Spring & Summer 2011 Studio Catalog by Corning Museum of Glass

SPRING/SUMMERâ&#x20AC;&#x2C6;2011

Studio

The

the corning museum of glass

This year marks the 15th anniversary of The Studio, as well as the 60th anniversary of The Corning Museum of Glass. To celebrate, we are offering a variety of classes and workshops for new and experienced glassworkers, as well as some special new workshops. Davide Salvadore, master glassblower, will teach a special glassblowing workshop leading up to Corning’s GlassFest event, celebrating the Crystal City’s glass heritage. We are offering several other classes during GlassFest, as well as special Make Your Own Glass experiences. We also are offering a new session just for teens, taking place August 8 –12. In the spring, choose from 10-week, weekend, and one-day classes. During the summer, we offer one- and two-week intensives to delve deeper into techniques. The Studio’s world-class facilities put all the tools and materials you will need close at hand, and our small class sizes allow the instructors to offer personalized attention. Our talented instructors from all over the world are here to help you surpass your expectations. Enhance your hands-on experience with research in the Museum’s Rakow Research Library and exploration of the Museum’s collection of glass (the world’s largest). As you create objects of beauty and interest, you can study the Museum’s permanent collection and changing exhibitions to see a wide range of approaches and aesthetics.

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Special exhibitions this year will include a focus show on Toots Zynsky’s work, an exhibition exploring Eastern and Western cross-cultural influences in glassmaking in the 18th and 19th centuries, and a show featuring Mt. Washington and Pairpoint glass. Let us help you develop your passion for glass. Join us at The Studio this spring or summer…or both!

Amy Schwartz Director The Studio

William Gudenrath Resident Adviser The Studio

David Whitehouse Executive Director The Corning Museum of Glass

The Studio of The Corning Museum of Glass • One Museum Way • Corning, NY 14830-2253 Phone 607.974.6467 • Fax 607.974.6370 • E-mail thestudio@cmog.org

T h e S t u d i o o f T h e C o r n i n g M u s e u m o f G l a ss

S p r i n g / s u mm e r 2 0 1 1 P r o g r a ms

T A B LE OF C ON T EN T S

Spring Programs 2011

Ten-Week Sessions 2

Weekend Workshops 3

One-Day Workshops 8

Instructor Biographies 10

Registration Information 11

GlassFest Workshops 12 1

Summer Programs 2011

Intensive Classes 14

Registration Information 45

Additional Information

Hot Glass For Teens 47

Other Experiences 47

Student and Artist Resources 48

Residency Programs 50

Travel Information 51

The Studioâ&#x20AC;&#x2122;s Scholarship Funds 52

Application 53

SPRING

Spring 2011 prograMS Ten-week SeSSionS These 10-week courses allow students of all levels to explore glassmaking. Classes meet once each week for three hours. Each class begins the week of March 6 and ends the week of May 8. Tuition is $440 for the entire 10 weeks, which covers basic supplies for the class. Registration is on a ﬁrst-come, ﬁrst-served basis, as class sizes are limited. Full payment must be received before February 14 to ensure a spot in the class. See page 11 for registration information.

GLASSBLOwING BEGINNING GLASSBLOwING Mondays, 7:00 p.m.–10:00 p.m. Instructor: Allison Duncan Tuesdays, 7:00 p.m.–10:00 p.m. Instructor: Chrissy Lapham

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Intended for beginners, this course will emphasize learning the basic skills necessary to complete simple blown vessels. Class time will be divided between demonstrations and supervised work time, with individual attention for each student. no glassworking experience is required.

INtROdUctION tO cANE wORkING wednesdays, 7:00 p.m.–10:00 p.m. Instructor: Jeremy Unterman This course will introduce students to the processes of making and incorporating a variety of glass cane styles. Students will begin by creating the simplest single-color core cane, known as filigrana. More complex cane styles also will be explored. The canes created will then be used to create a variety of solid and blown forms. Students are encouraged, but not required, to bring drawings to class. Some glassblowing experience is required.

fLAMEwORkING BEGINNING fLAMEwORkING Mondays, 7:00 p.m.–10:00 p.m. Instructor: Jim Byrnes Through demonstration and hands-on practice, students will develop a strong foundation for many aspects of flameworking borosilicate glass: working properties of the material, color usage, the techniques used in creating solid sculpture and hollow work, and how to construct objects. no glassworking experience is required.

BEAdMAkING & JEwELRy dESIGN wednesdays, 7:00 p.m.–10:00 p.m. Instructor: Linda McCollumn Students will develop a foundation for creating flameworked beads using Moretti soft glass. They will learn to shape beads with confidence and consistency, and explore jewelry design, material usage (including advanced techniques), and color blending. Students should bring notebooks to class. no glassworking experience is required.

Weekend workshops, held Saturdays and Sundays from 10:00 a.m. to 4:00 p.m., offer students the opportunity to study glassworking without making a long-term commitment. Tuition for each weekend workshop is $220. See page 11 for registration information.

SPRING

weekend workShopS

Participants in need of accommodations may contact the nearby Days Inn of Corning at 607.936.9370. Please identify yourself as a student at The Studio. all hot-glass work requires overnight cooling in an annealer. work created on Sunday may be picked up Monday or shipped at an additional fee.

f L At G L A S S f U N c t I O N A L f U S I N G Tuesdays, 7:00 p.m.–10:00 p.m. Instructor: Janet Dalecki Students will learn how to cut flat glass, arrange the pieces into platters, and apply fusing techniques to create functional dishes and other pieces of fused dinnerware. Students will fuse their own designs into various shaped molds. no glassworking experience is required.

GLASSBLOwING BEGINNING GLASSBLOwING March 5 – 6 March 12 – 13 March 19 – 20 april 2 – 3 april 16 – 17

Chrissy Lapham Jeremy Unterman Janet Dalecki Aaron Jack Quinn Doyle

Students will learn the basics of blowing and manipulating glass. They will then create simple glass objects, such as colorful paperweights, flowers, free-form sculptures, and vessels. no glassworking experience is required.

SPRING

weekend workshops Cont'd paper w eig h t s a t t h e f urna c e March 26 – 27 Instructor: Lyman Babbitt Students will learn to make paperweights that contain a broad variety of colorful and interesting glass inclusions. These inclusions will be encased in crystal, then formed into classic paperweight shapes. No glassworking experience is required. N E X T S T E P S I N GLASSBLOWING April 9 – 10 Instructor: Rob Scavuzzo May 14 – 15 Instructor: Aaron Jack

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Students who have completed a beginning glassblowing workshop are invited to build on their basic skills. Using both colorless and colored glass, they will create objects such as cups, vessels, and sculptures. Basic glassblowing experience is required. I n t ro d u c t ion t o G oble t c ons t ru c t ion April 30 – May 1 Instructor: Jeremy Unterman This furnace glassblowing workshop will focus on the many ways of creating a goblet using hot glass. Students will begin by making clear goblets with simple stems pulled from the bubble, which will then have a solid or blown foot attached. More complicated techniques also will be introduced as the course progresses. Some glassblowing experience is required.

F L ame w or k ing B ea d basi c s : in t ro d u c t ion t o F L A M E W O R K E D B E A D S March 5 – 6 Instructor: Caitlin Hyde April 9 – 10 Instructor: Jen Zitkov Students will learn the basics of forming round beads, then move on to shaping and surface decoration. This workshop will concentrate on developing a high level of competence in basic beadmaking and on providing solid technical groundwork for further development. No glassworking experience is required. B E G I N N I N G F L A M E W O R K I N G March 12 – 13 Instructor: Jim Byrnes Students will develop a strong foundation for many aspects of flameworking borosilicate glass. Through demonstration and ample hands-on practice, students can expect to achieve a strong understanding of techniques used in creating solid sculpture, and will receive an introduction to hollow work. Color usage will be covered. No glassworking experience is required.

March 19 – 20 Instructors: Quinn Doyle Students will learn to create glass marbles using borosilicate glass at the torch. Color stringers, rods, and frits will be used to create surface designs on marbles, as well as marbles with optic depth. No glassworking experience is required.

borosili c a t e A nimal f igures April 16 – 17 Instructor: Bob Carson

Flame w or k e d animal bea d s

Students will build on their flameworking techniques and focus on sculptural precision to develop animal figures using borosilicate glass. Class demonstrations will include horses, elephants, deer, cats, and other animals the class requests. Flameworking experience is required.

March 26 – 27 Instructor: Elijah Schwartz

M ore t h an one w a y t o ma k e a goble t

This class will build on basic beadmaking techniques and focus on sculptural precision and proper heating. With demonstration options that include fish, turtles, swans, dogs, bunnies, and dragons—there’s something for everyone! Some flameworking experience is preferred, but not required. N ex t s t eps in F L A M E W O R King April 2 – 3 Instructor: Jim Byrnes Students who have taken Beginning Flameworking, or have some flameworking experience, will build upon that foundation. Through demonstration and ample hands-on practice, students can expect to achieve a strong understanding of the working properties of borosilicate glass, focus more on hollow work, and learn how to construct objects in glass using sound methods. Some flameworking experience is required.

SPRING

marble ma k ing

April 30 – May 1 Instructor: Jim Byrnes Starting small and simple, students will learn the techniques and processes of making stemware. Class demonstrations will include how to make a simple wine glass using no tools, and how to assemble more elaborate goblets with lids and sculpted stems. Some flameworking experience working with tubing is required. I n t ro d u c t ion t o f lame w or k ing : bea d s an d marbles May 14 –15 Instructor: Josh Powers Students will develop a strong foundation for many aspects of flameworking soda lime and borosilicate glass. Through demonstration and hands-on practice, students can expect to achieve a strong understanding of techniques used in creating solid sculpture such as beads, pendants, marbles, and small sculpture. Color usage will be included. No glassworking experience is required.

SPRING

weekend workshops Cont'd

K I L N - B A S E D glass

P ain t ing on glass

beginning f using

March 26 – 27 Instructor: Denise Stillwaggon Leone

March 5 – 6 Instructor: Glady West Students will learn how to cut flat glass, arrange it into patterns, and fuse the completed pieces in a kiln. Both flat plates and trays will be created with colorful enamel powders. No glassworking experience is required.

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This workshop will explore the fundamentals of vitreous painting and silver staining of glass. Students will begin with monotone painting on colorless glass — using methods of tracing, matting, and blending — and will continue with the development of tone. No glassworking experience is required.

Fla t glass t e c h ni q ues

P re c ious me t al c la y an d glass *

March 12 – 13 Instructor: Tony Serviente

April 2 – 3 Instructors: Ed and Martha Biggar

This is the perfect workshop for those who want to make a personalized glass gift and spend an enriching weekend exploring various glassworking techniques. Students will create a box, mirror, window hanging, lamp, vessel or piece of wall art using stained glass, etching, and kiln forming. No glassworking experience is required; advanced students also are welcome.

Students with or without glassmaking experience will learn to combine glass with Precious Metal Clay (PMC), a material that works like porcelain but fires in a kiln, resulting in a piece of fine silver. In this workshop, PMC and glass will be used to create wearable art. No experience is required.

N ex t s t eps in f using

P re c ious me t al c la y an d glass using c opper an d bron z e *

March 19 – 20 Instructor: Glady West

April 9 – 10 Instructors: Ed and Martha Biggar

Students who have taken Beginning Fusing, or have basic cutting and fusing skills, are invited to learn more advanced decorative techniques. Hot pieces will be slumped or draped into shape using molds. Basic cutting and fusing experience is required.

Students will learn basic techniques of fusing glass and incorporating silver metal clay around glass for finished pendants and earrings. Additionally, students will be introduced to the new copper and bronze metal clays. Some experience working with PMC and glass is preferred, but not required. * Due to the cost of materials, an additional fee of $75 will be charged for PMC classes.

april 16 – 17 Instructor: Tony Serviente This workshop offers a spontaneous and playful way to become acquainted with stained glass. Students will learn basic techniques (cutting and shaping glass, foil wrapping the pieces, and soldering them together) and complete a small window. no glassworking experience is required. accompanied by parents, children over the age of 12 are welcome. (please note that parents must contact the instructor before they register children for the workshop. The Studio will provide contact information.)

PRActIcE OPPORtUNItIES The Studio will remain open (by request) after class on Saturdays so that students in glassblowing and flameworking workshops may rent practice time at reduced rates. Please contact us for details.

SPRING

B E G I N N I N G S t A I N E d G L A S S

f U S E d J E w E L R y april 30 – May 1 Instructor: Gayla Lee Students will learn to fuse glass on a small scale to create jewelry. A variety of techniques for designing and finishing pieces will be covered. This class will focus on each individual’s development of a solid foundation in glass fusing and the realization of the student’s ideas in glass. no glassworking experience is required. PhOtOSANdBLAStING GLASS May 14 – 15 Instructor: Denise Stillwaggon Leone Halftones and black-and-white images will be used in this workshop, which will explore the fundamentals of photosandblasting on glass. Stencils will be created and used as resists in sandblasting projects. Students should bring halftone positives or highcontrast black-and-white images to class. no glassworking experience is required.

SPRING

o n e - d ay w o r k s h o p s One-day workshops are fun for the entire family! No glassworking experience is required, but participants must be at least 10 years of age for beadmaking and 14 for furnace working. Parents are encouraged to register with their children. The classes will meet from 10:00 a.m. to 4:00 p.m., with one-hour lunch breaks on your own. Tuition for each workshop is $110, which covers basic supplies for the class. See page 11 for registration information. All hot-glass work requires overnight cooling in an annealer. Pieces may be picked up the following day or shipped for an additional fee. B eginning glassblo w ing April 23 Instructor: Aaron Jack

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Students will learn the basics of blowing and manipulating glass. They will then create simple glass objects, such as colorful paperweights, flowers, and blown ornaments. No glassworking experience is required. B ea d ma k ing April 23 Instructor: Allison Duncan Enjoy the art of creating colorful glass mandrel-wrapped beads at the torch. The class will cover basic shaping and decorating techniques using rods, stringers, and various hand tools. No glassworking experience is required.

f using April 23 Instructor: Janet Dalecki Students will learn how to cut flat glass, arrange it into patterns, and fuse the completed pieces in a kiln. Both flat plates and trays will be created with colorful enamel powders. No glassworking experience is required. paper w eig h t sâ&#x20AC;&#x2C6; a t t h e f urna c e May 7 Instructor: Lyman Babbitt Learn to make paperweights that contain a broad variety of colorful and interesting glass inclusions. These inclusions will be encased in crystal and then formed into classic paperweight shapes. No glassworking experience is required. marble ma k ing May 7 Instructor: Quinn Doyle Create glass marbles using primarily borosilicate glass at the torch. Color application and design will be addressed. No glassworking experience is required.

May 7 Instructor: Janet Dalecki Students will learn to cut flat glass and assemble the pieces into imagery or patterns on a prepared substrate. Students will have time to complete a project and learn about the grouting and finishing process. no glassworking experience is required. B E G I N N I N G G L A S S B L O w I N G May 8 Instructor: Aaron Jack

f A S t A N d f U N : A L I V E Ly I N t R O d U c t I O N t O S t A I N E d G L A S S A N d E t c h I N G

SPRING

M O S A I c S

May 8 Instructor: Tony Serviente Learn the basics of two glass techniques while building a decorative mirror or a small stained glass window, and have a great time in the process. While the pace will be brisk, there will be ample opportunity for one-on-one assistance and guidance. no glassworking experience is required.

Students will learn the basics of blowing and manipulating glass. They then will create simple glass objects, such as colorful paperweights, flowers, and blown ornaments. no glassworking experience is required. M O t h E R ' S d Ay t E A A N d B R E A d May 8 Instructor: Becky Congdon Students will learn how to make floral beads and pendants using Moretti glass. Techniques such as encasing, stringer control, and placement will be demonstrated. Enjoy a cup of tea and/or cupcake during breaks to celebrate Mother’s Day and the arrival of spring. Some flameworking experience is preferred, but not required.

SPRING

IN S T RU C T OR S Lyman Babbitt discovered glassblowing as an art student at Alfred University, graduating with a B.F.A., with concentrations in glass and neon. He primarily works in the Make Your Own Glass workshop at The Studio, and continues to perfect his craft. Ed and Martha Biggar have more than 40 years of glass working experience and more than 13 years working with metal clay. Ms. Biggar is certified by both the PMC Guild and PMC Connection, and is a juried member of the Southern Highland Craft Guild and the Artisan Center of Virginia. Mr. Biggar has created illuminated neon mixed-media works since the early 1990s. Jim Byrnes spent 30 years as a scientific glassblower while making decorative items on the side. He is now devoted full time to teaching his craft and selling his decorative work at quality craft retailers across the United States.

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Chrissy Lapham creates mixed-media sculpture using glass, wood, and other materials. Since receiving a B.F.A. from Alfred University in 2005, she has taught glassblow ing at The Studio. Gayla Lee has been working in glass for eight years. She is a frequent visitor to The Studio, as a student, an instructor, and a resident artist. She currently works at a glassblowing studio in Baltimore. Linda McCollumn has worked with glass for 18 years, exploring many techniques including fusing, sandblasting, diamond-etched and kiln-fired enamels, stained glass, and Precious Metal Clay. Josh Powers has been flameworking glass for several years. He has worked as a flameworker for The Studio and currently owns World Glass, a glass supply shop in Corning, NY.

Bob Carson began his flameworking career in 1988 as an apprentice making scientific laboratory ware. In 1990, he opened Carson's Custom Glass, and began working as a demonstrator at The Corning Museum of Glass.

Robert Scavuzzo graduated from Alfred University with a B.F.A. He received a Wheaton Fellowship in 1999 and has exhibited with the American Craft Council since 1998.

Becky Congdon has been working in flameworked glass since 1997, when she took a weekend workshop at The Studio. Today, she teaches and works full time at The Studio, as well as in her own studio.

Elijah Schwartz is from a family of glassblowers and artisans. He has displayed and published his work since he was 15, and has mastered a variety of techniques during the past 20 years.

Janet Dalecki was first introduced to art glass in 1989 through her family’s glass business. She received a B.F.A. from Alfred University in 2002 and has worked in many privately owned glass studios.

Tony Serviente has been working with glass for more than 20 years. He maintains a studio in Ithaca, NY, where he teaches, makes stained glass panels and lamps, and markets a line of giftware nationally.

Quinn Doyle has been working with glass since 2004, when she began taking classes in Philadelphia at a public-access glassblowing studio. Ms. Doyle is currently a member of the technical team at The Studio.

Denise Stillwaggon Leone began working with glass in 1970 as a student at the School of the Museum of Fine Arts, Boston. She has completed many commissions, and her work has been shown nationally.

Allison Duncan received a B.F.A. in glass and a B.A. in art history from Southern Illinois University Carbondale. She is currently the team leader for the Fun with Glass program at The Studio.

Jeremy Unterman began working with glass in 1999. He received a B.F.A. in 2003 from the Tyler School of Art, and is currently a member of the technical team at The Studio.

Caitlin Hyde has been working with glass and mixedmedia sculpture and jewelry since 1996. She teaches flameworking and beadmaking workshops across the United States and demonstrates at the Museum. Aaron Jack specialized in glass at Bowling Green State University. He has worked for the Museum’s Hot Glass Show and as a master glassblower for Steuben Glass.

Glady West is a graduate of SUNY at Alfred and Tusculum College. She has worked with glass since 1982, and enjoys the challenges of combining flat, kiln-formed, and flameworked glass. Jen Zitkov is a graduate of Bowling Green State University, where she earned a B.F.A. in glass and jewelry. She works primarily at the torch.

R egis t ra t ion an d pa y men t Registrations are taken on a first-come, first-served basis. - - -

By phone: Call 607.974.6467 By fax: Send the application form on page 53 (with payment info) to 607.974.6730 At The Studio: Visit us during regular business hours (Monday – Friday, 9:00 a.m. – 5:00 p.m.)

We accept checks or money orders (payable to The Corning Museum of Glass), and Master Card, Visa, American Express, or Discover. No confirmation letter will be sent. Participants will be notified only if the requested workshop is full. Supporting, Patron, and Ennion Society Members of The Corning Museum of Glass receive a 10-percent discount on tuition. R E F U N D / C A N C E L L AT I O N poli c y A 50-percent refund will be given for cancellations made at least seven days before the start of class. No refund will be given after that time. If it is necessary for us to cancel a class for any reason, a full refund will be given.

S pring program s c h olars h ips

SPRING

sp r i n g 2 0 1 1 Progra m Re g i str ati o n i nfor m ation

The Christopher John Kammerer Memorial Scholarship Fund was founded by the family and friends of the late Christopher John Kammerer, who attended classes and rented space at The Studio in the 1990s. It supports promising young artists from the Northeast, and is available for courses that meet during the spring and fall sessions. To apply for these scholarship funds, please submit five digital images of recent work and an essay explaining why you wish to take a particular class. Include any appropriate information describing your financial need. You also may include one or two letters of recommendation. All scholarship applications will be reviewed by a committee. Applications should be sent to Christopher John Kammerer Memorial Scholarship Fund, The Studio of The Corning Museum of Glass, One Museum Way, Corning, NY 14830-2253.

SPRING

GlassFest Workshops We are pleased to present three special workshops this spring in conjunction with Corning’s second annual GlassFest event. This four-day celebration of the city’s rich glassmaking heritage features live artist demos, workshops, glass vendors, and other unique activities, May 26 – 28, 2011 (visit www.glassfest.org for more information). Our special workshops are available for registration on a first-come, first-served basis only. Please call 607.974.6467 to register.

T w o - D a y G l a ssF e st W o r k s h o p s Friday – Saturday, May 27 – 28, from 10:00 a.m. to 4:00 p.m. Tuition for each workshop is $220.

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G E O M E T R I C P A TT E R N S I N F U S E D G L A S S

R E L E A S E Y O U R I N N E R D R A G O N – S T U M P TH E I N S T R U CT O R

GAYLA LEE

BECKY CONGDON

Fusing

Flameworking

In this class, students will seek inspiration in traditional geometric patterns from different cultures to design and produce unique and personal fused art glass. No glassworking experience is required.

Students will practice intermediate to advanced soft glass techniques at the torch to make hollow beads, small soft sculptures, etc. Come prepared with ideas and questions. Some flameworking experience is required.

MAKE YOUR OWN GLASSFEST VASE May 26 – 30 Make a vase in one of our 40-minute Make Your Own Glass experiences, this weekend only! Visit www.cmog.org for details and to book your experience.

davide Salvadore

SPRING

SpeCial workShop wiTh

May 23 â&#x20AC;&#x201C; 28 from 9:00 a.m. to 4:00 p.m., with additional practice time in the evenings. Tuition for the workshop is $750. Master glassblower Davide Salvadore joins us for a week-long spring workshop. This workshop is based on a Muranese technique called tociar piere. It consists of putting a composition of canes, murrine, tesserae, etc., on an iron plate; fusing them together in the glory hole; then rolling the flat glass onto a blow pipe and working it into the desired shape or form. Students will learn how to create complex murrine and cane designs, and use techniques such as incalmo and rotations of the axis. Two years of glassworking experience are required.

new!

Master Class dVd: Working with Murrine with davide Salvadore Davide Salvadore is a Muranese maestro, descended from generations of glassworkers. He combines traditional Italian techniques and elements in innovative ways in his personal body of work. In this video, produced at The Studio, Salvadore, demonstrates his skill with cane and murrine techniques at the furnace, and discusses his artwork, his personal development as a glassworker in Murano, and his philosophies on glass. To order the DVD, please visit http://glassmarket.cmog.org.

SUMMER

S U M M E r 2 0 11 pROGRAM Immerse yourself in glass during an intensive course. We provide excellent instruction by top artists and proximity to the worldâ&#x20AC;&#x2122;s largest collection of glass.

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o n e

p r o g r a M S May 30–J une 4

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A P E R S O N A L I N t R O d U c t I O N t O M O Lt E N G L A S S

SUMMER

S u M M e r 2 0 1 1 S e S S i o n o n e

CARL SIGLIN Glassblowing Students will be introduced to basic glassworking techniques in order to develop solid skills. Personal and team dynamics will be emphasized. This fun, fast-paced class will introduce students to the equipment and workings of the hot shop. Students will explore the tools and techniques necessary to gather glass, sculpt flowers, shape paperweights, and create blown glass vessels. no glassworking experience is required.

cARL SIGLIN began blowing glass in 2003 as a technician at The Studio of The Corning Museum of Glass. In 2008, he joined the Museum’s Hot Glass Show team and has been blowing glass on Celebrity Cruises. He makes and sells his own line of production glass, and has taught beginning glassblowing classes for Carl Siglin, many years.

Goblets at Sea

SUMMER

S e S S i o n

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M a y 3 0 -- J u n e 4

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fLAMEwORkING f O R E V E R y B O d y: BEAd INtENSIVE

HEATHER TRIMLETT AND CAITLIN HYDE Flameworking Two artists known for unique styles, precise pattern work, and in-depth approaches to teaching will guide students in honing their technical skills and developing personal styles. Students will be led through image and concept development, composition, and the step-by-step process of inventing and fine-tuning individual design projects. The class will feature tips and tricks to manage the technical challenges of beadmaking. This intense workshop is perfect for brave beginners and bead artists who are ready to take the next step in their work. no glassworking experience is required.

607.974.6467 • www.cmog.org

Heather Trimlett, Untitled

hEAthER tRIMLEtt has been creating flameworked objects full time since 1992 in El Cajon, CA. She designs colorful and illustrious glass beads, marbles, buttons, and jewelry. Ms. Trimlett’s work has been featured in many beadmaking publications. She shows her work in numerous galleries across the United States and teaches classes in beadmaking, hollow vessel forming, marbles, and glass buttons.

cAItLIN hydE has been working with glass since 1996 and teaches flameworking and beadmaking workshops across the United States. Her glass and mixedmedia sculpture and jewelry make use of a Caitlin Hyde, broad range of design Fox Totem and technical skills, while reflecting an interest in historical and sociological themes.

f I N d I N G y O U R w Ay w I t h k I L N - c A S t G L A S S

cOLd cONStRUctION

SHEILA MAHUT

Cold Working

Kiln Casting

Using solid blocks of glass, students will experiment with aspects of advanced cold working: grinding, polishing, the use of horizontal mill wheels and vertical lathes, and cutting with stone and diamond to create constructions from glass. Students also will learn the HXTAL gluing process to join glass elements. no glassworking experience is required.

This class focuses on the fundamentals of kiln-cast glass, including grinding and polishing. Students will discover and use the inherent qualities of glass and find an intuitive connection to the material by making simple clay models for open-faced castings. They will then move on to more complex forms and mold-making techniques. A variety of mold compositions will be used and discussed. no glassmaking experience is required; advanced students also are welcome.

ShEILA MAhUt’s career spans 26 years, during which she has exhibited internationally, and successfully developed many series of blown and kiln-cast glass. She has taught at Sheridan College and Sir Sanford Fleming College, as well as at numerous workshops in North America. Sheila Mahut, Icarus and Daedalus

SUMMER

MARTIN ROSOL

Martin Rosol, Galactica

MARtIN ROSOL attended the School for Arts and Crafts in Prague and received further training in his native Czechoslovakia as a cold worker. He came to the United States in 1988 to further his career as a sculptor. He lives in Massachusetts, where he maintains a glass studio. His work has been exhibited throughout the United States and Europe.

SUMMER

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V E N E t I A N t E c h N I q U E S I N G L A S S P A I N t I N G LUCIA SANTINI Painting on Glass

The focus of this course will be the traditional Venetian techniques for painting enamels on glass. The class provides information on mixing and applying colors, as well as applying gold leaf. Technical and artistic aspects of glass painting will be covered, and plenty of time will be allowed for practice. no glassworking experience is required.

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LUcIA SANtINI was born in Murano to a family with a 600 year glassmaking history. She learned to paint on glass from her mother and grandmother, and began her career as a glassmaker in the workshops of Murano. She now lives in Venice, and enjoys collaborating with flameworker Lucio Bubacco, and with her brother, Emilio Santini. Lucia Santini, Untitled

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B L O w I N G A N d S c U L P t I N G I N S I d E t h E B U B B L E

SUMMER

S e S S i o n

MARTIN JANECKY Glassblowing and Hot Sculpting This class will focus on unique techniques and approaches to solid and blown sculpting, emphasizing the freedom to explore process, as well as the potential of the material. Students will learn bit work, and the use of various torches and the garage. Two years of glassblowing experience are required.

MARtIN JANEcky began his career with glass at the age of 13, and later explored sculpting methods in the Czech Republic. By the time he was 20, he was employed by leading artists and designers around the world to assist and execute specific works. Mr. Janecky has served as an instructor, visiting artist, and gaffer at several glassmaking schools, Martin Janecky, including The Studio, Jugglers Penland School of Crafts, and Pilchuck Glass School.

SUMMER

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J u n e 6 -- 1 7

f L A M E w O R k I N G c O c k t A I L

KARINA GUÉVIN AND CÉDRIC GINART Flameworking This class will provide beginners with a solid foundation in basic technical skills. Students will be introduced to various techniques using both soft (soda lime) and hard (borosilicate) glass. Working with colored rods and tubing, students will learn a wide variety of techniques, from beadmaking to glassblowing, and will learn how to add flair to these basic techniques with unusual twists. Students’ inherent creativity will be stimulated by individual projects designed to help them develop a personal language of color and shape. no glassworking experience is required. 607.974.6467 • www.cmog.org

Karina Guévin, Untitled

kARINA GUÉVIN fell in love with glass while studying at Québec University, where she started making mixed-media sculptures. She currently teaches flameworking at Espace Verre and Red Deer College in Alberta, and has received grants from several sources, including the Canadian Consul for the Art and La SODEC. She exhibits glass sculptures and jewelry in Canada, the United States, France, and the United Kingdom.

cÉdRIc GINARt, a native of France, has been working as a scientific glassblower for the past 15 years. He currently works at Montreal University as a scientific glassblower, and teaches artistic flameworking as a faculty member of Espace Verre. He also runs his own flameworkCédric Ginart, ing studio in Québec. Eyes Cream

w E L c O M E t O t h E L I M I t L E S S w O R L d : c O M B I N At I O N O f c O L O R A N d PAt t E R N

SUMMER

YOKO YAGI Kiln Forming In this course, students will make murrine. They will then fuse their murrine with others’ into one work. Students may make an object or two, but the emphasis will be on mastering the process and developing their own aesthetic. The instructor will demonstrate her processes for creating complex murrine pieces and will conduct discussions on a range of topics, including firing schedules, mold making, cold working, and more. Some sheet glass cutting experience is recommended. 21

Yoko Yagi, Rectangular Box III

yOkO yAGI has been working with glass for more than 25 years and has been using fused-glass techniques since 1991. Her intricate work is exhibited in major galleries in the United States and Japan, and is collected worldwide.

SUMMER

S e S S i o n

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J u n e 6 -- 1 7

w e e k S

G L A S S c A R V I N G , E N G R A V I N G , A N d c O L d c O N S t R U c t I O N JIRˇ Í HARCUBA AND MARTIN ROSOL Engraving and Cold Working This course will give students an understanding of how to engrave glass blocks and vessels with stone, diamond, silicon carbide, and copper wheels. Students will learn various cutting methods and investigate the optical effects of reflections in glass. They will explore all aspects of cold working: grinding, polishing, and the use of horizontal mill wheels and vertical lathes. Students will learn the HXTAL gluing process, and will try printing from engraved glass plates. Students also will tour the Museum for inspiration. no glassworking experience is required.

607.974.6467 • www.cmog.org

JIRˇ Í hARcUBA was born into a glassmaking family, and his admiration for the famous 19th-century Bohemian engraver Dominik Biemann led him to learn the craft. He studied glass and sculpture at the Academy of Applied Arts in Prague, where he was appointed director in 1990. His work is widely collected and Jirˇí Harcuba, represented in major Untitled museums worldwide.

MARtIN ROSOL attended the School for Arts and Crafts in Prague and received further training in his native Czechoslovakia as a cold worker. He came to the United States in 1988 to further his career as a sculptor. He lives in Massachusetts, where he maintains a glass Martin Rosol, studio. His work has Opus been exhibited throughout the United States and Europe.

o n e

T h r e e

June

2 0 -- 2 5

w e e k

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f R O M t h O U G h t t O O B J E c t

JANE BRUCE AND MOSHE BURSUKER Glassblowing Students will learn to take a thoughtful approach to the development and planning of ideas into finished objects. Some time will be spent in the Museum and Rakow Research Library, and through a working method involving drawing, hands-on work, group discussions, and individual attention, students will investigate personal strategies to expand upon previous work. Instructors may assist students in realizing the work. Come prepared to research, draw, discuss, and work with glass in new ways. one year of glassblowing experience is required.

23 MOShE BURSUkER received a B.F.A. in sculpture and photography at the University of Hartford, Hartford Art School. He has studied and taught classes at The Studio, Pilchuck Glass School, and Penland School of Crafts. Currently, Mr. Bursuker lives in New York, where he incorporates photography and glass in his sculptures and installations.

Photo by D. James Dee.

Jane Bruce, Small Black Vase, Bottle, Bowl

JANE BRUcE is an independent artist and educator living in New York. She has an M.A. degree from the Royal College of Art, London, and has studied at the New York State College of Ceramics at Alfred. She has taught extensively and internationally, and has received many visiting artist awards and fellowships. Her work can be found in prestigious museum collections worldwide.

Moshe Bursuker, Woods Casting

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f L A M E w O R k I N G U S I N G U L t I M A t E d E t A I L S LOREN STUMP Flameworking

Students will learn advanced murrine techniques, including color blending, design analysis, shaded components, and assembling and pulling cane to produce Franchini-style shaded faces. They will examine methods for creating human and animal sculptural forms, including cold assembly, hot sculpture, detail overlay, temperature control, tool use, tungsten holes, and the application of murrine. Each student will create a paperweight with an encased floral setup featuring blended colors, ribbed cane, and overlays. Some flameworking experience is required.

607.974.6467 • www.cmog.org

LOREN StUMP, a Sacramento, CA, native, began his career more than 35 years ago as a stained glass artist. He is now a self-taught flameworker, tool inventor, technique developer, and teacher, known for innovative techniques, such as the manipulation of two-dimensional murrine slices into three-dimensional form. Mr. Stump has taught, exhibited, demonstrated, and Loren Stump, lectured around the world.

Green Samurai

June

2 0 -- 2 5

SUMMER

t E c h N I q U E A N d V I S I O N IN kILNfORMEd GLASS: A M I X E d M A R R I A G E

MARTIN KREMER AND KARI MINNICK Fusing This class for experienced glass fusers will demonstrate the intersection of technique and design. The two master kilnformers teaching the class approach the medium from different directions: Ms. Minnick is known for her painterly, layered narrative style, while Mr. Kremer works more structurally to achieve his hard-edged designs. Students will explore new ways to express and achieve ideas in fused glass from design to completion. one year of glass-fusing experience is required.

Martin Kremer, Kanji

MARtIN kREMER has been working with glass for more than 30 years. His current work, which is featured in museums and galleries internationally, includes large sculptures and a wide range of glass bowls and platters. He has studied blown and fused glass at the Penland School of Crafts, UrbanGlass, and The Studio.

kARI MINNIck holds a degree in studio art from the University of California at Davis, and has been an exhibiting artist and educator for more than 25 years. Collected internationally, Ms. Minnick’s works are in private, corporate, and embassy collections. She is the owner of Kari Minnick Art Glass Studio, LLC, located in the heart of the arts and Photo by John Woo. Kari Minnick, entertainment district in Blue Apples Silver Spring, MD.

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t R I c k S A N d t E c h N I q U E S DAVID MCDERMOTT Glassblowing Students who enroll in this course will benefit from the instructor’s long career with glass. Traditional methods handed down from Swedish, English, Scottish, and Italian masters will be taught. Combining these styles, students will learn many tricks and interesting techniques that are considered integral to the glassblowing process. Two years of glassblowing experience are required.

607.974.6467 • www.cmog.org

David McDermott, Pink Goblet

2 7 -- J u l y 2

dAVId McdERMOtt has 38 years of glassworking experience, predominately working with lead glass. He has handcrafted custom glass for the Metropolitan Museum of Art in New York City, the Museum of Fine Arts in Boston, the film industry, and for many heads of state. For the last 10 years he has operated McDermott Glass Studio with his wife, Yukimi Matsumoto, in Sandwich, MA.

c O L O R , f O R M , A N d d E c O R A t I V E M O t I f S I N B O R O S I L I c A t E G L A S S SUELLEN FOWLER Flameworking This class will introduce students to John Burton’s “off-hand” flameworking, characterized by building successive layers of clear and colored glass on the end of a blowpipe, and forming the result into a finished vessel. Students also will experiment with solid sculptural techniques. They will learn how to hand-mix and pull borosilicate cane, and will explore new ideas and techniques for more effective use of commercially available borosilicate color rods. Some flameworking experience is helpful, but not required. SUELLEN fOwLER has blown and sculpted glass for more than 35 years. She is the foremost practitioner of “off-hand” flameworking and considers herself to be a colorist. She has devoted much time and energy to developing and refining various oxide formulas to color borosilicate glass. Photo by Ann Cady.

Suellen Fowler, Untitled

A N I N - D E P TH I N T R O D U CT I O N T O V E N E T I A N T E CH N I Q U E S

DEBORAH HORRELL

WILLIAM GUDENRATH

Kiln Working

Glassblowing

This course will explore the use of frit in the making of pâte de verre vessels. Students’ drawings will be translated into hollow vessels using the instructor’s pâte de verre methods, which include model-making, mold-making, glass-packing techniques, inlay techniques, firings, and kiln schedules. Students will gain inspiration and a working knowledge of pâte de verre, with written reference materials to aide them in their continued personal investigations. The class also will work sculpturally. No glassworking experience is required.

This course will provide a firm foundation in the basic movements of Venetian-style glassblowing. It will include the making of well-formed and thinly blown vessel bodies, excellent necks, delicate mereses, and blown feet and stems. When students have mastered these techniques, they will proceed to making canes and studying caneworking processes. Objects from The Corning Museum of Glass collection will be closely studied, initially to frustrate, and then to inspire students. One year of glassblowing experience is required.

SUMMER

TH E V E S S E L : F U N CT I O N A N D F A N CY

Photo by Paul Foster.

Deborah Horrell, Unfolding VII 2009

DEBORAH HORRELL is a sculptor with a ceramics background. Her transition to glass occurred as a result of residencies at Pilchuck Glass School and Bullseye Glass Company. She has since been consumed by the material and its endless potential. She currently lives in Portland, OR, where she is a studio artist who exhibits regularly. Her workshops have been enjoyed around the world at major glass schools and colleges, and her work is present in many collections.

William Gudenrath, Vibrant Plaid

WILLIAM GUDENRATH, resident adviser at The Studio, is a glassblower, scholar, lecturer, and teacher. An authority on historical hot glassworking techniques from ancient Egypt through the Renaissance, he has presented many lectures and demonstrations. Mr. Gudenrath also is the president of the Fellows of The Corning Museum of Glass.

SUMMER

S e S S i o n o n e

f i V e w e e k

A f O U N d A t I O N f O R t h E f U t U R E

J u ly

BOYD SUGIKI Glassblowing Students in this course will refine skills by focusing on basic forms such as the tumbler, cylinder, bottle, and bowl. Concentrating on these shapes will help students build a solid foundation for the future so that they can create their own unique pieces in glass. Students will collaborate as a class to stress the importance of working in teams. one year of glassblowing experience is required.

607.974.6467 • www.cmog.org

BOyd SUGIkI has a B.F.A. from the California College of Arts and Crafts and an M.F.A. from the Rhode Island School of Design. He has had solo shows at The Contemporary Museum in Honolulu and in the Museum of Northwest Art’s Benaroya Glass Gallery. His work is included in many collections, including the Photo by Michael Seidl. Boyd Sugiki, Honolulu Academy of Art, Balance the State Foundation on Culture and the Arts in Honolulu, the Museum of Northwest Art, and the Museum of Glass in Tacoma.

4 -- 9

SUMMER

MIcROMOSAIcS IN GLASS

CYNTHIA TOOPS AND DANIEL ADAMS Micromosaics The intricacy of 18th- and early 19th-century micromosaics have long fascinated collectors and jewelers alike. In this week-long class, students will adapt the traditional Roman and Venetian techniques to better suit contemporary glass beadmaking. Explore color mixing, pulling stringers of various profiles, making filati, and setting the mosaic into either a two-by-two-inch format or a jewelry piece. no glassworking experience is required.

cyNthIA tOOPS is a full-time artist and jeweler who has been working with polymer clay for more than 25 years. Her work has been exhibited in museums and numerous galleries around the United States and is widely published in books and magazines. She earned a B.F.A. Photo by Doug Yaple. Cynthia Toops and from the University of Daniel Adams, Washington and was Garlin a winner of the Artist Trust Fellowship for Craft in 2007.

dANIEL AdAMS has been making glass beads for 20 years and collaborates with his wife, Cynthia Toops, on jewelry. He has been covered in numerous publications, including Masters of Glass Beads by Lark Books. He has exhibited nationally and internationally, with work in private and museum collections.

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c O N t E M P O R A R y t E c h N I q U E S f O R A R c h I t E c t U R A L G L A S S RENE CULLER AND PHILIPPA BEVERIDGE Kiln Working and Mold Making

607.974.6467 • www.cmog.org

Students will learn a variety of oven-working techniques currently in use in international architectural glass: from fusing and slumping to more traditional silver stain. Basic mold making also will be introduced, and students will have the opportunity to create a final project using some or all of these techniques. Studio time will be complemented by slideshows of contemporary artists who use these techniques. Students will learn to create successful projects starting from initial design and presentation, through completion. no glassworking experience is required.

Photo by Lumina: Daniel Fox.

Rene Culler, Crossroads Revisited

RENE cULLER heads the glass department at the University of South Alabama in Mobile. Her work is in the permanent collections of The Corning Museum of Glass and the Luce Center of the Smithsonian Museum of American Art. Her architectural panels are installed in the Science and Technology Park of Forest City Enterprises near Chicago, the Cleveland Clinic, Robert Wood Johnson Hospital, and other locations throughout the United States. Culler is the author of Glass Art from the Kiln.

PhILIPPA BEVERIdGE holds an M.A. in architecture from the University of East London. Recent exhibitions include a solo show at the Musée du Verre, Sars-Poteries, France, and the MAVA, Madrid, both of which include her work in their permanent collections. She currently works from her Barcelona studio on Photo by Paul Louis. Philippa Beveridge, architectural commissions, From the things you installations, and sculpture can't remember... in glass. She has received several awards for her work and co-authored the book Warm Glass.

SUMMER

t h E A R t O f c A M E O E N G R AV I N G

HELEN MILLARD Cameo Engraving This course is an introduction to the art of cameo engraving. Drawing on nature as inspiration, and using predominantly sandblasting and flexible-drive diamond tool-engraving techniques, students will experiment with depth and subtle shades of color to reveal the three-dimensional beauty of cameo carving. no glassworking experience is required.

hELEN MILLARd is one of Britain’s finest contemporary cameo glass engravers. She is deeply influenced by historical glassmaking and engraving techniques, yet has developed her own style, using stunning color combinations to depict her love of nature, ranging from the delicacy of an insect wing to the power of a polar bear. Ms. Millard also produces Helen Millard, a range of tableware, from Hummingbird stemware glasses to large Secret Garden bowls, many of which have become collectors’ pieces.

SUMMER

S E S S ION ONE

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j u l y 1 1 -- 1 6

WEEK

F L O W E R M A R B L E S

NADINE SAYLOR

Flameworking

This course begins with an immersion in glassblowing drills and a review of the basic blown forms to boost students’ skills and build on their prior knowledge of glass. Working with bowls, cylinders, cones, and closed hollow forms, students will master the art of marvering glass and will explore the basics of color applications and surface patterning. Students also will work on sketching their original designs, whether functional or sculptural, which will act as the means to bring ideas to life in glass. One year of glassblowing experience is required.

607.974.6467 • www.cmog.org

C O N T I N U E TH E G L A S S B L O W I N G J O U R N E Y Glassblowing

NADINE SAYLOR earned an M.F.A from Alfred. Her awardwinning work has been shown in many major exhibitions, including the BIGG exhibition at the Urban Arts Space in Columbus, OH, and SOFA, Chicago. She teaches glassblowing and glass casting at Bowling Green State Nadine Saylor, University and has Foggy Morning in taught workshops at the Black Swamp The Studio, Penland School of Crafts, and the Pittsburgh Glass Center.

JOHN KOBUKI This class will explore the compression technique used to make flowers and other deeply encased designs. Students will transform solid rods of borosilicate into marbles and pendants. They will learn to do color overlays and tooling tricks for interesting layered petal and leaf designs. There will be a strong emphasis on heat and flame management, and students will learn why compression is the dynamic force in this technique. Basic flameworking experience is required.

John Kobuki, Untitled

JOHN KOBUKI has been working with glass since 1995. He is known for making marbles with the compression technique. Mr. Kobuki won first place at the Eugene Flame Off competition for marbles, and has been published in 100 Lampworkers and Glass Line Special Edition. He has demonstrated and exhibited in the United States and Japan, and teaches internationally.

TRANSFORMING I M A G I N A T I O N S I N T O K I L N - F O R M E D G L A S S

C O L D W O R K I N G : J E W E L R Y A N D S C U L P T U R A L F O R M S

Rudy Gritsch

Cold Working

Kiln Working Students will learn kiln-forming skills, information, and techniques through a variety of projects. They will use color in combination with clear glass to create bright glass pieces. Students will employ painterly and graphically expressive kiln-forming techniques to communicate personal themes. Exploring, expressing, and creating inner pictures, and realizing ideas in fused panels or kiln-formed objects, are the objectives of this course. One year of fusing experience is required.

SUMMER

DON FRIEDLICH By working on a modest scale, students will develop an understanding of sculpting and finishing glass in a range of forms. They will explore various surface finishes, engraving, and inventive approaches to both carving and patterning with a sandblaster. Forms can be finished as jewelry or serve as sculptural studies for larger work. No glassworking experience is required.

Rudy Gritsch, Light & Shadow – Crossing Wings

RUDY GRITSCH, who has worked with glass for 34 years, is head of the kiln-forming department at the Glasfachschule Kramsach in Austria, and also is an independent glass artist. He was formerly director of research and development at the Bullseye Glass Company, where he worked with many studios and artists.

Photo by James Beards.

Donald Friedlich, Aqua Series Brooch

DON FRIEDLICH is a leading figure in contemporary jewelry. He graduated from Rhode Island School of Design in 1982 and has served as president of the Society of North American Goldsmiths. His jewelry is in the permanent collections of the Victoria and Albert Museum, Smithsonian Institution, Museum of Fine Arts Boston, The Corning Museum of Glass, and others.

SUMMER

S e S S i o n

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7 J u ly

A N I N - d E P t h I N t R O d U c t I O N t O V E N E t I A N t E c h N I q U E S WILLIAM GUDENRATH Glassblowing

607.974.6467 • www.cmog.org

William Gudenrath, Historical Goblets

wILLIAM GUdENRAth, resident adviser at The Studio, is a glassblower, scholar, lecturer, and teacher. An authority on historical hot glassworking techniques from ancient Egypt through the Renaissance, he has presented many lectures and demonstrations. Mr. Gudenrath also is the president of the Fellows of The Corning Museum of Glass.

1 8 -- 2 9

SUSANNE JØKER JOHNSEN Glassblowing This class will provide an introduction to Scandinavian glassblowing and hot glass decorating in both contemporary and traditional contexts. Students will learn about the Scandinavian style and traditions of design and aesthetics in glass. With this and the blown form as a starting point, students will be encouraged to experiment and apply their energy to developing and realizing their individual projects. The course will focus on idea development and on specific qualities of glass, such as opacity/ transparency, optics, and form. one year of glassblowing experience is required

Photo by Pernill Jøker Johnsen.

Susanne Jøker Johnsen, Pollen

SUSANNE JØkER JOhNSEN is an artist and teacher. She lives in Copenhagen and has taught at the Glass and Ceramic School in Bornholm for many years, as well as at The Studio and Pilchuck Glass School. Ms. Johnson was trained at the Kosta School and has apprenticed with master glassblowers. Her work is in the permanent collections of Glasmuseet Ebeltoft, Museum of American Glass, and Museum of Glass Tacoma.

G L A S S M A k I N G A S A L A N G U A G E

SUMMER

S c A N d I N A V I A N S t y L E

GIANNI TOSO Flameworking This class will focus on developing each student's personal glass language by building a vocabulary of glass techniques. Students should come with their own designs/prototypes, images, ideas, questions, and the most recent inspirational book they have read. The class will cover bending, sculpting, and design. Two years of full-time or four years of part-time flameworking experience are required.

GIANNI tOSO is a Venetian maestro from a family with a seven-century tradition of glassworking in Murano. His constant experimentation and an M.F.A. in painting led him to transcend the traditional boundaries of Murano glassblowing and flameworking. He combines a unique artistic vision and mastery of the medium to Photo by Avraham Bank. Gianni Toso, create extraordinary works Carnevale in Venezia of art, which grace museums and private collections worldwide.

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KIMIAKE AND SHIN-ICHI HIGUCHI Kiln Working During this course, students will learn pâte de verre through the creation of lidded containers, exploring fine control of glass color and detailed mold making. Through demonstrations and discussions on basic coldworking, kiln schedules, and basic-tocomplex mold-making methods, students will leave the class with the ability to continue to develop their own work. This is a juried course. Please submit three digital images with your application.

607.974.6467 • www.cmog.org

36 KIMIAKE AND SHIN-ICHI HIGUCHI began exploring the technique of pâte de verre in 1987. They established many of their original techniques through several years of trial and error. Currently, their work can be seen in many museums and galleries, and is collected globally. The Higuchis have taught Kimiake Higuchi, workshops in many parts Beauty Comes of the world, including from Beauty Japan, France, Italy, Mexico, Taiwan, Spain, and the United States.

J ULY

1 8 -- 2 9

P A I N T I N G TH E V O I D : S A N D B L A S T I N G A N D V I T R E O U S P A I N T I N G DENISE STILLWAGGON LEONE Sandblasting and Painting This course will focus on image making. Students will create sandblasting stencils (including photoresists) and learn methods of stage blasting, carving, and shading. The end result will be a working knowledge of the development of light and shade in sandblasted images. Basic methods of vitreous painting on glass, including paint preparations, tracing and matting applications, and firing will be established. Students will combine the disciplines of sandblasting and painting in projects that explore the complexity of overlapping imagery. No glassworking experience is required. DENISE STILLWAGGON LEONE studied at the School of the Museum of Fine Arts, Boston. She designs and fabricates architectural art glass commissions, and is represented in institutions throughout the United States. She also creates internationally shown autonomous glass sculpture, and is widely published. She was an Artist-in-Residence at The Denise Stillwaggon Studio and her work is in Leone, the Museum’s collection. Passing Through

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M U L T I P L E G A TH E R S

B E G I N N I N G F L A M E W O R K I N G

GEORGE KENNARD

JIM BYRNES

Glassblowing

Flameworking

This class is ideal for those interested in creating larger scale work. Students will learn how to work with multiple gathers, with an emphasis on the mechanics of safely controlling larger amounts of glass, utilizing the bench, working with a torch, moving correctly, and team coordination. Students will work with color and use other techniques to create beautiful large vessels. One year of glassblowing experience is required.

This class will focus on the means more than the end. Through explanation and demonstration, students will be guided through numerous sequential exercises designed to target specific skills. As students become familiar with a few skills, they will begin combining them. The goal of the class is to equip students with an understanding of how glass behaves. No glassworking experience is required.

GEORGE KENNARD has taught many glassblowing classes at The Studio. He was one of its first Artists-in-Residence during the autumn of 1996. He is currently a demonstrator at the Museumâ&#x20AC;&#x2122;s Hot Glass Show. Mr. Kennard is known for his ability to make large glass vessels and glass lighting.

JIM BYRNES spent 30 years as a scientific glassblower while making decorative items on the side. He is now devoted full time to teaching his craft and selling his decorative work, which includes hanging ornaments and wine glasses. Mr. Byrnesâ&#x20AC;&#x2122; work is available at quality craft retailers throughout the United States.

Photo by Ann Cady.

George Kennard, Untitled

Jim Byrnes, Floral Goblet

SUMMER

S E S S ION

SUMMER

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F U S I N G W I TH R E CYC L E D F L O A T G L A S S

E X P L O R I N G G I L D I N G O N G L A S S

NIKKI O’NEILL

FRANCES FEDERER

Fusing

Gilding and Painting

Students will learn the techniques and nuances of working with recycled and new float glass— more commonly known as window glass. Topics include tin versus air sides, cutting thick glass and disks, safely exploding and working with tempered glass, tests for compatibility, devitrification, renewing scratched surfaces, adding surface and internal color, and appropriate firing schedules. Each student will have the opportunity to make finished, fused float glass pieces using a variety of methods. No glassworking experience is required.

In this course, students will learn traditional and contemporary methods of embellishing with precious leaf. Working on the surfaces of the glass, and exploring hot and cold gilding as well as engraving, students will explore the space between layers, creating echoes and reflections with a variety of precious leaf and paint. No glassworking experience is required.

607.974.6467 • www.cmog.org

Photo by Rhoda Baer.

Nikki O’Neill, Deep Vent

NIKKI O’NEILL has been working with glass for more than 25 years, and currently uses kiln-forming techniques to create sculptures and vessels from recycled glass. She enjoys exploring glass, a medium that combines science and nature. Ms. O’Neill has taught and exhibited her work throughout the United States. She works full time teaching her craft and creating glass art inspired by organic forms and habitats.

FRANCES FEDERER’s long career has included fine and graphic art, furniture gilding, and painting and gilding on glass. She receives commissions on diverse interior projects involving gilded glass, exhibits her decorated glass, and teaches widely. She recently completed a Master of Philosophy from London’s Royal College of Art. Her work is included in Frances Federer, the permanent collections Detail of ‘a-e’ of the Victoria and Albert Museum and The Corning Museum of Glass. She lives and works in London.

T WO

NINE

WEEK S

F O R M & T E CH N I Q U E S KENNY PIEPER Glassblowing This class will focus on traditional and not-so-traditional techniques for making vessels and goblets, and whatever else interests students. There will be daily demonstrations, and discussions will center on form, color, filigrana, and technical issues. A solid basis in off-hand blowing and one year of glassblowing experience is required.

KENNY PIEPER exhibits nationally and internationally. He is the former coordinator of Penland School of Crafts. His work is in many private collections as well as The Corning Museum of Glass, New Orleans Museum of Art, Hickory Museum, and Asheville Art Museum. He received a B.F.A. from California College of Art Photo by David Ramsey. Kenny Pieper, and Design and currently Detail of a resides in North Carolina. Satin Blue Goblet

AUGU S T

1 5 -- 2 6

F L A M E W O R K I N G F O R E V E R Y O N E

SUMMER

S E S S ION

EMILIO SANTINI Flameworking Realizing personal creativity through torch work will be the focal point of this course. Students will be introduced to various sculpting and glassblowing techniques using both borosilicate and soft glass. They will use colored rods and tubing to create objects such as blown beads, ornaments, goblets, and human figures. Venetian techniques for making figures with soft glass also will be demonstrated. No glassworking experience is required; advanced students also are welcome.

EMILIO SANTINI, originally from Murano, resides with his family in Williamsburg, VA, where he works glass full time in his studio. He also is a faculty member of the Virginia Commonwealth University glass department. His work is featured in private and museum collections around the world and Emilio Santini, he has extensive teachFertility Goblet ing experience.

SUMMER

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n i n e

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C o n t ’ d

w e e k S

M O S A I c G L A S S

auguST

1 5 -- 2 6

JOSH SIMPSON AND GABRIELE KÜSTNER Hot Glassworking and Cold Working Students will begin by pulling their own canes, fusing glass mosaic plate and bowl forms, and doing pick-ups in the hot shop. Students will then integrate typical Venetianstyle surface treatments, such as battuto, incisi, and velato, with work made during the first week. Cold-working equipment, including diamond and stone wheels, horizontal flat mills, belt sanders, and sandblasters will be used. Some hot glassworking experience is required. please come prepared with designs for canes and forms.

607.974.6467 • www.cmog.org

40 GABRIELE kÜStNER is internationally renowned for her creative glass-fusing techniques. In 1998, she won the German State Prize in glass for the innovation and beauty of her work, which generally takes the form of shallow, broad-rimmed bowls. She has won the Award of Excellence five times at the Annual International Glass Invitational.

Josh Simpson, Saturn

JOSh SIMPSON first experimented with glass in 1970 as a student at Hamilton College in Clinton, NY. He is perhaps best known for his glass planets: beautiful spheres encasing miniature worlds. His works are represented in many museums, including the White House Collection of American Crafts and The Corning Museum of Glass. He has exhibited and taught at schools, museums, and workshops around the world.

Gabriele Küstner, Untitled

o n e

T e n

a u g u S T 2 9 -- S e p T e M B e r

w e e k

f R O M t h E S k E t c h B O O k t O t h E B L O w P I P E

S y S t E M S M A d E t R A N S P A R E N t

BENJAMIN COBB

CHRISTOPHER MCELROY

Glassblowing

Flameworking

Students will learn problem solving and technical proficiency, which will enable them to create anything they can draw. This class will focus on making an object from beginning to end, then doing it again, but better. Teamwork and communication will be very important, as well as daily discussion of the previous day’s work. Bring a sketchbook and your imagination! at least two years of glassblowing experience are required.

This course will focus on building labyrinthine systems with borosilicate tubing on the torch. Students will draw inspiration from such diverse sources as vascular systems, radiant heating and cooling systems, distillation systems, and river systems. Demonstrations will include all manner of hollow seals, flame annealing, multiples, complex construction strategies, adhesive bonding, and integrating pumps. no glassworking experience is required.

SUMMER

S e S S i o n

41 BENJAMIN cOBB started working with glass in his hometown of Newport, RI. He earned a B.F.A. from the School for American Crafts at the Rochester Institute of Technology, and has worked at multiple studios in the San Francisco Bay Area, Seattle, and Tacoma, WA. He is a designer and the lead glassblower in the hot glass studio of the Museum of Photo by Jeff Curtis. Benjamin Cobb, Glass in Tacoma. His work Cytokinesis is represented by Vetri International and the William Traver Gallery in Seattle.

Christopher McElroy, Cultural Equation

chRIStOPhER McELROy received his B.F.A. from Virginia Commonwealth University. He has exhibited extensively in the United States, and has taught flameworking workshops at Red Deer College, Kyoto University of Art and Design, the Penland School of Crafts, and the Bezalel Academy of Art and Design. He is an M.F.A. candidate at the University of Washington.

SUMMER

S E S S ION

T EN

ONE

10 C o n t ’ d

AUGU S T 2 9 -- S EP T E M B ER

WEEK

S H A P I N G C O L O R : F R O M R A W M A T E R I A L S T O F I N I S H E D S C U L P T U R E HEIKE BRACHLOW Casting

This class will explore the interaction of color, form, and light in glass through lectures, discussion, and making. Beginning with a demonstration of mixing glass batch or frit with oxides to achieve personalized colors, the class will focus on variations in color density and the optical properties of glass. Participants will work with a variety of model-making, casting, and cold-working techniques. Glassworking experience is helpful, but not required.

E N H A N C E Y O U R G L A S S ED AND MARTHA BIGGAR Kiln-Worked Glass and Silver, Bronze, and Copper Metal Clay This class will explore techniques specific to fused glass and beads, and encourage students to bring their work to new levels by adding silver, bronze, and copper to create wearable jewelry. Students will work with Precious Metal Clay (PMC), a material that works like porcelain but fires in a kiln, resulting in a piece made of metal. Wire wrapping and simple stringing techniques also will be covered, as will design considerations and practicality. No experience is required.

607.974.6467 • www.cmog.org

Photo by Ester Segarra.

Heike Brachlow, Theme and Variations III

HEIKE BRACHLOW started working with glass in New Zealand as an apprentice in a small studio. She received a B.A. from the University of Wolverhampton and an M.A. from the Royal College of Art, where she has recently completed Ph.D. research on color in glass. In her work, she is exploring the interaction of color, form, and light in solid transparent glass sculpture.

Ed and Martha Biggar, Royal Venetian Pendant

ED AND MARTHA BIGGAR have more than 40 years of glassworking experience, as well as more than 13 years working with metal clay. Martha is certified by both the PMC Guild and PMC Connection, and is a juried member of the Southern Highland Craft Guild and the Artisan Center of Virginia. Ed has created illuminated neon mixed-media works since the early 1990s.

ONE

ELE V EN WEEK

S EP T E M B ER 5 -- 1 0

B E G I N N I N G G L A S S B L O W I N G AMANDA GUNDY Glassblowing This course is designed to create a relaxed, safe, and fun environment for students who have little to no hot-glass experience. In order to learn the basic skills of glassblowing, students will participate in a series of exercises to build confidence and coordination at the bench. The class will then move on to explore different forms and techniques that will give students a better understanding of molten glass and its properties. No glassworking experience is required.

AMANDA GUNDY earned a B.F.A. in photography before a growing interest in glass art led her to UrbanGlass in Brooklyn, NY. There, she studied glassblowing, worked as a technician and glassblowing assistant, and gave private lessons to beginners. Today Ms. Gundy lives in upstate Amanda Gundy, New York, where she Untitled teaches and works as a freelance glass artist.

I N T R O D U CT I O N T O F L A M E W O R K I N G

SUMMER

S E S S ION

TIM DRIER Flameworking This course will present a wide range of flameworking techniques using borosilicate glass. Students will work with glass tubing; make goblets, pendants, and beads; form sculpture and marbles; create perfume bottles and ornaments; and experiment with colored rods and powders, and scientific flameworking techniques. Also, there will be an in-depth study of “blinkers” (small pieces that can be made and sold “in the blink of an eye”). No glassworking experience is required.

Photo by Ann Cady.

TIM DRIER, a glassblower for 25 years, applies his scientific glassblowing expertise to artistic flameworking. He mostly creates decanters, goblets, vases, and human sculptural forms. He has taught flameworking courses at The Studio and the Pittsburgh Glass Center, and has demonstrated at the International Flameworker's Conference at Tim Drier, Salem Community College.

Cascade Caramel Cup and Bottle

SUMMER

S E S S ION

ELE V EN

ONE

WEEK

C o n t ’ d

S EP T E M B ER 5 -- 1 0

TH I CK E R S C U L P T U R A L F U S E D G L A S S

N E X T S T E P S I N G L A S S B L O W I N G

MARK DITZLER

HARRY SEAMAN

Fusing

Glassblowing

Students will learn techniques for making thicker fused glass, including layering to create depth and three-dimensionality. Topics will include screen printing with vitreous paints; patterns on dichroic glass; making and using pre-fired elements, kiln-formed canes, and murrine; rubber positives; simple molds; and firing programs. Students will cold work and reassemble molded glass parts into a small sculpture. Basic cutting and fusing skills are required.

This course will offer students a structured approach, a wealth of hands-on practice and demonstrations, and thorough explanations of processes. Those with limited experience will benefit from exercises designed to expand their glassblowing skills. Some glassblowing experience is required.

607.974.6467 • www.cmog.org

Mark Ditzler, Minotaur Sculpture

MARK DITZLER teaches glass fusing at the Pratt Fine Art Center and the Frye Art Museum in Seattle. He received degrees in ceramic art and industrial design from Western Washington University, and brings more than 20 years of experience to the making of kilnfired glass. Mr. Ditzler designs fused glass lighting, sinks, and tiles.

HARRY SEAMAN is facility manager at The Studio, where he regularly teaches beginning and advanced glassblowing courses. He received a B.F.A. from Alfred University. Mr. Seaman works mainly with furnace-blown and cast glass, which is then cold worked. Harry Seaman, Untitled

Tui t ion

R oom an d B oar d

Tuition is $750 for a one-week course and $1,400 for a two-week course. Supporting, Patron, and Ennion Society Members of The Corning Museum of Glass receive a 10-percent discount on tuition for courses at The Studio.

The cost for room and board is $520 per week, plus an eight-percent sales tax. Accommodations are provided by Days Inn of Corning with standard, air-conditioned rooms containing two double beds. The Days Inn is conveniently located just a short walk (about 800 feet) from The Studio. Each room will be shared by two students.

College Cre d i t College credit is available through Corning Community College. In certain cases, an additional fee is required. Please inquire for further details. Class S i z e Each course is limited to a maximum of nine students. S CH O L A R S H I P P R O G R A M To apply for summer scholarship funds, please submit five digital images of recent work on a CD, an essay explaining why you wish to take a particular course and why you should receive a scholarship, and two letters of recommendation. If you are applying for a juried course that requires you to submit three images, you must send separate images to apply for a scholarship. We must receive completed scholarship applications by March 15 in order to give them consideration. Incomplete applications will not be considered.

A few single rooms are available for an addi足tional $320 per week, plus an eightpercent sales tax. Room availability is subject to change, and there is no guarantee that you will get a single room. If you prefer not to share a room, we suggest that you make separate housing 足arrangements. A few non-smoking rooms also are available on a first-come, first-served basis and may be requested upon arrival. Please note: guests of the Days Inn must be 21 years of age or accompanied by a guardian. If you are not 21, please call us to discuss alternative housing options. Meals are provided by local restaurants, which can accommodate vegetarian diets. All room and meal costs are included, except for dinner on Saturday night following a one-week course, and weekend meals during a two-week course.

SUMMER

S U M M ER 2 0 1 1 P r o g r a m R e g i st r at i o n i n f o r m at i o n

SUMMER

S U M M ER 2 0 1 1 P r o g r a m R e g i st r at i o n i n f o r m at i o n C o n t ’ d re f un d an d c an c ella t ion poli c y pro c ess A refund, less a $200 cancellation fee and your application fee, is available if cancellations are made at least 30 days before the first day of class. Thereafter, if refunds are requested at least seven days before the start of class, a 50-percent refund will be given for tuition only, not for room and board. No refunds will be given after that time. If, for any reason, it is necessary for us to cancel a class, a full refund will be given for tuition and for room and board.

607.974.6467 • www.cmog.org

A ppli c a t ion P ro c E ss A n d P a y men t To apply for a course, please complete the application form on page 53. A $20 nonrefundable application fee must accompany each completed application form. This fee may be used to apply for one or two courses. If you wish to apply for more than two courses, please use a separate application form and enclose a $20 application fee for each two additional courses. Mail your application forms and fees to The Studio of The Corning Museum of Glass, One Museum Way, Corning, NY 14830-2253. Applications also may be faxed to 607.974.6370 if payment is to be made by credit card. Applications received before March 15 will not be processed until that date, and they will be selected in random order. Those received on or after March 15 will be processed next, in the order that they are received, until all spaces are filled. Confirmation letters will be mailed soon thereafter, as classes are filled.

Once you are notified of acceptance into a course, full payment must be received by May 1. We will not hold spaces in a course after that time without full payment. Acceptable forms of payment are check (made payable to The Corning Museum of Glass), money order, and credit card (MasterCard, Visa, American Express, and Discover). P rogram Forma t Each course begins with an informal (not mandatory) dinner at 7:00 p.m. on Sunday night and then an orientation at 8:30 a.m. on Monday at The Studio. Classes generally run from 9:00 a.m. to 4:00 p.m. with a one-hour lunch break. Instructors may alter the schedule if necessary. The Studio is open until 11:00 p.m. for practice. Most days there are special events. One-week courses end at 6:00 p.m. on Saturday and two-week courses end at 6:00 p.m. on Friday. A full schedule of events will be given to each student on the first day of class. Students should plan to check in at the Days Inn no earlier than 3:00 p.m. the day before their courses begin, and to leave either the evening the courses end or early the next day. (Note that staying over a Saturday night may reduce airfare.) Following a one-week course, students are on their own for dinner Saturday evening, and they must check out of the hotel by 11:00 a.m. on Sunday.

HO T g l a ss f o r t e e n s

OTher experiences

B E G I N N I N G F L A M E W O R K I N G A N D G L A S S B L O W I N G F O R TEENS

M A K E Y O U R O W N G L A S S

AUGUST 8 – 12 Instructors: Tim Rogers and Jeremy Unterman Teens, ages 14 – 16, with no glassworking experience can dive into this five-day, handson opportunity to work with molten glass. Students will be introduced to flameworking in the morning and move to glassblowing in the afternoon. Instruction will focus on basic processes and safety for shaping hot glass. Students will develop teamwork skills while working in the shops. Class runs from 9:00 a.m. to 3:00 p.m. Lunch is not provided. The cost of the workshop is $400. Registration will be taken on a first-come, first-served basis. Parental written permission is required to participate. Please call 607.974.6467 to register. Tim Rogers is the head of Glass Studies at the Harley School in Rochester NY, where he teaches flameworking to middle and upper school students. He has degrees in fine art and teaching, and has been working with glass for seven years. Jeremy Unterman began working with glass in 1999. He received a B.F.A. in 2003 from the Tyler School of Art, and is currently a member of the technical team at The Studio.

For a small fee, all ages can experience glassworking in 40-minute sessions, offered daily, year-round. Projects include blowing holiday ornaments, shaping glass flowers, fusing colorful creations, or sandblasting designs on glass (age limits apply to certain activities). Visit www.cmog.org for Make Your Own Glass hours, and to book an experience. F U N W I TH G L A S S For groups In a hands-on glassworking adventure, your group of 10 or more can blow hot glass ornaments, fuse colorful pieces of glass into suncatchers, or sandblast drinking glasses with original designs. Adults and children can participate in these hands-on activities, and sample a variety of glassworking techniques. Events range between one and three hours in length depending on the size of the group and the number of activities planned. The cost is $32.00 per person. Contact Erin Wing at 607.937.5371 or funwithglass@cmog.org to register your group.

S t u d e n t a n d a r t i st resources D V D S F R O M TH E S T U D I O The Studio produces several DVD series which may be purchased at the GlassMarket of The Corning Museum of Glass or online at http://glassmarket.cmog.org. mas t er c lass D V D series These 30-minute videos present a portrait of an artist and teaches the viewer a glassworking technique. • Cane Working with Lino Tagliapietra • An Introduction to Venetian Techniques with William Gudenrath • Engraving on Glass with Jirí Harcuba v

• Pâte de Verre with Shin-ichi and Kimiake Higuchi • Flameworking with Cesare Toffolo • Kiln-Worked Glass with Rudy Gritsch

607.974.6467 • www.cmog.org

• Beadmaking with Kristina Logan ! NEW • Working with Murrine with Davide Salvadore Foun d a t ions D V D series This series is designed to give beginners a foundation in various glassworking techniques. • An Introduction to Furnace Glassblowing with William Gudenrath • An Introduction to Flameworking with Emilio Santini

G L A S S W O R K I N G : PROCESSES & PROPERTIES This DVD features 43 segments with renowned artists teaching a variety of techniques employed in glassworking: blowing, flameworking, cold working, and casting. Other topics include the composition of glass, glass coloring, and annealing. Some segments are available for download at www.cmog.org. G L A S S M A S T E R S A T W O R K D V D S E R I E S Award-winning documentary filmmaker Robin Lehman catches the drama and intensity of master glassmakers at work. • Glass Masters at Work: Pino Signoretto • Glass Masters at Work: Lino Tagliapietra • Glass Masters at Work: Mark Matthews • Glass Masters at Work: Vittorio Costantini • Glass Masters at Work: Mark Matthews ! NEW • Glass Masters at Work: William Gudenrath

STudenT and arTiST reSourCeS S t U d I O R E N t A L S

N E w ! Glass Masters at Work: William Gudenrath William Gudenrath, resident adviser of The Studio of The Corning Museum of Glass, is a glassblower, scholar, lecturer, and teacher. He is recognized as one of the foremost authorities on glassmaking techniques from the ancient world through the 18th century. See how he thinks about, understands, and recreates historical glass objects and applies this thinking to his own work.

P h O t O G R A P h y R O O M Our photography room is equipped with a professional lighting setup, a high-end digital camera and tripod, a slide scanner, photo printer and Photoshop. At no charge during their course enrollment, students and teachers may take images of their work. The room is available for hourly rental to non-students. During summer and winter intensive classes, a photographer is available during certain hours.

Many of The Studio’s spaces are open for rental when there are no classes or other events in progress. We have a state-ofthe-art dedicated rental hot shop with a 1,000-pound furnace and two glory-hole stations. Studio time must be booked in advance. Please call for rates and schedules or check the Museum’s website.

S t u d e n t a n d a r t i st resources Cont'd R E S I D E N CY P R O G R A M S A T TH E S T U D I O The Studio offers Artist- and Researcher-inResidence programs. Transportation, room and board, and basic supplies are provided, as well as access to facilities. Residencies for 2012 will be held in March, April, May, October, November, and December. There is no formal application process. If you are interested in being considered, please send the following materials to Residency Programs, The Studio of The Corning Museum of Glass, One Museum Way, Corning, NY 14830-2253. • Ten digital images of your work (300 dpi, 4 x 6, JPEGs) with captions • Two letters of recommendation 607.974.6467 • www.cmog.org

•

Written proposal (including detailed information on your Residency plans; necessary supplies, equipment, and assistants; and the best months for you to participate)

J O I N T A R T I S T- I N - R E S I D E N C E P R O G R A M W I TH K O H L E R A R T S CENTER The Studio partners with the John Michael Kohler Arts Center for a joint Artist-in-Residence program to provide multi-media residencies. Artists spend one month at The Studio and two to six months in Kohler Co.’s foundry (casting iron or brass) or pottery (slip casting clay) in Sheboygan, WI. Artists are required to have experience working with glass, but do not need experience working with clay or metal. Travel, accommodation, supplies, equipment, technical assistance, and a food stipend are provided. To apply, please include two copies of the following materials: • Completed application form (download from www.cmog.org) • Brief (200-word) proposal for a unified project incorporating the resources available from both institutions • Current résumé

• Current résumé

• Brief (200-word) cover letter explaining relevant experience and qualifications

Applications for all 2012 residencies must be received by October 31, 2011.

• Twenty digital images (300 dpi, 4x5, JPEGs) with captions Applications for the 2012 Corning/Kohler Joint Residency must be received by April 1, 2011.

T R av e l I n f o r m at i o n Travel b y airplane / Transpor t a t ion t o an d f rom t h e A irpor t The Elmira/Corning Regional Airport is a 15-minute car ride from The Studio. Transportation from the airport to the hotel is available at a cost of $24.00 each way. To make arrangements, call Billâ&#x20AC;&#x2122;s Taxi at 607.731.8801 at least 24 hours before you plan to arrive in Corning. Please mention that you are a student of The Studio.

Travel b y Car Corning is easy to reach by car. Take I-86/NY Route 17 to exit 46 and follow the signs for The Corning Museum of Glass. Corning is 255 miles from New York City; 280 miles from Washington, D.C.; 235 miles from Toronto; and 210 miles from Albany.

Cover Image Glory Hole. Ruben Toledo, Pilchuck Glass School, 2009. Watercolor on paper. H. 129.5 cm, W. 304.8 cm. Gift of Dale Chihuly. Photo by Brent Sommerhauser.

SchOLARShIP fUNdS ANd GIVING OPPORtUNItIES Through our scholarship programs, we support developing glass artists and students. You may donate to any of the funds listed here to give an emerging artist working in glass the opportunity to study with the best at The Studio. By contributing to one of our scholarship programs, you are not only supporting promising artists who may not otherwise be able to afford to develop their skills, but you are also investing in the future of the glass community.

607.974.6467 • www.cmog.org

The Studio Scholarship and residency fund is supported by the sale of glass works donated by instructors, staff, and students over the course of the year; by the Celebrity Cruises Glassmaking Scholarship Fund; and by private grants and other contributions. The fund provides general summer scholarships and also is used to support our Artist-in-Residence program. The paul and patricia Stankard flameworking Scholarship fund, created with the support of friends of Paul and Patricia Stankard and collectors of Paul’s work, is earmarked for the support of one developing flameworking artist each summer. The Christopher John kammerer Memorial Scholarship fund was founded by the friends and family of the late Christopher John Kammerer. It aims to support promising, young, regional artists and is available for courses that meet over our spring and fall semesters. The Silver Trout fund was founded by Sue Schwartz in memory of her husband Tom, who worked at Corning Incorporated for many years. It supports the Artist-in-Residence program. Celebrity Cruises glassmaking Scholarship fund The Corning Museum of Glass is demonstrating glassblowing at sea on Celebrity Cruises. At the end of selected cruises, some of the best pieces made during hot glass demonstrations are auctioned. The proceeds benefit a scholarship fund to help developing artists and students who want to work in glass, allowing them to take classes or work as resident artists.

s p r i n g / s u mm e r 2 0 1 1 A p p l i c a t i o n Course Length Tuition

Room & Board

Additional charges for single room

Application fee (non-refundable)

(subject to availability)

One week

$750.00

$520.00 + sales tax = $561.60

Two weeks

$1,400.00 $1040.00 + sales tax = $1123.20

$320.00 + sales tax = $345.60

$20.00

$640.00 + sales tax = $691.20

$20.00

Please complete this application form and mail it to The Studio of The Corning Museum of Glass, One Museum Way, Corning, NY 14830-2253. Applications made by credit card may be faxed to 607.974.6370. There is no application fee for spring classes. Please include a $20 non-refundable application fee for one or two summer courses. Use a separate application form and enclose a $20 non-refundable application fee for each two additional summer courses. Name ________________________________________________________________________________________ Address ______________________________________________________________________________________ City _________________________________________ State ___________ ZIP Code ____________________ Country ____________________________ E-mail __________________________________________________ Home # ________________________ Work # _______________________ Fax # _______________________ Course S ele c t ion First Choice (include session #) _________________________________________________________________ Spring Summer Date __________________ Instructor _________________________________ Second Choice (include session #) ______________________________________________________________ Spring Summer Date __________________ Instructor _________________________________ I would like to take both courses. If course(s) is (are) filled, please place me on a waiting list. S CH O L A R S H I P A P P L I C A T I O N S O N LY Check all that apply (incomplete applications will not be considered): If I don’t receive a full scholarship, I still want to take the class, and I will pay the entire fee myself. If I don’t receive a partial scholarship, I still want to take the class, and I will pay the entire fee myself. (Partial scholarships range from $250 to $1,000.) If I don’t receive a full scholarship, I will be unable to take the class. S U M M E R P rogram only I would like housing. I am Male Female Age ___________ I am attending with ______________________________________ and we wish to room together. I would like a single room ($320 + sales tax = $345.60 extra per week. Availability not guaranteed.) M e t h o d o f P a y men t Enclosed is a money order in the amount of $___________________. Enclosed is a check payable to The Corning Museum of Glass in the amount of $ ___________________ Please charge to: MasterCard Visa Discover American Express Name as it appears on card _____________________________________________________________________ Card number _____________________________________________ Expiration date ____________________ If you check this box, we will charge your tuition and room and board to your credit card upon acceptance into a course. I’d like to contribute _________________ to the ___________________________________ Scholarship Fund.

One Museum Way

Corning, NY 14830-2253

• New Teen Workshop (pg. 47)

• Davide Salvadore Special Workshop (pg. 13)

• GlassFest Classes and Activities (pg. 12)

Don’t Miss These Special Workshops!

The Corning Museum of Glass

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