Conservation Lab Renovations

What excites a glass conservator even more than a new puzzle to put together? How about a brand new room, with lots more space to put the puzzles on!

The Museum’s conservator, Stephen Koob, extolled the virtues of the newly renovated conservation lab at the Museum, which officially opened on February 5. “It is almost twice the size as the previous lab and it offers the conservation department much more visibility within the Museum, so we can host groups, teach conservators in training, and have more rooms for interns to get hands-on experience.” 

As artists working in glass continue to stretch the limits of the material, creating pieces in larger scale, using adhesives, and combining different types of glass, the Museum’s need for expanded conservation facilities has increased. The new work room’s size and configuration allows the team to rearrange tables within the space to accommodate larger and differently shaped pieces of glass. In addition to the expanded space, the room also offers more appropriate lighting, with large windows that let in a great deal of northern light, the best type for artistic reconstruction. 

“Our goal is to leave the collection in better shape than we found it…not just for this generation, but for generations to come,” says Stephen. “This new work space will help us with that goal.”

Reinstallation of Evening Dress with Shawl

The Museum’s Favorites! exhibit was recently deinstalled to make way for the upcoming Medieval Glass for Popes, Princes, and Peasants exhibition.  

One of the most popular pieces in the exhibit, Evening Dress with Shawl by Karen LaMonte, was recently reinstalled in the Museum’s Crossroads Gallery where it will remain on display.

The dress is cast in 5 sections, each weighing about 200 pounds. This video shows how a team of four – the Museum’s Conservator, Registrar and two installation team members – worked together to carefully transfer and place each section on a plain white base. According to the Registrar, ” There is a silicone layer on each piece (the artist applied) which makes it impossible to slide the pieces, so you have to line them up and then place them CAREFULLY. You have to be extremely careful when putting the next piece on, as a wrong move will result in a bad chip/break, or serious injury.”

With this piece, lighting is everything.  Bunn says “This piece in particular either sings or suffers depending upon lighting. The installation team has a great understanding of how light and glass work, and handle the initial lighting of  all of our objects.”  The Museum’s Crossroads is full of natural light that gives the admirer the ability to look around the piece as the light shines through it. If you look carefully, you can see the imprint of hands holding the shawl.

In the Sound Booth

We turned our little Flip video camera on our Audio Visual Coordinator, Scott Ignaszewski, to learn more about how he creates and manages the spectacular visual effects at our popular, free 2300° events. (We hope he’ll forgive us that our video isn’t quite as impressive as his!).