GAS 2020 Virtual Portfolio Reviews

We’re going digital with portfolio reviews for the GAS 2020 Virtual Conference. Register today!

Gallery owners, curators, educators, and artists will be available to review portfolios of current GAS members. Reviews will last approximately 20 minutes each. From 6AM – 10:15AM (PDT) our European Reviewers will be available for a video conference, and from 10:30AM – 6PM (PDT) our US Reviewers will virtually meet with Reviewees.

TO PARTICIPATE:

You MUST BE A GAS MEMBER to register for Portfolio Review. 

1. Explore the bios of the available Portfolio Reviewers below to find your favorites.

2. Fill out the form below, selecting UP TO THREE Reviewers. NOTE: All times are listed in Pacific Daylight Time (PDT), please be sure to refer to local time. 

3. We’ll follow up with your time slot and reviewer (you are guaranteed one slot but may be allotted more than one if space allows). NOTE: reviewer availability will be on a first-come, first-served basis.

PORTFOLIO REVIEWER BIOS

Kathryn Gremley has been the director of the Penland Gallery since 1996. In that capacity she is the curator for the John and Robyn Horn Gallery special exhibitions, and oversees the Lucy Morgan, Focus, and Penland Visitor Center galleries. She has curated and installed over 100 invitational group and solo exhibitions for the Penland Gallery. Off-sight projects include Penland: Mind, Hand, Materials at SOFA Chicago (2004), Iron: A New Vocabulary, a traveling exhibition of contemporary iron (2004-2005), Identity: Narrative explorations by four Penland artists, at the Milton Rhodes Center in Winston-Salem, NC (2010), curatorial assistance for 0-60: The Experience of Time Through Contemporary Craft at the North Carolina Museum of Art and Penland School (2013), Penland School: The Art of the Brooch, at Kobe Design University and Gallery C.A.J. in Kyoto, Japan (2014),and Mokume: 300 Years of Tradition, Innovation, and Influence at Tsubame Industrial Metals Museum, Japan (2016). Kathryn has also served as a consultant for other arts organizations, assisting with curatorial projects, exhibition design, grant evaluations, exhibition juror, community arts projects, and arts writer. On campus she works with Penland instructors, lecturing student groups on business practices and one-on-one assistance for artists. Her relationship with the school spans 38 years; beginning as a textile student in 1982, Penland resident artist 1983-1987, textile studio coordinator 1986-1993, textile instructor, and presently as staff member.

Susanne Jøker Johnsen is an artist, teacher and exhibition curator. She is the project director of European Glass and Ceramic Context at the Royal Danish Academy, School of Design at the Bornholm Art Museum. She was trained at the Kosta School of Glass and has apprenticed with master glass blowers Jan Erik Ritzman and Sven Åke Carlsson in Transjö Hytta, Sweden, and has taught at The Studio of The Corning Museum of Glass, Pilchuck Glass School and Haystack Mountain School of Crafts. She is based in Copenhagen, Denmark. Her work is in the permanent collections of Design Museum Denmark, Bornholm Art Museum, Glasmuseet Ebeltoft, Hempel Glass Museum, Museum of American Glass, and Museum of Glass Tacoma.

Helen Lee is an artist, designer, educator, and glassblower. She holds an MFA in Glass from the Rhode Island School of Design and a BSAD in Architecture MIT. Her work is in the collections of the Minnesota Museum of American Art, the Corning Museum of Glass, the Chrysler Museum Glass Studio, and Toyama City Institute of Glass Art. Her work has recently been exhibited in New Glass Now at Corning Museum of Glass and in the Burke Prize 2019 exhibition at Museum of Art and Design. She is currently an Associate Professor and Head of Glass in the Art Department at the University of Wisconsin-Madison.

Robin Rogers, Glass Studio Manager and Program Director at the Chrysler Museum of Art, is a perpetual student of art and life. Working with molten glass since 1995, Robin has been continually engaged with the process of blowing/sculpting the fascinating material. He holds a Bachelor of Fine Arts from the Columbus College of Art and Design, 1998, and a Master of Fine Arts from Southern Illinois University Carbondale, Carbondale, IL, 2008; his research continues in daily practice.

Dr. Jeffrey Sarmiento was recently appointed Senior Lecturer at Australian National University in Canberra. He has been a Fulbright Fellow in Denmark, a lecturer at San Jose State University, and Associate Professor of Glass at University of Sunderland at the National Glass Centre, UK. Known for his exploration of cultural identity through the graphic image in glass, he is a pioneer of print techniques for kiln glass.

Marianne Spottswood began creating glass sculpture in 1980 at the New York Experimental Glass Workshop (now Urban Glass) where she studied with Toots Zinsky. After a career in Haute Couture – London, Paris and New York – she turned to Industrial Design at Pratt Institute, New York. She spent ten years between classes at Pilchuck and creating sculpture at her studio in Newport, Rhode Island. In 1998 she opened Luniverre Gallery in Paris. The gallery moved to Cordes sur Ciel in 2010. Her techniques include sand casting, lost wax and sand blasting for the screens and tables. She now works in Cordes during the summer and St. Petersburg, Florida in the winter.

Thinker, maker, curator, catalyst and degenerate tinkerer, Ben Wright synthesizes the complexities of biological systems, the rigor of craft discipline and the curiosity of the conceptual artist into maximalist installations that tickle the senses and sow seeds of original thought. He has taught his unique approach to art at schools across the country and abroad in Germany, Turkey, Denmark, Japan, Belgium, Poland and Australia. Ben is currently the Artistic Director of Pilchuck Glass School.