As soon as the Fragile Legacy exhibition closed in January, the Museum’s exhibition and collections staff switched gears to prepare for our current exhibition, Tiffany’s Glass Mosaics. It took two weeks to remove, or de-install, the popular Blaschka exhibition. Then, over the next three months, staff began to prepare the Special Exhibitions Gallery for the much-anticipated Tiffany show. This work included creating all new walls and decks, core drilling the concrete floor to add power and data for digital interactives, and raising a section of ceiling to accommodate the large Tiffany column. Installation of objects, photographs, and labels for Tiffany’s Glass Mosaics took approximately four weeks, and more than 40 Museum staff — including collections management, curatorial, conservation, digital, graphics, and lighting departments — working alongside loan couriers and contractors. Here’s an inside peek at what went on behind-the-scenes.
The Corning Museum of Glass (CMoG) recently announced a new research residency program for artists, which will allow them to utilize the Museum’s resources, including the permanent collections and the holdings of the Rakow Research Library, to inform their practice. Named for CMoG’s former executive director, The David Whitehouse Artist Residency for Research will enable artists to be in residence for up to three weeks to explore materials at the Rakow Library, the world’s foremost library on the art and history of glass and glassmaking, and to use the other extraordinary scholarly resources available at the Museum, including the knowledgeable staff who work in all parts of the organization. This residency will be focused on research, whereas CMoG’s two other residencies are geared toward artists creating new work.
“This residency is the first of its kind at The Corning Museum of Glass,” said Amy Schwartz, director of The Studio, CMoG’s internationally renowned glassmaking facility. “It was inspired by the number of artists who have told us that they want to spend time at CMoG just looking, thinking, and taking advantage of all things glass that we offer.” Read more →
This post is written by Thatcher project digitization assistant Christina Baker. Read more about the Thatcher project and collection in previous posts.
We wake up every day to make breakfast, brew our coffee, and get ready for the workday. Every week we go to our jobs and we see the same people. We form bonds and we consider these coworkers our work family. We celebrate births and we celebrate retirements. One person’s achievement becomes good news for all. For the people of Thatcher Glass, those bonds were unbreakable, and the transition from the workday to their home lives was seamless.
While cataloging this collection, I came upon a series of newsletters entitled Thatcher News. It was published every month and was full of stories, reports, jokes, updates from the employees, etc. When I read the first issue, I considered Thatcher News like any other employee newsletter. But I was wrong, and that was made clear by the time I had finished reading the first few issues.
In each issue, we learn about the daily lives of these “Thatcherites” and their families. There were birth announcements and announcements of beloved workers leaving for other opportunities outside Thatcher. Occasionally there was mourning for the passing of a longtime Thatcherite, met with heartfelt words and their picture in that issue. Updates on Thatcherite children were common, along with family photos. Many times new workers were welcomed with their family’s portrait being featured in the newsletter along with a congratulations on the new job. Read more →
Upon entering the Rakow Research Library’s current exhibition, Curious and Curiouser: Surprising Finds from the Rakow Library, you may soon have the curious sensation of being watched. Just inside, and glancing to the right, you’ll discover a fascinating poster depicting row upon row of human eyes! Not real flesh-and-blood eyeballs, mind you, but rather an advertiser’s depiction of every imaginable color and style of glass eye prosthetics available in 1891. It will be hard to avert your gaze from the actual glass samples displayed in a velvet-lined box just below the poster. They were meticulously handcrafted by skilled glass workers and are eerily realistic.