Keynote Speaker: Karl Heinz Traut
Our Keynote Speaker, Karl Heinz Traut, comes to us from Taunusstein, Germany. As past Creative Director of Derix Studios, he is now a freelance glass artist – producing architectural glass art for private and public buildings. He is also a consultant and project manager at Derix Glass Studios on a freelance basis since 1980. He is known for his work with Lamberts Glass that can be found all over the world.
Exquisite carved, stained and leaded glass! Kathy will share the secrets of her work in glass. Looking at old and new projects, we will discover the beauty and her great ability to incorporate nature into her work. Kathy has been perfecting her skill in this unique medium through her own research and experience since 1979. Her finished works contain subtle shadings of carved depths that reflect and highlight each piece, bringing out qualities of light and shadow that only glass contains.
Breaking Tiffany’s Glass Ceiling: Clara Wolcott Driscoll
Mark will present on Clara Driscoll, an important designer for Tiffany Studios and the head of the firm’s signature “Women’s Glass Cutting Department.” Born in Tallmadge, Ohio, near Akron, Clara was able to attend high school in Cleveland by moving to live with a relative there, which enabled her to study with the beloved nature writer and teacher Harriet Keeler. A few years later, Clara Wolcott was one of the first graduates of the Western Reserve School of Design for Women (est. 1882), today The Cleveland Institute of Art (CIA).
Biographical details from Clara’s letters and from Mark Bassett’s research as co-author (with Henry Adams) of a forthcoming history of CIA will offer a fascinating context for Clara Driscoll’s success at Tiffany Studios.
Mark Bassett, Ph.D., Liberal Arts, The Cleveland Institute of Art, is the author of Cowan Pottery and the Cleveland School and several books on Roseville Pottery. He teaches writing and research at The CIA, as well as American Crafts History. For several years, Mark has been conducting research for a forthcoming history of The Cleveland Institute of Art, for which he will be a co-author, with Henry Adams as the primary author.
John Blazy studied furniture design at Rochester Institute of Technology in 1986, winning several design awards before becoming a radiation-cure chemist, ultimately inventing the color-changing glass called Dichrolam™. During John’s time at RIT, he witnessed Dale Chuhuly blowing large glass vessels and heard Dale discuss how he basically took the current media of blown glass and simply “scaled it up”.
Blazy, now in the Cleveland area, is doing the exact same thing in dichroic glass. John’s custom-made ovens and patented processes have put his work on the cover of several design magazines including Interior Design and Healthcare Design. His Dichrolam 11 differs from the competition in that it uses a different and stronger lamination material as well as having a mirrored finish rather than a marbled aesthetic. Happening now: Composite Resins – all the Dichrolam products can be made of glass and composite resins. John will share his products’ beauty and versatility, as seen in their use from large architectural installations to signage, to custom guitar guards.
Digitizing the Glass Panel Workflow
An investigation into the efficiencies afforded by the use of computers and digital imaging processes in flat glass panel production workflows — in other words: How computers can make your life easier!
Following a lively discussion of the pros and cons of the Mac and Windows domains, we will delve into the myriad programs available at cost or “open source” (free). Charles will compare methods of input with emphasis on vector/line handling, color swatch building, with special emphasis on tracing. We will also look into large format printing methods as they relate to working drawings, such as cut lines vs lead lines. Discussions will include: the 4 “R”s of digital imaging: Repetition, Reiteration, Rendition, and, of course, Redo.
Charles’s diverse background has given him a firm expertise in the art of glass. With a BFA in drawing & painting, an MFA in glass design and working for such studios as Meredith Glass, Dufour Glass and Kensington Stained Glass, Charles has also administered college-level courses in drawing, fundamental, graphics and color design, as well as glass design and painting. He has spent over 32 years with the Air Force in media services as well as freelancing in design, construction, and teaching.
Charles is also scheduled to provide a demonstration of leading techniques.
Working BIG: Art, Emotion, and Engineering
Seattle based glass artist Michael Dupille is internationally renowned as a fused glass pioneer. He has created over 20 large-scale public and private commissions during his 30 plus year career. Join him as he shares the experiences, methods, and thoughts about this specialized way of working. A must for anyone contemplating public art or would like some insight on creating large-scale work and a great opportunity to widen your horizon. ”Nothing is impossible-it just takes a little longer”
Experienced in a variety of media including animation, illustration, print, and textile design, he continues to challenge himself through invention and innovation. Michael was part of the glass blowing program at Central Washington University in the early 70’s. Since the late 1980’s he has worked extensively with glass, having developed and refined a technique for “painting with glass” that uses crushed glass (frit) in combination kiln fired methods. He refers to this process as fritography.
Michael pioneered many kiln-forming processes, especially in the area of mold making and kiln casting. He has done design work for Bullseye Glass, was a guest artist and instructor at Camp Colton, and his creative input is well featured in Boyce Lundstrom’s books on art glass techniques. His work is highly collectible and his numerous public and private commissions include projects for the Washington and Oregon State Arts Commissions, The Everett Cultural Commission, The Seattle Times, The Pierce County Arts Commission, Amazon.com and the Seattle Mariners.
Douglas Philips, Noted Stained Glass Artist
Douglas Phillips (1922-1995), one of the few African American stained glass artists in the US, studied at Cleveland Institute of Art after completing high school in Buffalo, New York. After advanced art studies at Syracuse Institute, Phillips returned to Cleveland and worked for John Winterich & Associates which at the time specialized in church interiors. Phillips established the stained glass department and in the late 1950s, he subsequently started his own stained glass firm in Cleveland. Jim Whitney began his stained glass career working for Mr. Phillips.
Mr. Phillips designed both leaded and faceted windows. Most of Phillips windows are in the greater Cleveland area; however. a very interesting stained glass installation is in England – a medieval chapel with two stained glass windows commemorating the World War II veterans of the American 386th bomb group.
Barbara Krueger, from Hartland Michigan, is a founding member of AGG (now a Senior Advisor) and is currently the Director of the Michigan Stained Glass Census. She moderates two different online panel discussions, one about stained glass and the other about/for “old timers” who grew up in the Sierra Nevada’s and whose fathers worked for Southern California Edison Company. She is currently working on a historic paper about the J.R. Lamb Studios.
Rich is the owner of Glass Strategies of Portland, Oregon. The company specializes in laminated and etched glass products. Rich also acts as the technical support for UV Bonding and 2K Silicon for Bohle America West Coast Sales Division.
Rich will be speaking on producing glass products using polyester resins to laminate art glass to float glass for safety requirements on commercial and residential projects as well as about laminating rice papers, fabrics, colors, metals, and organic materials (such as leaves) between glass. In 2006 his company began using high-tech polyurethane pump for laminating heavy textured, deep carved sandblasted glass and glass clad polycarbonate. Projects large or small, Rich will clue us in on technics while sharing various installations he has done.
The Artistry and Innovation of Tiffany’s Glass Mosaics
Over the course of four decades, Louis C. Tiffany and his renowned studios pursued the art of mosaic with creative abandon. This lecture will examine the aesthetic evolution of Tiffany’s glass mosaics, from the 1880s through the early 1920s, and highlight the firm’s ongoing experimentations with color, reflectivity, translucency, and texture. A discussion of a variety of ecclesiastical and secular commissions will focus on the ways Tiffany expanded the field of artistic mosaics in America by introducing new colors and types of glass into the works made under his supervision. Mosaic commissions in Cleveland will also be considered.
Lindsy R. Parrott is the executive director and curator of The Neustadt Collection of Tiffany Glass in Queens, New York. During her 15-year tenure, her research has focused on Louis C. Tiffany’s leaded-glass windows and lamps, mosaics, and opalescent flat glass. She has organized popular traveling exhibitions drawn from The Neustadt’s permanent collection, which have been enjoyed by more than half a million people at venues including the Cincinnati Art Museum, the Winterthur Museum, the Chrysler Museum of Art, and the Biltmore Estate. Among her recent projects, Lindsy served as co-curator of the special exhibition Tiffany’s Glass Mosaics and co-editor and co-author of the award-winning companion publication, a project organized jointly by The Neustadt and The Corning Museum of Glass. In addition, she co-curated Louis C. Tiffany and the Art of Devotion, organized by the Museum of Biblical Art in New York City, and served as a co-author of the accompanying catalog.
Lindsy previously held positions at The Charles Hosmer Morse Museum of American Art in Winter Park and the Norton Museum of Art in Palm Beach, both in Florida. She is an adjunct faculty member in the Smithsonian–George Washington University Master’s Program in the History of Decorative Arts + Design in Washington, D.C. She has written and lectured extensively on various aspects of Tiffany’s career.
Paint and Paint Problems
How to identify the past and present factors contributing to paint deterioration and loss, and figuring out what to do about it. Although many lay people are unaware of the painted component of historic windows, it is one of the major components in this transformation of the ordinary window into a work of art. As such, the study and further understanding of both the techniques of glass painting and the causes of deterioration are indispensable if we are to preserve this essential aspect of the art form.
The loss of the painted element of the stained glass window can have catastrophic effects on legibility. When the paint is lost, a lot of the intended subject, composition, and meaning are lost as well. Paint deterioration is dependent on many interrelated factors, including past factors intrinsic to its manufacture and application, as well as past and current outside factors, such as environment and human interaction. Because of this, it is important to understand both the original means of producing the paint and painted image, as well as the extrinsic factors from the recent past and current situation, to assess the probable causes of and come up with possible solutions to paint problems.
Daniella Peltz is an NYC-based artisan who specializes in stained glass conservation, design, and fabrication. She has more than twenty years of experience in stained glass, and has worked with museums and studios in the US and Europe, and worked on the conservation of stained glass from the 12th-21st centuries. Her training began with a three-year apprenticeship at the St. Ann Center for Restoration and the Arts. In 2012, she earned her MA in Stained Glass Conservation and Heritage Management from the University of York in England. For the past seven years, she has also offered comprehensive stained glass consultation services.
Reciprocity between Window and Wall: Renaissance Florence and Art Nouveau Krakow
Stained glass has been invariably coordinated with extensive wall painting, often by the same designer. Our modern idea of separate mediums was not shared in the past. For example, we have often marginalized the important stained glass of Renaissance Florentine churches in favor of narrow studies of the fresco cycles and the artists’ personal styles. In most cases, these windows, frescoes, and altarpieces were commissioned as an ensemble. The modern era also provides compelling examples. Art Nouveau made a big impact on the wealthy and sophisticated city of Kraków, Poland and a significant amount of stained-glass was created around 1900. Virginia will discuss this with examples from her extensive photographic collection.
Virginia Chieffo Raguin, Ph.D. Yale University is Distinguished Professor of Humanities at the College of the Holy Cross. She has published on stained glass as a member of the International Corpus Vitrearum. Stained Glass from its Origins to the Present (2003) offers a broad overview and her on-line book Style, Status, and Religion: America’s Pictorial Windows 1840-1950 offers 450 downloadable images. http://college.holycross.edu/RaguinStainedGlassInAmerica/Home/index.html She is also interested in contemporary art and has authored catalogue essays for Kiki Smith’s exhibitions in the Pace Gallery, New York of 2010 and Munich, Germany, 2018.
| Judith Schaechter
“Although I went to art school to study painting, I knew almost instantly when I tried stained glass that it was what I wanted to pursue for the rest of my life. Why? Unlike most raw materials, glass is extremely attractive before the artist ever touches it. I found I like to really manipulate it, stretch it, and transform and distort it in unnatural ways. I like to see what possibilities lie in mating difficult emotional ideas with sensuous but cruel materials. I like a lot of resistance. I like cold, hard, sharp, vicious stuff to fight with — I dislike compliance! Perhaps I want to punish it for being so pretty when I sometimes feel so ugly.
I also felt “in sync” with glass. When I was a painter, I painted fast and furiously and ultimately threw everything out. This didn’t happen with glass because it was so labor intensive. The tedium factor and the variety of processes allowed me to focus and concentrate. By the time I managed to do something to the glass, I had developed feelings of attachment and was hardly going to throw it away.” Spend a little time with Judith as she discusses her work!
Judith has lived and worked in Philadelphia since graduating in 1983 with a BFA from the Rhode Island School of Design Glass Program. She has exhibited widely, including in New York, Los Angeles and Philadelphia, The Hague, and Vaxjo Sweden. Her work is in the collection of the Metropolitan Museum in New York, the Victoria and Albert Museum in London, the Hermitage in Russia, the Philadelphia Museum of Art, The Corning Museum of Glass, The Renwick Gallery of the Smithsonian Institution and numerous other public and private collections.
Judith has taught workshops at numerous venues, including the Pilchuck Glass School in Seattle, the Penland School of Crafts, Toyama Institute of Glass (Toyama, Japan), Australia National University in Canberra Australia. She has taught courses at Rhode Island School of Design, the Pennsylvania Academy, the New York Academy of Art and at The University of the Arts, where she is ranked as an Adjunct Professor.
Mother Mary Thomas – A Painting – A Stained Glass Window – A Journey
Near the end of 2017, Azure Stained Glass studio was contacted for a commission by Sharon Deitrick, of Deitrick Design & Associates, as well as the founder of the HALO Project, and motherthomasart.org. Through Sharon, we met with Mother Mary Thomas of the Poor Clares of Perpetual Adoration in Cleveland to discuss translating Mother’s painting of ‘Divine Mercy’ into stained glass. What began as a relatively common call for a commission became a short but profound journey that drew us into the orbit of a cloistered nun.
This project included fabricating a window from Mother Thomas’ original artwork, creating it and other large pieces of furniture, shipping all to southwest Florida, and installing on location. This short story is about a tiny little lady who creates bold beautiful paintings from the heart, and who is utterly irresistible to everyone who meets her.
Mary is co-owner of Azure Stained Glass Studio in Cleveland. Mary began working in stained glass while attending classes in glass blowing and ceramics at Cleveland State and Kent State Universities. Learning as an apprentice, she expanded her knowledge of the craft through work for several stained glass studios in the Cleveland area as a full-time craftsman and production manager.
Don Burt: stencil techniques & cutting tools
Charles Devillier: leading techniques
Graham Fox: dry molds for casting
Janet Lipstreu & Rick Prigg: LEDs in stained glass installations
Kathy Jordan: paintbrush preparation & use
Ken Leap: enamel paints