Researching Child Labor in the American Glass Industry

Today’s post is from Museum Explainer Carolina Downie

I am an Explainer at The Corning Museum of Glass, working alongside 24 other high school and college students every day to teach visitors about glass.  I learned about the Explainer program after participating in various other teen programs at the Museum, including the Junior Curators and the teen volunteer program.  My involvement also exposed me to the Juliette K. and Leonard S. Rakow Research Library, which has abundant resources about glass.  Thus, when I had to write an extended research paper for the International Baccalaureate Diploma Program, I decided to write about the use of child labor in the American glass industry after finding resources and support from the librarians there.

Blower and Mold Boy, Seneca Glass Works, Morgantown, W. Va. Lewis Hine

Blower and Mold Boy, Seneca Glass Works, Morgantown, W. Va., October 1908. Lewis Hine. Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA.

While conducting my research, I learned there is a long history of child laborers in the American glass industry.  Initially, young boys worked as apprentices alongside their male relatives to learn the family trade of glassblowing.  Therefore, although children were working, the skills they learned led to a future career.1

However, the invention of the mechanical press around 1825 and the subsequent industrialization of the glass business brought an end to the apprenticeship system.  The mechanical press meant that less-skilled workers could be employed in glass factories.  Therefore, children were not trained to learn glassblowing, but were instead hired as cheap sources of labor in the bottle and tableware sectors.

By the mid-1800s, production teams in glasshouses were made up of 2 to 3 boys as young as 10 years old, and an older glassblower.  As Harriet Van der Vaart described in a report for the National Child Labor Committee (NCLC), “…The glassblower pours the molten glass into the molds; a boy sits and closes the molds; another one picks the bottle out of the molds and puts them on a long stick or handle, and puts them in front of a small furnace….called ‘the glory-hole,’ where the top or neck of the bottle is finished….the boys carry them into the annealing furnaces, where they are gradually cooled.”2

The "Carrying-in Boys," Midnight At an Indiana Glass Works.

The "Carrying-in Boys," Midnight At an Indiana Glass Works, August 1908. Lewis Hine. Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. http://www.loc.gov/pictures/item/ncl2004000107/PP/

Although child labor and compulsory education laws were enacted during the 1830s in an attempt to end child labor in many industries, most “legislation enacted before 1880 generally contained only weak restrictions and little provisions for enforcement.”3 In addition, some glass factories were specifically exempted from child labor reform; this exemption existed most infamously in Pennsylvania until 1915.4

Ten Arm Owens Automatic Bottle Machine

Ten Arm Owens Automatic Bottle Machine. Courtesy of Owen's Automatic Bottle Machine Co., Toledo, Ohio. Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. http://www.loc.gov/pictures/item/ncl2004001184/PP/

It was not until the development of fully automatic machines that child labor was eliminated from the glass industry.  Michael Owens’ automatic bottle machine was more economical than the system of glassmaking based on teams of employees, thus making it unnecessary to hire boys.  In 1913, the NCLC sent Michael Owens a letter congratulating him on “eliminating more child labor than they had through legislation.”5

Although children can’t work in glass factories today, they can still become involved in the glass world, and in ways that are much more rewarding.  The Corning Museum of Glass allows area youth to become involved in the glass world through its many teen programs.  I took advantage of these programs: Little Gather, the Junior Curator program, volunteering, and the Explainer program.  Moreover, I learned how to use the excellent resources at the Rakow library for my paper.   These programs have really helped me grow as a student and young adult.

As an Explainer, I meet children who come to the Museum curious about glass.  I find it fascinating to think that a hundred years ago, some of these children may have been working in a glass factory instead of learning about glass in a museum.  I love teaching children about the interesting history of glass and introducing them to all the wonderful youth programs that The Corning of Museum of Glass has to offer.


1. Fones-Wolf, Ken.  “Child Labor in the American Glass Industry.”  The World of Child Labor: an Historical and Regional Survey.  Ed. Hugh D. Hindman. Armonk, NY: M.E. Sharpe, 2009. 468. Print.

2. Van der Vaart, Harriet.  “Children in the Glass Works of Illinois.” American Academy of Political and Social Sciences Annals. Vol. 29. 1907. 77.  Print.

3. Whaples, Robert.  “Child labor in the United States Economic History Services.” EH.Net/ Economic History Services. Web. 01 Apr. 2011. http://eh.net/encyclopedia/article/whaples.childlabor.

4. Flannery, James L. The Glass House Boys of Pittsburgh: Law, Technology, and Child Labor.  Pittsburgh, PA: University of Pittsburgh, 2009.  Print.

5. Skrabec, Quentin R. “A Revolution in Bottle Making.” Glass in Northwest Ohio. Charleston, SC: Arcadia, 2007. 75. Print.

“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.”

Beth Lipman at The Norton Museum of Art

Beth Lipman Hot Glass Roadshow glass pineapple

Beth Lipman creates a pineapple out of hot glass at the Norton Museum of Art.

For the opening of her exhibition, Beth Lipman: A Still Life Installation, at The Norton Museum of Art, contemporary glass artist Beth Lipman joined The Corning Museum of Glass team on the Hot Glass Roadshow stage for a special glassblowing event. Lipman worked with the team to make one of the objects included in her large blown glass sculpture One and Others, commissioned by The Norton Museum. A somber piece, the group of blown glass objects jumbled together refers to still life paintings in the museum’s collection. Gazing balls, pineapples, glasses, a rabbit and more all sit atop a black coffin, made to the measurements of the artist herself.

Beth Lipman and the Hot Glass Roadshow team discuss what they will make

Beth Lipman and the Hot Glass Roadshow team discuss what they will make

Traditionally, the pineapple is a sign of hospitality and welcome. It seemed fitting then that Lipman chose to make a glass version at the opening event. However, another story of the fruit’s significance surfaced during our visit to the museum.

 Beth Lipman Creating the stem of the pineapple

Creating the stem of the pineapple

Woodlawn Cemetery sits directly across the street from The Norton, located on South Olive Avenue in West Palm Beach, FL. Supposedly, as we were told, there are still graves that were never relocated from under the museum. One of these secret graves is reported to be Richard Hone, the owner of a pineapple plantation in West Palm Beach who was murdered in 1902.

beth lipman adding detail to the glass pineapple on the hot glass roadshow stage

Beth Lipman works the hot glass to the shape of a pineapple

Was the pineapple then a symbol of hospitality or homage to the murdered pineapple grower? As Lipman’s work addresses themes of material culture, life and death – it could be both.

Beth Lipman on the Hot Glass Roadshow stage

Finishing touches

The Hot Glass Roadshow is providing daily glassmaking demonstrations at The Norton Museum of Art, in West Palm Beach, FL through March 25.


For more information and photos of the Roadshow setting up in West Palm Beach: http://www.cmog.org/event/norton-museum-art

See Beth Lipman at The Studio: http://www.cmog.org/video/artist-residence-beth-lipman-april-2011

Crusin’ to the Glassblower’s Bench

I recently sat down with Beth Bell from Clearwater, FL, who was at The Studio taking the class “Next Steps in Glassblowing” with Harry Seaman.  Beth got hooked on glass when she saw the Museum’s Hot Glass Show aboard the Celebrity Solstice cruise ship, and her journey to taking a glassblowing class at Corning has included fourteen transatlantic crossings!

What made you decide to come to The Studio to take a glassblowing class?

Well, I was on the Solstice, the first ship I was on of the Celebrity Cruises that had glassblowing.  And I went up and I watched it, and I got hooked!  I watched four hours a day, every day we were at sea.  It was a transatlantic so we had a lot of days at sea.  And that was it!  From that point, when I got home, I figured I was too old to do it, and so I decided to try something else.  But then I came back and thought, well why not? And so I did!  And I took a few classes and decided to come here to take a class.

Tell me more about the cruise

I’ve taken a lot of cruises on Celebrity.  I’ve done fourteen transatlantic cruises and I’ve taken twenty cruises overall.

Wow!

We just really like them.  But since I’ve done the Solstice, with one exception, I’ve stayed on ships with glassblowing.  So I’ve been on Solstice, Eclipse, and Equinox pretty exclusively because that’s what I do when I’m at sea – watch the glassblowing.

And how many hours would you say that you’ve watched?

Oh, well, it’s roughly four hours a day for at least eight days, so that’d be 32 hours a trip.  So, a couple hundred hours!  And to be honest, I think it’s really helped me do this, because I’ve seen them do the same thing over and over again.  I know what they’re going to do next.  And the other thing is, I’ve gotten to know some of the glassblowers, and I stay in touch with them, we email, and I’ve seen them again on ships, so that’s nice.  And all of them I know are not here right now, a couple are out on the ships, but this is the class I wanted to take.

Do you have a favorite glassblower?

I honestly think the most entertaining to watch is Annette Sheppard.  She’s just fun to listen to, and fun to watch. I’ve been on at least two cruises with her.  And Eric Goldschmidt is the other one.  I really enjoy what he makes.

Did you ever win anything?

Yes! Finally!  It took me, I think, seven cruises before I finally won something.  I was up there some days where there were only six or eight of us, and it’s raining, we’re huddled under blankets and it’s cold.  And still, the person on each side of me wins.  But I finally won, and I’ve only won once. I have bought pieces from the auction they have. I bought a very beautiful pitcher, it’s about 20 inches tall and it’s got horizontal purple on the front, and horizontal red on the back so looking through it you have a third color.  Lewis Olsen did that one.  And I’ve got a dish he made, I’ve bought four or five pieces.

After watching on the ship, what made you want to try making glass?

I’ve actually worked with glass before; I made beads for a number of years.  And it’s just, I don’t know how to describe it, because it really is that fact that you’re taking something liquid and you’re making it into something solid and you’re having to balance it on the end of a pipe while you do it.  And you’re working on it in little increments, and it goes from a blob – to a thing!  And I find that kind of fun.

What class are you taking here at The Studio?

I’m taking Next Steps in Glassblowing. It’s a little above beginner, but basically beginner glassmaking.

What kind of things are you making?

Well, we’ve been working very hard to get thin glass and to get crisp shapes.  Not just whatever you end up with, but actually making what you intend to make.  I’m trying to do a tumbler, and now I’m trying to do a tumbler with a nice lip wrap.  If I accomplish that in this class, I’ll be happy.  Although, I’ve actually made two bottles!  And I didn’t ever think I could make a bottle.  I don’t know enough to do one, and yet I did it! And on top of that, you do these bottles without an assistant, so they’re fun.

But see, at home there really isn’t anywhere I can blow glass, so when I take a business trip I’ll find a studio nearby and try to get in a few hours in different cities.  Other than classes, I don’t get to do much glassblowing.  But, I’m getting ready to go on the Eclipse again in October, so I’ll watch the glassblowing.  And then I’m coming back to the States on the Eclipse and then I fly back out to Rome and come back on the Equinox – so I’ve got two more two-week cruises to see glassblowing!

Is there anything else that you want to share?

Go on a cruise!  You need to go on a cruise with glassblowing! It’s two hours of glassblowing, so you get a lot of in-depth information, you get a lot of funny stories, and it’s really entertaining.  It’s fun, you’re sitting on top of the ship, you’ve got a lawn behind you, out as far as you can see is ocean, and they’re blowing glass!  How much better does the world get?  So, you need to go on a cruise!

Beth Bell went from watching glassblowing in the audience onboard a Celebrity Solstice cruise ship, to doing glassblowing herself in a class at The Studio.

2011 Hot Glass Roadshow: Glass Art Society, Seattle – Rodman Miller

With a bachelor’s degree in Neuroscience and a Ph.D in Biology, you’d think that Rodman Miller would be conducting research as a university professor.  Instead, Rodman prefers the hot shop.  “Yes,” he says, “this is much more fun.”  The great-grandson of Louis Comfort Tiffany, Rodman left academia after taking a glass blowing course, but he still uses his background in microbiology – Rodman draws inspiration for his glass pieces from the shapes that he used to see under a microscope.

2011 Hot Glass Roadshow: Glass Art Society, Seattle – Mark Zirpel

Never afraid to experiment with glass, Mark Zirpel took to the Hot Glass Roadshow stage where he performed a series of pieces including blowing glass horns to play a “humpback whale duet” and exploring the reactive forces of glass, steam and pressure in a piece about pleasure.  His gallery work often blends science and art, so it’s no surprise that Mark tries out new techniques in the Hotshop like a scientist in the lab.

Ryan Doolittle caught this shot during the show:

Mark Zirpel utilizes an unorthodox method to squirt water onto the jackline

Katherine Gray: Forest Glass and 2300

Katherine Gray is the artist of  Forest Glass, one of the Museum’s new sculptures in the recently reinstalled Contemporary Glass Gallery. Forest Glass consists of three “trees” made of everyday drinking glasses stacked on Plexiglas shelves with steel supports. The glasses are arranged on the shelves by color to form the outline of a simplified tree with green leaves and a brown trunk.

As she demonstrates in this video (shot of her Hot Glass Show appearance at the March 2300), she is a skilled glassblower who could have made the components of Forest Glass herself. Instead she chose to use only found or “pre-existing” glasses that she bought at thrift stores (both locally and in LA, where she lives and works) and on eBay - to make us think about the destruction that is inherent in the process of creation.

Therman Statom at 2300 Degrees

Artist Therman Statom demonstrated at February 2300 Degrees, the Museum’s popular free evening event (which takes place on the third Thursday of each month from November through March). Here he talks about his demonstration, about his work in general, and about working with the Museum’s young, emerging glass artists.

An outstanding mixed media artists and one of the early artists working in American Studio Glass, Statom has work represented in the Museum’s collection. He generally creates large-scale sculptural installations; one of these installations graces the local Corning Incorporated headquarters.

Video by Jordan Miller.

Peace, Love and 2300 Degrees

Steve Gibbs, the Museum’s Hot Glass Programs manager, and the creative mastermind behind the Museum’s popular 2300 Degrees events, demonstrated his own glassworking artistry at the December 2010 event.  Here he talks about 2300 Degrees and about the work he created during the event. Film by Jordan Miller.

How Do You Make the World’s Largest Glass Pumpkin?

Take 30 pounds of molten glass on the end of a blowpipe, lots of trial-and-error glassblowing sessions, and a team of highly skilled glassmakers, and see what they come up with.

Last year Museum gaffers, led by George Kennard, created the World’s Largest Glass Pumpkin (97 inches around – more than 8 feet)! The pumpkin-making process took a team of eight glassblowers more than 50 hours of work, 17 attempts, a lot of shattered glass, and a number of lopsided prototypes.

More than 70 pounds of molten glass was blown into a wooden, ribbed mold (created especially for this project), and cooled very slowly in an extra-large annealing oven. The trickiest part was inflating the heavy molten glass bubble to just the right size so it wouldn’t shatter in the mold.

The giant pumpkin will be on display at the GlassMarket through October 31.