Leather jacket, black shades, hot glass: Fredrik Nielsen

Artist-in-Residence Fredrik Nielsen in November 2016

Artist-in-Residence Fredrik Nielsen in November 2016

When glass artist Fredrik Nielsen steps out onto the Amphitheater Hot Shop floor, he’s confronted by a full capacity crowd where the hush of anticipation is palpable. An aura of energy permeates the proceedings: the team is excited, the audience is wide-eyed, and Nielsen is ready to go.

In this moment, Fredrik Nielsen is the headlining act, and in the glass world, he’s as punk rock as it gets. Read more →

Whitefriars: Noble Women of the Lady Chapel

This post comes from Colette Peavy and Pascual Ruiz Segura, Rakow Research Library interns working on the conservation of the Whitefriars stained glass cartoon collection over the summer of 2017, in conjunction with West Lake Conservators. Read more about this project and the collection in previous posts.

In our last blog post, we talked briefly about finding objects related to Liverpool Cathedral. We hoped to open some rolls that the Library had in its collection. Since our last post, we’ve had time to open three rolls from Liverpool. We’re working on conserving one of these rolls containing 52 works from the Cathedral’s Lady Chapel.

The Liverpool Cathedral took a total of 74 years to build. The foundation stone was laid in 1904, and the Lady Chapel was completed in 1910. The roll we are working on contains designs from several windows located on the west end of the chapel. These windows are known as the “Noble Women” windows. The style of these windows differs from the rest of the chapel; they depict 21 women of note and honor their contributions to society. The women include locally and internationally-known women such as Kitty Wilkinson, Agnes Jones, Grace Darling, Elizabeth Fry and Elizabeth Barrett Browning.

Floor plan of the Liverpool Cathedral

Floor plan of the Liverpool Cathedral, Atrium and Staircase Windows highlighted in red. Cotton, Vere E. The Liverpool Cathedral Official Handbook. Littlebury Bros. 1924.

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The balancing act of seeing vs. saving

After treatment photograph of Oh my ears and whisker's, how late its getting drawing

This post was written by Moya Dumville, paper conservator at West Lake Conservators.

One of the most difficult aspects of working as a conservator is striking a balance between seeing an object and saving an object. Art, obviously, needs to be put on display so that it can be enjoyed and appreciated, but merely putting it on display can put it at risk. Exposure to light, fluctuations in temperature and humidity, handling, mounting and exhibition are all things that can damage works of art. It’s the work of conservators, together with curators, archivists and librarians, to ensure that these risks are mitigated as much as possible.

A good example of the balance between ‘seeing vs. saving’ is lighting. For example, art must be displayed in light bright enough to be visible, but not so bright as to damage it. Light can be a significant source of risk for art, particularly if the medium is paper. Media can fade, and paper yellow, darken, and/or become brittle. Works of art must also be displayed in a way that won’t cause physical damage — care should be taken to ensure that objects are displayed in archival window mats, and that books are only opened to an angle that will not cause damage to the bindings. Book cradles are constructed specifically for this job — to hold books open at an angle that will allow selected pages to be visible, while supporting the covers, text block, and binding. Most paper objects are not recommended for display for more than three months at a time, and should be exhibited in low light levels and stable, moderate temperature and humidity. After being displayed for three months, it is recommended that these objects be ‘rested’ for a period of 10 years, in order to preserve their life span. Read more →

Make Your Own Glass inspired by Tiffany’s mosaics

The Make Your Own Glass Studio

The Make Your Own Glass Studio

Introducing a new exhibition is always an exciting experience. There seems to be a general buzz within all departments of the museum in the weeks surrounding an opening. It is particularly exciting working in the Make Your Own Glass department. Make Your Own Glass (MYOG) is a workshop located inside of The Studio where museum visitors can purchase tickets for a 40-minute glassmaking experience. Experiences range from flameworking to fusing to glassblowing with options available for all ages. When a new exhibition is being installed we are presented with the opportunity to create a corresponding project. Read more →

CMoG announces new David Whitehouse Artist Residency for Research

Former executive director David Whitehouse (1941-2013)

Former executive director
David Whitehouse (1941-2013)

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 →

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 →