Honoring National Poetry Month at the Rakow Research Library

What better way to honor National Poetry Month than to focus on the collection of glass-related poetry at the Rakow Research Library?  The Library has a modest group of poems about glass or glassmaking collected from various sources over the years, including direct submission by the poet.  It even has a poem written about the Museum!

A file full of poems at the Rakow Research Library

Poems about glass collected by the Rakow Research Library. (Photograph by The Corning Museum of Glass)

One example of a glass-related poem is by the esteemed Amy Lowell (1874-1925), an American poet who won the Pulitzer Prize for poetry in 1926, a year after her death.  Her poem, “Fragment,” was first published in 1912, in a book of her poetry called A Dome of Many-Colored Glass.  In the piece, Lowell compares poetry to mosaics  (which are created by building a pattern or picture from raw materials – glass stones or fragments for mosaics and words for poems)  and to glass vessels (which are created, like poems, from hard work into objects of art and beauty).

Image of a mosaic glass tabletop, CMoG accession 97.3.10

Mosaic Glass Tabletop, about 1866. (97.3.10)

Fragment

What is poetry?  Is it a mosaic
Of coloured stones which curiously are wrought
Into a pattern?  Rather glass that’s taught
By patient labor any hue to take
And glowing with a sumptuous splendor, make
Beauty a thing of awe; where sunbeams caught,
Transmuted fall in sheafs of rainbows fraught
With storied meaning for religion’s sake.

 
 
Another noteworthy example of a glass-related poem was published in a 1713 book called Miscellany Poems on Several Occasions Written by a Lady.  The poem, called “Glass,” is by English noblewoman Anne Kingsmill Finch (1661-1720).  In this poem, she marvels at windows (which divide light and air, letting light into homes while blocking wind), mirrors (which provide reflections), and vessels such as wineglasses.

Image of a mirror, CMoG accessioin 98.3.18

Reverse Painted Mirror in Gilded Wood Frame, about 1720-1730. (98.3.18)

Glass

O Man! what Inspiration was thy Guide,
Who taught thee Light and Air thus to divide;
To let in all the useful Beams of Day,
Yet force, as subtil Winds, without thy Shash to stay;
T’extract from Embers by a strange Device,
Then polish fair these Flakes of solid Ice;
Which, silver’d o’er, redouble all in place,
And give thee back thy well or ill-complexion’d Face.
To Vessels blown exceed the gloomy Bowl,
Which did the Wine’s full excellence controul,
These shew the Body, whilst you taste the Soul.
Its colour sparkles Motion, lets thee see,
Tho’ yet th’ Excess the Preacher warns to flee,
Lest Men at length as clearly spy through Thee.

 
 
Although by no means comprehensive, the Library’s collection of glass-related poetry contains a variety of poets, styles, and subjects, as well as a date range of over 200 years.  Check it out the next time you visit. The Library also welcomes you to submit a glass-related poem of your own, any time, to reference@cmog.org.

Making History in Glass: Bee, Fifinella, Women Airforce Service Pilots and the Hot Glass Roadshow

Every once in a while the opportunity comes along to meet someone truly inspirational.

The Hot Glass Roadshow travels around the globe and I have been lucky enough to accompany it a smattering of times. We get to meet a plethora of different people, a host of different characters with stories and histories as varying the places we visit. If we are lucky, sometimes we are able to spend some time with these amazing people, listening, laughing and learning from them first hand. One of those amazing people whom I was extremely fortunate to have met is Bernice “Bee” Falk-Haydu.

Everett, Chris and I met Bee while the Hot Glass Roadshow temporarily resided in the courtyard of the Norton Museum of Art in West Palm Beach, FL.  Every Thursday night, the Norton hosts an “Art After Dark” event.   Keeping its doors open a bit later than usual, the Norton welcomes the community to enjoy art and our shows in a lively, festive atmosphere.

Bernice “Bee” Falk-Haydu with Fifenella "You Design it; We Make it" drawing for The Corning Museum of Glass Hot Glass Roadshow

Bernice “Bee” Falk-Haydu with her "You Design it; We Make it" drawing of Fifinella

It was at one of these events where I spied a keen eyed woman with a gold medal around her neck.  She was paying particularly close attention and I guessed she wasn’t a day over 18.   Accurately guessing ages not being high on my list of skills, it was not surprising to find she was a few days older than 18; 91, in fact.  Regardless, she was sharp as a tack.

She spoke with Chris and they connected right away over a mutual love of flying.  Bee’s love and dedication to flying, however, runs a bit deeper than most.  She was a member of WASP.  What is WASP, you might ask? In case it doesn’t ring a bell, it stands for Women Airforce Service Pilots. There were 1,074 female service pilots flying every type of plane in the US Airforce’s arsenal during WWII, and Bee had flown all of them.  However, after the war ended, the real fight began.

The women pilots were denied veterans benefits.  Bee began a fight she continues to this day to have these amazing women’s accomplishments and contributions to the country recognized.  It took until 1977 before veterans benefits were granted to the WASPs.  The gold medal Bee wore is the Congressional Gold Medal awarded to her by President Obama himself.

Fifenella (Image courtesy of the National Museum of the USAF)

Fifinella (Image courtesy of the National Museum of the USAF)

It turns out the WASPs have a mascot.  Walt Disney designed and drew Fifinella, a little sprite in a flying suit complete with goggles, helmet, and wings, to represent the WASPs.  Bee had a pin with her likeness and asked if it would be possible for Fifinella to be made in glass.

Unfortunately, Fifinella is really complicated.  I knew she would take at least an hour or more to make. Even then, there is no way to know how well she would turn out.  Human figures are extremely difficult to accurately sculpt.  Everyone is intimately familiar with the human form, making any minor transgression glaringly visible.  That, coupled with the scale (it would have to be fairly small), a lack of torches and the fact that we were confined by a set schedule… I thought it would be practically impossible.  Bee, Chris and I all traded contact information and I let her know that maybe, in the future, we might try.

About a week later Bee returned, just to see a few more shows.  I talked to Chris and Everett, asking if they were up for some running around.  This piece would require teamwork, timing, and over 20 separate bits of added glass.   For Everett, it would require running bits while assisting me; simultaneously holding a conversation with the audience while listening to me give directions on one of the most complicated pieces I’ve ever made for a “You Design It.” What’s more, he’d have to keep this up for an entire hour. Figuring it was as good a time as any, we decided to take the allotted hour and make an attempt at Fifinella.

Annette and Everett work on making Fifenella at The Norton Museum of Art for The Corning Museum of Glass Hot Glass Roadshow

Annette and Everett work on making Fifinella

Fifty nine minutes later we finished.  While the colors were muted because of the heat, the form didn’t look too bad for a first try.  We wouldn’t know till the next day whether or not she turned out.

Fiffy turned out better than I could have hoped.

Fifenella mascot of the WASPs - Women Air Force Service Pilots, made in glass at The Hot Glass Roadshow

Travelling and demonstrating glass with the Roadshow sometimes provides me with hidden, unexpectedly rewarding benefits, most importantly the chance to have unexpected encounters with incredibly inspiring people such as Bee. What’s more, every now and again, I have the chance to give back. It may not be in my power as a glassmaker to give medals, accolades, or veteran’s benefits, but I was given the opportunity to use my glassmaking skills to say thank you to an unsung American hero.

Bernice “Bee” Falk-Haydu with Fifenella, Chris Rochelle, and Annette Sheppard

Bernice “Bee” Falk-Haydu with Fifinella and glassmakers Chris Rochelle and Annette Sheppard

For me, making Fifinella was more than a glass demonstration. It was the chance to honor Bee for a lifetime of hard work, commitment and perseverance, not only to our country, but for ALL the female pilots overlooked, unrecognized and forgotten to history.

Every once and a while you get to meet someone truly inspirational. More importantly, every once in a while, you get to say thanks.

The Hot Glass Roadshow team and Bee

The Hot Glass Roadshow team and Bee


Visit Operation Fifinella to learn more about Bee and the WASPs.

Glass Research at The Rakow Research Library: Introduction to the Collection Series

When you hear the word library, the first thing that comes to mind is likely books. With a little more thought, you may come to digital collections, videos, sound recordings, microfilm or archives. You might think of periodicals and articles. If you’re familiar with the Juliette K. and Leonard S. Rakow Research Library, you’ll also think of auction and trade catalogs, photographs, prints and drawings, patents, ephemera and a host of other documents.

Rakow Library reading room

Rakow Library reading room

The Rakow Research Library is the world’s foremost library on the art and history of glass and glassmaking. We want to share our collection with you piece by piece and we hope this Introduction to the Collection blog series will increase your awareness of the different types of materials that can be found in the Library.

De la pirotechnia by Biringucci. Bib. #93699

De la pirotechnia by Biringucci. Bib. #93699

The Rakow Library has books ranging from a 12th-century manuscript to the latest exhibition catalogs of contemporary glass artists. Beside the glass-centered books on art, business, objects, history, people and science, we collect texts to support research in related fields of study. Virtual books make up part of the digital collection, which is also comprised of digitized slides, rare books, trade catalogs, photographs, oral histories, design drawings, works of art on paper, notebooks, and sketchbooks. Making this part of the collection easily accessible serves to support teaching and research while helping to preserve original materials.

Watercolor of Chestnut leaves by Alice Gouvy for Tiffany. Bib. #88922

Watercolor of Chestnut leaves by Alice Gouvy for Tiffany. Bib. #88922

To aid in the study and research of glass, educational and instructional videos, documentaries, lectures, presentations, non-commercial productions, and other films are available. Sound recordings, slides and transparencies also hold useful information for researchers. Unique to the Rakow Library, over 130 archival collections from individual artists, galleries, companies, scholars and organizations consist of primary materials such as personal papers, notebooks, sketchbooks, scrapbooks, drawings, blueprints, ephemera, posters, cartoons, photographs, slides, and transparencies. In addition, works on paper include art originals, drawings, prints, photographs, and posters ranging in date from the 16th century to the present.

Littleton in his office at his farm in Wisconsin. Digitized from Lipofsky slide.

Littleton in his office at his farm in Wisconsin. Digitized from Lipofsky slide.

With over 850 active subscriptions and over a thousand titles from the 18th to the 21st century, the Library houses a large periodical collection to support the study of glass. Online subscription databases also give library patrons on site access to articles, many in electronic full text. Auction and trade catalogs comprise a good part of the library’s collection at approximately 27,000 items. The catalogs are unparalleled resources in providing primary source information for scholars researching glass in its artistic, historic, economic, and sociological aspects.

Robert Florian Negative of June 1962 Toledo workshop. Bib. #105709

June 1962 Toledo workshop (Film Negative by Robert Florian) Bib. #105709

Finally, the Library houses patents, documents, such as glass factory correspondence and other miscellaneous records, and ephemera including postage stamps, calendars, and other glass-related resources.

We hope that this general introduction to the collection helps you understand the different types of resources that are available in the Rakow Library. Be sure to check back for upcoming installments of the Introduction to the Collection series that will focus on specific areas of the collection.


This is the first installment of the Rakow Research Library’s Introduction to the Collection Series. Read the next post: Prints & Drawings >>

The Rakow Research Library is open from 9:00 a.m. – 5:00 p.m., Monday – Friday
Telephone: 607.438.5300 | Email (general inquiries): rakow@cmog.org

“I don’t want to be bored”: Ginny Ruffner talks genetic engineering and creativity at The Corning Museum of Glass

Ginny Ruffner with The Urban Garden, in Seattle WA

Ginny Ruffner with The Urban Garden, in Seattle WA

I had a chance to talk with Ginny Ruffner when she came to the Museum for a viewing of the film A Not So Still Life: The Ginny Ruffner Story from director Karen Stanton. Along with The Fund for Women, the Museum presented the film which explores the fascinating life of this world renowned artist.

What was your inspiration for When Lightning Blooms?

When Lightning Blooms - Ginny Ruffner Aesthetic Engineering series

When Lightning Blooms, Ginny Ruffner (American, b. 1952), United States, Seattle, WA, 2006. H: about 106.7 cm, about W: 96.5 cm, about D: 61 cm (2011.4.71)

That piece is part of the Aesthetic Engineering series, which is a group of sculptures I’ve been working on for six or seven years and it was originally inspired by the amazing developments in genetic engineering particularly the inter kingdom sharing of genes between plants and animals. They put pig genes in beets to make them bigger, walrus genes in tomatoes to make them frost proof – it’s amazing what they’re doing! And what it makes me do is it makes me think – well what if? What if there were genetic implications for things? What I’m creating is hybridizing things that don’t have genes and thinking – what if?

In the case of When Lightning Blooms, it was what if lightning could bloom? What if lightning had a gene where it could flower, what would that look like? It’s fascinating to me; it’s evocative. That’s what generates my wonder machine.

That’s what I wanted to ask about next – how do you cultivate your creativity? Your wonder machine?

Thinking. I think a lot. I don’t watch TV, although I do watch basketball! I read a lot, and more importantly I spend time every day just thinking! And when I read something, I think about it. It makes me wonder. One subject that is really evocative and thought provoking for me is genetics and what’s actually happening in genetics, it’s not just what if? – it’s what’s happening now, and that inspires me to think.

What’s it like being a woman and a glassblower?

The glass world is predominantly male. There are many more male glassblowers, and if you were to get a list of who the artists are in museums, I would say it’s probably more than fifty percent male – it’s different now with Tina [Oldknow, modern glass curator] here, and there are more women in the field than there used to be.

Being a woman affects my work in that I tend to be an over achiever, and I like how it is – it’s just another challenge. But in terms of the way I look at the world that might affect my artmaking – if I start making broad generalizations that department it sounds stereotypical, but I think that I’m more open to the whole gestalt of it – seeing the world, looking for connections.

Tina Oldknow, Marie McKee, Ginny Ruffner and Karol Wight at the viewing of A Not So Still Life at The Corning Museum of Glass

Tina Oldknow, Marie McKee, Ginny Ruffner and Karol Wight at the viewing of A Not So Still Life

Tell me more about taking on challenges

Well it’s a challenge to be female in any art field. The art world is very male-dominated – critics, artists, writers, museum people. And, being an artist over 30, there is a bias for youth in the art world. But also, new media, blogs and all that, that could be a challenge, but I think of it as an invitation. I love to learn, I’m pretty tech-savvy! The challenge for me is that I have so many ideas. I would love to incorporate more technology in my work, which is a challenge because I don’t have the specific skills to do that.

Are you working on any partnerships to work with technology?

Oh, I talk with people all the time, so who knows what will happen!

In the film, you ask people “What do you want to do with your life?” So, what’s next for you, what do you want to do with your life?

Well, specifically what’s next – the Aesthetic Engineering show is opening in Huntsville Museum in 2014 and they’re going to tour that around to other museums for about 5 years after that. And I am going to write – that’s another challenge – yesterday I went to a women’s writer’s retreat. I want to write a book that goes with the traveling show. I’ve written a couple pop-up books that accompany two previous traveling shows and I love pop-ups, but I don’t want to be pigeon-holed as a pop-up writer. But, I love that with pop-ups, you’re making words move and it’s a true intersection of visual and verbal.

I thought maybe there’s something that exists in that space in between; nobody’s done that that I know of. On the way here I was thinking about how I would like to do a book that has visuals in it – creativity is what I know, so I would need to make it about creativity. And I want to make it not a pop-up, but something beyond words on a page. I’m doing these little conventional words on paper, that are kind of like visual rapping, because they’re sampling a bunch of different things. It’s a really raw idea, but having a picture book with audio and lyrics, I don’t know – it’s all brand new!

 

When I asked about the accident in 1991 that greatly affected her life, Ginny said, “To me it’s old news. It is one of the answers to your question about challenges. If I could, I would talk a lot faster, and I hate not being able to walk fast, those are my challenges. I won’t quit until I can run again. I’d be bored if I gave up, and I don’t want to be bored.”

Glass of King Tut: Dr. Brill’s research on the ancient Egyptian glass from Tutankhamun’s tomb

When you think of the pharaoh Tutankhamun (approx. 1341 – 1323 BCE), or “King Tut,” as he is popularly known, you probably think of gold. After all, the presence of gold in Tutankhamun’s tomb, when virtually all other pharaohs’ tombs were looted in antiquity, was what made the discovery famous. However, did you know that glass has an important place in the legend of King Tut?

CMoG object 2002.1.67 - an Egyptian faience cup

CMoG object 2002.1.67. Ancient Egyptian faience cup from 1550-1292 BC, unassociated with Tutankhamun.

Tut’s tomb was discovered with the help of a blue faience cup. Faience is a ‘chemical cousin’ and historical predecessor of glass, made by mixing silica (sand), potash, and alkali with a binding agent, shaping it as desired, and firing it in a kiln so that the surface vitrifies (becomes glassy). The end product looks similar to glazed ceramics. An American businessman, Theodore Davis, found a blue faience cup with Tutankhamun’s name on it, along with some other items, in a pit in the Valley of the Kings, Egypt, in 1907. Archaeologists had not yet found Tutankhamun’s tomb, although they had searched for it. Davis dismissed the find’s significance, but Egyptologist Howard Carter believed the cup was a sign that Tut’s tomb might be in the Valley of the Kings, too. He was right.

After years of searching, Carter finally discovered Tutankhamun’s tomb in 1922. (To learn more about Carter’s excavation of Tutankhamun’s tomb, visit the Griffiths Institute website.) The discovery of Tut’s tomb created a lot of excitement in the 1920s, but the artifacts from the tomb didn’t leave Egypt until almost 50 years later. Starting in London in 1972, the exhibition, Treasures of Tutankhamun, opened at the U.S. National Gallery of Art in 1976 before traveling to other museums across the country. It was one of the first “blockbuster” exhibitions in the United States.

The Corning Museum of Glass’s Research Scientist Emeritus, Dr. Robert Brill, was invited by a colleague at the National Gallery to examine the artifacts for glass. The Rakow Research Library is lucky enough to have access to some of the slides Dr. Brill created while examining the treasure, as well as his personal notebooks.

Cheetah head of wood and gold leaf, with clear glass inlaid eyes.

Rakow item 127939. Cheetah ornamentation for a piece of furniture from Tutankhamun’s tomb, made of gold leaf over wood. The eyes are glass inlay. Photograph by Robert Brill.

One of Dr. Brill’s first impressions of the treasure was how prevalent glass was – appearing as inlays, molded objects, and beads. In a notebook, for example, Dr. Brill notes that the distinctive stripes on the nemes headdress on Tut’s golden funeral mask were created with blue glass inlay, not paint or lapis lazuli. Similarly, glass was inlaid in the false beard. Glass was used along with gold and precious gems in the scarab pectoral ornament found on the mummy’s chest. One of several headrests – which ancient Egyptians used instead of pillows – found in the tomb was made of blue glass. According to Dr. Brill, the extent to which glass can be found in the Pharaoh’s treasures testifies to its popularity and use in ancient Egyptian society, at least among the upper class. It also indicates that glass working was already an established craft in Egypt, even though the techniques of core forming and glass blowing had not been developed yet.

Dr. Brill's notebook on the Tutankhamun treasures.

Dr. Brill's 1976 notebook on the Tutankhamun treasures, describing the glass components of the funeral mask. Photograph by the Rakow Research Library.

Gold will always be a spectacular feature in the treasures of Tutankhamun. From faience to the pharaoh’s funeral mask, glass also has a noteworthy place in this famous story. (It is a coincidence but nonetheless fitting, then, that Harry Burton’s photographs capturing the excavation of Tut’s tomb were recorded not on film negatives but on glass plate ones.) The resources made available through Research Scientist Emeritus Dr. Brill are no less a spectacular feature of the Rakow Research Library’s holdings. To see more library materials on scientific research, visit http://www.cmog.org/research/scientific.