2015 Symposium Full Schedule
Download the full program for the 2015 Robert M. Minkoff Foundation Academic Symposium at UrbanGlass, taking place from 10/22 through 10/24 in New York City.
With the theme "New Technologies in Practice," the 2015 Academic Symposium is shaping up to be a must-attend event for anyone interested in the latest developments in glass art education. With presentations by Glen Cook, chief scientist at The Corning Museum of Glass; Peter Houk and a team of MIT Media Lab graduate students offering an in-depth look at how they developed a working hot glass digital printer; and a peek inside a course blending neon and robotics taught by one of the founding members of UrbanGlass, Joe Upham. All this plus many more presenters, multiple networking opportunities, art-filled receptions, and a Chelsea gallery tour to see the latest new work in glass in a contemporary art context.
2015 Symposium Presenters
The 2015 Robert M. Minkoff Foundation Academic Symposium at UrbanGlass: October 22 through October 24, 2015 in New York City
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KEYNOTE SPEAKER
TINA AUFIERO Artistic Director Pilchuck Glass School, Stanwood, Washington bits + bytes: migratory investigations (technological implications for the field of glass) |
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PRESENTERS
PAMINA TRAYLOR
Craft Curriculum Coordinator, Glass Program Faculty
California College of Art, Oakland, California
Making Art That Matters: The Intersection of Hand & Digital Fabrication and Social Responsibility
Pamina Traylor earned her M.F.A. from the Rochester Institute of Technology andher B.A. from Bryn Mawr College. She has lectured and demonstrated around the world including Australia, Japan, Korea, and Taiwan and has taught workshops at The Glass Furnace, Istanbul, Haystack Mountain School of Crafts, Penland School of Crafts, and The Studio of the Corning Museum of Glass, among others. Her work is in the permanent collection of the Benton Museum of Art, CT; The Speed Art Museum, KY; and the Tittot Glass Art Museum, Taiwan, among others. From 2013– 2015, she was Craft Curriculum Coordinator at California College of the Arts where she has been on the faculty since 1995. She was Interim Chair of the Glass Program 2012 – 2013 and 1999-2000. In the Fall semester of 2007, she was an invited visiting artist.
PAMINA TRAYLOR
Craft Curriculum Coordinator, Glass Program Faculty
California College of Art, Oakland, California
Making Art That Matters: The Intersection of Hand & Digital Fabrication and Social Responsibility
Pamina Traylor earned her M.F.A. from the Rochester Institute of Technology andher B.A. from Bryn Mawr College. She has lectured and demonstrated around the world including Australia, Japan, Korea, and Taiwan and has taught workshops at The Glass Furnace, Istanbul, Haystack Mountain School of Crafts, Penland School of Crafts, and The Studio of the Corning Museum of Glass, among others. Her work is in the permanent collection of the Benton Museum of Art, CT; The Speed Art Museum, KY; and the Tittot Glass Art Museum, Taiwan, among others. From 2013– 2015, she was Craft Curriculum Coordinator at California College of the Arts where she has been on the faculty since 1995. She was Interim Chair of the Glass Program 2012 – 2013 and 1999-2000. In the Fall semester of 2007, she was an invited visiting artist.
GLENN COOK & AMY SCHWARTZ
Chief Scientist & Director of The Studio
The Corning Museum of Glass
New Possibilities with Science and Art: The Corning Museum of Glass / Corning Incorporated Specialty Glass Residency
Glen Cook became chief scientist for The Corning Museum of Glass after 16 years at Corning Incorporated as a senior research associate, conducting research in inorganic materials processing and composition. As chief scientist, Cook is responsible for researching and sharing scientific and technical topics in glass. He informs exhibitions, programs and publications, and also serves as a technical resource for the broader museum community, museum guests and the general public, as well as artists working in glass today. Cook holds a PhD and MS in metallurgical engineering from the University of Wisconsin-Madison and a BS in materials engineering from the New Mexico Institute of Mining and Technology. Amy Schwartz joined The Corning Museum of Glass in 1995 to create The Studio, the artistic and educational glassworking facility of the Museum that provide programs for people of all ages and all levels of glass expertise. Schwartz designs curricula, hires internationally recognized glass artists as faculty, oversees selection of students, distributes scholarship funds, and directs artist residency, walk-in, group, and school programs. Schwartz has attended glassblowing classes at UrbanGlass and The Haystack Mountain School of Crafts, Deer Isle, ME. She has studied extensively with William Gudenrath, Ruth King, and Lino Tagliapietra, and maintains her own glassblowing practice.
Chief Scientist & Director of The Studio
The Corning Museum of Glass
New Possibilities with Science and Art: The Corning Museum of Glass / Corning Incorporated Specialty Glass Residency
Glen Cook became chief scientist for The Corning Museum of Glass after 16 years at Corning Incorporated as a senior research associate, conducting research in inorganic materials processing and composition. As chief scientist, Cook is responsible for researching and sharing scientific and technical topics in glass. He informs exhibitions, programs and publications, and also serves as a technical resource for the broader museum community, museum guests and the general public, as well as artists working in glass today. Cook holds a PhD and MS in metallurgical engineering from the University of Wisconsin-Madison and a BS in materials engineering from the New Mexico Institute of Mining and Technology. Amy Schwartz joined The Corning Museum of Glass in 1995 to create The Studio, the artistic and educational glassworking facility of the Museum that provide programs for people of all ages and all levels of glass expertise. Schwartz designs curricula, hires internationally recognized glass artists as faculty, oversees selection of students, distributes scholarship funds, and directs artist residency, walk-in, group, and school programs. Schwartz has attended glassblowing classes at UrbanGlass and The Haystack Mountain School of Crafts, Deer Isle, ME. She has studied extensively with William Gudenrath, Ruth King, and Lino Tagliapietra, and maintains her own glassblowing practice.
DAN CLAYMAN
Practicing Artist
The Foundations of the Digital Interface: Integration and Practice
Daniel Clayman is a sculptor who has been working with glass as his primary medium for thirty-five years. His work reveals his interests in engineering, the behavior of light, and how the memory of experience acts as the impetus for much of his work. Working large and small, he employs technology from the simplest hand tool to the latest three-dimensional modeling and production tools. An artist/educator, Daniel has taught in Israel and Australia in addition to a robust teaching schedule here in the U.S. In the fall of 2015 he will be teaching glass casting at Tyler School of Art while continuing his Printmaking research of purposely devitrified glass surfaces.
Practicing Artist
The Foundations of the Digital Interface: Integration and Practice
Daniel Clayman is a sculptor who has been working with glass as his primary medium for thirty-five years. His work reveals his interests in engineering, the behavior of light, and how the memory of experience acts as the impetus for much of his work. Working large and small, he employs technology from the simplest hand tool to the latest three-dimensional modeling and production tools. An artist/educator, Daniel has taught in Israel and Australia in addition to a robust teaching schedule here in the U.S. In the fall of 2015 he will be teaching glass casting at Tyler School of Art while continuing his Printmaking research of purposely devitrified glass surfaces.
HELEN LEE
Assistant Professor, Head of Glass.
University of Wisconsin, Madison
Tools for Teaching Glass as Movement-Based Praxis
Helen Lee uses glass to think about language. She holds an MFA in Glass from the Rhode Island School of Design and a BSAD in Architecture from the Massachusetts Institute of Technology. Lee has taught at Rhode Island School of Design, California College of Art, Toyama City Institute of Glass Art, Haystack Mountain School of Crafts, the Chrysler Museum Glass Studio, and the MIT Glass Lab. Her recent honors include the inaugural Irwin Borowsky Prize in Glass Art (2013) and the Edna Wiechers Arts in Wisconsin Award (2014). Lee has been a freelance graphic designer for Chronicle Books and Celery Design Collaborative, and an Affiliate Artist at Headlands Center for the Arts. Her work will be exhibited this year at Chandra Cerrito Contemporary (Oakland, CA), the Boston Museum of Fine Arts (Boston, MA), Urban Glass (Brooklyn, NY), and the Minnesota Museum of American Art (St. Paul, MN). She is currently an Assistant Professor and Head of Glass in the Art Department at the University of Wisconsin-Madison.
REGISTER TODAY TO RECEIVE SPECIAL DISCOUNT CODES FOR AREA HOTELS!
Assistant Professor, Head of Glass.
University of Wisconsin, Madison
Tools for Teaching Glass as Movement-Based Praxis
Helen Lee uses glass to think about language. She holds an MFA in Glass from the Rhode Island School of Design and a BSAD in Architecture from the Massachusetts Institute of Technology. Lee has taught at Rhode Island School of Design, California College of Art, Toyama City Institute of Glass Art, Haystack Mountain School of Crafts, the Chrysler Museum Glass Studio, and the MIT Glass Lab. Her recent honors include the inaugural Irwin Borowsky Prize in Glass Art (2013) and the Edna Wiechers Arts in Wisconsin Award (2014). Lee has been a freelance graphic designer for Chronicle Books and Celery Design Collaborative, and an Affiliate Artist at Headlands Center for the Arts. Her work will be exhibited this year at Chandra Cerrito Contemporary (Oakland, CA), the Boston Museum of Fine Arts (Boston, MA), Urban Glass (Brooklyn, NY), and the Minnesota Museum of American Art (St. Paul, MN). She is currently an Assistant Professor and Head of Glass in the Art Department at the University of Wisconsin-Madison.
REGISTER TODAY TO RECEIVE SPECIAL DISCOUNT CODES FOR AREA HOTELS!
COLIN RENNIE
Program Leader: Glass and Ceramics BA Hons, Senior Lecturer in Hot Glass, Module Leader: Digital Crafts.
University of Sunderland, Sunderland, England
Crafted Computation
Colin Rennie has worked predominantly with glass as a material for sculpture since 1992. Alongside and complementing working as an artist, he has taught in renowned centers of glass excellence, currently at the University of Sunderland, and also at the University of Wolverhampton and Sars Potteries, Musee atelier du Verre In France. In that time his work has achieved recognition in major collections and competitions, including the Victoria and Albert Museum London, Ebletoft Glass Museum Denmark, Hsin-Chu Municipal Glass Museum, Taiwan, Ernsting Stiftung Glasmuseum Germany, and nomination for the Jerwood prize for glass. A predominant and consistent theme in the work has been exploring the territory created when contrasting fields of human endeavor are blended; of science and religion or digital modelling with more traditional craft practices. Recently work has been realized through CAD CAM, waterjet, glassblowing and digital scanning, resulting in work which questions the nature of skill and celebrates the ephemeral movements of a glass in its liquid state. Working in the grey areas between poles provides an opportunity to work with hybridization and ambiguity provoking responses that often reveal the viewers need to categorize and define. Rennie lives and works in the Northeast of England.
Program Leader: Glass and Ceramics BA Hons, Senior Lecturer in Hot Glass, Module Leader: Digital Crafts.
University of Sunderland, Sunderland, England
Crafted Computation
Colin Rennie has worked predominantly with glass as a material for sculpture since 1992. Alongside and complementing working as an artist, he has taught in renowned centers of glass excellence, currently at the University of Sunderland, and also at the University of Wolverhampton and Sars Potteries, Musee atelier du Verre In France. In that time his work has achieved recognition in major collections and competitions, including the Victoria and Albert Museum London, Ebletoft Glass Museum Denmark, Hsin-Chu Municipal Glass Museum, Taiwan, Ernsting Stiftung Glasmuseum Germany, and nomination for the Jerwood prize for glass. A predominant and consistent theme in the work has been exploring the territory created when contrasting fields of human endeavor are blended; of science and religion or digital modelling with more traditional craft practices. Recently work has been realized through CAD CAM, waterjet, glassblowing and digital scanning, resulting in work which questions the nature of skill and celebrates the ephemeral movements of a glass in its liquid state. Working in the grey areas between poles provides an opportunity to work with hybridization and ambiguity provoking responses that often reveal the viewers need to categorize and define. Rennie lives and works in the Northeast of England.
Join us for an amazing gallery tour Thursday evening, with stops at Andrea Rosen Gallery to hear about the latest work of Josiah McElheny; Sean Kelly Gallery to learn about new glass work by Idris Khan; and Heller Gallery, where a panel discussion will include Kim Harty, Helen Lee, Sharyn O'Mara, and Marc Petrovic talking about the challenges of taking over an established glass program and updating its approach to new technologies. The tour will end with a reception at an art-filled loft of a major downtown collector.
2013 Symposium Audio Files
The Robert M. Minkoff Foundation Academic Symposium at UrbanGlass provides the structure for an intensive 3-day exchange among the top glass educators and artists.
The Robert M. Minkoff Academic Symposium at UrbanGlass brought the world of glass educators to New York City for three days of dialogue about "Issues in Glass Pedagogy." With presenters coming from as far away as Australia, the Czech Republic, and the Netherlands, as well as from the top academic programs and non-degree-granting institutions in the U.S., the attendance reached 100 department heads, faculty members, administrators, and instructors -- not to mention a small but vocal group of students of glass programs. Photos from the Thursday-evening gallery tour to the Friday lecture hall to the Saturday studio presentations are available for viewing at our event page on Facebook. As a service to the field, we are making available audio transcripts of the symposium's presentations. Please find them below.
KEYNOTE PRESENTATION
Loud, Hyperbolic, and Self-Branding: How glass departments can redefine and reposition themselves in university art curricula
SPEAKER
Jack Wax, Craft/Material Studies Dept at The Virginia Commonwealth University School of the Arts
Loud, Hyperbolic, and Self-Branding: How glass departments can redefine and reposition themselves in university art curricula
SPEAKER
Jack Wax, Craft/Material Studies Dept at The Virginia Commonwealth University School of the Arts
FEATURED PRESENTATION
You Have to Get Out of It to Get Into It: Balancing glass craft with issues in contemporary art
SPEAKER
Ruth King, Former Artistic Director, The Pilchuck Glass School
You Have to Get Out of It to Get Into It: Balancing glass craft with issues in contemporary art
SPEAKER
Ruth King, Former Artistic Director, The Pilchuck Glass School
DUAL PRESENTATION
Case Studies in Change: How two glass department heads overhauled their programs, and lived to tell about it
SPEAKERS
Dawson Kellogg, Head of Glass Program, Columbus College of Art and Design
Koen Vanderstukken, Glass Department Head, Sheridan College
Case Studies in Change: How two glass department heads overhauled their programs, and lived to tell about it
SPEAKERS
Dawson Kellogg, Head of Glass Program, Columbus College of Art and Design
Koen Vanderstukken, Glass Department Head, Sheridan College
PRESENTATION
Understanding "Handedness" and its Implications in the Hot Shop
SPEAKER
Helen Lee, Head of Glassworking, University of Wisconsin, Madison
Understanding "Handedness" and its Implications in the Hot Shop
SPEAKER
Helen Lee, Head of Glassworking, University of Wisconsin, Madison
PRESENTATION
The Extroverted Glass Program: The MIT GlassLab and its relationship with the larger culture of MIT
SPEAKER
Peter Houk, Director of MIT GlassLab
The Extroverted Glass Program: The MIT GlassLab and its relationship with the larger culture of MIT
SPEAKER
Peter Houk, Director of MIT GlassLab
PRESENTATION
Learning to Juggle While Playing The Banjo: Finding harmony in an academic career and a successful artist practice
SPEAKER
Michael Rogers, Professor, Rochester Institute of Technology
Learning to Juggle While Playing The Banjo: Finding harmony in an academic career and a successful artist practice
SPEAKER
Michael Rogers, Professor, Rochester Institute of Technology
PRESENTATION
Working with Complexity: Drawing pedagogy in the glass studio
SPEAKER
Jennie Spiers Grant, Practicing Artist
Working with Complexity: Drawing pedagogy in the glass studio
SPEAKER
Jennie Spiers Grant, Practicing Artist
PRESENTATION
Developing the Student’s Voice Within the Academic Environment
SPEAKER
Richard Whiteley, Head of the Glass Workshop at the School of Art, Australian National University
Developing the Student’s Voice Within the Academic Environment
SPEAKER
Richard Whiteley, Head of the Glass Workshop at the School of Art, Australian National University
DUAL STUDIO LECTURE
The Glass Virus: A call for a cooperative effort by institutions, universities, and schools all over the world to investigate the future of glass art education
SPEAKERS
Jens Pfeifer, Head of Glass Program, Gerrit Rietveld Academie
Marc Barreda, Practicing Artist
The Glass Virus: A call for a cooperative effort by institutions, universities, and schools all over the world to investigate the future of glass art education
SPEAKERS
Jens Pfeifer, Head of Glass Program, Gerrit Rietveld Academie
Marc Barreda, Practicing Artist
DUAL STUDIO LECTURE
VIDEO+GLASS: Bridging Studio Glass and New Media through the study of optical devices
SPEAKERS
Kim Harty, Lecturer, Practicing Artist
Charlotte Potter, Glass Studio Manager, Chrysler Museum of Art
VIDEO+GLASS: Bridging Studio Glass and New Media through the study of optical devices
SPEAKERS
Kim Harty, Lecturer, Practicing Artist
Charlotte Potter, Glass Studio Manager, Chrysler Museum of Art
PANEL DISCUSSION
Does the inherently complex nature of glass process work for or against the development of a conceptual framework?
PANELISTS
Dan Clayman, Practicing Artist
Sharyn O'Mara, Head of Glass, Tyler School of Art
Jack Wax, Craft/Material Studies Dept at VCU School of the Arts
Does the inherently complex nature of glass process work for or against the development of a conceptual framework?
PANELISTS
Dan Clayman, Practicing Artist
Sharyn O'Mara, Head of Glass, Tyler School of Art
Jack Wax, Craft/Material Studies Dept at VCU School of the Arts
PANEL DISCUSSION
Your Students, Our Students: Exploring the relationship between non-accredited glass programs and their degree-granting academic counterparts
PANELISTS
James Baker, Executive Director, The Pilchuck Glass School
Jane Bruce, Educational Program Consultant, UrbanGlass
Dan Clayman, Practicing Artist
Your Students, Our Students: Exploring the relationship between non-accredited glass programs and their degree-granting academic counterparts
PANELISTS
James Baker, Executive Director, The Pilchuck Glass School
Jane Bruce, Educational Program Consultant, UrbanGlass
Dan Clayman, Practicing Artist
STUDIO LECTURE
Advancing the Notion of “Advanced”: Can the convention of the hot-shop demonstration be used to teach more than how to make something?
SPEAKER
Alexander Rosenberg, Glass Program Head, University of the Arts
Advancing the Notion of “Advanced”: Can the convention of the hot-shop demonstration be used to teach more than how to make something?
SPEAKER
Alexander Rosenberg, Glass Program Head, University of the Arts
Residency
Sarah Gilbert selected as inaugural 4Front artist for the Robert M. Minkoff Foundation Residency at the Chrysler Museum Glass Studio
Sarah Gilbert.
The Robert M. Minkoff Foundation, in partnership the Chrysler Museum of Art, is pleased to announce that Sarah Gilbert has been selected as the inaugural artist for 4Front: Innovation from All Angles, a 14-day residency at the Chrysler Museum Glass Studio in Norfolk from January 8-22, 2014.
Gilbert was selected after an international search and competitive submission process. Applicants were asked to submit ideas for a contemporary art project using glass that is groundbreaking in one or more of the following areas: technique, concept, energy efficiency, and media fluency.
Gilbert’s project, entitled "Laboring," will involve body castings of members from the Hampton Roads community during the residency. “Visitors will be invited to make a cast of their body using a direct and inexpensive moldmaking material, dental alginate,” stated Gilbert. “These waxes will be transformed into composite forms to create a variety of corporeal vessels. Visitors will have the uncanny experience of seeing their bodies become objects, and they will ultimately see these forms become part of much larger, collaborative forms and events.” The project title plays with the multiple meanings of the word labor: meaning working, as well as giving birth and creating new possibilities in the world.
“The number and quality of applicants to the 4Front Residency were both impressive and daunting,” said Andrew Page, director of the Robert M. Minkoff Foundation. “It was extremely difficult to narrow it down to a single recipient. Through several meetings with our counterparts at the Chrysler Museum of Art, however, we were able to arrive at an excellent choice. Sarah Gilbert is not the first person to use dental alginate to create molds based on the human body, but she has refined the process to capture extremely fine detail. What sets her work apart are her ideas of how to apply this technique to a community-based collaborative performance project that directly involves the public and engages them both on a visceral and intellectual level. We look forward to the playful and exuberant results from Gilbert’s marriage of highly developed technical skills and challenging theoretical framework that references Russian philosopher Mikhail Bakhtin’s notions of grotesque realism as a celebration of the life cycle and an investigation into the social fabric.”
“Everyone at the Glass Studio is thrilled to be part of this amazing partnership for emerging and innovative artists,” said Charlotte Potter, Glass Studio manager. “The end result will be a patchwork of our community that is sculptural and transformative.”
Gilbert will work at the Glass Studio during the two-week residency and give a public lecture or performance. An updated website (4frontresidency.org) and a 45-minute documentary film will be produced about the project and the residency. The public is invited to participate and watch the artist work during the residency. Admission is free, and details and times for public viewing will be available at chrysler.org.
Gilbert is an artist and educator based in Portland, Oregon. She is currently visiting assistant professor of art at Reed College, as well as adjunct faculty in applied craft and design, a master of fine arts program offered jointly between Oregon College of Art and Craft and Pacific Northwest College of Art. She is a graduate of Brown University and the Rhode Island School of Design. Her work spans a wide range of materials and processes, including glassblowing, new media, casting, film, photography, and embroidery. Recent exhibitions include After Image at Reed College (Portland), Equations for a Falling Body at Hunter College (New York), Imagined Communities at Gallery Project (Ann Arbor) and Memory Upgrade at the Center on Contemporary Art (Seattle). The artist’s website, sarahgilbert.net, features images and details about her recent work.
The Robert M. Minkoff Foundation (rmmfoundation.org), a 501(c) (3) organization, is focused on furthering the use of glass in the field of contemporary art and advancing technical knowledge about glass art process. The foundation invests not only in residencies and educational projects, but in disseminating important new developments. For more information on the 4Front Residency, see 4frontresidency.org.
Gilbert was selected after an international search and competitive submission process. Applicants were asked to submit ideas for a contemporary art project using glass that is groundbreaking in one or more of the following areas: technique, concept, energy efficiency, and media fluency.
Gilbert’s project, entitled "Laboring," will involve body castings of members from the Hampton Roads community during the residency. “Visitors will be invited to make a cast of their body using a direct and inexpensive moldmaking material, dental alginate,” stated Gilbert. “These waxes will be transformed into composite forms to create a variety of corporeal vessels. Visitors will have the uncanny experience of seeing their bodies become objects, and they will ultimately see these forms become part of much larger, collaborative forms and events.” The project title plays with the multiple meanings of the word labor: meaning working, as well as giving birth and creating new possibilities in the world.
“The number and quality of applicants to the 4Front Residency were both impressive and daunting,” said Andrew Page, director of the Robert M. Minkoff Foundation. “It was extremely difficult to narrow it down to a single recipient. Through several meetings with our counterparts at the Chrysler Museum of Art, however, we were able to arrive at an excellent choice. Sarah Gilbert is not the first person to use dental alginate to create molds based on the human body, but she has refined the process to capture extremely fine detail. What sets her work apart are her ideas of how to apply this technique to a community-based collaborative performance project that directly involves the public and engages them both on a visceral and intellectual level. We look forward to the playful and exuberant results from Gilbert’s marriage of highly developed technical skills and challenging theoretical framework that references Russian philosopher Mikhail Bakhtin’s notions of grotesque realism as a celebration of the life cycle and an investigation into the social fabric.”
“Everyone at the Glass Studio is thrilled to be part of this amazing partnership for emerging and innovative artists,” said Charlotte Potter, Glass Studio manager. “The end result will be a patchwork of our community that is sculptural and transformative.”
Gilbert will work at the Glass Studio during the two-week residency and give a public lecture or performance. An updated website (4frontresidency.org) and a 45-minute documentary film will be produced about the project and the residency. The public is invited to participate and watch the artist work during the residency. Admission is free, and details and times for public viewing will be available at chrysler.org.
Gilbert is an artist and educator based in Portland, Oregon. She is currently visiting assistant professor of art at Reed College, as well as adjunct faculty in applied craft and design, a master of fine arts program offered jointly between Oregon College of Art and Craft and Pacific Northwest College of Art. She is a graduate of Brown University and the Rhode Island School of Design. Her work spans a wide range of materials and processes, including glassblowing, new media, casting, film, photography, and embroidery. Recent exhibitions include After Image at Reed College (Portland), Equations for a Falling Body at Hunter College (New York), Imagined Communities at Gallery Project (Ann Arbor) and Memory Upgrade at the Center on Contemporary Art (Seattle). The artist’s website, sarahgilbert.net, features images and details about her recent work.
The Robert M. Minkoff Foundation (rmmfoundation.org), a 501(c) (3) organization, is focused on furthering the use of glass in the field of contemporary art and advancing technical knowledge about glass art process. The foundation invests not only in residencies and educational projects, but in disseminating important new developments. For more information on the 4Front Residency, see 4frontresidency.org.
Symposium
Line-up of distinguished speakers announced for the December 2013 Robert M. Minkoff Foundation Academic Symposium at UrbanGlass
On December 6th and 7th, a unique academic symposium will bring the world of glass pedagogy to Brooklyn, New York, for a two-day discussion of the most pressing issues in the field. The event was conceived of during a conversation between Robert M. MInkoff Foundation director, Andrew Page, and sculptor Daniel Clayman, about the need for a focused event to discuss the issues facing glass professors at universities, as well as instructors and administrators at non-accredited programs. UrbanGlass supported the idea and offered its newly renovated facility to host the two-day event.
A review panel made up of Jack Wax, of the Craft/Material Studies Dept at The Virginia Commonwealth University School of the Arts; Ruth King, artistic director emeritus of Pilchuck; Robert Minkoff, managing trustee of the Robert M. Minkoff Foundation; Dan Clayman, sculptor and symposium co-initiator; and Andrew Page, foundation director considered the many responses to a Call for Papers.
The resulting program features many of the new guard of glass academics such as Helen Lee at the University of Wisconsin, Madison, or Alexander Rosenberg at the University of the Arts in Philadelphia. Established department heads such as Jack Wax at VCU, Peter Houk at MIT's GlassLab, or Michael Rogers at the Rochester Institute of Technology will provide insights gleaned from years of experience in academia. But the presentations will also bring in the perspective of non-degree-granting program heads. Listen in as James Baker of Pilchuck, Leslie Walker Noell of Penland, and Jane Bruce of UrbanGlass discuss how their programs relate to the university curricula. The speakers span the U.S., Canada, as well as Europe and Australia, with presenters such as Jens Pfeifer, head of the glass program at the Gerrit Rietveld in Amsterdam, or Richard Whitely, Head of the Glass Workshop at the School of Art, Australian National University.
The full line-up of speakers for this high-level academic symposium to discuss "Issues in Glass Pedagogy" is now available for review at www.urbanglass.org/symposium. A bonus pre-conference Thursday-evening tour of Chelsea galleries (including the new Heller Gallery location) will kick off the event in style on December 5th, winding up with a cocktail reception in the downtown loft of a prominent Manhattan art collector (sponsored by the Glass Art Society).
Lecture presentations will get underway on Friday, December 6th, with a keynote by Jack Wax, professor at Virginia Commonwealth University, who will talk about how glass departments can redefine and reposition themselves in university art curricula.
Click on the link below to register now, and you will also receive information on booking your hotel at a special negotiated rate. Rooms at the special rates are going quickly so register early!
Get more information
Register Now!
A review panel made up of Jack Wax, of the Craft/Material Studies Dept at The Virginia Commonwealth University School of the Arts; Ruth King, artistic director emeritus of Pilchuck; Robert Minkoff, managing trustee of the Robert M. Minkoff Foundation; Dan Clayman, sculptor and symposium co-initiator; and Andrew Page, foundation director considered the many responses to a Call for Papers.
The resulting program features many of the new guard of glass academics such as Helen Lee at the University of Wisconsin, Madison, or Alexander Rosenberg at the University of the Arts in Philadelphia. Established department heads such as Jack Wax at VCU, Peter Houk at MIT's GlassLab, or Michael Rogers at the Rochester Institute of Technology will provide insights gleaned from years of experience in academia. But the presentations will also bring in the perspective of non-degree-granting program heads. Listen in as James Baker of Pilchuck, Leslie Walker Noell of Penland, and Jane Bruce of UrbanGlass discuss how their programs relate to the university curricula. The speakers span the U.S., Canada, as well as Europe and Australia, with presenters such as Jens Pfeifer, head of the glass program at the Gerrit Rietveld in Amsterdam, or Richard Whitely, Head of the Glass Workshop at the School of Art, Australian National University.
The full line-up of speakers for this high-level academic symposium to discuss "Issues in Glass Pedagogy" is now available for review at www.urbanglass.org/symposium. A bonus pre-conference Thursday-evening tour of Chelsea galleries (including the new Heller Gallery location) will kick off the event in style on December 5th, winding up with a cocktail reception in the downtown loft of a prominent Manhattan art collector (sponsored by the Glass Art Society).
Lecture presentations will get underway on Friday, December 6th, with a keynote by Jack Wax, professor at Virginia Commonwealth University, who will talk about how glass departments can redefine and reposition themselves in university art curricula.
Click on the link below to register now, and you will also receive information on booking your hotel at a special negotiated rate. Rooms at the special rates are going quickly so register early!
Get more information
Register Now!
Documentary
The story behind the art book Beauty Beyond Nature: The Glass Art of Paul Stankard published by the Robert M. Minkoff Foundation
For more information about completed Robert M. Minkoff Foundation projects, please see
the Projects section of our Website.
the Projects section of our Website.
Mailing Address:
The Robert M. Minkoff Foundation, Ltd
11018 South Glen Road
Potomac, Maryland 20854
The Robert M. Minkoff Foundation, Ltd
11018 South Glen Road
Potomac, Maryland 20854
