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Dorothy Maddy Scholarship Fund
Dot was bright and had a quiet, sparkly personality all her own. When you talked with her, she listened intently to what you had to say. At heart, she was basically a teacher; she always wanted to learn every technical and artistic nuance of stained glass. Her intention was always to pass on what she knew to anyone who might want to learn.
When The Stained Glass School was first established in North Adams, MA, she attended classes from 1977 to 1979. Dot studied the art of stained glass painting with Richard Millard and Albinas Elskus. It was also then that she became a member of the Education Committee of the SGAA. She moved her Tree Top Studio from St. Louis to New Jersey and then to Scottsdale, AZ, in 1980. In Scottsdale, she established her credentials with a steady stream of articles on glass paints and painting that were published in The Stained Glass Quarterly, Glass Art, Glass Craft News and Professional Stained Glass. Dot demonstrated stained glass painting at all of the stained glass shows from 1983 through 1990. During the many hours that she spent teaching, she was ever the attentive and friendly teacher; she was never too busy to answer a question or to demonstrate a different technique. Dorothy became a teacher with a national classroom, holding classes at the major retail dealers throughout the country.
When the SGAA decided that a Reference and Technical Manual was needed as a basis of reference for the teacher certification program, Dot was in charge of the chapters on painting and silk-screening. With the help of experts she selected, Dot was able to put together a lucid and encyclopedic reference chapter; her efforts are still a real service to the stained glass family. When a second edition of the Reference and Technical Manual was undertaken two years later, Dot again — as her last major SGAA project — improved and polished all the information to bring forth an even more complete work.
Mindful as she was of the power of teaching to elevate an art, Dot always remained true to her vision of making stained glass painting more accessible to all who desired her help. Dorothy Maddy knew that education will always help the artist create finer work; that is the basic reason for the Dorothy Maddy Scholarship Fund.
Leslie Hartman Scholarship
“When people face barriers to achieving their full potential, the loss of talent, creativity, energy, and productivity is a burden for not only the disadvantaged, but for communities, businesses, governments, and the economy as a whole.”
- Ani Turner
On top of the difficulties that COVID-19 caused our global community, we were devastated to learn of the tragic, sudden death of one of our Affiliate Members, Leslie L. Hartman of Denton, TX. Led by her dear friends and fellow stained glass colleagues in Denton, the SGAA has established a memorial scholarship fund in Leslie's name. Given Leslie’s struggles with available disability accessibility, we want Leslie’s memory to be honored by creating a scholarship that grants access to stained glass work and promotes accessibility for all.
Her family and friends sold Leslie’s tools and supplies through online auctions to raise the initial monies to start the new scholarship fund. Every year, we continue to add to this fund through our annual auction at our conference. To contribute to this fund, you can make a one-time, or recurring donation (opens new window) here. With each donation, our team is able to offer funding for tools and equipment or funding for classes, which brings us one step closer to our ultimate goal of increasing the diversity of emerging voices in our field.
Our Mission & Our General Operating Fund
Sound, healthy creation and preservation of our historical and future structures are not possible without sharing our cumulative knowledge with the next generation of makers of all trades. To do this, our cumulative knowledge must itself be easily accessible and beautifully presented.
Those involved in the historic preservation community must inspire the next generations. Fellows of all generations must work together as a community to create opportunities for mentorship, scholarship and apprenticeship.
The many facets of remarkable design, both historical and present day, should be carefully cataloged so that communities need not feel the burden of justifying their preservation. This detailed database will serve future makers and researchers, giving them access to the provenance of their work.
Anyone that seeks to find fulfillment through working with architectural art glass should be able to find the education and inspiration to do so. Achieving mastery is impossible without the resources of generations before.