GlassNEWSLETTER OF THE NATIONAL Shards AMERICAN CLUB www.glassclub.org Founded 1933 A Non-Profit Organization Winter 2011-12 Steuben Glass LLC Closes A unique, storied and quintessential the Corning Glass Works) assumed glass for production has come from American tradition has come to an leadership of Steuben, taking the firm small freestanding furnaces on the end. in a new direction aimed at produc- factory floor. As reported in the New York Times ing quality colorless products while Unfortunately, as the VP of Market- on September 15, 2011 “the 108- de-emphasizing Mr. Carder’s color- ing for Schottenstein explained at year-old glassmaker is shutting down ful creations. 75 years later, in 2011, the September, 2011 Carder Steuben its factory in Corning, NY, and its Steuben re-introduced muted, smoky Club Symposium held in Corning, flagship store on Madison Avenue in colors in a limited number of their their plan to re-brand and re-focus Manhattan. The cause of the compa- most popular items, retaining at least Steuben’s products was dealt a seri- ny’s demise was a waning appetite for one segment of clear glass in each ous blow by the current economic fancy crystal that was exacerbated by piece. Unfortunately, we will never recession. He also commented that the weak economy, company officials know if the new colored product line today’s Gen X and Gen Y consumers said.” was destined to be a successful one. in their 30’s and 40’s have a very dif- “We did not see an increase in new In 2008, Corning, Inc. (after ferent concept of luxury. Luxury for consumers or established collec- them might mean an Apple i-Pad or tors,” Ron Sykes, a spokesman for a Lexus, but probably not fine glass. the Schottenstein Stores Corporation, Times have changed. which bought Steuben from Corning Corning, Inc. has purchased the Inc. three years ago said on Thurs- rights to the brand name Steuben, but day.” has stated in the local press that they Steuben Glass Works was founded have no plans to revive the product in 1903 when Thomas G. Hawkes line. Between 60 and 70 people will persuaded to be affected by the closure. Steuben’s leave his employment at Stevens & flagship store on Madison Avenue is Williams in England and move his expected to close prior to the expira- family to Corning, NY. Financed by tion of their lease in January 2012. Hawkes, Carder established a glass The closure of the factory will not factory to manufacture fine quality impact the operations of the Corning blanks for cutting by the Hawkes Museum of Glass. The museum is a firm, the largest of the many cutting stand-alone non-profit organization, shops then operating in Corning. Be- East of the Sun, West of the Moon with no legal or financial relationship sides blanks for , Mr. Carder to Steuben. The physical Steuben fac- started making a wide variety of art Steuben incurred losses in 17 of tory is owned by Corning, Inc. glass items that successfully com- the past 20 years) sold its interests Those of us who live in the Corn- peted with many of Louis Comfort in Steuben to Schottenstein Stores ing area are much saddened by the Tiffany’s products as well as those of Corporation of Columbus, OH. As loss of Steuben. It was a recognized Quezal, Kew Blas, etc. part of the sale, Schottenstein leased center of excellence for fine glass The firm was sold to Corning Glass Steuben’s factory that is physically production, with a uniquely talented Works during WWI, when the federal attached to the Corning Museum staff of designers, gaffers, engravers, government put restrictions on raw of Glass and acquired their skilled cutters and polishers, quality control materials essential to Steuben Glass’s employees, continuing production inspectors, et alia - including those operations. Corning Glass Works of Steuben until they announced the who used a diamond stylus to sign continued to operate Steuben as a closing of the company. Steuben’s each completed piece with the iconic division with Mr. Carder at the helm. glass furnace was shut down earlier in “Steuben” in script. (800) STEUBEN In the early 1930’s, Arthur Hough- 2011 and was an accurate harbinger www.steuben.com ton (the Houghton family controlled of things to come. In recent months, -Kindly submitted by NAGC Treasurer, John Kohut Glass Shards Page 2

President’s Letter Ancient Glass Treasures Dear Friends, to enable a student to attend a future A number of our members were NAGC Seminar. Mary Cheek Mills, Made by Ennion: Ancient Glass among the large group of registrants Education Programs Manager for The Treasures from a Shlomo Moussaieff this fall for The Corning Museum of Corning Museum of Glass, is seeking Collection – on perspective by Jan Glass 50th Annual Seminar on Glass potential scholarship recipients for 28, 2012. The Israel Museum, Jeru- celebration (and the 60th anniversary this award and for our Distinguished salemPOB 71117, Jerusalem 91710, of the museum). The Seminar was a Member Recognition Program. Please Israel www.imj.org.il memorable one, inspired by the “Mt. contact her with any suggestions/nom- This exhibition presents twenty Washington and Pairpoint Glass: inations for the scholarship awards or unique glass vessels from the first- American Glass from the Gilded Age for further information. century CE, including seven highly to the Roaring Twenties” exhibit Finally, our industrious Webmaster rare examples of the work of the that opened with much fanfare at the Francis Allen has asked me to remind master glassmaker Ennion, who museum’s anniversary celebration in those members planning to make on- began his career in Sidon (present- May of this year. A series of excellent line holiday purchases through Ama- day Lebanon) and later immigrated lectures characterized this aesthetical- zon.com about the link he added to to Italy. On public view for the first ly restless and technically inventive the first page of our website at www. time, these mold-blown vessels, era, and the Seminar concluded with glassclub.org that connects directly including decorated jugs, vases, a lavish banquet in the museum audi- to Amazon and rewards us for each beakers, and cups, come from the torium. The closing of Steuben Glass referral purchase without any increase Shlomo Moussaieff Collection, after 108 years, discussed elsewhere in cost to our members. one of the richest assemblages of in this issue in an article by John Happy holidays to you all and best Ennion’s masterpieces in the world. Kohut, was a sad note in the midst of wishes for 2012 The remaining vessels in the collec- the celebratory activities. At the NAGC Board meeting held Ken Depew, President tion, which are not inscribed with during the Seminar John had a more Ennion’s name, were most likely positive report as Treasurer on an Dan Dailey Exhibition produced in his workshop. increase in income that reversed some Ennion worked as a glassmaker Beginning February 18 through June years of stagnant or declining rev- about 1 to 50 A.D. His signature is enues. Based on the positive reaction 3, 2012 Dan Dailey: Working Method famous from over thirty flourishing to the description of the May 16-19, is a retrospective exhibition with a pieces, and many other works are 2012 NAGC Seminar in Harrison- particular focus on the various meth- attributed to him on a basement of burg, VA published in the last issue of ods and style. Ennion combined a ground- the Glass Shards, we fully expect to techniques breaking technique of floating potion continue this positive trend through employed vessels into molds. This new routine the coming year. A registration pack- by glass authorised a vessel and a emblem to age will be mailed to all members in artist Dan be combined during a same time and January, and the registration form will Dailey available a origination of mixed cop- be posted on the website as soon as over his ies of a same vessel. Ennion’s clear, it is available. Members planning to 40-year accurate designs heed his work; he attend may wish to make early hotel career. also minimized a prominence of a reservations at the Courtyard Mar- Dailey, lines caused by a seams in a mold. riott Harrisonburg (540) 432-3031. A the first block of rooms has been set aside at graduate the special rate of $79 per night (plus student of taxes), including breakfast. Remem- Dale Chi- ber to mention the “National Ameri- Rocky Mountain Goat, 1997 huly, has can Glass Club” when you make your pursued reservation. his own unique voice in glass, from We have recently published a new his singular work in antique Vitrolite NAGC membership brochure. Direc- tor Bill Thomas has some extra copies sheet glass to complex constructions available and would be happy to send of blown glass and metal. By pairing some to any of our dealer-members each work with the very drawings and who are willing to distribute them at models used in planning and produc- shows. We appreciate those members tion, as well as images and video of who have already offered to do so. Dailey and his team at work, this Jim also has an electronic copy of our exhibition endeavors to pull back the Membership Directory available for curtain on the incredible choreography those members who wish to have it in of technique and vision that make this format. contemporary glass one of the most We have recently received a gener- demanding, exciting, and unparalleled ous Memorial Fund donation from art forms today. the Amelung Chapter in honor of Fuller Craft Museum, 455 Oak Street, Dorothy Camp and Barbara Lessig. Brockton, MA 02301 (508) 588-6000 The chapter requests that the dona- fullercraft.org tion be used to fund a scholarship Glass Shards Page 3 Glass Calendar (Confirmation of dates and schedules advised. More information is available on our web page at www.glassclub.org)

Through February 19, 2012 exhibitions that present a marked and hobbyists, or simply take a break BROADFIELD HOUSE GLASS contrast of glass works in terms of from the cold and enjoy the sights MUSEUM, Compton Drive, King- scale. Gathering: John Miller and and scents of these exotic favorites. swinford, DY6 9NS ENGLAND Friends, comprises 26 oversized http://www.dudley.gov.uk/leisure- goblets, measuring three feet or more February 7 - November 7, 2012 and-culture/museums-galleries/glass- in height. Conversely, Beauty Beyond ALEXANDER TUTSEK-STIF- museum Light Fantastic Light brings Nature: The of Paul Stan- TUNG, Karl-Theodor-Straße 27, an added dimension to artworks and kard consists of more than 50 minia- 80803 München, Germany In the this exhibition highlights the work ture botanical worlds encased in clear Name of Love. Love was and is of six artists who use neon in their crystal. The Museum of Glass, 1801 one of the principal themes in art. artworks to convey different ideas Dock St. Tacoma, WA 98402-3217 Humans have a need to express love, and messages. (866) 468-7386 and the pain of love, in a tangible museumofglass.org form. Literature, music, paintings Through February 19, 2012 and sculptures created over the cen- BERGSTROM-MAHLER MU- Through January 6, 2013 turies are testimony of their never- SEUM has once again curated a CORNING MUSEUM of GLASS ending attempts. The exhibition at stunning glass exhibition for you this Founders of American the Alexander Tutsek Foundation fall. All That Glitters is based on the Harvey K. Littleton In celebration of deals with the many facets of love simplicity of form and glimmer of the 50th anniversary, in 2012, of the from a very special perspective: not glass in contemporary cold-worked “birth” of the American Studio Glass only the bright, the welcome part of sculpture. Experience the sensuality movement, this exhibition features love is explored, but so is its hidden, of light as it is manipulated by artists works by one of the founders of the secretive, and dark side. And all this and transformed into color and pat- movement, Harvey K. Littleton. The is expressed using a material that is tern. Artists were selected based on objects on display - 19 vessels and seldom seen in art displays. On show the visual effects of their sculpture sculptures and five vitreographs (prints are 30 objects created by 26 artists and the common theme of working made from glass plates) - span the from around the world who work in cold glass methods: polishing, arc of Littleton’s career in glass from mainly with glass and mixed media. cutting, laminating and faceting, to the 1960s through the 1980s. Works http://www.atutsek-stiftung.de/en/ exploit the reflective and transmissive are drawn both from the Museum’s ausstellungen.html qualities of light that glass man- collection and the artist’s personal col- ages like no other material, except lection. Founders of American Studio March 28 - April 1, 2012 perhaps, diamonds. See work from: Glass: Harvey K. Littleton recognizes GLASS CRAFT & BEAD EXPO Christopher Ries, Kreg Kallenberger, Littleton, born and raised in Corning, 9777 Los Vegas Blvd South, Los Toland Sand, Sidney Hutter, David for his achievements in developing Vegas, NV 89183. www.glasscraft- Huchthausen, Jon Kuhn, Michael glass as a material for artistic expres- expo.com Get ready to cut the glass, Taylor and Donald Friedlich.165 N. sion. It is the first solo exhibition of fire up the kilns and torches and Park Ave. Neenah, WI 54956 (920) the artist’s work at the Museum. One create: The 2012 Glass Craft & Bead 751-4658 bergstrom-mahlermuseum. Museum Way, Corning, NY Expo is back and filled with quite a com (800) 732-6845 www.cmog.org few new classes for you to explore. Step out of your “norm” and take Through April 2012 January 8, 2012 a crossover class. This seems to be MUSEUM OF GLASS (253) 284- LITTLE RHODY BOTTLE CLUB the “hot” thing to do. As always our 4750 1801 Dock Street Tacoma, Annual bottle Show & Sale from show floor will be packed with over WA 98402 www.museumofglass.org 10am - 2pm. K of C Hall, 304 High- 120 exhibiting companies ready to Parenthetically Speaking: It’s Only a land Ave., So. Attleboro, MA www. show and explain to you all the latest Figure of Speech is a new collection littlerhodybottleclub.org technology. The economy is playing of work by San Francisco-based artist havoc with us all, however the glass Mildred Howard comprising more January 14 -April 8, 2012 community always steps up, puts than 40 glass punctuation marks, FRANKLIN PARK CONSERVATO- their best feet forward and promotes proofreading symbols and musical RY ORCHIDS! Vibrant Victoriana what they love best: GLASS! notes. The work is inspired by At 1777 E Broad St, Columbus, OH the End, a poem by Howard’s friend 43203 http://www.fpconservatory. June 22 & 23, 2012 and Peabody Award winner Quincy org Take a journey of the senses with NATIONAL CAMBRIDGE COL- Troupe. Both the poem and the hundreds of colorful orchids art- LECTORS INC Glass Show & exhibition reference punctuation as a fully displayed in the warmth of the Sale. Pritchard Laughlin Civic Ctr., metaphor for the passage of time. Conservatory, along with featured Cambridge, OH cambridgeglass. works from glass artist Debora Moore org Featuring Cambridge and other Through June 17, 2012 (http://deboramoore.com). Participate fine glassware including Heisey, On view until mid June, 2012 at in daily orchid talks and weekly fam- Imperial, Fenton, Duncan, Tiffin and the MUSEUM OF GLASS are two ily activities, learn from orchid experts Westmoreland. Page 4 Glass Shards The Museum of Glass - Studies in Scale On view until mid June, 2012 at the Stankard expanded his efforts into his based on their contributions to the ad- Museum of Glass are two exhibitions Botanicals series. These forms are vancement of the contemporary glass that present a marked contrast of glass perpendicular in orientation, provid- movement. Each collaborating artist works in terms of scale. Gathering: ing a multitude of viewing angles. In offered his or her artistic and technical John Miller and Friends, comprises these pieces, Stankard incorporates expertise to create the stem, or vertical 26 oversized goblets, measuring three a distinct horizon line separating the element that connects the cup to the feet or more in height. Conversely, above and below ground elements of base of the goblet, that references a Beauty Beyond Nature: The Glass the floral arrangements and also intro- current or past body of work. In most Art of Paul Stankard consists of more duced honey bees and cases, Miller completed than 50 miniature botanical worlds mystical root people that each goblet by produc- encased in clear crystal. The Museum live “hidden” in the root ing a cup and foot and of Glass, 1801 Dock St. Tacoma, WA structure. He also began assembling the goblets 98402-3217 (866) 468-7386 to add small words, such in his studio. Several of museumofglass.org as “seed,” “pollen” and the goblets were created Beauty Beyond Nature: The Glass “decay” that suggest the in the Museum of Glass Art of Paul Stankard. This exhibit life cycle of all growing Hot Shop during Miller’s presents more than 70 of Paul Stan- things. Visiting Artist residencies kard’s intricately flame-worked still- Furthering his experi- in 2010 and 2011. life sculptures encased in clear crystal mentation, Stankard im- “The elegant form of from the Robert M. Minkoff Collec- plemented a technique the Venetian goblet was tion. The collection spans more than he calls “cloistering” the initial inspiration for 40 years of Stankard’s career, from where he laminates a this series,” states Miller. his earliest attempts at paperweights layer of colored glass to “The traditional goblet is in 1969 to a monumental eight-inch filter or absorb light. He one of the most challeng- Honeybee Swarm Orb commissioned introduced this effect in ing functional glass forms for this exhibition in 2010. his Columns and Cubes to create. The exagger- With meticulous technical skill, series. His Orbs, similar ated scale transformed Stankard creates a variety of flora, to his paperweights but the objects—the vessels insects, figurative elements and poetry larger in scale, are per- became more sculptural that demonstrate his acute powers of fectly round spheres and demanded at- observa- that provide John Miller (American, born 1966), tention. The form tion and uniform Slider, 2011. Blown and hot-sculpted glass, became physically artistic magnifica- 37 x 16 3/4 inches challenging to the sense. tion of the viewer and entered a He refer- encased elements from all new realm of significance.” ences angles. In his Diptychs, Gathering, along with many of Mill- the plant Triptychs and Assemblages, er’s other series, was influenced by the kingdom Stankard weaves together work of pop artists from the 1960s. as his color and form into complex “My work reflects both a love of the primary arrangements, setting up immediacy of the glass material and a inspira- his elements in grids that respect for its demanding properties. tion but intensify the effect of each. Some pieces are very formal and about does not These works are a culmina- glass and how it moves; others enve- purport tion of the techniques he lope a sense of humor and playfulness. to create White Marsh Gentian Faceted Paper- developed in all his previ- I am always interested in pushing the scientifically weight, 1974. Blown glass with flame- ous series. medium to its heights.” worked elements, 1 3/4 x 2 3/4 inches. Collaborating artists include: Rik accurate rep- Photo by Douglas Schaible Photography “I’ve enjoyed more cre- resentations ative freedom by suggest- Allen, Martin Blank, Robert Carlson, of individual species. “I think of my ing untamed organic illusions rather Scott Darlington, Einar and Jamex de work as referential,” states Stankard. than flawless floral arrangements. My la Torre, Laura Donefer, Fritz Dreis- “These are not literal flowers, though artistic point of view takes advantage bach, Jen Elek, Henry Halem, Martin it is important to make them believ- of the many hours of experiment- Janecky, Gene Koss, Paul Marioni, able. The point of my work is not ing with process to discover a fresh Nick Mount, MOG Hot Shop Team, to make specimens but to evoke the beauty that builds on the paperweight Jay Musler, Paul Nelson, Danny experience of nature.” aesthetic. It’s all about nature’s fe- Perkins, Marc Petrovic, Ross Rich- Included in the exhibition are works cundity interpreted in glass.” mond, Richard Royal, Davide Salva- representing all of Stankard’s design Gathering: John Miller and Friends dore, Therman Statom, Boyd Sugiki series beginning with his floral Paper- showcases 26 super-sized Vene- and Lisa Zerkowitz, Randy Walker, weights inspired by the Victorian-age tian-style goblets created by Miller Karen Willenbrink-Johnsen and Jasen French botanical paperweights of Bac- between 1996 and 2011 in collabora- Johnsen. carat, St. Louis, and Clichy. Unsatis- tion with some of his colleagues and fied with the limitations of the form, friends. Miller selected these artists Glass Shards Page 5

Chrysler Museum Opens a Glass Studio Corning Celebrates The Chrysler Museum of Art has Visitors will be able to enjoy free American Studio Glass opened the Chrysler Museum Glass glassblowing demonstrations, and In celebration of the 50th anniversary Studio on November 2 to comple- the Museum will offer a series of of the American Studio Glass move- ment the world-class glass collection classes and workshops for students ment, The Corning Museum of Glass in the Museum. The addition of the and adults. These will include a will present two exhibitions. Founders Glass Studio enhances the Museum’s range of educational programs from of American Studio Glass: Harvey K. Littleton will feature works by the artist, stature as one of only two compre- beginners to master classes for ac- spanning the arc of his career from his hensive art muse- complished very first works in glass from the 1940s ums in the United professional through his experiments with form and States with a glass artists. color into the 1980s. A complementary studio. The Glass “It will be an show, Founders of American Studio Studio is located entirely new Glass: Dominick Labino, will pres- in a 7,000-square- experience ent materials from Labino’s archives, foot building at 745 for our visi- which are held in the collection of the Duke Street, adja- tors,” says Bill Museum’s Rakow Research Library. cent to the Museum Hennessey, Both exhibitions will be on view until in Norfolk. the Museum’s January 6, 2013. The Museum has been collecting The $7.5 mil- director. “In Littleton’s work since the mid 1960s, lion Glass Studio addition to the both through acquisitions and dona- construction and Exterior Glass Studio Photo by Ed Pollard study and display tions, including those from Littleton operations are fully of art, we can and his family. Founders of American endowed from generous contributions show them the magic behind the Studio Glass: Harvey K. Littleton will from glass enthusiasts and Museum creation of art as well. The Glass include 19 vessels and sculptures and 5 supporters. The Museum acknowl- Studio will allow our visitors to vitreographs drawn from the Museum’s edges the Pat and Doug Perry family experience glassmaking and be in- collection and the artist’s personal col- for their significant investment in its volved in every step of the process. lection. creation. We anticipate this will draw people Littleton was born and raised in Corn- “The state-of-the-art facility will ac- to the region to learn about glass and ing, NY and was briefly employed by the Corning Glass Works in the 1940s, commodate both aspiring and master meet visiting glass artists and tour where he developed his glassmaking glass artists with a furnace that can our collection. We expect this to be skills and began to pursue the idea of melt 560 pounds of glass, a full hot a significant educational component glass as a medium for artistic expres- for the region—one that will allow sion. The earliest objects in the exhibi- us to further strengthen our partner- tion are two experimental cast female ships with Virginia Wesleyan Col- torsos, dating to 1942 and 1946. Also lege and the Governor’s School for featured are glass vessels from the early the Arts. With more than a third of 1960s, dating to the years just after the our 30,000-object collection devoted seminal Toledo Workshops, as well as a to glass, this is clearly a strong suit bottle made at the 1962 Workshops. for the Chrysler. This Glass Studio At the end of the 1960s, Littleton re- evaluated his work, making the decision will bring these works of art to life.” to turn away from the vessel in favor The Chrysler Museum of Art of sculptural work based on a vo- 245 West Olney Rd, cabulary of Norfolk, VA 23510 geometric (757) 664-6200 forms. The museum@chrysler. Glass Studio Team from left to right: exploration Charlotte Potter, Glass Studio Manager org of columns Robin Rogers, Glass Studio Technician and tubes, Julia Rogers, Glass Studio Instructor color, and Photo by Echard Wheeler motion in shop, a flameworking studio, nine glass oc- annealing ovens and a coldworking cupied him Eye Harvey K. Littleton (American, b. 1922) for the area,” says Charlotte Potter, studio Blown #475 Johns-Manville fiberglass marbles, cut, bonded rest of his manager. “The Museum will have a career. visiting artist series and an artist-in- The 1969 sculpture, Eye, reflects this residency program that will attract new direction in Littleton’s work in some of the leading artists in con- glass. Corning Museum of Glass, One temporary glass, as well as emerging Museum Way, Corning, NY artists.” (800) 732-6845 cmog.org Page 6 Glass Shards Research, Publication & Glass News In Memoriam Edward W. Kleppinger Museum of Glass The glass collecting community lost Another passion for Ed was the renova- will be responsible for developing a valued member with the death of tion and preservation of historic proper- the Museum’s multi-year exhibition Ed Kleppinger on June 26, 2011. He ties in New Orleans over the past twenty schedule and developing exhibition was 72 years of age. years. Ed was proceeded in death by his content that is both scholarly and Ed had wide ranging interests but wife of nearly 40 years, Willie, and a son accessible for the Museum’s dynamic his main collecting focus during the from his first marriage. He is survived traveling exhibition program. War- 25 years was ruby-stained American by two other children from that marriage ner will work with the Museum’s . Inspired by his par- as well as his beloved young daughter, curatorial, Hot Shop and education ents’ collection of this glass started Carla. departments, as well as with artists, in the 1950s, Ed went on to build one All his friends will deeply miss Ed’s collectors, educators and museums, in of the premier collections of ruby- enthusiasm for glass and his great sense researching and developing narrative stained. He generously shared his of humor and generous spirit. materials for all exhibitions. interest by establishing his Museum -Kindly submitted by NAGC Board Warner will also be responsible for of Ruby-Stained Glass at his home Member, Kyle Husfloen the Visiting Artist Residency Program in New Orleans and setting up a web in consultation with the Museum’s site where others could share his Lead Hot Shop Gaffer, Benjamin passion. In addition to ruby-stained Museum of Glass announces the ap- Cobb. She will work jointly with Mu- glass Ed also had a notable collection pointment of Susan Warner as Deputy seum of Glass Direc- of amber-stained pattern glass and Director/Curator. In 2006, Warner was tor/CEO Tim Close canary pattern glass. At the time of appointed Director of Public Programs, as the staff liaison to his death Ed was deeply involved in overseeing the curatorial, education and the Museum’s Col- updating William Heacock’s Book 7, Hot Shop departments, and in 2009 ap- lections Committee, “Ruby-Stained Glass From A to Z,” pointed Deputy Director. chaired by Trustee the rights to which he owned. Ms.Warner brings over 30 years of mu- George H. Weyer- Ed had a doctorate in chemical seum, curatorial and educational experi- haeuser, Jr. engineering and most of his career he ence to the position and possesses a solid Museum of Glass, worked as a environmental consul- background in the medium of glass. We 1801 Dock Street Tacoma, WA 98402 tant, often appearing as a witness in are very pleased she has accepted this www.museumofglass.org legal proceedings involving environ- new role in her career at MOG.”

mental issues. As Deputy Director/Curator, Warner

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