Each year the Glass Art Society selects a few
emerging artists to present lectures at its annual conference. Through these lectures, artists with promising talent are afforded the opportunity to introduce their work to a
large audience of established artists, educators, peers, collectors, art
historians, and critics. Educators and Museum Curators are asked to nominate individuals who meet certain criteria and those nominees are contacted and requested to submit applications. A jury of professionals review all the applicants and determine the presenters for that conference.
Jurors for the 2010 Louisville Conference Emerging Artists Presenters (juror comments below)
John Drury is a New York City-based artist, writer and teacher, living
in Brooklyn with his wife and two young children. Mr. Drury holds an
MFA degree from the Ohio State University (1985) and has been a
recipient of the prestigious Louis Comfort Tiffany Award for the Visual
Arts (1997). John has personal works, in glass, included in the books 500 Glass Objects, International Glass Art and Glass Art from UrbanGlass. He has exhibited internationally and at Exit Art, the Holly Solomon, Willoughby Sharp and Bronwyn Keenan Galleries in NYC. John is a regular contributor to GLASS magazine and a member of the collaborative art duo CUD, with Robbie Miller.
Elizabeth McClure is a Scottish / New Zealand Artist. Since her formal studies in glass at the Edinburgh College of Art, she has traveled widely gathering a broad and comprehensive range of knowledge, skills and experience. She has lived, worked, and taught in Scotland, England, Ireland, the USA, Japan, Iceland Australia, and New Zealand. McClure is recognized for her considerable contribution as a teacher, most significantly for her role in the development of the Glass programme at the renowned Canberra School of Art in Australia and previously as one of the first foreign teachers of Glass in Japan, where she lived for 3 years in the late 1980's. She has also played an active role in the promotion of the Glass movement and Glass activities through her involvement with numerous glass organizations and held the Presidents position of Ausglass (1991-1993), convening the first International conference in Canberra, Australia in 1993. A practicing artist, she has exhibited world wide in solo and group exhibitions and is the recipient of a number of prestigious awards. She lives in Auckland, New Zealand (where she has been based since 1993) with her daughter and their two cats.
Amy Morgan, owner and director of morgan contemporary glass gallery, in Pittsburgh, PA has been involved in the contemporary glass world about 18 years.Prior to opening her gallery in her current space in 1998, which became Pittsburgh's first gallery devoted exclusively to exhibiting studio glass, Morgan was a partner in a boutique public relations agency working with small businesses focusing on fashion and the arts. In that time she became involved in the Pittsburgh art community through her participating with a major Art for Aids benefit; co-curating a glass exhibition as part of the 25th anniversary exhibitions of the Society for Contemporary Craft and joining the boards of the Society for Contemporary Craft and later, The Pittsburgh Glass Center, where she was a founding board member and instrumental in its development.She is a former board member of and adviser to the Creative Glass Center of America; a member of the Art Alliance for Contemporary Glass, and the Glass Art Society. In the gallery's 12 years, more than 60 shows have highlighted both established and emerging artists with a focus on objects, sculpture and jewelry. It is known for its innovative group exhibitions, which receive critical acclaim form local art critics. Morgan has served as a juror for several local and national awards, and has been a speaker and panel member for numerous arts organizations including GAS and the International Flameworking Conference and the National Art Appraisers. The gallery has exhibited at SOFA Chicago and Glassweekend at Wheaton Arts. Amy lives in Pittsburgh with her husband Ira and dog Morgan. They have two daughters, a son-in-law and twin grandchildren.
I wish to thank the Glass Art Society for the invitation to sit on the jury choosing the Emerging Artists Presentations. It is the panel of judges itself, which drives aesthetic direction; each member with differing needs, passion and life experience. Ultimately the likes and dislikes of this varied group will dictate the artworks represented and by selecting the specific participants on this jury, a due course is set.
I have been presented the work of a baker's dozen, already nominated for reasons previously unknown to myself but, each with a "foot in the door". All have earlier impressed, to be included in the initial pool of candidates and mine is only to judge what is now before me. I am not interested in commercial potential, checkered pasts or promising futures. I declare no interest in brand names or messiah. An object might withstand the test of time or an event, dissolve by tomorrow's dawn. I don't care if "it" is fashioned of platinum or poop. Simple investigation proves the chosen few to also make functional and decorative work, though it is their exploration into more meaningful expression which finds them included here. As is therefore the nature of the beast, bead and simple vessel makers have an unfortunate disadvantage and some categorization might offer equity amongst the many practitioners varied uses of the material, in the future.
I look then for the ability to see beyond the object, or component, to the meaningful installation of a body of work. The need to recognize true potential must be coupled with both the intuitive response and practical observation. Direction is the given (the work) and successful communication of idea must be supported by a sturdy conceptual foundation, as well as by the realized example of tactile form in space, however transparent.
In addition, I look for what makes us human; humor, sorrow, love and loss - the stuff of life (or after-life, as is the case of Cortney Boyd, who offers well-made, seamlessly presented and conceptually sound work). Nearly ambient, her cast glass is the appropriate material to address the past and those objects left behind. In the present, we are visitors to the unspoken, to Cortney's memory of life's detritus once animated. Cortney wants us to remember and presents her case with clarity and cohesion.
The resourceful David Fox offers us unified (emotionally and conceptually supported) objects of intrigue. Self-referential, his sovereign objects of modified artifacts defy formal installation, by ease of placement in any venue and we are reminded of the impermanence of experience, his and ours; the hear and now quickly replaced by the new. A make-do aesthetic tempers the popular.
The inventive light works of Jessica Lloyd-Jones explore the enlightenment sparked at the intersection of life and new technology. Her investigation allows new perspectives on natural phenomena, as it constantly changes and illuminates our lives.
Tom Ryder is noting if not innovative. Mature work explores the inherent promise of glass. His theatrical presentation capitalizes on the material's properties and the experiential. Tom has a good understanding of his own intention and the limitations characteristic of his chosen matter, proving the ability to do a lot with a little; a goal shared with each of us. - John Drury
Firstly, I would like to say that the quality of artists and work was very high and so completely varied. It made the selection process both interesting and at the same time quite demanding. For me this meant the multiple viewings and reading of the artists proposals, and although some were quite obviously outstanding from the first viewing, other proposals were more subtle in attracting the attention of the viewer, but then revealed deeper insight into the artists' ideas, choice of materials and processes.
My initial selection was based on the first impressions of the work images...this followed by in depth reading of the artists statements and then further viewing of the images... Resulting in a gradual 'shortlist'.
I chose the artists who for me presented the most innovative work in terms of their conceptual approach and / or use of materials. Work which looked at traditional processes and adapted them to realize current, new and exciting works of art. Work with a 'wow' factor, using glass in a way which might engage, provoke and enlighten the audience.
I have no doubt that the work of the selected artists will be well received at the conference and wish them well in articulating their ideas and presenting their work in this unique setting.- Elizabeth McClure
Jurying the Louisville GAS Conference Emerging Artists' Lecture Award has been a visual delight. The depth of talent, creativity, and technical expertise in this group of applicants is remarkable.
It is apparent too that the use of narrative and conceptual approaches are becoming ever more the norm. In a medium that is often thought of as object based, it appears that the level of academic knowledge and strong sculptural influences are making an impact in the studio glass movement. For the most part, each of these artists has produced a thoughtful, resolved, well conceived body of work with extremely well articulated installations.
Connecting subject and process is a common thread in several of the artists' work. Familiar objects are recreated and presented so that our individual perception of them is as important as the subject matter. The innovative quality of both the object and installation work based on "natural and artificial" energy and "flow and frozen movement" by two of the artists are intelligent and of the moment. - Amy Morgan