2012 Conference - Pittsburgh, PA
July 19, 2012
9:00 am - 4:00 pm
Advanced Leadworking - Dan Maher and Nancy Nicholson
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Advanced leadworking techniques for the stained glass artist. The workshop will include the proper use of traditional and non traditional leadworking tools such as lead knife, lead dykes, lead saws, tubing cutters, lead planes, and combining lead and copper foil in constructing a window. The workshop will address the use of round and flat leads, high heart leads and custom trimming of leads to create multi layering of glass techniques by plating with flanges, building of leads to accommodate non traditional glass objects, weaving of leads, internal and external support systems, proper soldering and the use of different alloys in a variety of lead profiles.

The goal of the workshop will be to advance the participants’ knowledge of proper structure of leaded windows, to increase speed in custom- and production-style leading, but most importantly to improve the aesthetic quality of the leaded component of a stained glass window. The participants in the workshop will work hands-on leading sample panels in a variety of techniques and profiles of leads. Students will glaze several 12" x 14" panels; glass will be provided cut and ready to glaze. Students should bring lead glazing tools they like, but will also be provided with tools, and will have the chance to try tools they may not have.

Class is limited to 12. Cost $350 including materials and use of tools. 

Daniel Maher Stained Glass
Nancy Nicholson Stained Glass

9:00 am - 1:00 pm
Painting Eddie's Head Workshop - Nick Parrendo
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Enjoy a fun-filled painting session with AGG Senior Advisor and Joseph Barnes Lifetime Achievement Recipient, Nick Parrendo, at his historic Hunt Stained Glass Studio. This is a rare opportunity to observe and study with Nick in his native environment of over 60 years!

Participants will learn to paint King Edward during this 4-hour workshop (or if they prefer, paint a head of their own choosing). Participants will be supplied with materials and will engage in guided painting play utilizing traditional methods of tracing with oil, waxing up windows and matting and spraying with water and alcohol, transforming the glass which will then be fired. The finished piece can be incorporated in to other work at a later date. Students are asked to bring their own brushes.

Class is limited to 15. Cost $250, plus a material fee of $50 to be paid to the teacher at the workshop. 

Hunt Stained Glass Studios

2:00 pm - 5:30 pm
Design & Color - CZ Lawrence
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Teaching Assistant: Kathy Jordan
Charles Z. Lawrence has been designing windows for over 50 years.  His innovative and unique approach to design and color is his signature. His career has produced a vast and exceptional body of work; most notably, the National Cathedral in Washington DC.  This is an interactive, hands-on workshop that offers a rare opportunity to see and experience glass with through CZ's perspective.   
 
Students will learn the techniques CZ uses to create his designs/cartoons for client presentations.  The class will conclude with a lecture segment from his body of work: "Color, Chiaroscuro & Light" and a critique on the design work the students generated within the workshop. 

Class is limited to 15. Cost $200, plus a material fee of $25 to be paid to the teacher at the workshop.

CZ Lawrence Stained Glass

July 20, 2012
7:30 pm - 10:00 pm
Open Drawing Class - Ken Leap
More Info
Attendees will be both participants and models. The class is free and the AGG encourages participation by all. Students must bring their own drawing materials.

Although this is free, you must indicate on your registration form if you plan to take this ever-popular class. 
July 19, 2012
9:00 am - 4:00 pm
Advanced Leadworking - Dan Maher and Nancy Nicholson
More Info
Advanced leadworking techniques for the stained glass artist. The workshop will include the proper use of traditional and non traditional leadworking tools such as lead knife, lead dykes, lead saws, tubing cutters, lead planes, and combining lead and copper foil in constructing a window. The workshop will address the use of round and flat leads, high heart leads and custom trimming of leads to create multi layering of glass techniques by plating with flanges, building of leads to accommodate non traditional glass objects, weaving of leads, internal and external support systems, proper soldering and the use of different alloys in a variety of lead profiles.

The goal of the workshop will be to advance the participants’ knowledge of proper structure of leaded windows, to increase speed in custom- and production-style leading, but most importantly to improve the aesthetic quality of the leaded component of a stained glass window. The participants in the workshop will work hands-on leading sample panels in a variety of techniques and profiles of leads. Students will glaze several 12" x 14" panels; glass will be provided cut and ready to glaze. Students should bring lead glazing tools they like, but will also be provided with tools, and will have the chance to try tools they may not have.

Class is limited to 12. Cost $350 including materials and use of tools. 

Daniel Maher Stained Glass
Nancy Nicholson Stained Glass

9:00 am - 1:00 pm
Painting Eddie's Head Workshop - Nick Parrendo
More Info
Enjoy a fun-filled painting session with AGG Senior Advisor and Joseph Barnes Lifetime Achievement Recipient, Nick Parrendo, at his historic Hunt Stained Glass Studio. This is a rare opportunity to observe and study with Nick in his native environment of over 60 years!

Participants will learn to paint King Edward during this 4-hour workshop (or if they prefer, paint a head of their own choosing). Participants will be supplied with materials and will engage in guided painting play utilizing traditional methods of tracing with oil, waxing up windows and matting and spraying with water and alcohol, transforming the glass which will then be fired. The finished piece can be incorporated in to other work at a later date. Students are asked to bring their own brushes.

Class is limited to 15. Cost $250, plus a material fee of $50 to be paid to the teacher at the workshop. 

Hunt Stained Glass Studios

2:00 pm - 5:30 pm
Design & Color - CZ Lawrence
More Info

Teaching Assistant: Kathy Jordan
Charles Z. Lawrence has been designing windows for over 50 years.  His innovative and unique approach to design and color is his signature. His career has produced a vast and exceptional body of work; most notably, the National Cathedral in Washington DC.  This is an interactive, hands-on workshop that offers a rare opportunity to see and experience glass with through CZ's perspective.   
 
Students will learn the techniques CZ uses to create his designs/cartoons for client presentations.  The class will conclude with a lecture segment from his body of work: "Color, Chiaroscuro & Light" and a critique on the design work the students generated within the workshop. 

Class is limited to 15. Cost $200, plus a material fee of $25 to be paid to the teacher at the workshop.

CZ Lawrence Stained Glass

8:00 pm - 10:00 pm
Let there be Light! - The First screening of the new film about AGG Senior Advisor Rowan LeCompte.
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Doors open at 7:30pm, Screening begins at 8:00pm

Film time, 90 minutes.

There will be a brief presentation by Peter Swanson immediately followed by the film 
and a Q & A session after the film.  A block of seats will be reserved for AGG members. 

Pittsburgh Filmmakers: Harris Theater
809 Liberty Avenue, Pittsburgh, PA 15222, (412) 471-9700

July 20, 2012
8:30 am - 8:30 am
Juried Show Display Launch
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The American Glass Guild is excited to organize its first Juried Members Exhibit concurrent with our seventh annual conference, to be held at the Omni William Penn Hotel in Pittsburgh, PA, July 20-22, 2012. The exhibit will be one of the highlights of the conference, with an opening reception and unveiling scheduled for the morning of July 20, 2012. Noted historian Virginia Raguin organized the jury.

We are delighted to announce the twelve artists selected. They are (in alphabetical order): David Fode, Marie Foucault-Phipps, Mary Clerkin Higgins, Barbara Krueger, Ellen Mandelbaum, Nancy Nicholson, Scott Ouderkirk, , Nicholas Parrendo, , Betti Pettinati-Longinotti, , Hallie Monroe Richards, Patrick Reyntiens and Patrice Heinz Schelkun.

Thank you to everyone who submitted and to our jury, organized by Virginia Raguin. 
We look forward to a wonderful and interesting show!

9:30 am - 4:00 pm
Site visit - Guided by Al Tannler and John Kelly
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American Glass Guild Bus Tour Schedule-Friday, July 20, 2012, 9:30am - 4:00pm 
Guided by Albert M. Tannler, Historical Collections Director, Pittsburgh History & Landmarks Foundation and stained glass restorer John Kelly

The all-day bus tour scheduled for Friday, July 20, 2012, will be the best and in some cases the only opportunity for visiting selected sites; these include Horace Rudy’s residence, Sacred Heart R. C. Church, Calvary Episcopal Church (otherwise closed on Friday’s and Saturday’s in July), East Liberty Presbyterian Church, Heinz Chapel, and St. James R. C. Church, Wilkinsburg.

9:30am       Depart Omni William Penn Hotel, 530 William Penn Place

10:00am     Arrive J. Horace Rudy house, 920 Sheridan Avenue, 15206 
10:40am     Depart

10: 50am    Arrive Sacred Heart Parish, 210 Shady Avenue
11:30am     Depart.  Walk across Shady Avenue to Calvary Episcopal Church

11:35am     Arrive Calvary Episcopal Church, 315 Shady Avenue
                     11:35am  - 12:10 p.m. Tour  Calvary   12:10pm -12:45 p.m. Lunch
12:45pm     Depart 

12:50pm     Arrive East Liberty Presbyterian Church, 116 S. Highland Avenue
1:30pm       Depart

1:40pm       Arrive at Heinz Chapel, University of Pittsburgh, Fifth Bellefield Avenue
2:20pm       Depart

2:35pm       Arrive St. James R.C. Church, 718 Franklin Street, Wilkinsburg, Pa., 15221
3:15pm       Depart

4:00pm       Arrive at Omni William Penn


See Complete List of Architectural Glass in Metropolitan Pittsburgh

 
5:45 pm - 6:15 pm
Virginia Raguin - An Illustrated Reflection on the Juried Show
6:15 pm - 8:00 pm
Dinner on your own
7:30 pm - 10:00 pm
Open Drawing Class - Ken Leap
More Info
Attendees will be both participants and models. The class is free and the AGG encourages participation by all. Students must bring their own drawing materials.

Although this is free, you must indicate on your registration form if you plan to take this ever-popular class. 
8:00 pm - 11:00 pm
Evening Social Events & Auction Preview!
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President’s Welcome, Auction Preview, Members’ Slide Show (ongoing), Cash Bar, Stained Glass Pop Quiz.

A NEW OPPORTUNITY - PERSONAL PORTFOLIO REVIEW 
with Ellen Mandelbaum

On Sunday Ellen Mandelbaum will hold an informal discussion on any portfolios people would like to show. In order to participate, please bring what you’d like to discuss with her on FRIDAY evening. Please do not bring single rumpled sheets of paper but sketches or photos that have been mounted on a standard sized paper or slipped in the sleeves of a binder! -
Learn more about this.

July 21, 2012
9:00 am - 9:20 am
Ken Leap - Working with Silver and Copper Stains
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When working with stains understanding the chemistry, temperature and different methods of application can lead to more predictable results in the studio. While researching his book, “Silver Stain: An Artist’s Guide” J. Kenneth Leap prepared over 200 stain samples. This lecture will present a 20 minute overview on how to work with stains including new information not covered in his book – namely the nuances of working with copper stain and its role in replicating historic orange and red stains.



9:20 am - 9:40 am
Jean Farnsworth - The Gibsons & The U.S. Capitol Skylights: An Introduction
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The four stained-glass skylights crowning the United States Capitol’s grand public staircases stand as true gems of America’s cultural heritage, recognized by connoisseurs of the art as “truly spectacular”. Their survival alone would be noteworthy, considering how much early American stained glass is lost, but their significance is historic as well. A study of these 1860 skylights not only reveals much about the talents of the artisans, John and George Hastie Gibson, but also the rising interest in stained glass demonstrated by the decision to embrace this luxurious material for the decoration of the U.S. Capitol Extension.

This presentation will focus on the talents of the Philadelphia brothers John and George Hastie Gibson who, along with their older brother William, were a remarkable trio of artisan siblings who ventured to this country from Scotland during the first half of the 19th century and established themselves in the stained-glass and decorative painting professions. William settled in New York City where he founded one of the earliest, if not the first 19th-century stained-glass studio in this country. John and George became two of Philadelphia’s most accomplished mid-19th-century decorative artists. Though much of their glass is lost, fine examples remain as a testament to their talents, including their extraordinary grand staircase skylights for the U.S. Capitol.

9:40 am - 10:20 am
Al Tannler - Keynote Speech
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Al Tannler has been Historical Collections Director of the Pittsburgh History & Landmarks Foundation since January 1991 during which time he has researched extensively the history of architecture and the decorative arts in Western Pennsylvania. He has explicated what Pittsburgh Post-Gazette critic Patricia Lowry has called “Pittsburgh’s great treasury of historic stained glass” in books, articles and book reviews and will share some of that knowledge with us.

10:20 am - 10:40 am
Break
10:40 am - 11:20 am
Beth Glasser - Working with Architects: The Keys to a Successful Collaboration
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This talk will provide an overview of the building design process, and how architects select and work with allied artists. Among the topics to be addressed: Stages of the design process; Types of buildings and how the design approach differs; How the ‘marriage’ is made; How are artists selected?; Whose design is it?

The goal of this session is to provide a context for glass artists to understand who their audiences are –the building owner, the architect, and/or the Construction Manager – and how their agendas may differ. Knowing more about the process will help the artist to better position him/herself for potential opportunities/commissions.

11:20 am - 12:00 pm
Reiner Meindl - From Archaic Manufacture to Modern Appliance
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Since the first century, glass sheets have been made using a furnace and blowpipe., requiring the skills of a master glassblower. Glashütte Lamberts in Germany is one of a handful of companies worldwide which currently produce hand-blown sheet glass utilizing the tools and methods of ancient glassmakers. For two millennia, this method has produced glass of character and great beauty, lending distinct individuality to each and every sheet.. Today, besides the inventive and creative uses of glass with traditional stained glass techniques, there are art-glass designs that call for a seamless unit consisting of large sheets of hand-blown glass laminated into a glazing unit. For any technique, the master glassblower produces a truly magical material that enchants the world.

12:00 pm - 1:00 pm
LUNCH; View Demonstration
1:00 pm - 2:00 pm
Business Meeting
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President's Report; FInancial Report; Elections
2:00 pm - 2:40 pm
Sylvia Nicolas - Glass as Monumental Art
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Nowadays it is rare to find opportunities for stained glass artists to create windows for site-specific settings. Increasingly, stained glass makers are producing small exquisite pieces designed to be seen close up, while larger more prestigious commissions are awarded to artists from other spheres. In this talk Sylvia discusses the challenges and rewards of working on a larger scale, and the importance of producing windows which are appropriate to place.
2:40 pm - 3:20 pm
Arthur J. Femenella - How Isothermal Glazing Preserves Our Stained Glass Heritage
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There are many aspects to designing a successful protective glazing system: Glazing material - glass or plastic? Framing detail - stand alone frame or utilize an existing part of the building profile? Venting the interstitial space to the interior, to the exterior, a mix of both? and, how much is enough?

How do we properly address these issues within a design that is aesthetically pleasing to the exterior of the building and does not infringe on the enjoyment of the stained glass window? A properly installed isothermal glazing system can greatly reduce the need for intrusive conservation procedures when preserving the window and can totally separate the window from the forces that are willfully attacking it. The downside is that in the past, these systems have proven to be very expensive and often architecturally unsightly. Due to recent developments isothermal glazing is now available in a cost-effective, aesthetically pleasing package. This paper will discuss the problems caused by past protective glazing systems and focus on the system of the future, isothermal glazing. The science, engineering and artistic aspects will be discussed along with the additional benefit of reducing the need for intrusive conservation techniques such as releading.

3:20 pm - 3:35 pm
Break
3:35 pm - 4:35 pm
Standards discussions: Standards and Guidelines in Conservation
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Chair: V Rothman - Introduction by Mary Clerkin-Higgins
Standards and Guidelines within each field must be clearly thought-out and defined to be useful both to practitioners and specialists within the field, and to others outside it, who are looking for guidance.

In stained glass, besides studios engaged only in making new windows, we have those who restore windows from the last 100 years and a few with experience restoring 800 year-old windows. All are using the same basic materials, but need standards that take into consideration a complex range of conditions. Every project involves balancing a range of issues, conditions, needs, and materials. Standards and Guidelines need to be flexible, take into account real-world situations, and focus on "what are the needs of this particular stained glass panel on the bench (or headed for it)?"

This panel, led by Victor Rothman and with an introduction by Mary Clerkin Higgins, will discuss existing guidelines, how they are used and misused, and begin a dialogue aimed at establishing useful Guidelines and Standards for stained glass.

5:15 pm - 6:15 pm
Cash Bar
5:30 pm - 6:15 pm
Silent Auction
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Tables will close every fifteen minutes, concluding at 6:15pm.
6:15 pm - 7:30 pm
Barnes Award and Dinner
7:30 pm - 10:30 pm
2012 Live Auction
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To benefit the James Whitney Scholarship Fund and AGG educational programs
July 22, 2012
9:00 am - 9:20 am
Ellen Mandelbaum - Living Stained Glass
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Ellen Mandelbaum will explore connections between the art field and the field of stained glass and her connections to others working in stained glass. Ellen has been working in stained glass for almost forty years. Finding stained glass was not only a discovery of a wonderful medium for her, but also a rescue that changed her life. She will also give some background about where she is coming from to inform her portfolio discussions.

9:20 am - 9:40 am
Mary Clerkin-Higgins - Kiki Smith and the Eldridge Street Synagogue
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Making art is a combination of vision and problem solving, in both aesthetics and technique. A difficult medium to master, stained glass is often large in scale, architectural, and expensive, so experience is gained with difficulty. While there are many different ideas about what makes a stained-glass window work, with architectural glass a discussion of whether it is successful has to take into account the artist’s goals and how the finished window interacts with its environment. The choice of materials used is also critical to a work's long-term success. This paper is a discussion of a new window by artist Kiki Smith and architect Deborah Gans for the Eldridge Street Synagogue and Museum. This paper was presented at the Corpus Vitrearum Colloquium "Contemporary Stained Glass" in Liege, Belgium in November of 2011.
9:40 am - 10:20 am
Mark Hall - Tepid Glass Mixing Cold and Warm with Hot
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Connecting all aspects of glass working requires an understanding of the material and the science of how it works. We’ll promote collaboration, communication, problem solving skills, and create avenues for specialization.

We’ll discuss warm glass aspects by examining samples in stages of construction. Strips cut from sheets, shards, or frit are fused into thick slabs, cut into long square rods and loaded into the mold to fire again. Cold work enters in discussions about grinding, sawing and sandblasting. Eliminating bubbles is a popular topic. Specific visual characteristics associated with this technique are identified. It’s not difficult for novice warm glassworkers to follow these shared guidelines (a hand-out will be provided). Kiln owners will learn how to create their own decorative colored fused glass cylinders, and realize they can blow glass in their own studio by adding a few simple things – a glory hole, glassblowers bench, and some hand tools.

Viewing a video on the big screen is possible. We’ll see how a gaffer picks up the warm thick-walled cylinder on a collared blowpipe, seals the end with a warm ‘cookie’, then shapes the bubble. I’ll explain why this method is used, discuss alternatives, and answer questions. Finally, examples of finished pieces are reviewed.

10:40 am - 11:20 am
Betti Pettinati- Longinotti - Stained Glass as an Art Form: 50 Years after the Studio Glass Movement
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An investigation of stained glass as an art form 50 years after the Studio Glass Movement. The investigation will look at stained glass as a viable art medium and bring these questions into discussion: How has the education of stained glass advanced or inhibited the promotion of stained glass as an art medium? How does stained glass fit into the Studio Glass Movement over the past 48 years? What artists have promoted stained glass as a fine art/craft/design medium?
11:20 am - 12:00 pm
Troy Moody - The Anatomy of Gainful Unemployment
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Six years ago Troy was fortunate enough to be relieved of his employment obligations and freed to pursuit life as a freelance artist. He had been cutting his teeth fabricating residential stained glass when the small studio he had been working for decided to down size and focus on teaching and selling supplies to the hobbyist market. He was fired and the grand adventure of his self-employment began.

It quickly became apparent that in order to survive financially he would need to diversify his income. Having spent years cutting glass and bending lead, he was quite competent as a glazier and so kept busy fabricating windows for smaller studios in the area. He also began developing relationships with interior designers and reaching out to custom homebuilders and commercial glaziers. The designers are a source for ornamental work, and the commercial outfits feed him a steady flow of repair work as well as the occasional new window.

Around this time, he began to apply to public art projects.  In 2006 he was selected to design 10,000 square feet of Terrazzo for the new Phoenix Convention Center, a project that earned him an Honor award from the National Terrazzo and Mosaic Association. He pressed on determined to avoid punching a clock as long as possible.

Since that time, Troy has completed numerous art glass installations for religious, commercial and private spaces in Arizona, California, New Hampshire, Massachusetts, Maine and South Dakota. In 2011, he completed a 75,000 square foot terrazzo project to flow throughout the new Maricopa County Superior Court Tower. In addition to his site-specific installations, Troy is continually producing autonomous artwork for gallery exhibitions.

12:15 pm - 1:30 pm
LUNCH
1:30 pm - 1:50 pm
Art Femenella - Glass Applique
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Having worked with Tom Garcia on the Kiki Smith Eldridge Street Synagogue window, Art will discuss this project in particular and lamination in general.
1:50 pm - 2:10 pm
Art Femenella and Mary Clerkin-Higgins - Lamination - Some Questions, Some Answers
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Following on from their presentations, Mary and Art will lead a joint question and answer session. While they may have different perspectives, we hope to also find some common ground. Input from the floor will also be welcomed.

2:10 pm - 2:50 pm
Julie Sloan & James Yarnall - John La Farge, Stained Glass in Pittsburgh and Sewickley
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John La Farge’s stained glass in the Pittsburgh area is diverse in subject and
purpose. For industrialist Henry Clay Frick and architect Daniel Hudson Burnham, La
Farge created one of the most unusual windows of his career: an allegory of Fortune derived from ancient Roman models. Installed in 1902 over the lobby and elevator banks of the Frick Building in downtown Pittsburgh, this massive window testifies both to La Farge’s uniqueness as a pictorial designer and to his ability to mastermind windows of great technical sophistication. In the wealthy suburb of Sewickley, La Farge received three commissions for memorial windows in the local Presbyterian Church, installing them in 1899, 1900, and 1908. More conservative in design, these nonetheless epitomize the pictorial qualities of his ecclesiastical commissions with their aspiration to rival the realism of French Salon painting, employing radiant opalescent leaded glass, faceted glass jewels, and enamel glass paint.
All of these windows are products of the artist’s late career and demonstrate the technical features of La Farge’s mature glass style. This talk will be divided equally between a discussion of these commissions in historic/iconographic terms and their technical features as they relate to La Farge’s late glass.
2:50 pm - 3:10 pm
Break
3:10 pm - 3:50 pm
Kathy Barnard - Reinventing the Old . . . to be New; Influences and Processes of Creating Deep Carved Sculptural Art Glass
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Kathy has always been intrigued by glass, in essence - COLOR and LIGHT. It was the focus of many of her design pieces in undergraduate studies in Design and Explorations at Kansas University (ultimately she majored in illustration and graphic design). As she knew no one who could teach her about the materials, equipment and techniques when she started to etch glass in 1979, she taught herself by trial and error.

Kathy will talk about her influences, inspirations, and process, and touch upon the history of sandblasting in glass, as an “almost” lost art form in the late 1970’s. She will show slides of her techniques and the evolution of her present work along with a video of glass carving done in her studio.
3:50 pm - 4:50 pm
Architectural Discussion, Chair: Ken Leap
4:50 pm - 5:15 pm
Closing Remarks
5:30 pm - 8:00 pm
Board Meeting
8:00 pm - 10:00 pm
Roundtable Discussion - All are welcome
July 23, 2012
10:00 am - 2:00 pm
Free downtown walking tour
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This walking tour is compiled by Al Tannler, but may be led by a docent or two from the Pittsburgh History & Landmarks Foundation. We will be seeing a selection of the fine glass on show in downtown Pittsburgh, including some Munich, and some rather nice Hunt windows (early Parrendo).

And of course we're invited to the Hunt Open House in the afternoon (around 2pm).

And for those folk who think no stained glass conference is complete without a Tiffany, we have 13 x 25 foot windows at the First Presbyterian Church, one block away from the hotel.

Betti Pettinati- Longinotti
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Betti Pettinati-Longinotti,sfo , of Winston Salem, NC, has been designing and producing glass art since an apprenticeship in 1977-78.  She received a BFA from the Maryland Institute, College of Art and her MA from the University of the Arts/ Philadelphia, in Art Education with a studio major in Glass.

She is currently pursuing an MFA in Visual Arts through the Art Institute of Boston at Lesley University.  Due to her graduate studies she is currently not taking commissions.  Please visit her blog to view her graduate work and progress at:  http://plstudioart.blogspot.com/

 


Kathy Barnard
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Inspired by the beautiful carved and etched glass that was used on the Queen Mary luxury liner, Kathy Barnard became obsessed with finding out everything that she could about working with glass.  Unable to find much information about carving glass, Kathy set out to teach herself.  Since 1979, Kathy has been creating outstand-ing pieces of carved, etched, and stained glass that have appeared in public spaces, churches, private homes, and galleries throughout the US.  In addition, her work has been included in private collections in the US, Hawaii, Alaska, Apia Samoa, Scotland, Germany and Japan.

Kathy has a tremendous love of the interplay between color and light in glass and is intrigued with how this interplay affects architectural spaces.  “The integration of artwork and architecture in private and public spaces requires a close working relationship between the design professionals, the client, and the space.  The goal of this collaboration is to produce a harmonious blend of client, architectural, and environmental requirements, as well as, representing the artist’s particular style.”  Many of Kathy’s pieces are commissioned works and site specific making her a partner with the architect to realize the client’s vision. 

Kathy is a much-requested presenter and recently was the keynote speaker at the recent SGAA conferences in Kansas City, MO (2012) and in Oklahoma City, OK (2009).  She also frequently lectures on art and architecture.    She has been a member of the AGG since 2011.

Kathy studied graphic design and illustration at the University of Kansas.  She worked as a designer at Hallmark Cards for 3 years before venturing out on her own as a freelance art glass designer and fabricator - forming Kathy Barnard Studio.  In 1989, she won the AIA Arts & Craftsmanship award for the 15’ dia, “Tree of Life” at the White Theatre in Overland park, KS and in 1991, she became the youngest woman to have been inducted into the Woman’s Hall of Fame at the University of Kansas in Lawrence, Kansas for her work in carved and stained glass at the University.

 


Jean Farnsworth
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Jean M. Farnsworth is an independent stained-glass historian.  Following her Masters Thesis on the 19th-century restoration of 13th-century mosaics in Rome, she began her study of stained glass in 1981 attending an NEH-supported workshop for the Census of Stained Glass Windows in America, and in 1990 was elected to serve as Assistant Director of that organization. Subsequently, while working for the Philadelphia Historic Preservation Corporation (1989-97), she developed a national grant-funded pilot project to survey that city’s stained glass (1991-95).  The project received national acclaim and ultimately resulted in surveys of 3,600 windows and the publication The Census of Stained Glass Windows in America: A Surveyor’s Guide, formerly distributed by the National Trust for Historic Preservation.  

She has taught courses, lectured, developed tours, and authored numerous professional papers on stained glass, with subjects ranging from "An American Bias for Foreign Stained Glass;" “Nichola D’Ascenzo & 20th-Century Gothic Revival;”  “Architects and Stained Glass;” “Vicissitudes of Stained-Glass in New Orleans, 1841-1915;” “Fannie Sweeny, a Philadelphia Stained Glass Artist;” & “The Process: Identifying Stained Glass Windows by Charles Booth in Philadelphia.” She is a contributing author and co-editor of Stained Glass in Catholic Philadelphia, 2002, included on Choice’s 2003 Outstanding Academic Title list and acclaimed as “a feast for the eye and an intellectual banquet.”

Her recent work is focused on America’s stained-glass pioneers, and includes the in-depth reports “Understanding the American Stained-Glass Craft during the Pre-Civil War Years,” produced for Christ Church, Madison, Indiana (2006); and “Stained-Glass Windows at Lyndhurst, A National Historic Site: Three Generations of American Craftsmanship,” (2007). 

In 2008, she was granted a United States Capitol Historical Society Fellowship to study the 19th-century stained-glass windows and skylights in the U.S. Capitol, resulting in an extensive report: “Stained & Embossed Glass in the United States Capitol: The Artistry of John and George Gibson” (August 2009); and the publication “The Artistry of John and George Gibson & the Capitol’s Spectacular Stained-Glass Skylights,” The Capitol Dome, a publication of the U.S. Capitol Historical Society, forthcoming, Spring 2012.  She is currently preparing a biography of the Gibsons, which in addition to the Philadelphia Gibsons, John and George, will include information on William, the eldest of the 3 brothers. William settled in NYC and founded what may have been the earliest 19th -century stained-glass studio in this country.


Arthur J. Femenella
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Arthur Femenella is committed to excellence in the field of historic window restoration. Mr. Femenella is a veteran of the Viet Nam War where he served as a military policeman with a top security clearance. Mr. Femenella started in stained glass in 1968 as a craftsman, serving his apprenticeship at the Greenland Studio in New York. In 1981, he became the co-owner and vice-president of this prestigious restoration studio. In 1988, Art sold his interest in the Greenland Studio to open his own consulting firm as well as become vice-president and co-owner of the Jack Cushen Studio, also of New York. Both studios gained national recognition for excellence in the field of stained glass conservation. In 1993, Mr. Femenella consolidated his efforts and formed Femenella & Associates, Inc., the present firm. 
Beth Leslie Glasser AIA LEED AP BD+C
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An architect with over 30 years of professional experience, Beth brings a unique perspective to the Glass Guild. As a Thomas J. Watson Fellow early in her professional training, Beth spent a year as an apprentice to the late Lawrence Lee, working with him on several major glass installations for the Worshipful Company of Innholders, the Communicare Centre in Jersey and St Peter’s Church, Maldon.

Beth specializes in planning and programming buildings – working with clients to establish their goals and create the initial concepts that will guide the design process. She has worked with many large university and institutional clients both in the US and abroad, and also designed several residential projects. Among her clients are the Johns Hopkins Hospital, the University of North Carolina, Chapel Hill, and the University of California system.

 

Mark Hall
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Mark Hall is self-taught, partly because he got kicked out of the University of Minnesota at the age of 20.
At 21, Mark entered into his first stained glass business, Moonlight Design, with his brother, Terry Hall.
Soon after, Mark moved on and spend the next eight years working with various glass studios.  It was here that Mark honed his skill in fabricating and installing large-scale, site-specific stained glass windows.  He mastered German leading techniques, hand beveling, mirroring and sandblasting, and how to work with a sheet of glass to bring out the subtle nuances of a design.

In 1988, at the age of 33, Mark traveled full-circle back to his roots as sole proprietor of Hallmark Art Glass.  He and his wife, Leslie, have been working together as a team ever since.

Mary Clerkin Higgins
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Mary Clerkin Higgins has worked in stained glass since 1976. She owns and operates Clerkin Higgins Stained Glass in New York City. Her original designs can be found in private collections and ecclesiastical settings. Her work has been included in international exhibitions and featured in The New York Times, The New York Sun, Glass Art Magazine and other publications. 

Higgins is also a highly respected stained-glass conservator and has worked on Medieval and Renaissance glass for many museums, including the Metropolitan Museum of Art and The Cloisters, The Detroit Institute of Arts, The Nelson-Atkins Museum of Art and the St. Louis Art Museum, among others. She has conserved works by modern masters, including: Sir Edward Burne-Jones, Marc Chagall, Harry Clarke, John La Farge, Henri Matisse, William Morris, Robert Sowers, Louis Comfort Tiffany, Christopher Wilmarth, and Frank Lloyd Wright.

Mary Clerkin Higgins has written and lectured on stained-glass history, design, and conservation and contributed the chapter “Origins, Materials, and the Glazier’s Art” to Virginia Raguin’s book, Stained Glass: From Its Origins to the Present (Abrams 2003) and the preface “Mastering the Light” to Strangest Genius – the Stained Glass of Harry Clarke (Costigan & Cullen)(Irish History Press 2010).  

She is a founding Board member of the American Glass Guild and served as its President from 7/2009-7/2011.

She can be contacted at www.clerkinhigginsstainedglass.com.

 

John W. Kelly
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John W. Kelly found his life's work while serving as an altar boy at St. Joseph Church in Pittsburgh's Bloomfield neighborhood. "I was mesmerized by the stained-glass windows. I thought they were the most beautiful art I had ever seen."

He joined the Navy after graduation. His 10 years of duty included two tours of Vietnam. While stationed on the West Coast, he took a course in stained-glass making in 1975 at the University of California at San Diego. He discovered he had a talent for the craft, and soon after, he set up a studio in his house.

After leaving the Navy and returning to Pennsylvania, he operated workshops in several locations in Allegheny and Butler counties. He has been in Millvale, Pittsburgh, since 1999 ,one of a handful of studios specializing in stained glass restoration.

He has devoted much of the past three decades to refurbishing old windows and creating new works. His latest challenge is the restoration of three aisle windows from Sacred Heart Catholic Church in Shadyside. "I have been a glass man for 35 years, and these are the most complex windows I've ever worked on," Mr. Kelly said. He estimated that each square foot of window contains between 100 and 120 pieces of glass. (Sacred Heart is on the Friday bus tour)


CZ Lawrence
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Charles Z. Lawrence has been designing windows for over 50 years.  His innovative and unique approach to design and color is his signature. His career has produced a vast and exceptional body of work; most notably, the National Cathedral in Washington DC.

CZ Lawrence Stained Glass


J. Kenneth Leap
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Born in Camden, NJ, J. Kenneth Leap painted and exhibited watercolors in his teens before entering the Rhode Island School of Design. A trip to Germany sparked his interest in glass painting, a medieval technique that would form the basis for his future professional work. Now, 22 years after opening his studio, The Painted Window, J. Kenneth Leap is primarily recognized for his achievements in the field of architectural stained glass. His public artworks include a skylight illustrating the history of NJ in the Annex of the NJ Statehouse, "The Atlantic Globe" for the lobby of Historic Boardwalk Hall in Atlantic City, NJ and major installations at the Veteran's Memorial Home in Vineland, NJ. In 1994 Leap was invited to relocate his studio, and become an artist-in-residence at the Wheaton Arts & Cultural Center, in Millville, NJ. Leap has taught workshops and performed demos in traditional Glass Painting techniques at the Rhode Island School of Design, Tyler School of Art, and at the Glass Art Society annual conference. For more information visit the website www.jkennethleap.com.
Dan Maher
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Dan Maher owns and operates the Daniel Maher Stained Glass Studio in Somerville, Massachusetts which is known for its restoration work and innovative new creations. Early in his career, Mr. Maher worked for the legendary Connick Studio, the guild of artists renowned for expert craftsmanship, following in the arts and crafts style of the day. In May of 2012 Dan celebrated his 40th year creating stained glass.

Daniel Maher Stained Glass
500 Medford Street
Somerville, MA  02145
(617) 623-8600

www.dmstainedglass.com
www.facebook.com/danielmaherstainedglass


Ellen Mandelbaum
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Ellen Mandelbaum works in watercolors, stained glass, oil paints, and gilding. She has exhibited internationally and her art has been featured in several one-person exhibitions at the Queens College Art Center in Flushing, NY and in a one-person show at Gallery35 in Manhattan.

She is internationally recognized for her innovative stained glass commissions. These include installations for The Queens College Art Center,Marian Woods Retirement Facility in Westchester, and a thirty-foot high window for the South Carolina Aquarium.

Ellen Mandelbaum Glass Art



Reiner Meindl
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Glashütte Lamberts of Germany is now under the new leadership of Mr. Hans Reiner Meindl. Mr. Meindl has extensive experience in the glass industry. He now concludes a 10-year career at Heinz Holding GmbH., a leading international manufacturer of perfume bottles, leaving his current position as managing director. Mr. Meindl is expected to bring the business forward through his experience, the expertise of Glashütte Lamberts’ staff, and the factory’s long-standing relationships with global business partners. Lamberts’ partnership with Bendheim, the exclusive distributor of Lamberts glass in North America, has endured for three generations.

Glashütte Lamberts is known to artists, designers, and architects throughout the world for the quality and variety of its mouth-blown glasses, unsurpassed in their brilliance and body. Artists have designed with Lamberts glass for a variety of residential, commercial, and institutional projects. 

 


Troy Moody
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Troy Moody first became interested in glass in 1995 when he was introduced to post war German stained glass while backpacking through Europe. Since that time he has studied with master glass artists/designers and has continued to work full time in the field. Notable projects include award winning terrazzo installations for the City of Phoenix and Maricopa County Superior Court as well as work with Scottsdale Public Art, the City of Tempe, Ascension Lutheran of Paradise Valley, the Church of the Beatitudes and countless luxury homes.
Nancy Nicholson
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Nancy Nicholson is an artist with twenty seven years of experience working in stained glass. She worked with Daniel Maher for 15 years before moving to Brooklyn where she has her own studio.  Her work combines a fine art sensibility with broad technical experience and craftsmanship. Nancy’s signature work is an ongoing series of cityscape panels that explores the layering of light, color and dynamic forms of the urban environment.

In addition to her cityscapes, Nancy has designed both traditional and contemporary panels for numerous environments including private homes, corporate offices, restaurants and schools.

visit www.nancynicholson.com to see her work 


Sylvia Nicolas
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Nicolas is the fourth generation of master stained glass artists. Her father, Joep Nicolas, known as “the father of modern stained glass,” was also an accomplished painter, as is his daughter.

Nicolas studied extensively in Europe, and in the U.S. with painter Rufino Tamayo and sculptor Ossip Zadkine. Her works range from stage sets and 24-foot high stained glass windows for churches to terra cotta sculptures that can be held in one hand. All bear the unmistakable stamp of excellence.

Nicolas, also an accomplished costume designer and mosaicist, considers herself a keen observer of human nature. Her works delve into the passions, psychology and humor of the human condition, touching people with their universal appeal.

Whether in her paintings, drawings, sculpture or stained glass, Sylvia Nicolas expresses the humanity of her subjects. This humanistic view, mingled with Nicolas’ versatility in many mediums and a spontaneous creativity, produces art at once delicate, probing and of the highest quality.

Syvlia's Website


 

Nicholas Parrendo
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Nicholas Parrendo has spent his entire career, from employee to owner at Hunt Stained Glass Studios. Hired by George Hunt in 1950, he apprenticed under the supervision of artists Helen Carew Hickman and Charles Morris. Creating, sketching, drawing, presenting and executing artistic jeweled inspirations of vivid color gracing churches, synagogues, hospitals, restaurants, universities, businesses and residences across the country. His esteemed service to the art and craft of stained glass is evident in the many endeavors he has undertaken throughout his more than 50 year career.

Hunt Stained Glass Studios originated with Henry Hunt, who worked with his father in London, England. He settled in Pittsburgh after migrating from Boston in 1890. The studio became the responsibility of his sons, George (president) and James in 1943. J.R.Lally owned the studio from 1966 until 1987; Nicholas Parrendothen assumed ownership.


Virginia Raguin
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Virginia Chieffo Raguin is professor of art history and the John E. Brooks Chair in the Humanities at the College of the Holy Cross.  She has published widely on stained glass and architecture, including Stained Glass from its Origins to the Present, 2003. Her exhibition “Pilgrimage and Faith: Buddhism, Christianity, and Islam,” will appear in Worcester, Chicago, Richmond, and New York from 2010 through 2011.
Victor Rothman
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After graduating from college with a degree in marketing & management, Vic spent a few years managing record stores.  After seeing a stained glass demonstration at a craft show, he began working in stained glass, selling small items at craft shows and wholesaling to stores in the Northeast.

Ten years later he was managing Glassmasters Guild in New York City, teaching classes and doing small commissions. This lasted for about five years when he took an entry level  position at the Greenland Studio. This is where his real education in stained glass began. Within a couple of years he became the shop foreman. After Greenland closed in 1991, Vic opened his own studio. Over the years he has restored many LaFarge and Tiffany windows,  panels for museums and has also created many new fabrications.

VIc has attended many international stained glass restoration conferences (co-authored a paper at one), and has been on the restoration and education committees of the Stained Glass Association of America, He belongs to various trade and restoration groups and is one of the founding directors of The American Glass Guild.
Julie Sloan
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Julie L. Sloan is a stained-glass consultant in North Adams, MA. She has worked in stained glass since 1982 and is the author of Conservation of Stained Glass in America and many articles on stained glass history and conservation. She is also an appraiser of American stained glass.

She has been an adjunct professorof historic preservation at Columbia University since 1985, has lectured at Salve Regina University in Newport, RI; Williams College; and Rensselaer Polytechnic Institute, and has given seminars around the country. Her BA in art history is from New York University (1980) and her MS in historic preservation is from Columbia University (1982). She curated an exhibition and wrote a major book on the leaded glass of Frank Lloyd Wright, Light Screens: The Complete Leaded-Glass Windows of Frank Lloyd Wright published by Rizzoli International (2000). She also contributed a chapter to A New and Native Beauty: The Art and Craft of Greene & Greene (Merrell, 2008), and the introduction to Frank Lloyd Wright: Art Glass of the Martin House (edited by Eric Jackson-Forsberg, 2009). She has recently published Frederic Crowninshield: A Renaissance Man in the Gilded Age (University of Massachusetts Press, 2010) with Gertrude deG. Wilmers,
the artist’s great-granddaughter, and The Berkshire Glass Works (The History Press, 2011) with William Patriquin. She is currently co-writing a book on the stained glass of artist John La Farge with Dr. James Yarnall.

She is also working on a comprehensive history of American stained glass. Her conservation
projects include Saint Thomas Episcopal Church, New York; H. H. Richardson’s Trinity Church in
Boston; Harvard University’s Memorial Hall; Princeton University’s Chapel, and the State Houses of
Connecticut, Massachusetts, New Jersey, and Pennsylvania.

Her conservation and research projects have won many awards, including grants from the National Endowment for the Arts, the Samuel Kress Foundation, the Graham Foundation for Advancement in the Arts, and the Arts & Crafts Fund.
Albert M. Tannler
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Albert M. Tannler has been Historical Collections Director of the Pittsburgh History & Landmarks Foundation since January 1991. He writes on the history of architecture and the decorative arts in Western Pennsylvania and oversees the operation of the James D. Van Trump Library and the Frank B. Fairbanks Rail Transportation Archive. 

Mr. Tannler is the author of A List of Buildings and Architects in Pittsburgh and Allegheny County 1950-2005, 3rd edition (2005), Pittsburgh’s Landmark Architecture 1785-1950: A Concise Bibliography (1994), and Allegheny County Courthouse and Jail Walking Tour (2007). Mr. Tannler has explicated what Pittsburgh Post-Gazette critic Patricia Lowry has called “Pittsburgh’s great treasury of historic stained glass” in Charles J. Connick: His Education and His Windows in and near Pittsburgh (2008), William Willet in Pittsburgh 1897-1913: A Research Compendium (2005), and in articles and book reviews in The Journal of Stained Glass {British Society of Master Glass Painters}, and other publications. 

He contributed to African American Architects: A Biographical Dictionary 1865-1945 (Routledge, 2004). He has co-edited several books published by the Pittsburgh History & Landmarks Foundation. 

He has lectured for the Decorative Arts Trust, the Frick Art & Historical Center, Pittsburgh, Boston Back Bay Historical Society, and the Charles J. Connick Stained Glass Foundation Ltd., Boston.

 

James Yarnal
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James L. Yarnall is an Associate Professor at Salve Regina University, where he has taught the history of art and architecture since 2000.  Since 2003, he has also been Editor of Publications for the Newport Historical Society, including its journal, Newport History.  For the past three decades, Dr. Yarnall has been a leading authority on John La Farge.  His publications on the artist include dozens of scholarly articles, including several co-authored with Julie L. Sloan, and five monographs.  His most recent is John La Farge, A Biographical and Critical Study, published in February of 2012 by Ashgate Publishing Ltd.  He is also the author of Newport Through Its Architecture: A History of Styles from Postmedieval to Postmodern, published in 2005 by the Salve Regina University Press in conjunction with the University Press of New England.

 

 


The Seventh American Glass Guild Conference will be held at the Omni William Penn Hotel, Pittsburgh, Pennsylvania July 20-22, 2012 (With workshops on July 19th).  See below for details of workshops, events and speakers. Or download a pdf of the Conference Program.

We are excited to organize the first Juried Members Exhibit concurrent with our seventh annual conference.  The exhibit will be one of the highlights of the conference, with an opening reception and unveiling scheduled for the morning of July 20, 2012. Noted historian Virginia Raguin organized the jury.  Read more about the Juried Exhibit

Book the Omni William Penn Hotel - Deadline for Special Rate has passed.  

A New Opportunity! - Personal Portfolio Review - with Ellen Mandelbaum


Bus Tour Schedule, Friday, July 20th - Buses are now full


Transportation Information      Cancellation Policy

You can pay for the Conference through Paypal by using the drop down menu to the right. (You will still need to download Registration Form and email or fax it in)

To pay by check, please make payable to the American Glass Guild, with the words "Conference Registration" in the memo.  Please mail Check and Registration Form to: American Glass Guild, c/o Rona Moody, 608 Dorseyville Road, Pittsburgh, PA 15238.  

Forms can also be faxed to 708-778-7951 or emailed to stained.glass@verizon.net


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