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July 5 - November 17, 2013


July 5 - November 17, 2013

The Rudolf and Leopold Blaschka Glass Biological Model Exhibition www.glasslifeform.org www.pittsburghglasscenter.org

Robert Mickelsen Individual Artist Organizer, Lifeforms

Seventeen years ago, when I attended the Glass Art Society’s (GAS) annual conference in Boston I made a point of visiting the Harvard Botanical Museum to see The Glass Flowers. I spent a couple of hours in a state of awe looking carefully at every model, staring in wonder at them, trying to imagine how on earth Rudolf and Leopold Blaschka had made them. My efforts yielded few clues to the secrets of their construction but the encounter left a lasting impression on me. From that time on, working with glass took on a new perspective. I realized that what I had previously seen as limits of the medium were not limits at all. I can honestly say that seeing the collection changed everything about how I worked with glass. I also knew that I was not the only glassworker who was affected like that. When I heard that GAS was returning to Boston in 2013, I immediately thought of The Glass Flowers. I was excited, not just at the thought of seeing the collection again myself, but about the many young people who had never seen it who would now have the opportunity. I wondered if seeing the flowers would affect them the way it had affected me. Then, I had an idea. What if there was an opportunity for glass artists to actually attempt to make realistic models of real plants and animals out of glass with the Blaschka flowers as inspiration? I bounced the idea off a couple of friends and the concept of a competition/exhibition slowly emerged. Lifeforms was born! The rest is history. Without dwelling on the details of the development of Lifeforms, let me instead use this space to give some credit to the people who made this event possible. I have to start with Heather McElwee and the Pittsburgh Glass Center (PGC) who stepped up with a beautiful venue, the Hodge Gallery, when Lifeforms was more or less homeless. Sam, Paige, and the entire staff at PGC have put their full effort and enthusiastic support behind Lifeforms. Without them, there would have been no show at all. I would also like to thank my generous sponsors who provided the entire funding for Lifeforms. They are listed elsewhere in this catalog so there is no need to repeat the list here. Let me just say that their contributions were generous and without hesitation in a time of economic hardship for many. Lifeforms is deeply indebted to them all. I have to give a shout-out to the four people who gave their time to help organize the show. Wayne Strattman, Susan Rossi Wilcox, Sally Prasch, and Anna Boothe provided invaluable input and ideas to make the show better than I ever could have alone. This show is as good as it is because of them. I would be remiss if I did not recognize the difficult work done by the live show jury. Wayne, Anna, Susan, and Heather spent many hours viewing and scoring every single entry. They made the tough choices and did a great job picking the 50 best pieces for the live show at PGC. I want to thank Luke Jerram and Heller Gallery, Paul Stankard, and Marco Jerman for allowing us to borrow work to display alongside the selected entries as Lifeforms featured artists. Besides Luke’s, Paul’s, and Tim Jerman’s work there are also actual models made by Rudolf and Leopold Blaschka on exhibit at PGC, thanks to a generous loan from the Carnegie Museum of Natural History! Finally, I have to thank the most important group of people - the artists who submitted work to Lifeforms. One hundred and one of them gave their all in producing the best work we could have hoped for, many pieces rivaling the quality of the Blaschka’s work! These artists are the talent and the reason for this show to exist at all. Thank you all for entering!

Susan M. Rossi-Wilcox

Curatorial Associate & Administrator, Ware Collection of Blaschka Glass Models of Plants (retired) Juror, Lifeforms

The original idea for this competition was hatched as an extension of the Glass Art Society’s Boston conference in June 2013. When the conference was cancelled, Pittsburgh Glass Center stepped forward as the primary exhibition venue. As conceived, Lifeforms sought to initiate contemporary expressions of Leopold Blaschka and his son Rudolf’s scientific models of invertebrates (displayed in many museums) and the famed Ware Collection of Blaschka Glass Models of Plants on permanent exhibition at Harvard University. At a time when public museums were being established, the Blaschkas’ models of sea creatures filled a marketing niche, and an important but difficult category of organisms to display. Jellyfish and other invertebrates looked like blobs in their formaldehydefilled jars. The colorful glass models solved the problem. Based in Dresden, Germany, the Blaschkas sold the invertebrates worldwide in the mid-1860s until the botanical models were commissioned beginning in 1886. Harvard, like other institutions, was interested in developing public displays of their natural history collections and the Museum of Zoology purchased a nearly complete set of models from the Blaschkas’ North American agent. Plants presented an equally difficult challenge. Asa Gray, the leading American botanist of the 19th century who established Harvard’s “Museum of Vegetable Products” in 1858 was faced with exhibiting dried pressed specimens or wax and papiermâché models. However, George Lincoln Goodale, who replaced him as director of the Harvard Botanic Garden and what became the Botanical Museum, was interested in a more dramatic exhibition for the plant kingdom. He was a savvy negotiator, an astute judge of character, and knew the Blaschkas’ models had that irresistible combination of beauty, science, and the magic of glass. He commissioned the plant models, popularly called The Glass Flowers, with the financial backing of Elizabeth and Mary Lee Ware. By 1890, he managed an exclusive contract with the Blaschkas. After nearly five decades in the making, the collection constitutes nearly 850 species of flowering plants, ferns, fungi, algae, and gymnosperms. There are over 4,000 representations, including life-size and magnified details, which are exhibited as a botany student would study the specimen in lab using a dissecting scope. Although The Glass Flowers collection was originally used to teach botany, over the years it has evolved into a symbol that epitomizes scientific accuracy in the depiction of biological organisms and stunningly beautiful flameworked glass. The Lifeforms competition was designed to encourage glass aficionados to create subjects in the reportorial spirit of the Blaschkas. All artists working with glass techniques were invited to submit entries. The criteria would be accuracy in scientific representation of the organism, aesthetic beauty of the work, and originality in its presentation. When looking at the 101 entries, it is clear that contemporary artists have gravitated to a wide array of organisms and glass technologies. But more to the point, with digital technologies and imaging, the need to create exacting glass replicas of organisms has long passed that desire. Although artists blessed with comparable glassworking skills and a keen sense of observation are present, the majority of the work submitted depicts vignettes or offers interpretations of species’ behavior. The entries are as varied as the techniques and the artists who produced them. As promised, the Lifeforms exhibition has the potential to expand our interest from microscopic organisms to macroscopic species that we may have never taken time to scrutinize.

Wayne Strattman President, Strattman Design Juror, Lifeforms

I feel honored to participate on a panel of jurors for this competition that is inspired by what I consider the veritable eighth wonder of the world, The Glass Flowers exhibition at Harvard University. This collection, as most know, was originally intended as highly accurate botanical samples but has over the past century become legend in the glass world for its unparalleled artistry. The original competition to produce artwork inspired by the collection was to be held in conjunction with the Glass Art Society’s 43rd annual conference in Boston in 2013. The conference unfortunately didn’t materialize but luckily this show found a new home at Pittsburgh Glass Center. It’s fortunate that it did since the competition was attracting attention from glass artists around the world in a wide variety of disciplines. In fact, the show attracted works from over 100 artists; though the marketing of the show was done mostly by word of mouth in the glass community. Personally I was curious to see, a hundred years on, what the 50 years of the studio glass movement, plus a modern aesthetic not limited to functional models, and modern equipment could produce. We received work in all the studio glass art forms. As jurors , we had to weigh criteria that compared widely disparate forms against a set of what we considered important aspects that make The Glass Flowers so widely admired. Each juror was free to interpret the criteria as they saw fit. We considered four criteria: accuracy, presentation, originality, and aesthetic beauty. I looked at accuracy first. The Glass Flowers beyond all else were accurate and certainly this was a high bar for the competitors. In particular the three aspects - physical form, color and surface texture - were what I looked for. Several works stood out for me, Rachel Elliott’s Fragile Entomology, GingerELA’s Goddess in the Eaves, Elizabeth Johnson’s Summer of ‘69 in Manchester, New Hampshire (whose blackberries looked like they were freshly removed from a garden) and Sally Prasch’s truly outstanding Nelumbo nucifera that looked like it was also removed directly from the Blaschka Collection. The presentation criteria was the first step away from purely botanical samples and put the interpretive pieces into an art format. We honestly had an issue, which many jurors have these days when judging slides, as to what was a “real” background and what may have been Photoshopped. Five artists stood out in my view. Shane Fero fluidly integrated his glass artwork into his painted background. Emma Mackintosh also had such a professional looking background it added to the gravitas of her work. Mike Mangiafico created an exceptionally realistic platform for his carpenter ants and covered it in glass so they “wouldn’t escape” and finally Victor Trabucco had a beautiful design encasing his work that I found truly made the piece into a stunning presentation. I found originality to be the most difficult category. Could it be original but not highly rated in other categories? I found this category bled into others but Nancy Arthur McGehee’s Pacific Mole Crab and Jeremy Sinkus’ Anatomy of a Bluefish were two that were both interesting and creatively original interpretations in this category. Finally, I looked at the category aesthetic beauty. For this I tried to take a long view of how a piece would stand up over time and show as effectively from the time of the Blaschkas to the present and beyond. I would again put Sally Prasch’s piece as well as Rachel Elliott’s in this category. Several others of note for me were Victor Trabucco’s Midnight Orchid Cattleya and Alex McDermott’s Bigeaf Maple Seedling as well as Elizabeth Johnson’s delicious-looking Summer of ‘69 in Manchester, New Hampshire. We judged these works from digital images. I know all the jurors look forward to hopefully confirming their choices from the actual works as seen in the upcoming exhibition. -

Heather McElwee

Executive Director, Pittsburgh Glass Center Juror, Lifeforms

When Robert Mickelsen first told me about Lifeforms I was ecstatic about the idea for the show. When he said that he wanted Pittsburgh Glass Center’s Hodge Gallery to host the exhibition, I immediately said an enthusiastic “yes.” I have worked with Robert many times over the last several years as a visiting artist at PGC. I know the passion he has for the medium and that he had the determination to pull off such an ambitious project. An exhibition like Lifeforms is exactly the kind of show we love to host here at Pittsburgh Glass Center. It combines two interesting ideas. Using the historic Blaschka models as inspiration for new work, all artists were invited to apply as long as the piece was at least 50 percent glass. Lifeforms not only showcases new glass art but reveals the Blaschka story of how they created over 4,000 models in glass which are still considered modern masterpieces. When I saw the quality of work rolling in, I knew that as a juror I was going to have a tough job. There were so many deserving entrants, it was hard to narrow them down to the ones that were going to be included in the live show. Robert outlined four criteria on which to judge each piece: accuracy in representing the organism, aesthetic beauty, presentation and originality. These criteria laid the groundwork for the jurors to follow. One thing that I struggled with was how accuracy in representing the organism and originality related. How could you be original if you were supposed to be accurate or perfect in replicating something? I was pleased to see that several entrants managed to do both quite exceptionally. Carmen Lozar is a wonderful example of this. Her renditions of Didelphis virginiana (Virginia O’Possum) and Pseudacris triseriata (Western Chorus Frog) as parts of My Ilinois Backyard are well-sculpted, but her placement of them in a shadow box with vignettes of all the different animals represented in her backyard not only shows originality, but also great presentation. For me, she scored high in all four categories. When it comes to accuracy there were several entrants that did exceptional jobs at rendering their subjects: Victor Trabucco, Sean Taylor, Wesley Fleming and Sally Prasch. I especially liked Carolyn Baum’s representation called Eternal Bloom. It looks so real you can almost smell the flowers’ delicate perfume. Its crimped petals and dramatic contrast of the deep red center against the bright yellow edges make you feel like you are in Hawaii where this variety of Hibiscus is the official state flower. Entrants that ranked high on originality for me were Jeremy Sinkus with his Anatomy of a Bluefish and Karina Guevin and Cedric Ginart’s whimsical cake plate depicting magnolia seeds, flower and leaves. Theo Keller’s use of an actual terra cotta pot lends believability to his sculpted cactus and helped him score high on both accuracy and presentation. Although there were several entries of orchid species, there was only one Tardigrade spallanzani (commonly known as waterbear or moss piglet according to Wikipedia) in the whole contest. Jahnny Rise’s depiction of Tardigrade spallanzani certainly made me take a second look and although perhaps not the most aesthetically beautiful entrant, it is hard to deny the originality and accuracy in rendering the miniscule creature (they grow to only one millimeter long when fully grown.) In total, the variety, originality and execution of the pieces selected for the live show is outstanding and we are proud to be hosting Lifeforms at Pittsburgh Glass Center.

Anna Boothe Individual Artist Juror, Lifeforms

It’s both an honor and ironic to have been asked to join the jury for Lifeforms. It is ironic because I have an indelible memory of the Blaschka collection from a one-time visit, as a child, to the Harvard Botanical Museum. And, like most other glass artists, historians and many non glass-myopic people alike, I revere the glass specimens for their genuine beauty, mirrored authenticity and, in my opinion, unrivaled accuracy. In all honesty, my eye gravitates more readily to art that is a two or three-dimensional interpretation, as opposed to outright representation, of an idea or object. But this personal preference doesn’t get in the way of my appreciation for work that literally transcribes the same. As a member of the Lifeforms jury, I was asked to judge the merits of upwards of 100 entries. Not surprisingly, most entered works were flameworked, but others ran the gamut of technical processes indicative of the medium. For me, the means to the end took a backseat to skill level with respect to whatever process was used. Through a basic numbering system, each entry was scored relative to its degree of accuracy, aesthetic beauty, presentation and originality. Accuracy was a straightforward assessment, given that each artist had to provide a visual facsimile of his or her inspiration. (Some of the examples provided were artistic renderings themselves and, in my mind, should have been photographic representations.) In this judging category, Sally Prasch’s and Victor Trabucco’s Nelumbo nucifera and Midnight Orchid Cattleya, respectively are the most stellar, followed in no particular order by Cas Davey’s Radiolarian Clathrocorys, Beau Tsai’s Common Kingfisher and Elizabeth Johnson’s Summer of ‘69 in Manchester, New Hampshire. Beauty and glass are somewhat inextricable allies, but a duo that don’t always converge to make for my general favorites. Anyone who defines beauty as non-subjective is disillusioned. Nonetheless, who can turn their head away from something one feels is viscerally beautiful? The pieces that touched my beauty cord are those mentioned above plus Kimberly Field’s Courtship: Keel-billed Toucans, Mathieu Grodet’s Amber Chrysanthemum, Lyla Nelson’s Art Deco-ish Hyacinth vessel and the solid elegance of Alex McDermott’s Bigleaf Maple Seedlings. For the presentation score, I considered the necessity of a “prop” and how well integrated the one chosen is, the organization of forms in a 3-D composition (is it primarily frontal, or a well-crafted wall-mounted sculpture?), and the skill with which additional materials, if employed, were used. High on my score sheet were Lisa Zerkowitz’s simple composition of tandem forms in Winter Cherries, Nancy Arthur McGehee’s horizontally layered glass Pacific Mole Crab study box, Jennifer Umphress’ Victorian take on domestic flies in Domesticity, Julie Conway’s inventive use of wiry seed hairs as object supports in Rosebay Willowherb Seed and both GingerELA’s and David Willis’ incorporation of a painted/digital print backdrop for Goddess in the Eaves and Still Life, respectively. Lastly, originality is the leanest category on my score sheet. Perhaps the submission rules failed to encourage what I would term true originality – in other words poetic license that allows the artist to interpret in his/her own voice. Originality, to me, isn’t beholden to hardcore representation but takes the next step towards a conceptualization of what already exists. Only one object from those selected by the jury fit my definition - Kait Rhoads’ glass and copper Barnacle, the form and texture of which clearly alludes to the object of reflection, yet is non-derivative. Its quality rests with its ability to remain non-narrative and thus it stands alone in strength as a purely sculptural object.


Generously loaned by the Carnegie Museum of Natural History

In 1886, George Lincoln Goodale commissioned Leopold Blaschka and his son Rudolf to make botanical models for the Harvard Botanical Museum. He chose the Blaschkas because they worked in glass. In the late-19th century, glass was the best material for the job. Other models of the times were made out of papier-mâchÊ or wax and did not stand the test of time. No other material could be molded and manipulated to render organic forms as beautifully and accurately nor relied upon to last as long as glass. Funded by Elizabeth C. Ware and her daughter Mary Lee Ware, the Blaschkas made more than 4,000 models of plants and flowers over the next several decades.

Synura ulla

Tympanidium foliosum


Amoeba proteus


Featured Artists “I included Paul Stankard and Luke Jerram because of their stature in the arts community and because their work represents the pinnacle of contemporary representation of nature in glass. Their inclusion makes Lifeforms a much more relevant and complete exhibition. Tim Jerman was a good friend of mine who died in 2004. He was a quadriplegic, the only one I ever knew who was also a master flameworker. His inclusion is personal, a memorial to someone who was committed to making natural forms in glass.� Robert Mickelsen

Tim Jerman Featured Artist

The entire arts community suffered a loss with the passing of renowned independent glass artist Tim Jerman. Tim used the flameworking technique to create his glass sculpture. As a junior in high school, he was allowed to enter the glass program at Kent State University under the glass master Henry Halem. In 1978 he moved to Hocking Hills, Ohio, to open a glass studio with Nick Delmatto. In 1981 Tim suffered a spinal cord injury in an auto accident but still continued to create magnificent glass art thereafter. In April 1999, Tim demonstrated at the International Glass Arts Society Conference in Tampa, Florida. He has two sculptures displayed in the permanent collection of the Smithsonian Renwick Gallery of the National Museum of American Art, and has a piece in the permanent collection of the Ohio Craft Museum.

Tim Jerman

Hocking Hills, OH Nautilus Nautilus belauensis

Tim Jerman

Hocking Hills, OH Fiddler Crab Uca pugnax

Tim Jerman

Hocking Hills, OH Squid Onychoteuthis banksii

Tim Jerman

Hocking Hills, OH Lobster Nephropsis rosea

Luke Jerram Featured Artist

Luke Jerram’s Glass Microbiology artworks are in museum collections around the world including The Metropolitan Museum of Art (NYC), Shanghai Museum of Glass, Wellcome Collection (London), and the Corning Museum (USA). The work has recently been shown in Glasstress at the Venice Biennale and Museum of Art and Design in NYC. In 2009 his sculptures were presented at Mori Museum, Tokyo along with work by Damien Hirst, Andy Warhol and Leonardo da Vinci. In 2010 Jerram won the coveted Rakow Award for this work and a fellowship at the Museum of Glass, Washington. Jerram’s sculptures have been presented in The Lancet, The BMJ and the front cover of Nature Magazine.

Luke Jerram

Bristol, UK Smallpox, Untitled Future Mutation, HIV

Luke Jerram

Bristol, UK Spherical Swine Flu

Luke Jerram

Bristol, UK Human Papillomavirus

Paul Stankard Featured Artist

“I am interested in integrating mysticism with botanical realism giving the glass organic credibility. Through the work, I reference the continuum of nature, by portraying and exploring the mysteries of seeds, fertility and decay. The work celebrates the primal beauty of nature on an intimate level. It is influenced by the poetry of Walt Whitman.� Paul J Stankard

Paul Stankard

Mantua, NJ Botanical Series 4

Paul Stankard Mantua, NJ Root People Orb

Selected Artists

Carolyn Baum

Gardiner, NY Eternal Bloom Hibiscus rosa-sinensis

Marta Bernbaum Brattleboro, VT Snow Farm Magnolia Magnolia denudata

Ted Clark

Kailua, HI Raccoon and a Hawaiian Reef Chaetodon lunula

Brent Cole

Muncie, IN Gathering “Mermaid Purses� with Lilly Scliorhinus stellaris

Julie Conway

Seattle, WA Rosebay Willowherb Seed Epilobium agustifolium

Vittorio Constantini

Venice, Italy Seahorses swimming in the midst of algae on the bottom of the sea Hippocampus hippocampus algae

Cas Davey

Victoria, Australia Radiolarian clathrocorys

Jacci Delaney

Columbus, OH Fossilizations: Lookdown Fish Selene vomer

Lisa Demagall Twinsburgh, OH Queen Anne’s Lace Daucus carota

Kathleen Elliott

Cupertino, CA Heirlooms Solanum lycopersicum

Mark Elliott Sydney, Australia Little Terns Sterna albifrons

Award of Merit

Rachel Elliott; bee flameworked by Wesley Fleming Edinburgh, Scotland Fragile Entomology Apis mellifera

Shane Fero

Penland, NC Bloodrot Box Sanguinaria canadensis

Kimberly Fields

Metamora, MI Courtship: Keel-billed Toucans Ramphastos sulphuratus

Wesley Fleming

Ashefield, MA Miltoniopsis vexillaria

Suellen Fowler Vallejo, CA Loon and Chick Gavia immer


Emeryville, CA Goddess in the Eaves Brassolaelio cattleya

Mathieu Grodet

Quebec, Canada Amber Chrysanthemum Chrysanthemum boreale

Karina Guevin + Cedric Ginart Quebec, Canada Magnolia lilflora nigra

Randy Scott Harris

Arcata, CA Octopus Eating Sea Turtle Eretmochelys unbricata

Jason Howard

Skaneateles, NY Phalaenopsis Orchid Cage Cup Phalaenopsis amabilis

Ronnie Hughes

Laurel Springs, NC Turk’s Cap Lily with Mantis Lilium superbum

Elizabeth Johnson

Boulder, CO Summer of ‘69 in Manchester, New Hampshire Rheum rhabarbarum, Rubus allegheniensis and Argutus eldorado

Award of Achievement

Theo Keller; painted by Elizabeth Rudnick Pittsburgh, PA Candelabra euphorbia

Evan Kolker

Oakland, CA Nepenthes bicalcarata

Carmen Lozar

Normal, IL My Illinois Backyard Anas platyrhynchos, Vulpes vulpes, Procyon lotor, Sylvllagus floridanus, Corvus brachyrhynchos, Sciurus niger, Pseudacris triseriata, Didelphis virginiana, Myotis lucifugus

Emma Mackintosh

Cumbria, United Kingdom Blown Beet Root with stopper, seedling, seeds, sliced beetroot, and blue shiledbug Beta vulgaris

Award of Achievement

Mike Mangiafico + Ed Pinto Pittsburgh, PA Carpenter Ant Componotus ligniperda

Alex McDermott

Edmonds, WA Bigleaf Maple Seedling Acer macrohyllum

Award of Merit

Nancy Arthur McGehee

San Diego, CA Pacific Mole Carb Emerita analoga

Sam McMillen

Seattle, WA Chantrellow Cantharellus cibarius

Award of Achievement

Robert Mickelsen Mims, FL Leaf Cutter Basket Atta cephalotes

Margaret Neher Ithaca, NY American Ginseng Panax quinquefolius

Award of Excellence

Lyla Nelson

Pittsburgh, PA Hyacinth Hyacinthus orientalis

Jupiter Nielsen

Kahalui, HI Ha’iwale Cyrtandra grayana var. linearifolia

Award of Excellence

Joe Peters

Battleboro, MA Greater Blue-ringed Octopus on a Teeming Coral Reef Hapalochlaena lunulata

Sally Prasch Montague, MA Nelumbo nucifera

Kait Rhoads

Seattle, WA Barnacle Cirripedia

Jahnny Rise

Portland, OR Tardigrada spallanzani

Donna Sakson

Seattle, WA Chinese Lantern Fruit Physalis alkekengi

Mike Shelbo

Vista, CA Blue Sea Slug Dragon Glaucus atlanticus

Jeremy Sinkus

Shelbourne Falls, MA Anatomy of a Bluefish Pomatomus saltatrix

Sean Taylor

Glasgow, Scotland Flame Lily Gloriosa superba rothschildiana

Demetra Theofanus

Mountain View, CA Decay and Discovery Cyanocitta cristata, quercus lobata, platanus occidentalis

Victor Trabucco

Clarence, NY Midnight Orchid Cattleya Orchidaceae

Award of Excellence

Beau Tsai

La Palma, CA Common Kingfisher Alcedo atthis

Jennifer Umphress Kingston, WA Domesticity Musca domestica

Toby Upton

Brooklyn, NY Netcasting Spider with Three Crickets Deinopis subrufa, Gryllidea

Mauro Vianello

Venice, Italy Chromodoris purpurea on Spongionella pulchella with Parazoanthus axinellae

David Willis Portland, OR Still Life Prunus persica

Lisa Zerkowitz Seattle, WA Winter Cherries Physalis alkekengi

Selected Artists Carolyn Baum Marta Bernbaum Ted Clark Brent Cole Julie Conway Vittorio Constantini Cas Davey Jacci Delaney Lisa Demagall Kathleen Elliot Mark Elliott Rachel Elliott Shane Fero Kimberly Fields Wesley Fleming Suellen Fowler GingerELA Mathieu Grodet Karina Guevin + Cedric Ginart Randy Scott Harris Jason Howard Ronnie Hughes Elizabeth Johnson Theo Keller Evan Kolker Carmen Lozar Emma Mackintosh Mike Mangiafico + Ed Pinto

Diamond Sponsors Alex McDermott Nancy Arthur McGehee Sam McMillen Robert Mickelsen Margaret Neher Lyla Nelson Jupiter Nielsen Joe Peters Sally Prasch Kait Rhoads Jahnny Rise Donna Sakson Mike Shelbo Jeremy Sinkus Sean Taylor Demetra Theofanous Victor Trabucco Beau Tsai Jennifer Umphress Toby Upton Mauro Vianello David Willis Lisa Zerkowitz

Featured Artists Tim Jerman Luke Jerram Paul Stankard

Chesterfield Glass Art

Platinum Sponsors American Exposition Galleria Glasscraft Mickelsen Studios, Inc. Strattman Design

Gold Sponsors Mountain Glass Arts Northstar Glassworks Piece of Mind Seattle Glassblowing Studio Trautman Art Glass

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Lifeforms: The Rudolf and Leopold Blaschka Glass Biological Model Exhibition  

Lifeforms: The Rudolf and Leopold Blaschka Glass Biological Model Exhibition  

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