Letter from the Editor
by Jennifer Menzies
Jennifer Menzies, editor of The Flow, reminds readers that the Fall 2015 issue of The Flow is celebrating the special joy that can be found by collaborating with fellow artists. Working together helps everyone involved to find new techniques that neither one had considered when working alone.
Degenerate Flame Off 7
The Degenerate Flame Off 7 (DFO 7) was hosted in June 2015 by Cornerstone Glass Studios. This annual event is centered around the Flame Off, with artists, shops, supply companies, and others from the glass art industry coming together for a time of sharing the love of glass.
Dale Chihuly’s Brilliant Blue Glasswork at the Chrysler Museum of Art
by Virginia Hilton
Photography by Ed Pollard, Chrysler Museum of Art
Dale Chihuly’s exhibit, Chihuly at the Garden, was on view in 2015 at the Chrysler Museum of Art, where his artistry came alive. One hundred of his vibrant glass Reeds and Marlins were displayed outdoors as part of a collaborative effort with the Virginia Arts Festival and Virginia Symphony Orchestra.
The Toledo Museum of Art
Guest Artist Programs Making Glass Accessible
by Colleen Bryan
The endowed Guest Art Pavilion Program (GAPP) at the Toledo Museum of Art encourages artists to research and respond to the museum’s collection and resources in an exploration using glass. The program advances the educational mission of the museum while promoting greater dialogue between contemporary glass and art communities.
Awarding Excellence in Glass Art
by Sara Sally LaGrand
In June 2015, the Glass Art Society (GAS) presented the Lifetime Achievement Award to Paul Stankard, renowned glass artist and educator, who is still actively adding to his body of work. Mary B. White received the Lifetime Membership Award for her extraordinary contributions to GAS since the early 1970s.
Instructor Collaborative Residencies at The Studio of The Corning Museum of Glass
Sharing Research, Techniques, and Ideas
by the Staff of The Corning Museum of Glass
Photos Courtesy of The Corning Museum of Glass
Each year in September, The Studio in Corning, New York, invites instructors who have taught intensive courses there to apply for the Instructor Collaborative Residency. The chosen artists have access to The Studio’s facilities to create a collaborative body of work as a thank-you for teaching at the Studio.
Tips on Photographing Dichroic Glass
Text and Photography by Erik Anders
Learning how to successfully photograph your work created from dichroic glass is a valuable skill set worth developing and perfecting. It’s important to have good lighting, a large memory capacity, and a program such as Photoshop that is capable of providing the proper editing choices for finalizing your photos.
by Darlene Welch
Information on the latest in new glass types and colors, supplies and tools, kilns, books, patterns, and anything else that glass artists and enthusiasts need for working in hot glass can be found in the What’s Hot section of The Flow.
Text and Demonstration by Jeff White
Photography by Justin Landau
Jeff White demonstrates techniques for making a finger pendant. Silver Strike 5 frit and colored rod are used for the knuckled section of the finger, and marias are added to Sno White Rod for the bony section. A loop is added at the top of the finger for hanging.
Borosilicate Glass Fume Theory and a Brief History of Precious Metal Uses in Glass
by Freddy Faerron
Photography by Ben Ramsey
Freddy Faerron shares the history of the development of borosilicate glass and specifications for the chemicals used to make it. He also covers the relationship of precious metals to soda lime and borosilicate glasses, the beginnings of the contemporary borosilicate art movement, and the science behind glass fuming.
Triple Tubule Tech
Text and Demonstration by Raj Singh
Photography by Marshall Towsky
Raj Singh demonstrates a triple tubule, a tub-shaped ring of color that goes from the inner surface of a section to the outer surface. By using a series of incalmos, a section is achieved that has three vortex-like tubules pushed against each other, all dropped into another tubule.
The Last Art Glass Invitational
End of an Era
by Deborah Carlson
Photography by Deborah Carlson, Carson Pannella, Tom Donor, Reed Hardy, Josh Krof, Julie Delaney, and Christian Farrington
The Art Glass Invitational (AGI) celebrated its 15th and final meeting in 2015. Those invited were able to experience a full week of sharing art, fun, and fellowship with other artists without the distractions of their normal daily routines. The group is hoping to continue in 2016 as Glass Camp.
Wig Wag Tiki Tube
Working with Fellow Artists Has Its Rewards
Text and Demonstration by Craig Lewis and Goblin King
Craig Lewis and Goblin King demonstrate a Wig Wag Tiki Tube with colors that center around an orange, white, and black Halloween candy corn theme. The artists remind readers of the importance of beginning with a plan that showcases each artist’s strong points for reference throughout construction when doing collaborative projects.
Multilayered Patterned Marbles with Opal Placements
Marble Text and Demonstration by William “Boxfan” Menzies
Figure Holding Marble by Robert Mickelsen
William Menzies demonstrates crafting a multilayered marble using a patterned section, opal placements, and back side patterning. The importance of clean prep and patience when making marbles is emphasized, since marbles have an unobstructed 360-degree view. Techniques for raking patterns and proper hand positions when shaping marbles are explored.
Evaluating a Used Kiln
by Arnold Howard
Photos Courtesy of Paragon Industries, L.P.
Arnold Howard, who writes instruction manuals for Paragon Industries, L.P., discusses the important things to consider when purchasing a used kiln including inspecting the elements and condition of the fire bricks and determining whether the kiln has been converted to a different voltage than the original version.