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Posts Tagged ‘design process’

  • July 18, 2016
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Exploring the Archives: Sketchbooks, the Artist’s Mind Externalized

In its narrowest definition, a sketchbook is simply “a book filled with paper that is used for drawing” (Merriam-Webster). But if you look closely, sketchbooks are so much more than just pages with markings. They can also help provide an … Read more →

  • Posted in: Rakow Library
  • October 28, 2014
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Mary Queen of the Universe features GlassLab work

On Saturday, October 26,  the Parrish Art Museum on Long Island opened Mary Queen of the Universe, an exhibition of works by designers and brothers Steven and William Ladd. The museum describes Steven and William as having “a concentrated—almost obsessive—fascination with … Read more →

  • Posted in: GlassLab
  • July 21, 2014
  • 1 comment

Liquid Fusion 2014: Design Explorations in Glass Workshop

Today’s post comes from Paul Haigh, architect, designer, educator, and founder of HAIGHArchitects+Designers. This year’s ‘Liquid Fusion’ workshop represented the ninth year of international cooperation between The Corning Museum of Glass and the Domaine de Boisbuchet international workshop program in Lessac, … Read more →

  • Posted in: GlassLab
  • May 9, 2014
  • 2 comments

GlassLab and RIT: Activating the Archive

This spring, the Museum partnered with design students from the Rochester Institute of Technology (RIT) on projects exploring the use of glass as a material. Josh Owen, Professor and Chair of RIT’s Industrial Design Program explains the program: “The Activating … Read more →

  • Posted in: GlassLab
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It’s finally Spring! We’re celebrating with Pyrex’s “Spring Blossom” pattern. Known to collectors as “Crazy Daisy,” this pattern was produced from 1972 to 1981 and was designed by Sara L. Balbach. Pyrex using this pattern was designed specifically to accompany Corelle dinnerware with the same pattern. Learn more about Pyrex at pyrex.cmog.org. 4 Quart Pyrex Bowl with Lid and Stand, Sara L. Balbach (designer), Corning Glass Works, Charleroi, Pennsylvania, 1972-1979. 2010.4.360.We always love seeing these pictures from the height of cut glass production in the Crystal City! In 1903, Thomas Hawkes, the founder of local cut glass firm T. G Hawkes & Co., recruited English glassmaker Frederick Carder to establish Steuben Glass Works in Corning, NY. This photo shows Thomas’ son, Samuel, and Frederick Carder in front of Steuben Glass Works the year it was founded. The Rakow Library digitized this photo from a negative lent to us by Jane Levatino, who was Samuel Hawkes’ granddaughter. [Frederick Carder and Samuel Hawkes in front of Steuben Glass Works office] [picture]., Corning, NY, 1903. CMGL 112278.Object of the Week: Schwarzlot, Johann Anton Carli, Rhine Palatinate, Germany, about 1675. 2010.3.143. Schwarzlot is a sepia enamel first used to paint on stained glass and was eventually used to paint on glass vessels. Johann Anton Carli, who created this piece, is thought to have been trained as a painter of window glass and was one of the few enamelers of Schwarzlot in his region during the second half of the 17th century.This pendant, one of the earliest types of glass found in Mesopotamia, may represent the goddess Ishtar or one of her devotees. The Mesopotamian goddess of fertility and abundance, Ishtar was a popular deity in the ancient middle east, with close connections to other ancient goddesses like the Phoenician Astarte and Greek Aphrodite. The protruding belly and large breasts on this figure may represent the desire for a healthy pregnancy or gratitude for a safe delivery, and a plea to the goddess for her support, of an ancient woman.Pendant with Nude Female, Northern Mesopotamia, 1500-1200 BCE, 55.1.64.This pendant, one of the earliest types of glass found in Mesopotamia, may represent the goddess Ishtar or one of her devotees. The Mesopotamian goddess of fertility and abundance, Ishtar was a popular deity in the ancient middle east, with close connections to other ancient goddesses like the Phoenician Astarte and Greek Aphrodite. The protruding belly and large breasts on this figure may represent the desire for a healthy pregnancy or gratitude for a safe delivery, and a plea to the goddess for her support, of an ancient woman.Pendant with Nude Female, Northern Mesopotamia, 1500-1200 BCE, 55.1.64.

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