For various reasons, I'm not going to the SGAA conference this year in Denver. My feelings, as always regarding the SGAA, are mixed. I've not seen any benefit in being a member of the SGAA and so I have no interest in the business part of it. The membership does not well represent the state of the art in stained glass design. That is, I admire many more stained glass artists who are not a part of the SGAA than I do the ones who are a part of the SGAA. I don't even see the benefit in terms of joining to subscribe to their magazine, the Stained Glass Quarterly, seeing how that publication has gone so far downhill in the past decade and I haven't heard of any signs that it is trying to improve itself. I know the Quarterly has a long history and it's gone through good and bad runs for more than 70 years. Still, for a long time, the Quarterly was the best thing to come out of the SGAA. It's sad to see the quality decline so much.
My going to the conference last year had as much to do with visiting old friends and colleagues in Boston as with going to the conference. The conference, unfortunately, just reinforced my negative views of the SGAA. This despite the valiant efforts of the local organizers, who did a great job in spite of the SGAA shenanigans.
Still, they are doing something a little different with the conference this year. They have a specific subject - painting on glass. It's a good idea and I hope it works out for attendees. I know for many the best part of the conference last year in Boston was the workshop style program done on restoration at Emmanuel Church. Alas, I missed it. So, I hope the painting workshops work well. For me, the workshops of most interest would be the ones with Peter McGrain and the ones with the Derix rep talking about the float glass painting and acid etching. The St. Louis window that I posted on recently is pictured in the program schedule. I assume that commission will be discussed.
I have heard that they are going to be using only lead-free paint in the workshops. GOOD! It's about time. Have I mentioned how strongly I believe that all stained glass artists should go to using all lead free glass paint. Frankly, I don't see any reason to keep lead-based glass paint on the market. There appears to be no indication to doubt the lead-free paint on technical terms - i.e. it fires in well and is as permament as lead-based. If so, why is the lead-based paint needed? Because it 'feels' different to use it? Please.
I will be sorry to miss another conference with Peter McGrain. I've known of his work for a long time and admire his wild sense of graphic experimentation. Okay, one small criticism - he needs to update his website.
...more if I hear any buzz...