by local -Opening at the Morgan Contemporary Glass Gallery
http://www.morganglassgallery.com/shows/by_local_11.htm
by local opens Friday, February 4, 2011 from 5:30-9:00pm at morgan contemporary glass gallery at 5833 Ellsworth Ave. This exhibition, dedicated to showcasing the work of Pittsburgh glass artists, highlights the talent, aesthetic variety and technical mastery existing in the local glass community. Participating artists include Judi Charlson, Brian Engel, Jason Forck, Arthur Guilford, Drew Hine, Adam Kenney, Michael Mangiafico, Gillian Preston, and Heather Joy Puskarich. The exhibition continues through March 26, 2011.
by local opens Friday, February 4, 2011 from 5:30-9:00pm at morgan contemporary glass gallery at 5833 Ellsworth Ave. This exhibition, dedicated to showcasing the work of Pittsburgh glass artists, highlights the talent, aesthetic variety and technical mastery existing in the local glass community. Participating artists include Judi Charlson, Brian Engel, Jason Forck, Arthur Guilford, Drew Hine, Adam Kenney, Michael Mangiafico, Gillian Preston, and Heather Joy Puskarich. The exhibition continues through March 26, 2011.
TENacity-Opening at the Pittsburgh Glass Center
http://www.pittsburghglasscenter.org/gallery/hodge-upcoming.aspx
Hodge Gallery at the Pittsburgh Glass Center
Feb 4-April 17
For 10 years Pittsburgh Glass Center has grown a thriving community of glass artists. Over 30 local glass artists will reflect on events from the last 10 years ranging from Hurricane Katrina to the birth of their first child and create new work based on a historic event.
Hodge Gallery at the Pittsburgh Glass Center
Feb 4-April 17
For 10 years Pittsburgh Glass Center has grown a thriving community of glass artists. Over 30 local glass artists will reflect on events from the last 10 years ranging from Hurricane Katrina to the birth of their first child and create new work based on a historic event.
BECon 2011-Bullseye
http://www.bullseyeglass.com/becon/?utm_medium=email&utm_source=ExactTarget&utm_campaign=email_20110201_BECon_public_invitation&utm_content=email_www.bullseyeglass.com%2fbecon
BECon 2011
CROSSOVER: A Material Exchange
Exploring the interface between kiln-glass and other media
What can we “makers” in the field of kiln-glass learn from artists working in other media? What lies at the interface of kiln-glass and forms of expression like painting, architecture, photography, digital technologies, printmaking and textiles? Exploring such questions could refresh and even revolutionize our work at the kiln—which is precisely the goal of Bullseye Conference, 2011.
WHEN IT WILL HAPPEN
June 16-18, 2011.
WHERE IT WILL HAPPEN
Portland, Oregon, USA—on the metropolitan campus of Portland State University, which is central to the city's vibrant, arts-rich core.
WHO WILL SPEAK
To date, the list of presenters includes:
Elizabeth Aro Invorio, Italy
Lynne Avadenka Huntington Woods, Michigan, United States
Amy Baur & Brian Boldon Minneapolis, Minnesota, United States
Steve Brown London, England
Vanessa Cutler Swansea, Wales
Bruce Guenther Portland, Oregon, United States
Alex Hirsch Portland, Oregon, United States
Alex Hoare Winchester, England
Munson Hunt Santa Fe, New Mexico, United States
Tom Jacobs Portland, Oregon, United States
Silvia Levenson Lesa, Italy
Dante Marioni Seattle, Washington, United States
Kari Minnick Silver Spring, Maryland, United States
Richard Parrish Bozeman, Montana, United States
Marc Petrovic Essex, Connecticut, United States
Laurel Porcari New Orleans, Louisiana, United States
Rick Potestio Portland, Oregon, United States
Judith Schaechter Philadelphia, Pennsylvania, United States
Karlyn Sutherland Lybster, Scotland
Lino Tagliapietra Venice, Italy
Peter Weijmarshausen Eindhoven, The Netherlands
Mindy Weisel Washington, DC, United States
Dr. Karen Yair Birmingham, England
WHO WILL ATTEND
About 250 artists, designers, fabricators, instructors, and students from around the globe.
PRE- AND POST-CONFERENCE WORKSHOPS
Are in the planning stages.
STUDENT SCHOLARSHIPS
Bullseye is offering 25 scholarships for students. Recipients can attend the conference for $250, less than half the standard price. To qualify, you must currently be enrolled full time in an accredited university or have graduated from an accredited university no earlier than May 2010.
To apply for a scholarship, please email the following information to marketing@bullseyeglass.com by February 27, 2011:
1) your contact information, including name, website (if applicable), mailing address, and email address
2) your CV or résumé
3) a short paragraph describing how you will use what you learn at BECon 2011
4) four to six .jpg files showing your work (no file larger than 100 kb.)
5) a list identifying each work shown in the .jpg files by title of image, title of work, year, technique/media, dimensions, and photographer.
Scholarship recipients will be notified by email no later than March 6, 2011. Once notified, recipients will be able to register for the conference at the reduced rate of $250.
WHAT IS BECON?
Every two years, aspiring and accomplished kiln-glass professionals from around the globe enjoy the opportunity to gather, network, compare notes and expand their horizons. That opportunity is known as BECon (the Bullseye Conference).
CONFERENCE SPONSORS
BECon 2011 is sponsored by Bullseye Glass Company.
CONTACT & INFO
Contact conference@bullseyeglass.com for more information.
Click here and here to learn about Portland, Oregon.
Keep an eye on this website for updates.
CONFERENCE FEE
(Includes Opening Reception and Lehr-B-Q)
• Early registration (through April 30): $450
• Standard registration (May 1 – June 09) $525
• Registration at the door: $600
REGISTRATION
Follow this link to register: http://www.regonline.com/becon_2011
BECon 2011
CROSSOVER: A Material Exchange
Exploring the interface between kiln-glass and other media
What can we “makers” in the field of kiln-glass learn from artists working in other media? What lies at the interface of kiln-glass and forms of expression like painting, architecture, photography, digital technologies, printmaking and textiles? Exploring such questions could refresh and even revolutionize our work at the kiln—which is precisely the goal of Bullseye Conference, 2011.
WHEN IT WILL HAPPEN
June 16-18, 2011.
WHERE IT WILL HAPPEN
Portland, Oregon, USA—on the metropolitan campus of Portland State University, which is central to the city's vibrant, arts-rich core.
WHO WILL SPEAK
To date, the list of presenters includes:
Elizabeth Aro Invorio, Italy
Lynne Avadenka Huntington Woods, Michigan, United States
Amy Baur & Brian Boldon Minneapolis, Minnesota, United States
Steve Brown London, England
Vanessa Cutler Swansea, Wales
Bruce Guenther Portland, Oregon, United States
Alex Hirsch Portland, Oregon, United States
Alex Hoare Winchester, England
Munson Hunt Santa Fe, New Mexico, United States
Tom Jacobs Portland, Oregon, United States
Silvia Levenson Lesa, Italy
Dante Marioni Seattle, Washington, United States
Kari Minnick Silver Spring, Maryland, United States
Richard Parrish Bozeman, Montana, United States
Marc Petrovic Essex, Connecticut, United States
Laurel Porcari New Orleans, Louisiana, United States
Rick Potestio Portland, Oregon, United States
Judith Schaechter Philadelphia, Pennsylvania, United States
Karlyn Sutherland Lybster, Scotland
Lino Tagliapietra Venice, Italy
Peter Weijmarshausen Eindhoven, The Netherlands
Mindy Weisel Washington, DC, United States
Dr. Karen Yair Birmingham, England
WHO WILL ATTEND
About 250 artists, designers, fabricators, instructors, and students from around the globe.
PRE- AND POST-CONFERENCE WORKSHOPS
Are in the planning stages.
STUDENT SCHOLARSHIPS
Bullseye is offering 25 scholarships for students. Recipients can attend the conference for $250, less than half the standard price. To qualify, you must currently be enrolled full time in an accredited university or have graduated from an accredited university no earlier than May 2010.
To apply for a scholarship, please email the following information to marketing@bullseyeglass.com by February 27, 2011:
1) your contact information, including name, website (if applicable), mailing address, and email address
2) your CV or résumé
3) a short paragraph describing how you will use what you learn at BECon 2011
4) four to six .jpg files showing your work (no file larger than 100 kb.)
5) a list identifying each work shown in the .jpg files by title of image, title of work, year, technique/media, dimensions, and photographer.
Scholarship recipients will be notified by email no later than March 6, 2011. Once notified, recipients will be able to register for the conference at the reduced rate of $250.
WHAT IS BECON?
Every two years, aspiring and accomplished kiln-glass professionals from around the globe enjoy the opportunity to gather, network, compare notes and expand their horizons. That opportunity is known as BECon (the Bullseye Conference).
CONFERENCE SPONSORS
BECon 2011 is sponsored by Bullseye Glass Company.
CONTACT & INFO
Contact conference@bullseyeglass.com for more information.
Click here and here to learn about Portland, Oregon.
Keep an eye on this website for updates.
CONFERENCE FEE
(Includes Opening Reception and Lehr-B-Q)
• Early registration (through April 30): $450
• Standard registration (May 1 – June 09) $525
• Registration at the door: $600
REGISTRATION
Follow this link to register: http://www.regonline.com/becon_2011
Summer Class at PGC!
Check out my summer class at the PGC! One of a kind.
CONNECTED
This scientific yet artistic glass class will incorporate traditional photographic processes such as lumen printing and cyanotype printing. Lumen printing is similar to creating photograms by placing objects directly onto emulsion-coated glass and exposing in direct sunlight. Cyanotype printing also uses sunlight, but with light sensitive salts and a cyan blue tinted emulsion surface. Unexposed salts dissolve away when the surface is washed leaving an image. These traditional photo processes will be combined with contemporary imagery in glass techniques such as photoresist sandblasting so students can explore the connection and unlimited possibilities of the combined mediums. Students will be exposed to a variety of methods for manipulating photographic images such photo editing systems like Photoshop, Graphic Converter and Gimp as well as using the dark room. Class will work in the Pittsburgh Filmmakers darkroom two days during the intensive week
Available Dates & Times
July 11 - 15 (one week)
Price: $650 ($700 after April 15th)
register online at www.pittsburghglasscenter.org
CONNECTED
This scientific yet artistic glass class will incorporate traditional photographic processes such as lumen printing and cyanotype printing. Lumen printing is similar to creating photograms by placing objects directly onto emulsion-coated glass and exposing in direct sunlight. Cyanotype printing also uses sunlight, but with light sensitive salts and a cyan blue tinted emulsion surface. Unexposed salts dissolve away when the surface is washed leaving an image. These traditional photo processes will be combined with contemporary imagery in glass techniques such as photoresist sandblasting so students can explore the connection and unlimited possibilities of the combined mediums. Students will be exposed to a variety of methods for manipulating photographic images such photo editing systems like Photoshop, Graphic Converter and Gimp as well as using the dark room. Class will work in the Pittsburgh Filmmakers darkroom two days during the intensive week
Available Dates & Times
July 11 - 15 (one week)
Price: $650 ($700 after April 15th)
register online at www.pittsburghglasscenter.org
Maniac Magazine
Check out the article in Maniac Magazine
www.maniacmagazine.com
Featured as one of the 20 Women of Power/Oct/Nov Issue
www.maniacmagazine.com
Featured as one of the 20 Women of Power/Oct/Nov Issue
*New Elemental Collaborations Show*
New Elemental Collaborations Show
The Shop: Art and Performance Studio
4314 Main St Pittsburgh PA 15224
Lauri Mancuso-Curator
Collaborative work from:
Michael (Fig) Mangiafico
Gwendolyn Korvick
Heather Joy Puskarich
Ed Pinto
Opening reception Friday May 7, 2010 7p-11p
Live entertainment and refreshments
Exhibition runs through June 31, 2010
Hours are by appointment: 412-951-0622
laurimancuso@msn.com
The Shop: Art and Performance Studio
4314 Main St Pittsburgh PA 15224
Lauri Mancuso-Curator
Collaborative work from:
Michael (Fig) Mangiafico
Gwendolyn Korvick
Heather Joy Puskarich
Ed Pinto
Opening reception Friday May 7, 2010 7p-11p
Live entertainment and refreshments
Exhibition runs through June 31, 2010
Hours are by appointment: 412-951-0622
laurimancuso@msn.com
Filmmakers Blog
Heather Joy Puskarich: “My Deviant Muse: Photographic Images in Glass”
March 16, 2010
Come see My Deviant Muse: Photographic Images in Glass at the Melwood Gallery! The opening reception will be on Friday, March 19th from 6:00 to 9:00 pm. The exhibit runs until April 18th. It is free and open to the public.
Glass is an element in many different symbol systems, often carrying different weight for different people. For Heather Joy Puskarich, whose work “My Deviant Muse: Photographic images in Glass” is currently on display at the Melwood Gallery, the medium of glass holds a variety of meanings. “Glass is an amalgamous solid. It changes from solid to liquid, and often doesn’t stay in one form, “ she says. “That is what my personality is like.” Glass is also “inherently beautiful,” and has “historical symbolism,” and can thus represent women.
Women are a central theme of My Deviant Muse, as most of the images consist of women, many complete with accessorizing objects such as high heels and make-up. Many of the images are about “costuming, making yourself someone else for others.” “We want everyone to see someone else,” says Heather Joy, “We don’t want them to see what we are about.” One piece in particular shows this theme clearly. Heather Joy has put images of a woman accessorizing onto a series of hand mirrors. As you walk up to the image, you see not only the woman in glass, but also an image of yourself.
The muse for “My deviant Muse” is the artist herself. “Muse is me. Deviant is myself,” she says. All the female images are actually of Heather Joy; she may be in a wig, or putting on make-up, or lying with her back toward the viewer. “It is a schizophrenic show,” she says, referring to the variety of emotions represented, as well as the pieces that are made from smaller cuttings. Avalon, for example, consists of 48 squares, each one made and processed separately. The picture they form is of Heather Joy on a bed in a seedy hotel, lying with her back to the viewer, feet dirty. Of this piece Heather Joy says, “I’m broken. Putting me back together is quite a feat. It’s exhausting.” Yet there is one pink square in the upper left, Heather Joy’s favorite of the 48 squares, that is “hopeful all will come together.”
“Blue Girl” was the first piece of the series and inspired the others. It is a toned print, almost entirely blue, done on clear glass, segmented, purposely uneven, depicting a woman’s hips in lace, with a poem inlaid. After making this piece, Heather Joy asked herself, “Why was she significant?” She thought about what Blue Girl meant to her, and began making more images involving women poets. The series progressed from there, with mutations of style, technique and theme.
A more light-hearted work is entitled “Saucy,” a photographic image of a woman’s legs sporting red high heels, poking out of an antique bathtub. This is the tub from her house, and the red shoes she wears when she wants to feel good. “It’s kind of happy, 40’s looking and ambiguous. The legs remind me of my mom’s legs. It takes me back to her,” says Heather Joy. The piece turned out great in glass, the tub looks three dimensional, and the faucet appears to pop out of the image.
One of her pieces, however, is not about costuming, and she feels it is the deepest of the lot, as well as the most personal. “Gypsy” features a woman’s face covered partially by hair, showing signs of anguish. The piece is made with glass and rust, so the piece perpetually degrades, a technique created by, and unique to, Heather Joy.
There are a variety of techniques for getting photographic images onto glass, and many of these techniques she teaches at the Pittsburgh Glass Center. They include sandblasting, decals, high fire paints, Dremel, or using an angle grinder to blast steel onto glass. Many of her pieces utilize as many as four of these methods. The process to create any piece is long; it can take up to two weeks to complete a project. Glass also has a certain drawback: it is fragile. Gypsy took four times to perfect, and many pieces have broken while in the making.
Heather Joy describes her aesthetic as “dreamy.” She likes translucency, light, the combination of steel and glass. Images she enjoys working with include bridges, birds, trees, woman’s faces and figures, and words. She especially loves the aesthetics of handwriting, and has inlaid handwritten poems into some of her works.
Be sure to visit the exhibit at the Melwood Gallery. It is open until April 18th. The opening reception will be on Friday, March 19th from 6:00 to 9:00 pm. The exhibit is free and open to the public.
Posted in Gallery | Tagged Heather Joy Puskarich, Melwood Gallery, My Deviant Muse, Photographic images in glass |
March 16, 2010
Come see My Deviant Muse: Photographic Images in Glass at the Melwood Gallery! The opening reception will be on Friday, March 19th from 6:00 to 9:00 pm. The exhibit runs until April 18th. It is free and open to the public.
Glass is an element in many different symbol systems, often carrying different weight for different people. For Heather Joy Puskarich, whose work “My Deviant Muse: Photographic images in Glass” is currently on display at the Melwood Gallery, the medium of glass holds a variety of meanings. “Glass is an amalgamous solid. It changes from solid to liquid, and often doesn’t stay in one form, “ she says. “That is what my personality is like.” Glass is also “inherently beautiful,” and has “historical symbolism,” and can thus represent women.
Women are a central theme of My Deviant Muse, as most of the images consist of women, many complete with accessorizing objects such as high heels and make-up. Many of the images are about “costuming, making yourself someone else for others.” “We want everyone to see someone else,” says Heather Joy, “We don’t want them to see what we are about.” One piece in particular shows this theme clearly. Heather Joy has put images of a woman accessorizing onto a series of hand mirrors. As you walk up to the image, you see not only the woman in glass, but also an image of yourself.
The muse for “My deviant Muse” is the artist herself. “Muse is me. Deviant is myself,” she says. All the female images are actually of Heather Joy; she may be in a wig, or putting on make-up, or lying with her back toward the viewer. “It is a schizophrenic show,” she says, referring to the variety of emotions represented, as well as the pieces that are made from smaller cuttings. Avalon, for example, consists of 48 squares, each one made and processed separately. The picture they form is of Heather Joy on a bed in a seedy hotel, lying with her back to the viewer, feet dirty. Of this piece Heather Joy says, “I’m broken. Putting me back together is quite a feat. It’s exhausting.” Yet there is one pink square in the upper left, Heather Joy’s favorite of the 48 squares, that is “hopeful all will come together.”
“Blue Girl” was the first piece of the series and inspired the others. It is a toned print, almost entirely blue, done on clear glass, segmented, purposely uneven, depicting a woman’s hips in lace, with a poem inlaid. After making this piece, Heather Joy asked herself, “Why was she significant?” She thought about what Blue Girl meant to her, and began making more images involving women poets. The series progressed from there, with mutations of style, technique and theme.
A more light-hearted work is entitled “Saucy,” a photographic image of a woman’s legs sporting red high heels, poking out of an antique bathtub. This is the tub from her house, and the red shoes she wears when she wants to feel good. “It’s kind of happy, 40’s looking and ambiguous. The legs remind me of my mom’s legs. It takes me back to her,” says Heather Joy. The piece turned out great in glass, the tub looks three dimensional, and the faucet appears to pop out of the image.
One of her pieces, however, is not about costuming, and she feels it is the deepest of the lot, as well as the most personal. “Gypsy” features a woman’s face covered partially by hair, showing signs of anguish. The piece is made with glass and rust, so the piece perpetually degrades, a technique created by, and unique to, Heather Joy.
There are a variety of techniques for getting photographic images onto glass, and many of these techniques she teaches at the Pittsburgh Glass Center. They include sandblasting, decals, high fire paints, Dremel, or using an angle grinder to blast steel onto glass. Many of her pieces utilize as many as four of these methods. The process to create any piece is long; it can take up to two weeks to complete a project. Glass also has a certain drawback: it is fragile. Gypsy took four times to perfect, and many pieces have broken while in the making.
Heather Joy describes her aesthetic as “dreamy.” She likes translucency, light, the combination of steel and glass. Images she enjoys working with include bridges, birds, trees, woman’s faces and figures, and words. She especially loves the aesthetics of handwriting, and has inlaid handwritten poems into some of her works.
Be sure to visit the exhibit at the Melwood Gallery. It is open until April 18th. The opening reception will be on Friday, March 19th from 6:00 to 9:00 pm. The exhibit is free and open to the public.
Posted in Gallery | Tagged Heather Joy Puskarich, Melwood Gallery, My Deviant Muse, Photographic images in glass |
Filmmakers Blog
http://pghfilmmakers.wordpress.com/2010/03/16/heather-joy-puskarich-“my-deviant-muse-photographic-images-in-glass”/
