Author Archives: Andrew Page

About Andrew Page

GLASS: The UrbanGlass Art Quarterly is published by UrbanGlass in Brooklyn, NY

The GLASS Quarterly Hot Sheet has a new address

The completely redesigned UrbanGlass.org Web page now includes the GLASS Quarterly Hot Sheet.

The completely redesigned UrbanGlass.org Web page now includes the GLASS Quarterly Hot Sheet.

We are pleased to announce that the widely read GLASS Quarterly Hot Sheet has relocated to a new home on the entirely redesigned and improved Website for UrbanGlass, the nonprofit art center that publishes the blog as well as the print publication GLASS: The UrbanGlass Art Quarterly. If you follow us on WordPress, you’ll need to find another way to stay current with our new postings. “Like” our page on Facebook or “Follow” us on Twitter to receive regular updates. Continue reading

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New York City Mayor Michael Bloomberg presides over UrbanGlass reopening on October 2, 2013

While UrbanGlass executive director Cybele Maylone and elected officials look on, New York mayor Michael Bloomberg breaks a glass ribbon to mark the reopening of UrbanGlass.

While UrbanGlass executive director Cybele Maylone and elected officials look on, New York mayor Michael Bloomberg breaks a glass ribbon to mark the reopening of UrbanGlass.

With the ceremonial breaking of a glass ribbon, New York City Mayor Michael Bloomberg officially reopened the expanded and improved UrbanGlass facility in Downtown Brooklyn on the morning of Wednesday, October 2, 2013. A large crowd of friends and supporters of UrbanGlass (and its neighbor BRIC Arts) gathered on a windy fall morning to hear the mayor, Brooklyn Borough president Marty Markowitz, and other elected officials talk about the transformative power of the arts. The former Strand Theater building that has housed UrbanGlass since the early 1990s, has undergone a two-year, multi-million dollar renovation that has upgraded and expanded the facilities, gallery, and retail spaces. Continue reading

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U.K.-based glass artist organization wins charity status, a step toward becoming self-sustaining

CGS-logo-+-web-address-Pantone-328The Contemporary Glass Society (CGS), an organization based in the United Kingdom, was recently awarded Charity Status. This legal step, completed on August 14th, 2013, is part of a transition to self-sustainability. The CGS has been reinventing itself since it lost its annual grant of ₤50,000 from the Arts Council of England, which was announced in March of 2011. The CGS has been the UK’s foremost organization for glass art for over 15 years and boasts an international membership of 700 mostly artists hailing fromEurope, Asia, and South America. The organization also has connections to manufacturers, galleries, academics, and various artists in the glass trade. The CGS seeks to support to established and up-and-coming artists as well as students in the glass field through workshops, exhibitions, conferences, and various forms of promotional aid through its website and print publication, Glass Network. Continue reading

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Sarah Gilbert awarded inaugural 4Front Residency at the Chrysler Museum of Art Glass Studio

Sarah Gilbert holds degrees from Brown (BA), RISD (BFA), and the University of Idaho (MFA).

Sarah Gilbert holds degrees from Brown (BA), RISD (BFA), and the University of Idaho (MFA).

Portland, Oregon-based artist and educator Sarah Gilbert has been selected as the inaugural artist for 4Front : Innovation from All Angles, a 14-day residency at the Chrysler Museum Glass Studio in Norfolk that will take place from January 8 through 22, 2014. The new residency, a partnership between the Robert M. Minkoff Foundation and the Chrysler Museum of Art, attracted 33 submissions from 10 countries. (Disclosure: Andrew Page, editor of the GLASS Quarterly Hot Sheet also serves as the director of the Minkoff Foundation.) Gilbert was selected after an international search and competitive submission process. Applicants were asked to submit ideas for a contemporary art project using glass that is groundbreaking in one or more of the following areas: technique, concept, energy efficiency, and media fluency.  Continue reading

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Speaker line-up announced for December 2013 academic symposium “Issues in Glass Pedagogy”

 L to R: Jack Wax, Leslie Walker Noell, James Baker, Charlotte Potter, Helen Lee, Richard Whiteley, Ruth King, Peter Houk.


L to R: Jack Wax, Leslie Walker Noell, James Baker, Charlotte Potter, Helen Lee, Richard Whiteley, Ruth King, Peter Houk.

On December 6th and 7th, a unique academic symposium will bring the world of glass instructors, professors, and program administrators to Brooklyn, New York, for a two-day discussion of the most pressing issues in the field. A review panel made up of Dan Clayman, sculptor; Jack Wax of the Craft/Material Studies Dept at The Virginia Commonwealth University School of the Arts; Ruth King, artistic director emeritus of Pilchuck; Robert Minkoff, managing trustee of the Robert M. Minkoff Foundation; and Andrew Page, foundation director, selected from the many responses to a Call for Papers. (Disclosure: The GLASS Quarterly Hot Sheet is published by UrbanGlass, which is hosting the symposium, and edited by Andrew Page, who also serves as the director of the Minkoff Foundation). The resulting program brings together the new guard of glass academics who are taking over glass programs around the U.S., as well as their more established counterparts at some of the leading universities. In addition, the program will feature top administrators of non-accredited institutions such as Pilchuck, Penland, and UrbanGlass who will appear on a special panel to examine their relationship to degree-granting institutions. The program will be a mix of auditorium lectures and what are being billed as “studio lectures,” presentations taking place in the UrbanGlass studio that may make use of the newly renovated facilities to share practical techniques of teaching. Continue reading

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BOOK REPORT: A look at Louis Comfort Tiffany’s use of Favrile glass in his art glass objects

TiffanyCover

Paul Doros was inspired to write his book by a 2010 appearance at the New York Metropolitan Glass Club, where he lectured on the subject.

Though there are numerous books on the lamps, stained glass windows, and jewelry of Louis Comfort Tiffany, it is rare that the focus is on the art objects of the highly influential Art Nouveau artist and designer. A newly published book The Art Glass of Louis Comfort Tiffany (Vendome Press, $75) addresses that with over 200 pages of photography and scholarly analysis of this important aspect of Tiffany’s multi-faceted career. The author, Paul Doros, is a former curator at the Chrysler Museum of Art, where he penned the 1978 exhibition catalog The Tiffany Collection of the Chrysler Museum at Norfolk. Doros was inspired to write the book after a 2010 lecture he gave at the Metropolitan Glass Club, where he shared insights he gleaned during his tenure as glass curator for the Chrysler Muesum of Art and a glass expert at Christie’s 20th-century decorative arts department. Continue reading

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Less Is Sometimes More: William Morris “recomposed” Mazorca pieces allow details to come to the fore

William Morris, Mazorca (Detail), 2013. Blown glass, steel stand. H 29 12, W 12, D 8 in.

William Morris, Mazorca (Detail), 2013. Blown glass, steel stand. H 29 12, W 12, D 8 in.

When Mazorca was unveiled for a 2005 retrospective at the Museum of Glass in Tacoma, Washington, it was a bid for large-scale impact on the part of William Morris, known for the ability to create convincing organic texture in glass works that celebrate and reference the earthy qualities of tribal art from around the world. At more than 8-feet tall, the assemblage of carved heads, ears of corn, gourds, and various vessels dangling from a steel armature overwhelmed the senses, a cluster of objects that looked more like ceramic and carved wood and bone, strung up by thick hand-braided rope. That it all was made from glass was astonishing, but appreciation for the technical accomplishments of the Morris team-members who developed the processes on display may have been impeded by the sheer number of objects grouped together in the piece. After the museum exhibition closed, the massive work didn’t find a buyer, and languished on the market, most recently with a price-tag of $2 million, before it was recently announced that Morris would reconfigure the pieces into a number of smaller works Continue reading

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