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GASnews provides an ongoing exchange of ideas and information, and a place for regular communication between glass artists around the world. It is published online via issuu.com four times a year and is available to all current GAS members. Archives are also available in digital and PDF formats. To send in ideas for articles—or to comment to the editor—write us at 


Current Issue: Summer 2016


Visit the GASnews & Archives page to read this issue, as well as past issues.

Letter from the Editor: Goodbye GASnews

When I began editing GASnews three years ago, my ambition was to create a space for critical dialogue about glass art and publish pieces from the experts who know the medium best – the history, processes, context, and tensions - the artists. This aspiration has been fulfilled twice over with the articles from the print committee, composed of glass artists who have written beautifully and bravely. I’ve been lucky to work with a fantastic team including Kristin Galioto, GAS’s recently departed communication manager, and designer Ted Cotrotsos.

GASnews has addressed a wide range of artists in the past three years – old-school, mid-career, emerging, designers, goblet makers, techies, students, and contemporary artists – all of them deserving subjects, particularly those artists who might not get picked up on the pages of a more commercial publication. Some of my favorite articles have been GASnews’s op-ed section, including “The Contextual Split” and the “The Venetian Virus” by Suzanne Peck, “Life as an Artist and a Mother” by Julia Rogers, “Glass Pipe Panel: Masters of Disguise” by Jay Macdonell, and “Art Collectors, a Field Guide” by Grace Meils.

For this issue’s op-ed, William Warmus has submitted a response to Hyperopia Projects’s GAS Journal article, “The Critical Vacuum.” The subject at hand is whether there is a critical discourse worthy of the ambitious and sophisticated artwork that is being created by artists in the glass community. It is rewarding the see this exchange unfold on the pages of GASnews, and I hope that dialogue will be sustained by future readers and writers in issues to come. In my view, the only way to answer the questions is with a sustained effort to read and then publish, to make a lasting contribution to a dialogue that challenges artists and readers alike to think and feel deeply about the artwork being made in the glass community.

I’m pleased to pass the torch to an artist, curator, and member of the print committee since 2014: Mike Hernandez. As a contributing writer, Mike has written stories about a diverse range of artists who are pushing the boundaries of glass including Elias Hansen, Anna Mlasowsky, “techies” Erin Dickson, Shaun Griffiths, and Mark Ganter, and Pilchuck Artists in Residence John Roach and Maya Rouvelle. Mike is an assistant professor and glass program head at Palomar College in San Marcos, CA. He has exhibited his work around the country and, among his many professional accomplishments, he was selected for the Urban Glass MFA show in 2012, and in 2013 he curated The Crystal Method, an exhibition of California glass artists at the Boehm Gallery. I can’t wait to see how GASnews takes shape under his leadership in the coming years.

Editing this publication has been a labor of love and it has been a privilege. A heartfelt thank you to all involved for this opportunity. So long, but not goodbye, I will see you at Corning conference and likely in future issues of GASnews, with a byline.

-Kim Harty, GASnews Editor


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