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Contemporary Galleries Backgrounder Contemporary Galleries Backgrounder On March 20, 2015, The Corning Museum of Glass opens a 26,000-square foot, light-filled contemporary art and design gallery building designed by Thomas Phifer and Partners. The building is the world’s largest space dedicated to the display of contemporary art and design in glass. The contemporary art galleries feature more than 70 works from the Museum’s permanent collection, including recent acquisitions and large-scale works that have never before been on view due to space restrictions in the current contemporary glass gallery. The design gallery presents more than 65 objects, including furniture and lighting. Visitors approach the new galleries through a long walkway that presents the idea of glass as a material for contemporary art with large-scale works. A major highlight is Klaus Moje’s Choreographed Geometry (2007), a four-panel painting composed of more than 22,000 hand-cut strips of glass that have been heat-fused together. Another highlight is Ann Gardner’s suspended sculpture, Fog (2007), in which hanging mosaic-covered pods in grays and whites imitate the atmospheric condition of clouds that are opaque one moment and translucent the next. An important recent acquisition, Continuous Mile, by Liza Lou, is also on view. This monumental sculpture is composed of 4.5 million, glossy, black glass beads that are woven into a mile-long cotton rope that is coiled and stacked. Smaller-scale sculptures and vessels housed in wall cases continue the conversation of glass as a material for art begun in the Ben W. Heineman Sr. Family Gallery. From the large walkway, visitors enter the new galleries, which are thematically curated. They are: Nature Dedicated to sculptures that refer to the natural world, the gallery features a range of objects from biomorphic forms to works—such as sculptures by Anne and Patrick Poirier and Debora Moore—that are inspired by the famous glass flowers made for Harvard University by the 19th-century Bohemian glassmakers Leopold and Rudolf Blaschka. Some artists, such as Michael Rogers and Marta Klonowska, use the animal as metaphor; while others, such as Flora Mace and Joey Kirkpatrick, consider a simple bowl of fruit. The gallery is anchored by Katherine Gray’s Forest Glass (2009), an installation of thousands of reclaimed green, colorless, and brown drinking glasses arranged on shelves to suggest a stand of three trees. Inspired by the process of creating glass, which historically required the burning of timber to power the furnaces, Gray questions the impact of glassmaking on the environment in the past and present. Body and Abstraction Featuring works inspired by the human body, this gallery is anchored by Evening Dress with Shawl (2004) by Karen LaMonte, a haunting evocation of the beauty of classical statuary. Nancy Bowen and Ann Wolff consider the complexities of the body and psyche. A suite of sculptures by Stanislav Libenský and Jaroslava Brychtová represent abstraction developed from the proportions of the body. Imprint of an Angel II (1999) is an abstract shape based on a man’s shoulders and chest, its mysterious interior space representing the inner light, or the divine part of man. The gallery also considers narrative and how objects relate narratives abstractly. Endeavor (2004) by Lino Tagliapietra, an installation of abstract forms, was inspired by the boats that gather in the Venetian lagoon for the annual Festa della Sensa. History and Material The artworks in this gallery reflect traditional forms in glass and focus on its material properties. Untitled (White) (2000) by Josiah McElheny, Material Culture (2008) by Beth Lipman, and Blood Sugar (1992) by Tony Cragg reference and recontextualize functional vessels so that we understand them in new ways. Installations by Cerith Wyn Evans, Evening (2008–13), and Javier Pérez, Carroña (2011), exploit the beauty and drama of Venetian chandeliers, creating statements very different from that of functional lighting fixtures. The unique properties of glass—its transparency and opacity, reflectivity, optical effects, and ability to hold color and scatter light—are explored in sculptures by Jun Kaneko, Michael Scheiner, Nicole Chesney, and Marian Karel. Contemporary Design Devoted to international design from the past 25 years, the gallery features a range of functional glass vessels, furniture, lighting, and design. Highlights include: Ghost Chair (1987) by Cini Boeri and Tomu Katayanagi for FIAM, Coffee Pot (2011) by Studio Job, and Triscosta Cabinet (2013) by Christophe Côme, as well as lighting that is both design and art by Tejo Remy and René Veenhuizen, Maria Grazia Rosin, and Dan Dailey. Functional vessels include recent designs for Steuben Glass by Kiki Smith, Jeff Zimmerman, and Michelle Oka Doner, in addition to designs for J. & L. Lobmeyr by Ted Muehling, and for Artecnica by Toord Boontje and Emma Woffenden. The gallery also focuses on the role that GlassLab—a pioneering collaboration between international designers and master glassmakers from The Corning Museum of Glass—plays at the forefront of new glass design by presenting a selection of prototypes created over the past seven years. Additional Spaces The new galleries feature a space dedicated to special temporary projects or large-scale installations. The inaugural installation of the space spotlights the recent acquisition Constellation (1996) by Kiki Smith. The room-sized installation, a meditation on the infinity of space and the human desire to understand it, brings the heavens to earth. 26 hot-sculpted glass animals of different sizes represent different animal-themed star patterns. Designed by Smith after a 19th-century celestial atlas and produced by Venetian maestro Pino Signoretto, the animals cavort amidst cast-glass stars and their own cast-bronze scat on a night sky made of handmade indigo-dyed Nepal paper. As visitors walk along the porch, the display area around the themed galleries that overlooks the Museum’s new one-acre green, they will encounter a selection of large-scale artworks, such as North Sea Waves (2008) by Zora Palová and Circular Object One (2004), by Daniel Clayman, which reference water and light, or The White Necklace (2007), a strand of gigantic beads by Jean-Michel Othoniel. From the Porch, visitors may access the galleries at several points, or they may rest and connect with the outdoors through the 150-foot-long window that opens onto the Museum’s green and view of C Building, one of the original buildings of the Corning Incorporated complex that was built in 1951 and designed by New York architects Harrison & Abramowitz. About The Corning Museum of Glass The Corning Museum of Glass is the foremost authority on the art, history, science, and design of glass. It is home to the world’s most important collection of glass, including the finest examples of glassmaking spanning 3,500 years. Live glassblowing demonstrations (offered at The Museum, on the road, and at sea on Celebrity Cruises) bring the material to life. Daily Make Your Own Glass experiences at The Museum enable visitors to create work in a state-of-the-art glassmaking studio. The campus in Corning includes a year-round glassmaking school, The Studio, and the Rakow Research Library, the world’s preeminent collection of materials on the art and history of glass. Located in the heart of the Finger Lakes Wine Country of New York State, The Museum is open daily, year- round. Kids and teens, 17 and under, receive free admission. ### To access high-resolution images visit cmog.org/press-center. Yvette Sterbenk / Kim Thompson Corning Museum of Glass 607-438-5273 / 5219 sterbenkym / [email protected] For more information, please contact: Alison Buchbinder / Megan Ardery Resnicow + Associates 212-671-5165 / 5178 abuchbinder / [email protected] 2 .
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