Morris, USA fruition. I extend an invitation whole­ Hot Glass heartedly from the New Zealand Society Harumi Yukutake, Japan of Artists in Glass to Ausglass members Resident Artist to attend our workshops and conference - make the Tasman link and come eat some food in the ground with us. We will keep you posted with up-to-date information as we receive it. To contact direct write to: NZSAG PO Box 68805 Newton, Auckland NZ • Ausglass NZSAG PACIFIC LIGHT WORKSHOPS/CONFERENCE 1998 JANUARY 22nd - FEBRUARY 1st The objectives of NZSAG for Proposed Timetable Mon 26th the PACIFIC LIGHT workshops are One day seminar directed by Mon 19th as follows: Rob Hooper and Vivienne Bell Harumi Yukutake commences her • For members to make contact targeting secondary school students. ten day Artist in Residence. Supplied with accomplished international A basic introduction to glass. Videos, with hot glass and kilnforming facilities gIass artists. slides and workshop visits. for an installation to be exhibited at • To create an environment for the 'new' Auckland City Art Gallery, Tues 27th all participants to learn, achieve Auckland. Day four and inspire. • To facilitate these workshops Wed 21st Wed 28th with the best NZ has to offer. Tutors have arrived settled and Performance installation piece • To cross·fertilise these workshops been taken to their various workshop by Hank and his crew - Artspace, where possible. venues. First scheduled dinner with evening function. • To bring focus to institutions workshop hosts, Tas and organisers Thurs 29th and private studios. - opportunity to meet the core and Discussions and workshop assessment. • To have an inspirational identify people. 3-6pm CONFERENCE REGISTRATION and exciting time. Thurs nnd 8pm Workshop closing BBQ party All of these events are to One day seminar by Ann Robinson hosted by Alannah. stimulate the realisation of the on the process of casting - from the versatility of glass as an art medium. conception of ideas through process, CONFERENCE concluding with finishing. Slides and Fri 30th discussion. Juried class. 9am-4pm Opening addresses, talks. Fri 23rd 6pm International Exhibition Opening 9am WORKSHOP REGISTRATION - Auckland Museum/powhiri and orientation. by Ponamu. 4-6pm Exhibition opening National Sat 31st Student Show - Unitec foyer. 9am-5pm Day of talks 6-8pm Exhibition opening NZSAG 7pm Hangi and Auction Members Show - Masterworks Gallery. Sun 1st 10am-4.30pm Day of talks Sat 24th - Conference close. Commencement of the six-day 6pm Closing party ... Klaus Moje intensive workshops . Untitled 1989 TOURS Sun 25th Collection of the artist Transport provided by Unitec Day two Canberra. minibuses, each group has NZ host. GAFFER GLASS 2 Collins Street, Morningside, Auckland. Manufacturers of coloured glass rods for glassblowers and casting crysta I for casters. THE WEST COAST WITH ANN ROBINSON Karekare beach plus tour of Ann's extraordinary workshop. •... _,. .. IIlIlI Specifications The first major revolution in 20th Century glass manufacture was that of continuous production. In 1959, the float glass process became another major breakthrough in the manufacture of sheet glass. Some claim glass it is apparently caused by it was the most significant industrial weathering, and was never seen by glass development since the blowpipe. its maker.) At higher temperatures, Float glass flows onto a bath of the bloom colours disappear, but the molten tin, with the advantage that frosting can become more pronounced it does not pick up any texture from and remain quite attractive for some the bath and ensures uniformly flat applications, even breaking up into surfaces. It has largely replaced plate stretched, scale-like patterns. glass that must be ground and polished The tin side of float may affect to achieve clarity. The float process the performance of enamels. Certainly takes place in an oxygen free (reducing) with some forms of silver stain, it is atmosphere to prevent oxidation of preferable to avoid the tin side. It may the tin. It features a pouring 'spout' also contribute to devitrification but is or refractory lip, designed so that the Graham Stone less likely to adhere to mould surfaces. texture it imparts flows out to the Different float batches vary, with tin edges of the resulting sheet, for bloom occasionally pronounced, at removal later. other times negligible. The top Though not normally visible, float temperature is an important factor carries a 'memory' of the tin on its in its retention and the iridescence underside. This can have repercussions can disappear with subsequent firings. in subsequent studio firings. Tin bloom To test which side contains the is a frosting that emerges when fired. tin imprint, expose the glass to an At low forming temperatures, it reveals ultraviolet lamp.
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