NZSAG

Newsletter 26

2010-07-16T20:17:00.000+12:00

Ranamok Glass Prize 2010

The finalists have been announced. As far as I can tell there are three New Zealand artists in the final. Evelyn Dunstan with two pieces(one of her pieces comprises a large number of components), Ron Reichs, and Sue Hawker with one each. Congratulations to all three and all the best for the Final.

Evelyn Dunstan

Transparent Illusions The Firebush

Sue Hawker

Too Much is Never Enough

Ron Reichs

Froot

The full listing with images can be seen at : http://www.ranamok.com/final2010.htm

NZSAG Conference

Conference information is being put onto the NZSAG website (www.nzsag.co.nz) so keep watch. However it will not be the only channel for information as we will email and physically send information. We have put an accommodation listing to help those out of town who want to stay near the conference venue. It might pay to be quick as there is another function on over the weekend.

NZSAG Conference Funding

As is quite common we applied to Creative New Zealand for assistance with funding the conference but unfortunately have been unsuccessful. We have resubmitted a modified application in the current quick response round so the committee are crossing fingers and toes that this time we will be successful. Not being funded puts real pressures on the society funds but the committee have made the commitments to the overseas guests and therefore we must move forward.

NZSAG Conference Volunteers

I notice that the Rugby World Cup is advertising for volunteers so thought why not try to get volunteers to help with the Conference. The call for Billetors is the first request but if you want to be involved in any way please let me know. Of course I hope that people are thinking of volunteering for Committee positions. The General Meeting held at the conference is time for a new Committee. Some of the present committee may wish to stay on but there is a space for new blood with new ideas and new energy. Give it some thought. Although it is easier if the committee members are reasonably located for meeting etc but for most part it should be possible to arrange things no matter how widely members are distributed geographically.

NZSAG Conference 2010 Billeting

If you an Aucklander and are prepared to billet NZSAG members or overseas speakers over the conference please contact Te Rongo Kirkwood. (email rongo@redrooom.co.nz or Mob 021 213 2220) with your interest and any specifics such as gender, number of people etc.

Te Rongo will be the point of contact for all billeting requests so hopefully will be able to match demand with supply.

Billeting seems a good way of meeting other artists as well as helping more people attend.

If you are an out of town artist or NZSAG member who wishes to be billeted please contact Te Rongo Kirkwood. (email rongo@redrooom.co.nz or call Mob 021 213 2220) and tell her you preferences. She will try to match you up with appropriate billetors.

“New Zealand Glass Art”

The book has gone to the printers and so all we can do now is wait. I am biased but think it will be a book well worth having on corporate coffee tables as well as great Christmas presents for friends and relatives. I expect some will be amazed by the quality and variety of the art represented and will also be interested to read about the early days of New Zealand Glass and also gain an understanding of many different glass making practices.

NZSAG Website

Mark Shafer has joined the committee and has taken over administration of the website. Pam Olver has been a solid resource for some years maintaining the website and assisting members get access , to load images and text. If you have queries re the website or your specific page get in touch with Mark. (Admin@nzsag.co.nz)

CALL FOR SUBMISSIONS: FRESH – New Work from Waitakere Glass Artists

22^nd October – 5^th December 2010, Opening October 21^st Thursday at 6pm

The hunt for talented Waitakere (based or bred) glass artists is on again…This year we are looking for submissions of new work from glass artists who have a link to Waitakere. Show off your innovations and new ideas in our annual exhibition. Works should have been completed in 2009 – 2010 and preferably not have been exhibited before. There is no limit to the amount of work you submit but final selections will be made by the Curator. Please submit images of your work along with some artist info to lisa@ceac.org.nz. End date for Submissions August 27^th 2010.

For more information please ring the Curator, Lisa Rogers on 09 838 4455 x203.

New Members

Welcome to

Peter Kraan Auckland

Louanne Perry – Auckland

II would be pleased if you could provide a bit of a biography and perhaps a couple of images of your work so other members can see what others are doing. Just email it to me Glasspres@gmail.com

INFORMATION AND DIARY DATES,

FRANKIN ARTS SOCIETY 21^ST CELEBRATION

The Franklin Arts Society celebrates its 21^st Anniversary this year in September 2010. The Festival takes place for two weeks, with a large interest from the local community and those from far afield.

GLASS FOR FRANKLIN ARTS SOCIETY

FRANKLIN ARTS FESTIVAL 21 SEPTEMBER (2 WEEKS DURATION)

For more information, contact Susan K Louie, 09 238 1906 or email susanklouie@y7mail.com. .

CREATING WITH OTHERS- Part 2

Introduction

In the last edition of our Art Law Newsletter we began to consider the legal issues involved when artists jointly work on projects. Whether such collaborative activities arise from a desire to pool resources, achieve various creative or practical goals or just come about unintentionally, there are a number of important considerations that should be addressed. While last time we considered such purely legal issues as copyright ownership and physical ownership rights in the finished collaborative artworks, in this edition of our Art Law Newsletter we are going to move on to consider other more practical legal/business issues that have an impact on situations where artists create with others.

Limited Liability Company

Perhaps one of the first legal/business issues to consider is the nature of the relationship between the collaborating artists, as this can have serious ramifications for both an artist’s personal liability and ability to share in any windfall generated by a collaborative project. If the collaboration is intended to be of a longer term, perhaps will involve the investment of signifincat money or has the potential to incur notable liability or debts if all does not according to plan, then it may be worthwhile investigating establishing a limited liability company to run the project through. Limited liability companies in most situations protect your personal assets from any liability that is incurred by the company. A company structure also allows for profits to be returned to the shareholders of the project and can have tax advantages depending on the level of income being generated. Companies provide certainty and flexibility which make them ideal vehicles for conducting business through. However the costs of maintaining appropriate accounts and administering their operation can mean that unless you intend to be involved in a venture for a notable period of time or it is likely it will generate a certain reasonable level of income, then running your collaborative project through a company structure could be cost prohibitive.

Other Structures

There are also a range of other legal structures that can be used to operate a project through. While different structures have different benefits and are more suitable to different situations ,it needs to be remembered that all of these have administration costs involved and some structures such as an incorporated society or charitable trust will also not allow you to personally withdraw profits generated by the project. Consequently, before you decide what legal structure is best for you, you need to ensure you have a very clear understanding of practically what you want to achieve and what particular benefits you need from any structure you choose.

Partnerships

As a final point to note on structuring your collaborative project it is very important to remember that even if you don’t intend to put any kind of legal structure around what you are doing, the law and the tax system may by virtue of your activities automatically imply you are operating as a partnership. Essentially at law if two or more people carry on business together with a view to making a profit, they are automatically deemed to be operating in partnership whether they realise or intend it or not. The issue to be aware of here is that all partners in a partnership own equally any partnership property and are also equally liable for any debts or other liability incurred by the partnership. As you can see this can potentially have big repercussions for any outcomes you may have otherwise intended to result from your collaborative project. However, no matter what structure you end up operating through, there are steps that can be taken to customise arrangements to suit your particular situation, but probably the key factor is that some consideration is given to the issue of legal structures sooner rather than later and ideally before the project commences.

Cost

In terms of other practical legal issues that need to be considered when working with others one of the key issues is individuals’ responsibility for costs. Although to some degree this will be affected by the type of legal structure you are operating through as has already been alluded to above, this is one the first issues that should be covered off in the agreement you put in place to govern collaborative projects. Just as in the last edition of our Arts Law Newsletter we discussed the benefits of clarifying copyright and physical ownership rights in such a collaboration agreement, there are range of more practical legal issues such as each party’s responsibilities for initial and ongoing costs that should also be addressed.

Insurance

If any collaborative work is of notable value another issue that should also be addressed in the collaboration agreement is the nature of any insurance that will be obtained to provide cover in relation to the finished artwork and also the materials that will be purchased and stored for later inclusion in the artwork. Similarly, if as part of the collaborative or creative process a work is required to be transported either during or on completion then once again some agreement will need to be reached as to the insurance to be obtained to cover such situations. With artworks that could feasibly cause harm to people, such as large sculptural pieces or pieces hung in precarious situations, ensuring you are appropriately insured for any liability that may attract to the group if something goes wrong is also important.

Maintenance

For works that arise from the collaborative process that are to be on sold or just intended to have a life after the collaboration itself has ended, some thought should be given in the collaboration agreement as to how any ongoing maintenance requirements relating to the work will be addressed. For example will one person with a particular set of expertise take responsibility for this or will the ongoing maintenance obligations be spread amongst the group. Similarly if one person will be solely responsible for ongoing maintenance is there any particular monetary or other benefit that they will be entitled to, the terms of which should also be clarified in the collaboration agreement.

Conclusion

The number of issues that could be covered in the collaboration agreement are potentially quite extensive. However, the key thing is that as with legal structures and the other issues we discussed last time, at least ensure careful consideration is given at the outset to the most significant of these issues that will impact on the nature of your particular collaborative project and the people involved.

Questions?

If you have any queries or questions in respect of the above please don’t hesitate to contact david@mclaughlinlaw.co.nz or phone 021 630 201 or 09 363 2038.

Aesthetica Creative Works Competition 2010

The Aesthetica Creative Works Competition is now open for entries! Aesthetica Magazine is inviting all artists, writers and poets to submit their work into the Aesthetica Creative Works Competition 2010. Now in its third year, the Creative Works Competition is dedicated to celebrating and championing creative talent across three disciplines, identifying artists and writers and bringing them to international attention.

The Competition has three categories, Artwork, Poetry and Fiction.

Winners and finalists are published in the Aesthetica Creative Works Annual.
Winners of each category receive £500 prize money plus other prizes.
Entry to the Creative Works Competition is £10.
The entry fee allows the submission of 2 images, 2 poems or 2 short stories.
The deadline for submissions is the 31^st August 2010.
More guidelines on how to submit can be found online at http://www.aestheticamagazine.com/submission_guide.htm

Glass Art Network – ezine

A source of information, contact with other artists etc.

http://www.glassartnetwork.com/page/homejune

Taranaki Art Awards Entry

Entries close 14 September 2010

http://www.taranakiartawards.co.nz/

19th Wallace Art Awards 2010,

Entries close 12 August, 2010

http://www.wallaceartstrust.org.nz

Molly Morpeth Canaday 3D Glass Awards

entries have closed. It will be interesting to see who wins this year.

2011 Glass Art Society Conference will be held in Seattle, Washington, June 1-4, 2011. The 2011 conference will also feature a Day of Glass in Tacoma, WA, on Wednesday, June 1, 2011.

JUTTA CUNY-FRANZ AWARD 2011

Conditions for Participation and Application Form

Applications will be accepted from now on until 15 October 2010. See application form for download http://www.glasmuseum-hentrich.de/mediabig/2913A.pdf

The prize is awarded to artists who make significant use of glass in their works

The artists who participate should not be older than 40, and their work (sculptures, objects) should not be older than 2 years. Each participant can present up to three works.

The Jutta Cuny-Franz Memorial Award is endowed with 10000 Euro. Two talent awards are endowed with 1500 Euro each. Awards may be split between contributions of equal rank. The awards and a number of honorary diplomas are granted every two years. The winners are chosen without possibility of recourse to legal action by a jury, consisting of: Prof. Dr. Christoph Brockhaus, Duisburg, Germany; Prof. Anthony Cragg, Wuppertal, Germany; Prof. Dr. Hermann Fillitz, Vienna, Austria; Dr. Dedo von Kerssenbrock-Krosigk, Dusseldorf, Germany; Dr. Helmut Ricke, Dusseldorf, Germany; Dr. Elisabeth Scheuba, Vienna, Austria.

Prizes will be presented in Spring 2011. The winning contributions and a choice of further applications will be published in the “New Glass” journal

Only complete applications will be accepted Please submit your questions and application to Jutta Cuny-Franz Foundation

Glasmuseum Hentrich, museum kunst palast

Ehrenhof 4–5, 40479 Dusseldorf, Germany

Fax: +49 211 892-9173

dedo.krosigk@smkp.de\

EXHIBITIONS,

Sabbia Gallery, Sydney

Winter

- Sabbia Artists including Evelyn Dundstan, and Galia Amsel

30 Jun – 24 Jul 2010

· Aratoi - Wairarapa Museum of Art & History, Masterton

Coming Home – Blown glass by Dominic Burrell,

until 18 July.

Hastings City Art Gallery

Eastbourne Street East , Hastings

PUTIPUTI: The Flower in Contemporary New Zealand Art

10 Jul - 26 Sept 2010

Mary Ama, Renee Bevan, Linda Bruce, Christine Butler, Madeleine Child & Philip Jarvis, Adam Clarke, Evelyn Dunstan, Niki Hastings-McFall, Robert Yahnke, Gaye Jurisich, Andrea Gardner, Sally Lush, Sylvia Marsters, Kim Meek, Koji Miyazaki, Nick Moon, Richard Orjis, Neal Palmer, Reuben Paterson, Tania Patterson, Terrie Reddish, Sally Tagg, David Trubridge, Patrick Tyman, Francis Van Dammen, Layla Walter, Pamela Wolfe

Milford Galleries – Dunedin

17 July to 11 August

Claudia Borella

A New Zealand Perspective

Letham Gallery, 35 Jervois Rd, Ponsonby

www.lethamgallery.co.nz

9 – 30^th July 2010

HUNTERS & GATHERERS; MIXED MEDIA

Jenny McLeod, Dave Carson & Deborah Walsh

Uxbridge Gallery, Auckland

Exposed 4

6 - 26 Aug 2010

Carmel College Art Exhibition

www.artfusions.co.nz

ART FUSIONS 10

6 – 8th August 2010

KINGS COLLEGE ART SALE

5 – 7^th November 2010

Golf Avenue, Otahuhu

www.kingscollegeart.co.nz

General Contact : Please feel that you can contact me on any NZSAG business and with comments and/or suggestions for the newsletter. As the newsletter is put out every month the deadline for information etc is 15^th of the month. If received after the 15^th it will be considered for the following month. I would love to have some information from blowers, fusers and slumpers, stained glass artists, neon artists, architectural glass artists, flameworkers and cold workers as well as others interested in, collecting or working in glass

Brian Chrystall, President, Newsletter Editor,

Mobile 021 02307786

Email : Glasspres@gmail.com NZSAG, PO Box 68805, Newton, AUCKLAND

Newsletter 25

2010-06-27T17:56:00.000+12:00

Newsletter No 25, 2010

Ranamok

Entries will all have been submitted. All the best to all artists. I look forward to hearing who has been successful in getting through to the finalist stage. Remember, it may be useful to let me know so that I can help put people together who may be able to share freight costs etc. If I am not told it is impossible to help. The information would not be made public by me until after Ranamok have disclosed the finalist information.

NZSAG Conference

The Conference planning is progressing although we have had a set back in that Creative NZ decided not to give us any of the money we requested. This will make the task harder but the committee are committed to the invited speakers and will continue the drive to find alternate funding. I suspect it will be difficult for the committee to be as generous as they might have been in the past and may not be able to provide free drinks at the social events.

The Conference brochure will be sent out in August giving about 6 weeks before the close of Early bird registration closes on September 24^th..

Registration Fees will be :

Members Early bird $170 Full $190

Student Members Early bird $110 Full $130

Nonmembers Early bird $200 Full $220

There is no oneday rate

At this stage the Friday night conference warm up party will be at Gaffer Coloured Glass. It will probably require people to be wearing an item of Safety gear. The Saturday social function will be the Book Launch and Members exhibition, Sunday we hope will be a chance for old timers (even young old timers) to reminisce. Monday is Demonstration day where there will be lively demonstrations by many of the speakers and a chance for all to see how various artists produce their art. The conference will close with a Greek themed barbecue on Monday evening. Sometime during the conference we need to hold the General meeting and elect a new committee.

Workshops will be detailed in later newsletters.

New Zealand

Glass

The book has gone to the printers and so all we can do now is wait. I am biased but think it will be a book well worth having on corporate coffee tables as well as a great Christmas presents for friends and relatives. I expect some will be amazed by the quality and variety of the art represented.

New Member

Welcome to Laura Hart, NELSON

INFORMATION AND DIARY DATES,

Aesthetica Creative Works Competition 2010

The Competition has three categories, Artwork, Poetry and Fiction.

Winners and finalists are published in the Aesthetica Creative Works Annual.
Winners of each category receive £500 prize money plus other prizes.
Entry to the Creative Works Competition is £10.
The entry fee allows the submission of 2 images, 2 poems or 2 short stories.
The deadline for submissions is the 31^st August 2010.
More guidelines on how to submit can be found online at http://www.aestheticamagazine.com/submission_guide.htm

Glass Art Network – ezine

A source of information, contact with other artists etc.

http://www.glassartnetwork.com/page/homejune

Diamond Hand Pads

Fellow members, the EFY is almost upon us again and again we would like to offer you a Members Only special on diamond handpads. Choose any 5 of the following grit sizes and we will post them to you for the bargain basement price of $120, that's to anywhere in Oz or NZ. So take your pick, the offer is good till the end of the June or while stocks last. 60, 120, 200, 400, 600 & 800 grits. Please be aware that this price will not last, what with increased factory prices and the devalued Oz $.

Unicorn Glass:-.www.unicornglass.com

Call for Submissions

Uxbridge Creative Centre is calling for submissions from artists who are interested in participating in our 4^th cast glass exhibition “Exposed’.

This exhibition will run 6 – 26 August 2010, opening 5 August 6.30pm. All artworks must be for sale. If you are interested in submitting work, please send an image or sketch and CV to the curator Melissa Elliott exhibitions@uxbridge.org.nz by June 30th. Depending on space, artists may submit up to 4 pieces each.

Uxbridge Creative Centre is a community based art centre located in the heart of Howick, Auckland. We provide contemporary arts to our audience through exhibitions, artist discussions, events, classes and cinema club screenings. For further details see our website www.uxbridge.org.nz. We also offer cast glass classes with Evelyn Dunstan, contact us (09) 535 6467 for further details.

Taranaki Art Awards Entry

Entries close 14 September 2010

http://www.taranakiartawards.co.nz/

19th Wallace Art Awards 2010,

Entries close 12 August, 2010

http://www.wallaceartstrust.org.nz

JUTTA CUNY-FRANZ AWARD 2011

Conditions for Participation and Application Form

Applications will be accepted from now on until 15 October 2010. See application form for download http://www.glasmuseum-hentrich.de/mediabig/2913A.pdf

The prize is awarded to artists who make significant use of glass in their works

The artists who participate should not be older than 40, and their work (sculptures, objects) should not be older than 2 years. Each participant can present up to three works.

Prizes will be presented in Spring 2011. The winning contributions and a choice of further applications will be published in the “New Glass” journal

Only complete applications will be accepted Please submit your questions and application to Jutta Cuny-Franz Foundation

Glasmuseum Hentrich, museum kunst palast

Ehrenhof 4–5, 40479 Dusseldorf, Germany

Fax: +49 211 892-9173

dedo.krosigk@smkp.de\

EXHIBITIONS,

Form

“Water”

3 - 27 June 2010

new glass by Annabel Menzies-Joyce.

(see image to right for example)

Sabbia Gallery, Sydney

Winter

- Sabbia Artists including Evelyn Dundstan

30 Jun – 24 Jul 2010

Hastings City Art Gallery

Eastbourne Street East , Hastings

PUTIPUTI: The Flower in Contemporary New Zealand Art

10 Jul - 26 Sept 2010

Letham Gallery, 35 Jervois Rd, Ponsonby

www.lethamgallery.co.nz

9 – 30^th July 2010

HUNTERS & GATHERERS; MIXED MEDIA

Jenny McLeod, Dave Carson & Deborah Walsh

Carmel College Art Exhibition

www.artfusions.co.nz

ART FUSIONS 10

6 – 8th August 2010

KINGS COLLEGE ART SALE

5 – 7^th November 2010

Golf Avenue, Otahuhu

www.kingscollegeart.co.nz

Uxbridge Gallery, Auckland

Exposed 4

6 - 26 Aug 2010

Solstice

22 June - 3 July

Avid Gallery, Wellington

Claudia Borella

Statements Galley

Cnr Tennyson & Hastings Streets, Napier

Nejat Kaavas Cast GlassSculpture

Brian Chrystall, President, Newsletter Editor,

Mobile 021 02307786

Email : Glasspres@gmail.com

NZSAG, PO Box 68805, Newton, AUCKLAND

Newsletter 24

2010-05-21T11:18:00.000+12:00

NZSAG Conference

The Conference is planned for Labour Weekend October 23^rd to 25^th, 2010.

At this stage we have a number of exciting speakers lined up even though we do not yet have funding confirmed. We are not in a position where we can wait until funding is confirmed and so have made a giant step in faith and have invited a number of overseas experts.

Currently overseas speakers are:

Tobias Mohl, from

Denmark

, a noted blower who is in demand worldwide,

Max Stewart, Now based in Edinburgh, but known to many

New Zealand

artists. Max will be talking on his research into Pate de Verre and his experiences painting with glass.

Mark Elliott from

Australia

is a flameworker who along with his accomplice will discuss using flameworked glass and other techniques to produce animated displays.

Gerry King, also from

Australia

will come after presenting a workshop at Claudia Borrella Design in Wanganui. Gerry is a blower who also works with fused and slumped glass.

Warren Carther, from

Canada

is known for his exciting architectural glass.

Glass Book

Artists who have images in the NZSAG Book will be getting their page proofs so they can check the text relating to their images. There is no chance to change or alter images. The turnaround will need to be very quick. We need the corrected pdfs by Friday 21^st May. If you have submitted images but have not received your page proofs please email me. Glasspres@gmail.com.

CREATING WITH OTHERS

Introduction

Although the creation of art by its very nature is often a solitary experience, there are various ways in which artists often seek to work together or pool their resources to achieve various creative or practical goals. In this edition of our Arts Law Newsletter we are going to be discussing some of the key issues with such collaborative activities that you need to be aware of if you are considering embarking on any kind of collaborative or co-operative endeavour.

Rights in Artwork

When it comes to working with others in the art world there are two main areas that issues fall within. These are firstly rights in the artwork created and secondly the larger legal/business obligations that the parties may incur together. In this edition of our Art Law Newsletter we will be focusing on the rights in the artwork created and in the next edition of our Art Law Newsletter, due out in June, we will turn our attention to the other legal/business issues that need to be considered.

Copyright

When it comes to rights in any artworks resulting from collaborative efforts there are a number of points you need to be aware of upfront so as you can be sure you end up with an entitlement to the rights that you envisaged you would. Firstly lets look at copyright, which we have discussed in previous editions of our Newsletter. The basic premise at law (subject to some exceptions such as in the case of employment or commissions) is that if you create something in which copyright can exist then you will automatically be the owner of the copyright in such work. This concept is further extended in the case of copyright works which feature the input of more than one person to provide that such ‘joint copyright works’ are owned by the individuals who have each contributed to the creation of such works. This is where one of the more serious issues of working with others becomes apparent.

Joint Ownership

The way copyright law works in these instances of joint ownership is that each joint copyright owner will have an equal and undivided share in the resulting joint copyright work. So even if one party’s contribution has been significantly less overall they will still be entitled to an equal percentage of the copyright ownership as any other joint creator, regardless of the fact that such other person may have contributed significantly more to the overall copyright work. Under the workings of copyright law this type of result is particularly a concern as our copyright law requires that any exercise of copyright rights needs the approval of ALL copyright owners. So even if you may be happy for a lesser contributor to have an equal share in the ownership of the work you need to be aware that going forward you will still require their permission if you want to licence or assign any rights in the copyright work to anyone else or otherwise exercise any of the other rights which our Copyright Act 1994 reserves exclusively to a copyright holder.

Separate Contribution

Now the above rules only apply when the contribution of the different creators can’t be separately identified. So for example if the creation of an artwork involved collaboration in all aspects and each contributor’s work directly added to or altered the work of the other contributors, then it is likely the law would view the resulting work as a ‘joint copyright work’. However if the contribution of each contributor is very separate and very identifiable then you will probably not run into the potential issues outlined above.

Practical Issues

Even in such situation where you have very separate and identifiable contributions but you still have one final piece of artwork then there is still at a practical level the possibility that disagreements in relation to the use of the final piece of artwork can arise. For example who amongst the contributors is to maintain possession of the physical artwork and then on what terms? Also what for example is the procedure if say in the case of a jointly created sculpture, one contributor, for whatever reason, wishes to remove from the final creation a certain physical aspect of element that they have contributed?

Written Agreement

This is why when you are working with others on the creation of a piece of art it is highly advisable to have some kind of agreement in writing to put beyond doubt each contributor’s rights in both the finished physical work and also each contributor’s rights to make ongoing use of their specific contribution to the joint work. This particularly makes sense to do as our Copyright Act allows for the default position at law I’ve set out above in regards to joint copyright works to be altered by a written agreement which is signed by all the copyright owners. In other words even if the artwork you have created with others would on the face of it deemed to be a ‘joint copyright work’ and hence subject to the related legal provisions, under an appropriate written agreement you can in fact provide for rights of usage and ownership in the joint work that suit you and your group best, even if such rights are on the face of it at odds with what the Copyright Act would otherwise provide for. Even if the copyright issues appear to be clear and all parties are comfortable with the default position provided for at law in respect of copyright ownership there will always be practical issues such as I have alluded to above relating to the artwork which are of course not provided for in any specific legislation and will therefore need to be directly addressed by the parties themselves.

Questions?

If you have any queries or questions in respect of the above please don’t hesitate to contact me atdavid@mclaughlinlaw.co.nz or on 021 630 201 or 09 363 2738

Glass Art network e-zine

The art glass industry’s first monthly on-line e-zine for glass artists - by glass artists - about glass artists Have a look at HTTP://WWW.GLASSARTNETWORK.COM/

FRANKIN ARTS SOCIETY 21^ST CELEBRATION

Glass Art has been brought to the attention of Franklin Community by the NZ Steel Gallery and Suzette Meyer (Gallery and Exhibitions Manager) exhibiting the work of Susan Louie.

Going forward, the Franklin Arts Society would like to invite glass artists from all genres to take part in a glass art display at the Artefacts shop, which is part of the NZ Steel Gallery at the Franklin Arts Centre. (www.franklinarts.org) or take a drive to Pukekohe and check out the Artefacts Shop and the NZ Steel Gallery!

We are welcoming all glass artists who would be interested in showing their work, with an opportunity to sell their work through the gallery shop and would like to show a variety of glass art. The display of glass art will sit in the front of the gallery shop entrance, which is prime real estate within Franklin: The Centre.

The Franklin Arts Society feels it is time the Franklin Community was educated about glass as a contemporary art medium.

All interested glass artists can contact. Susan K Louie

Email: susanklouie@y7mail.com

Telephone: 09-2381906

Please make contact by the beginning of June 2010 to register your interest. Once you have confirmed to take part in this FIRST EVER display in Franklin, we will send out the registration forms for completion and return.

“50 distinguished Contemporary Artists in Glass”

by Dr. Judith Neiswander.

Review by Stephen Skillitzi.

First published by Intelligent Layman Publishers Ltd.,

U.K.

, in 2006 this 119 page basically-photographic effort, retailing for $90, was only recently brought to my attention. In its forward Neiswander disarmingly states: “...we welcome any criticism of what we are attempting to do.” “OK!”, I ask. “Why not comply via Ausglass, since 9 Australian and 3 N.Z glassies were in the selected 50?”. In order of their presentation: Aldrete-Morris, Turrin, King, Elliot, Dunn, Grunseit, Chaseling, Skillitzi, Shaw, and from across the ‘water-trough’, Camden, Anderton, Smith.

Straightaway the neglected host of other obvious Antipodean ‘glass worthies’ springs to mind. That unease about doubtful balance is reinforced on glancing at the other 38 inclusions…. 25 from the book’s home territory of the U.K., a mere 6 from the U.S.A., (namely Janis, Stankard, Mickelson, Dee Edwards, Drier, Tate) and 1 each from Belgium, Canada, Denmark, Finland, Iceland, Italy, Japan. From the over-hyped back-cover blurb... often intended, (in time- honoured 'rip-off' fashion), to seduce a trusting sealed-book sale prior to effective consumer consideration we learn:- “A distinguished appraiser in glass chose 50 artists who, in his opinion, represented the best work of their generation…. We invited over 500 contemporary artists in glass to submit examples of their work…”

Suspiciously, nowhere is the “appraiser” identified by name. Why? Quite possibly, the response to the worldwide invitation was so uneven and sparse… supposing it was just a few more than 50...that he realized the stain to his reputation if identified personally with him. Indeed the ‘roller-coaster’ irregularities in page formatting, in photo quality and quantity, in descriptive text (often touting naive emerging artists’ hopes for yet-future achievements), together gave the impression of a deadline-driven first-draft rushed to print with whatever was on hand. In the paradigm of “publish or perish!” it is sad how often wanna-be ‘glass-world’ surveys end up falling far short! Still, 4 years after its publication, inevitably the coveted ‘collectors’ spotlight’ has other allegedly “authoritative tomes” in current focus… thankfully.

Not so well done, Neiswander!

----------------------------------------------

[Stephen Skillitzi, based in South Australia since 1974, remembers presenting to an Auckland potters'

group in August 1970 a slide show 'n tell of the USA Hot Glass Movement, and a 12 minute silent

movie of his own USA glass blowing activities of 1968-1970, before that now-matured glass paradigm

developed in the antipodes].

==========================================

Response to Stephen Skillitzi’s review from Halina Wlodarczak

Thank you for sending me your "take" on the book and sharing your point of view. I can not agree more with what you wrote. ... - I looked through it, found the pages dedicated to you and could not stop my disappointment as I expected definitely more text. ...

My experience with the art publications is very extensive and my Diploma in Librarianship was dedicated to the art series (Polish and international publications). Thousands of art books went through my hands and I trust my intuition and my mixed feelings regarding this glass publication stopped me from buying. I will still have another look at it because it is interesting to see what people are making in the world. I was surprised there was nobody from Czech/Slovakia or

Poland

Saying that I think, it is always great when books on glass artists are published because it is one more source of information on glassmakers, and the glass medium itself, and the average art lovers will learn more, and accidental readers maybe will be inspired and encouraged to look closer into glassmaking. I really like your review.....

-------------------------------------------

Halina Wlodarczak is a part time artist and full time librarian/teacher for Adelaide's Migrant Education Program. She critiques books/periodicals and is often dismayed at low publication standards.

Corning Glass Review 2010

You may recall I mentioned this in Newsletter No 16 and then again in No 22 asking who had entered and who had been selected. I have now heard that Te Rongo Kirkwood has been accepted and her work is displayed in the book which is evidently now available. CONGRATULATIONS.

Interesting Glass

I encourage you to visit the British Glass Biennale website www.biennale.org.uk. to see the work of

artists selected for the bienalle. The British Glass Biennale is part of the International Festival of Glass which takes place in and around Stourbridge from 23 August - 11 September 2010. Details can be found on the IFG website: www.ifg.org.uk

BULLSEYE ORDERS

The next round of Bullseye Glass Special orders is now OPEN until 30 MAY 2010. Claudia will be collecting any special requests for Bullseye glass or related products for an anticipated August 2010 arrival. No payments are required until then.

**Only the order is required before the end of May.**

Please send your order using the product code numbers and quantities

by email to claudia@claudiaborella.com

GLASS COURSES – WHANGANUI

The Community Education Service(CES) still has places available for next months one day glass courses.

They are being offered at a reduced rate this round as community support funding has been granted lowering the cost of both courses. Normally $160 inc GST.

Monday June 7th - Queen's Birthday Weekend

ENAMELS DESIGN & DECAL TRANSFERS

Learn the process of creating and firing enamel decal transfers. Each person will decorate 2 tumblers which will be permanently fired onto glass.

This process is suitable for glass and ceramics and can be used across a wide range of techniques from ready made to hand blown glass objects. Also suitable for the hot glass Graal technique. Discussions on photo image and digital transfers will also be covered. So if you have ever wondered about how to imprint type onto glass for example, this could be the course for you!

Cost: **SPECIAL $128 inc GST and all materials and tuition.

Time: 10am-5pm

Claudia Borella Glass Design Ltd

Rutland Street, Wanganui

Sunday June 13^th

INTRODUCTION TO FUSING WITH BULLSEYE

This one day course will cover specialty glass types and special effects while introducing participants to the principles of fusing and annealing Bullseye Glass. Each student will produce 10 sample tiles to keep as a reference for building future patterns and designs. Iridescent glass, reactive glass, textured glass and the use of powders will all be covered.

Cost: **SPECIAL $128 inc GST and all materials and tuition.

Time: 10am-5pm

Claudia Borella Glass Design Ltd

Rutland Street, Wanganui

For further details on how to enrol, simply reply to Claudia@claudiaborella.com

Recent Article on four Glass Artists in New Zealand Herald

See http://www.nzherald.co.nz/new-zealand/news/article.cfm?l_id=71&objectid=10644375

DESPERATELY SEEKING CASTGLASS TRAINING IN WELLINGTON
Keen student looking for short term training in cast glass from artist in Wellington. Prepared to pay for the opportunity.

Please contact Bridgette Fitzgerald on 021 606708 or email bridgetteyates@hotmail.com

New Members

Welcome to

Karen Goa – Auckland goaglassart@gmail.com

Rick Walter – Auckland rick@fairfit.co.nz

Sculpture Workshop (Shona Lyon & Kylie Bryham) contact@sculptureworkshop..co.nz

Vacancies still exist

Kiln-formed & Cast Glass

GERRY KING @ THE GLASS FURNACE, ISTANBUL

This course will help you discover new approaches to planning and making glass works. It will take your current knowledge and skills to ‘value add’ to them by introduction of a varity of ways of thinking about the designing of a work. This will lead to selection of materials and techniques suited to the design. It is equally suited to artists, craftspeople and designers. We are likely to make objects such as plates, bowls, sculpture, jewellery and temporary installations. Contemporary glass can be understood as having the colour qualities of painting and the three dimensional qualities of sculpture, we will investigate both. The resulting work can be assessed according to its three aspects: intention, fabrication and resolution. We will use this to advance the excellence of your works. As the ideas of the group will be many and varied a wide range of techniques and skills will be encountered. Primarily a fusing & casting class there will also be opportunity for some hot and cold working. Initial projects will involve manipulation of colour with both glass especially made for artists and float, [window] glass. Attention will also be given to health and safety and aspects of art glass history. Some tasks will be set, including working together and alone, but there will also be self-directed projects. Gerry is assisted by Sheena Larsen who has recently completed a Master’s Degree with a strong emphasis on casting. The course is intended for people with glass experience, but special provision can be made for mature artists wishing to venture into the wonderful mysteries of glass.

Session 5: August 1 August 14

Tuition: 845 Euro + %18 V.A.T

Accommodation: 600 euro + %18 V.A.T

Arrival: 31st July Departure: 15th August

Contact Address: www.glassfurnace.org

Email: apply@glassfurnace.org

Postal: The Glass Furnace Koyici Caddesi 72/A 34829 Ogumce / Beykoz

Turkey

Ph: +90-216-433 30 21

Recycled TV Monitors available

A part time recycler of old CRT monitors and TV's wants to know if there is who can re-use this glass? I have about 100 glass monitors now ready for pickup, I am not looking for money but rather publicity. Can you help?

Contact Ashley : ashley@gs.net.nz]

GS Technologies
195 High Street
Hawera, 4610
Taranaki

INFORMATION AND DIARY DATES,

Ranamok 2010 - $15000 prize

Closing date is earlier than usual 15^th June 2010.

NOTE the postmark date for New Zealand artists is JUNE 5^th.

On-line entry is now possible although hard copy entry is also possible.

. http://www.ranamok.com/entry deadline is 23.59 on June 15th

Forms can be downloaded from www.ranamok.com competed and sent by mail with your images. -

Call for Submissions

Uxbridge Creative Centre is calling for submissions from artists who are interested in participating in our 4^th cast glass exhibition “Exposed’.

Taranaki Art Awards Entry

Entries close 14 September 2010

http://www.taranakiartawards.co.nz/

19th Wallace Art Awards 2010,

Entries close 12 August, 2010

http://www.wallaceartstrust.org.nz

Annie Rose Information

Annie Rose Ltd has established a comprehensive range of products; everything that we believe glass artists would need for torch work, glass fusing and slumping. Precious Metal Clay tools and supplies are also available and can be used with glass.

We have selected the Glass Manufacturers, Tool Makers and Suppliers that we feel represent the best in quality and value. Constantly updating our products and adding the best to our inventory. Visit us on our website www.annierose.com or drop by and see us at our shop and studio, 187 Reyburn House Lane, Whangarei, phone 09 4300817.

Upcoming Events at Annie Rose

Glass Bead Week Tuesday May 18 to Sunday May 23 – a week of glorious workshops from Silver Clay (PMC3), Wirework, Making Curved Beads, Funky Glass Door Knobs and Pulls, and 4 days of workshops with our International Glass Artist for 2010, Sarah Hornik.

Sarah Hornik International Glass Artist from Tel Aviv

Israel

is coming to Annie Rose Studio from Thursday 20^th May through to Sunday 23^rd May to teach 2 two day workshops. The first workshop focuses on reactive colours within the coe 104 palette and the second day will be Freestyle focal fun learning some of Sarah’s creative techniques. The next 2 day workshop will be learning how to use silver wire, foil and mesh, gold leaf, palladium and dichroic with coe 104 pallette.

Sarah became hooked with lampworking in November 2005 and has since abandoned her long standing career as a web designer to become a full time bead maker. Her work can be viewed on her website http://www.glassbysarah.com/. An exhibition of her work can be viewed at our shop in Whangarei from Thursday 20^th till Sunday 23rd.

JUTTA CUNY-FRANZ AWARD 2011

Conditions for Participation and Application Form

Applications will be accepted from now on until 15 October 2010. See application form for download http://www.glasmuseum-hentrich.de/mediabig/2913A.pdf

The prize is awarded to artists who make significant use of glass in their works

The artists who participate should not be older than 40, and their work (sculptures, objects) should not be older than 2 years. Each participant can present up to three works.

Prizes will be presented in Spring 2011. The winning contributions and a choice of further applications will be published in the “New Glass” journal

Only complete applications will be accepted

Please submit your questions and application to

Jutta Cuny-Franz Foundation

Glasmuseum Hentrich, museum kunst palast

Ehrenhof 4–5, 40479 Dusseldorf, Germany

Fax: +49 211 892-9173

dedo.krosigk@smkp.de\

EXHIBITIONS,

West Coast Gallery

Old Fire Station

Piha, Waitakere City

1st - 30th May

"Octopus's Garden" solo exhibition Sofia Athineou

· Statements Napier

May 7th runs until 30th May

Material Girls

Artists: Karen Ellet, Katie Brown, Carmen Simmonds, Isla Osborne, Sarah Courtney-Plant

Milford Galleries Queenstown

Winter Show

15 May - 9 June 2010

Sabbia Gallery, Sydney

Winter

- Sabbia Artists including Evelyn Dundstan

30 Jun – 24 Jul 2010

Hastings City Art Gallery

Eastbourne Street East , Hastings

PUTIPUTI: The Flower in Contemporary

New Zealand

Art

10 Jul - 26 Sept 2010

Uxbridge Gallery, Auckland

Exposed 4

6 - 26 Aug 2010

Solstice

22 June - 3 July

Avid Gallery, Wellington

Claudia Borella

Brian Chrystall, President, Newsletter Editor,

Mobile 021 02307786

Email : Glasspres@gmail.com

NZSAG, PO Box 68805, Newton, AUCKLAND

Newsletter 23

2010-05-12T10:36:00.008+12:00

NZSAG CONFERENCE - AUCKLAND, NEW ZEALAND

LABOUR WEEKEND October 23 -25 2010

More information later.

Ranamok Costs

Many artists will be considering entering pieces to Ranamok Glass Prize for which New Zealand entries must be postmarked no later than June 5^th.

It is important that artists are aware of the costs that may be involved should their piece be selected for the Final. Of course there is the cost of making and finishing the piece but this is just the start. The next cost will be packaging. Given that poorly packaged work may not reach the destination intact it is important that the packaging is robust, cushions the art work securely and can withstand the likely rigours of freighting to Australia. You may be able to make your own specifically designed crate but may decide to get it made by a specialist packaging Company. Ideally choose a company that can demonstrate experience packaging glass art for export.

You will then need to arrange the transport of your piece to Australia and be prepared to pay the Australian handling costs.

You should also consider the cost of the 50% commission that Ranamok charges on any piece sold.

Last year Greg Hall, from Wanganui, says that he paid $630 to get his piece to Australia even though the freighting was divided between four artists. The other cost could be the travel and accommodation so that you can be at the awards evening.

This is NOT to dissuade artists from entering but to ensure that they realise that if their piece(s) is selected for the final there are considerable costs.

Royal Easter Show – Auckland

The Royal Easter Show as held in Auckland over Easter. It is the largest art show in the country, showing Paintings, Ceramics, Woodcraft, Photography and Glass. There were two competitive classes for Glass, Decorative Glass and Wearable Glass. Overall the number of entries for the show was up on the 2009 show but glass the number was about the same as last year but split between the two classes whereas in 2009 there was only the single Decorative Glass class.(There were 9 artists – 20 pieces for Decorative Glass, 9 artists and 19 pieces for Wearable glass).

The judges picked a first and second for Decorative Glass and a First for the Wearable glass and the Judges Choice.

The awards went to :

First Prize Decorative Glass ($1000): Donna Feary of Kerikeri

Second Prize Decorative Glass ($200) Lorraine Natusch of Darfield

First Prize Wearable Glass ($300): Lisa-Jane Harvey of Auckland

Judges Choice Sofia Athineou of Auckland

The Judges’ Choice was put up for auction but there were no bidders.

The Public were also asked to vote for the piece that they liked most with the artist receiving $250 worth of Gaffer Glass. The most popular piece with 58 votes was Darryl Fagence's piece "Triple Koru", the next was Elsie Smith's mosaic piece "Paua" with 41 votes and the Sofia Athineou's piece "Medusa" with 40 votes. Congratulations Darryl.

Although there were some very attractive and extremely well executed pieces, in the judges’ view and that of many of the opening night public, the average standard was considerably lower than last year. However 2009 was an exceptionally good show with a number of the better artists exhibiting and selling. Perhaps 2011 will again be a stunning year with more and higher quality pieces.

Once again it seems that many artists completely ignore packaging of their pieces. Some pieces arrived without any packaging and perhaps should have been rejected. It is senseless to rely on bubble wrap and a cardboard box for glass pieces. It is also not a good move to package a lot of pieces into a single box because if a piece is sold the remaining pieces rattle around and the sold piece has no packaging. Individual packages in a larger box is OK as if sold the individual piece can still be packaged and shipped where needed. Make sure that if you are using screws to attach a lid that they are long enough to securely fasten the lid and not pull out easily.

The Bullseye Glass Co. E-merge 2010

Congratulations to all the entrants .

The award winners: (Gallery - http://www.bullseyeglass.com/emerge/gallery)

Gold Award: Kate Baker

Silver Award: Lisbeth Biger

Bronze Award: Shannon Brunskill

Academic Award: Jamie McDonald Gray

Kilncaster Award: Cassandra Straubing

Newcomer Award: Mark Ganter

Popular Award: Shelley Doolan

Welcome to new Members

Peter Raos (welcome back)

Paul Hartigan

Alastair Mead

Mike Wadsworth

Shelley Witters

Wendy Beyer

Philip Aitkin

Cecilia Guridi

Kerry Rowe

Elizabeth Pounder-Smith

Dale Scott

TIPS FOR SUBMITTING IMAGES

It is always very time consuming preparing photos for juried exhibitions. Ensure you don't waste your time. Follow these valuable tips from Pam Reekie:

• Make sure your images are in focus. Blurred images do not help to sell your work.

• If your work does not go outside, then it is not helpful to photograph it outside, it is best to photograph it in a studio situation.

• Always send out images with your name and title of work in the file name. When someone is dealing with over 300 images you cannot expect them to sort files such as IMG 20F128. Your work will get lost or shelved. I suggest: Name of artist/s, title, date and dimensions.

• If your work is not made entirely of glass, then reference the different media used.

• Use full-size images of pieces. Close ups are really difficult to use unless you explain exactly which part of what image you are showing.

• Don't put images in to make up numbers. If you only have two good images, only submit two, not two good and three bad.

• Professional photography is expensive, but good images do make a difference. You can teach yourself simple ways of taking good photos: go on a course or find a photographer to teach you.

• If your image is very good it is much more likely to be used for publicity for the event and many more people will see your work.

SCULPTURE WORKSHOP

Sculpture Workshop opened this February. As a self-taught Sculptor, in 2006 I travelled to Europe and in particular Chartres Cathedral about an hour outside of Paris. This Cathedral had a profound impact on me and the direction of my life. After viewing thousands of Sculptures within the beautiful blue Glass Windows of Chartres Cathedral, I realised that I would like to further develop my skills by studying under a master sculptor.

I returned home to New Zealand with a renewed passion for all Sculpture, however after searching New Zealand and Australia for some formal classical sculpture courses I couldn't find one to suit. So I extended my search, and I found a Master Sculptor in France, Martine Vaugel, (the winner of two Rodin Awards) and so I decided to sell my business, travel and study privately under Martines' guidance.

When I finally did have to return to New Zealand, I found that it was incredibly difficult to find tools and resources for the techniques used in Classical French Sculpting. So I began importing my own tools from Europe and America. A few friends who also sculpt, asked if I could bring in some materials for them as well and so I did. It soon became clear that there was a need in NZ for a wide range of sculpting tools and equipment.

The need for resources was clear but it was my desire to also provide a place and a community where Sculptors could get together that prompted me to start looking for premises. It took a while but we finally found a wonderful place that includes a gallery, retail shop and huge open plan workshop studio. The dream of Sculpture Workshop had become a reality.

On 1 April 2010 we took over the full premises at 762 Dominion Rd, Mt Eden, Auckland 09 620-1110. We offer a huge range of Sculpting Tools, equipment and resources. We are the exclusive distributors for Polytek Development Corporation in the US, who have the largest range of Rubber Molding, Plastic and Resins in the World. We also distribute a large range of Sculpture tools from Sculpture House in America.

We would like to offer the NZ Glass Society members a 10% discount upon presentation of their (Sculpture Workshop) membership Card. Kylie and I hope to see you at the Workshop soon.

Sculpture Workshop.......a pure passion for sculpture!

Shona Lyon

Sculpture Park Events Calendar

All events are organised by the Waikato Sculpture Trust

Event	Location	Dates
Environmental Art Photography Challenge 2010 finalists	Artspost, Hamilton	7^th May – 30 May 2010
Winter Collection	Sculpture Park	1^st June – 14^th November 2010
RE:FRACTION, an Outdoor Glass Sculpture Exhibition	Sculpture Park (in the Rock Garden and Asian Section)	2^nd October – 14^th November 2010
Sculpture-in-the-Park	Sculpture Park	20^th November – 6^th March 2011
E:SCAPE Sculpture in the Landscape	Sculpture Park	19^th March – 6^th June 2011

Interesting Reading from the web

Videos on bonding and cold working glass. Visit www.hisglassworks.com click on videos and browse techniques. ( Very commercial but may be useful)

DESPERATELY SEEKING CASTGLASS TRAINING IN WELLINGTON
Keen student looking for short term training in cast glass from artist in Wellington. Prepared to pay for the opportunity.

Please contact Bridgette Fitzgerald on 021 606708 or email bridgetteyates@hotmail.com

INFORMATION AND DIARY DATES,

Ranamok 2010

Closing date is earlier than usual 15^th June 2010.

NOTE the postmark date for New Zealand artists is JUNE 5^th.

Entry forms and other information will be on the Ranamok site later. Keep watch. http://www.ranamok.com/

Sculpture on the Gulf Waiheke

Artist call for submissions. Entries close April 30^th, 2010

See website for information www.scultpureonthegulf.co.nz

A Fragile World - Glass auction and cocktail evening

(this is a fundraising event for Hospice)

30th April 2010

6-8pm

Chronicle Glass Studio

2 Rutland Street

Wanganui

In support of Hospice Wanganui

For more information visit www.afragileworld.co.nz

JUTTA CUNY-FRANZ AWARD 2011

Conditions for Participation and Application Form

Applications will be accepted from now on until 15 October 2010. See application form for download http://www.glasmuseum-hentrich.de/mediabig/2913A.pdf

The prize is awarded to artists who make significant use of glass in their works

The artists who participate should not be older than 40, and their work (sculptures, objects) should not be older than 2 years. Each participant can present up to three works.

Prizes will be presented in Spring 2011. The winning contributions and a choice of further applications will be published in the “New Glass” journal

Only complete applications will be accepted

Please submit your questions and application to

Jutta Cuny-Franz Foundation

Glasmuseum Hentrich, museum kunst palast

Ehrenhof 4–5, 40479 Dusseldorf, Germany

Fax: +49 211 892-9173

dedo.krosigk@smkp.de\

COCA Anthony Harper Contemporary Art Award Be Quick on this one

$10,000 prize

Entries close 5pm 23^rd April.

Forms downloadable from www.coca.org.nz

National Contemporary Art Award 2010

Entries Close 5 May 2010

ONLINE ENTRY at http://www.waikatomuseum.co.nz/news/pageid/2145848459

Prize $15,000

WHANGANUI ARTIST OPEN STUDIOS
19th - 28th March 2010

Studio's open on weekends only

http://www.eventfinder.co.nz/2010/mar/wanganui/whanganui-artist-open-studios

EXHIBITIONS,

Nathan homestead, 70 hill road, Manurewa, Auckland.

Glamorous -a collaborative exhibition of glass and photography. Designed to provide insight into the art and science of glass, this show juxtaposes sensitive photography with delicate and magical glass painting, sculpture and jewellery.

Opening Thursday 25 th March from 6pm

Salvador Schwieters, Tim D, Frances Hanson, Fiona Rennie-Schwieters, Isla Osborne

· Waitakaruru Sculpture Park, E:SCAPE Sculpture in the Landscape

Curated by Sarah Anderson

13^th March – 30 May 2010

The Trust is looking for corporate sponsors.

KORU1, Koru Contemporary Art

7 Tin Wan Praya Road, Aberdeen, Hong Kong

17th March to 8th May 2010

The Spring Exhibition will also include the work of well known gallery artists each working in glass but with widely varied aesthetics. Both David Murray and Galia Amsel create monolithic tabletop glass pieces but Claudia Borella also has wall mounted panels which interpret the New Zealand landscape by moonlight.

West Coast Gallery

Old Fire Station

Piha, Waitakere City

1st - 30th May

"Octopus's Garden"

Sofia Athineou

· Statements Napier

May 7th runs until 30th May

Material Girls

Artists: Karen Ellet, Katie Brown, Carmen Simmonds, Isla Osborne, Sarah Courtney-Plant

Solstice

22 June - 3 July

Avid Gallery, Wellington

Claudia Borella

Newsletter 22

2010-04-04T09:16:00.002+12:00

NZSAG Conference

MARK THE DATES IN YOUR DIARY NOW October 23 -25, 2010

The 2010 conference, a celebration of NZSAG’s 30 years of history, will be held in Auckland over Labour weekend October 2010. Perhaps Aucklanders can start thinking whether you would like to billet a NZSAG member from another part of New Zealand for the duration of the conference.

More information later.

Corning - New Glass Review 31 Competition

In Newsletter 16 I published the request for entries for the New Glass Review. Glassmakers, artists, designers, and companies were invited to participate. Only glass designed and made between October 1, 2008, and October 1, 2009, could be submitted for this annual survey Each year, the Corning Museum of Glass conducts a worldwide competition to select 100 images of new works in glass. A committee drawn from designers, artists, curators, and critics makes the selection. The publication is intended to keep its audience, which includes museums, artists, libraries, collectors, scholars, and dealers, informed of recent developments in the field.

Objects considered excellent from any of several viewpoints ”such as function, subject matter, aesthetics, and technique” will be chosen. The objects selected will be published in color with the names of the makers and brief descriptions of the pieces.

It would be interesting to know who amongst the NZSAG members submitted images and who has been accepted. I understand that acceptance letters were delivered last week. Over 2500 images were supplied and only 100 selected. I would like to be able to congratulate those of the NZSAG membership who have been selected and I am sure other members will be pleased to know who is succeeding against very strong competition.

BLOG WORTH READING

http://blog.glassquarterly.com/2010/02/15/guest-blogger-glass-as-tourist-attraction-part-ii/

The blog makes comments on Douglas Lloyd Jenkins article in the Listener and comments on the value of Glass tourism.

Original Art Sale

Some of you may be interested in trying to get your work into the Original Art sale which is held in the Telstra Centre in Manakau 25^th – 27^th June.

To enter go to www.theoriginalartsale.co.nz and click on application. Entry costs $45 and sales incur a 30% commission. Maximum of 4 artworks per artist.

Gleaned from Ausglass Newsletter (November 2009)

Mobile Hot Glass Facility makes Debut at Deloraine

Tasmanian Craft Fair held in Deloraine (30th Oct to 2nd Nov 2009) heralded glass as its theme for the first time since it began 29 years ago. The event organisers, the Rotary Club of Deloraine, embarked on a number of projects involving glass including an exhibition entitled Furnace curated by Douglas McManus and a number of hands-on lampworking workshops offered throughout the 4 day fair. They were also looking to have glass blowing featured as a way of attracting more than the 30,000 people that normally attend. After their initial glass blowing contact fell through, Craft Fair director John Dare approached Keith Dougall in early August after hearing that Fusion had just finished setting up a new Hot Glass Studio in Poatina. He asked if Keith would consider bringing their furnace to the fair and after much discussion it was decided that this was less feasible than building a new furnace and related equipment that would be designed for travel on a dedicated trailer complete with a working stage for demonstrations. The trailer could then be available for future fairs and other events around Tasmania and the mainland. And so a partnership was entered into between the Rotary Club (who provided funds) and Fusion (who provided expertise and labour) to build what we believe is currently Australia’s only existing Mobile Hot Glass Facility, reminiscent of the Corning Museum’s Hot Glass Roadshow that toured Australia during 2005, although somewhat smaller and more humble in design and budget! Fusion had an old modified duel-axel car trailer that has been used as a mobile stage at festivals and other events in the past, but was now sitting unused. So it was decided that this would become the base from which to create this great new facility. The trailer was 4.1m long by 2.2 wide had existing walls that were 1.5m high. One of the long side walls was able to fold down to create a large platform stage or work area. We increased the height of this folding wall/floor to 2m, which created an even larger work area when folded down for the bench and marver, plus we added a sloping roof complete with a sliding canopy that could be extended out over the work area for shade. We also added electric braking capacity by replacing the existing axles with 2 new electric brake axles. Next came the task of designing the equipment to fit on the trailer… the basic setup we felt we needed was a furnace for melting the glass, a small glory hole for re-heating, an oven or kiln for annealing finished pieces and a pipe warmer. We also needed to consider the energy source for each of these items and decided that if we could keep the setup electricity-free we would be able to operate independently of access to power. So LP Gas was the go, and we created a rack on the draw-bar of the trailer to house 4 x 45kg bottles - enough for a few days’ operation.

James Dodson, of Tasmanian Glassblowers, was also drawn into the project and provided his fibreglass moulds for the castable linings of a free-standing pot furnace. We decided on a pot capacity of 50kg, mainly because James had an old pot we could use of that size and because we felt that was a good size to take on the road and to switch on and off regularly. Simon Maberley, of Canberra, also came down for a week to help cast some of the linings and start work on the furnace which was a great help. He also helped with one of the more difficult tasks – deciding on the placement of each large piece of equipment so that the trailer would be well balanced weight-wise for towing. Because we had to build the equipment on the trailer (we had no way of lifting the equipment after construction) this necessitated using weights (a couple of pallet-loads of bricks, bags of soda ash and castable and anything else we could find) to do a dummy run and make sure the down-weight on the tow-ball was not too little or too great and that the trailer was balanced from left to right as well. Another major challenge we faced was finding a Class B gasfitter (Combustion Engineer) who could do the work of commissioning the burners and getting the paperwork processed for inspection by the gas authorities in such a short lead-time. There are only 2 gasfitters of this sort in Tasmania and one of them did not want the job – and so we were a bit nervous about working with the only other one who did not have much experience with glass equipment and who had been dragging the chain quite a bit on completing the work for the new facility at Poatina. But, we did manage to get across the line… just… he literally finished connecting the last burner for the Glory Hole on the day before the fair started when we were already well under way in heating up the furnace. In the end he ended up getting quite excited about the project and brought his family along to see the demonstrations at the fair. If you are embarking on a project of this sort in the future, be prepared to have to work through quite a bit of red tape… the gas code is different in every state and it wasn’t written with mobile hot glass trailers in mind at all! But the good news is that we did make it, much to the relief of John and the fair organisers who had been sinking quite a few stories into the media about it all. In the end we were featured in all the major newspapers more than once and TV and radio covered it as well. It was great to see the thousands of people who watched over the weekend being fascinated as they watched the glass blown and shaped before their eyes. Rotary was really pleased because numbers were up considerably from last year and there was a real buzz about all the glass. James Dodson and Simon Maberley returned to help with the demonstrations. It was great to be able to tell the bigger story of what is happening here at Poatina with Tasmania’s first access/educational facility for hot glass just coming on line with Fusion. It does seem to be the start of Tassie’s moment right now for glass and many people filled in response forms saying they would like to undertake workshops or teaching in hot glass techniques in the new year at Poatina.

We are excited about the opportunities our new hot glass facility and the mobile facility will bring to work with a range of ages and groups within the community, including school, TAFE and uni students who currently don’t have access to hot glass. There is something about molten glass that brings out the best in people… a sense of child-like awe and wonder that is an excellent starting point for working with disadvantaged young people and others in need in the community. It was a special moment during the demonstrations when a 9 yr old boy declared to the crowd “I want to be a Glass Blower when I grow up!” - A good reminder of the younger generations who are looking to find their place and who are a vital part of our future.

A real challenging project but certainly a marvellous way to showcase glass working.

NZSAG Website

There have been a couple of inquiries regarding what happens after the website fee has been paid. All new members and those existing members who paid their $20 upload fee are able at any time to submit different images (than those going in the book), to have a page of your own on the NZSAG website.

Pam Olver manages the website her contact details are:

Pam Olver

155 Second View Ave

Beachlands

AUCKLAND 2018

garrypam@xtra.co.nz

Pam will do the upload and you will be issued a password that allows you to view the members’ only section of the website.

Images (as many as you want) need to be at least 150dpi or bigger, with each image named and sent on a CD. (Please do not send email size as this is very small). Images can be downsized but not enlarged. Include your name (and studio name if applicable), as you wish it to be show on the webpage, your artist statement, biographic details and galleries that represent you. These may be different from that submitted for the book.

Unfortunately access to edit your own page has been discontinued as someone has been able to hack into the home page, and also some members have uploaded images that are too big. Now, if you wish to change an image or two, you can email them to Pam or send new images on a CD. Please indicate if they are replacing existing images or being added.

Francia Smeets (Treasurer)

Bullseye Emerge Finalist

Congratulations to New Zealand's only finalist Campbell Wylie for his entry into the Bullseye Emerge 2010 competition.

Already he is receiving publicity before the announcement of the award for his great packing:

http://www.bullseyeglass.com/weblog/2010/02/16/submerged-by-e-merge/

Congratulations Campbell, fantastic news to have made it this far! And best wishes for the final round, soon to be announced.

It is also worth looking at the Finalist images on the Bullseye site - http://www.bullseyeglass.com/emerge/gallery/

Packaging

There are many artists who should note the packaging discussed in the blog above and ensure that they emulate the artist. Good packaging can protect artworks and ensure that they can be transported around the world and arrive intact. Poor packaging can be a disaster. If you work does not arrive at its destination undamaged the whole effort of producing , finishing etc is wasted.

Courses by Claudia Borella Design

To register simply email your interest to claudia@claudiaborella.com

· DESIGNING WITH VINYL SANDBLAST RESIST

This three day workshop will provide participants with the opportunity to explore methods developed for my most recent body of work. The process introduces textural elements and allows precise control of colour through machine or hand cut masks. The course will introduce participants to the use of 'thins', Bullseye's specialty 1.5/2mm glass as well as iridescent coated glass types. Everyone will be cutting and fusing sheet glass, designing, cutting and applying the resist masks, to produce an object that utilises this process. Firing and annealing glass schedules will also be discussed. Numbers limited to a maximum of 10 people.

Friday 2nd APRIL - Sunday 4th APRIL - 3 Day Easter Weekend 10am - 5pm

Claudia Borella Glass Design Ltd, Wanganui

Beginner to Advanced levels COST NZ$550 inc gst

Artist’s success

Ann Robinson features in Neues Glas – Spring 2010 with a four double page spread. It is well worth a look if you can get a copy. If you cannot get access you might want to email me and I will supply a pdf version.

CASH AND CARRY

Te Atatu Cast Glass Studio Closing Down early April

FOR SALE

Blue vertical front loading kiln in good working order

No controller $ negotiable prices for cash

Numerous workbenchs, tables, bookcases

Shelving various sizes wooden and metal well used but still useful.

Some used plaster moulds for wax in good condition.

Must view to get the bargains.

Available to view from 19^th March onwards but be quick.

CHEAP KILN

Front loader, square silver shaped kiln, must view.

Been in the studio family since 1998. Still in use and in good working order. No controller

$ Make us an offer we can’t refuse.

Pick up from Te Atatu Peninsula< Auckland

Call lou Pendergrast-Mathieson 021989751 or 4891310 or email:

l.mathieson@themondesir.co.nz

From Bead makers information :

Lightbox Display

This creative way to present glass art allows light to shine through the object, adding vibrancy and rendering it perfect for display and photography.

Fabricated from opal acrylic and finished with bullnosed edges, this 300mm x 300mm x 200mm deep lightbox rests on discreet black rubber feet, and is powered through a 5m white moulded lead. Sturdy enough to support up to 40kg in weight, the lightbox is easily manoeuvrable from one venue to another.

Price for one off packaged and delivered to your door is $750 +gst. For multiple orders, there will be a reduction in cost per unit.

: If you want to know more contact catherine@signselect.co.nz

***SPECIAL CATALOGUE OFFER***

During the Open Artist Studio event, the recently published full colour catalogue, ‘Hybrid Culturati' released at SOFA New York 2009 will be on offer at a 50% discount. Usually retailing at NZ$20, the catalogue will be available at the venue during this event only for NZ$10.

If you are unable to make it to the event and would like to purchase a copy at the reduced rate plus postage, a copy can be sent to you.

Simply reply to claudia@claudiaborella.com with your name and address.

Limited copies available.

Offer only available until 31 March 2010.

ENFORCING YOUR RIGHTS- PART 2

Introduction

In the last edition of our Art Law Newsletter we began discussing what to do when you feel your rights in your art may have been infringed by someone. Having covered the kind of initial issues that need to be considered before you can make an informed decision as to whether you should take formal action, in this edition of our Art Law Newsletter we are going to be discussing the different options you have when it actually comes time to take action.

Formal or Informal

In some cases if you are dealing with a very blatant breach of your rights a firm and well written letter from your lawyer setting out your position and the necessary actions you require the infringing party to take to remedy the situation can be the best way to try and resolve things. However, in other cases depending on the history and personal relationship between the parties a more informal approach by you to the infringing party may be a more strategic way to go. In some situations people can become less co-operative once they think the matter has been escalated to a formal level where lawyers are involved. If you can keep them thinking there is still the opportunity to resolve things amicably then you may have more success than being aggressive and confrontational.

Prior Advice

If you do decide to make an informal approach in the first instance, then you should still get some kind of legal advice on the best way of going about this. Just because you don’t want the other party to think you’ve got a lawyer involved doesn’t mean you can’t have sought advice behind the scenes. This kind of advice can give you a much better idea of what you should and shouldn’t say in these early stages of the dispute so as not to compromise your position and chances of success if things do proceed to a more formal confrontation.

Court Action

If initial discussions or correspondence with the other party do not provide you with the results you desire, then there are a number of other options you can consider. One of the most obvious is legal action through the courts. However, unless the infringement of your rights in question is sufficiently serious or there is a lot of money involved, this is not often going to be the best course of action. The financial cost of court action can be significant. However, the time that must be devoted to pursuing such an action as well as the personal toll that being involved in litigation can take are just as important considerations when deciding if taking someone to court is really the best way for you to progress things.

Disputes Tribunal

Depending on the nature of the dispute the Disputes Tribunal can be a very effective forum by which to resolve a matter. Unfortunately there are certain kinds of disputes that the Disputes Tribunal cannot hear such as pure intellectual property disputes, but if your claim can be heard in the Disputes Tribunal then it can be a very cheap way of progressing the issue. For example no lawyers are involved in any hearings before the tribunal and there is only a nominal fee to be paid in order to have your claim heard. Also a decision of the disputes tribunal can have the same legal standing as if the matter had been decided by the District Court.

Mediation and Arbitration

Other options to court action which can be effective in the case of a dispute are mediation and arbitration. Although these will both require the other party to the dispute to agree to such proceedings, both mediation and arbitration can be cheaper and quicker than taking a matter through the courts. Mediation and Arbitration both also have the added benefit of the parties being able to agree to keep the matter confidential where as anything heard in the courts is of course open to the public. Mediation essentially involves a mediator or mediators acting to try and help you and the other party agree on a settlement. Arbitration on the other hand involves an arbitrator or arbitrators hearing both sides to the claim and then making a decision on the matter that you and the other party will be legally bound by.

Desired Outcome

In order to help you decide which course of action is the most appropriate for you, it is always important to have a very clear understanding of exactly what you want out of the situation. For example if all you are looking for is an apology from the other party then court action is not going to be the most appropriate avenue for you to go down. However if there is significant money involved, it is not just a one off occurrence and the other party is refusing to communicate with you on the matter, then initiating appropriate court proceedings may be an option worth seriously considering.

Damages

If the remedy you are seeking in any situation involves the payment to you of some kind of damages then you also need to consider if you have the ability to prove in a verifiable way the basis for the loss or damages you are seeking. For instance if someone uses one of your images on a T-Shirt and you normally licence such use of your images for say $50, trying to claim $5,000 in this case may not necessarily be realistic. However if there are other related verifiable costs you have incurred in respect of the infringement of your rights, such as associated legal fees, then it is worth bearing in mind that you may also be able to factor these into the final amount you are claiming from the other party.

Conclusion

Being involved in a dispute in relation to you art is never pleasant. However by being aware of the issues that need to be clarified before you commence action, the most appropriate way to pursue such action in any particular case and being realistic in terms of what you hope to achieve, will all help to get you through the situation in the least painful way possible.

Questions?

If you have any queries or questions in respect of the above please don’t hesitate to contact david@mclaughlinlaw.co.nz or on 021 630 201 or 09 363 2738

New Zealand Glass Bead Association Competition

NZGBA are holding their 2010 Bead Competition and invite NZSAG members to compete.

There is a kiln formed bead category.

See http://www.nzgba.org.nz/wp/annual-bead-competition/ for details.

Closing date for entries is April 16^th 2010.

Di Tocker from Hamilton writes :

I am enjoying a great start to this year working on an exciting commission and having spent some time with advancing glass students.

Brian Perry Classic Awards

I am just putting the finishing (polishing!) touches to a set of awards commissioned by the Brian Perry Foundation here in Hamilton for a ProAm Golf Tournament, The Brian Perry Classic due to be played over 3 days next week. I am very pleased with the achieved finish of these pieces, made possible by the purchases of new equipment for the studio last year.

Click on this link to check out images of the awards. http://www.dicast.co.nz/gallery/album7

Advanced Casting Course

In February, I spent 2 days with four advanced students, letting them push the boundaries a bit further…casting bigger and more challenging pieces. It was such a thrill to work with these students, 3 of whom are experienced artists working successfully in other mediums. I seem to get as much out of these workshops as the students do…thanks guys!

One of the students has posted a great blurb including photo’s on her blog…click here to check them out

http://gorgeouswithattitude.blogspot.com/2010/02/cast-glass-making-our-molds.html

http://gorgeouswithattitude.blogspot.com/2010/02/cast-glass-workshop-breaking-moulds-and.html

Upcoming Workshops

There are 2 workshops lined up for this year with a few places in each left. The dates are set for April and August.

Please note these are the only courses I will be teaching this year as I have a full schedule of glass making commitments.

For info and enrolment forms click on this link

http://www.dicast.co.nz/pages/8/Downloads

INFORMATION AND DIARY DATES,

Ranamok 2010

Closing date is earlier than usual 15^th June 2010.

NOTE the postmark date for New Zealand artists is JUNE 5^th.

Entry forms and other information will be on the Ranamok site later. Keep watch. http://www.ranamok.com/

A Fragile World - Glass auction and cocktail evening

(this is a fundraising event for Hospice)

30th April 2010

6-8pm

Chronicle Glass Studio

2 Rutland Street

Wanganui

In support of Hospice Wanganui

For more information visit www.afragileworld.co.nz

WHANGANUI ARTIST OPEN STUDIOS
19th - 28th March 2010

Studio's open on weekends only

http://www.eventfinder.co.nz/2010/mar/wanganui/whanganui-artist-open-studios

JUTTA CUNY-FRANZ AWARD 2011

Conditions for Participation and Application Form

Applications will be accepted from now on until 15 October 2010. See application form for download http://www.glasmuseum-hentrich.de/mediabig/2913A.pdf

The prize is awarded to artists who make significant use of glass in their works

The artists who participate should not be older than 40, and their work (sculptures, objects) should not be older than 2 years. Each participant can present up to three works.

Prizes will be presented in Spring 2011. The winning contributions and a choice of further applications will be published in the “New Glass” journal

Only complete applications will be accepted

Please submit your questions and application to

Jutta Cuny-Franz Foundation

Glasmuseum Hentrich, museum kunst palast

Ehrenhof 4–5, 40479 Dusseldorf, Germany

Fax: +49 211 892-9173

dedo.krosigk@smkp.de

EXHIBITIONS,

Sarjeant Gallery, Whanganui

Looking Glass: Reflecting Ideas.

12 December 2009 to March 14 2010,

Nathan homestead, 70 hill road, Manurewa, Auckland.

Opening Thursday 25 th March from 6pm

Salvador Schwieters, Tim D, Frances Hanson, Fiona Rennie-Schwieters, Isla Osborne

· Waitakaruru Sculpture Park, E:SCAPE Sculpture in the Landscape

Curated by Sarah Anderson

13^th March – 30 May 2010

The Trust is looking for corporate sponsors.

ShapeShifter 2010

26 Feb - 21 March 2010

Civic Garden, Lower Hutt

www.shapeshifter.org.nz

The New Zealand Steel Gallery, Pukekohe

“Pretty much Perfect”

4 March to 28 March

Show of painting, ceramics and Glass (Susan Louie)

Lane Gallery, 33 Victoria St East, Auckland

"Crush" Patê de verre sculptural glass by Sue Hawker & Lee Brogan

March 16th - April 17th. Opening preview - March 16 @ 5.30pm

Monday-Friday 10am - 5pm. Sat. 10am - 4pm.

KORU1, Koru Contemporary Art

7 Tin Wan Praya Road, Aberdeen, Hong Kong

17th March to 8th May 2010

Northern Exposure: Glass & Ceramics

Opening 3-21 March 2010

Arthouse, Christchurch

Claudia Borella

Exhibition of NZ Academy of Fine Arts, 1 Queens Wharf, Wellington

Katie Brown and Lyndsay Patterson are currently guest exhibiting artists at the Festive

Show runs until 21st march.

Statements Napier

Material Girls

Opening 5.30pm May 7th runs until 30th May

Artists: Karen Ellet, Katie Brown, Carmen Simmonds, Isla Osborne, Sarah Courtney-Plant

Solstice

22 June - 3 July

Avid Gallery, Wellington

Claudia Borella

Newsletter 21

2010-02-09T20:46:00.003+13:00

Corning - New Glass Review 31 Competition
In Newsletter 16 I published the request for entries for the New Glass Review. Glassmakers, artists, designers, and companies were invited to participate. Only glass designed and made between October 1, 2008, and October 1, 2009, could be submitted for this annual survey Each year, the Corning Museum of Glass conducts a worldwide competition to select 100 images of new works in glass. A committee drawn from designers, artists, curators, and critics makes the selection. The publication is intended to keep its audience, which includes museums, artists, libraries, collectors, scholars, and dealers, informed of recent developments in the field.
Objects considered excellent from any of several viewpoints ”such as function, subject matter, aesthetics, and technique” will be chosen. The objects selected will be published in color with the names of the makers and brief descriptions of the pieces.
It would be interesting to know who amongst the NZSAG members submitted images and who has been accepted. I understand that acceptance letters were delivered last week. Over 2500 images were supplied and only 100 selected. I would like to be able to congratulate those of the NZSAG membership who have been selected and I am sure other members will be pleased to know who is succeeding against very strong competition.

Glass Art Book
The book is progressing. Evelyn Dunstan has been doing a lot of work driving the progress by working with Grace Cochrane and Stuart Park who are writing the articles that will be a significant part of the book. She has also been coordinating rewrites and review of the Technical Perspective section. We expect to get some feedback from the publishers shortly with layout designs, cover designs and then later page proofs for review. It is a major undertaking and I believe that once published the book will be a valuable resource.

Original Art Sale
Some of you may be interested in trying to get your work into the Original; Art sale which is held in the Telstra Centre in Manakau 25th – 27th June.
To enter go to www.theoriginalartsale.co.nz and click on application. Entry costs $45 and sales incur a 30% commission. Maximum of 4 artworks per artist.

Compendium Galley and Pamela Elliot
In September 2009 Compendium Gallery located in Lorne Street, downtown Auckland closed its doors. Pamela Elliott had owned and managed Compendium for an unbroken 28 years and I first met her in 1981 when I had my glassblowing studio in Devonport and where Pamela established her gallery on the first floor at 83 Victoria Street sharing the premises with a vegetarian restaurant.
The opportunity came up two years later to shift to a ground floor corner street frontage with considerably more display space and Compendium quickly established itself as a major craft gallery in the city of Auckland. Many major craft exhibitions were hosted there for glass, ceramics, wood, metal and jewellery and many craft practitioners had their first opportunity to display their products there.
Compendium’s first glass exhibition was ‘NZSAG Conference Exhibition’ in 1981, and then followed many years annual ‘Glass Awards’ and ‘National Glass’ exhibitions.
Pamela also judged the first Philips Studio Glass Awards held at Auckland Museum in 1983, also the Crafts Council Gallery’s ‘Focus on Glass’ Exhibition in Wellington in 1985.
More recently Pamela represented several NZ glass artists at SOFA in Chicago and New York, also in the NZ Embassy in Washington DC. Artists work exhibited were, Sue Treanor, Lou Pendergrast, Nicole Lucas, Claudia Borella, Garry Nash, Peter Raos and Hoglund Art Glass.
I miss both Pamela and Compendium Gallery after nearly three decades of trading, I have often admired Pamela’s tenacity and ability to keep going in these recent very difficult financial times. Especially after having recently carried out such a major expansion and renovation to the gallery, resulting in beautifully lit, large display areas.
If we had a glass medal then surely it would be awarded to Pamela !
Peter Viesnik

NZSAG Website
There have been a couple of inquiries regarding what happens after the website fee has been paid. All new members and those existing members who paid their $20 upload fee are able at any time to submit different images (than those going in the book), to have a page of your own on the NZSAG website.
Pam Olver manages the website her contact details are:
Pam Olver
155 Second View Ave
Beachlands
AUCKLAND 2018
garrypam@xtra.co.nz
Pam will do the upload and you will be issued a password that allows you to view the members’ only section of the website.
Images (as many as you want) need to be at least 150dpi or bigger, with each image named and sent on a CD. (Please do not send email size as this is very small). Images can be downsized but not enlarged. Include your name (and studio name if applicable), as you wish it to be show on the webpage, your artist statement, biographic details and galleries that represent you. These may be different from that submitted for the book.
Unfortunately access to edit your own page has been discontinued as someone has been able to hack into the home page, and also some members have uploaded images that are too big. Now, if you wish to change an image or two, you can email them to Pam or send new images on a CD. Please indicate if they are replacing existing images or being added.
Francia Smeets (Treasurer)

The Art of Applied Design
The DHM Digital Gallery invites designers working with glass to participate in The Art of Applied Design,an international juried competition. Deadline: July 15, 2010. All submitted works must be functional objects commonly used within interior spaces, such as furnishings (hard or soft), utensils, fixtures, or containers. Objects that are purely decorative are not eligible. Evaluation will be based upon uniqueness and creativity, craftsmanship, and quality of the submitted digital image. The online exhibit (from Sept. 15 to Dec. 1, 2010) will include e-mail addresses of accepted artists to facilitate independent sales of work. For a prospectus and entry form, visit http://ches.okstate.edu/dhm/gallery.

Artists beware
Although not restricted to the current economic situation I would encourage artists to ensure they have an agreement with galleries where they display. The contracts need to cover such things as notification of sales and the very important issue of time of payment.
I have recently heard of a number of cases where galleries are promising payment and then not paying on time. One of these got to the stage where after a number of months the only way of getting payment was a slightly heavy hand approach and a substantial discount. NOT A GOOD SITUATION for artists.
I have very little sympathy for Gallery owners and a lot of sympathy for artists in these matters. The Small Claims Tribunal is a worth while avenue but it should not be needed. I almost think a name and shame policy would be good so that artists are aware of problem galleries. Artists decide whether to exhibit or not and could put real pressure on galleries to behave better.

Heart of Glass
February 8-18
The Lakehouse Gallery
A thought provoking exhibition of new glass opens at The Lakehouse Gallery in Takapuna next week. Timed to coincide with Valentines Day, Heart of Glass presents the response of four local artists to this contemporary ritual.
Heart of Glass \is a collaboration between four Auckland artists, each responding to Valentines Day with questions about soul and society. The exhibition, by Isla Osborne, Ingrid Carter, Frances Hanson and John Hanson, shows a diverse range of work, including lampworked jewellery, cast glass sculpture and fused drawings in glass.
Grey Lynn artist, Isla Osborne, presents a series of sketches in fused glass. She says “I returned to New Zealand after 10 years living and working in London, and have been struck by the sense of community here in Grey Lynn”. Her charming work is a comment on Valentines Day as a contemporary construction. With titles such as ‘Enough Stuff’ and ‘Who’s on the Box?’ she encourages viewers to question the commercialism that surrounds modern rituals.
Ingrid Carter, from Te Arai, melts glass to create wonderfully intricate beads that are made into exceptional jewellery. These miniature worlds are magical works of wearable art.
John and Frances Hanson are a husband and wife team based in the Eastern Bays. Although both work in glass, they use very different techniques to create their pieces. Frances is a lampworker and silversmith, using a torch to melt glass and make dramatic beads. As an art-jeweller, her pieces are unique and individual, with an emphasis on symbolic representation. In this show, the warmth of the heart is depicted in her lovely jewellery. Some people wear their heart on their sleeve, but these enchanting pieces mean you can wear your heart as a piece of jewellery.
John works with cast and fused glass on a larger scale and for this exhibition he has produced some very tactile works. ‘Broken Hearted’ invites the viewer to see it as either two parts or one, whilst ‘Home is where the heart is’ is an evocative, multi-coloured hanging installation.

Whanganui polisher finds import niche
By Carol Webb
When Whanganui glass maker Greg Swinburne isn’t making his own cold worked pieces, he enjoys putting his skills as a polisher to work for some of the River City’s leading practitioners.
Greg says having the right diamond tools and other accessories is a crucial part of his quest for the perfect finish to large works by leading Whanganui glass artists including Emma Camden, David Murray and Katie Brown.
When he needed diamond grinding wheels to add texture to his works, which were mainly based on line and form, he turned to the internet. And after tracking down a range of mainly diamond tools and equipment for the glass sector he began his own importing and distribution business, GS Traders.
He’s now importing and distributing a wide range of tools and accessories and is constantly on the lookout for new product lines. Diamond products currently available include handpads, sandpaper, sawblades, flexible pads, point sets, bands, grinding wheels and saws and he also imports flatbed grinder disks, grids and polishes and sandblasting guns.
Greg has also developed his own felt polishing pad and says early results in terms of efficiency and quality of finish are encouraging.
His interest in glass making developed during study at Northland Polytechnic, where he gained a Diploma in Applied Arts (Sculpture). When the Northland glass programme ceased he moved back to his home town, Whanganui, and continued with the city’s UCOL programme, focusing on glass blowing and exploring line and form. His current work still uses some of the skills he developed during ten years decorative sandblasting.
“I see myself using a rather self-limited sculptural language, not unlike Picasso’s Blue Period or Yvonne Rust in Northland limiting herself to three colours for a period,” says Greg.
He had five pieces included in Cut, an exhibition last September at Christchurch’s Form Gallery, and was also included in the 2008 Waikato Annual Glass Sculpture Exhibition RE:FRACTION. Galleries that stock his work include Whanganui’s Chronicle Glass gallery, Form in Christchurch, Tamarillo in Wellington, Statements in Napier and Burning Issues in Whangarei.
Greg says the city’s glass community offers a supportive environment. “It’s great to be able to sit down and have a good conversation about glass and to work on sorting out any technical problems.”
When he’s not developing his own ideas and techniques, Greg says he aims through his importing business to help other artists set up their studios with basic, reasonable quality equipment at reasonable prices – “taking care of the technical issues so they can concentrate on the creative side”.
“It’s about helping artists and craftspeople to become successful in their chosen medium and to provide them with the tools they need to express their ideas or manufacture works without having to be concerned about the process.”
But nothing quite compares with the buzz he gets from taking a large piece, raw from the kiln, and achieving the kind of finish that makes it worthy of a place in leading international exhibitions and collections.
And after four years working on Emma Camden’s sought-after pieces, he has won Emma’s praise as “one of the best polishers in the business”.

Wearable Glass Art
The beadmakers have recently had an exhibition at Akaroa. It is worth following the link following to see some of the glorious pieces of jewellery that were on show.
http://www.nzgba.org.nz/wp/exhibitions/?album=10&gallery=18

Chinese New Year Exhibition
hinese New Year will be celebrated this year at The New Zealand Steel Gallery on 12 Feb 2010 at 5pm. We have assembled an impressive line up of Chinese Artists to combine their work into a show full of stunning paintings and cast glass by local artist Susan K. Louie.
The group of artists have decided on the name ‘Infusion’ for this collaborative project as it reflects the flow and intertwining of the different identities of each artist and the merging of meanings and messages in their work.
Although all 6 Artists are Chinese they are all very different people with different approaches of interpreting their cultures. Interestingly, Susan K. Louie references her childhood memories of life living on a market garden as a Chinese New Zealander and it forms a study of her identity, heritage and culture. Her new cast glass works for this exhibition looks for inspiration from the landscape outside her Pukekohe Studio. Pukekohe, being a market garden country inspires her work in which simple forms lend itself to the farmland with the undulating scenery and various colour changes happening during the course of a day.
Sin-Mae Chung is also a New Zealand born Chinese artist and the youngest artist in the group. She creates works that reflect her ‘hybrid’ culture and experience through mimicking. Strangely mimicking and transforming is a theme that is a focus of Haihui Wang’s work as well; he will contribute beautifully serene canvasses of people swimming. In these paintings he says painting becomes a kind of meditation for him where he tries to become part of the transforming process. In a state of mental drift he imagines he can float, breathe and immerse himself in a medium where touch, temperature, sight and distant sounds all blend together and a person becomes something completely different in the water. His work is about the ancient story about Taoist master Zhuang-zi, who one day at dusk, dreamt he turned into a butterfly. Zhuang-zi was so delighted that for a while he entirely forgot who he had been. Eventually he had to ask the question: Did he turn into a butterfly or did the butterfly turn into him?
The other artists Loyal Chen, Daniel Liu and Yue Qu Zhao have paintings in this exhibition which, although all very different completely captures that theme of movement, serenity, blending and transformation with a mood that can only come from people who have grown up in a culture so strong and steeped in heritage that the visitor can’t help but feel themselves tumbling into a different world. Will you be able to for a moment forget who you are and allow yourself to imagine yourself differently?
We hope this exhibition will serve as an eye opening journey for the people of Franklin. On opening night we will have a special performance by the EPAC LION Dancers at 5:30pm. This is definitely something to mark in your Diary as it is one of those events that capture your imagination and make you feel alive!

Two Courses by Claudia Borella Design
To register simply email your interest to claudia@claudiaborella.com
• ENAMEL DECAL/TRANSFER COURSE
For those wishing to design and apply enamel transfers and decals that are permanently fired onto materials such as ceramics and glass. Discussions will also describe designing your own decals/transfers ready for print. Useful applications include imparting logo's and branding onto glass work, and extending this process into decorative design features.
Each participant will be given two blank glass objects to decorate using opaque enamel decal material which will be fired onto the glass objects at the end of the day. Course includes all materials and use of tools and kiln. Please bring ideas and your own cutting tools, rulers, cutting stamps and drawing implements if you wish. Numbers limited to maximum 10 people.
Sunday 28th February 2010 - One day
10am - 5pm
Claudia Borella Glass Design Ltd, Wanganui
No previous experience required COST NZ$140 inc gst

• DESIGNING WITH VINYL SANDBLAST RESIST
This three day workshop will provide participants with the opportunity to explore methods developed for my most recent body of work. The process introduces textural elements and allows precise control of colour through machine or hand cut masks. The course will introduce participants to the use of 'thins', Bullseye's specialty 1.5/2mm glass as well as iridescent coated glass types. Everyone will be cutting and fusing sheet glass, designing, cutting and applying the resist masks, to produce an object that utilises this process. Firing and annealing glass schedules will also be discussed. Numbers limited to a maximum of 10 people.
Friday 2nd APRIL - Sunday 4th APRIL - 3 Day Easter Weekend 10am - 5pm
Claudia Borella Glass Design Ltd, Wanganui
Beginner to Advanced levels COST NZ$550 inc gst

INFORMATION AND DIARY DATES,
Ranamok 2010
Closing date is earlier than usual 15th June 2010.
NOTE the postmark date for New Zealand artists is JUNE 5th.
Entry forms and other information will be on the Ranamok site later. Keep watch. http://www.ranamok.com/

EXHIBITIONS,
• Sarjeant Gallery, Whanganui
Looking Glass: Reflecting Ideas.
12 December 2009 to March 14 2010,
• Waitakaruru Sculpture Park, Sculpture-in-the-Park,
Curated by Rob Garrett,
21st November 2009 – 28th February 2010
• Avid Gallery. Wellington
Old thread new thread
Stephen Bradbourne
2 February to 15th February
• Waitakaruru Sculpture Park, E:SCAPE Sculpture in the Landscape
Curated by Sarah Anderson
13th March – 30 May 2010
The Trust is looking for corporate sponsors.
• The Lakehouse Arts Centre (Takapuna)
Heart of Glass
8 - 28 Feb,
Ingrid Carter, Frances Hanson, John Hanson and Isla Osborne
• ShapeShifter 2010
26 Feb - 21 March 2010
Civic Garden, Lower Hutt
www.shapeshifter.org.nz
• Northern Exposure: Glass & Ceramics
Opening 3-21 March 2010
Arthouse, Christchurch
• Solstice
22 June - 3 July
Avid Gallery, Wellington

Newsletter 20

2010-02-01T20:19:00.003+13:00

SEASON’S GREETINGS

It is amazing how fast 2009 is drawing to a close. Perhaps it is because I am getting old. Time seems to go faster and faster. It has been an interesting year from my perspective. As an artist I have had some good sales, had some good responses to pieces in exhibitions and have been very satisfies with some of my creations. I have had one gallery in which I was a regular exhibitior close, and one with which I was negotiating to exhibit also close. I have also been excluded from one community gallery because I live one kilometre outside their area. Such is the life in the art world.
As President of NZSAG I have enjoyed working with the committee to put together the Glass Art book. It was very interesting to hear comments form both sides of the divide- those who did not want to be involved and those who were very pleased to be involved and felt that the committee were making a stand to showcase New Zealand Glass Art. It will be good to see the final result when it emerges from the publisher next year in time for the Conference. Of course the committee is now immersed in planning for the Conference so the work continues and no doubt will get more intense as we get closer to October.
Although the Conference is till almost a year away people should be thinking who they want on the Committee. I have no idea who of the present committee will stand again but new blood is always good. I encourage any who may be interested to talk with members of the current or past committees and find out what is involved. Obviously one area is the Editor of the Newsletter. I feel that this person need not be a committee member but does need to have the commitment to put together the newsletter on a regular basis. If members would feed information the assembly of the newsletter is easy but as with many other organisations the flow of information from members to be disseminated is minimal. Perhaps it will change in 2010.

NZSAG Conference MARK THE DATES IN YOUR DIARY NOW October 23 -25, 2010
The 2010conference, a celebration of NZSAG’s 30 years of history, will be held in Auckland over Labour weekend October 2010. We are planning for the conference to start with registration on the Friday with the main conference commencing on the Saturday and concluding on the Monday. The plan is to have an integrating range of lectures and demonstrations and workshops covering as many aspects of glass working as we can manage. We have identified a number of potential exciting overseas speakers and are extending invitations.
The launch of the book “Glass Art – New Zealand Glass 30 years on” will take place during the conference.

Royal Easter Show April 1 to 5, 2010
The schedules for the Royal Easter show are available. Artists who have entered in any of the last three years should have received a copy of the schedule in the mail. Others will be able to download off the web http://www.royaleastershow.co.nz/pdf/2010/Art_Schedule_2010.pdf or email the Show Gaylene@asbshowgrounds.co.nz and be sent a copy in the mail.
For 2010 there are three classes for Glass art: Decorative and Sculptural Glass, Wearable Glass and noncompetition glass. Entry of a piece into the Non-competitive glass requires entry of at least two pieces into one of the other classes.
ENTRIES CLOSE FEBRUARY 26th
Delivery by March 26th
The schedule has the rules and details for delivery, and an Entry form. NO LATE ENTRIES.

We need helpers to man the display over the show days and also would like someone to act as coordinator for the show. At present I have been attending the monthly Art Committee meetings but if someone is prepared to become the Glass Coordinator for the show would be very pleased to pass all responsibility to them Please let me know. I am unable to be involved over the Easter weekend next year so we definitely need someone to take responsibility for managing the display and coordinating the volunteers. Email me : GlassPres@gmail.com.

Artstation – Year Long Glass Course
Over the last decade a significant number of students have attended the yearlong programme tutored by Jo Nuttall and Nicole Lucas .
This ongoing commitment and the provision of classes and facilities at Artstation has increased public awareness and understanding of cast glass as a contemporary artform. It has given all-comers the opportunity to participate, it has nurtured the medium and maintained a lively community of makers. In addition, it has provided a foundation for some committed students to become professional practitioners whose work has received national and international critical acclaim.
A further year long course in cast glass is offered at Artstation in 2010. For more information and details please contact Artstation phone 09 3763221, or email artstation@aucklandcity.govt.nz. or visit the Artstation website www.aucklandcity.govt.nz/artstation.

Welcome to New Members
We are pleased to welcome new members to the society and would be very pleased to publish profies of them and their artwork.

Kathy Shaw-Urlich Kerikeri
Xu Liu Wanganui
Isla Osborne Auckland
Louise Herdman Wanganui
Merrilyn Jacquiery Auckland
Andrew Firth Akaroa
Janet Strode-Penny Auckland
Karilea Lyndsay-Beale Auckland
Helen Watson Geraldine
Paul O’Brien Auckland
Chris Jones Wairakei
Lisa-Jane Harvey Auckland
Elysabeth Wolter Wanganui
Kevin Kilsby Auckland
Lisa Walsh Wanganui
Jimi Walsh Wanganui
Brent King Melbourne
Luke Jacomb & Katherine Rutecki Auckland
Jill Crow Whangaparaoa

Art Talk
A number of you may have seen or heard of the Portage Ceramic Art awards that have been held recently and were on display at Lopdell House in Titirangi, Auckland. The awards were judged by American Scott Chamberlain himself a long time ceramics artist who during a sabbatical has been in residence at Unitec since September. He made some harsh comments about the quality of the more than 200 entries submitted for the awards and selected and exhibited a smaller number of pieces than usually exhibited. Obviously the ceramics community must be up in arms in much the same way that the Glass Community was after Douglas Lloyd Jenkins comments in the Listener in October. I suspect they may be even more angry since one of the winning pieces in the Portage Awards was not ceramic but rather made of sponge painted with house paint and glued with hot melt glue and also contained rubber bands but no ceramic. The artist says ‘it could have been made of ceramic but it would have taken a long time.”
It is interesting that Scott Chamberlain, like Douglas Lloyd Jenkins took a swipe at the lack of formal education in the medium. He is Professor of Art and History at the University of Colorado and so it is not too surprising that he felt that Ceramics could be revived by giving educational programmes the funding and cultural clout to begin working again. Learning not just about technique but also about art making. Obviously he considers that critical discourse is an important aspect of art.
Looking at the glass objects that have received awards I wonder whether the judges have all decided that kitsch is the obvious winner regardless of the technical and artistic merit of other pieces on display. Perhaps they too need to understand the critical discourse aspect of contemporary art.

On a different note I recently had cause to question an artist about the origins of a piece of art. The issue was whether it was their creation or whether it had been made for them. It turned out that the idea was the artists but that someone else had created the wax model and then the artist had completed the casting process. My question is “When does an artist need to acknowledge the work of their collaborators?” This question appears in many different guises especially where work of others becomes part of an assembly. The work of others may be “found objects” but often are the art or parts of artwork of others. I feel that the collaborators should be acknowledged. It becomes less clear when perhaps a mold is taken from an old sculpture and then becomes an integral part of a new piece.
It would be interesting to have other comments on this issue. Perhaps some of you can put some boundaries abound when to attribute parts to collaborators and when there is no need for acknowledgement.

Response to my response to Douglas Lloyd Jenkins. The Last Bubble
It was pleasing to get a number of responses to my article in Newsletter 19. The following was received from Stuart Thomson (one of the old originals)

I have read Douglas Lloyd Jenkins article ‘The Last Bubble’ and Brian Chrystall’s take on it is about right.
DLJ is right in some of his observations but also so wrong that one would have to hope that such views never gain acceptance.
Why protect investors?
The share market has no such protection ‘you pays your money and takes your choices” The number of investors vs collectors would be infinitesimal and those receiving daily pleasure from their glass purchases are nationwide. People that have bought my work many years ago still comment on their ‘investment’.
Self-regulating? Cream still comes to the top. To homgenise art or artists is so foreign to the creative mind and one would have expected it to be so in the mind of an art and design writer. If the right brain inspires while the left decides, then any self-regulating must come from the artists themselves.
Quality control?
Obviously belonging to the ‘regulatory’ part of society – the bureaucratic bit - has some excuse in a free country, but with art? Please SAG do not set up in judgment on your members.
While we would all have to agree that not all work is up to the same standard there is a pathway which everyone has to climb including those who have reached the top.
Cultural significance?
Judgment is in the eye of the beholder and is notoriously fickle and temporal. While we all raise our eyebrows sometimes at the selection of prizewinners,
DLJ has conveniently forgotten the N.Z. Ranamok winners or does he include Ausglass members in his criticism?
‘Flagging Spirits of a provincial city’.
While it is true that Wanganui has taken the glasslight recently, this was due to a number vigorous artists, teachers and supporters that were not present elsewhere.
If it was not for Wanganui where would the glass scene be now? This issue is as controversial as Wanganui’s Mayor and like him probably isn’t going to change for a while yet!
The Last Bubble?
Whether we recognize or not we all live in a fashion world. Change is inevitable and thank goodness! To be static is to be dead. Even glass moves – albeit very slowly.

Many will be interested in this blog
http://www.bullseyeglass.com/weblog/2009/11/15/working-glass-2/

Wanganui Glass School Prizes 2009
Works on display demonstrated a diverse range of methods and techniques including blowing, kiln-casting glass, fusing, slumping, cold glass construction and mixed media. Nationally and Internationally recognized glass artist David Traub awarded the prizes $200 first prize to Sam Swinburne, $100 Glass from Gaffer Glass to Jimmy Welsh and $50 book voucher sponsored by Paiges Bookshop to Anna Cunningham. Over 100 people attended the opening of this show, the food and wine was sponsored by the Wanganui Glass School

Sam Swinburne 1st Prize Jimmy Walsh 2nd Prize Anna Cunningham 3rd Prize

Looking Glass Exhibition _ Sargeant Gallery, Whanganui
This exhibition opened on Saturday. I had hoped to have some images but none have been sent. I have heard that it is a stunning exhibition so hope top be able to bring you some images in Newsletter 21 in February.

The NZSAG Website:
There have been a couple of inquiries regarding what happens after the website fee has been paid. All new members and those existing members who paid their $20 upload fee are able at any time to submit different images (than those going in the book), to have a page of your own on the NZSAG website.
Pam Olver manages the website her contact details are:
Pam Olver
155 Second View Ave
Beachlands
AUCKLAND 2018
garrypam@xtra.co.nz
Pam will do the upload and you will be issued a password that allows you to view the members’ only section of the website.
Images (as many as you want) need to be at least 150dpi or bigger, with each image named and sent on a CD. (Please do not send email size as this is very small). Images can be downsized but not enlarged. Include your name (and studio name if applicable), as you wish it to be show on the webpage, your artist statement, biographic details and galleries that represent you. These may be different from that submitted for the book.
Unfortunately access to edit your own page has been discontinued as someone has been able to hack into the home page, and also some members have uploaded images that are too big. Now, if you wish to change an image or two, you can email them to Pam or send new images on a CD. Please indicate if they are replacing existing images or being added.
Pam will be able to get these uploaded around the end of Feb 2010.

Francia Smeets (Treasurer)

Information from Waikato:

CONCLUDING REPORT FOR RE:FRACTION 2009
We are pleased to report that RE:FRACTION 2009 has been the most successful glass exhibition at the Sculpture Park to date. This year there has been an even greater momentum of publicity resulting in more visitors and purchasers. The factors making the difference included the quality of work from participating artists, the weekend voluntary guides who spent time and effort getting to know the work, the generosity of our sponsors, and the additional assistance of Gemma Bowen for her Wintec internship programme and David MacDonald (graphic designer) from Waikato Museum of Art & History. Countless factors contributed to its success.
The choices made by judge, Karl Chitham, for the Swarbrick Dixon Glass Awards generated articles and photographs in the Waikato Times and local newspapers, and in addition because both awards went to students of the Wanganui Glass School --- they in turn will be recognising the students’ success through Unitec’s own publications.
The exhibition had more than 1600 visitors -- including several very well-behaved school classes. The Waikato Sculpture Trust also had significant sales including work by Lisa Walsh, Ron Reichs, Hamish Webster, Jo Conroy and Sam Swinburne. Considering the tough economic times, we are very pleased that sales have gone well. As you know, the commission from sales provides reassurance that exhibitions can continue to be run by the Trust.
Dorothy Wakeling www.sculpturepark.co.nz

Glass Casting Course at Heather Olesen’s glass studio at Morrinsville, over Labour Weekend by Carmen Simmonds
The Glass casting course suited the absolute beginner and also the students with glass knowledge to experiment and extend their skills. The workshop proved energetic and fun, with the students producing some amazing textures and patterns using the silicone mould making technique.
Carmen thoroughly explained all the aspects of the glass casting processes, sharing her knowledge, experience and the techniques she uses when incorporating the use of lace, fabric and metal in her sculptures.
With the opportunity for each student to experiment with 15 colours of Gaffer Glass, the highlighting of colour and combinations used produced some absolutely stunning effects to their glass sculptures.
The intensive course ended with everyone sharing their ideas and experience, and enthusiastic to further explore the techniques learnt.
Submitted by: Heather Olesen

2009 Stoneleigh Sculpture in the Gardens Exhibition
Colleen Ryan-Priests steel and cast glass sculpture in the 2009 Stoneleigh ‘Sculpture in the Gardens’ Exhibition has been purchased by the Friends of the Gardens for gifting to the public collection of Auckland Botanic Gardens.
This work of steel and cast glass titled ‘Caught in the Act of Losing You – Sporadanthus ferrugineus’ pays homage to our rare and endangered giant cane rush. It is perfectly sited in a wetland in the threatened Native Plants Garden where light and movement are reflected in the water.
It is great to have glass recognised as a contemporary sculptural medium which can be robust enough for outdoors. The Stoneleigh ‘Sculpture in the Gardens’ Exhibition is at the Auckland Botanic Gardens from 7 November to 14 February 2010.

ArtStation 2009 Year long Glass course= Final exhibition
Visiting Off the Main Road a glass exhibition a few weeks ago was like an absolute breathe of fresh air! Students Karin Barr, Michelle Judge, Judi Hadfield, Janet Cussen, Samantha Vrij, Margaret Murray and Graeme Hitchcock put together a vibrant collection of cast glass.
The exhibition was stunningly displayed in Graeme Hitchcock’s studio/ex-barn just off the main road between Auckland and Hamilton, in Glen Murray Rd to be precise. The group put a huge amount off effort into clearing out Graeme’s work space, giving it a fresh coat of white paint bringing the ‘gallery’ right up to a fabulous, yet wonderfully rustic standard.
Greeted at the door with plenty of wine and refreshments one would have been quite happy to linger the day away outside in the shade in this magnificent setting overlooking Lake Whangape. However there was glass to see inside. The exhibition space had fabulous natural light, included a visitors wall to sign and the curtained-off R18 section. Many works were in multiples, and using the variety of vibrant Gaffer colours, the whole space was a fabulous feast of colour and form! Through a door, into the messy workshop area, was a display of wax, moulds and glass in various states, and included captions describing the casting process to visitors ‘not in the know’. This was an awesome idea, received really well by the visitors keen to know more about cast glass.

Contributed by Di Tocker

INFORMATION AND DIARY DATES,
Gerry King - Kiln forming Course August 1 to 14, Istanbul
See the poster attached to the back of this newsletter for details
Nejat Kavvas spent some time recently at The Glass Furnace at Istanbul and was very complimentary about the facilities and the training. (see Newsletter 17).
Gerry is an Australian who has worked in glass since the early 1970s.

For those who are unable to travel to Europe, Claudia Borella Glass Design Ltd. is pleased to be able to offer a maximum of 12 students the opportunity to study with Gerry for a fraction of the cost here in Wanganui, New Zealand for NZ$850 inc gst in late 2010. Further details regarding registering for this workshop will be available soon. Email claudia@claudiaborella.com

Ranamok 2010
Closing date is earlier than usual 15th June 2010 Entry forms and other information will be on the Ranamok site later. Keep watch. http://www.ranamok.com/

EXHIBITIONS,
• Stoneleigh Sculpture in the Gardens 2009-10
7 November 2009 - 14 February 2010.
Russell Beck - Todd Butterworth - Bing Dawe - John Edgar - Fiona Garlick - Aiko Groot - Chris Hargreaves - Christine Hellyar - Tui Hobson - Gaye Jurisich - Peter Lange - Barry Lett - Dave McCracken - Phil Neary - Phil Newbury - Jamie Pickernell - Colleen Ryan-Priest - Jeff Thomson - Sopolemalama Filipe Tohi - Richard Wedekind
• Two Rooms – Putiki Rd, Newton
La Planête Sauvage
Elizabeth Thomson
27 November to 23 December
• Artereal Gallery, Sydney
Cats & Dogs
2 - 19 December 09
• Masterworks Gallery – Ponsonby
Intimate
Mike Crawford, Trudie Kroef, Ben Pearce & John Roy
3 December to 19 December
• Black Barn Gallery – Havelock North
Glass
Ann Robinson, Layla Walter & Mike Crawford
17 December – 17 January
• The Colonnade Gallery, National Waterfront Museum, Swansea, Wales
Saturday October 10th 2009 -January 24th 2010.
"Gathering Light”, The Women's 10th International Glass Workshop- an exhibition of 20 international women working in glass. This exhibition has been on show at the Centre International du Vitrail in Chartres, France from 3 October 2008 - 29 August 2009. It is now travelling to Swansea, Wales., www.museumwales.ac.uk/en/swansea
• Sarjeant Gallery, Whanganui
Looking Glass: Reflecting Ideas.
12 December 2009 to March 14 2010,
• Lopdell House Gallery, Auckland
Glass Invitational NZ
Toured by Milford Galleries
11 December 09 – 7 February 2010
• Waitakaruru Sculpture Park, Sculpture-in-the-Park,
Curated by Rob Garrett,
21st November 2009 – 28th February 2010

• Waitakaruru Sculpture Park, E:SCAPE Sculpture in the Landscape
Curated by Sarah Anderson
13th March – 30 May 2010
The Trust is looking for corporate sponsors.

Remember :
If you do not tell me what is on it is likely not to be reported. A simple email with the details is all that is required. I would prefer to put the details in the newsletter than have artists sending me their invitations to distribute.

Newsletter 19

2009-11-18T13:49:00.003+13:00

NZSAG Conference MARK THE DATES IN YOUR DIARY NOW October 23 -25, 2010
The 2010conference, a celebration of NZSAG’s 30 years of history, will be held in Auckland over Labour weekend October 2010. We are planning for the conference to start with registration on the Friday with the main conference commencing on the Saturday and concluding on the Monday. The plan is to have an integrating range of lectures and demonstrations and workshops covering as many aspects of glass working as we can manage. We have identified a number of potential exciting overseas speakers and are extending invitations.
The launch of the book “Glass Art – New Zealand Glass 30 years on” will take place during the conference.

NZSAG Glass Book
The images and most of the text has been delivered to the publishers. We have about 110 artists involved covering a wide range of techniques and styles. A considerable amount of work has gone into getting the images and text together and providing the publisher with a basic plan of what we are expecting. It is now up to the designers to work though the images and layout to come up with something that works as a whole. When the design process is complete we will be sending proofs of the artist’s page so that any errors, omissions can be corrected. When the proof pages are sent we will be nominating a time frame in which we need the replies.

Royal Easter Show 2010 April 2010
The schedules for the Royal Easter show will be available at the end of the month. Artists who have entered in the last three years should receive a copy of the schedule in the mail. Others will be able to download off the web www.royaleastershow.co.nz or email the Show Gaylene@asbshowgrounds.co.nz and be sent a copy in the mail.
For 2010 there are three classes for Glass art: Decorative and Sculptural Glass, Wearable Glass and noncompetition glass. Entry of a piece into the Non-competitive glass requires entry of at least one piece into one of the other classes.

We need helpers to man the display over the show days and also would like someone to act as coordinator for the show. At present I have been attending the monthly Art Committee meetings but if someone is prepared to become the Glass Coordinator for the show would be very pleased to pass all responsibility to them Please let me know. I am unable to involved over the Easter weekend next year so we definitely need someone. Email me : GlassPres@gmail.com.

The Last Bubble:
Many of you will have seen the article in the New Zealand Listener (October 24-30, 2009) by Douglas Lloyd Jenkins (DLJ) , manager of Hawkes Bay Museum and Gallery in which he makes some critical statements about NZSAG and the contemporary glass movement. Some of his views are correct but others seem to be raised merely to promote debate. There are some factual errors in the article and I wonder where he has obtained some of the information.
He considers that the Contemporary glass scene is “overpopulated, overproducing and overpromoted with apparently no interest in self regulating …in danger of imminent collapse.” He goes on to question whether works other than that of iconic names such as Nash, Robinson is really an art investment and asks what is being done to protect the investors. Although there a number of artists the objects are generally sold as pieces to be appreciated and I suspect that very few of the artists or for that matter buyers would consider their works as an investment in the way they may think of a Picasso. Surely the investors should be free to make their choices not be guided (misguided) by the comments of “critics”, or “curators” who sometimes appear to have very uninformed views of art. Some of the recent selections of prize winners in art competitions clearly illustrates the strange mental processes of some art critics and curators.
The fact that “works by beginner and hobby artists attracting prices in the thousands” suggests that they are producing works that are attractive and appealing to the buyers. It is a discretionary spend and few if any would be being purchased in the hope of large capital gains. Galleries help drive up prices by the levels of commission charged.
Wanganui Glass Week comes in for a bit of stick in appearing to claim to be a nationally important glass event. It is held in the city where there is the only Tertiary institution with a programme devoted to Glass is located but I agree with Douglas Lloyd Jenkins that although it attracts a lot of attention it is not a National event. Wanganui does need to increase its total glass profile if it is to be the centre of excellence. Its artists need to be part of the national body and should not see that being in the Wanganui Glass Group is sufficient. Promotion of the local artists is admirable but does not make a national event. The Looking Glass exhibition being mounted by the Sarjeant Gallery is a step in the right direction but still a small scale.
DLJ refers to the pottery’s fall from grace in the 1980s but I cannot image any doctor or layer considering discarding their career to pursue their glass art and expect to match their professional salaries. Those who make the transition seem to change lifestyles and get by on a much lower financial return and thrive on the uncertainty of an artist’s life.
According to DLJ there are barely more than half a dozen established artists and perhaps the same number of younger ex-polytechnic artists who have shown talent but have yet to prove longevity. It seems to me that some of those whom DLJ considers as established artists have moved on to production of pieces that showcase their name and are commercial pieces. Obviously this is a financially viable mode. Younger artists (younger in terms of years of experience) will naturally need to wait for many years to prove their longevity. In all forms of art it seems that many artists are not fully recognized until after their death but their artworks may have been enjoyed by many along the way. They may not have appealed to curators or critics or have been invited to exhibit in “top class” exhibitions. Art snobbery is alive and well in the glass scene as well as in most other areas.
It is not unexpected that glass courses came in for their piece of criticism. Courses now openly promoted on a “make a quick buck basis”. This is not uncommon but then the course organisers and tutors do need to cover their operational costs. The quality of the courses around the country will vary greatly. Often those who attend will do the course(s) and never make any more objects. They have gained “a knowledge” of the processes involved and experienced them hands-on. Some will progress though other courses or through their own experimentation and study. Some of those considered as established artists also promote courses to make a buck. In many ways it is unfortunate that many of the established artists forget their own beginnings and are unwilling to pass on their knowledge and skills to newer artists. Their reasons will vary from not wanting to disclose the “tricks”, processes, or ideas that they now consider “theirs” to just plain wanting to do their own thing.
DLJ is incorrect stating that SAG is producing “a glossy publication that will celebrate where it has come from…” . The book although it will be released to celebrate the 30 years of NZSAG it will be showcasing a snapshot of current work. The idea behind the book is also to help educate the public and artists and therefore is trying to direct artists to look forward. The 2010 NZSAG conference will also be aiming to look forward. The New Zealand Glass scene has been innovative but needs to continue to move forward.

What needs to happen now? (My views. These may not reflect those of the full NZSAG Committee.)
Artists need to consider and debate the issues raised in the article.
Prices placed on artworks, their reasons for making certain pieces
Consider how experienced artists can mentor newer artists to ensure that the contemporary glass scene thrives and that artists continue to innovate and improve.
NZSAG members need to become involved. Volunteer your skills and experience to help your fellow members. Do not let the burden be shouldered by a few..
The 2010 Conference will provide an opportunity for discussion on how we as a society should advance. There is no room for what I call “art snobbery politics”. Everyone needs to be involved and striving to advance glass art.
Write letters to the editor of this newsletter expressing your views. Do not be passive. Get involved!

ArtStation Year Long Glass Course exhibition
Off the Main Road A glass exhibition
Graeme Hitchcock; Janet Cussen; Karin Barr; Louise Beard; Margaret Murray; Michelle Judge; Sam Vrij; Judi Hadfield
Opening Sunday 29 November 11am – 5pm
Saturday 5th and Sunday 6th December 11am – 4pm
597 Glen Murray Rd, Rangiriri
Contact 0274576346

ENFORCING YOUR RIGHTS

Introduction
In previous issues of our Art Law Newsletter we’ve looked at the many different ways in which protection is provided at law for an artist’s rights in the art they create. For instance we’ve discussed contracts, copyright, moral rights and trade marks all of which in their own way are valuable tools that an artist can employ to protect their work and their livelihood. However, despite the number of ways in which an artist can protect themselves, there are unfortunately always going to be situations that arise where the protection provided for at law is not respected by some people.
This Issue
In this issue of our Art Law Newsletter and continuing in the next, we’re going to look at what you should do when you find yourself in the situation where the rights you have at law in the art you create are infringed. We are also going to focus on determining the best legal and practical approach to this kind of situation rather than just looking at your strict legal rights. The Law does not exist in a vacuum and in every case where someone’s rights have been infringed it is critical to look at the practical situation as well as the legal standing of both parties. For example, just because the law says you have certain rights does not mean that looking to enforce these rights to the strict letter of the law is always going to be your best approach.
Different Approaches
In any situation issues such as personal and business relationships, the monetary value of the issue at stake, the time, emotional and financial resources that you can devote to dealing with a breach of your rights should all play some role in working out what is the best way for you to proceed with enforcing your rights. For instance, if you take two separate theoretical situations involving two different people where exactly the same rights have been infringed in the same way, the action taken in dealing with this infringement could be quite different depending on the varying ways some of the factors mentioned above apply in each situation to the parties whose rights have been infringed.
First Steps
If you feel that the rights you have in your art have been infringed or compromised by someone your first step should always be to gather as much information and evidence as you can without unnecessarily alerting the supposedly infringing party. There are two reasons for this. Firstly if the supposedly infringing party becomes aware that you are on to them or trying to collect information that may incriminate them, then it is possible that they will do all they can to destroy or conceal the very information you need to prove your rights have been infringed. Sometimes thorough research can also even make you aware of infringing actions the other party is guilty of that you did not even know of in the first place.
No Breach
The second reason for gathering as much information and evidence as you can without alerting the other party is that through gathering this material you may in fact become aware that what has occurred is not in fact a breach of your rights. For example, you may discover more about the basis on which the party took the action in question that you are concerned about that makes it clear their actions do not infringe your rights. You may well even discover further information from your own records which clears the other party of any wrong doing.
Not Guilty
By way of further example, in the many cases of copyright infringement in which we have represented aggrieved artists there have in some instances been information which has subsequently come to light which has cleared the accused party of any wrong doing. In almost all of these cases this information could have been identified much earlier if a more thorough approach had been adopted by the aggrieved party to gathering all relevant information and evidence in the first instance.
Saving Yourself
Another reason in these situations for gathering information without alerting the other party is that if it does prove to be the case that the other party is not as guilty as you initially thought they were, then you have avoided the embarrassment and potential legal action against yourself that could possibly arise if you had charged in on day one accusing the other party of everything under the sun.
Get Advice
Unless the case is 100% black and white and you have an excellent working knowledge of the law in question, the second action that we encourage people to take once they have collected the necessary background material and evidence on the situation, is to get some legal advice on the breach of their rights that they believe has occurred. This means that you once again make very certain your position before you take any action that you may regret later.
Next Time
In the next edition of our Art Law Newsletter we’ll continue to look at the best way to deal with infringements of your rights including with respect to how best to make the first approach to the infringing party and also the kind of situation specific factors you have to consider when deciding how far and hard you want to fight for your rights.
Questions?
If you have any queries or questions in respect of the above please don’t hesitate david@mclaughlinlaw.co.nz or on 021 630 201 or 09 363 2738.

Courses in any aspect of Glass Art
We often get asked by the general public where they can study Glass art. We are able to tell them about the Artstation, Mairangi Arts Centre and Uxbridge courses in Auckland, Di Tocker in Hamilton but often do not know who else is teaching different aspects of Glass art around the country. If you are teaching Glass Art or know of others teaching aspects of Glass Art please let us know the details of courses, dates etc so that we can have information to give to any who enquire.
Some details of the tutors would be useful so that we can have some measure of confidence when we are recommending courses.

INFORMATION AND DIARY DATES,

EXHIBITIONS,
• Stoneleigh Sculpture in the Gardens 2009-10
7 November 2009 - 14 February 2010.
Russell Beck - Todd Butterworth - Bing Dawe - John Edgar - Fiona Garlick - Aiko Groot - Chris Hargreaves - Christine Hellyar - Tui Hobson - Gaye Jurisich - Peter Lange - Barry Lett - Dave McCracken - Phil Neary - Phil Newbury - Jamie Pickernell - Colleen Ryan-Priest - Jeff Thomson - Sopolemalama Filipe Tohi - Richard Wedekind
• Milford Galleries – Queenstown
Glass 09,
21st November – 16th December, 2009
• Gravel Contemporary Art - Hobson Ave, Kerikeri
Full Fathom Five
Lee Brogan
6th November to 2nd December
• Quay Gallery – Ahuriri, Napier
Trans-form Group Exhibition
Gail Edmonds, Donna Feary, Sue Hawker, Jaymz Edmonds and Lee Brogan
12 November to November 26th
• Piece Gallery
‘A Red and Green Christmas’
group show featuring Emma Camden, Christine Cathie, Lou Pendergrast-Mathieson, Karen Ellett, David Murray.
14 Nov - 6 Dec. 2009

• Quay Gallery Napier
“Trans-form” Contemporary Glass
12 November – 3rd December 2009
Group show of Northland Kerikeri Glass Artists Sue Hawker, Lee Brogan
Jaymz Edmonds, Gail Edmonds and Donna Feary
• Avid Gallery, 48 Victoria St., Wellington
Unfurled'
New work by Christine Cathie
11 - 22 November
• Waiheke Community Art Gallery
"Te Iti Kahurangi - The Most Precious One" ( Pounamu / Glass Exhibition)
20th November - 14th December 2009
• ZeaYou Gallery – Taupo
Luscious – New Dancing Girl series
Carmen Simmonds
26 Nov to 11 December.
• Two Rooms – Putiki Rd, Newton
La Planête Sauvage
Elizabeth Thomson
27 November to 23 December
• Artereal Gallery, Sydney
Cats & Dogs
2 - 19 December 09
• Off the Main Road 597 Glen Murray Rd, Rangiriri
A glass exhibition by the ArtStation Year Long Glass Course students
Opening Sunday 29 November 11am – 5pm
Saturday 5th and Sunday 6th December 11am – 4pm
• Masterworks Gallery – Ponsonby
Intimate
Mike Crawford, Trudie Kroef, Ben Pearce & John Roy
3 December to 19 December
• Black Barn Gallery – Havelock North
Glass
Ann Robinson, Layla Walter & Mike Crawford
17 December – 17 January
• The Colonnade Gallery, National Waterfront Museum, Swansea, Wales
Saturday October 10th 2009 -January 24th 2010.
"Gathering Light”, The Women's 10th International Glass Workshop- an exhibition of 20 international women working in glass. This exhibition has been on show at the Centre International du Vitrail in Chartres, France from 3 October 2008 - 29 August 2009. It is now travelling to Swansea, Wales., www.museumwales.ac.uk/en/swansea
• Kaipara Coast Sculptural; Gardens 1481 Kaipara Coast Highway
Exhibition 2010

• Sarjeant Gallery, Whanganui
Looking Glass: Reflecting Ideas.
12 December 2009 to March 14 2010,
• Lopdell House Gallery, Auckland
Glass Invitational NZ
Toured by Milford Galleries
Dec 09 - Jan 2010
• Waitakaruru Sculpture Park, Sculpture-in-the-Park,
Curated by Rob Garrett,
21st November 2009 – 28th February 2010,
Sponsored by Harkness Henry & Co., ABN AMRO Craigs, KPMG, and Hamiton City Council
• Waitakaruru Sculpture Park, E:SCAPE Sculpture in the Landscape
Curated by Sarah Anderson
13th March – 30 May 2010
The Trust is looking for corporate sponsors.

Remember :
If you do not tell me what is on it is likely not to be reported. A simple email with the details is all that is required. I would prefer to put the details in the newsletter than have artists sending me their invitations to distribute.

Images
Someone suggested it would be good to showcase the works being exhibited. I agree but this means someone needs to send me images taken at the exhibitions. The images need to be good quality but they will be reproduced quite small so do not need to be super high resolution. Email me images of exhibitions you have been to or are represented in and then others will get to see what is being shown around the country.

Newsletter 18

2009-11-18T13:30:00.003+13:00

Glass Book

This project is well underway. As you read this we have almost all of the artists’ entries and are checking images and biographic information ready to send it to the publisher. I suspect we will still be chasing some artists for replacement images, payments and other information. The timeline has been much tighter than I would have liked but we have to dance to the publisher’s tune. If we had delayed we ran the risk of not having a book ready to launch at the Conference. It is exciting to see the variety of images that have been sent and the number of non NZSAG members who have jumped at the possibility to join NZSAG and also be in the book. There are obviously some artists who have decided for a variety of reasons not to be involved and although disappointed we acknowledge that it is their right to make that decision. However we have over 100 artists involved at this time and expect to get to about 120. Some artists have taken 3 pages, some 2 and many a single page.

The committee have been pleased with the positive comments that many of you have made about the project and these have kept us fixed on delivering a high quality publication. We seem to have been too busy to chase sponsorship although we did lodge an application to Creative New Zealand to help support the project. Several companies have been suggested as being worth approaching for sponsorship monies to support the book and the 2010 Conference.

NZSAG Conference MARK THE DATES IN YOUR DIARY NOW October 23 -25, 2010

The 2010conference, a celebration of NZSAG’s 30 years of history, will be held in Auckland over Labour weekend October 2010. We are planning for the conference to start with registration on the Friday with the main conference commencing on the Saturday and concluding on the Monday. The plan is to have an integrating range of lectures and demonstrations and workshops covering as many aspects of glass working as we can manage. We have identified a number of potential exciting overseas speakers and are extending invitations.

The launch of the book “Glass Art – New Zealand Glass 30 years on” will take place during the conference.

Looking Glass, Sarjeant Gallery Wanganui

The artists selected for this show have been announced and are :

Claudia Borella, Hannah Bremner, Lee Brogan, Emma Camden, Christine Cathie, Evelyn Dunstan, Shona Firman, Robyn Irwin, Luke Jacomb, Merryn Jones, Trudie Kroef, Lou Pendergrast-mathieson, Raewyn Roberts, Ann Robinson, Colleen Ryan-priest, Ben Sablerolle, Liz Sharek, Jenny Smith, David Traub, Leanne Williams, Jim Dennison, Ben Young.

Congratulations to you all. It will be interesting to see the pieces.

Wanganui Glass Week

It seems that the Glass week kicked off with a bang. There were about 300 at the opening party at Chronicle Glass.

I had hoped for a full report from Whanganui but unfortunately at the time of completing this newsletter none has been received

TRADE MARKS - PART 2 (Part 1 was in Newsletter 16)

Introduction

In the last edition of our Art Law Newsletter we began to look at trade marks and why these are so important for visual artists to understand and be able to take advantage of. In this edition of our Art Law Newsletter we’ll be continuing our discussion of trade marks and looking more specifically at the advantages of formally registering your trade marks as well as some of the restrictions on the types of trade marks that can be registered.

Trade marks

Just to recap from the last Art Law Newsletter trade marks are a type of intellectual property just like copyright which we have previously discussed in these newsletters as also being a type of intellectual property. A trade mark is essentially something which is used to distinguish the goods or services of one business from another. Trade marks most commonly come in the form of brand names or logos although in practice a trade mark can in fact exist in the colours, smell, packaging or even music associated with a good or service. Examples of well known trademarks would include the word ‘Nike’ as used by the well known international sportswear manufacturer as well as the Nike ‘swoosh’ symbol which is used on all Nike clothing.

Last Time

In the last article we looked at how trade marks can be formally registered with the Intellectual Property Office of New Zealand (‘IPONZ’www.iponz.govt.nz). However we also discussed how trade marks can also exist as ‘unregistered’ trade marks where by essentially you may have established some association between your particular goods or services and your brand name or logo but have not yet pursued formal registration of this brand or logo as a trade mark.

Differences

Although trade marks can exist in both these registered and unregistered forms there are some important differences between the protection that is provided to registered trade marks as opposed to unregistered trade marks that you should consider when deciding whether you want to formally register your trade mark with IPONZ or are happy to continue with an unregistered trade mark.

Unregistered Trade Mark

Without boring you with all the legal terminology involved essentially if you have an unregistered trade mark in the event that you think someone is copying your trade mark you first have to gather enough evidence to be able to prove that you have the superior right to use the trade mark and that the other party’s actions are in some way likely to affect the rights and value (more commonly referred to as the ‘goodwill’) you have in your trade mark. If someone is using a brand or logo very similar to yours but in another part of the country where your goods or business are not currently known then you may not be able to prove you have the superior rights to use your particular brand or logo in this case.

Registered Trade Mark

On the other hand with a registered trade mark you are given a lot more certain protection. In New Zealand the owner of a registered trade mark automatically gets rights in their trade mark throughout New Zealand. A registered trade mark owner also doesn’t have to go to great lengths to prove they are the owner of their trade mark as they can just refer to their registration on the trade mark register which is maintained by IPONZ. Indeed probably the only disadvantage to a registered trade mark over an unregistered trade mark is the initial registration fees that have to be paid and the ten yearly renewal fees.

Further Requirements

Although there are clear advantages to registering a trade mark there are in fact some situations where an unregistered trade mark may in fact not be capable of being formally registered. This is because in order to get the advantage of the greater protection provided by registering a trade mark there are a number of further requirements a trade mark must satisfy.

Similarity

Firstly a trade mark cannot be the same or confusingly similar to any existing trade marks. This is important as it goes to the heart of the issue as to whether a trade mark will truly distinguish one person’s goods or services from those of another.

Distinctive

A registered trade mark must also be distinctive. Once again this means it has something which really makes it particular to the goods or services it is used to represent. An example of a trade mark which would not be distinctive would be a name like “The Garage” for a mechanic’s business. This is because the word garage is not a word which people would consider as being special to one particular business as it is a term often used to describe businesses of this type.

Common Terms

Similar to this would also be the case where particular terms commonly used within an industry cannot be registered by one business in that industry for their sole use. For instance once again in the case of a mechanic the term ‘full service’ is a term used throughout the automotive industry to refer a full check over of a car and consequently it would not be appropriate to give the exclusive right to one mechanic to use this as a trade mark in relation to their business only.

Other Examples

Other examples of the types of things which can’t be registered as trade marks include a purely descriptive term such as ‘fast’ for cars generally speaking a superlative like ‘fantastic’ or ‘amazing’ or anything which may mislead people into thinking there is some association between the goods or the services the subject of the trade mark and something else when there is in fact no such association. However despite all of these issues that potentially have to be worked through when wanting to formally register a trade mark the benefits afforded to registered as opposed to unregistered trade marks can make this kind of extra hassle well worthwhile.

Questions?

If you have any queries or questions in respect of the above please don’t hesitate to contact david@mclaughlinlaw.co.nz or on 021 630 201 or 09 363 2738.

RE:FRACTION Outdoor Glass Sculpture

The fourth annual RE:FRACTION Outdoor Glass Sculpture exhibition opened at the Sculpture Park @ Waitakaruru Arboretum on Saturday evening, the exhibition runs through to the 18^th November. The rain stopped just before the opening and the glass shimmered in the light of late afternoon

The Swarbrick Dixon Glass Awards were judged this year by Karl Chitham. Karl states that “…a number of factors including craftsmanship and aesthetic merit, … for awards such as this, the dominant criteria has to be a sense of suitability and sensitivity to the fantastic outdoor setting.”

The Swarbrick Dixon 2009 award winner for Excellence in Glass Sculpture is Hamish Webster for his series ‘Mesozoic’ “…The winning work may be a surprise to many who come and view this display. This work captivated me from the moment I glimpsed it through the foliage. It was engaging from the outset – combining a subtle playfulness with a diminutive confidence. It utilized the respected traditions of glass blowing in a way that was both familiar yet all together other-worldly. The work itself appear to seamlessly blend into its natural environment while simultaneously holding onto the qualities which make glass such an alluring medium both for the maker and the viewer. This piece was most definitely a statement in contradictions”

The Swarbrick Dixon 2009 Student award for Excellence in Glass Sculpture goes to George Agius for her ‘Kai-wiana’ of which the judge said“…A number of works caught my attention and clearly demonstrated a sophisticated understanding of the medium while exploring a whimsical side that is sometimes only possible with the freedom allowed during study

INFORMATION AND DIARY DATES,

Sarjeant Gallery Shop

The gallery shop currently represents many of the Wanganui Glass Group artists but is interested in representing other glass artists as well. If you are interested in selling through the gallery shop please send images to Carmen Toyne (carment@queenspark.org.nz). No guarantees that your work will be included but it does provide an opportunity.

EXHIBITIONS,

Pyramid Gallery, York, UK

Melting Point - An Exhibition of Contemporary Glass

Saturday 12th September – Sunday 2nd November 2009

Corbans Estate Arts Centre, Henderson

"Eye Candy - Waitakere Glass Art",

Thursday 1st October 6pm - Exhibition continues until 15th Nov

This is an exhibition by selected Waitakare based artists

Lake House, Takapuna

Luminous

- a group exhibition featuring

- Peter Viesnik, Susan Louie, Sofia Athineou,

- Isla Osborne and Brian Chrystall

20^th October to 8^th November

Art Singapore

9th-12th October 2009, Level 4, Suntec Singapore, Represented by Koru-hk, Hong Kong

Milford Galleries – Queenstown

Glass 09,

21^st November – 16^th December, 2009

Waiheke Community Art Gallery

"Te Iti Kahurangi - The Most Precious One" ( Pounamu / Glass Exhibition)

20th November - 14th December 2009

Masterworks, Auckland

Cats & Dogs, 28 Oct - 18 Nov 09

Participating animal lovers (artists): (Australia) Jonathan Baskett, Miki Kubo, Andrew Lavery, Lee Mathers, Emma Varga,

(New Zealand) Claudia Borella, Evelyn Dunstan, Vicki Fanning.

Artereal Gallery, Sydney

Cats & Dogs

2 - 19 December 09

The Colonnade Gallery, National Waterfront Museum, Swansea, Wales

Saturday October 10th 2009 -January 24th 2010.

"Gathering Light”, The Women's 10th International Glass Workshop- an exhibition of 20 international women working in glass. This exhibition has been on show at the Centre International du Vitrail in Chartres, France from 3 October 2008 - 29 August 2009. It is now travelling to Swansea, Wales., www.museumwales.ac.uk/en/swansea

Waitakare Trust Art Awards and Lincoln Green Sculpture Awards

23^rd Annual Art Exhibition at Project Space – Corban Estate Art Centre

6^th November to 15^th November

Sarjeant Gallery, Whanganui

Looking Glass: Reflecting Ideas.

12 December 2009 to March 14 2010,

Waitakaruru Sculpture Park

RE:FRACTION, Outdoor Glass Sculpture Exhibition, Curated by Dorothy Wakeling, 18^th October – 18^th November 2009,

Sponsored by Swarbrick Dixon, Barristers & Solicitors

Quay Gallery Napier

“Trans-form” Contemporary Glass

12 November – 3^rd December 2009

Group show of Northland Kerikeri Glass Artists Sue Hawker, Lee Brogan, Jaymz Edmonds, Gail Edmonds, Donna Feary,

Avid Gallery, 48 Victoria St., Wellington

Unfurled'
New work by Christine Cathie
11 - 22 November opening Tuesday 10th November 5.30 - 7p.m.

Willows Reach

252 Boord Crescent Kumeu

Kumeu Art in the Garden

7-8 Nov 2009

www.nzartguild.co.nz

Eye for Sculpture

5-8 Nov 2009

See www.eyeforsculpture.co.nz for details of location etc

Kings College Art Show

King’s College
Golf Ave, Otahuhu
Auckland

6-8 Nov 2009

www.kingscollegeart.co.nz

Waitakaruru Sculpture Park, Sculpture-in-the-Park,

Curated by Rob Garrett,

21^st November 2009 – 28^th February 2010,

Sponsored by Harkness Henry & Co., ABN AMRO Craigs, KPMG, and Hamiton City Council

Waitakaruru Sculpture Park, E:SCAPE Sculpture in the Landscape

Curated by Sarah Anderson

13^th March – 30 May 2010

The Trust is looking for corporate sponsors.