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Posts Tagged ‘Boston University’

Photo: Wave Murano Glass.
Roberto Beltrami, pictured, is one of the youngest Murano glass masters, founding his workshop when he was just 25 years old. 

I had a memorable trip to Europe when I was 16, and one of the highlights was Venice and the glassmaking island of Murano. Have you been there?

Rebecca Cairns reports at CNN that the ancient craft of Murano glassmaking has benefited from new and younger talent.

“Born in the Italian town of Brescia, Roberto Beltrami grew up just a few hours’ drive from Venice and the island of Murano, world-famous for producing beautiful glassware. But it was nearly 4,000 miles away in Boston, Massachusetts, that he first came across the art of glassblowing. …

“It was 2011, and Beltrami, then a sophomore physics student at Boston University, was captivated by an exhibition of the work of American artist Dale Chihuly. Known for pushing the boundaries of contemporary glassblowing, Chihuly’s pursuit of his craft has taken him around the globe, including a stint in Murano in the 1960s.

“Beltrami visited the island on his summer break, taking up a class in glassblowing. That class turned into an apprenticeship, and the summer turned into a year. Beltrami quit university, trading lecture halls for roaring furnaces, sweating it out in centuries-old workshops, and studying under some of the world’s most renowned glassblowing masters.

“At one time, Murano was the global leader in glassmaking, renowned for unparalleled quality, style, and innovation, including the invention of ‘cristallo,‘ clear glass. …

“With a long legacy of closely guarding their trade secrets, workshops in Murano are reluctant to welcome newcomers, said Beltrami, 34. ‘Everybody was afraid you were going to steal their job, and nobody wanted to teach you anything.’ …

“Frustrated by the lack of opportunities, Beltrami decided to strike out on his own. In 2017, the then-25-year-old started his own workshop, Wave Murano Glass.

“Now with a team of 20, many of them in their twenties and thirties, Beltrami — believed to be the youngest glass master in Murano — is ushering in a new generation of artisans. …

“In Venice, glass has been manufactured for over 1,000 years. To prevent fires from the hot furnaces and keep trade secrets from escaping the city, all the glass factories were moved to Murano in 1291, where they’ve remained since.

“In addition to the invention of cristallo, Murano became well-known for its ability to add vibrant color to clear glass.

“ ‘It’s not so easy to have different colors of glass together and have them match chemically,’ said Beltrami, explaining that each shade uses a unique element — such as cobalt for purple-blue, lead for pale yellow, or tellurium for a pink tint — which expand and contract at different rates when they heat and cool. …

“The size and weight of many of the glass objects require at least one person to hold the pipe and turn the molten glass, while another shapes it, and another person may be required to torch the glass to keep it pliable, or add embellishments. ‘It’s like a choreography,’ Beltrami added. …

“The small factories struggle to compete on large-scale industrial orders, said Beltrami. Murano instead focuses on luxury and artistic glassware, although that too has been threatened by an influx of counterfeit goods. … The industry has been further impacted by a series of crises, including the financial crash of 2008, the Covid-19 pandemic, and rising gas prices. But despite the challenges, Beltrami is optimistic about the future of the craft.

“A major problem he saw across the factories he worked in previously was antiquated equipment and inefficient processes. So, at Wave Murano Glass, he introduced a variety of modern technologies, including streamlining administrative workflows with AI-enabled software and introducing more energy-efficient furnaces.

“Designed in the US, these furnaces capture heat that is typically lost via exhaust fumes and reuse it to preheat the air going into the burner, reducing gas usage by 80% compared to furnaces of a similar size, said Beltrami.

“According to Beltrami, Murano’s factories have historically worked on small-scale industrial orders, with many rejecting commissions of less than a few hundred but unable to cater for those of a few thousand. Seeing a missed opportunity, he set up his furnaces to be flexible, allowing Wave to cover anything from one-off pieces, to a few dozen, up to 1,200 pieces.

“While the bulk of Wave’s output is white label products for brands, designers, and artists, up to 10% of the company’s turnover comes from classes and tours, which Beltrami hopes can share the art of glass blowing with a wider audience.

“His efforts have already paid off. Beltrami has made a point of offering internships to young, enthusiastic talent from around the globe, many of whom are now employed at Wave, including several women, who are underrepresented in the industry.

“For Beltrami, finding new talent is an essential step in preserving the craft he’s come to love — and continuing its legacy of artistry and innovation.”

More at CNN, here. No paywall. Great videos of glassmaking.

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Photo: David L. Ryan/Globe staff.
A detail of Barrington Edwards’s “Monumental: Oscar Dunn and His Radical Fight in Reconstruction Louisiana,” 2020. It’s part of a Boston University exhibit aiming to establish comics as a medium.

Comics have evolved until they have become an art. Are they also a “medium”? A new exhibit at Boston University argues for the distinction.

Abigail Lee reports at the Boston Globe, “For the comic fan, the assumption that comics are merely a children’s genre — colorful like an animated kids’ movie, easy to read like a picture book — is exasperating at best, inaccurate and reductive at worst.

“Comics, like any other art form, are capable of complex expression and storytelling. That’s exactly the idea an exhibit from Boston University Art Galleries, called ‘Comics Is a Medium, Not a Genre,’ aims to establish. …

“Some 184 pieces from 29 lenders are on display in what curator Joel Christian Gill calls ‘an explosion of comics.’

“ ‘We have as many kinds of comics as you can think of,’ Gill said. ‘When you walk in, it’s going to be overwhelming.’

“Gill is himself a cartoonist, historian, and the chair of BU’s Master of Fine Arts in Visual Narrative program. The Visual Narrative program began in fall 2022, and the exhibit was meant to roughly accompany its launch. When planning the exhibit, Gill sought to combat the misconceptions about comics.

“People often mistake the most prominent comics in pop culture as representative of the entire form, Gill said. For example: Because the Marvel and DC comics are well-known, many assume comics in general tell superhero stories, he explained, the problem is a conflation of genre with medium.

“As he put it: ‘It would be like reading a bunch of Stephen King books and then thinking all novels were Stephen King.’

“Gill pulled together a variety of comics — from fiction to nonfiction, newspaper strips to self-published works, mainstream to underground pieces — to provide a ‘macro view of comics.’

“Most of the pieces in the exhibit are samples from longer works, which allowed for the large assortment of comics, said Lissa Cramer, director of BU Art Galleries. … The exhibit includes Charles M. Schulz’s first published appearance of Charlie Brown, a self-portrait by ‘Maus’ creator Art Spiegelman that pays homage to the cartoonist Ernie Bushmiller, and pages from Alison Bechdel’s ‘Dykes to Watch Out For’ comic strips. Other artists featured are the comics pioneer Will Eisner, Mad magazine founder Harvey Kurtzman, and Denys Cowan, cofounder of Milestone Media, a company created in the 1990s to diversify comics.

“There are also several international artists showcased, including Claire Bretécher and Jean Giraud from France, Gabriella Giandelli from Italy, and Tatsumi Yoshihiro from Japan.

“Gill tried to create a diverse representation of artists of color, female artists, and LGBTQ+ artists. However, he was wary about arranging the artists into these sections or categories because he didn’t want to define them by their identities. Instead, the exhibit is organized ‘by what looks good together,’ Gill said.

“The curation process involved asking artists and lenders for specific works, but also giving them the option to contribute works of their own choice. Gill’s approach was unconventional, according to Cramer, but it made the experience ‘free’ and ‘collaborative.’

“ ‘This really is an artist-driven show in that respect because the artist got to choose what they thought was most valuable,’ Cramer said.

“Gill said he hopes visitors leave wanting to find comics that appeal to them. He emphasizes that comics encompass a range of genres and audiences because at the end of the day, they are a mode of storytelling.” More at the Globe, here.

“Comics Is a Medium, Not a Genre,” is on display through March 24, at the Stone Gallery, 855 Commonwealth Ave., Boston. Free.

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