Bullseye closing its gallery

BULLSEYE GLASS COMPANY CLOSES EXHIBITION AND PROJECTS SPACE IN PORTLAND’S PEARL DISTRICT

 

Sole surviving Pacific Northwest colored art glass manufacturer shutters arts space as costs related to regulatory, legal, and civil actions exceed $4M.

 

FOR RELEASE February 21, 2019 – 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

Venice Glass Week 2019

THE VENICE GLASS WEEK 2019: CALL FOR APPLICATIONS (DEADLINE 21st MARCH)

  • The Venice Glass Week is an international festival dedicated to the art of glass, taking place from 7th - 15th September 2019 in Venice, Italy.
  • This will be the third edition of the festival, which last year featured more than 150 events at over 170 venues across Venice, Murano and Mestre, and was attended by over 91,000 visitors.
  • The organising committee is currently welcoming applications from any individual or organisation wishing to participate in this year's festival.  Proposed events can include exhibitions, installations, conferences, workshops, demonstrations or any other type of initiative relating to artistic glass. 
  • For more information about the festival, and to apply to take part, please visit https://www.theveniceglassweek.com/en/applications-2019/, download the Application Form, fill it in with details of your proposed event and send to info@theveniceglassweek.com by Thursday 21st March 2019
  • For general information about the festival, visit www.theveniceglassweek.com or click here to watch a short YouTube video.
  • Keep up to date with festival news via social media (Instagram: theveniceglassweek / Facebook: @veniceglassweek / Twitter: theveniceglassweek)

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

 

 

Hauberg Fellowship

RESIDENCY DATES: MAY 21 - JUNE 19, 2019
Named for Pilchuck co-founder John H. Hauberg (1916–2002)—philanthropist, art collector, and important patron of artists—the fellowship was established to encourage collaboration among a group of outstanding artists.
Groups of up to six members are invited to submit an application to utilize the Pilchuck studios and campus environment during the month-long residency for research and development of artwork based on a common theme or a collaborative project. 
For questions, contact the Pilchuck Registrar at registrar@pilchuck.com.
APPLY BY THURSDAY, NOVEMBER 15 FOR THE JOHN H. HAUBERG FELLOWSHIP

Crystal Valley

Dear international friend of glass
We need your help! Please direct our personal letter of recommendation to: Mr. Hejtman Martin Puta of the Liberec Region and to the so patriotic architect of the “Eliaska Museum Project” in Kamenicky Senov, Mag Tereza Svachova”: 'Tereza Šváchová' <svachovatereza@gmail.com>; martin.puta martin.puta@kraj-lbc.cz  This is urgent!
With outstanding efforts, the Liberec Council under Hejtman Martin Puta, together with Mag. Tereza Svachova and regional personalities has been successfully building the idea of bringing a truly European project “CRYSTAL  VALLEY” into practice.
The North Bohemian Glass Region is internationally seen as the  l a s t   s t I l   c o m p l e t e  g l a s s r e g I o n   I n   t h e   w o r l d.CRYSTAL VALLEY is, with your help, to become a widely known area between Kamenicky Senov (Steinschönau) in the west, with Novy Bor (Haida), Liberec (Reichenberg), with Jablonec (Gablonz) and Zelezny Brod (Eisenbrod), right up to Harrachov (Harrachsdorf) in the far west of North Bohemia.
The western pillar will be the new chandelier-museum in Kamenicky Senov, following the concept of the European Society LIGHT & GLASS and planned in detail by Mag. Tereza Svachova in the historic Elias Palme chandelier factory building of 1905.
European glass experts must feel responsible to make the Region become a well visited sequence of high level  touristic spots in the heart of Europe. The Czech officials badly need at this moment your written support to bring the project to higher national and international levels.
Please write a short letter of high appreciation of the Czech efforts in this matter and send it to the e-mail addresses of Mr. Martin Puta and to Tereza Svachova. With this, your last input, the project has all chances to become true for us all! With glass greetings 
Peter Rath