2012 Emerging Artists Presentations

Emerging Artist Presentations - 2012 Toledo Conference

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.

Emerging Artists Presenting in Toledo

Conference attendees may listen to the Emerging Artists Presentations on Friday, June 15th from 12:30-2pm at the Toledo Museum of Art, Little Theater by Virginia GriswoldDavid KingAnna Mlasowsky.

Thank you to our jurors Beth Lipman, Judith Schwartz & Harumi Yukutake. View the juror bios and comments.

Virginia Griswold Indiana www.virginiagriswold.com

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“Perhaps looking moves in such directions that it too has a way of wrapping itself around space, around a person, around a chair, around a house. And just the way that a hand gets into the emptiness of a cup, the objects of one’s life get into the body and seeing then is like an ocean who, momentarily wrapping itself around a stone, doesn’t need holes in it to fit in fish, the legs of birds and winter.” - Toby Maclennan - from: How Will I Know I’m Here

A sewing needle pierces through threads, creating holes and separating material. This activity straddles the line between construction and deconstruction. The pulling apart and separation of threads is necessary in the creation of new forms. My work is about this relationship between acts of destruction and new beginnings. Certain physical encounters (something as mundane as a pot boiling over) in my everyday life bring back memories of leaving girl-hood behind me and, as I grew into an adult, inhabiting what felt like a foreign body in an unfamiliar environment. With my current work, I am interested in themes dealing with the body (an interior and private force) as it relates to identity (a constructed, exterior force). These works explore the dichotomy of inside and outside, interior and exterior, self and other. The journey from childhood to adulthood and its physiological/psychological implications are explored as I investigate my private and subjective bodily experiences as they relate to the engagement with decorative utilitarian objects and raw material that is my studio practice. Glass acts as both a barrier and a window in my work; humble, invisible, yet utterly crucial. Andre Breton once described an encounter with the “trouvaille”, the found object discovered by chance. He described finding the thing in an exterior realm that, in its specificity and singularity, unlocks something within your interior. The inherent qualities of glass and porcelain have always done this for me. An encounter with an object in the world begins a process of recognition and reconciliation. The opportunity to utilize an object in this way, where its un-doing becomes my re-making, is catharsis. -Virginia Griswold




David King Pennsylvania www.davidjohnking.com

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In my studio practice, I am compelled to represent ideas and images through material accumulation and manipulation.  I explore the material and immaterial properties of glass through intensive technical investigation and exhaustive experimentation; this constitutes the foundation of my material, aesthetic and conceptual research.  The objects and installations that I make are intended to invite participation and cultivate understanding but at the same time connote distortion, dissidence and confusion. In my current body of work I am investigating the potential of portraiture that exploits the subject’s misunderstandings through a distorted historical lens. I use light, glass and other materials to convey experiences that may be transient or disorientating.  I intend to exploit the poetic potential of phenomena created by visual perception such as perspective and optical illusion.  This work explores the connections between our collective understanding of the natural world and the avenues by which we experience and have defined that world. By keeping my source content diverse and varied, the opportunities for conceptual cross-fertilization allows the work to stay unencumbered and sometimes unexpected. -David King




Anna Mlasowsky DENMARK www.annamlasowsky.com

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As an artist I consume experiences, which filtered I turn into expressions. My work examines though a material, social structures and opinions. The way we evaluate a material and use its properties is defined by preconceived opinions and boundaries set by traditions. In my work I seek to question those preformed behaviors to raise questions about reality and projection. My work operates on the border between fine art and applied art. I challenge the tradition of evaluating and judging in both fields. The questioning of the technical and artistic approach in the field of applied art, as well as the relation between craft and concept has involved new experimental procedures in the use of the materials potential. The emphasis is on the challenge of established craft boundaries and the critically rethinking of knowledge. Traditions play a great role in the field of applied art. During the past three years have I been working on a series of works that question this inherited knowledge and its boundaries. In an age where the traditional uses of the applied arts no longer are applicable, these works reexamine the fundamental relationship of the maker to material and process. The process of the making becomes often equally important, as the finished outcome of this process. It is important to me to affirm and enrich, to challenge and to surprise. An essential part in my artistic effort is to be suggestive without being determined. Where observation of common failure provide the context surrounding for new ideas and is vital in the process of my development. I am interested in how I relate to things, and how they relate to me.  -Anna Mlasowsky


Jurors for the 2012 Toledo conference Emerging Artists Presentations

The Glass Art Society would like to thank this years jurors, Beth Lipman, Judith Schwartz and Harumi Yukutake, for their time and expertise. Below are their comments and biographies.

Beth Lipman

JUROR STATEMENT - Overall, the submissions were thoughtful and precise, representing a variety of ideas and approaches. The chosen emerging artists were selected for their singular vision, their unique approach to the creative process, and the consistency of their voice in the finished works. As we move into the future (the next 50 years?) the dialog with glass becomes more internalized and the resulting works more sophisticated and timeless.
EA_JURORBethLipman.jpgBeth Lipman lives and works in Sheboygan Falls, WI.  She has exhibited her work widely and has received numerous awards including a USA Berman Bloch Fellowship, Louis Comfort Tiffany Foundation Grant, and a Wisconsin Arts Board Fellowship. Most recently, she completed a commission for the Norton Art Museum in West Palm Beach, FL. Glimmering Gone, a collaborative installation with Swedish artist Ingalena Klenell, was recently on view at the Museum of Glass (WA). Lipman has exhibited her work internationally at such institutions as the ICA/MECA (ME), RISD Museum (RI), Milwaukee Art Museum (WI), Gustavsbergs Konsthall (Sweden) and the Renwick Gallery of the Smithsonian American Art Museum (DC). Her work has been acquired by numerous museums including the Brooklyn Museum of Art (NY), Smithsonian American Art Museum (DC), and the Corning Museum of Glass (NY). www.bethlipman.com



Judith Schwartz

JUROR STATEMENT - Congratulations to the artists who submitted to the Emerging Talent
 portion of the 2012 Toledo conference. Collectively, the submissions
were amazingly diverse and extraordinarily imaginative. The
eclecticism in evidence become palpable after a considerable effort
was undertaken to really look and attempt to understand the
submissions.  And when I had made my top choices, I was delighted to
see just how closely they had matched the choices made by my fellow
jurors.

What I found common to the top tier submissions was the attention to
thought provoking issues, how well those issues were articulated and
the skills in evidence to accomplish these tasks.

I was also delighted by the use of crossover materials. From combining
glass and porcelain in one expression to recycled resources in
another, even such ephemeral objects as water vapor.

While light, transparency, translucency, refraction, and reflection
are considered fundamental to glass, I am always amazed to find how
varied and complex these elements can be handled by skilled
practitioners.

My final choices demonstrated both thoughtful and deeply-moving
artwork. The best was experimental and demonstrated the keen and close
examination necessary to explore experience and make it rich and
appealing to the viewer. Concepts related to environment, nature,
technology and culture seemed to be a catalyst which spurred activity
and diversity.

I was also impressed by the organization for reviewing the candidates’
work, the clarity of the application procedure and the high quality
photographs submitted - all of which facilitated the task 
immeasurably.

EA_JURORJudithSchwartz_portrait.jpgJudith S. Schwartz, Ph. D., Professor, New York University, and Head of Sculpture: Craft Media Area  (Clay, Glass, Metals, Mixed Media) is curator and author of national and international exhibitions and articles on contemporary  craft and ceramics.  She is author of Confrontational Ceramics, A & C Black, London and University of Pennsylvania Press, 2008.  Member of the International Academy of Ceramics, Chair of notable conferences held at NYU: "Case for Clay in Secondary Education" and "Criticism in Crafts Arts: Crossings, Alignments, and Territories." Educational consultant to Lenox China Company; Board of Directors for the Watershed Center for the Ceramic Arts, Studio Potter Magazine, The Joseph Schein International Museum of Ceramic Art, at Alfred University, The Museum of Ceramic Art, New York, NY,  K12 Ceramic Art Foundation, and the University Council for Art Education. Juror and consultant to numerous national and international exhibitions - most recently the Ceramic Biennial in Icheon, Korea and All Fired Up for the Westchester Arts Council which featured her curated exhibition, Confrontational Ceramics. Honorary member of NCECA, a J. D. Rockefeller III grantee and the Everson Museum’s award for excellence in art education. She is a  Fulbright recipient, 2011 and craft educator of the year awarded by the Renwick Museum of Art, Washington, DC. www.judyschwartz.com



Harumi Yukutake

JUROR STATEMENT - Congratulations to the Glass Art Society on the occasion of its 42nd annual conference! The Studio Glass Art movement, begun by a few spirited individuals in the US, has spread all over the world and passed down the creative spirit to us. However, once you become serious as an artist, the rich history of glass can present a dilemma, as it seems it is impossible to find new techniques and expressions of your own. The works of the selected three artists are powerful and show clear evidence of their exploration and promise in the use of glass. I’d also like to mention there were equally talented applicants who missed the award by sheer chance. As an artist myself, I don’t like to be passed over without knowing the reason, so here are the criteria I used in the selection process: (1) Clarity of concept (whether “glass” is utilized to its advantage), (2) Originality (personal expression/exploration found in the work), and (3) Future prospective (Unprecedented new expression/direction found in work). Please look forward to the presentation by these emerging artists—future glass pioneers perfectly suited to participate in this celebration of the 50th anniversary of Studio Glass Art in the US.
EA_JURORHarumiYukutake.jpg Harumi Yukutake is an artist and educator in Tokyo, Japan. She has exhibited her work in international contemporary art expositions and glass shows such as Echigo Tsumari Art Triennial (Japan), Busan Art Biennial (Korea), Global Art Glass (Sweden), Glass Skin (Japan, US, Denmark). Known for her work ethic, Yukutake assembles thousands of handcrafted glass elements together to create an organic form, it often takes spatial installation form to question the existing environment. Early examples of her work can be seen at the Corning Incorporated Headquarter Building in Corning, NY. She has done numerous residencies and received numerous awards, including a Stephen Procter Fellowship (Australia), CGCA, Pilchuck EAIR, New Zealand Society of Glass residency, and Japanese Government Artists Grant in 2002 and 2007.  She received her MFA in glass from the Rhode Island School of Design and a BFA from the Tama Art University, where she currently acquires a position as a lecturer. www.yukutake.net


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