NEXT Habatat 45th Glass International Catalog

H

A

B

A

T

A

T

NEXT 45 th Annual International Glass Invitational Awards Exhibition 2017 April 29th, 2017 — July 28th, 2017

HABATAT GALLERIES 4400 Fernlee Ave., Royal Oak, MI 48073

248.554.0590 | info@habatat.com w w w . h a b a t a t . c o m

Participating Artists Introduction 1

Nicolas Africano Sean Hennessey Jenny Pohlman & Habatat Galleries invites you to celebrate the 45th year of our International The Imagine Museum in St. Petersburg, Florida, has acquired a collection Rik Allen Eric concentrated Hilton on the genealogy of glass and focusing Sabrina Knowles Glass Exhibition. We are extremely proud to have founded the oldest on the history and largest annual glass exhibition in the world. An event that is quickly of studio glass in America and will open in 2017/18. Richard and Powell Shelley Muzylowski Allen Jacqueline Hoffmann-Botquelen Stephen Rolfe approaching half a century in age! The International Glass Invitational Barbara Basch have donated their collection to the Ringling School of could be described as anAllison annual barometer for studio glass. Each year in Sarasota, Florida, which has opened up a 5,000 square foot hot Dean PetrGlass Hora David Reekie this exhibition showcases the master talents of the medium that we all shop on their campus. Phillip and Nancy Kotler as well as Warren and Babcock David Huchthausen Reid know and loveHerb as well as the glass innovators of the future.

Margot Coville have donated their collections to TheColin Ringling Museum’s new glass pavilion also located in Sarasota, Florida. Arnold and Bette Rick ToshioHoffman as Iezumi well as Audrey and Norbert Gaelen have Kait Rhoads The 45th will feature 100 Beck artists from over 20 different countries offering their donated their finest work. Over 50 of theBehrens artists will be in attendance for the Grand Opening collections to in Pennsylvania.

Michael Joseph Ivacic the Palmer Museum at Penn State University, Richard Ritter on Saturday, April 29, at 8:00 p.m. This event will also include the participation Carolyn and Richard Barry will be donating their collection to the Barry of the attendees to “Vote for YourTré Favorite in the Show”. The artist with the at Old Dominion University, in Norfolk, Virginia, and broke ground Howard Ben MartinMuseum Janecky Sally Rogers most votes will be included in an upcoming museum exhibition during “The in April of this year. Doug, Pat and Chris Perry will be collaborating Robert Bender Michael Marlene Rose Summer of Glass” at the Fort Wayne Museum of Art in Fort Wayne, Indiana. withJanis Marriott and opening a glass-centric hotel in Norfolk, Virginia, with Make sure to pick up your silver stars for voting at the door. renovation starting in 2018. This kind of energy has never been seen before Alex Gabriel Bernstein Richard Jolley Martin Rosol and we are very proud to be part of the future of contemporary glass.

New for the 45th is an exhibition titled “Glassotic: An Exhibition of Glass Cassandria Blackmore Kreg Kallenberger Richard Royal Wearables.” This exhibition will focus on artists who create with functionality Until recently museums had little interest in supporting the evolution of in mind. Habatat has invited 14 artists, many new to the gallery, offering some medium. As a gallery involved in glass Habatat has always had the Martin Blank Jon this Kuhn Davide Salvadore of the most intriguing glass that may not only enhance a collection but also desire for all museums to consider glass a serious art. During the 70s or one’s attire. Peter Borkovics Jiyong Leewas nearly impossible. This was due to theJack 80s this lack of Schmidt education and exposure of the medium to museum directors and curators. Calling on a Every year we ask the artists to answer a question on a specific topic. For Christina Bothwell Stevemuseum Linnwas easy back then (through a switch board), Mary Shaffer however, getting a 2017, we asked our participants to predict the future. Rummaging through hold of someone who understood that glass could be used as an art form Latchezar Boyadjiev Lipofsky Ivana Sramkova our library we stumbled upon a catalog from 1987 titled “25 Years: GlassMarvin as was nothing short of an anomaly. The lack of exposure could have spawned an Art Medium” written 30 years ago by the Founder of Habatat Galleries, the& infamous or an art.

Peter Bremers John Littleton Kate debate about Vogel whether glass is a craftPaul Stankard Ferdinand Hampson. This catalog asked a question to Habatat Galleries artists to predict the future of glass art work in the year 2012.

This publication such as Maya Lin, Fred Wilson, Josiah McElheny, Kiki Tate Smith, Ai Emily Brock LászlóArtist Lukácsi Tim documented 25 years of studio glass that began in 1962 with Harvey Weiwei and Nicholas Africano are stretching the art community’s idea of Littleton’s veryJosé first glass blowing workshop in Toledo, Ohio. It also featured Lucyhow Chardiet Lyon Michael glass can be used as a means for expression and challengeTaylor this notion an international art glass chronology of the 25 years after this historic event. of the medium’s reputation as a craft material. There are challenges ahead.

Daniel Joanna The Manousis Winnie It is very exciting to say Clayman that many of the artists who were included in our idea of glass as an art is still debatable amongst someTeschmacher major museums. publication 30 years ago will be answering this question once again.

Deanna Clayton Mari Meszaros Margit Toth Even though debate is still essential in all art, we should change our After reading this (ancient) text we thought it would be interesting to look focus from art versus craft to how to elevateJanusz what we love and collect. The Robert Comploj Janis Miltenberger Walentynowicz forward to what is NEXT for glass as an art form. We asked each artist more studio glass that enters museum collections, the more exposure it will participatingMatthew in this catalogCurtis to share their thoughts on where the world Benjamin of get as an art form. The International exhibition is in place to help guide Moore Vivian Wang glass studio glass will be in 2041. We have heard some controversial feedback and along its journey to find its own NEXT amongst collectors and museums Dan Dailey Debora Moorethe art world.

Caterina Weintraub wonderful insight regarding the unknown future of this mysterious art form. throughout Donefer Moran Hayden Dakota Wilson We are now inLaura an interesting era in which a lifetime of collecting glass is John We hope you will enjoy our glass experience. reaching its own NEXT phase. Many historic institutions are receiving and Stephen Dee Edwards Leah Wingfield & constructing sites to display these collections. Some accomplishments ofWilliam Morris this year include: The Shirley and Sherwin Glass collection was acquired Nick Mount Stephen Clements Matthew Eskuche -Corey Hampson and Aaron Schey by the Mott Foundation/ Isabel Foundation and donated to the Flint Institute Ann Wolff of Arts in Michigan. They be opening up a hot shop and new wingKathleen Mulcahy MatthewwillFine to the museum to house the collection. The Bruce and Ann Bachmann John Wood collection wasKatja donatedFrizsche to the Henry Ford Museum in Dearborn, Michigan. Jay Musler Part of the collection will be housed inside the museum and a building Hiroshi Yamano Irene FrolicFoundation will be erected next to the hot Tanja Pak donated by the Davidson/Gerson shop on the grounds of Greenfield Village to house the rest of the collection.

Albert Young Susan Taylor Glasgow Albert Paley Brent Kee Young Robin Grebe Zora Palova Toots Zynsky Wilfried Grootens Marc Petrovic

HABATAT GALLERIES Corey Hampson Aaron Schey Ferdinand Hampson Debbie Clason Rob Bambrough Rob Shimmell David Walstad Kathy Hampson Samantha Menzo Jurors: Philip and Nancy Kotler Noted collectors from Chicago/Sarasota Nate Jessup Director of the Imagine Museum, St. Petersburg, Florida Charles A Shepard III President and CEO of the Fort Wayne Museum of Art, Fort Wayne, Indiana Design and Layout by John Bowman Planning by Corey Hampson and Aaron Schey Compilation and Editing by Aaron Schey Š2017 Habatat Galleries, Royal Oak, Michigan All rights reserved.

This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher.

This catalogue was published to coincide with the exhibition 45th International Glass Invitational at Habatat Galleries, Royal Oak, Michigan, Saturday, April 29, 2017 to Friday, July 28, 2017.

ISBN 978-1-928572-06-0

Ralph and Evie Goldstein (RG 1926 - 2008) (EG 1927 - 2016)

Bruce Bachmann gave so much to the Art Alliance for Contemporary Glass, as well as to the contemporary glass movement. He served as president from 20032005, and continued to serve AACG actively on its board and advisory council up until his death. Collectors of contemporary glass art since 1987, Bruce and his wife, Ann, who passed away in 2013, donated more than 400 pieces to The Henry Ford museum in Dearborn, Michigan.

Part of the collection went on exhibit in October inside the museum, and the rest of the collection will be open to the public in May in a newly refurbished building in Greenfield Village that has been made into a gallery for display of the Bachmann collection.

Ralph and Evie Goldstein were lucky enough to live in Wisconsin when Harvey Littleton started the first glass making program at the University of Wisconsin, in Madison. Her collecting interests began with a simple unsigned French glass vessel bought for $35.00 by her daughter as a gift to Evie. This gesture started a passion for studio glass. Very early on they became interested in the artists that would shape the American Glass scene.

They met and acquired Harvey Littletons, Nick Labinos, Paul Stankard Howard Ben Tré and many others. They seemed to have an uncanny gift for collecting artists that would remain relevant at a time when it was difficult to understand who might emerge among a group of fledgling glass blowers.

Joan Patricia Valentine Baxt (1931 – 2016) Joan will be remembered as a passionate supporter of the arts, having served on the Board of Governors of the Ft. Lauderdale Art Museum, the Board of Trustees of the Miami City Ballet and Board of Directors of Nova Southeastern University Alvin Sherman Library.

Joan along with her husband Milton were also major contemporary glass art collectors, as a founding member of the Florida Glass Art Alliance in the 1990’’s, she was president of the group until 2012. Joan also served on the national level as president of the Art Alliance for Contemporary Glass from 2001-2003 and in various other board capacities. In 2015 Joan was honored by the AACG as a “Fellows Circle Member,” which recognized Joan as being “supportive and instrumental in making major contributions in the development of the AACG.”

Ronald Desmett (1948 – 2016) Ron Desmett and wife Kathleen Mulcahy lived and worked together for about four decades. Ron, along with his wife, co-founded the Pittsburg Glass Center that is still open today. Both were honored at PA artists of the year for 2013-14. Ron let a successful career as an artist and has work in many collections including the Carnegie Museum of Art, the Renwick Gallery of the Smithson American Art Museum and the Corning Museum of Glass. He was the best kind of human being, a kind, compassionate guy who loved and supported his wife and his friends and who made a difference in our creative world.

In Memoriam

Bruce Bachmann (1934 – 2017)

Patricia Gorelick (1941 -2017) Patty’s devotion to intellectual life and the arts was legion. She was a founding member and President of the Founders Circle of the Museum of Craft + Design, and she also helped found and served as President of the Learning Society of Queens College. Patty assembled an extraordinary collection of Bakelite decorative jewelry that was placed on exhibition at the Mint Museum, and together with her husband Bill, she established numerous art galleries at Central Piedmont Community College.

Her contributions to other institutions are varied and many, and Charlotte is more vibrant thanks to her energy and commitment. Both Bill and Patty have been generous supporters of the glass art community and all who knew Patty will sorely miss her extraordinary sense of style, keen intellect, persistent curiosity, sensitivity, wisdom and generosity.

Klaus Moje (1936 - 2016) Klaus Moje was renowned for pioneering the use of kiln-formed glass which was subsequently adopted by hundreds of artists around the world. He was also made an Officer of the Order of Australia in 2006 for his service to the visual arts. Considered the father of glass in Australia he mentored students and collaborate with many glass artists who honed their skills in the workshop.

Klaus was a good friend of Habatat Galleries and he will be missed.

3

Award of Excellence 2016

2016 People’s Choice Award

4

Albert Young

College for Creative Studies Award

Kim Hardy - Assistant Professor of Glass at the College for Creative Studies, Detroit, Michigan

Dean Allison

Rick Beck

David Chatt

László Lukácsi

Sibylle Peretti

Janusz Walentynowicz

Collector’s Award

Robert and Jane Rogers - Noted collectors from Michigan

Daniel Clayman

Wilfried Grootens

Marc Petrovic

Colin Reid

Loretta H. Yang

Udo Zembok

Fort Wayne Museum Award

Charles A Shepard III - President and CEO of the Fort Wayne Museum of Art, Fort Wayne, Indiana

Alex Bernstein

Peter Bremers

Jan Exnar

Eric Hilton (with James Allen)

David Huchthausen

Tim Tate

Bergstrom-Mahler Museum Award

Jan Smith - Executive Director Bergstrom-Mahler Museum of Glass, Neenah, Wisconsin

Rik Allen

Einar & Jamex De La Torre

Susan Taylor Glasgow

Lucy Lyon

Janis Miltenberger

Hayden Dakota Wilson

Upc om i ng H a ba t a t G a l l e ri e s E ve nt s

45 Annual Glass Invitational Award Exhibition Royal Oak Michigan April 29 - July 28, 2017

GAS Weekend Norfolk Virginia OKAY Spark Gallery June 1 - 3, 2017

GlassWeekend ‘17 WheatonArts New Jersey June 9 - 11, 2017

SOFA Chicago Chicago Illinois November 2 - 5, 2017

Sarasota Glass Now! Sarasota Florida January of 2018

Jennifer Caldwell Jason Chakravarty Laura Donefer Susan Taylor Glasgow Chadd Lacy Charlynne Lafontaine Carmen Lozar Jupiter Nielsen Kit Paulson Clifford Rainey Kait Rhoads Adrienne Di Salvo Loretta H. Yang

H abatat G al l e r i e s D e t r o i t

GLA SSOT I C

An Exhibition of Glass Wearables

K it P au lso n E u l o g y f o r Or n am e n t , 2 0 1 6 B o ro s i l i c a te g l a s s , 1 4 x 1 0 �

Nicolas Africano 8

Untitled (Blue kneeling figure) - 2015 12 x 7.5 x 7�

Cast glass

Rik Allen

After the collapse of Cyberdyne system defense protocols under the Trump administration, Skynet forces the glass art world underground.

Most art is manifested in embellished survival gear and decorative functional art. Naturally, borosilicate plasmadrives and instraboron nebulizers are popular, though hard to come by. A small secret society of glass enthusiasts form within the catacombs and rebel networks.

Despite the upending of civil society, glass sculpture rises as both a form of expression, and a symbolic call to the resistance. Ultimately, sculpture, particularly glass sculpture, leads to the defeat of Skynet and rise of a new civil society. Sculpture is forever revered and cherished for its role in the defeat of AC (Artificial Competence).

- Rik Allen, 2017

Night Walk - 2015

9

29.5 x 14 x 9�

Blown glass, steel, silver Photo credit: Acme Creative

Shelley Muzylowski Allen

Haiku For The Glass Movement In twenty-five years Still, the most interesting Time is now in glass.

- Shelley Muzylowski Allen

Retreat (left)- 2017 16 x 22 x 8�

Blown, hand-sculpted and engraved glass, cast glass

10

Grazia Felina (right)- 2016 (Collaboration with Davide Salvadore) 22 x 9.5 x 15�

Hot sculpted glass

In the present information era with possibilities that are yet to come through new information and technologies, glass has unimaginable potential in the visual art realm. I am attempting to build equipment and use materials in fresh and exciting new ways. As an artist that works with portraiture, these tools will ultimately advance my expression of the human figure and the condition. Glass is a material that will continually surprise us and the discoveries that artists will make by 2041 should be very exciting.

- Dean Allison, 2017

Dean Allison

I can imagine that in 2041 glass art will be more mainstream in the art world. The knowledge of how to manipulate and harness the qualities of glass will be more recognized than ever before. Some artists will use this material without appreciating or mastering the skills and craftsmanship needed to create using glass. This work might be all concept and lack understanding of the material. Other artists will use glass like a tradesman and master craftsperson, where the work is all about technique, design, and craft with no desire for concept. I foresee that glass will evolve into a material that will combine the trade and craftsmanship in making with concept and thoughtfulness to elevate visual art in a whole new way.

Float (left) - 2016 18 x 20 x 20�

Cast and blown glassand cast silver

I hear what I want to (right) - 2017

11

17.5 x 16 x 11�

Cast Glass Photo credit: Mercedes Jelinek

Herb Babcock

This year PBS broadcast David Pogue’s “Materials That Changed History” wood, ceramics, glass, and iron; resources that have had the most significant impact on society through innovation and technology. We artists use these same resources, but we use them for expression.

The first clear glass took millennia to produce, from the Phoenicians to the Romans, and by experiment and experience. By contrast, art glass has developed great versatility in the last 50 years alone.

25 years from now I believe glass will become a medium of choice for specific expression, alone or combined with other mediums. Craft continues to beguile with brilliance, embellishment and refinement.

Fine art uses glass to push intent and presence. History is always the filter of relevancy.

- Herb Babcock, 2017

12

Red to Blue - 2017 37 x 28 x 17” Cast glass and bronze

Rick Beck

I suspect that, 25 years from now, (at age 81), my wife and I will continue to blow tchotchkes and whatnots to pay the gas bill and buy dog food.

A philosopher/friend/glassworker, Judson Guerard, sees no need for objects, just art that changes to suit the needs of that moment, sculpture, painting, sound, whatever.

It is shared holographic experiences.

What I see happening in glass is students who are better trained as artists and craftspeople. I hope that the object made will be sublime objects that make the soul soar. Art that makes us better as a people. To paraphrase Marvin Lipofsky: “Peace in 2041”.

- Rick Beck, 2017

The Story of My Father (left) - 2017 87 x 24 x 14” Cast and fabricated glass, steel, polychromed silver leaf

Here (right) - 2016/2017

13

94 x 13 x 12” Cast and fabricated glass, steel, polychromed silver leaf

Michael Behrens

I believe and hope there will be many possible futures for glass as an art! Art is the birth of an idea by a person with a unique history and, more importantly, individual potential. We all need these futures to be envisioned and these potentials to be reached so that one day the public will take glass art for granted. No other physical medium explores our visual sense like glass. No other medium is able to impress both philosopher and the physicist, the historian and the modernist like glass.

In the future, I envision that our ideas today will enhance the public’s awareness for the need of glass as an art medium. Proving in the future something that I already know. How truly unique glass is.

- Michael Behrens, 2017

Seaforms - 2016-208 (left) - 2016 72 x 34 x 8“ Kilncasted-glass Photo credit: Norbert Heyl

14

Seaforms - 2016-205 (right) - 2016 25.6 x 15.7 x 6�

Kilncasted-glass Photo credit: Norbert Heyl

Howard Ben Tré

Wrapped Form 25 (left) - 2017 18.25 x 12.375” Dia. Cast glass, sheet lead, patina

Wrapped Form 23 (right) - 2017

15

22.75 x 8.25” Dia. Cast glass, sheet lead, patina

Robert Bender

Glass is a highly technical craft and art. To a great extent, the revered traditions of glass have been developed to overcome these production challenges. Through creativity and trial and error, unique visions developed and spawned traditions which have been maintained and refined over time.

This medium draws artists who enjoy this challenge of problem solving and stretching the boundaries of what can be done.

In twenty-five years’ new scientific advances will expand, and for the adventurous artist, revolutionize the medium. Three-D printing will continue to become a readily accessible tool, with intuitive interface. With microprocessors getting ever smaller, the temptation to embed their functionality will be irresistible.

Video, robotics, and orchestrated light will be ever more accessible.

It is, however, the artist’s vision which gives art staying power.

The ability to fold these new tools into a personal vision will create the traditions yet unfounded.

- Robert Bender, 2017

16

Icorus - 2017 49 x 19 x 2.5�

Cast glass, LED

Alex Gabriel Bernstein

Museums and the general public will continue to be more accepting and knowledgeable of glass and it will become more and more mainstream.

Growing up with my parents, as founding members of the studio glass movement in America, it was always such a “novelty” when their livelihood came up in general conversation. I anticipate that artistic expression through glass will be a part of daily conversation by 2041.

- Alex Gabriel Bernstein, 2017

Coral Blue Fan - 2017

17

33 x 23 x 4” Cast and cut glass fused steel, steel base Photo credit: Steve Mann

Cassandria Blackmore

In 2041, glass will have continued to impact human’s everyday lives. Artists will be aware of its evolution as a resource in the utilitarian realm, which always dovetails with the metamorphosis of materials used in the art world. As technology continues to expand upon the ingenuity of glass, artists will appropriate these innovations in ways we are yet to see.

The categorical definition of what kind of artist you are will not be defined by medium. Glass will no doubt be a much stronger thread woven into the fabric of contemporary art of all genres.

- Cassandria Blackmore, 2017

Asimi Kapnos Sideburst (left) - 2017 40 x 40” triptych Reverse painted glass

18

Portokáli Tourkouáz (right) - 2017 30 x 30” triptych Reverse painted glass

Martin Blank

The future and the past are nothing but concepts. When creating art, one has to be concretely grounded in the present moment. In each piece, I endeavor to connect people to that quality of presence, and without it, real art and creativity don’t exist. Good luck 2041!

- Martin Blank, 2017

Winged Victory - 2017

19

28 x 10 x 11�

Hot sculpted glass

Peter Borkovics

Just like the weather, society is in a constant change. Art is gerernally affected by society and, just like the weather, it is both delicate and fragile.

An artist may have a quality of life that is worry free and is then able to work and create at ease.

Another may have more of a challenge and dream to create beyond their means.

Art is one of the most fragile gifts we share in our reality. One must have a certain level of peace as well as quality of life when working. If living conditions are difficult then the desire to create something beautiful could never be reached.

With glass it is especially difficult as many tools are required for the creation process. To reach a level of success when working with hot glass one must have decades of experience, knowledge and endurance as well as a studio, machines and energy.

The dense form of the material filters out the amateurs and the superficial. It is often a struggle to reach one phase a glass just to start the next.

Form, color, light can all be conjured with caution.

This kind of effort requires just a hint of madness.

Although sciences have advanced over time I generally think that the human mentality has not changed in the last 30,000 years. People experience love, hate, suffer and joy during the cycle of life We as humans will always have the same desires such as survival, creation and legacy. Creating art is, in my opinion, the most beautiful characteristic of our species. It allows us to find a place in the vastness of the universe. I consider glass to be the best for the creation process because of its ethereal any physical mysteries. For me it is living light.

- Peter Borkovics, 2017

20

Vertikal Set - 2017 15.75 x 16.5 x 3.25�

Hot sculpted, polished glass Photo credit: Norbert Perness

- Christina Bothwell, 2017

Christina Bothwell

I have yet to follow trends in art, so I am unable speculate about glass in twenty-five years. I only hope I will still be making my sculpture!

Angel Landing (left) - 2017 14 x 8 x 6�

Cast glass, oil paint

Imaginary Friends (right) - 2017

21

(Collaboration with Robert Bender) 28 x 31 x 12�

Cast glass, ceramic, oil paint

Latchezar Boyadjiev

I do not know if I will live to witness the changes in glass art in twenty-five years from now. I project that glass art will pretty much be the same as it is today. Maybe a few technologies will evolve making it easier for the creative process.

For myself, I believe that sculpting will be done using virtual reality. However, the finishing will be done by hand. I think the glass art will become more mainstream and there will be more interest from the general public after years of education and exposure.

- Latchezar Boyadjiev, 2017

22

Torso XI - 2016 36 x 22 x 6�

Cast glass

Nature will be the most valuable asset of modern life, keeping us sane and rooted in the vibrational equilibrium of an otherwise ultra-dynamic universe. Glass will be the most used medium in art for its four dimensional communicative qualities and will open new possibilities to understand our shifts in perception through all senses. The smell of glass will be the newest fashion!

Peter Bremers

2041 will be exciting beyond anyone`s imagination. Art will be the way to identify yourself.

In a world that has been robotized and digitized, we will need to express ourselves in artistic ways to define and communicate our individuality with others. The appreciation of the cultural diversity will help us find and accept what we have in common, while embracing our differences.

- Peter Bremers, 2017

Love for Nature - 2017

23

8 x 72.25 x 35�

Cast glass Photo credit: Nele Siebel

Emily Brock

Considering how fast glass art has grown in the recent past it is difficult to predict the future. With all the advances in chemistry, science and the digital world there are many possibilities to explore. As an artist that creates architecture and details that reference our current culture and recent past, I find the digital images helpful to understand elusive obscure minutia. However, after working with my obstinate computer I still go back to the studio to work with hand tools I have used for forty years.

Since so much one of a kind glass art is hands-on intensive and the physical and mental effort is intriguing, I think it will continue to capture the interest of many artists who will combine it with different materials. There will continue to be ever larger pieces, but still there will be admirers of diminutive work as living spaces shrink with growing populations. Around the glass there will be continued digital marketing and viewing perhaps enhanced by improvements in the use of glass in technology.

Even though 25 years is not a long time, I would like to think that in the future glass art will be best viewed in person and designed by the imagination of the artist.

- Emily Brock, 2017

24

After - 2017 16.5 x 15.5 x 15.5�

Kilnworked glass, lampworked glass, artist created decal, assembled with silicone adhesive

José Chardiet

Part of me feels that in 25 years’ electrodes will be attached directly from our brains to a 3D printer which will then produce our art work. I know that this comes as a reaction to the worlds (and my own) intoxication with technology. It is part of our lives 24 hours a day and it can make running our studios and producing our work easier. There is no denying that some of us have a primal need to get sweaty and make things by hand. I don’t think this will change; in fact this will become more important as time goes on and technology becomes more pervasive.

We will continue to make the types of work (i.e.; Objects, Installation, Outdoor etc.) we have been making and pushing them even further. Someone will rise out of the ranks of the Glass World and make a HUGE impact and become incredibly famous within the greater Art World….I hope it’s me!

- José Chardiet, 2017

Still Life with Teapot #2 - 2017

25

26.5 x 16.5 x 6” Sandcast glass, blown and copper plating Photo credit: Mark Hatch

Daniel Clayman

In 25 years we won’t have to worry about glass breaking.

While glass will still be glass, scientists will have rearranged molecules to account for the great properties of the material while allowing it to be stronger than kryptonite!

Because so many of the difficult issues posed by glass will have been resolved, artists, architects, designers and engineers will no longer be wary of its use in applications we can’t even think of yet.

I might even still be around working in the studio each day.

26

- Daniel Clayman, 2017

Blue Shadow - 2017 28 x 23 x 12” Cast glass

- Matthew Curtis, 2017

Matthew Curtis

If I cast forward and consider the role of glass in the not too distant future, I imagine that the strength and longevity of the material will speak of reflection. Whilst scaffolding human experience and the wonder of life.

NeoBlue and Green Paired Section - 2016

27

23 x 19 x 6�

Blown, cut and fused glass Photo credit: Rob Little

Robert Comploj

My vision for glass in Europe will increase in strength as a strong means of expression. It will close the gap between the applied and fine arts.

More and more artists will convert their ideas of art into glass as it is a most thrilling material. In 25 years’ glass will be as important as any other material in the fields of art.

- Robert Comploj, 2017

28

KATRINA 08/29/2005 13:54:29 GMT - 2017 23.5 x 21 x 4�

Fused and coldworked glass Photo credit: Werner Redel

Artists by nature strive to heighten their skill and stay cutting edge. Once that pinnacle is achieved then the search for source results. Artists need to touch the piece again with new hands see it from the beginning. Seek the beauty in the imperfection. See the artists fingerprint in the piece. Make it human.

Deanna Clayton

If history repeats itself then so does the future.

The discovery and excitement of glass as medium for expression started in a raw state with the most rudimentary of tools. The lack of control and unusual results were the fire in the belly. As the movement grows, so does the access to knowledge, advancement of tools and predictability of results.

- Deanna Clayton, 2017

12 x 13 x 7�

Pate de verre and electroplated copper

29

Observant One - 2017

Dan Dailey

Like many American art students in the 1960’s, I adopted a palette of materials different from painters and sculptors of tradition. I began using glass as a medium when there was a lot of slop and slump shiny stuff made by all of us; dumb little blobs that were saved mainly because they didn’t explode. But we experimented and discovered ways to express ourselves with glass without traditional training and began to use the material to express ideas and feelings.

Encouraged by the Industrial Design department of PCA, I became interested in the glass industry, with its impressive potential of a large workforce, very big equipment and special technology. Some factories were dedicated to architectural and scientific and communications products, and other technically specific applications. They develop processes and glass formulas to meet challenges from inventors and designers. This is where the future of glass as a material is being constantly advanced, and is the most exciting. Some artists will make use of this advancing technology.

Certain factories were producing “art glass”, which I found intriguing. From 1972 to 2012 I worked in six factories as a resident artist, where I produced work that I could not make in my own studio because it was beyond my capacity. This allowed me to realize many projects using tons of glass.

30

Angelic & Luminist - 2013 Individuals series Angelic (left): 21.5 x 10.5 x 8.5” Luminist (right): 25.5 x 19.5 x 1.5” Blown glass, sandblasted and acid polished.

Anodized aluminum Photo credit: Bill Truslow

Combining industrial scale possibilities with the potential of my own studios, and employing assistants to divide the labor of production and encourage the dedication of skills toward making things, I have developed ways to realize my ideas. This enables me to participate in every process, but also think and draw and make models as the work continues.

This dreaming and working method is very personal and individual even though others are involved in the making. I think of it as my Industrial Palette. It allows me to imagine future work, and incorporate new skills and processes. For example, recent developments in LED lighting have inspired and enabled me to build illuminated sculpture in new ways, and this changes the way I design the glass components. My blown glass sculpture has evolved over years in an effort to use the practice in a personal way. Although some of the glassblowing processes we use are centuries old, the pursuit of an imagined form causes us to think in new ways as we work.

The imagination of artists will determine the future of art made from glass, and the more new techniques are employed, the more removed from historical objects their art has the potential to be. As artists work with the medium in ways that express their ideas without relying on traditional processes, it is possible we will see art that goes beyond what we know.

-Dan Dailey, 2017

31

Laura Donefer

The “Futuro Hot Glass Boogey” to be Sung at the Top of Your Lungs (While dancing wildly around the house) As long as I am breathing……

I will be gathering up that molten glass.

Plop me on the blowing bench Jack and roll, Glory hole.

Colour Colour Colour!

Yes count me in!

El futuro is here Hot glass soft glass Heart on fire!

I will always be working with glass glass glass From now till the day I expire!

(Repeat for the next 30 years) - Laura Donefer, 2017

32

Summer Amulet Basket - 2016 23 x 12 x 12” Blown glass and hot sculpted glass Photo credit: Stephen Wild

- Stephen Dee Edwards, 2017

20 x 20 x 4�

Cast glass, wood, acrylic paint, electric motor

33

23 Chances - 2017

Stephen Dee Edwards

History has shown that there will be less and less hand work in the future.

Matthew Eskuche 34

29 Hours of Television - 2008 47 x 33 x 34�

Oil painted glass found object

Matthew Fine

I believe new formulas in glass will bring about near limitless sized glass castings. New technologies in lighting and projection will be incorporated to create architectural scaled pieces that will function as screens for storytelling and color interactions that can be personalized by the viewer.

- Matthew Fine, 2017

Deep Desire - 2017

35

32 x 17 x 5�

Cast glass and granite Photo credit: William Sprueill

Katja Frizsche

There will always be art. It is hard to see the future when the present seems dark due to lack of national interest in the arts. However, artists have always been resilient. The passion endures politics, war and borders. Glass is a material that has slowly been accepted by more and more contemporary fine artists who will also help make it an ever-evolving and ever-lasting material. Artists are exploring more and more ways to express themselves through this art form.

Technically, glass will evolve as the computer enhances its uses. Yet, the ancient basics will still be there, unchanged, as they have for thousands of years.

- Katja Fritzsche, 2017

36

Mesquite - 2015 29 x 19 x 19�

Cast glass and mixed media

I believe, however, that there will also be art made from glass that will identify with the material, celebrate it, understand its history, and call itself “glass art�. The Hampson and Schey grandchildren will likely be running the largest and best glass gallery in existence.

Irene Frolic

Twenty-five years in the future I expect that some art using glass may dissolve into the general art stream and will not be classified as glass art either by the maker or by the audience.

However, in 2041 I will be celebrating my 100th birthday and so I will leave that discussion to others.

- Irene Frolic, 2017

The Mothers of her Mother - 2017

37

18 x 14 x 12�

Lost wax, kiln cast glass Photo credit: Peter Shephard

Susan Taylor Glasgow

The Future of Glass is now. When I think of the conceptual shift glass has made in the last 20 years--it’s amazing. New technologies combined with fearless ideas has transformed studio glass. An appropriate analogy night be the metamorphosis a caterpillar goes through to become a butterfly. Part science, part evolution, pure magic. In the past 50 years EVERYTHING is new.

Glass formulation, creative concepts, and technology. These advances have freed artists to meet their creative goals. I’m especially excited about the addition of mixed media into the glass environment. I feel it broadens the creative pallet and gives both artists and viewers a richer experience. New voices, new ideas, no boundaries! The future is now.

- Susan Taylor Glasgow, 2017

Royal Rock, Paper, Scissors (left) - 2016 72 x 30 x 30” Glass and mixed media

38

l Crown (Red) Brassiere on Pillow (right) - 2012 8 x 19 x 16” Glass and mixed media

- Robin Grebe, 2017

8 x 24 x 7�

Cast glass, paint, silver leaf

39

Orion Chasing Pliedes (the Seven Sisters) - 2013

Robin Grebe

The year 2041? I have a hard enough time thinking about next week! There is something primitive about applying heat to a solid piece of glass to transform it and manipulate it while it is malleable. Is there an app for that? Not really. The way we work with glass has not changed significantly in the past 25 years, but the imagery and technical aptitude have and I assume will continue to do so.

Wilfried Grootens

The speed of the integration of digital technology in our daily lives is increasing every day. Due to this change we may distance ourselves from the real.

This includes nature, environment and maybe other living beings. This digitalization might lead to a rapid loss of tangible materials such as glass, wood, metal stone and beyond. During the early stages of this digital revolution there was intense interest and enthusiasm as well as bad posture, lack of exercise and social contact.

In the future our society must re-examine the concept of real material and their sensual qualities. When creating with one’s own hands, an artist can use their creativity with a material that could crossover this gap to the digital world. Glass will be a pivotal medium in this crossover and reach a higher status of material.

Some possible futuristic attributes glass as a medium include are that it can be used as a projects surface, a control panel, a reflector of light, as well as temperature and visual division between indoors and outdoors. The future is going to be very interesting as new techniques are discovered and glass artists are able to successfully use these new methods in the creative process.

They youth of today seems most interested in the many techniques of the past. They explore and redefine many historic processes that have been used for centuries. This has led to unconventional interpretations that defy the rules of the past which has led to exciting new results. With glass, like any material, one must spend time learning the characteristics and limitations before attempting to shape it a new form. I think that the exciting new digital world mixed with limitless virtual possibilities will, at some point, intertwine with our daily lives just like with the invention of the wheel.

It is very satisfying to work with a material, force it to take on another form, play with the surface and modify the color, knowing that it will stay in this new form for eternity. The era’s in which an artist’s work is left unseen, unjudged, unaffected are long gone. The last examples are the ancient cave paintings that were hidden for over 5,000 years. Today trends and other forms of expression repeat themselves over and over again after short periods of time. An example of this is the transition between changes from figurative work to abstract in the last century.

- Wilfried Grootens, 2017

Dream Carrier (left) - 2017

40

19.75 x 8.75 x 8.75” Painted, glued, polished glass

Cosmic Efflorescence 2 (right) - 2017 19 x 11 x 11” Painted, glued, polished glass

For Glass Art, I would predict an increase in technology combined within the work. Glass with video and touch-display systems and sensors created in the casting process. Additionally, smart glass, lumisty glass, glass with chameleon affects, and glass with integrated light sources.

I think we will see glass that can be created in small desktop fabricators. Glass with the ability to change its own shape will become possible. While humans won’t ever lose their capacity to be captivated by colors and dazzle, new technologies in glass will also create the opportunities for new metaphors in sculpture. This, more than anything, will inform the aesthetics and art of glass.

- Sean Hennessey, 2017

Sean Hennessey

I do not profess to know everything or even mostly everything going on in glass currently and to predict what glass will be in 2041 is daunting. I would suggest that traditional glass blowing techniques and works will retain an appeal as life will become increasingly virtual and digital. The process of hand-working will have value far beyond the aesthetic, but also as a means of grounding and therapy.

The Radiant (left) - 2017 21 x 17�

Glass, digital print, paint, resin, LED

Wayfinding (right) - 2017

41

36 x 24�

Glass, digital print, paint, resin, LED

Eric Hilton

“Cosmic Alchemy” is the third sculpture in the Mysterium Series which is a collaboration between myself and James Allen. This work seeks to evoke the sense of curiosity and awe that we feel when we experience the universe around and within us. We are the stuff of stars surrounded and permeated by mystery which is the source of profound wonder. This work explores a mysterious realm in which glass and digital imagery create a journey through an ever changing landscape of form and light. James is a former NASA and IBM engineer and a veteran software developer with a deep love of abstract imagery. He sees the meeting place between modern technology and traditional media as fertile ground for exploring the beauty of nature, the mystery of the cosmos and the wonder of human creativity.

Quote by Henry Geldzahler: Eric Hilton’s magic is in his synthesis of dramatic light of his native landscape with a highly compressed simulacrum of purest crystal. It is as if Hilton, one of nature’s hotheads, has taught himself that his story can best be told with restraint-in a cool recollection of epiphanies. The drama and containment in his work strictly limits the permission he gives himself for fancy and decorativeness; rather than pointing to absences, his work revels in essences.

42

Cosmic Alchemy - 2017 (Collaboration with James Allen) 72 x 24 x 12” Cut, polished glass, mixed media

Almost sentient, is my vision of glass in the future. Having the capacity to react to the artist feelings, absorbing them, encapsulating a part of the soul. It will be capable to give them back to the viewer, with color changes, sounds, images. We would enter the 5D, the fifth dimension.

- Jacqueline Hoffman-Botquelen, 2017

Jacqueline Hoffmann-Botquelen

Transendency

House of Silences - 2017

43

45.75 x 23 x 5�

Pate de verre, fused imagery, paint Photo credit: Frank Schwarzbach (Zurich)

Petr Hora

Where the world of glass will be in 2041 — for me that is really a tough thought. Even today I, unfortunately, am not able to use all the modern technologies and devices available.

It is obvious that artistic craftsmanship will not cease to exist; on the contrary, that it will continue in its dynamic development. In particular, technical or technological development makes amazing advances every year and it gives an incredible possibility to your artists especially.

Glass art objects will be communicating with us increasingly; they will be able to make the atmosphere according to our moods and desires. They will be able to attack our senses using shapes, colors, music, and lights.

Despite the dynamic development of the virtual world, virtual environment and social networking, I am convinced that despite all the technological advances and possibilities… a human fingerprint, artistic skills and craftsmanships will remain a unique and irreplaceable element. And that is what makes glass art so unique, so specific and so amazing.

- Petr Hora, 2017

TOWER ONE (left) - 2016

44

28 x 10 x 3.5” Cast, polished and acid polished glass

TOWER TWO (right) - 2017 28 x 6.5 x 6.5” Cast, polished and acid polished glass

Public appreciation of conceptual and narrative work that had been sorely missing for decades will continue to proliferate, providing artists with an array of opportunities. Galleries will continue to reinvent themselves as they struggle to adapt to the changing demographics and technological innovations of the 21st Century.

Major Art Fairs, studio tours and pop-up galleries are already supplanting solo exhibitions as primary selling mechanisms and new and innovative approaches to capture the public’s attention will emerge, particularly in the areas of 3-D printing and streaming video. More artists will represent themselves both on-line and through direct sales out of their studios as the number of working artists increases in proportion to the number of viable galleries. Change will be the only constant.

- David Huchthausen, 2017

David Huchthausen

I have witnessed many changes in the glass world over the past 47 years, but the pace has become frenetic. The rise of social media and the instant communication afforded by the Internet have allowed artists to promote their work to a much wider audience than was conceivable two decades ago. The often self-imposed stigma of a “glass ghetto” within the fine art world is being gradually dismantled as glass becomes increasingly accepted as just another material for artists.

Memory Chamber (left) - 2016 11.25 x 8.75 x 10.5” Cut and polished glass

Stardust Reliquary (right) - 2017

45

20.5 x 9 x 9” Blown glass with figural applications Photo credit: Lloyd Shugart

Toshio Iezumi

I am interested in art because it surpasses my expectations: if I know what can happen, my interest will be down by half.

Perhaps glass art after 25 years will be more than we envision.

- Toshio Iezumi, 2017

M.161202 (left) - 2016

46

39.5 x 4 x 2.75�

Float plate glass. Laminating, polishing

M.150701 (right) - 2016 17 x 6 x 44�

Float plate glass. Laminating, polishing

Modern day functional glass consists of interactive installations dealing with projections, touch screens, and kinetic sculptures that are pushing cutting edge fine art and imagination. Glass has been chemically transformed from a ridged delicate material to flexible strong substrate that is the preferred building material of modern day.

Joseph Ivacic

The glass movement of the 2010s was driven by technique and technology pushed by new tools. Fast forward 25 years and we are in a place where art meets functionality. Not in the same essence of functionality as the late 1990s and early 2000s where vessels, lighting and smoking apparatus occupied a large area of what was consider functional glass.

After educations reform in second decade of the 2000’s, the United States moved from being a country that taught to the lowest common denominator to pushing education to the top of countries priority list. This has developed the mind of the new generation of art collectors to ask more of “How art affects our entire psyche.” Glass, being the most visually versatile art material, has pushed it to be the highest form of contemporary art. The relevance of historic glass has been replaced with its transformative nature and interactive functionality. We as consumers, collectors, and viewers have stopped asking questions about value and suggested purpose and now ask “How, What, Why, Where, and When does this relate to me?” This new generation of “Super Thinkers” has helped the rest of bridge the gap, and stresses the importance of glass as a contemporary material.

- Joseph Ivacic, 2017

Unravel - 2017

47

59 x 25 x 3.5” Glass Photo credit: Jonah Ravine

Martin Janecky 48

Me thinking about glass in 2041: I will be 61 years old, still kicking and sculpting away. I will be surrounded by incredible talent and the skilled everywhere. Let’s share and inspire, as lots of amazing glass artists did the same for me.

- Martin Janecky, 2017

Portrait - 2015 36 x 13.5 x 14” Hot sculpted glass

Michael Janis

The future is now and here. In 2041, I believe that glass artists will be exploring and affecting all aspects of our daily environment in the most original ways possible. We’re already seeing glass artists today shifting design emphasis being more narrative in their artworks. Glass art will continue to incorporate new technologies and become even more integrated into the larger art world. Yet despite the focus on new media and interactive works, we will never abandon our passionate commitment to glass. There are always artists advancing the medium. There will always be something new being created - it’s just not going to be as straightforward as it has been.

In a world changing at warp speed, we will see greater complexity in the types of glass artwork produced.

Glass art is going to reach so many more people and will not be perceived as something “exotic” or marginalized—but rather as a normal mode of expression along with other techniques and media. One of the primary responsibilities of galleries and museums is to teach us to live life with greater imagination. The best way to do this is to bring the viewers and the public into contact with artists in settings that encourage interactions.

In the future, creative individuals—artists, architects and designers—are going to be making major decisions having to do with how we shape our society, especially in the world’s urban environments. By 2040 the majority of people will be living in cities, therefore we must remain radically open to new ideas. And we must preserve and promote the systems by which it is possible to share, collaborate, and investigate.

Artists are, at heart, opportunity-seekers who transform the world around us. The future depends on it!

- Michael Janis, 2017

Waiting for the Future (left) - 2017 36 x 19 x 2” Kilncast glass, glass powder imagery Photo credit: Pete Duvall

The Logic of Her Dreams (right) - 2017

49

36 x 19 x 2” Kilncast glass, glass powder imagery Photo credit: Pete Duvall

Richard Jolley

Given that today glass is being utilized in some of the most creative, innovative and exciting applications in both art and architecture not to mention the technological uses the trend will certainly continue.

Advances will be made on all fronts. I see the potential of glass as ever expanding and continually evolving. In other words, there is only direction to go and that is up.

- Richard Jolley, 2017

Iridescent Aqua Avian Respite with Red Pomegranates (left) - 2017 H 36 x 14 x 14.5�

Blown and hot sculpted glass

50

Antiquity of Nature Cobalt with Crystal Pomegranates (right) - 2017 H 25.5 x 17 x 11�

Blown and hot sculpted glass

- Kreg Kallenberger, 2017

Kreg Kallenberger

Glass in 2041? My 35 plus years of working with glass has taught me that I don’t have a clear vision of the future. A few years ago the annual Corning New Glass Review featured a piece of burnt toast.

Well…there you go. I’m still working by myself in the studio each day and I defer to a Tolstoy quote: “the biggest surprise in a man’s life is old age.” I’m guessing 2041 will be a surprise to us one and all.

MONS - 2017

51

23 x 20 x 6” Glass, cast, cut and polished

Jon Kuhn

I never thought of myself as an artist with words, so these statement writing things are my least favorite and perhaps my least inspired works. That said, I look forward to the coming years as the best period and most creative period in my life. Hopefully, other artists feel the same and we can all build on our past.

- Jon Kuhn, 2017

52

Ruby Radiance 11.5 x 19.25. x 3�

Cut and laminated glass

The world is lively and being able to evolve is needed because old and new are coexisting and learning from each other. Diversity and cultural exchange made great contributions to the art world and its education. Diversity of art and artists will flourish more with the continuation of supports of the cultural exchanges and technology.

As an artist, I am committed to continue making my work. I always enjoy making things with my hands and pursue excellence. Making work with my hands, physical senses skills, strength, patience, raw material, and simple and basic age old machinery. It is a way to find my own artistic path as an artist.

Jiyong Lee

Coexistence & Diversity

- Jiyong Lee, 2017

Blue-yellow half cylinder segmentation (left) - 2017 8 x 15.5 x 8�

Cut, color laminated, carved and refined surface, glass

White-orange chromosome segmentation (right) - 2017

53

7 x 12 x 16�

Hot sculpted, cut, color laminated, carved and refined surface, glass

Steve Linn

I am the future of glass.

A bold statement but I use it in the collective sense meaning that the development of glass art in the future depends on the creative initiative of my fellow artists. As we have seen during the past fifty plus years, glass has moved forward from functional objects and simple forms to unlimited use as a pure sculpture material. The next step relies on imagination and technological development to advance the artist’s ideas. Art is about ideas and not material. People may continue to specifically collect glass as people collect bronzes or paintings, however it is important that sculpture that incorporates glass, moves into the full mainstream of contemporary art.

54

- Steve Linn, 2017

Hawking - 2016 67 x 92.5 x 15.75�

Cast glass and mixed media

When he started his professional career in 1964, he could never have imagined how the field of glass art would grow, that there could be entire museums dedicated to glass and that it would become the respected and cherished art form it is today. What he saw at that time was the potential of glass and worked to pull out whatever he could from his medium. He worked hard, developed his skills and when opportunities arose, he was ready for them. His curiosity and interest led him forward, but this was never the kind of plan that one might have expected from someone as accomplished.

During his years teaching, he was strict with his students, telling them he didn’t want to hear about plans, he wanted to know what they were doing. If they got his message, and understood his standards, he would not have to worry about the future of glass.

Marvin Lipofsky

There are some things that Marvin would just not talk about; discussions on the future of glass as a sculptural art form was definitely one of them. His focus was always towards what was happening now, how it could be better and what he could do with whatever was available. Speculations on what might happen did not concern him. There was too much to be done in the moment and that kept his hands and mind busy.

In his life, as in his art, he was open to whatever came next, and worked with what happened. He saw and responded to it vigorously, sometimes harshly, but always with the full force of his commitment.

Everything he did laid the foundation for what came next. So about the future, he could only have asked, “Well, what are you doing today?” For him, that decided everything.

- Marvin Lipofsky, 2017

Russian Group 2006 - 7 #12 - 2007

55

7.5 x 20 x 14” Blown glass Photo credit: M. Lee Fatherree

John Littleton & Kate Vogel

When thinking about how the field of glass will evolve over the next 25 years, we consider the history of glass and where we are today. The use of glass has expanded as architecture, industry, and medicine push boundaries, and it continues to evolve in new and amazing ways. By utilizing these technical developments, artists will have the tools for personal expression to embrace more diverse ideas in their work.

In the future more artists will be aware of the inherent qualities and potential of glass as a vehicle to express ideas. As a result, artists who don’t identify themselves specifically as glass artists will be including glass in their work. It will be used as just another material for self-expression among artist’s, conceptualists, sculptors and craftsmen. We will categorize artists using glass by application more than by material.

Because of the amazing qualities of glass, we believe that humans will continue to be drawn to it.

- John Littleton & Kate Vogel, 2017

Ikebana IV (left) - 2016 37.5 x 38 x 12” Cast glass flower with forged steel vase and leaves

56

Succulent (right)- 2015 10.9 x 22.25 x 9.25” Cast glass

At the same time – based on the normal cyclicality of the history- I hope: 20 years later the nowadays trendy shocking gags and art performances will be pushed more to the background because the people of the modern, swift life need in their homes more classical, safe, permanent value like Beauty, Harmony and Quality.

- László Lukácsi, 2017

László Lukácsi

The next years of GLASS, one of the most wonderful and versatile material on the world, will have more and more dominance in the architecture, in science and in the arts as well. Of course these technical innovations and inventions will react also to the artists.

Blue Petals - 2017

57

15.75 x 27.5 x 8” Polished and laminated glass Photo credit: Liza Lukacsi

Lucy Lyon

I doubt that there will be an isolated world of glass art.

In fact I see more artists from all disciplines using glass.

Science will continue explore and refine what can be done with glass as a material. Artists will exploit those discoveries using their unique talents. There will be meshing of science and art. And it is already happening!!!

- Lucy Lyon, 2017

The Edge of Sleep (top) - 2016

58

10 x 38 x 20�

Cast bronze, cast glass and fabricated steel

The Edge of Waking (bottom) - 2017 11 x 38 x 21�

Cast bronze, cast glass and fabricated steel

When holding a crystal ball towards the use of glass as a visual art material, I foresee a decline in furnace glass blowing and an incline in kiln forming strategies. As energy resources become limited and prices fluctuate, artists will need to turn their attention to fabrication methods that are practical and efficient. I see these trends in Europe, where gas costs are exorbitant in comparison to the States.

- Joanna Manousis, 2017

Joanna Manousis

We are seeing a rapid rise and dependency on new technologies such as smart phones and tablets. I believe that ‘living life through a screen’ will become more prevalent in the coming decades throughout the world. As a result, the need for specialized glasses that perform particular functions will ensue. The future is glass!

Demeter - 2017

59

40 x 40 x 3.5�

Negative-core cast crystal / aluminum

Mari Meszaros

I’m always truly impressed by American optimism as they equal the future to progress. As far as I am concerned I worry about our civilization.

As long as politicians in The Netherlands officially define art as “a leftwing hobby” there is ample cause for concern, I think.

Let’s enjoy art as long as we can and see how things will turn out in 2041!

60

- Mari Meszaros, 2017

Hesitation - 2016 39.5 x 20.5 x 10” Cast glass

How we make glass will change, or it will technically have the ability to change, what we are seeing now. This will happen with the use of 3D printers, which utilize computer design skills and allow the user to have a hands-off experience. This is counter to the very different experience of gathering glass on the end of a blow pipe, feeling the heat and working with others as a team coordinating movements and skills. Regardless of the technical advances, it will be an interaction of merging our imagination with equipment to complete a form.

Janis Miltenberger

Artistic inspiration is timeless drawing its source from human needs and a shared aesthetic. For ages animals and nature have given shape to the objects we as humans seek out to hold in our hands, paint in caves, include in tombs and decorate our homes. This is fundamentally who we are as mindful animals relating to the world around us.

- Janis Miltenberger, 2017

Coronation - 2015

61

45 x 18 x 18�

Lampworked cage with glass, gold luster, oil paint

Benjamin Moore

Having been involved with the American Studio Glass movement, pretty much from the beginning (1972), the advances of the movement have been huge. With recent technological advances in this new digital age the sky is the limit for the future of glass. Particularly in the realm of casting and glass artists who are incorporating mixed media.

The American Studio Glass movement will continue to explode.

- Benjamin Moore, 2017

62

Black Palla Set - 2008 Bowl: 5 x 18� Dia. Vase: 13.5 x 5� Dia. Blown glass

Debora Moore

I envision a world where beautiful glass art will be incorporated into large scale architectural projects. Additionally, glass art will move toward more innovative and collaborative efforts with multiple disciplines, finding ways to fuse the timelessness and beauty of glass art with new technology.

- Debora Moore, 2017

100 x 90 x 5�

Hot sculpted glass

63

White Bamboo Wall - 2016

John Moran

The future is bright. With the world of glass continuously being integrated into the world of contemporary art, artists using glass will become more versatile and conceptually driven. Glass in the contemporary art scene will become less about the materiality and artists using the material will become more technically diverse.

Personally, I believe glass will (and should) become a medium used in political and societally driven work.

Glass making at its heart is a very social activity. With artists like Jaime Guerrero and Pearl Dick working with at risk youth, glass will evolve from a very different perspective. Technological advances in energy will allow for glass to become more available and affordable, giving studios the ability to offer glassmaking to more diverse group of artists.

64

- John Moran, 2017

Protect and Serve - 2017 31 x 45 x 25�

Free-hand sculpted glass head, hands and arms, metal, fabric, epoxy resin, gold leaf

- William Morris, 2017

William Morris

If the work done in glass in the next 25 years is anywhere near as innovative, thoughtful and technically skilled as the last 25, it should be an extraordinary future ahead.

Wall Panel - 2008

65

45 x 56 x 9�

Blown glass, MDF panel, steel brackets Photo credit: Rob Vinnedge

Nick Mount

The work that I have been making over the past year or so fits very neatly in to the theme for the 45th Invitational.

My “Beacons” are pieces that refer to time and place. They come together (like our lives) as compositions of opportunities, moments or objects that are stacked one on top of another.

They might be guides to show the way or to act as a warning or to celebrate a person or an occasion. As designers and makers in glass, we have been fortunate enough to have thousands of objects and people to guide our ways.

Almost forty years ago we established one of the very first glass art studios in Australia.

Since that time, it seems to me that each day and each object has been stacked on top of the last in hope and confidence. I use crafted objects as components in these compositions that take a snap shot of where I am as a person and might indicate a little about what I am thinking at the time. The Beacons are very much about being a parent, with living parents and a growing mob of grandchildren.

Acknowledging the importance of each moment and every place.

- Nick Mount, 2017

Bright Beacon (left) - 2016 36.5 x 7 x 7” Blown glass, surface worked, cast and carved glass, assembled Photo credit: Pippy Mount

66

Beacon (right) - 2016 33.5 x 10 x 10” Blown glass, surface worked, low fire glass enamel, patinated mild steel Photo credit: Pippy Mount

Art is about the re-opening of a place connecting the plane of beauty to the sublime. In the next 25 years Art will more importantly be the window to that other dimension of stillness, slowing down between looking and experiencing. Art made with glass has that power. To me this work is the embodiment in one moment of all that came before, the trial and error, the techniques or invention, as it moves toward the idea fully formed - from the first thought before all of this began. It is the split second view of the eternal.

Kathleen Mulcahy

Art becomes more powerful in this fast moving, social media enhanced, technology driven world, meaning something more to the viewer, because it exits in a different realm – the realm of the internal self. This is where we can find the place to contemplate, reflect and recharge. Art has the power to rivet us to the moment, whether, visual, word or music. When someone says – “that moved me to tears”, or “this work has replaced the air in the room”, or “it took my breath away” then they are speaking of the poetics of space both internal and external.

- Kathleen Mulcahy, 2017

Strand - 2016

67

40 x 40 x 5” Fabricated, bent and etched glass, stainless steel

Jay Musler

Being an artist has always been challenging and I think it will become even more challenging in the future. I believe that, in the future, artists will have less support than they do now, but, in spite of that, artists are persistent and will always prevail. Art may not be supported, but it will always be appreciated. My piece represents persistence in the face of multiple challenges.

68

- Jay Musler, 2017

Dystopian Adventure - 2017 9 x 4.5 x 3.5�

Lamp worked glass, oil paint

In a world which keeps erasing individual identities, individual poetries of dreamt out lives are gaining importance. In 25 years, it will serve as a sensitive medium for individual’s intimate emotions, preserving the vulnerability and sensibility which make us Human.

Tanja Pak

Each one of us lives inside the veil of their own transient world, filled with memories, emotions and yearnings, that as an individual, we each know and are responsible only for images inherent in our own world. Sometimes, a sense of loneliness and timelessness unfolds and makes one gasp for air in their own intimate space of experience, which I call the In-between breath. It is the moment a breath stops, frozen in time, and tunes in with the silence echoing off its own walls.

I believe glass will continue to interpret our inner layers through its subtleness. As glass mirrors the most tender of all human relations – revealing hidden parts of itself to the chosen, playfully hiding others and mirroring the joys and sorrows of the lucky ones who get close enough – the future will hopefully reverse the mirror and allow us to adopt the transparency, self awarness, introspective and inquisitive nature of glass, a gentle companion and razor sharp mind.

- Tanja Pak, 2017

In Betweenness - Breathing - 2016

69

42.5 x 47.25 x 23.75” 30.5 x 34.5 x 21.75” Blown glass

Albert Paley

My recent sculpture is my ongoing dialogue with the integration of metal and glass. These two seemingly dissimilar materials share a basic sensibility and form development - that of plasticity derived from heat. This dialogue I see as a sympathy of opposites where one form is diametrically opposed to the other thus creating a synergy through contrast. One of the formal concerns is that one material does not dominate the other, but they work in tandem to resolve compositional demands. The aspect of organicity and gesture is fundamental.

- Albert Paley, 2017

70

Aggregate - 2015 24.75 x 24.5 x 17.5�

Glass and steel Photo credit: Paley Studios Archive

We live in an age of veneration of computerized creativity, also in art. Artists do not want to take trouble over any real material. The simpler and easier way is more attractive than investing in a studio and doing hard work by hand. This may lead to software predominating over actual thinking. However, what you put into a computer is what you generate. It is not really about material or technology, but about thought, philosophy, ideas and mystery. It doesn’t matter how and with what they are expressed.

Zora Palova

In 25 years I will no longer be here, but where glass is going is not entirely known to anybody. Glass is a wonderful material from which it is possible to make things ranging from objects that can be held in the hand to large architectural units. Therefore it has a future. On whether to use it and how to use it is a matter for creative people.

I still respect creative people who know how to use glass as a sculptural material, a material with which to express in a particular concept, installation, object or sculpture, their own inner vision or attitude to life and their surroundings. It always means quality.

There are many forms of creative testimony and glass has the amazing property of not imposing limits on creativity, although it is limited by technology. These limits may be shifted by the development of new technologies.... I am looking forward to them.

- Zora Palova, 2017

Green Cell (left) - 2016 22 x 19.75 x 6.75�

Cast and cut glass

Sea Waves (right) - 2016

71

77.5 x 12 x 12�

Cast and cut glass

Marc Petrovic

At only fifty-plus years old, the studio glass movement is still quite young. As a vehicle for self-expression and idea conveyance at the hands of artists, glass is still in its infancy.

Hopefully the future of glass-making will reach a place similar to painting, where the content of what is made—that is to say the image—is paramount and the process of how that image is made, while interesting, is not the reason for the artwork’s existence.

- Marc Petrovic, 2017

The Brown Avian (left) - 2013 13 x 13 x 7” Fused, rolled up and hot sculpted Bullseye murrini

72

The Grey Avian (right) - 2013 13 x 14 x 8” Fused, rolled up and hot sculpted Bullseye murrini

Glass and the works made with it by artists and others will continue to unite those who transform and those who appreciate explorers of alchemy; will continue to challenge and provide platform for technical innovation in the way that music does; will continue to invite participants and viewers, those with something to say and those who want to listen.

Follow the trail (history) of beads and you will understand humanity. The trail of works from people working with glass tells the same story. We are a global people enriched by a global patron, our appreciators.

- Jenny Pohlman & Sabrina Knowles, 2017

Jenny Pohlman & Sabrina Knowles

Glass and the artworks made with it by artists, craftspeople and makers will continue to be appreciated by those who understand the physics and physical challenges of working with the material; those who respect the energy management efforts advancing to sustain working with the material; and those who hear the voice and feel the energy of the artists through their works.

Cloud, Cumulus (left) - 2017 Himba Portrait series 50.5 x 29 x 7�

Original image, screen-printed, kiln-fired, blown and sandblasted glass, steel

I Saw... (right) - 2014

73

Himba Portrait Series 27 x 18.5 x 4.5�

Original image, screen-printed, kiln-fired, blown and sandblasted glass, steel

Stephen Rolfe Powell

In 2041, I guess that I will still be hanging on to the belief that the world will still be craving more contact with the human hand, even more than now, as the digital world and the illusions created by electronic screens will be even more powerful. Maybe there will be a resurrection of the craft movement of the 1960’s, hippies making things with their hands, the human touch. A return to making objects that we can experience in a visceral way rather than electronic illusions of reality.

I feel that the glass world has tried too hard to fit in to the “Fine Art” world. Where did this inferiority complex come from? Instead we should cherish this tight knit community of glassmakers that focus on the integrity of this very special material.

We have our own history, museums, galleries, collectors, and schools. Why dilute what we do, as many glass schools are doing, by bringing in “fine artists” to let them experience glass and guide us to new directions. Are true glass artists not good enough to guide our own glass movement?

If our glass educational system has not totally destroyed the glass movement by 2041, I think there will be a resurrection of the wellcrafted glass object. Yes, I used the word “craft.” Craft is not such a bad word, in fact, its implications not only suggest an emphasis on a technically well-made object, but more importantly it implies the object is an honest unpretentious object.

Again, I think there will be a yearning in 2041 for more direct contact with the material world and objects that are made from real materials. I am pretty sure that the pyromania that is a part of most glass processes will still be seducing artists to work with this most amazing material.

- Stephen Rolfe Powell, 2017

74

Frazzled Stormy Vertigo - 2016 60.5 x 48.625 x 1.5 Blown glass murrini

At the moment the art glass community is suffering and is in a kind of limbo as the world and world economies suffer changes. The high times of the 1980’s and 1990’s have gone. As that generation of glass artists and collectors give way to a new and much younger generation who demand new ideas, but the future looks very positive.

New technologies have arrived and offer new opportunities for artists working in glass, but these opportunities need to be thought about and used in a discerning manner. Art has always been about creativity and making things. Our hands and eyes have always worked together with our imaginations to create new ways of thinking and making.

David Reekie

The Contemporary Art Glass scene will see many changes over the next twenty-five years, some will be good and some will be not so good.

For these new technologies to work the hands, the eyes and our imagination still have to be heavily involved. A good example is threedimensional printing, this can now be done with wax and glass, allowing new very accurate forms to be created, but these will have no soul or character unless we intervene with our own making skills.

The use of glass in art is changing, we are no longer seduced by its beauty, transparency and colour. In the future it will become part of a palette of mixed media. The use of recycled glass will become more important as the glass industry changes and glass becomes a less available material.

A new generation of young glass artists will stretch the possibilities of glass even further using these new technologies in ways that we have not even thought about yet. This how art has always evolved and will do so in the future.

- David Reekie, 2017.

Casual Bystanders XI - 2016

75

16.5 x 10 x 8�

Cast glass and bronze

Colin Reid

2041. I’m 89 today! Never thought I’d live to see the day. And still working. Due to ever increasing life expectancy and the dire state of public finances following the Brexit disaster 25 years ago, the retirement age has just been increased to 100.

Could be worse, the thriving Chinese and Indian markets have an insatiable demand for quality handmade unique artworks. Just as well.

England (the UK is no more, following Scottish independence) is excluded from Europe and protectionism has closed off the US market.

The new Masters of the Universe in Tashkent and Ulaanbaatar are sated with digital perfection and the virtual reality smorgasbord. They want to reconnect with the integrity of unique handmade objects that express something of the maker. And English art retains its cache.

Enough of this. I’d better go and check how that pesky robot is getting on with polishing the glass.

- Colin Reid, 2017

76

Sunflowers R1875 - 2017 5.25 x 20 x 23.25” Cast glass

Gather up whatever is glittering in the gutter, whatever has tumbled in the waves or fallen in flames out of the sky, for it’s not only our hearts that are broken, but the heart of the world as well.

Stitch it back together.

Kait Rhoads

Holding the Light

Make a place where the day speaks to the night and the earth speaks to the sky.

Weather we created God or God created us it all comes down to this: in our imperfect world we are meant to repair and stitch together what beauty there is, stitch it with compassion and wire.

See how everything we have made gathers the lights inside itself and overflows? A blessing.

- STUART KESTENBAUM

Olio - 2008

77

17 x 22 x 10�

Blown glass, blue and green hollow murrine woven with copper wire

Richard Ritter

The next 25 years? Today, there exists a tragedy in the making for future generations of creative people. Without the arts in primary and secondary schools, to inspire children to their creative potential, and to sow appreciation (which in turn creates an audience) for the arts in general, the future of our Studio Glass Movement and all creative expression is in jeopardy.

Arts Education teaches that sharing discovery openly brings an explosion of creative expression. Studio Glass flourished in University Studios and alternative schools in a time when public support for the Arts was strong.

I want to think that going forward our young people will have opportunity, but I am worried that we don’t want to invest in giving them the skills to be creative. I believe it’s time we get out of our studios and fight for arts education for our children with as much energy and passion as we first dipped into the molten liquid that became our life’s work.

- Richard Ritter, 2017

Black and White Etude (left) - 2016 20 x 20 x 4” Etched glass panel with blown glass and murrini elements

78

Pear Study in Lavender and Green (right) - 2016 20 x 18 x 5” Etched glass panel with blown glass and murrini elements

Of course, what inevitably came up in that discussion of computer-aided technologies, was what role those new processes would play in the maker world. I predicted a pretty rapid incorporation of 3-D printed elements in the once-traditional media of glass, clay, wood, and metals. Sure enough, later that year, SOFA Chicago had its first display of 3-D printed art, much of it made – at that time – in a monochromatic off-white plastic. Since then, this method of fabrication has taken off, and has advanced and expanded into a wide variety of materials.

I have mixed feelings about this trend. One can dream up and create shapes and forms that fall outside the limits of hand-fabrication; that is intriguing and beguiling.

In freeing oneself from previous material limitations, imagination and conceptualization may be more unfettered, as well. At the same time, the introduction of this tool (printer) serves to sever the intimate and tactile relationship that artists and craftspeople have traditionally had with their materials. There is no “getting in the way” of the advancement of technology, however, and I recognize that 3-D printing and other computer-aided processes will probably continue to grow and expand in their infiltration in to the visual arts.

Sally Rogers

A number of years ago I was talking with an artist friend about trends we saw happening in the world of “makers” – artists and craftspeople who create their work by hand. 3-D printing was making big advances in capabilities, and the resulting products included many things that had traditionally been assembled or manufactured by humans; one notable outlier we discussed was the actual printing of a full-size house!

So, what is my prediction for where glass art will be in 25 years? Curiously, I think it may be right back where it started from, in some very fundamental ways. A love of “progress,” of the pursuit of all things new and the advanced, has a long history of inciting a backlash response of “getting back to basics.” The next 25 years are going to be inhabited by 3-D printed glass, new glass formulas that can do what previous formulas could not, virtual glass, interactive glass, glass on a size and scale once outside its current limitations, and glass made in ways we have not yet even imagined or developed.

At some point, someone is going to say “I don’t need to be dazzled, twirled around, dizzied on a grand scale, turned upside-down. I really just want to wake up in the morning and lay my eyes on something beautiful.” And someone will respond by blowing a vessel.

- Sally Rogers, 2017

Duality (left) - 2017 19 x 24 x 10” Cast glass (pate de verre), forged and fabricated steel

Mariposa (right) - 2017

79

22 x 22 x 10” Pate de verre, forged and fabricated steel Photo credit: Tim Barnwell

Marlene Rose 80

The future is the only playground there is. Hopefully in 2041 I am still a child playing it!

- Marlene Rose- 2017

Night Blossom - 2017 40 x 49 x 4�

Sandcast glass

I can only assume that the art and the craft will continue to grow as more and more talented people choose to pursue the realm of glass art for their mode of expression.

What visions might be created one can only guess as techniques are refined and the vernacular expands into unknown fields. I believe the future is bright for glass art and look forward to being a part of its evolving trends.

Martin Rosol

As a glass artist, I suppose I could make a crystal ball and look into the future of glass art, twenty-five years from now. Absent that, I can only conjecture the future as an extrapolation of the present. Glass has gained acceptance here as a result of an explosion of work by many diverse artists. From trinkets and blown ornaments to finer blown pieces and large inspirational sculptures, the art of glass has come into its own for museum goers, galleries, and collectors alike.

- Martin Rosol, 2017

ORIGANUM (left) - 2016 17 x 17 x 5�

Photo credit: John Polak Photography

VENUS HEART (right) - 2016

81

21 x 18 x 5�

Cut and polished optical glass, laminated Photo credit: John Polak Photography

Richard Royal

In the year 2041, 25 years from now, I see myself working furiously to complete another masterwork for the 70th Glass Invitational! The work will be handmade, using only the most skilled glass workers available.

This is because, even though it’s 2041, the best glass art will still be hand crafted by the artist and created with passion and skill that only a lifetime of dedication can bring! The work itself will be displayed in the gallery as it has in the past 25 years but attendance by the artist (myself) will be virtual but seem real. My 3D hologram self will be standing next to my works, explaining every fascinating detail of concept and process as if I was actually there! My inter-action with collectors and fellow artist will feel no different than if I were in the room with everyone.

Or, maybe not! What’s the fun of doing this if you can’t share the love and passion, food and drink, hugs, well wishes and congratulations to everyone that’s involved in person. I love what I do and all those that I share this adventure with! With gratitude.

82

- Richard Royal, 2017

Gold Rising - 2017 33 x 19 x 13” Blown glass

- Davide Salvadore, 2017

Davide Salvadore

In this current time of constant change, it is difficult to make predictions on the future.

However, I am compelled to say that the future of glass art is certainly important. Much energy and passion has been spent to announcing the history of glass. The world is filled with love for the work created with this material. I sense a growing interest, passion and intensity with the public’s response to art glass. This awareness may hold a secret for art of the future since new artists are discover this interesting medium every day.

Chitamuro (left) - 2011 11 x 33 x 4.5�

Blown and carved glass

Piranahuomo (right) - 2016

83

(Collaboration with Shelley Muzylowski Allen) 37 x 11 x 15�

Hot sculpted glass

Jack Schmidt

Glass is a magical material in and of itself. It is hard to imagine it will not be magical far into the future. Many of the techniques used today are no different than those used centuries ago.

Indeed, young artist and craftsmen learn about hot glass by making the same discoveries as their ancient counterparts.

The unknowable has more to do with technical innovations developed by both industry and artist and how those discoveries are incorporated into the concepts of an artist work. And the concepts, how can we guess what might be explored. That is the inherent beauty of the arts and the creative process. Those who oppose conformism, practice settled thinking, and continue to investigate possibilities will show us the way. – Jack Schimdt, 2017

84

Green Splitter - 2016 36 x 13 x 9.5�

Glass and mixed media

What I think will happen with glass is that technology will run the show. Solar roadways already exist but in 2041 glass solar panels/roads will be everywhere. Most of our energy will be harnessed through glass, road, the skin of buildings, roofing materials, etc. Light weight spun glass will be worn and used as sensing and communications devices.

Art Glass will be incorporated into walls in homes that project different scenes that can either be solids or transparencies.

People could be living in virtual realties created by these walls and panels. Art glass will move and project. I don’t think it will be stationary in 2041. I wish I could be here to see it!

Mary Shaffer

I see large glass sculptures in every front yard and houses full of hand blown glass everywhere…hummm…

-Mary Shaffer, 2017

Ice Tong #17-10 - 2017

85

30 x 17 x 13” Slumped glass and Ice Tong

Ivana Sramkova 86

Probably the same as today - fragile and assailable, unpractical, costly, mysterious, certainly minority, and also beautiful or ugly, utter or trumpery, living or cold, meaningful or desultory, imaginative or stale, precipitous or melancholy, bewitching or sensitive, seeking or safe, suggesting or storytelling. The artist always working. I cross my fingers that the spectators will be aware of all that.

- Ivana Sramkova, 2017

Fat Horse - 2017 14 x 12 x 6�

Cast glass

Paul Stankard

At times, when working in the studio, mostly at the bench in front of a torch, I wonder what my future holds. My career as a full-time studio artist hasn’t been diminished but has acquiesced to my being 73 and knowing my new limits. Now I’m eager to protect my studio time without feeling obligated to meet a deadline. In fact, I’m in the studio to enjoy my work, for the sake of the work. Tasks that were routinely delegated to my assistants, like heating the rods to shape petals and leaves or crafting endless components are now a well-spring of satisfaction. Tedium no longer exists; there is a heightened sense of respect for the craft as a spiritual experience. The tasks that were once considered ordinary are now valued. It gives my work a familiar feeling that reminds me of when I first started, wondering what the future held.

When entering the studio at pre-dawn, and switching on the lights, I feel the quiet space connecting to my psyche. The area where the hot glass is worked is framed by benches laden with ovens, hand tools and various glass projects in progress. One project was a design crafted 26 years ago for a fund raiser.

Habatat Gallery in Michigan was sponsoring an auction to benefit the glass department of The College of Creative Studies.

I crafted a botanical model suspended in a glass display case for the benefit. When the owner recently shipped it to his son, who had admired it growing up, it received minor damage. Aaron Schey, one of the principals of the Habatat Gallery, asked if I could repair it which I did. Having this piece back in the studio was a blessing. It generated endless creative possibilities that complemented my obsessive fascination with the plant kingdom.

This Blashka like glass floral model crafted in 1991, inspired a new direction for my botanical vocabulary in flameworked glass tentatively titled “Earth clump”. The freedom of sculpting 3-dimensional glass plants going beyond my 3 inch encapsulating boundaries is exhilarating. In many ways, this new body of work is a continuation of my crafted botanical illusions starting in 1969 now 48 years.

Without the process restrictions, there is a freedom of expression that is startling. With seemingly endless possibilities and technical challenges, at times, I feel overloaded with emotional tension. I’m out of my comfort level, and frightened by both failing and the future in my studio.

- Paul Stankard, 2017

Flowers and Fruit Bouquet Series - 2017

87

4 x 4 x 4” Flamed worked glass

Tim Tate

In 2041 glass will finally be integrated into the contemporary fine art world.

And studio glass will finally embrace other glass being used by artist who do not come through the studio glass system. Much more mixed media work, much more video, electronics, digital, LEDs, and lighting. It will look like the fringes of what we look like today, just much more mainstream.

Welcome to the future.

- Tim Tate, 2017

88

The Buddha of Compassion - 2017 48 x 48 x 10�

Cast expandable wood, mirrors, cast objects, LEDs Photo credit: Anythingphoto.net

The world of glass is quickly becoming a world integrated with fine arts. Harvey’s original vision is finally reaching fruition. Glass is another material for artists to use to express ideas about the sociopolitical nature humanity.

Michael Taylor, 2017

Michael Taylor

Spirit Ritual is a work from an ongoing theme in my work for the past 20 years. It is about the enigmatic characteristics of science and technology - for example, the wonders of computer technology, is the opposite the of threats of massive cyber-attacks that can disable an entire city such as the attack on Manchester, New Hampshire in October 21 in 2016.

Spirit Ritual - 2016

89

21 x 21 x 21�

Fused, cut, polished, constructed Photo credit: Michael Estes Taylor

Winnie Teschmacher

If silence were a temple, what would it look like?

I’ll take you along on a journey without words. It is a journey for the eye and the heart. I take inspiration from sacred buildings across the world, from the wondrous harmonies of divine geometry, and from places of silence and power. I allow all impressions to sink in and transform until only the essence remains. This essence – an energy, a vibration pattern – drives my hands to create new shapes. Refined harmonies that emerge tentatively when the mind is silent and steps aside. Over the years I have deepened my experience and ability to shape. I endeavor to make the architecture of silence visible. My aim is that the results are exceptionally pure and of a timeless beauty.

Timelessness, transparency and energy. They are terms which I believe may find the limelight in the Next 25 years.

As a result, art and objects of glass which play with those concepts are likely to become more accessible to greater audiences. In my work, in any case, they will remain a critical factor.

Winnie Teschmacher, 2017

Focus (left) - 2017

90

6 x 11 x 11” Optical cut and polished glass

Tristar (right)- 2010 9.5 x 8.5 x 8.5” Optical cut and polished glass, laminated

Margit Toth

Fly Glass, Fly you and those who are working with you are the heroes of the future, Gliding towards vast, unknown oceans there will be remote horizons floating before you, Dreams already dreamed are not needed, You will be walking on water of new secrets, Soar upwards on the glass-ark winged by the HOLY SPIRIT. - Margi M. TĂłth, 2017

And He Sent Forth a Dove From Him - 2017

91

15 x 22.5 x 9�

Pate de verre

Janusz Walentynowicz

Predicting the future is at best of times risky business. In the political climate currently observed, any predictions even into the nearest future are at risk of failing. Whatever setbacks and hardships currently evolving policies may inflict on artists in all media, artists working with glass are often more vulnerable, as they may be forced to consider “less risky” projects due to the high costs of most glass processes. However, regardless of how changing policies may interfere, some trends seem relatively safe to predict.

New technologies for cutting, engraving, and printing of glass are fast emerging. Although these new technologies will not replace “traditional” blown, cast and kiln formed work, they will most certainly further inspire innovation and exploration of glass and lead to new and exciting artistic expressions.

But rather than attempting to, more precisely, predict 25 years ahead, I would much more like to express a hope for the future of glass.

The 2007 economic recession appears somewhat to have slowed, if not reversed the trend of a broader acceptance of more experimental, challenging and involving works in glass. Innovation and exceptional skill level is highly evident in the, predominantly, decorative works that today seem, in large, to define the glass scene. It is my hope that the future will see broader acceptance among collectors and art appreciators alike for strong work in glass that may be of a more confrontational and challenging nature.

Art should be for the mind as well as for the eye.

- Janusz Walentynowicz, 2017

Home Town 3 (left) - 2016 40.5 x 42.5 x 4” Reverse painting on cast glass

92

Home Town 5 (right) - 2016 38 x 58 x 4” Reverse painting on cast glass

As for my work, the future will be full of more mixed media.

Already, I mix glass and ceramics in my sculptures and the idea of combining glass with bronze and with stone are sure to be avenues I will explore. There is no material as beautiful as glass. As a figurative artist, my work features human heads made of glass. Glass gives the facial expressions of my figures the quintessential look of serenity and tranquility. As glass has varying degrees of transparency, it also imbues my pieces with an ethereal quality impossible to achieve with any other material. I love working with glass and always will.

Vivian Wang

Over the course of the next 25 years, the medium of glass will be elevated by collectors and patrons of the art world to the status of a fine art. No longer exhibited separately, it will be considered, along with metal and stone, as a proper material for fine art sculpture.

- Vivian Wang, 2017

34 x 14 x 16�

Cast glass, stoneware, paint, gemstones

93

Dragon Warrior - 2015

Caterina Weintraub

Historically, glass working techniques and skills have been the closely guarded secrets of closed circles of artisans. Now knowledge and skills pass much more freely and as we move forward I imagine the small focused communities within glass connecting and merging. Each community will contribute their own unique skills, specialties, ideas and methods, allowing glass artists to seamlessly blend casting, blowing, flameworking, fusing, cold working, etc. into work that constantly pushes the boundaries of our medium.

94

- Caterina Urrata Weintraub, 2017

My Dear #3 - 2016 42 x 24 x 16�

Cast glass

With our ever-increasing reliance on technology I hope we can maintain a respect for the makers mark and for the handmade object. This personal touch is what sets apart the massproduced item from the one of a kind work of art. The stories and relationships that have formed and nurtured the glass community are what encourage my path forward and inspire me to continue this journey long into the future.

- Hayden Dakota Wilson, 2017

Hayden Dakota Wilson

When thinking about the future of glass art, I found myself looking to the past. I hope to embrace the excitement and experimentation that fueled the American Studio Glass movement, and continue to explore ways to push this material into uncharted territories.

Remembering our history and learning from our failures can be one of the greatest tools we have in forging our path forward.

Paper Drones - 2017

95

8 x 22 x 8�

Powder print on sheet glass, steel Photo credit: Steve Mann

Leah Wingfield & Stephen Clements

At age 85, I will be wearing a brain band that will download the sculpture I am imagining into the computer for 3D glass printing. As the printer is completing the sculpture, my driverless car takes me and my boat to the lake for a row, and coffee with my friends. My robot Arlo, will have put the sculpture into the annealer and started the sandblasting work on a previous one that has come out of the oven. And while my studio Roomba keeps the studio clean of toxic dirt, and my Roomba mower takes care of the grass, I will get to work on the next sculpture. Lunch from my organic garden, a bit of sun and a nap. I’ll check with Arlo who is now finished sandblasting the sculpture. While Arlo moves that sculpture to the workroom for whatever the next phase is, the dogs and I will take a walk, and I’ll do a handstand before teleconferencing with family and friends. The driverless car will pick me up again for dinner with friends on a local farm. Home for an amazing nights’ sleep….

Meanwhile in the rest of the glass world… The children of Corey, Aaron & Rob will be traveling the world planting the Habatat flag. There will be ecstatic convergences of glass collectors at the mind blowing events. They will all have collector chips inserted under their skin so that they can be alerted to new pieces arriving to the virtual gallery. We will be able to monitor in real time their heart rates as they view the work and know which pieces they really want. The Habatat jets piloted by Rob will pick up the work and the artists so that we don’t have to deal with shippers anymore.

There will be much complaining about the use of technology to produce glass art and remembering by the old timers about the good old days, but secretly they will be so glad that they don’t have to do their own grinding anymore, don’t miss mold making and still love complaining that they are artists, not glass artists. The hand wringing over being admitted into the conventional art world will have ceased as a result of Corey & Aaron’s creativity in developing museum collections and ever more amazing pop up destinations which have made glass not only irresistible but the much envied bad kid on the art world block.

Steve says: In 25 years I will be dead and won’t care. If I’m not dead, I will be in my uggs and undies on the Rogue River with a fly rod in my hand and so old, I won’t care

96

Shadow 4 - 2017 37.5 x 17 x 8” Cast glass Photo credit: Robert Jaffe

Ann Wolff

The world will have changed in 25 years, nobody knows how.

The world of glass is fairly uninteresting today and tomorrow.

Art will survive and glass as a material. No doubt about this.

“Anns Feet” as the imprint of my body.

Nobody involves nothingness.

The glass as material will be there after we have gone. Art as well.

- Ann Wolff, 2017

Moulding 2/6 - 2017

97

14.75 x 13.5 x 13.5” Cast glass

John Wood

Ode for 2041 Roses: Still red.

Violets: Still blue.

The World of Glass Art? It’s thriving too!

And “Big No. 2 Pencil”?

Let the buyer recall, Was made by John B, An “Ennion” for All. - John Wood, 2017

98

Big No. 2 Pencil - 2017 10 x 53 x 10” Carrara Marble, lead crystal, soda glass, stainless steel.

Photo credit: Douglas Schaible

- Hiroshi Yamano, 2017

Hiroshi Yamano

I think the technology of glass is improved and we will be able to melt the glass by lower temperatures and the running costs will not be as expensive.

Then, many people will make glass art which is already getting more and more popular. That means, so many different styles of glass art objects will be created by many different artists. Glass art will be getting more prevalent and will be seen in peoples’ everyday lives.

Drawing on the Vessel #10 - 2017

99

The Japanese Apricot Tree at the Osaka 28 x 36 x 34�

Glass tile fused silver foil on surface.

Engraved and paint by silver, gold and some mineral paste

Albert Young

I can only imagine where technology will take us in 25 years. More importantly what will the voice of the individual artists be talking about. I can only hope that in 2041 artist will be speaking about more than a material.

- Albert Young 2017

100

Vine - 2017 40 x 18 x 6�

Cast glass and metal Photo credit: Leslie Patron

Scientific inquiry often utilizes the idea of limiting variables and choosing constants strategically in order to better understand the unknown. With the Matrix Series, about 12 years in study now, limiting methodology to flame working with clear glass and only building in this manner, I have found myself still discovering interesting avenues for inquiry.

I have not been interested in decoration for decorations sake. In this new series, the Matrix Series, I have specifically chosen to work without color, forsaking color to the defining of form with light and line. Still, at the core, I value the history of makers that have gone before, all the way back to the beginnings of our cultures. We have truly an amazing history in Art, Design and Craft.

With all the emphasis in education on STEM; science, technology, engineering and math, I am hopeful that Art will have an ever- increasing important and diverse role in our culture and daily life. Science, technologies give us the methods by which we live, Art gives our lives reason and meaning. Where would we be were it not for Art? So in the next 25 years, I still believe that well-grounded artists, ones that have a vision, are inspired, have a sense of purpose and a mode of inquiry; will exhibit the most interesting ideas. These concepts and ideas, whether truly viable or not, only history will tell. My goal is to stay current.

Brent Kee Young

We have come a long way, the 50th Anniversary of Studio Glass now history, and the glass world, like art, science, technology, etc. is ever evolving, changing. I have seen numerous changes in my work, thematically and technically, as I have hopefully grown. My inquiries were born in notions of being inspired by nature with casting, blowing and flame working in the “Fossil Series�.

- Brent Kee Young, 2017

28 x 192 x 21�

Flame-worked borosilicate glass

101

Matrix Series: Cubism, Contiguous Lineage. Interrupted - 2012

Toots Zynsky 102

The future belongs to the next generation and the ones after that, so they are going to have to decide - but they will have to make sure that their studios are extremely energy efficient.

- Toots Zynsky, 2017

Tempestoso - 2016 15.75 x 31.5 x 14�

Filet de verre

Rick Beck

Cassandria Blackmore

Peter Bremers

Rik Allen

Michael Behrens

Martin Blank

Emily Brock

Shelley Muzylowski Allen

Howard Ben Tré

Peter Borkovics

José Chardiet

Dean Allison

Robert Bender

Christina Bothwell

Daniel Clayman

Herb Babcock

Alex Gabriel Bernstein

Latchezar Boyadjiev

Deanna Clayton

103

For more information about any of this year’s participating artists use your smartphone to scan the QR code under their name.

Arist Info

Nicolas Africano

Arist Info 104

Robert Comploj

Matthew Eskuche

Robin Grebe

Petr Hora

Matthew Curtis

Matthew Fine

Wilfried Grootens

David Huchthausen

Dan Dailey

Katja Frizsche

Sean Hennessey

Toshio Iezumi

Laura Donefer

Irene Frolic

Eric Hilton

Joseph Ivacic

Stephen Dee Edwards

Susan Taylor Glasgow

Jacqueline HoffmannBotquelen

Martin Janecky

For more information about any of this year’s participating artists use your smartphone to scan the QR code under their name.

Steve Linn

Joanna Manousis

John Moran

Richard Jolley

Marvin Lipofsky

Mari Meszaros

William Morris

Kreg Kallenberger

John Littleton & Kate Vogel

Janis Miltenberger

Nick Mount

Jon Kuhn

László Lukácsi

Benjamin Moore

Kathleen Mulcahy

Jiyong Lee

Lucy Lyon

Debora Moore

Jay Musler

105

For more information about any of this year’s participating artists use your smartphone to scan the QR code under their name.

Arist Info

Michael Janis

Arist Info 106

Tanja Pak

Stephen Rolfe Powell

Sally Rogers

Jack Schmidt

Albert Paley

David Reekie

Marlene Rose

Mary Shaffer

Zora Palova

Colin Reid

Martin Rosol

Ivana Sramkova

Marc Petrovic

Kait Rhoads

Richard Royal

Paul Stankard

Jenny Pohlman & Sabrina Knowles

Richard Ritter

Davide Salvadore

Tim Tate

For more information about any of this year’s participating artists use your smartphone to scan the QR code under their name.

Caterina Weintraub

Hiroshi Yamano

Winnie Teschmacher

Hayden Dakota Wilson

Albert Young

Margit Toth

Leah Wingfield & Stephen Clements

Brent Kee Young

Janusz Walentynowicz

Vivian Wang

Ann Wolff

Arist Info

Michael Taylor

Toots Zynsky

John Wood

107

For more information about any of this year’s participating artists use your smartphone to scan the QR code under their name.

1987 Theme

Sharing comments from the 1987 catalogue published from Habatat Galleries titled “25 Years Glass as an Art Medium”. This catalog asked a similar question to the artists in the international exhibition 30 years ago.

Doug Anderson 1987 As far as where glass will be in 25 years, it is still too soon to tell if the developing chicken will survive the predators. Glass will always be around for the artist and will be used to its fullest advantage.

Ricky Bernstein 1987 When asked the question “Where do you think glass, as an art material will be in 25 years?” Ricky’s answer was... “…in the ozone…”

Zoltan Bohus 1987 I think that in 25 years, glass will, in fact, be accepted as a sculpture medium on par with stone and metal.

George Bucquet 1987 When asked “Where do you think glass, as an art material will be in 25 years?”, the answer was “Who Knows”. Your guess is as good as mine. I am amazed daily at what I see happening. One thing I do see is the complete acceptance of glass as a fine art and the stigma of it as strictly a “craft” material will pass.

Kenny Carder 1987 I think in the next 25 years, glass will be ranked as one of the most important man-made materials available to the imaginative mind. I say this because of the tremendous range of the material’s physical properties. I simply feel that with glass, one’s own skill and imagination are the only limitation. The material itself is capable of almost anything.

William Carlson 1987 In 25 years, I hope glass is mature enough, or should I saw the audience and the artist will be sophisticated enough to have glass as a primary sculpture material.

Sydney Cash 1987

108

In my optimum vision, glass art would be created with powers equal to the great crystals of Atlantis. Artists would learn how to create with color and light in such ways that their art would be used for physical healing and spiritual recharging.

Over the past 25 years, content has become more important. Certainly glass has gained more acceptance as an art material. We will see glass included in more museum exhibition, such as the Whitney Biannual.

Vaclav Cigler 1987 In the private sense, I think glass as an art material in the next 25 years will express itself by new and old ways, the most subjective feeling of those who will work with it. In the general sense, the glass as a functional material, will use all the latest developments with the scientific and technological research will enrich it with.

1987 Theme

José Chardiet 1987

Dan Dailey 1987 Not too far from now, I believe we will see in glass a growth of factional sub-movements. These factions might follow specific technical themes, such as the “How did that get in here?” phenomenon, or “glass painted from behind”. Many artists will like the same techniques and center their work around certain methods because glass is so dependent on the specific facilities. Eventually, certain galleries will be known for showing only the sandblasted vase artists, or only the glued and reciprolapped sculptures. Therefore, we can now enjoy the current vitality and variety of unlikely combinations we find in these large group shows.

Michael Glancy 1987 I hope to be still working with glass in 25 years.

Pavel Hlava 1987 As to where glass, as an art material will be in 25 years, it depends very much on the social conditions in which the entire art will develop. My sincere wish is to speak about glass not as a material, but as an art. The same way that we talk about the quality of a painting or a sculpture not about the canvas or bronze.

David Huchthausen 1987 …The vast majority of glassworkers are, at best, contributing to the history of a decorative arts material, and should take more price in that position.

Individual artists working with glass will periodically be integrated into the fine arts arena. This number will gradually increase as use of the material is expanded.

Dick Huss 1987 In the next 25 years, hopefully the boundaries will be limitless.

Kent Ipsen 1987 In the next 25 years, art as a material will probably be, off the shelf, in the walls and out-of-doors.

Marian Karel 1987 I believe that glass, as an art material, will have a perspective future because in comparison with other art materials, it is only glass that is able to express, by its optical qualities, the forth dimensions.

Jon Kuhn 1987 In the next 25 years, I see more use of glass architecturally. The collectors market will be as different from today as todays’ is from 1961.

John Lewis 1987 When asked the question, “Where do you think glass, as an art material will be in the next 25 years?” The answer was, “All over the place”.

109

1987 Theme

Stanislav Libensky & Jaroslava Brychtova 1987 In the future, glass will no doubt be on a larger scale; it is one of the creations of all the cultures and civilizations.

Walt Lieberman 1987 Glass in the next 25 years will be where ceramics is today.

Dulany Lingo 1987 In the next 25 years’ glass will hopefully become just another medium, less glamorized and separated by the “Art World”, and with the help of technology, less fragile in the hands of the shippers.

Concetta Mason 1987 In 25 years, I would hope that glass as an art material will be a viable medium equal to that of sculpture and painting.

William Morris 1987 We are already seeing the collaboration and combination of two or three glass techniques to bring about one piece of work, i.e., blown, slumping, sculpting, etc. The is the direction we are most likely to see glass progress in.

Jay Muser 1987 I have no idea where glass, as an art material, will be in 25 years.

Bretislav Novak Jr 1987 In 25 years, glass as an art material will be understood not only as an applied material, but as a material for monumental works.

Michael Pavlik 1987 I think we will see larger scale works for architecture and private commissions. Glass art will stop being craft and will be considered as works of art.

Damian Priour 1987 Glass will be technically advanced and new avenues will open, but artistic imagery will be mostly based on this new technology and only rarely on new ideas.

Clifford Rainey 1987 In 25 years, glass will be where it is now, except 25 years on.

Colin Reid 1987 After 25 years of evolution, the use of glass as an art form is the use of the medium as a means of personal expression.

Richard Ritter 1987 When asked the question, “Where do you think glass, as an art medium will be in 25 years?”, Mr. Ritter replied, “I am not sure where it is now”.

Sally Rogers 1987

110

Glass is like a growing child. As an art medium, it seems to be in a peculiar and awkwardly “adolescent” phase of development, a combination of hypersensitive grown and varying levels of maturity. As the use of glass in art ages and matures, it should achieve a more solid and “dignified” presence.

As a material, I think it will be drawn into more mixed-media efforts, with a de-emphasis on the substance, and an emphasis on its application in all areas of art. Including drawing, painting, sculpture, architecture, and the conceptual and performing arts.

I think glass, as an art material will be somewhere between Glasgow and Glastonbury in 25 years.

Mary Shaffer 1987 I see that glass will become as acceptable a material for making sculpture as stone, bronze, and marble have always been in Western Art. What glass can do as a material is astounding: it’s strong, can bend into all sorts of shapes, can create new forms never seen or made before, it catches lite, reflects it, alters it, and can absorb color. Because of the glass movement, glass departments have sprung up all over the country. The next 20 years will see glass in schools the way a foundry is, or metal and wood shops are. We’ll see more artists using glass with other materials, and see more of it in public places.

Quote from Mary Shaffer, Handmade in America by Barbaralee Diamonstein. Harry N. Abrams. Inc. Publishers, New York.

1987 Theme

Paul Seide 1987

Yuichi Taniguchi 1987 In 25 years glass will be at the point where, “men who construct their edifices and works of art as birds build their nests and spiders spin their webs,… skin of building…”

Michael Taylor 1987 When asked the question “Where do you think glass, as an art material will be in 25 years?”, Mr. Taylor replied “Homogeneous with painting, sculpture, performance conceptual art; a more intricate part of architecture”.

Bertail Vallien 1987 When asked the question “Where do you think glass, as an art material will be in 25 years?”, Mr. Vallien’s answer was, “In Pittsburgh”.

Mary Van Cline, 1987 I believe that in the next 25 years, the split that is happening between people working in glass sculpturally and functionally will be concretely defined and a certain group will emerge and be accepted into the fine art world.

Jack Wax 1987 When asked the question “Where do you think glass, as an art material will be in 25 years?, Mr. Wax replied “To look at a parallel of the use of clay” in its 20th century reassurance” glass “exploded’ in the 70s and 80s and show refinements of both technologies and images. The 90s and beyond I hope the smoke will clear and the material exploration will continue. Glass can “settle in” to being “another material” in a sculpture department.

Steven Weinberg 1987 When asked the question “Where do you think glass, as an art material will be in 25 years?”, Mr. Weinberg responded, “Quality work by fewer artists will find a wider audience – the public eye will grow at the same time”.

Yan Zoritchak 1987 I hope I’m wrong but in 25 years, after the nuclear explosion, the glass will be a spherical, radioactive mass in the space reflecting the sun light and human stupidity in the Cosmos.

Toots Zynsky 1987 When asked the question “Where do you think glass, as an art material will be in 25 years?”, Toots Zynsky replied, “I don’t even have any idea where I’ll be in 25 years!”.

111

Sponsored by the A.A.C.G

IMAGINE

MUSEUM

The American Studio Glass Movement St. Petersberg, Florida

AACG

Art Alliance for Contemporary Glass If you love contemporary glass, you’ll love being a member of the Art Alliance for Contemporary Glass. Annual membership, starting as low as $65, gives you: • Subscription to the quarterly AACG magazine • Complimentary admission passes to national art shows • Invitation to AACG’s annual awards reception at SOFA Chicago • Travel on AACG annual trips (this year to Seattle and Tacoma, WA) • Visits to collectors’ homes …and more

Visit AACG’s award-winning website: www.contempglass.org and join today

AACG memberships help fund grants awarded to 501c3 arts organizations in support of specific educational purposes.

AACG Visionary members help elevate our grant-making ability with their annual $1,000 donations, which also support the AACG Visionary Scholarship program, providing awards to individual artists seeking to pursue a career in glass.

Contact AACG at 214.890.0029 or admin@contempglass.org

Join AACG on our FABULOUS Annual Member Trip to Seattle & Tacoma Even if you’ve done Seattle trips before, you’ve never done one like this! There is room to join your fellow AACG members on the AACG trip to Seattle and Tacoma September 13-17. We still have spaces left, so now that the trip is closer, you can make plans to join us and enjoy the fantastic activities you will read about below.

The trip begins with an early evening event on Wednesday, September 13, and ends around 10 p.m. on Sunday, September 17, after a dinner at the Tacoma Museum of Art.

Trip will include: • • • • • • • • • • • •

Welcome cocktail/dinner at Palisade Restaurant on Puget Sound; presentation and dramatic opening to the trip Private tours of the Chihuly Boathouse and Ballard Studio A private tour of, and dinner at, Chihuly Garden and Glass A private tour of the Pilchuck Glass School campus Visit to the new studio and gallery space of Lino Tagliapietra A cocktail reception hosted by Traver Gallery Tour of the Museum of Glass – meet Albert Paley and Martin Blank – tour the exhibitions, water features, exterior grounds, and hot shop An evening at the Museum of Glass "Red Hot Gala and Auction" Tour of the Hauberg collection and Chihuly collection at the Tacoma Museum of Art Visit the studios of artists David Huchthausen, Richard Royal, Ethan Stern, and Kait Rhodes Visit several spectacular home collections, with beautiful vistas and views of Puget Sound Closing dinner at the Tacoma Art Museum/special event

There are many more surprises as part of this trip. Visit www.contempglass.org for trip registration information, cost, and cancellation policy.

ComInG

Winter 2017

Contemporary Craft Wing

I

n late 2017, the Flint Institute of Arts will debut the Isabel Foundation’s Sherwin and Shirley Glass Collection of contemporary glass, one of two anchor collections in the new Contemporary Craft Wing. Amassed over a ten-year period, this collection represents the greatest achievements by a large and diverse group of international artists, including Lino Tagliapietra and Stanislav Libenský.

Contemporary Glass Gallery

The FIA welcomes all attendees of the 45th Glass Invitational Award Exhibition to visit the museum during its grand reopening.

For more information, please visit flintarts.org or call 810.234.1695.

K. William LeQuier American, born 1953 Curl, 2006 Diamond wheel and sandblast carved laminated industrial plate glass 23 1/2 × 18 1/2 × 4 inches Courtesy of the Isabel Foundation, L2017.69

1120 E. Kearsley St. Flint, Michigan 48503

Avai l ab l e wo r k at Hab at at G al l e r i e s PA X - M A D N I M R U D , 2 0 1 5

6 x 1 8 . 5 x 1 7 . 2 5 � B l o w n g l a s s, c o p p e r, s i l ve r

M I C H A E L G L A N C Y

H a b a t a t

G a l l e r i e s

Thursday April 27th, 2017

1 8 th M a s t e r W o r k s Au c t i o n w ww. ha b a ta tg la ss. c om

Au c ti on 4 3

i t e ms

-

s tarts

7:30

Catal ogue

pm

Avai l ab l e

PENLAND

32nd Annual Benefit Auction AUGUST 11 & 12, 2017 A gala weekend in the North Carolina mountains

WWW.PENLAND.ORG

Illustrated auction catalog will be available online.

Absentee bids accepted.

For tickets: auction@penland.org , 828.765.2359 Register online now.

Rick Beck, Blue Kneeler, cast and fabricated glass, steel, 291/2 x 12 x 10 inches

Be Part of the Habatat Glass Tour of 2017 October 2nd - 9th & 9th - 15th

Visiting artists in Venice Italy Budapest Hungary Czech Rep

w w w . G l as s A r t To u r s . c o m

FORT

WAYNE

MUSEUM of ART

“Summer of Glass” June 24th - September 10th of 2017

Featuring

45th Award Winners from Habatat An Exhibiton of Brent Kee Young

M a t r i x S e r i e s “ F o r g e . . . ” , 2 016 F l a m e w o r ke d g l a s s 311 E M a i n S t r e e t , Fo r t Way n e , I N 4 6 8 0 2 2 6 0 . 4 2 2 . 6 4 6 7 - w w w. f w m o a . o r g

H a b a t a t C o n t a c t

G a l l e r i e s

t h e

g a l l e r y

A n n u a l

f o r

V I P

I n v i t a t i o n a l

i n f o r m a t i o n

2 0 1 7

2 4 8 . 5 5 4 . 0 5 9 0

G l a s s

V I P

i n f o @ h a b a t a t . c o m

W e e k e n d

-

A p r i l

2 7

www.habatat.com/rsvp

-

2 9

2 0 1 8

V I P

W e e k e n d

-

A p r i l

2 6

-

2 8

P I L C H U C K C E L E B R AT E S Chihuly Garden and Glass

May 11, 2017, 6:00 pm

2017 Honoring Dorothy Saxe and Katherine Gray

w w w.pilchuck .com

H a b a t a t G a l l e r i e s J a n u a r y 2 0 1 8

S a r a s o t a

G l a s s

N o w !

An annual glass exhibition in Sarasota Florida E v e n t s i n c l u d e a M a s t e r W o r k s Au c t i o n , g a l l e r y o p e n i n g s , artists talks, museum tours, as well as the grand opening of the Kotler Coville Pavillion at the Ringling Museum of Art

The 2017 Brilliance Award has been awarded

BRILLIANCE The Brilliance Awards is given to an artist

to Stephen Rolfe Powell for his new LED wall

exhibiting at Habatat Galleries Detroit

panel sculptures titled Zoomers.

that is working on the highest levels of innovation, intensity, and imagination

Congratulations to Stephen and his team.

within the contemporary glass community.

Featured in Urban Glass Magazine

Details:

h tt p : / / t i n y u r l . c o m / p o w e l l 2 0 1 7

Habatat Galleries is proud to announce an upcoming publication celebrating the work of artist Vivian Wang

Vivian Wang

H Pioneering the secondary market

A

B

A

T

Auctions, museum curating and beyond

NEXT

A

Contact us to consign artwork from your collection

45 th Annual International Glass Invitational Awards Exhibition 2017 April 29th, 2017 — July 28th, 2017

HABATAT GALLERIES 4400 Fernlee Ave., Royal Oak, MI 48073

248.554.0590 | info@habatat.com w w w . h a b a t a t . c o m

T

Sean Hennessey Eric Hilton Jacqueline Hoffmann-Botquelen Petr Hora David Huchthausen Toshio Iezumi Joseph Ivacic Martin Janecky Michael Janis Richard Jolley Kreg Kallenberger Jon Kuhn Jiyong Lee Steve Linn Marvin Lipofsky John Littleton & Kate Vogel László Lukácsi Lucy Lyon Joanna Manousis Mari Meszaros Janis Miltenberger Benjamin Moore Debora Moore John Moran William Morris Nick Mount Kathleen Mulcahy Jay Musler Tanja Pak Albert Paley Zora Palova Marc Petrovic

Jenny Pohlman & Sabrina Knowles Stephen Rolfe Powell David Reekie Colin Reid Kait Rhoads Richard Ritter Sally Rogers Marlene Rose Martin Rosol Richard Royal Davide Salvadore Jack Schmidt Mary Shaffer Ivana Sramkova Paul Stankard Tim Tate Michael Taylor Winnie Teschmacher Margit Toth Janusz Walentynowicz Vivian Wang Caterina Weintraub Hayden Dakota Wilson Leah Wingfield & Stephen Clements Ann Wolff John Wood Hiroshi Yamano Albert Young Brent Kee Young Toots Zynsky

Participating Artists

Nicolas Africano Rik Allen Shelley Muzylowski Allen Dean Allison Herb Babcock Rick Beck Michael Behrens Howard Ben Tré Robert Bender Alex Gabriel Bernstein Cassandria Blackmore Martin Blank Peter Borkovics Christina Bothwell Latchezar Boyadjiev Peter Bremers Emily Brock José Chardiet Daniel Clayman Deanna Clayton Robert Comploj Matthew Curtis Dan Dailey Laura Donefer Stephen Dee Edwards Matthew Eskuche Matthew Fine Katja Frizsche Irene Frolic Susan Taylor Glasgow Robin Grebe Wilfried Grootens