Glass and History

This year will be the 14th Annual Glasshaus exhibition at Parndon Mill, and following the success of last year’s themed show on glass and science, this year will focus on glass and history. This could be work that uses historical references as inspirational sources or work that deals with the history of glass making, or indeed any other link between glass and history.

The exhibition will be held at the Parndon Mill Gallery in Harlow, Essex, and will run from 19th September until 3rd November (work to be delivered on 16th September and collected on 4th November). If you would like to be considered for the exhibition and feel that your work is relevant to this year’s theme, or if you require any clarification, then please contact me or Karen Murphy at karenmurphy28@btopenworld.com.

 

Parndon Mill does not have mains water and our well is running dry. If you could help us with our borehole appeal, we would be most grateful and you would be helping secure a future for creativity in Harlow.

http://justgiving.com/campaign/borehole2019

 

Bericht über die Konferenz „Creating Glass Lives“ in Frauenau

 

Welche Wege für die Arbeit mit dem Glas in Gegenwart und Zukunft möglich sind, wurde im Rahmen der internationalen Konferenz „Creating Glass Lives“, 31.5. bis 1.6.2019, in Frauenau behandelt und eifrig diskutiert. Die zweitägige Tagung stellte vor allem die Frage in den Mittelpunkt, wie sich zukunftsfähige Konzepte für Glasschaffende in Kunst, Handwerk und Design auf individueller, aber auch auf regionaler und kollaborativer Ebene gestalten können – eine Frage, die ebenso Ausbildungsstätten und Manufakturen betrifft. Hinter der Veranstaltung steht das EU-Projekt Glass Works, in dem das Bild-Werk Frauenau, die Universität Graz und die Königlich-Dänische Kunstakademie unter dem Motto Taking roots through training and networking zusammenarbeiten.

 

Der erste Konferenztag gab fachlich fundierte und perspektivenreiche Einblicke in die historische und aktuelle Situation europäischer Glasregionen. Internationale WissenschaftlerInnen referierten über Hintergründe, Entwicklungen, Kontinuitäten und Neukonzeptionen in dänischen, schwedischen, tschechischen und bayerischen Regionen. Im Festvortrag präsentierte Sylva Petrová (Kunsthistorikerin, Tschechien), wie es die tschechische Glasszene mit ihren herausragenden KünstlerInnen, ProduktentwicklerInnen und HandwerkerInnen über die Jahre immer wieder geschafft hat auf die dynamischen Entwicklungen in Industrie, Markt, Geschmack und Gesellschaft zu reagieren. Besonders impulsgebend und wegweisend waren die Vorträge der schwedischen und dänischen VertreterInnen über die erfolgreichen und zukunftsfähigen Konzepte und Geschäftsmodelle. Bornholm (Dänemark) etwa wurde 2017 vom World Crafts Council (Weltrat des Kunsthandwerks) zur europaweit ersten World Craft Region ernannt, wie Jakob Bondo Schultz (Vorsitzender Center for Regional Crafts Groenbechsgaard, Dänemark) berichtete. Dort ziehen HandwerkerInnen, KünstlerInnen, UnternehmerInnen, Museen, Schulen und vor allem auch die Politik an einem Strang. Die Museen in Holmegaard (Holmegaard Værk, Eröffnung 2020, Dänemark) und in Boda Glasbruk (The Glass Factory, Schweden) verstehen sich nicht nur als Sammlungs- und Ausstellungsort, sondern als Kunst-, Bildungs- und Begegnungszentren, die, wie Mette Bielefeldt Bruun (Kuratorin Museum Sydøstdanmark, Dänemark) und Maja Heuer (Museumsdirektorin The Glass Factory, Schweden) erklären, mit lokalen und internationalen Glasschaffenden und Bildungsinstitutionen direkt und vor Ort in den museumseigenen Werkstätten zusammenarbeiten. Katharina Eisch-Angus (Universität Graz, Bild-Werk Frauenau e.V.) referierte über die Glasregion des Tagungsorts, wie Frauenau aus der grenzüberschreitenden Tradition europäischer Glashüttenkultur zum Mittelpunkt des deutschen Studioglases wurde und wie das Bild-Werk Frauenau in den späten 80er Jahren diese internationale und kollaborative Basis für die Entwicklung seiner Internationalen Sommerakademie und vielen Projekten zwischen Kunst, Design, Industrie und Ausbildung nützte. Aus den Kreisen des Bild-Werks reifte über die Jahre das nun realisierte Projekt Glass Works, um das europäische Kulturerbe Glas in die Zukunft zu führen und langfristige Netzwerke und Austauschstrukturen zu schaffen. Die im Rahmen des vierjährigen EU-Projektes stattfindenden sechsmonatigen Trainingsprogramme sind dabei eine großartige Chance für angehende KünstlerInnen, HandwerkerInnen und DesignerInnen.

 

Der zweite Tag, der in Form von Workshops abgehalten wurde, war reich an inspirativem Austausch von Ideen, Erfahrungen und Idealismus. Dabei kamen einige europäische GlaskünstlerInnen selbst zu Wort und konnten in kurzen Impulsvorträgen über Realitäten und Strategien in Hinsicht auf Netzwerke, Kollaborationen und Business berichten. Als besonders herausfordernd kristallisierte sich das Finden von erfolgreichen und an die Zeit angepassten Geschäftsmodellen heraus. Beispielhaft etwa arbeiten in Nový Bor (Tschechien) unter dem Namen „Kolektiv Ateliers“ befreundete Glaskünstler zusammen. Der Glasgraveur Jaroslav Šara beschreibt Kolektiv Ateliers als ein „Gesamtkunstwerk“. Die sechs fachkundigen Künstler arbeiten flexibel, mit wenig bürokratischem Aufwand in unterschiedlichen Werkstätten unter einem Dach sowohl an individuellen als auch an gemeinsamen, internationalen Aufträgen. Sie tragen so ihren Teil dazu bei, das Kulturerbe Glas in die Zukunft zu führen.

(Bild-Werk Frauenau, 28.6.2019. Das Foto zeigt Sylva Petrova bei ihrem Vortrag in Frauenau.)

 

 

Corning Museum of Glass

Residency Opportunities

 All Residency Applications are Due August 31, 2019

We know that artists' needs vary and points of work, study, and research are all different. That's why we offer different types of residencies on our campus. Whether you're an artist researching historical glassmaking techniques or a working artist who wants to explore their body of work while utilizing the Museum's resources, there's a residency opportunity that's right for you.

 

Artist-in-Residence at The Studio


These month-long residencies are open to established artists who practice in glass. Artists are invited to spend a month at The Studio exploring new directions in glass art or expanding on their current bodies of work. Transportation, room, and board are provided.

David Whitehouse Research Residency for Artists


This residency is for artists wishing to utilize the immense resources of The Rakow Research Library to inform their practice. This is not a "making" residency. In addition to the library, residents will also have access to librarians, curatorial staff, and other experts. This residency is up to three weeks long. Transportation, room, and board are provided.

David Whitehouse Research Residency for Scholars


This residency is for scholars who would like to use the extensive collection of the Rakow Research Library to inform their research about any period of glass. Residencies are up to three weeks in length. Scholars are provided with transportation, room, and board.

LEARN MORE

Erwin-und-Gretel-Eisch-Stiftung

 The 'Erwin Eisch, Glas Malerei' exhibition was opened in Regen on the occasion of the foundation's jubilee. In her speech, district administrator Rita Röhrl commended the initiative of the two benefactors as exemplary. 1,498 art works valued at 1,5 million EUR currently make up the foundation. Of those 8 pieces have been sold so far, 886 pieces are not for sale. All the objects are well housed and archived. The funding is secured. In his eulogy Dr. Sven Hauschke, director of the Coburg art collections, lined up the foundation alongside the Joan Miro Foundation (Barcelona), the Ada and Emil Nolde Foundation (Seebüll), the Lothar and Christel Fischer Foundation (Neumarkt) and the Ann Wolff Collection (Berlin). 

Erwin Eisch, born 1927, broke through the traditional boundaries of glass art. His pieces don't wish to be liked for their transparency and colour. The interaction with the material and the ensuing dialogue with the viewer are his issues, something that also manifests itself in his painting. These days one is more aware than in the past: without Gretel, Erwin would not be plausible. The firebrand always needed a helpful angel by his side. The studio glass movement owes them both a great deal. (Photo credit: Schmölders)

Trieste Contemporanea 2019

 Trieste Contemporanea is pleased to announce that the call of the Young European Artist Award 2019 is now open! The application must be submitted by midnight (Italian time) on the 19th of August, 2019.


Since 1999, the Trieste Contemporanea Committee assigns the Young European Artist Trieste Contemporanea Award to a young artist from Central Eastern Europe with the aim of promoting her or his work on the international art scene.
From 2013 the Award is biennial and open to any young artist aged under 30 and born in one of the following countries: Albania, Belarus, Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, Estonia, Germany, Hungary, Italy, Kosovo, Latvia, Lithuania, Macedonia, Moldova, Montenegro, Poland, Romania, Slovakia, Serbia, Slovenia, Turkey and Ukraine.
The award gives the winner the opportunity of conceiving and developing a solo show for the Trieste Contemporanea's exhibition space in Trieste, Italy. The artist will also have a catalogue published and will benefit from professional exposure as a consequence of the award.All eligible applications will be examined by a judging committee comprising experts and curators of contemporary art from Central Eastern Europe.

There is no entry fee.
Participants must be born within the 18th of August, 1989 and present an updated
 portfolio.
Applicants should register to the competiton using the online form and attach the portfolio and an Identification Document (pdf or jpg format, max 500 KB). Read more: http://www.triestecontemporanea.it/news.php?id_news=354&id_m=2&l=e

19.8.2019

 

Idea Furnace

Pittsburgh, PA . Many ideas have been fired up in the studios at Pittsburgh Glass Center (PGC) since the Idea Furnace program started in 2012. Nearly 40 artists have participated in this experimental design program that connects non-glass artists with glass artists and encourages exploration in other art forms. The “Idea Furnace Retrospective” is a new exhibition showcasing the work of 17 artists of other mediums who participated in the Idea Furnace program and were inspired by glass.  The exhibition opens to the public on Friday, June 7 with a free reception from 6 to 9pm. The “Idea Furnace Retrospective” will be on view until July 29, 2019. The “Idea Furnace Retrospective” showcases artists of other mediums who have been inspired by glass. Each artist had the opportunity to execute their ideas in glass with the help of an experienced glass artist.  (until 29.7.2019)

 

Bullseye closing its gallery

Three years after a toxic air scare resulted in unprecedented legal and civil actions against Bullseye Glass Company, the 45-year-old colored art glass factory is closing its downtown gallery, educational, and projects space in a move to cut costs while maintaining a firm commitment to its worldwide arts community. With the departure of Spectrum Glass and Uroboros Glass, Bullseye remains the last colored art glass manufacturer in the Pacific Northwest.

 “The State used a tiny arts industry as a scapegoat to deflect attention from its own regulatory incompetency, to avoid transparency, and to bolster its reputation as an environmental regulator at Bullseye’s expense – all unnecessary, especially when it was aimed at a company that for decades had relied upon, taken direction from, and consistently complied with Oregon’s Department of Environmental Quality,” said Bullseye VP Jim Jones.

Financial losses related to State demands and strategically orchestrated negative publicity, paired with the resultant billion dollar class action lawsuit, cut deep into income that had previously supported Bullseye’s robust arts program. “For twenty years our space in the Pearl District showcased remarkable works in kilnformed glass created by artists from around the world who use the glass handmade in our southeast Portland factory,” said Lani McGregor, Bullseye co-owner and director of the exhibition and activities space known as Bullseye Projects. “Our team mounted critically lauded exhibitions, steered our national residency programs, and incubated family and children’s programming. Additionally, Bullseye Projects has co-hosted an international conference since 2001 that every two years has brought approximately 300 visitors to Portland from around the world. Finally, our international competition for emerging artists, after opening in Portland, has gone on to tour the US, in museums and other arts organizations. In our current financial position operating these programs in the Pearl District is untenable.”

The gallery is slated to close to the public on June 1, 2019. Staff will transfer to the company’s southeast facility from which they will oversee ongoing touring exhibitions, educational outreach, and an increased online presence in support of the medium, its artists, and related programs.

Changes to various arts programs previously overseen by Bullseye Projects will be announced in the weeks ahead. Bullseye Projects staff will work closely with artists and clients during this transition to ensure that partnerships with them, with their schools, museums, and other arts organizations remain as central to Bullseye’s focus as they have been since the factory was founded in 1974. For more information, please contact: Jim Jones, Bullseye Glass Company, jimjones@bullseyeglass.com (june 2019)

 

Printmedien im digitalen Zeitalter

Printmedien im digitalen Zeitalter am Beispiel vom Studioglasmagazin GLASHAUS

Im Zeitalter der digitalen Medien stehen die traditionellen Printmedien vor einer besonderen Herausforderung. Für eine Fachzeitschrift wie GLASHAUS ergeben sich daraus sowohl Chancen wie Probleme. Der Eintritt ins digitale Zeitalter mag individuell oder subjektiv sehr unterschiedlich verlaufen, aber die Lehman-Bank-Pleite 2008, hervorgerufen durch digitale Manipulationen am Finanzmarkt, markiert einen Einschnitt, der länderübergreifend alle betrifft. Einsparungen sind seitdem angesagt. Ebendieses Jahr 2008 markiert wie kein anderes den Beginn des sog. Digitalen Zeitalters. Es markiert auch einen Wendepunkt in der Geschichte von GH, das 10 Jahre lang (seit 1999) ein stetig wachsendes Leserinteresse verzeichnen konnte. Seit 2008 sind die Zahlen rückläufig bei Abonnenten und Inserenten. Dem damit verbundenen finanziellen Abwärtstrend zu begegnen wurden die folgenden Maßnahmen getroffen: Wechsel der Druckerei mit stärkerer Konzentration in der Druckvorbereitung; moderneres Layout; GH-online als Ergänzung des Printmediums; Stammplätze verbunden mit Sonderleistungen. Außer diesen „positiven“ Maßnahmen wurden wiederholt auch die Abo-Preise angepasst, um die gewohnte Qualität sicherzustellen. Die Tatsache, dass eine Zeitschrift schon vor Drucklegung im Internet erscheint, wird als eine Chance im digitalen Zeitalter erkannt. Sowohl die ständige Verfügbarkeit der Ausgaben von GH als Download auf Computer, Tablet oder Smartphone wie auch die direkte Verlinkung der Anzeigen und Webadressen mit den entsprechenden Internetseiten machen die online-Ausgabe einer Fachzeitschrift zu einer willkommenen Ergänzung der Printausgabe. Seit 2015 sind alle Ausgaben GH im Internet mit Passwort zugänglich. Eine Retro-Digitalisierung der früheren Ausgaben musste aus Kostengründen entfallen. Eine digitale Version der Druckvorlage macht aus einem „langsamen“ Medium, wie es eine Quartalszeitschrift darstellt, noch kein „schnelles“ Medium. Ein Netzwerken zwischen den Erscheinungsterminen kann Informationen schneller und breiter transportieren. Dazu bieten sich die Netzwerke Facebook, Linkedin oder Instagram an. Mit welchen Medien und wie oft das Netzwerken realisiert werden kann, bleibt zu prüfen. Auch ein stärkeres Vernetzen mit Plattformen wie Glasspool, sculptur network, ländereigene Glasvereinigungen u.a. käme in Betracht. In diesem Sinne kann Digitalisierung zu einem Synonym für Austausch werden. Ob dadurch GH wieder zu einem Erfolgsmodell wird, ist langfristig eher nicht zu erwarten. Kurz- und mittelfristig aber macht es durchaus Sinn.

 

Printed media in the digital age. The studio-glass magazine GLASSHOUSE. Traditional printed media face an exceptional challenge in the digital age. For a specialist magazine like GLASHAUS, it opens up opportunities as well as being a source of problems. Participation in the digital world can vary to a great degree on an individual, subjective basis, but the Lehman Brothers crash in 2008, caused by digital manipulation in the financial market, marks a watershed which affected everyone all over the world. From this point on, austerity has been the order of the day. The year 2008 is seen to mark the beginning of the so-called digital age. It also marks the turning point in the history of GLASHAUS, which had enjoyed steadily growing readership over the course of 10 years (since 1999). Since 2008, there has been a decrease in subscriptions and advertisers. The following measures were taken to curb the financial decline: the printing firm was changed with more focus on the pre-printing phase; GH-online was launched to compliment the printed medium; regular slots combined with special services. Alongside these improvements, the subscription price had to increase repeatedly to be able to maintain high standards. The fact that a magazine is already present in the internet before going to press, is recognized as being a valuable opportunity in the digital age. Availability of GH issues to download on computers, tablets or smartphones as well as the direct links between adverts and web addresses with the internet pages make the online version a welcome compliment to the printed one. Internet access to the current issue as well as previous issues of GH has been possible with a password since 2015. Digitalising pre-2015 issues was not possible for financial reasons. A digital version of a ‚slow‘ medium such as a quarterly magazine does not transform it into a ‚speedy‘ one, however. Networking in the period between publication dates can spread information faster and further. Facebook, LinkedIn or Instagram are the most suitable means of doing this. Which media are most appropriate and how often the networking can be realised is still to be looked into. Increased networking within platforms such as glasspool, sculpture network, and glass societies in different countries, could be considered, for example. Digitalisation could become a synonym for communication and exchange, but in the long-term, it is not to be expected that this will lead GLASHAUS to its former level of success. It does make sense in the short and middle-term, however.

Kurzreferat Deutsche Glastechnische Gesellschaft, Rheinbach 22.9.2018, W. Schmölders