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January/February 2015 for the Creative For the Creative Professional Working in Hot, Warm, and Cold Glass January/February 2015 $7.00 U.S. $8.00 Canada Volume 30 Number 1 www.GlassArtMagazine.com 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 4 New Year, New Goals for Glass by Shawn Waggoner Warm Glass Studio Profile The Objects of Our Affection 6 Amanda Simmons’ Glass January/February 2015 Volume 30, Number 1 by Shawn Waggoner Marketing Finding More Time in Your Days 12 Techniques for Promoting Social Media Marketing by Mark Veit Hot Glass Studio Profile Filip Vogelpohl 14 A Curious Maker of Glass Art by Colleen Bryan GAS News 20 The 2014 Technology Advancing Glass Grants Philanthropic Glass 22 The 15th Annual Glass Now Weekend and Auction by the Staff of the National Liberty Museum AGASC News 25 Secrets of Art Glass Revealed by Leslie Perlis Working Greener 26 Green VI Glass Studio by Colleen Bryan SAMA News 32 A Passion for Painting with Glass by Gwyn Kaitis Glass Talk 34 The Closing of the Smith Museum of Stained Glass by Shawn Waggoner SGAA News 42 Expanding Horizons Skills and Techniques The Faceting Machine 44 Using a Faceter to Make Laminated Dichroic Sculptures by Kent Lauer AGG News 48 Introducing the AGNX Award by Patrice Schelkun Etched Glass Studio Profile David Schulte and Harish Dewani 50 A Friendship Etched Online by Shawn Waggoner 53 Readers’ Forum RAGS News 54 RAGSfest 2014 by Stan Price What’s New Above: Vase from Green VI Glass Studios Mangrove Line. 55 Featuring the latest in books and products for the glass enthusiast Photo by Todd VanSickle. On the cover: Dahlia Universe II large vessel Winning Glass by Amanda Simmons 58 The 2015 NICHE Award Finalists Like us on Facebook. Also pin us on Pinterest. 6 2 Advertisers’ Index www.GlassArtMagazine.com Glass Art TM • January/February 2015 • 3 Glass Art Letter from the Editor Volume 30, Number 1 New Year, New Goals for Glass Publisher ~ Maureen James Editor ~Shawn Waggoner In 2015, glass artists and craftspeople will continue Copy Editor ~ Darlene Welch melding traditional art and craft mediums with innova- Accounting ~ Rhonda Sewell tive concepts, materials, and techniques. In doing so, Circulation Manager ~ Kathy Gentry viewers are invited to explore both cutting-edge design Advertising ~ Maureen James and a mastery of process in works that explore a range of glass possibilities—hot, warm, and cold. Graphic Artists ~ Dave Burnett In the first issue of the new year, Amanda Simmons Mark Waterbury creates exotic kiln formed and cameo engraved glass Contributing Artists and Writers vessels that evoke emotion and investigate why we Colleen Bryan, Gwyn Kaitis connect with objects. Working from her studio in Corsock near Castle Douglas, Scotland, Kent Lauer, Leslie Perlis Simmons manipulates opaque glass powders to allow for varying translucency as the form Stan Price, Patrice Schelkun elongates in the kiln. Cold working processes are enlisted to shape and mark the glass. “I love the physical and chemical challenges working with glass offers. For me, it consolidates Staff of the National Liberty Museum what I have learned in previous science-based careers.” Mark Veit, Shawn Waggoner Also in this issue, Glass Art fittingly presents the work of hot glass artist Filip Vogel- Darlene Welch pohl. His personal work is evenly split between commercial lighting and dramatic hot glass Glass Art™ artworks for restaurants, private homes, and random investigations of concepts that pique ISSN 1068-2147 is published bimonthly his personal curiosity. Vogelpohl observes that the technology of glassmaking continues by Glass Patterns Quarterly, Inc. to evolve, bringing different tools and methods to working with this ancient art form and carrying it in interesting new directions. “The iron curtain on knowledge about glassmaking POSTMASTER: Send address has lifted, which is good for spreading the craft to a broadening world.” changes to Glass Art, Stained glass artists continue pushing the aesthetic envelope, introducing modern content 8300 Hidden Valley Road, to their ancient craft, but they face challenges in terms of finding places to exhibit, sell, and P.O. Box 69, Westport, KY 40077 celebrate their work. After 14 years at Navy Pier in Chicago, Illinois, The Smith Museum Telephone: 800-719-0769 of Stained Glass has closed its doors to make room for a new retail, entertainment, and 502-222-5631 hotel district. It’s hard to know what will happen to the Smith collection, but stained glass lovers everywhere hope that someone, somewhere, will jump into the breach and fill the Facsimile: 502-222-4527 void left behind. Website: www.GlassArtMagazine.com On the doorstep of 2015, Glass Art wishes to express gratitude to our readers, advertisers, E-mail: [email protected] and supporters around the globe. We look forward to another year of providing the latest Subscriptions: United States, Canada, glass related information and industry news. and Mexico (U.S. Funds): one year $30; two years $48; three years $60. Foreign Helping glass artists reach new heights in 2015, (U.S. Funds): one year $56, one year airmail $70. Single copy price (U.S.) $7. Shawn Waggoner All subscriptions must be paid in Editor U.S. dollars with an international money order or with a check drawn on a U.S. bank. Periodicals Postage Paid at Westport, KY 40077 and additional mailing offices. ©2015 Glass Patterns Quarterly, Inc. All items submitted to Glass Art become the sole property of Glass Art and cannot Colbalt Burst 3 by Filip Vogelpohl be reproduced without the written con- sent of the publisher. Advertisers and/or agencies assume all liabilities for printed Deadlines for Advertising advertisements in Glass Art. Opinions March/April 2015 May/June 2015 Glass Art expressed in may not necessar- Ad Closing January 20, 2015 Ad Closing March 20, 2015 ily reflect the opinion of the magazine, its Ad Materials January 30, 2015 Ad Materials March 30, 2015 management, or its advertisers. Issue Mails February 20, 2015 Issue Mails April 24, 2015 4 • Glass Art TM • January/February 2015 www.GlassArtMagazine.com www.GlassArtMagazine.com Glass Art TM • January/February 2015 • 5 Warm Glass Studio Profile The Objects of Our Affection Amanda Simmons’ Glass by Shawn Waggoner manda Simmons creates exotic kiln formed and cameo en- graved glass vessels that evoke emotion and investigate why Expanding Her Market to the US Awe connect with objects. Since the beginning of time, humans have In 2010, The Crafts Council and UK Trade and Investment collected things that define our humanity, reflect what is important, awarded Simmons the Gold Award for innovation, creativity, and and provide comfort and solace as we navigate survival. “The start- potential to export her unique kiln formed glass vessels at Origin: ing point to all of my work is that connection, either with an emotion, The London Craft Fair. This award allowed the artist to explore color, written word, or music. I then make a visual representation of a chosen overseas market and get export advice from a personal my research and reactions, which often leads to more questions.” international trade advisor. Simmons has worked with glass for the past 12 years. She gradu- Simmons chose the United States as her target and used the award ated with Distinction from Central St. Martin’s School of Art and money to visit New York in spring 2011 to investigate contemporary Design in London, England, earning her postgraduate certificate applied arts galleries and visit SOFA New York. She also made her in glass and architecture before relocating to Dumfries and Gal- first visit to Bullseye Glass Co., Portland, Oregon. The following loway, Scotland, in 2005. Her work has been exhibited at Collect: year, Simmons was selected as a finalist inEmerge, the international The International Art Fair For Contemporary Objects, Saatchi kiln formed glass competition sponsored by Bullseye. Creative Scot- Gallery, London; The Gallery at London Glassblowing; Bullseye land awarded Simmons the 2013 Craft Maker Award and presented Gallery, Portland, Oregon; and The Sculpture Objects Functional her with travel grants in 2013 and 2014 to attend SOFA Chicago. Art + Design (SOFA) Fair in Chicago, Illinois. Working from her studio in Corsock near Castle Douglas, Sim- A Fine Line Between Science and Art mons manipulates mass, heat, color, gravity, and time to create As an apprentice engineer with a degree in pharmacology and complex and elusive work that reacts to specific lighting situations. experience as a clinical perfusionist, it took Simmons many years Opaque glass powders allow for varying translucency as the form to discover glass art. Her first exposure to the medium came in 2002 elongates in the kiln. Cold working processes including sandblasting when she attended a stained glass summer school at the Institute of and hand lapping as well as diamond point and wheel engraving are Art, London.
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