For the Creative Professional Working in Hot, Warm, and Cold Glass September/October 2016 $7.00 U.S. $8.00 Canada Volume 31 Number 5 2016-2017 Directory of Industry Supplies www.GlassArtMagazine.com Artist Patty Gray demonstrating Pro Series Combing at Pacific Artglass in Gardena, CA. The Artist Patty Gray was introduced to glass blowing in 1973. She and her husband built their first glass- The Kiln blowing studio in 1975. Together they have been The GM22CS com- producing architectural fused/cast glasswork monly referred to for installations in major hotels, public buildings as “The Clamshell” ,and private residences for over ten years. Patty is particularly well is constantly on the road sharing her knowledge suited for combing of fusing in workshops all over the world. To see because of it’s easy more of Patty’s work visit: access design and the www.pattygray.com fact that a tilt switch cuts the power to the Combing elements whenever Combing is a technique used to distort patterns the lid is opened to prevent electrical shock. in molten glass for interesting effects. Typically a For more information on the GM22CS visit our tile is made of fused, varied-color strips of glass website at: and heated to a point where it is soft enough to www.glasskilns.com “comb” with stainless steel rods. The piece can then be blown into a vessel using a process called “a pick up” like the piece shown here. For more information on combing visit: www.glasskilns.com/proseries/combing Patty GrayV4.indd 1 12/13/11 8:53:09 AM Letter from the Editor 4 The Season to Broaden Your Glass Horizons by Shawn Waggoner September/October 2016 Volume 31, Number 5 Hot Glass Studio Profile Grant Garmezy 6 A Young Artist Finding His Way to Glass by Colleen Bryan Historical Perspectives Scholarly Electronic Resources at Corning 10 The Techniques of Renaissance Venetian Glassworking by The Staff of the Corning Museum of Glass CGS News 14 The 2016 Contemporary Glass Society Exhibition by Pam Reekie Winning Glass 16 The 2016 Glass Craft & Bead Expo Gallery of Excellence Marketing 22 Time to Get Creative by Mark Veit 24 2016–2017 Directory of Industry Supplies Retailer Profile McMow Art Glass 42 Reinvigorating an Intergenerational Legacy Business Using a Millennial’s Perspective by Colleen Bryan Educational Glass Perspectives of Graal Glass 48 A Symposium and Master Classes at Bild-Werk Frauenau by Bild-Werk Frauenau, Germany/Bavaria International Glass Listening to Art 50 The Palau de la Música Catalana by Leslie Gibbs SAMA News 54 SAMA Leaves a Mosaic Legacy in El Cajon by Shawn Newton 57 Readers’ Forum 58 What’s New Above: McMow Art Glass, Golfing Chimp door panel. On the cover: Desert Blossom by Grant and Erin Garmezy. Photo by Brian Cannizzaro. 62 Advertisers’ Index Like us on Facebook. Also pin us on Pinterest. Check our blog on Tumblr. www.GlassArtMagazine.com Glass Art TM • September/October 2016 • 3 Glass Art Letter from the Editor Volume 31, Number 5 The Season to Broaden Your Glass Horizons Publisher ~ Maureen James Editor ~Shawn Waggoner The September/October 2016 issue of Glass Art continues the Copy Editor ~ Darlene Welch magazine’s comprehensive coverage of hot, warm, and cold glass Accounting ~ Rhonda Sewell beginning with up-and-coming artist Grant Garmezy’s high-end, realistic glass sculpture honoring the natural world of the South. Circulation Manager ~ Kathy Gentry International glass is represented in articles featuring the stained Advertising ~ Maureen James glass of Barcelona’s Palau de la Música and the electronic re- Graphic Artists ~ Dave Burnett source, The Techniques of Renaissance Venetian Glassworking Mark Waterbury by artist and scholar William Gudenrath, released by the Corning Contributing Artists and Writers Museum of Glass. Bild-Werk Frauenau’s Perspectives of Graal Bild-Werk Frauenau, Colleen Bryan Glass, a symposium and master class, is also showcased. In addition to reporting on the many glass organizations and their activities, Glass Art Leslie Gibbs, Shawn Newton presents its annual Directory of Industry Supplies. This indispensable tool—available in Pam Reekie print and online—provides the perfect way for artists, retailers, and suppliers to connect to Staff of The Corning Museum of Glass make the buying and selling process mutually beneficial. These comprehensive, alphabeti- Mark Veit, Shawn Waggoner cal listings provide addresses, phone and fax numbers, contact names, and products and Darlene Welch services available, plus brief comments from each glass art supplier. Glass Art™ Listen while you work! Subscribe to Glass Art magazine’s Talking Out Your Glass pod- cast on iTunes or Stitcher. Episodes include Richard Marquis, pioneer of murine making and ISSN 1068-2147 is published bimonthly glassblowing; Narcissus Quagliata’s groundbreaking personal and public work in stained by Glass Patterns Quarterly, Inc. and fused glass; and Dr. Laura Schlessinger, radio personality and philanthropic fused glass POSTMASTER: Send address artist. You’ll also find a conversation with Tina Oldknow, former curator of modern and changes to Glass Art, contemporary glass at the Corning Museum of Glass; how Ben Belgrad gives back through 8300 Hidden Valley Road, his borosilicate glass art; the early life and times of glassblowing pioneer Dante Marioni; P.O. Box 69, Westport, KY 40077 and a tribute to beloved stained glass artist and owner of Hunt Studio, the late Nicholas Parrendo. Contact us for sponsorship opportunities for this growing bimonthly podcast. Telephone: 800-719-0769 Fall is a great time to learn a new skill, and our expert Webinars provide the perfect 502-222-5631 way to add to your technical repertoire without ever leaving home. We have nearly 40 Facsimile: 502-222-4527 Webinars listed in all types of glass techniques, some brand new to our program. Included Website: www.GlassArtMagazine.com are warm glass classes with Lisa Vogt and Barry Kaiser, copper foil overlay with Cathy E-mail: [email protected] Claycomb, boro pendants with Brent Graber, fusing with Randy Wardell, sandblasting and Subscriptions: United States, Canada, cold working with Dennis Brady, and many more. For the complete Webinar schedule, visit www.glassartmagazine.com. and Mexico (U.S. Funds): one year $30; two years $48; three years $60. Foreign Helping subscribers to never stop learning, in print and online, (U.S. Funds): one year $56, one year airmail $70. Single copy price (U.S.) $7. All subscriptions must be paid in Shawn Waggoner U.S. dollars with an international Editor money order or with a check drawn on a U.S. bank. Periodicals Postage Paid at Westport, KY 40077 and additional mailing offices. ©2016 Glass Patterns Quarterly, Inc. All items submitted to Glass Art become McMow Art Glass, Mermaid and Turtle stained glass panel (detail). the sole property of Glass Art and cannot be reproduced without the written con- sent of the publisher. Advertisers and/or Advertising Deadlines agencies assume all liabilities for printed advertisements in Glass Art. Opinions November/December 2016 January/February 2017 expressed in Glass Art may not necessar- Ad Closing September 20, 2016 Ad Closing October 20, 2016 ily reflect the opinion of the magazine, its Ad Materials September 30, 2016 Ad Materials November 30, 2016 management, or its advertisers. Issue Mails October 24, 2016 Issue Mails December 26, 2016 4 • Glass Art TM • September/October 2016 www.GlassArtMagazine.com www.GlassArtMagazine.com Glass Art TM • September/October 2016 • 5 Hot Glass Studio Profile GRANT GARMEZY A Young Artist by Colleen Bryan Finding His Way rant Garmezy blows high-end realistic glass Gsculpture with distinctly Southern imagery to Glass from a furnace at The Glass Spot in Richmond, Virginia. His work features the animal life of the rural South, where the artist grew up surrounded by nature and animals and the rhythms of farm life. He transfers techniques learned from realist Southern sculptors. The young artist is gaining a reputation in places as far distant as the Czech Re- public, Turkey, South Korea, and Southern France. Garmezy’s story is one of a young artist making his way through various media and recounting the chal- lenges he navigated to establish himself as a professional glass artist. Glass Art caught up with Garmezy just as he returned from teaching his first class in advanced sculpting at The Studio of The Corning Museum of Glass and readying himself for an intensive summer of international travel, demonstra- tions, and teaching. The Artist’s Roots Garmezy grew up on a farm outside Nashville, Tennessee, with parents who were very supportive of him pursuing art. “Nothing else came naturally to me, so I was enrolled at age 10 in private lessons with a cartoonist to practice drawing, and that naturally evolved. I apprenticed with a coppersmith in high school, where I learned how to work with metals, the discipline of being an artist, and the hardships of being a working artist. My early portfolio is filled with metalwork.” Out of high school, Garmezy applied to 10 art schools and was ac- cepted by nine. An accidental encounter with a recruiter in an elevator led him to discover Virginia Commonwealth University School of the Arts (VCUarts). “I found an amazing school, far enough away from home, with the best art facilities I’d seen and among the top arts programs in the country. They also had lots to offer beyond arts, and I wanted to be immersed in a diverse school.” Garmezy entered VCUarts intending to specialize in metalwork- ing. He studied ceramics, furniture design, and metalworking for a year but was fascinated when he first observed glassblowing. “There were music, students working in teams with molten material, people having a good time. I was, like, how do I get in there? I asked the head of the department for an override slip and changed my focus from metalsmithing to glassblowing.” The artist’s introduction to glass was hardly a love match.