Shades of green glass

Green Salt Dish (detail)

As we celebrate all things Irish for St. Patrick’s Day, here are a few green glass objects in the Museum’s collection.

If you like these, you might want to check out our Green Glass Pinterest board. Erin go Bragh!

Whitefriars: The story behind Temple Emanu-El’s windows

Read more about this project and the collection in previous posts.

Researching glass can take you in unexpected directions. Over the past two years, the Rakow Research Library has shared stories of our efforts to conserve and digitize a collection of stained glass cartoons from the Whitefriars Glass Company (also known as Powell & Sons). We added another chapter to that story recently, when we had the honor of welcoming guests from Temple Emanu-El in New York City.

Marble columns in Temple Emanu-El's ark

The Sanctuary of Temple Emanu-El has wonderful stained glass, mosaics, and beautiful marble, including these columns above the ark. It was built in two years, 1927-1929, and restored between 2003 and 2006.

Our friendship began with a letter from Warren Klein, Curator at the Herbert & Eileen Bernard Museum of Judaica at Temple Emanu-El. Klein’s colleague, Rachel Brumberg, a glass artist and enthusiast, had read about our project and wondered: Does the Rakow have design drawings for the our Whitefriars windows? A conversation began and soon the Whitefriars team was traveling to New York to visit Temple Emanu-El. There, we joined Warren and Rachel for a tour. Read more →

A gift of glass

Every year, it seems to become more difficult to find the perfect Christmas gift for my wife, Sheila. I am always on the lookout for something novel, something that she would never think of, something that will both surprise and delight her.

In 2016, that search was simplified considerably, thanks to the research of a German glass scholar, the kindness of a master Corning gaffer, and the recollection of some offhand musings of Sheila herself.

Sheila is the pastor of two small United Methodist churches in Odessa and Montour Falls, New York, about 25 miles north of Corning. On the first Sunday of every month, she celebrates Holy Communion with her nearly 100 parishioners. Until now, the Eucharistic vessels she has employed were silver sets owned by the churches or ceramic sets she has purchased over the years. On at least two occasions when we purchased ceramic vessels, Sheila wondered aloud if artists ever crafted chalices and patens made of glass.

Chalice, mid-16th century. Wallace Collection.

Featured in Dr. Krueger’s Journal of Glass
Studies article: Chalice, mid-16th century.
Wallace Collection:

In October 2016, when I began to contemplate my Christmas conundrum, I suddenly remembered that, just one month earlier, the Museum had published, in its annual Journal of Glass Studies—for which I serve as associate editor—an article on glass chalices and ciboria (covered goblet-shaped vessels for holding the consecrated bread) written by Dr. Ingeborg Krueger, retired curator at the Rheinisches Landemuseum Bonn in Bonn, Germany. Dr. Krueger and I had worked together on several articles for the Journal over the years, and I was particularly interested in this contribution because of its church connection. Read more →

The Studio Announces 2017 Artists-in-Residence

Martin Janecky
February 13-March 20; Public lecture on March 9

Study of the Dia De Los Muertos, at Corning Museum of Glass 2016. By Martin Janecky.

Study of the Día De Los Muertos, at Corning
Museum of Glass 2016. By Martin Janecky.

Martin Janecky began his career with glass at the age of 13 and later explored sculpting methods in the Czech Republic. Janecky teaches and demonstrates around the world, including at The Studio. In March 2016, he was an Artist-in-Residence, during which time he experimented with opaline glass made at The Studio to further his sculptural work. The following week he was a Guest Artist in the Amphitheater Hot Shop, and created a body of work inspired by the Mexican holiday Día de Los Muertos (the Day of the Dead). Read more →

CMoG to make waves with GlassBarge

Here at The Corning Museum of Glass, our mission is to tell the world about an incredible material that captivates and excites us all—namely, glass! In order to fulfill that mission, we don’t wait for the world to come to us—although 460,000 visitors made their way to Corning last year—we take our story out into the world.

The Corning Museum of Glass Road Show in Seattle, Wash.

The Corning Museum of Glass Road Show in Seattle, Wash.

In 2002, we launched the Hot Glass Roadshow, a project that converted a semi-trailer into a fully-functioning glassmaking studio on wheels. We also transformed a standard shipping container into a studio space. This unique equipment and its small footprint make it possible for CMoG to deploy glassmaking to nearly any environment. Our first deployment was the Winter Olympics in Salt Lake City and, since then, our mobile hot shops have traveled the world stopping in places like Paris, Seattle, South Australia, and New York City. We’ve even circumnavigated the globe aboard Celebrity Cruises, a partnership that began in 2008, and one that enables us to tell the story of glass at sea. Read more →

Corning Museum of Glass Unveils 2016 Rakow Commission by Thaddeus Wolfe

Stacked Grid Structure by Thaddeus Wolfe

Stacked Grid Structure
Thaddeus Wolfe (American, born 1979)
Made in United States, Brooklyn, New York, 2016
Mold-blown glass with brass inclusions
2016.4.9, 31st Rakow Commission

The Corning Museum of Glass unveiled Stacked Grid Structure, this year’s Rakow Commission by Brooklyn-based American artist Thaddeus Wolfe.

Wolfe creates multi-layered, highly-textured, angular mold-blown vessels, sculptures, and lighting fixtures. Stacked Grid Structure, like Wolfe’s other objects, was made by blowing glass into a one-time-use plaster silica mold cast over a carved Styrofoam positive. Creating his molds in this way enables Wolfe to force the material into structures that are at odds with the fluid nature of molten glass.

Stacked Grid Structure is the perfect artifact of its time,” said Susie Silbert, curator of modern and contemporary glass. “A bold and inventively made object, it bridges craft, design, and art in its production, conception, and ambition, exemplifying the blurred boundaries that make contemporary glass such an exciting field today.” Read more →