Richard Marquis, a self-described glassblower and collector of beat-up, vintage objects, has had an extraordinary influence on the development of contemporary studio glass in America and around the world. As an artist, he is admired for his understanding of color and form as well as for his

Today lampworkers %%melt%% borosilicate glass in brilliant colors using modern torches that burn oxygen and propane. But how did glassworkers %%melt%% glass at the flame 300 years ago? As a glass librarian and a glass artist, I'm fascinated by the ingenuity and inventiveness of

Women have played an important role in glassmaking history. The following is a brief overview of the ways in which women have worked with glass before 1950, as documented in articles, books, and original materials from the Rakow Research Library of The Corning Museum of Glass.

Anyone who has gazed into the clear depths of a paperweight knows how intoxicating solid glass can be. Glass in vessel form can be decorative, beautiful, even breathtaking, but one cannot escape the utilitarian. After all, it can hold our Cheerios. On the other hand, you would be lying to yourself if you insist a solid glass form, such as a paperweight, is purely utilitarian. Keeping papers from flying away in the breeze is a great excuse for exploiting the beauty of a solid piece of glass.

The permanent collection of The Corning Museum of Glass holds sixteen glass panels affixed to light boxes, which were crafted in a mid-20th-century technique that has recently seen a surge in public interest. The panels, made in the 1950s and 1960s, came to the museum in 1993, and are called

Although most people think of glass as a man-made material, it is found in many forms in the natural world. A range of glasses are found in—and formed by—nature.

Visitors to The Corning Museum of Glass may see everything from an edgy, disturbing sculpture by Sylvia Levenson to an Islamic perfume bottle from the Middle Ages.  At times, it can seem as if the vast array of objects has only silica in common.  There are objects that provoke debate and

Like most pioneers of the American Studio Glass movement, Fritz Dreisbach was first drawn to the possibilities of blowing molten glass. It was the 60s. He and such early designer-artists as Dale Chihuly and Marvin Lipofsky were happily blowing organic, eccentric, free-form objects purposefully shunning both the traditions of European glassblowers and the glass industry’s focus on function. “It was all brand new. We didn’t know where it was going… The spirit of the times was one of experimentation and freedom, and glass seemed like the perfect medium,” recalls Dreisbach.

Making Ideas: Experiments in Design at GlassLab showcases the Museum’s signature design program, GlassLab , in which designers are invited to work with hot glass. The exhibition features over 150 design prototypes by nearly 50 international designers.

The Viennese company of Joseph and Ludwig Lobmeyr—founded by their father, Joseph Sr in 1823 and in family hands ever since—became widely recognised for its high-quality glass wares from the mid-nineteenth century. 1