AGG Member architectural glass art criticism art history articles awards BSMGP business skills call for artists cathedral classes computer skills conferences craft craft show design tools Designers discovery exhibitions fabulous fakes float glass fusing glass blowing glass making glass mosaic glass painting historic glass hot glass how to inspiration installations lecture light museum new technology Not your Grandma's Stained Glass painting photography places to teach Podcast programs public art schools tour Trends video Webinar workshops
Sunday, May 5, 2013
Monday, April 22, 2013
Elayne Lansford's Bottle World healing garden is a tribute to triumph over life-threatening illness and the power of healing through gardening. Reframing her reality by giving new life to old objects helped her when husband John Villanacci faced a random disease and lung transplant, soon after she recovered from breast cancer. It was a twist for Elayne, a psychologist who helps clients every day. In her refuge of sanctuary and peace, she worked out some of her sorrow and anger through hands-on activity and creation.
Sunday, April 7, 2013
MAY 15, 2013
Linda Norris in a rare US appearance will lead a hands on glass painting workshop inspired by her collaborative commission with Rachael Phillips documented in the film above. Don't miss this once in a lifetime opportunity to study with this extraordinary artist.
Register online at: http://www.americanglassguild.org/
About the instructor:
Linda Norris has been a painter for over 30 years. She trained in a tight figurative tradition and
has since developed freer ways of working. In her painting she is interested in exploring
emotional aspects of landscape. She first came to glass six years ago, with a painter’s desire to move beyond paint. She has become drawn to explore the myriad possibilities that glass offers her to make site-specific work and to collaborate with other artists. As a material that is between liquid and solid in state, glass allows her to make work with a conceptual content that moves in the poetic space between word and object.
In recent years she has become increasingly interested in exploring in her work the ways in which objects and artwork serve to link us to others and to the past. She is especially interested in making site-specific work in relation to historic settings and stimuli, and in finding ways to make contemporary artwork using traditional methods. She has recently won the International Warm Glass Prize for her piece, ‘Her House is Air’.
With support from the Arts Council of Wales, she is currently developing a new body of sitespecific external glass work for a disused quarry; this work is based on the human shaping of the landscape of North Pembrokeshire.
Tuesday, March 26, 2013
Glass Magazine is now accepting nominations for the 2013 Glass Magazine Awards: The People, Products and Projects. The prestigious glass and metal industry awards program recognizes the most innovative products and services the industry has to offer, in addition to the most innovative projects completed within the past year. It also names winners for Best Project Manager, Best Production Supervisor, Best Sales Rep and Best Installer. Submit your nominations at www.glassmagazine.com/2013awards.
The deadline for nominations in all categories is April 16, 2013.
If you have questions or require additional information, please contact Jenni Chase at email@example.com.
Tuesday, January 29, 2013
Stu Schechter collaboration with Ralph Helmick
dimenensions: 8' h 5.5' w 26' d
materials: steel, aluminum, stained glass
site: Minnesota Bureau of Criminal Apprehension
commissioned by: Minnesota Percent for Art Program
Issues of analysis, synthesis and mortality are central to this artwork created for the new state forensics laboratory of Minnesota. Exquisite Corpse is comprised of nineteen giant aluminum “magnifying glasses”, each housing two distinct layers of imagery.
The first are colorful stained-glass panels depicting twice-life-size cross-sections of human anatomy. Collectively, they indicate the form of a dissected, recumbent, elongated male figure. (Helmick and Schechter excerpted these interior bodily views from the National Library of Medicine’s Visible Human Project, an exceptionally detailed medical database.)
The mechanisms that suspend the stained-glass sections also function as a second layer of imagery. Welded metal filigrees hold the glass panels in place, each steel “drawing” referring to a different analytical technique employed at the lab. Allusions to specific disciplines include molecular diagrams of heroin and ethanol, representations of bullet holes and blunt objects, and raw data from dental records and gas chromatography.
The familiar DNA double helix appears twice, at the head and foot of the figure, framing the entire artwork as an acknowledgment of the centrality of genetics to contemporary forensic investigation.
Seen as a whole, the scientific specialties embedded in Exquisite Corpse merge into a dense web of interconnected information, creating a metaphor for how various departments at the BCA often unite to forge a nuanced understanding of complex crimes.
Stained glass is an art form historically associated with spiritual settings and concerns. Exquisite Corpse employs the power of the medium in a setting where reverence for the human body coexists with analysis of our most basic corporeality.
Thursday, January 24, 2013
American Friends of Chartres, the Standing Committee of Medieval Studies of Harvard University and the patronage of the Consul General of France in Boston, invite you to a lecture by Paul Crossley, Professor Emeritus of the Courtauld Institute of Art of London University on Chartres and the Rhetoric of Gothic Cathedrals, Tuesday March 12, 2013 at 5:30pm, at the Sackler Museum, 485 Broadway, Cambridge, Massachussetts. The lecture will be preceded by a short presentation of American Friends of Chartres activities and projects (the website: www.friendsofchartres.org is being updated) and a photographic presentation by Art Sacré Photographers, Dennis and PJ Aubrey.