Aug/Sept Glass Line - Wow, just wow

[themoch]

So i just got home an in my mailbox is the new glass line.

This legitimately has to be one of the best, most inspirational, issues in a looooooong time.

Robert, and other, you all have done a fantastic job getting all that work from all those artists into one place.

the photographs of the work make everything really stand out

Glass Line people: kudos for straying from the traditional "how-tos". Seeing artwork like this in one collection was pretty awesome.

It's articles and magazines like this that make me inspired to go out and try new things.

so thanks.

[Greymatter Glass]

I agree. Did you see the ad on the second page? (maybe third, depends how you count)

[themoch]

Sure did. Nice job

[Greymatter Glass]

I had like 30 minutes to meet the deadline... next issue will be a better ad I hope :P

[poncho]

yea i also got it and showed it to a bunch of furnace worker's who say the words lamp working with a negative connotation, and they were very impressed

[MUPH]

I think this is thier beset issue yet. It was a great change of format from the norm. I've never seen any other publication have the courage to do something like this. Great work.

Nice ad Doug

[Izzy Spun]

Damn... sounds like I gotta see this...

[vetropod]

Def sweet. Banjo's General Grievous piece is the sh!t.

[Cosmo]

I hated that issue.






It reminded me how much my work sucks in comparison...

[menty666]

I hated that issue.






It reminded me how much my work sucks in comparison...

LOL...I had the same reaction :)

[Robert Mickelsen]

There are many subtle things in this issue you might overlook if you just went through it quickly looking at the pictures. I suggest reading all three juror's statements (Paul's is my favorite) and then looking at some of the ads. One in particular... on page 5... is for a new foundation that supports glass artists. The ad is pretty non-descript, but this new foundation provides its support with *m o n e y*. I am not yet sure how this money will be made available, but anyone interested might want to email them and ask how to apply for grants.

I would also be interested to know what you think of our selections. Did we miss any that you think should have been included? Did we include any that you think don't belong? If you don't want to reply in public, PM me.

[Abe Fleishman]

I love the New Glassline WOW.
Things are changing, Glass art is so hot right now and people are listening all over the world, no matter if it is a pipe or art.
Abe

[SNYD]

I really wish mine would show up.

[lucidvisions]

I agree, the issue was very well done and personally I feel very blessed to have met many of the artists featured. Not only is there work amazing but so are they and that makes their work sooooo much better.

Robin, I'm sure that there were some great flameworkers overlooked but feel that you guys did an excellent job on giving us such a wide range of artists and their work to see. There's always more issues in the future....

Truthfully, I have not seen a Glass Line issue in over a year and feel the quality of the publication has improved in look, feel and content to a great degree. So my congrats to all those that make Glass Line possible, keep it up!

Josh

[SNYD]

I finally got my issue and wow there is some amazing work out there being made. I really liked your article RAM and am always checking your website to see your past works and what you are working on currently. I also really liked reading Clinton's article and his work.

A lot of this issue really left me with a lot of questions though. I know when you get featured in a issue like this you want to really talk your self up and show your best work, but sometimes after seeing such amazing work I begin to wonder: Do these artists really just make 5 or 6 amazing works of art every couple of months or are we just seeing the Icing on the cake?

I know a lot of the artists that have been at if for more than 20 years have other incomes like teaching for example. But when I look at artists that started around the same time as I did, and I see there work I feel like some of the others in this thread, Damn I need to get on it, my work sucks.

Now this is the first issue of glassline I have gotten in a few years, but last time I checked aren't the main readers other glass artists? If not this next statement is obsolete. Can't we be a little more realistic with each other? I would like to see some of these artists money makers, or in other words there prodo, what they make in between there amazing works of art, the things that pay the bills, along with some pics of there sickest piece ever. For me it would make it a little more real and not such a fairy tale.

Now I hope I'm not coming across as jealous, because I am not in anyway at all, I am inspired and look up to every artist in the issue and hope to meet and work with as many as I am able too.

Most of these questions come up because I look at some of them that have been at the torch around the same amount of time I have and wonder am I spending to much time making prodo? Or is the truth of the matter that these artist spend just as much time, if not more time than I do making prodo, and all that I see is there best work.

Anyway I don't want to sound like I'm rambling on, just wondered if anyone else felt the same way. All the pictures where great, but most of the articles that accompanied them seamed a little to written by ego to me.

I'm going to bed and in the morning I am reading the whole issue again to see if my point of view has changed at all.

Peace
Nate

[vetropod]

A lot of this issue really left me with a lot of questions though. I know when you get featured in a issue like this you want to really talk your self up and show your best work, but sometimes after seeing such amazing work I begin to wonder: Do these artists really just make 5 or 6 amazing works of art every couple of months or are we just seeing the Icing on the cake?
...
I would like to see some of these artists money makers, or in other words there prodo, what they make in between there amazing works of art, the things that pay the bills, along with some pics of there sickest piece ever. For me it would make it a little more real and not such a fairy tale.
...
Most of these questions come up because I look at some of them that have been at the torch around the same amount of time I have and wonder am I spending to much time making prodo? Or is the truth of the matter that these artist spend just as much time, if not more time than I do making prodo, and all that I see is there best work.
...
All the pictures where great, but most of the articles that accompanied them seamed a little to written by ego to me.

First off, regarding artist statements - these are the core values, what someone is striving for in their work. As such, they should be written by the ego (http://en.wikipedia.org/wiki/Ego#Ego)

Regarding the work, some of these people may make prodo as well, but if so that work does not accurately represent them. Most of the artists I know do turn out a lot of quality work every month! Some of the bigger pieces (Mickelsen, Miltenberger, Dunham, Lindemann) take a lot longer to produce, so of course output is going to be lower. But if prodo is all you think about, then you won't be able to see beyond that to make more interesting work.

[lucidvisions]

Amazingly enough I would have to believe most of them make they're money from making little or no prodo. It just the next step that's always hard to take to doing pieces that may take days and selling them. As to artist statements, you're trying to sell you idea, your creation and inspiration that incompasses your body of work. Buyers, especially ones that are gonna shelll out some high end cash want to know and share this. To them it personal and a relationship with the piece that will really help sell it. I personally I wouldn't invest in any piece without the ability to understand the artist's visions and drive.

Josh

[vetropod]

I think Josh has stated this much more clearly and with less emotional baggage :D

I just watched William Morris' movie, Creative Nature, and am a little confused right now - it really knocked me off balance!

[SNYD]

Thanks for the link Wes, that help me view the artists statements in a little different light, along with what Josh said.

When I say prodo I think a lot of people think cheap pipes, which isn't totally what I mean. I hardly ever make pipes anymore, but I do make a lot of what I consider prodo pendants, like dicro images, Dicro galaxys, and there are other pendants which I consider to be more art, but other artists probably think of as prodo.

A big part of where is comes from is over at The glass addiction forum I asked a few collectors how does a marble artist make it, or what makes collectors want an artists work? A few artists chimed in and said just make what you like to make and be happy and hopefully collectors will like it enough to buy. But then some collectors came back with completely opposite answers like you have to have your easy bread and butter pieces to keep you a in cash in between the sale of your bigger nicer pieces. So in reality the stuff we make as artists that we consider prodo are just as much apart of the bigger nicer pieces we make, and do represent us as artists just as much.
Now Wes and Josh you guys both have amazing work for what I see, but do you have what you consider prodo that keeps you in cash in between the sale of your nicer work? Or do you have other ways of making money other than your glass?

These are just questions that I have come up in my mind because I don't depend on my glass work to feed my family, but it does have to make enough to keep me in oxygen, propane and glass. So if I spend all my oxygen working on a new marble design, and I don't get it to the point where I want to show collectors or maybe I do and collectors don't like it enough to buy it, then I don't have any money to refill my tanks and continue working.

Now I know it is different for every artist because we all have our own unique situation in life, but back to my original question, isn't Glassline's main reading audience other glass artists?

Now exclude all the big name's like RAM, Fowler, Dunham, O' Grady, and take Matt Eskuche for example. I haven't seen a lot of Matt's work, but does he really survive as an artist making trash scene's or does he have prodo that helps him to be able to make the stuff you see in the issue. I really like the idea that he gets across to the viewer about thinking about all the trash we make, but I don't want to own it and have it in my personal collection.

Now again if this was a publication that mainly collectors subscribed to I wouldn't look at it the way I am, but like I said in my first post I haven't gotten a glassline issue in a few years so maybe they are trying to move in the direction of collectors being there main readers.

Another example is Roger Parramore, the piece in the article is amazing, but go to the thread on this very forum about how many pipes do you make it a day, and roger said no pipes but how about this many kick ass christmas ornaments. Your telling me that the christmas ornaments that roger makes don't represent him as an artists?

The artist in this Issue that I probably relate to the most is Eusheen. Not because of his work but more because we are around the same age and have been at the torch for around the same amount of time. His work just amazes me every time I see a new piece he makes, and I hope to one day be able to afford one of his works of art. But for the time being if he had say a less expensive "prodo" spoon or sherlock that was in my price range, I would jump at the opportunity to have on of those as well. So why shouldn't it represent him as an artists?

Now for me I am not lucky enough to live in Eugene or a place where there is a large amount of artists to be surrounded with and inspired by. I live in Utah and there is maybe a total of 30 boro lampworkers in the state and most of them make prodo pipes. The people of Utah are super unexposed to borosilicate glass for this reason and when I'm out in the public eye and people see some of my simple prodo pendants they think it is amazing ART. But when I try to get into the two big arts festivals that we have in the state I don't get into either, they would rather have other artists from oregon washington and California be part of our state arts festivals. So its really good for my lower end prodo work, but makes it vary hard for my higher end Art work.

I guess if there is any point at all to all of what I am saying is that our prodo type work that we make as artists to keep us a flout represents us as artists just as much as what we consider to be our best art. And I think the Glass community as a whole would be that much more well rounded if we represented ourselves to each other in that way, more than the fairy tale that the issue puts forward.

Peace
Nate

[lucidvisions]

Nate, I was merely guessing about the featured artists. Personally I have no inside info. I can only speak for us as a prime example though. We have 81 products in our wholesale catalog. All are considered production to me. There is little challenge to it, you pump them out as they are ordered and it's great for the bottom line. This has been a great way to expose ourselves to many galleries and develop a personal relationship with them that will hopefully grow into the highend market. Truth be told though, I would say maybe 5% of our galleries would be able to afford and sell highend glass art.

Well we're taking the next leap. We're scraping 95% of our prodo line for next year. We're only keeping the high profit margin pieces and devoting ourselves to achieveing what we know is possible if we put our minds to it. This is a hard transition and it's a big risk. But we believe in it and other's have encouraged us to do so.

I will burn out in another two years guaranteed if I keep going the current road only being driven by paying the bills and having a studio. I got into this with a goal in mind to keep bettering myself and I must admit I've been pretty stagnant with my work the last year by only being driven to make money. What will happen when we actually try? Who knows, but I do know what will happen if we don't push our own boundaries....nothing. I see it all the time. I've known lampers who are doing the exact same thing they have done for five years without an once of challenge to themselves. Maybe they're happy and it's none of my business to actually care where they are going but its a peak into my future that I don't want to realize.

I'm now starting to wonder if my rambling has a point....

The great talents that were featured in the new glassline issue I believe just went for it at some point. I think they disregarded the issue of being profitable in $ but held true they're drive to profit in satisfaction from a challenge and find they're calling. They're pieces hold importance to galleries and buyers because they're being true to themselves as artists and as people.

Well I'm tired of seeing all of them have fun. I'm jumping off the high dive into the deep end, knowing it will be a scary first fall, but I'll look back up with adrenaline pumping and know that it will be worth it in the long run.

Hope my ramblings weren't a highjack of a thread.

Josh

[SNYD]

Josh thats great I hope all goes well for you in the next few years. And what you said is exactly what I would have liked to see more of in this issue. Looking at your work I would have never thought of 95% of it as being prodo, to me it all seems like high end art. And I commend you for pushing your limits and always raising your own personal bar in your glass work.

I have read and reread the issue several times now and realize I was reading way to much into a lot of it. Like I said I haven't read glassline in a few years and my mind was stuck in there usual format that is more geared towards the artists in the glass community. I hope in the future to see a magazine that features artists in a more full circle of what the artist does as a whole of there work.

This issue is an amazing work of art in of its self, and a lot of my previous post where from a different perspective than I have now.

Thanks to all the hard work of the people who put this issue together.
Peace
Nate

[naughty pirate wench]

I love LOVE LOVE this issue!!! :blowkiss: This is exactly what I like to see - a peek into other artist's minds and studios, if you will! Thank you for such a wonderful read!

[Robert Mickelsen]

Thanks for all the comments. I have been watching for reaction but it has been slow to come. One of the things we hoped to accomplish in this issue was to stimulate some discussion about what kind of work we all should be doing and what we *have* to do to survive. Mission accomplished.

My 2 cents: There is no two ways about it. This is a high-risk business. There is no guarantee of reward or success. There is a guarantee of very hard work and lots of disappointment mixed in with the modest (at best) success we all hope for. Therefore, aim high. Do your BEST work. Don't settle for second best just to pay bills. These little pieces of glass are what you will leave behind when you are gone. Make them something your descendants will be proud of. The money is secondary, but the really weird thing is that there is more money if your BEST work sells than there ever is in your "safe" common "prodo". More risk... more money. Makes sense, eh?

So reach for the stars my fellow glass-makers. The potential for success awaits every last one of us, from the supernaturally talented to the most common workaday spooner. All you have to do is... risk everything! ;)

- RAM

[lucidvisions]

Risk everything, check. We've done it two times before and I mean literally bet the whole shop twice and it payed off. Currently betting the studio again on one show. Hopefully this one outdoes the others. Also in R&D planning on doing it again after the current risk is completed. No reward without risk.

Thanks Robin for your insight. You have taught many of us to excel to the highest level. So when you see our's and other's work that you've influenced and help guide, pat yourself on the back because our success is also attributed to you!

Josh

[Micah Evans]

ok, back to the og topic.


1. WTF is up with the freaking font and page layout with glassline? i know its come a long way and all but seriously, looks like it was put together in corel draw.

2. tons of misspellings and the artist photos were hilarious, looks like Dan P cut the face out of an old picture of him leaning up against a Rx-7 in the 80's. Lukens name was published as Jacob which is on his birth certificate but thats about it, explicit instructions were given by him for the name and none were followed.

3. best issue ever, really awesome. i hope to see another, there were no real surprises but it was a nice presentation! way to go guys

[Micah Evans]

and i think when robbin said risk everything he was not just talking about financially.

Risk everything, leave your old body of work behind.
Risk everything by doing and making what you truly believe in, even if there is as of yet no market.
Risk everything by making work for yourself, not for a gallery, not for a pricepoint..... just make YOUR work.

the thing i admire most about Robbin is his courage to drop a successful series to go onto something completely new without looking back. that takes balls, and he does it all the time.

[Robert Mickelsen]

Micah - Thanks for the props and... *actual criticism*!!! I have no defense of either spelling errors or identity errors. I was not the editor but I know we all agreed to abide by the artist's wishes no matter what they were. I am not sure how that happened.

I also agree that some of the photos were not the best. I don't have to point out whose they were... it is pretty obvious in my opinion... but they stand as an example of how important good photography is. How much sense does it make to be one of the most respected names in the medium and present lousy photos in a publication like this?

This will not be the last survey like this. Hopefully we will all learn from our mistakes and make the next one better.

- RAM

[roger parramore]

Why only pipes? What about the sex toy industry which is soon to eclipse the pipe industry? If you want the cutting edge, look to the dildo.

[lucidvisions]

Roger, not sure how that was to be taken but show me a sex toy that has been as meticulously made as the pipe makers in that issue and I'll agree. Personally haven't seen it myself though.

Josh

[Emmett's Glass]

Why only pipes? What about the sex toy industry which is soon to eclipse the pipe industry? If you want the cutting edge, look to the dildo.

I would personally avoid any sex toys that are 'cutting edge'
I'm gonna have to get my hands on a copy of this issue so I can see for myself.
E

[Robert Mickelsen]

Why only pipes? What about the sex toy industry which is soon to eclipse the pipe industry? If you want the cutting edge, look to the dildo.

Roger is a very funny guy. I think he realizes that the selections for this issue were based on excellence in design, technique, and artistic merit. We, the jurors, all felt that some of the pipes we saw qualified so they were included. We all realized that would be a controversial choice. Roger may or may not agree with our choices, but he should be careful what he wishes for. He may be on the jury for the next survey! ;)

-RAM

[yinzer]

I would personally avoid any sex toys that are 'cutting edge'


+1

[cc_bob]

I must say I loved seeing some of the work but I was a bit disappointed that I have to wait another two months for some more tutorials. I like trying everything, even things I can't pull off so I anticipate these tutorials like a junkie awaiting his next fix. Don't get me wrong I thought showing this work was great, and needed, but it should of been done as a bonus issue (that would of made my day). For me I really like seeing how others do things, not just what they've done. It's kind of like getting your favorite porn mag in the mail just to find out there are no pics, just the best articles but in this case I look forward to the tutorials which weren't there.

While I'm on the topic of what I don't like, LOL...
Nearly every issue I get is damaged in some small way (Frakin' mailman). This issue had a small rip in the corner, another was all bent up, and another got wet. The point to this is that the Flow comes wrapped up and in good condition, Glass Line (and the rest of my mail) is normally beat up. While this is NOT Glass Line's fault it still irks the shit out of me, I save these things like they're priceless coins.

Now that I've done my bithin I must say Glass Line is normally way better than the Flow for tutorials and is therefore my favorite of the two. I love the tutorials, even the bead ones which I'm not into but I still like seeing how it's done and incorporating some small piece of it into what I do. I do wish it would come monthly and would cover some of the events in better detail but all in all it's a great magazine and this months issue was great too, I just missed the tutorials.

[J Howard]

response for nate:

i can only speak for myself, but i really only get to make 2-3 pieces a year that are of that quality and effort. I DO make my living off of prodo (though i no longer make pipes) and can only work so much. of course i'd love to make more of my living of my "art" (call it what you want, to me it's the stuff i'd like to make) but you do what you have to do. a piece like this might take a week and a half, sometimes way more:

http://www.rjasonhoward.com/pages/bachelor%27s%20button.html

it's kind of like taking a working vacation to produce it.... litteraly have to be able to "afford" to make the piece, both in time off my prodo schedule and money wise. But, i also have a family, so i need my business to run like a business.. or just get a job. some have less overhead, some teach, some have another job. at least prodo keeps you on the torch- but it's a double edge sword, you say yes to business because you're growing one, and then you discover you're almost booked for the year, and it's getting harder to do the experimental pieces you'd love to do. i agree with josh 100%, especially with whittling down your line to just the best margin pieces and get by with just what you need, keeping the emphasis on what your goals are so you don't burn out and get bored. cause if we wanted a job, we'd have one right? this issue reminds me to keep the goals in focus, and keep the "art" front and center- thanks to all who worked on it

[vetropod]

cc bob - I've got to put my two cents in after yours. This was the first issue in a LOOOOOONG time (or either Glass Line OR The Flow) which I didn't breeze through in less than 5 minutes. In fact, I'm still working my way through it!

All of those tutorials are great content for a lot of folks, but generally speaking they do nothing for me. This was the first issue in a while which I felt had REAL substance! I've been enjoying reading what drives my fellow artists, seeing pics of their best work (all in one place!), and also reading the comments of the jurors and what drove them to pick what they did.

I know it was a huge leap to only have such content for one issue, but I sure enjoyed it! :D :bouncy: :blowkiss:

[SNYD]

response for nate:

i can only speak for myself, but i really only get to make 2-3 pieces a year that are of that quality and effort. I DO make my living off of prodo (though i no longer make pipes) and can only work so much. of course i'd love to make more of my living of my "art" (call it what you want, to me it's the stuff i'd like to make) but you do what you have to do. a piece like this might take a week and a half, sometimes way more:

http://www.rjasonhoward.com/pages/bachelor%27s%20button.html

it's kind of like taking a working vacation to produce it.... litteraly have to be able to "afford" to make the piece, both in time off my prodo schedule and money wise. But, i also have a family, so i need my business to run like a business.. or just get a job. some have less overhead, some teach, some have another job. at least prodo keeps you on the torch- but it's a double edge sword, you say yes to business because you're growing one, and then you discover you're almost booked for the year, and it's getting harder to do the experimental pieces you'd love to do. i agree with josh 100%, especially with whittling down your line to just the best margin pieces and get by with just what you need, keeping the emphasis on what your goals are so you don't burn out and get bored. cause if we wanted a job, we'd have one right? this issue reminds me to keep the goals in focus, and keep the "art" front and center- thanks to all who worked on it

Thanks Jason, your work is amazing and was one of my favorites in the issue. It gives me a much better perspective to know that some of these great artists still have money makers to keep them alive.

Peace
Nate

[roger parramore]

Roger is a very funny guy. I think he realizes that the selections for this issue were based on excellence in design, technique, and artistic merit. We, the jurors, all felt that some of the pipes we saw qualified so they were included. We all realized that would be a controversial choice. Roger may or may not agree with our choices, but he should be careful what he wishes for. He may be on the jury for the next survey! ;)

-RAM

Yikes!

[Bunyip]

Wow when it said "special edition" I thought that meant it was extra & didn't realize we weren't getting a regular issue also. Just wanted to say that this is a great issue, but I too missed the tutorials. On the whole though, I'd rather miss the tutorials (once a year) than not have this. Best of all would be a double issue!

[lucidvisions]

Would if it consisted of the top artists and each artist featured also had a demo?

Josh