Fall 2007/Winter 2008

Joint Exhibition with Getty Villa Examines Modern Glass Inspired the by Ancient Rome

New Exhibition Kicks Off “Masters of Studio Glass” Series Education Programs Integrate Gather Glass into Local Schools Corning Museum of Glass DIRECTOR’S LETTER

Houstonia caerulea L. Bluets, Leopold and Rudolf Blaschka, 1894. Harvard University Herbaria of The Harvard Museum Museum News of Natural History.

It’s a Saturday in July and the galleries are filled with visitors speaking a dozen different languages. There is a buzz of anticipation. What’s next? Make a flower, Explore More through New Website Features Annual Seminar Reflects on Nature in Glass look at the Blaschkas’ flowers in the summer exhibition, or buy a bunch of flowers in the GlassMarket? The Corning Museum of Glass has something for everyone New media and other great features on The Corning Museum of Artists have long reflected the natural world in their work, and artists and we strive to make every visit memorable. Glass website, www.cmog.org, now offer even more access to the working in glass are no exception. This year’s annual Seminar will world of glass. You don’t need to be a technical wizard to enjoy: explore the topic of “Nature in Glass” through lectures, demonstra- tions, field trips, book signings and interactive sessions. Participants At the Museum, we show our visitors wonderful glass, and we communicate our • More than 40 viewable and downloadable short video may make their own glass, observe historical and contemporary passion for glass through labels, brochures, Audio Guides, and videos. Visitors segments on glassworking techniques. flameworking demonstrations, and watch artists create glass objects. Photo by Robert Barker. also can choose from an array of opportunities to interact with staff, docents, and • Meet the Artist podcasts, featuring interviews with studio glass artists by Tina Oldknow, the Museum’s curator of volunteers. They can sign up for a one-on-one Make Your Own Glass experience. They can The 46th Annual Seminar on Glass takes place October 11 – 13, modern glass. at the height of autumn beauty in the surrounding Finger Lakes learn how glassblowers create work in the Hot Glass Show, discover some of the proper- • Images and explanations of more than 1,500 objects in the region—an ideal backdrop for examining this subject. ties of glass in Magic of Glass demonstrations, and find out about making glass flowers in Museum’s collection in an easy-to-search tool (go to “Glass Speakers and artists include: Flameworking Live! We aim to pique our visitors’ curiosity, encourage them to ask ques- Collection” and “Browse the Collection”). • Segments about objects in the collection from our handheld • tions, and provide the answers. Curators of The Corning Museum of Glass Audio Guides that can be played on your desktop or down- • Paul Greenhalgh, director and president of the loaded for free onto an MP3 player (go to “Glass Collection,” In addition, we strive to stimulate creativity, not only at The Studio and the Make Your Own Corcoran Gallery of Art then “Listen to the Audio Guide”). • Lindsy Parrott, associate curator of The Neustadt Glass workshop, but also in the galleries. Draw and Discover programs encourage partici- • Rakow Library resources, including our unique international Collection of Tiffany Glass pants to look and, with paper and pencil, to interpret what they see. Draw Like the Blaschkas glass exhibition database, an online “Ask a Librarian” feature, • Debora Moore, 2007 Rakow Commission artist is an invitation to young (and not so young!) visitors to emulate the Blaschkas by observing and a number of searchable catalogues. • Susan Rossi-Wilcox, recently retired administrator of the Harvard Glass Flowers nature and drawing what they see. You Design It; We Make It! involves would-be designers In addition, visitors may now go online to buy admission and in a dialogue with glassblowers at the Hot Glass Show. Make Your Own Glass tickets, become a Member, or shop the The cost for the full seminar is $225 for Members, $250 for GlassMarket for select items any time of the day. non-Members and $150 for students. Individual lectures cost $20 Elsewhere in the galleries, our Explainers engage visitors in conversations about glass and per lecture for Members and $25 per lecture for non-Members. glassmaking—and give them the opportunity to handle selected objects. There are Hidden Contact Louise Maio at [email protected] or 607.974.4084. Treasures tours, tours of the summer exhibition “Botanical Wonders,” and customized tours for groups that book ahead of time. The list seems to be endless! Telling the World about Glass—in Other Languages We also reach outside the Museum to provide engaging, informative experiences for people who may never come to Corning. Our website (www.cmog.org) can bring glass into Did you know that about able to visitors when they arrive Institute of Technology’s Ameri- from around the world. These every home or classroom that has a computer and Internet access. Recent additions to the one-fourth of the visitors to at the Museum. can University in Kosovo trained graduates are multi-lingual, The Corning Museum of Glass in the GlassMarket, Make Your and have been an invaluable site include more than 40 video segments on glassworking techniques, Meet the Artist pod- The Museum also offers come from outside the United Own Glass workshop, and in resource in providing the best Audio Guides and exhibition casts, segments from our handheld Audio Guides, and images of more than 1,500 objects in States? In response to the Guest Services assisting visitors services to our customers. brochures in Mandarin and the collection. growing number of tourists who Spanish, the two most common do not speak English as their non-English languages spoken Our publications also reach internationally. Annually, in addition to Journal of Glass Studies primary language, the Museum by our visitors. On most days, recently launched a targeted and New Glass Review, we publish on average one scholarly book or exhibition catalogue. Mandarin translation is available translation initiative. This year, there will be two: Drawing upon Nature and Reflecting Antiquity (the catalogue of for the Hot Glass Show demon- our forthcoming exhibition with the J. Paul Getty Museum). The initiative begins by speak- strations. ing to visitors, in their own The Museum’s staff is incred- language, before they reach And, of course, the Hot Glass Roadshow will be, well, on the road. Future venues include ibly multi-lingual. In a pinch, Corning. The Museum’s website a return visit to the design workshop at Boisbuchet in southwestern France. It is one of the staff members can speak to now contains visit planning visitors in more than a dozen many ways we live up to our promise to tell the world about glass. information in eight languages: languages, including Bulgarian, English, Spanish, Mandarin, Ital- Macedonian, and Swahili. ian, Japanese, French, Korean,

and German. Tour maps in This past summer, seven recent Photo by Maria Strinni Gill. these same languages are avail- graduates from the Rochester Arlinda Ahmeti (far left) and Bulezim Azemi (far right) are two of the recent graduates from the American University in Kosovo who trained at the Museum this summer helping international visitors.

1 The Gather | Fall 2007/Winter 2008 2 Reflecting Antiquity Modern Glass Inspired by Ancient Rome

By David Whitehouse, Executive Director

A groundbreaking exhibition produced 19th century. Also, Japonisme bor- wood poured money and the efforts There are nine imitations, and these in- Above left: by the J. Paul Getty Museum and The rowed motifs and aesthetic ideas from of his best craftsmen into perfecting clude the first modern example, made Cage cup, early fourth century A.D., Arthur Rubloff Residuary Trust. Corning Museum of Glass, “Reflect- Japan after that country opened its ceramic replicas of the Portland Vase, from a design by Leó Valentin Pantoc- Above middle: ing Antiquity: Modern Glass Inspired ports to foreign trade in 1854. and, later, John Northwood and Jo- sek in the 1860s. Plaque, Italy, Venice, probably by Ancient Rome” opens October 18 seph Locke sealed their reputations by workshop of Francesco Toso Borella, Ancient mosaic glass became widely late 19th century. Formerly in the at the Getty Villa in Los Angeles, and Revivals in Glass making glass replicas. (One of Wedg- known following the rediscovery and collection of Mrs. Applewhaite-Abbott. runs through January 14, 2008. Then A number of 19th-century glassmakers wood’s first ceramic versions, together excavation of the buried remains of Above right: it travels to The Corning Museum of responded to the demand for products with Northwood’s and Locke’s unique Cane slice with head of satyr, Pompeii in 1748. In the 19th century, Glass, where it will be on view February inspired by historical or exotic styles. glass replicas, are in the show.) These Roman Empire, first century B.C. glassmakers, especially in Murano, to first century A.D. Formerly in 15 – May 27, 2008. No other venues are “Reflecting Antiquity” explores the replicas excited a craze for cameo glass the collection of Ray Winfield Smith. experimented with designs based on planned. ways in which they drew inspiration in late-Victorian England. Brothers these spectacular originals. Sometimes from the glass of ancient Rome. The George and Thomas Woodall, working “Reflecting Antiquity” is the first major the ancient and modern glasses are so show begins with an overview of the for Thomas Webb & Sons, led a team Related Publications exhibition to focus on the influence similar that experts have difficulty tell- ways in which glassmakers in the 1800s of extraordinarily skilled cold workers, and Activities of ancient Roman styles on the glass- ing them apart. ransacked the repertoire of designs who produced meticulously finished makers of the 19th century. Modern they inherited from their predecessors: examples of cameo glass which, al- creations will be displayed side by side Recreating Iridescence ransacked, refined, and reinvented. though inspired by Northwood’s copy with the inspirational Roman originals. Almost all known Roman glass had of the Portland Vase, took on a life of The exhibition is co-curated with me by The exhibition, which contains slightly been buried for centuries, either in their own and became less and less Dr. Karol Wight, curator of antiquities at more than one hundred objects, is real- tombs or with the remains of houses recognizable as descendents of the the J. Paul Getty Museum. ly seven small, stellar shows rolled into or cities. During those centuries, a ancient Roman masterpiece. one. The first room encapsulates half- reaction between the glass and its

An Age of Artistic Revivals a-dozen of the different historical styles environment caused the surface of the Glass from the Catacombs Most of us know the 19th century as embraced by 19th-century glassmakers, glass to deteriorate, a process known Renaissance antiquarians then became an age of progress, when spectacu- from ancient Rome to the world of me- as weathering. Sometimes weathered aware of “gold glasses”—objects usu- lar strides were made in many fields, dieval Islam and Renaissance Venice. It surfaces have an iridescent, rainbow- ally recovered from the catacombs (the including science and technology, is dangerous to make such claims, but like appearance, and this unintended underground tunnels that served as manufacturing, and public education. this may be a “first:” the first time the effect appealed to glassmakers and the cemeteries of the Christian and the But as far as art and architecture are role of glassmakers in the well-known collectors. The exhibition includes both Jewish communities of ancient Rome). concerned, the 19th century also was and much studied revival of historical Roman originals with iridescent weath- Accompanying Publication Gold glasses are decorated with gold a backward-looking age, full of artistic styles (Historismus, to use the German ering and modern objects with delib- The show’s catalogue explores the ideas foil that is sandwiched between layers revivals. Sometimes a design revival term) has taken center stage. erately iridized surfaces, which range that underlie the exhibition and includes of fused glass. This glass began to reflected a desire to redefine national from the subtle hues on two of Pantoc- descriptions and illustrations of all the The overview is the appetizer. The attract attention in the 1600s, but it identity (as with the Celtic Revival in Ire- sek’s designs to the more strident tones objects in the show, which are drawn banquet follows: one rich course after was not until 1858 that an illustrated land). In other cases artists looked back of Frederick Carder and Louis Comfort from 20 museums and private collec- another. In six self-contained exhibits monograph made images of nearly to what they regarded as a purer form Tiffany. tions in the United States and Europe. we celebrate the ways in which ancient 400 gold glasses available to the pub- of expression (as with the Pre-Raphael- The book will be available in mid- Roman glass influenced 19th-century lic. The craftsmen of Murano produced ite Brotherhood in England). Imitating Ancient Rome October through the GlassMarket for glassmakers and designers. imitations and, later, variations on the The final sections of the exhibition $29.95 (Members’ price, $25.46). In Europe, this enthusiasm for past, ancient theme. pair Roman objects with modern and occasionally exotic, styles led to The Rediscovery of Ancient Glass copies, including a rare “jug within a Hot Glass Roadshow in Los Angeles experiments with numerous visual The first ancient Roman glass object to Cage Cups and Mosaic Glass The Hot Glass Roadshow will provide Photo © The Trustees jug” made in Cologne about A.D. 200 languages. For example, the revival of attract serious attention in the Renais- Other imitations followed, as antiquar- of the British Museum. and a faithful copy made just outside demonstrations at the Getty Villa, medieval Gothic architecture and orna- sance, the Portland Vase was found ians and collectors became progres- Cologne by the Rheinische Glashütten October 25 – November 5, in conjunc- ment was reflected in London’s House near Rome some time before 1600. It is sively more familiar with the repertoire A.G. in the late 19th century. The tion with “Reflecting Antiquity.” The of Lords being hailed as “the finest a small masterpiece of cameo glass of ancient glass. The first Roman cage Rheinische Glashütten specialized in Corning Museum gaffers will demon- specimen of Gothic civil architecture in (glass made in two or more layers, with cup to attract attention in modern making decorative and useful glasses strate many of the techniques used to Above: Europe” when it was dedicated in 1847. decoration carved through the outer times came to light in 1675. The show in a variety of historical styles, and the make the objects in the exhibition. Rothschild Lycurgus Cup, Likewise, Orientalism—the romantic layer or layers). After its transfer to will include three ancient cage cups, in- Roman Empire, fourth century A.D., show includes one of their trade cata- The British Museum, London. infatuation with images based on the England in the late 1700s, the Portland cluding the famous Rothschild Lycurgus logues (issued in 1886), which belongs Save the Date The glass is dichroic: it appears to be one art, architecture, and landscape of the Vase became an icon of Neo-Classical Cup, which is green in reflected light Members-Only Exhibition Opening color (green) in reflected light and a different to the Rakow Library. color (red) when light shines through it. Middle East—blossomed during the design. Master potter Josiah Wedg- and red when light passes through it. Event will take place February 15, 2008.

3 The Gather | Spring/SummerFall 2007/Winter 2007 2008 The Gather | Fall 2007/Winter 2008 4 Left: Familius Domus, Steven I. Weinberg, 1997. Gift of the Ben W. Heineman Sr. Family. Right: Untitled (680501), Steven I. Weinberg, 1986. Masters of Studio Glass: Joel Philip Myers and Gift of the Ben W. Heineman Sr. Family. Steven I. Weinberg

by Tina Oldknow, Curator of Modern Glass

In two experimental workshops at the hensive collection helps the Museum accident. While at Alfred, he was Born in 1954, Weinberg represents the Providence, RI, has explored new di- and their work refl ects that passion. Toledo Museum of Art in 1962, studio tell the story of the history of studio offered the job of director of design second generation of studio glass art- rections in his work, which includes his Both are deserving of the title, “Master ceramist and Corning native, Harvey glass through the accomplishments of at Blenko Glass, a manufacturer of ists. In the early 1970s, Weinberg also recent series of cast glass “buoys” and of Studio Glass” as masters of their Littleton, and glass research scientist, individual artists. colorful tableware headquartered in studied ceramics at Alfred, but soon life studies. He also has begun to teach respective techniques, and for the de- Dominick Labino, introduced a small, Milton, WV. This was his introduction to switched over to glass, working with and exhibit in China, a country that is velopment and advancement of those inexpensive furnace in which glass The fi rst “Masters of Studio Glass” glass, and in his seven years there, he studio glass pioneer Andre Billeci, and just beginning to appreciate and train techniques by working with the mate- could be melted and worked. For exhibition, opening on November 2, designed more than 400 products, all the Scottish artist Eric Hilton, who had studio glass artists. rial in increasingly complex ways. the fi rst time in the United States, it presents vessels and sculpture, dating blown in Blenko’s bright palette. come to Alfred from London’s Royal was possible for artists to blow glass from the 1970s to the 2000s, by Joel College of Art. Beautiful Contrasts Members-Only Exhibition Preview outside of a factory, in independent Philip Myers and Steven I. Weinberg. Self-Taught Artist Teaches Others Both Myers and Weinberg work and Meet the Artists Lecture studios. The American Studio Glass The show will take place on the Mu- Aware of the Toledo glass seminars Weinberg found an important men- with abstraction, but they could not movement was born. seum’s West Bridge and run through conducted by Littleton and Labino, tor in Hilton, who encouraged him to be more different in how they choose On Thursday, November 1, Joel Philip October 19, 2008. Myers became interested in blowing explore techniques and approaches to approach the glass, which of its Myers and Steven I. Weinberg will New Exhibition Series glass himself. He developed his tech- other than the free-form style of qualities they emphasize, and how they give short, illustrated presentations On the 45th anniversary of Littleton Myers: Colorful Blown Work niques—teaching himself at Blenko— glassblowing that was so popular conceptualize and construct their work. about their work, and then join each and Labino’s groundbreaking work- Myers’ work explores vibrant color, as in relative isolation. at the time. With the help of Hilton, other in a discussion moderated by shops, The Corning Museum of Glass well as lack of color, in painterly, blown Weinberg began exploring cutting and In Myers’ vessels, it is the fl uidity of Tina Oldknow, the Museum’s curator begins a new series of exhibitions vessels that acquire depth and density In 1970, Myers left Blenko to set up a grinding glass. the material and the visually warm of modern glass. called “Masters of Studio Glass,” through the layering of pieces of glass glassblowing program at Illinois State surfaces, made with color or acid- which focuses on the work of individ- (or shards) onto the surface during the University at Normal, where he taught Weinberg chose to pursue his gradu- etching, that are his most identifi able A Members-only Exhibition Preview ual, pioneering, and infl uential artists blowing process. for nearly 30 years. The program at ate studies at the Rhode Island School characteristics. For Weinberg, it is the will precede the lecture. The Members- well-represented in the Museum’s Illinois became one of the best-known of Design so that he could work with cold, frozen quality of the material and only reception begins at 5:00 p.m. on collection. This series is meant to help Born in 1934, Myers came to glass in a in the country, and Myers, one of the Dale Chihuly, who headed the program hard, stone-like surfaces that make his the West Bridge and the lecture at visitors learn more about an artist by roundabout way. Trained in advertising most respected teachers in the fi eld. there. Chihuly was another valued sculptures so distinctive. 6:00 p.m. in the Museum Auditorium. seeing different phases of his or her design, he began to work with ceram- In addition to his teaching, Myers built mentor who taught Weinberg how to Contact Myrna Hawbaker at career through a number of objects. ics in his mid-twenties. Studying fi rst in a successful studio practice, participat- be a professional artist. Both artists share a love and respect 607.974.8442 for more information or Copenhagen, he completed his B.F.A. ing in solo and group exhibitions for glass and the glassmaking process, to RSVP by October 29. These “focus” exhibitions are inspired and M.F.A. degrees at Alfred University, until 1991. Building a Studio Practice by the recent major gift to the Museum about 50 miles west of Corning, NY. Upon his graduation in 1979, Weinberg by Chicago collectors Ben W. and Then, for four years, Myers did not began to build his studio practice, and Natalie Heineman. The Heinemans Like many artists of his generation, exhibit or make saleable work so that in his case, he literally built it, starting collected the work of many of their Myers came into glass from ceramics, he could take the time to experiment with the development and construc- favorite artists over time. Their compre- and he pretty much came into it by with new ideas. In 1995, he introduced tion of his studio equipment. Although new work and in 1997, he retired from popular now, Weinberg’s interest in teaching. kiln-casting and in cutting and pol- ishing glass was quite uncommon Over the past 10 years, Myers, who in American studio glass of the late lives in Marietta, PA, and Copenhagen, 1970s. has focused on making and exhibiting new series of vessels that are as radi- Over the 30 years that Weinberg has cally different from his earlier work as been working with glass, he has made they are from each other. a living as an independent artist and he has worked as a designer for vari- Weinberg: Transparent ous companies. In the past decade, Kiln-Cast Sculpture Weinberg, who lives and works in In contrast to Myers’ blown, colorful work, Weinberg focuses on the optical, Opposite page above: LFNREDHGD 198518, transparent, and refl ective qualities of Joel Philip Myers, 1985. glass in his solid, kiln-cast sculptures. Right: Hand Forms, Joel Philip Myers. Photo provided by the artist. Stephen I. Weinberg. Photo provided by the artist. Joel Philip Myers, 1972.

56 The Gather | Fall 2007/Winter2006 2008 TheThe Gather Gather | |Fall Fall 2006 2007/Winter 2008 647 Igniting the Fires of Learning: New Educational Programs Integrate Glass Into Local Schools Photos by Maria Strinni Gill.

Are you smarter than a fifth-grader? If lesson plans, the Museum engages Helping Teachers Teach Heineman Sr. Family Gallery) and Hot the third-graders. “They just love see- Professional development programs you take part in one of the Museum’s young visitors in ways that encourage This program isn’t only helpful to the Glass Show, relating activities in those ing a piece designed by one of their like Evenings for Educators, which take grade-specific tours, you might be them to look at glass from a variety kids. “Teachers love it,” says Mary areas to math, science and technol- own created by the gaffers. The map place in the spring and the fall just able to say ‘yes’ with some confidence. of angles. Cheek Mills, school and docent pro- ogy. Pre- and post-visit materials offer also gets them very excited, because before 2300° events, allow teachers to gram manager. “They are delighted activities that enhance the English they can see houses and churches that network with Museum staff and other Integrating Glass into Local Schools “We know that six-year-olds look at to have programs that relate glass to language arts, art and social studies existed back in the 1800s that are still teachers in the area, and to explore In 2007, the Museum’s Education glass differently than 10-year-olds,” what they’re teaching and they get as curricula. there today. It really makes local history Museum programs. department worked with the says Amy Schwartz, director of Educa- excited as the students when they see real for them.” Corning-Painted Post school district tion and The Studio. “Now we want to the children actively engaged at the The main activity for first-graders is the “By offering these programs, we sup- to develop age-appropriate programs look at it with them in a way that makes Museum.” Symmetry Game, which encourages Glass Matters! port both our immediate community’s using specific topics represented in the most sense based on their ages.” students to look closely at objects in Two years later, in “Glass Matters,” education and the future of the glass the Museum. All first-, third- and fifth- Pre- and post-visit activities and materi- the gallery to determine whether they students in fifth grade study optics in community,” says Schwartz. grade classes in the district now incor- About 13,000 schoolchildren visit als are available to each teacher. These are symmetrical. They also learn the the Innovation Center and glass in the porate visits to The Corning Museum the Museum each year, and the activities prepare the students for the concept of dimensions by walking American and Crystal City galleries, “Just as kids are the future of our of Glass in their curriculum every year, Education department wants to cre- engaging experience they’ll have at around sculpture and analyzing three- explore Josh Simpson’s Megaplanet, world, they are the future of the glass knowing that the Museum’s programs ate an environment for all of these the Museum, then reinforce what they dimensional geometric shapes. and participate in a Fun with Glass world, and we want them to love it as meet their grade’s New York State students to absorb the information learned. The tours at the Museum hands-on glassmaking experience. This much as we do.” Learning Standards and Core Curricu- available to them. “We have tailored are led by highly trained volunteer To Melissa Bauco, a docent who often program promotes critical thought and lum requirements. An added benefit: the visits so that each age group can Museum guides, called docents. provides first-grade tours, the kids’ engages students on a deeper level. all of the students’ admissions are free effectively take in the material and enthusiasm makes the tour meaningful. and docent-led tours are now offered walk away looking forward to studying First-Graders Explore Symmetry “They are all so excited about coming Erin McLaud, fifth-grade-focused at no charge. something else here in a few years,” The first-grade program is called to the Museum,” she says. “Everything docent, loves working with this age says Schwartz. “Glass: It’s All Shapes and Sizes!” and is new to them and the opportunity because they “can offer back just as Are You Smarter than Using age-appropriate activities and includes tours of the Sculpture Gallery to go through the Sculpture Gallery much as we give them. They are so a Fifth-Grade Student? projects that coincide with teachers’ (recently rededicated as the Ben W. just blows them away. Between all the involved; they want to teach me about bright colors and the ability to relate things just as much as I want to teach Test your glass smarts. Here are some objects to things they see in everyday them. Local kids are so engaged when questions fifth-graders answer in post- visit materials. life, they go away just as excited as we tour the Crystal City Gallery. It’s as when they arrived.” though they are exploring their home- 1. The 200-inch glass disk in the town for the first time, by seeing what Innovation Center was made for the Learning about our Community it was like long before they were born.” _____ Telescope. Is this a reflecting Third-graders are introduced to “Glass or a refracting telescope? and our Community” through activities That tie to the community is exactly 2. Is glass a solid, liquid, gas—or none at The Studio and Rakow Library. There what the Education department in- of the above? they explore the Frederick Carder tends. “The Museum has a serious Gallery and learn how it relates to focus on education,” says Schwartz. 3. American glass manufacturers had the community’s history, design glass “Not just for glass scholars, but for the bright ideas for making glass faster and cheaper. What machine was invented in pieces for gaffers to create, interview community in which we live.” America in the 1820s? gaffers, and put together a special puzzle map of 19th-century Corning. Professional Development 4. When the suncatcher you made today Opportunities was heated, all the pieces stuck together. The third-grade program fulfills the The Museum also caters to teach- This process is called ______.

same core curriculum requirements as ers. “We offer as much professional Fusing. 4. experience (often “street kids”) to make it work. it make to kids”) “street (often experience

mechanical press, that needed only two people with little little with people two only needed that press, mechanical

the first-grade program, as well as an development for teachers as possible,”

additional core, Career Development says Schwartz. “We want to encourage or machine, pressing a made Americans 1820s, the In 3. of matter—the glassy state. glassy matter—the of

2. A hybrid between a solid and a liquid, glass is its own state state own its is glass liquid, a and solid a between hybrid A 2.

and Occupational Studies. teachers to take the same vested inter-

to form an image). an form to

It is a reflecting telescope (meaning it uses a curved mirror mirror curved a uses it (meaning telescope reflecting a is It est in the Museum as their students,

“These kids are thrilled throughout the and make the learning process that Telescope. Hale the for made was disk 200-inch The 1. �

entire tour,” says docent Susan Berry of much more interactive.” Answers: Third-graders learn about the glassmaking heritage of their community. One of their activities is putting First-graders look at Red Pyramid (1993) by together a puzzle of this 1882 map of Corning. Stanislav Libenský and Jaroslava Brychtová to explore concepts of color, shape, size, and symmetry.

7 The Gather | Fall 2007/Winter 2008 The Gather | Fall 2007/Winter 2008 84 Glass: A Pocket Dictionary (Revised Edition) $9.95 (Member’s price: $8.46)

Debora Moore The 2007 Rakow Commission From Exhibition Catalogues to Glass Dictionaries Documenting Glass by the artist. Photo provided

Looking for a book about contemp- number one place for glass in out what international studio glass intention to be a realist,” she empha- “Working with glass, they have to learn orary glass? How about a complete the world.” artists were making, and disseminating sizes. Touring lush rainforests in India, to work together as teams, even if they history of glass? Need a handy pocket that information. The publication the Caribbean, Thailand, or the Pacifi c come from rival gangs.” She is proud dictionary to help you understand David Whitehouse, the Museum’s showcases 100 contemporary works in Northwest, she sketches orchids in the that two of her former students are glassmaking terms or a guide to executive director, agrees. “Our glass by artists from around the world. fi eld, creating the hues in watercolor. now graduates of the Rhode Island explore the highlights of the Museum’s publications serve as a vehicle through School of Design. collection? which we tell the world about the The selections are the result of an “What I make is my interpretation,” amazing properties of this material,” annual competition in which a panel Moore notes. “The Lady Slipper Moore says that she is privileged and The Number One Glass Resource he says. “Glass as art is an incredible of expert judges handpicks pieces orchid, for example, is never blue or honored to have been selected for Look no further than the Publications testament to the human will, as is glass based on their quality, originality, green. But when light hits it in a certain the Corning Museum’s 2007 Rakow department of The Corning Museum technology. We strive to explore these and innovation. Coordinated by Tina way, I see striations of blue and green, Commission. “I can’t tell you what this of Glass. Since the Museum’s founding avenues in a scholarly way, and then Oldknow, curator of modern glass, For Seattle-based Debora Moore, the and that’s how I make it.” means to me. I hope it will be my best in 1951, it has published more than proceed to record them for future this competition highlights some of journey from single mom to an artist work ever.” 50 scholarly books, compilations, generations.” the best and brightest artists working whose hot-sculpted glass orchids have Determination and Strong Mentors and exhibition catalogues pertaining in glass today. “Historical glass, of a growing international following has Moore came to glassmaking by sheer Moore’s Rakow Commission will be to glass. In addition, each year the Annual Journals course, is the Museum’s foundation,” not been without a few struggles. determination and the help of men- unveiled on October 12 during the Museum publishes two journals: the One of the many ways the Museum says Oldknow, “but seeing how the tors. While balancing motherhood Annual Seminar on Glass. Contact Journal of Glass Studies and New documents and shares important material is used today, and how glass Serenity through Nature and part-time jobs, she couldn’t afford Louise Maio at 607.974.4084 or Glass Review. discoveries in glass is through the is evolving artistically, is equally “When I faced adversity, I would take to take glassmaking classes until she [email protected] for more details. Journal of Glass Studies, published important to us.” long walks in the woods,” she said in a received a work-study grant from Pratt Rick Price, head of the Publications annually since 1959. The journal, which recent phone interview. “I have always Fine Arts Center in Seattle, made pos- department, has seen each of these is the only one of its kind, features Documenting the History of Glass found serenity among trees and fl owers.” sible by the then-director of the school. About the Rakow Commission publications through their various research articles that study glass from The variety of books published by “I charged furnaces and cleaned the Since 1986, the Rakow Commission stages of development since joining its inception in antiquity to the mid- The Corning Museum of Glass Moore has worked in glass since the shop while my daughter played in the has supported the development the Museum’s team in 1985. “My 20th century. speaks to both the history and the late 1980s, and it is still fl owers that print studio.” goal is to make sure each publication contemporary artistry of glass. attract her. She creates resplendent or- of new works of art in glass. Each we send out into the world is the best New Glass Review was begun in 1976 These publications include academic chids of translucent ivory glass touched In 1990, she received the fi rst of three commissioned work is added to the it can be,” says Price, underscoring by Thomas S. Buechner, the Museum’s works written and compiled by with hues of lapis, mossy green, crim- scholarships to the Pilchuck Glass Museum’s collection. This program is the fact that “the Museum is the founding director, as a way of fi nding members of the Museum’s Curatorial, son, or cinnamon, and dusted with fi ne School, just outside of Seattle. There made possible through the generos- Scientifi c Research, and Conservation glass particles, then acid-etched to sug- she blew glass with Italo Scanga and ity of the late Dr. and Mrs. Leonard S. departments. From exhibition gest a velvety texture. She also makes Paul Marioni, worked on Dale Chihuly’s Rakow, Museum Fellows, friends, and catalogues to glass dictionaries, complex studies of orchid trees and teams, and soon was an instructor her- benefactors of the Museum. the Museum’s staff members have bamboo shoots, even room-size instal- self. She also met and married Benja- documented each phase of the history lations that suggest a primordial forest. min Moore, a pioneer of the American of glass. Studio Glass movement. Glass Interpretations “We can only grow in the future,” Moore sculpts at the furnace or blows “We complement each other,” she says Whitehouse, “if we learn from glass. “I work extremely hot and fast,” says of her husband, whose work is our past and explore the paths we she says. “The less I touch the glass, geometric and symmetrical. “Ben are currently on.” the better. I want to retain the pure has been blowing glass for years and brilliance of glass.” Color detail comes has a wealth of information. We have Museum publications can be from frit (powdered glass) or cane (cy- deep discussions about technique purchased from the GlassMarket or lindrical lengths of glass), applied hot. and aesthetics.” accessed through the Museum’s Rakow Research Library. She has tried other materials for her Giving Back to the Glass World fl owers but always returns to glass. Understanding the importance of “Glass transmits and refl ects light in mentors, Moore also teaches glass- 25 Years of New Glass Review Drawing upon Nature: a way reminiscent of sunlight,” making to at-risk youth at the Hilltop Moore states. Tina Oldknow Studies for the Blaschkas’ Glass Models School in Tacoma, WA, which was Upper Left: founded by Chihuly. “My glass class Tree Series II – Purple Epidendrum Flower (Detail), $29.95 (Member’s price: $25.46) Selected and introduced by Susan M. Debora Moore, 2005. Photo by Russell Johnson. Rossi-Wilcox and David Whitehouse She travels to see orchids in their natu- was right next to the detention room,” ral environments, but does not attempt Lower Right: $24.95 (Member’s price: $21.21) she recalls. “Kids would walk by, stop, Host VI – Pink Lady Slipper (Detail), Debora Moore, to create exact replicas. “It’s not my watch, and ask to try glassblowing.” 2006. Photo by Spike Mafford.

9 The Gather | Fall 2007/Winter 2008 The Gather | Fall 2007/Winter 2008 1010 New Acquisitions

European Glass Modern Glass Rakow Research Library

Mosaic Portrait of of Venice using glass tesserae Silver-Mounted Transverse Glass flutes were beautiful Tire (2005) by ecologically adverse, and Creative and Imitative Art Theodore Roosevelt of various colors, fitted into a Glass Flute to look at and reliable Robert Rauschenberg politically questionable by James Tennant Lyon This mosaic portrait of rectangular panel mounted in In 1806, the Parisian instruments, but, according Robert Rauschenberg is an necessity—is an enduring The Rakow Library has Theodore Roosevelt a wood frame. H. 62 cm, W. watchmaker Claude Laurent to Dayton Miller (“Flutes of internationally acclaimed symbol in his work. In this acquired this rare first and was exhibited at the 48.5 cm (without frames). received a patent for un Glass,” The Flutist, v. 6, American artist who came sculpture, it is re-created only edition of a work by St. Louis World Fair in flute en cristal. The patent no. 7, 1925, pp. 151–155) to prominence in the in mold-blown colorless James Tennant Lyon, 1904, as documented on a claims that “the inventor has not exceptional in their tone 1950s. Interested equally in glass and presented as an who had presented its contemporary photograph discovered that glass is a quality. Thus, they were abstraction and in popular object of beauty. Luminous principal idea to the London that is part of the acquisition. proper material, as it gives not aimed for professional culture, he was one of an and seemingly precious, Architectural Association in The St. Louis Fair coincided sounds of the sweetness performance, but rather for early group of Pop artists the glass tire casually leans 1866. After Lyon’s untimely with Roosevelt’s re-election and purity desired, and also representational purposes. who changed the course of in its silver-plated steel death, his widow wrote an as president of the United renders the tones invariable, The flute recently acquired modern art. Throughout his tire carrier, yet it gives an introduction and had the States in November 1904. and makes the instrument by the Corning Museum was career, Rauschenberg has impression of luxury. book published for private convenient and easy to made for Charles Ferdinand challenged people’s notions H. 78.7 cm, W. 68.5 cm, circulation only. The Rakow’s The model for the mosaic play.” Laurent exhibited his Artois, Duc de Berry (1757– of what fine art is and how Diam. 29.2 cm. Partial gift of copy belonged to the family was perhaps John Singer first glass flute in 1806 in 1836), the second son of it is made. The rubber tire— the F.M. Kirby Foundation. and bears an inscription to Sargent’s portrait of Paris, and stayed in business King Charles X of France. It is a humble, dirty, industrial, “Christina Mary Percy Lyon, Roosevelt for the White until 1848, when he was engraved with Artois’ coat of in affectionate remembrance House, dated 1903. The succeeded by J.D. Breton, arms. L. 62.2 cm. of her beloved father, mosaic was created by who made flutes of wood Glass Sticks (2001) April, 1873.” The book was Erede Dr. A. Salviati & Co. and of glass until 1874. by Jun Kaneko published in Brussels by M. A sculptor, painter, and Weissenbruch, printer to His Ancient Glass American Glass printmaker, Japanese artist Majesty, 1873. Jun Kaneko is best-known Roman Snake-Thread Bottle tool while the glass was still Sandwich Glass called “Star and Comet.” for his large, glazed ceramic Lyon was a stained glass Roman “snake-thread” soft, creating the corrugated Two products of the Boston This shape and pattern were sculptures that weigh designer whose London- glasses are so-called because surface that is typical of & Sandwich Glass Company probably in production hundreds of pounds. In based business made of their sinuous patterns of snake-thread decoration. of Sandwich, MA, were during the 1860s and 1870s. 1998, he was given the windows for buildings as far applied ornament, which Between each pair of leaves recently acquired by the They both are shown in a chance to work with glass at away as Scotland and India. sometimes include birds are tendrils with spiral ends. Museum. A candlestick, Boston & Sandwich catalogue the Bullseye Glass Company A small illustrated catalogue and animals, but more often The tendrils are made of made in 1829 or shortly after, printed around 1874. in Portland, OR, and it was of church windows and prices consist of leaves or abstract gilded, colorless glass. matches a drawing made by H. 22.1 cm, Diam. 12.4 cm. during this residency that is bound in with Creative motifs. Glass of this type Deming Jarves, head of the Purchased with funds from Glass Sticks was conceived. and Imitative Art. Together, may be completely colorless, The bottle was made in Boston & Sandwich Glass the Greater Milwaukee The sculpture is made of the book and the catalogue or have a colorless body the third century, probably Company. The drawing was Foundation’s Kenneth R. fused glass bars that are evoke an interesting with colored decoration. in Cologne, Germany, included in a letter to his Treis Fund. stacked on top of each juxtaposition of Lyon’s Snake-thread glasses were an important city on the glasshouse superintendent, other—to a height of more philosophical leanings with produced in two parts of northern frontier of the William Stutson, dated than six feet—without his entrepreneurial pursuits. the Roman world: in the Roman Empire and a great January 20, 1829, shortly after any bracing. Glass Sticks eastern provinces and in center of glassmaking. the pressing of tableware was expresses essential qualities In addition to the printed the northwest. The earliest H. 13 cm. first accomplished. The design of glass, such as fragility, book, the Rakow owns the examples date from the late of the stem is reminiscent of strength, and transparency, corresponding manuscript second century A.D. and the English glass of the late 18th and its ability to hold and of 100 pages, neatly written latest were probably made and early 19th centuries. Only project light and color. H. 200 in black ink on blue paper around the year 300. two of these candlesticks have cm, W. 106.6 cm, D. 106.6 cm and bound in half-Morocco turned up in the last 50 years. assembled. Gift of the Ennion leather. The title page The Museum’s new acquisi- H. 24 cm, Diam. 11.2 cm. Society and funds provided contains a quote from tion is a snake-thread bottle Purchased in part with funds by Laura Houghton, James The English Humourists decorated with tendrils and from the Gladys M. and Harry R. and Maisie Houghton, and by William Makepeace ivy leaves on long, snakelike A. Snyder Memorial Trust. the Glass Acquisitions and Thackeray: “Learn to admire stems. Four leaves and stems Exhibitions Fund. rightly; the great pleasure of surround the body of the The second Sandwich piece life is that.” bottle. Two are opaque white was made 30 or 40 years later. and two are light blue; all of It is a sugar bowl with cut them were impressed with a decoration in a pattern

1112 TheThe GatherGather || WinterFall 2007/Winter 2006 2008 The Gather | TheFall 2007/WinterGather | Fall 20082006 41213 Donor Activities + Events Donor Profile Giving Back through the Ennion Society

Ennion Society Trip to India “Botanical Wonders” Party, Banchet Flowers, New York, NY by Dick and Judy Sphon. Photo provided March 8 – 22 May 2

This 15-day trip explored northwest India, with a focus on the The Museum held an event at a high-end florist, Banchet Dick and Judy Sphon, Founding Members of the Ennion New and Renewing Members Boldface denotes Founding country’s historical, cultural and spiritual traditions. Eleven En- Flowers, in NYC’s Meatpacking District to announce the Society, first saw The Corning Museum of Glass in 1963, when of the Ennion Society Members of the Ennion Society nion Society members toured incredible palaces, temples and “Botanical Wonders” exhibition. The evening included two Dick was considering an engineering position at what was then tombs, enjoyed receptions with royalty, and visited museums, special guests: author Jamaica Kincaid and Harvard’s recently Corning Glass Works. The Sphons moved to Corning, and the (March 1 to July 15, 2007) artists’ studios and private collections. retired administrator for the Glass Flowers collection, Susan Museum quickly became a favorite destination for their grow- Rossi-Wilcox. ing family, and a “must see” for their out-of-town visitors. Curators Circle Max and Kitty Erlacher James B. Flaws and Kathy and Richard Fishburn When the Ennion Society was established in 2003, the Sphons Marcia D. Weber Dr. Barbara Ursula Giesicke joined because they believed in the Museum’s importance to Wendell P. Weeks and Kim Frock Robert and Patricia Gilchrist Douglas and Katya Heller the area and to the worldwide glass community. “Being part Sustainers Circle Jon and Judith Liebman of the Ennion Society has been a pretty amazing experience,” Hon. and Mrs. Amory Houghton, Jr. Mr. and Mrs. Kenneth W. Lyon says Judy, a former high school science teacher. Richard and Judy Sphon Donald and Debbie McCabe Collectors Circle Peter L. Meltzer “It has really drawn us in,” notes Dick, who retired from Corn- Jeremy and Angela Burdge Gregory A. Merkel ing Incorporated 11 years ago as senior vice president for Harlan and Olivia Fischer Dr. David L. and Susan Morse Corporate Engineering. “Ennion events have made us more James D. Houghton and Rev. Richard M. Murphy Diane Murray and James Rideout Photos by Rusty Burke. knowledgeable about artists and their work. In 100 years, we Connie B. Coburn Joseph A. Miller and Marisa and Mark A. Newhouse Ennion Society members in the Rock Garden at Chandigarh, a city located wouldn’t have met so many artists and learned about their Elmerina and Paul Parkman ideas and techniques.” Rachel C. Wood on the southern edge of the Himalayas. Chandigarh was designed in the Ann and Barry Nicholson Richard F. and Joan P. Randles

1950s by Le Courbesier. Photos by Matt Gillis. Kenneth E. Treis William and Helene Safire A recent highlight for the Sphons was the Ennion Society’s trip Alan and Susan Shovers Linda Steinberg, Museum president Ennion Society members John and Members to India in March 2007. “During the private dinner after the Josh Simpson and Cady Coleman Marie McKee, and Ennion Society Carole Allaire. Ms. Allaire is also a Thomas and Ulrike Appelt Indian artist Hemi Bawa spoke [at the Museum in 2005],” Judy Thomas and Beth Tranter member Leonard Dobbs. Museum Fellow. Leonard Dobbs Theresa Volpe and recalls, “I heard people talking about meditation and yoga. I David and Henrike Dowler Robert Michaelson thought, ‘I need to go to India to find my inner self.’ When the Bill Eggers announcement of the Ennion tour came in the mail, I thought ‘Wow!’” India was not at the top of Dick’s list of countries to Gifts and Grants see (the couple has traveled to New Zealand, the Caribbean, and South America), but he felt that this was an unusual op- Grants received by the Museum from March 1 through portunity. “I’m sure glad we went.” July 15, 2007: • $10,000 from the Dana Foundation for The Studio. Ennion Society members at the Sustainers Circle level, the Sphons give through a donor-advised fund. “I’ve been very • $10,000 from the Greenberg Foundation for the acquisition fortunate in my life,” explains Dick. “I feel like we ought to of Tire by Robert Rauschenberg. Ennion Society member Barry Nich- Ennion Society member Marion Author Jamaica Kincaid, Museum president Marie McKee, and “Botanical share our good fortune. A lot of people in the area have set • $10,000 from the F.M. Kirby Foundation for the acquisition olson with a snake charmer. Burke prepares for an elephant ride. Wonders” co-curators Susan Rossi-Wilcox and David Whitehouse. good examples through their giving. We want to do this, too.” of Tire by Robert Rauschenberg. • $3,550 from the Triangle Fund to support glassblowing and Members’ Opening of flameworking classes for students in the Alternative High “Botanical Wonders” at The School of the Corning-Painted Post Area School District. Corning Museum of Glass May 18 • $3,000 from the Jeffrey J. and Mary E. Burdge Charitable Trust. Members got a special look at this year’s major • $2,500 from the Greater Milwaukee Foundation, exhibition, “Botanical Kenneth E. Treis Fund. Wonders,” the evening of • $1,000 from the New York Library Association Inc. to the its opening. Co-curators Rakow Library for the Ridley Book Bindery and Student David Whitehouse and Susan Internship Grant. Rossi-Wilcox provided an introduction to the exhibition Photos by Maria Strinni Gill. and conducted a book Some of the Museum’s youngest Members Marcia Adamy and Membership coordinator Miriam signing during a delicious Members enjoy the exhibition’s Gloria and William Misnick. Paul and Member Richard Rahill. dessert reception. family-friendly feature called “Draw Like the Blaschkas,” which encour- ages visitors to try their hands at sketching objects from nature.

1314 TheThe GatherGather || FallWinter 2007/Winter 2006 2008 The Gather | FallThe 2007/WinterGather | Fall 20082006 14154 Kim Price Museum Explainer

FAVORITE THINGS

As an Explainer, I As the children gather around the am faced with the case that contains this masterpiece, I sometimes difficult encourage them to kneel down and task of getting young to look at the piece from all sides people excited about and angles. They discover that the glass, a material that geometric shapes and white lines seen many of them are at first glance quickly meld into forms

Photo by Dara Riegel. inclined to dismiss that create an enchanting new world. as perfectly ordinary. When I show The engraved, cut, and sand-sculpted Innerland, my favorite piece in the designs reveal towers that “guard the collection, I’m always met with an essence of existence,” trees of life with enthusiastic mix of responses, ranging intricate systems of roots, “shining from “Oh, wow!” to “I never would spheres representing cells of being, have thought that something like this mountains which, when scaled, reveal could be made out of glass.” the inner eye,” and much more.

This phenomenal multipart piece of In taking a moment to thoughtfully Steuben, designed by Eric Hilton, examine this work of art, one can was completed in 1980 after four easily become lost in its mystical years of work, and it was given to the inner world where fantasy becomes Museum as a gift from Steuben Glass. reality and the invisible becomes Innerland, Eric Hilton, Mark Witter, It concretizes Hilton’s ideals about the discernible—provoking even the older, Ladislav Havlik, Lubomir Richter, “unity of life and of the inner being, not-so-impulsive onlooker to whisper in Peter Schelling, Roger Selander, 1980. or inner land, which is shared by all wonder, “Oh, wow!” Gift of Steuben Glass. people everywhere.” Visit www.cmog.org to learn more about the Explainer program.

The Corning Museum of Glass is located An adult Day Pass to the Museum is $12.50. in the Finger Lakes region of New York Children (17 and under) are admitted free. State. The Museum is open daily from 9:00 a.m. to 5:00 p.m. and until 8:00 p.m. Museum Members always receive all summer long (Memorial Day weekend complimentary admission. through Labor Day).

Corning Museum of Glass One Museum Way Corning, NY 14830

www.cmog.org 1.800.732.6845

Address Service Requested

Cover image: Rothschild Lycurgus Cup, Roman Empire, fourth century A.D., The British Museum, London. Photo © The Trustees of the British Museum. The photographs in this issue of The Gather are by The Corning Museum of Glass (Nicholas L. Williams and Andrew M. Fortune) unless otherwise noted.

16 The Gather | Fall 2006