All About Glass
All About Glass
This is your resource for exploring various topics in glass: delve deeper with this collection of articles, multimedia, and virtual books all about glass. Content is frequently added to the area, so check back for new items. If you have a topic you'd like to see covered, send us your suggestion. If you have a specific question, Ask a Librarian at our Rakow Research Library.
Watch Tim Drier demonstrate for his class, Introduction to Flameworking, how to embark on an evolution through glassmaking, beginning with marbles (single cell), through fungus, aquatics, and small land mammals, ending with the human form.
This video shows the technique of making a Façon de Venise (a French term meaning "manner, or style, of Venice") goblet, an object in the exhibition Beyond Venice: Glass in Venetian Style 1500-1750, which was on view at The Corning Museum of Glass from May 20, 2004, to January 2, 2005.
This video shows the technique of making a Spanish wine glass, an object in the exhibition Beyond Venice: Glass in Venetian Style 1500-1750, which was on view at The Corning Museum of Glass from May 20, 2004, to January 2, 2005.
This video shows the technique of making a St. Augustin (Rouen) Goblet, an object in the exhibition Beyond Venice: Glass in Venetian Style 1500-1750, which was on view at The Corning Museum of Glass from May 20, 2004, to January 2, 2005.
Glassworkers made ring-shaped decanters as early as the Roman period. Due to their novel shape, much like buoys, the personal flotation devices carried on ships, decanters in the early 20th century were called "lifebuoy decanters." Watch as William Gudenrath demonstrates the technique.
Glass makers throughout history have gone to great lengths to eliminate all bubbles from glass. But here, we see bubbles purposefully put into the glass for their decorative effect. In this paperweight, the bubbles surround another gather of glass with twisted canes of colored glass. Watch as
Glass that gradually shades from one color to another has ingredients such as uranium and gold, which are sensitive to heat. When part of the object is reheated, it "strikes" or changes color. Heat-sensitive glass became very popular in the late 19th century. Many companies used heat
Watch as William Gudenrath demonstrates the Reticello technique. Reticello (Italian, "glass with a small network"), is a type of blown glass made with canes organized in a crisscross pattern to form a fine net, which may contain tiny air traps.
In the second half of the 19th century, many glass firms used experimental techniques to create decorative art glass. In 1878, the Mt. Washington glass company introduced Sicilian glass. As part of their marketing, the company claimed to have used lava, that is, molten rock spewed out by volcanoes,
In the 1930s, the Pairpoint Glass Corporation introduced a bold new design called "twist glass," consisting of swirled stripes of ruby or deep blue glass and clear crystal. The complicated technique, already used in Sweden, required many stages including cold working. Watch as William
This video shows the technique of making a Nuremburg goblet, an object in the exhibition Beyond Venice: Glass in Venetian Style 1500--1750, which was on view at The Corning Museum of Glass from May 20, 2004, to January 2, 2005.
"I want the viewer to expereince the process of blurring boundaries between cultures by looking at my work." Min Jeong Song studies ornamental styles across time periods and geography, and her work explores how certain attributes of glass can be used to create ambivalent objects: objects
Mathieu Grodet is a French-born artist living and working in Canada. He creates thin and elegant glass objects in classic Venetian style, engraved with imagery that addresses modern-day ideas and issues. In his March 2012 Residency at The Studio, Grodet used the Museum's Rakow Library to
In her May 2012 Residency at The Studio, Ingalena Klenell worked on a project called Travelers. The project is based on the history of cultural exchange in trade relations between Venice and Egypt, inspired by a collection of glass shards found in Egypt that date from 1100 A.D. to 1400 A.D.
In her October 2012 Residency at The Studio, Joanna Manousis worked on a new body of work that alludes to both nature and to man-made artifice. She created a series of blown molded forms in clear glass that have thin layers of pâte de verre strategically inlaid into the blown surfaces.
Hear from artist Michael Glancy, whose abstract vessels explore nature, science, and metaphysics. Glancy's pieces begin as cell-like patterns and arcane notations jotted down on paper. The objects slowly acquire form and texture, shaped and revealed by cutting, sandblasting, and the
Studio glass pioneer Fritz Dreisbach offers a survey of the first decades of American studio glass. Dreisbach was a founding member of the Glass Art Society, 2002 recipient of the Society's Lifetime Achievement Award, and is an unofficial historian of the American Studio Glass movement. He was
Watch as Giles Bettison demonstrated for his class, Looking at Patterns and Murrine, how to build patterns using sheet glass to make murrine cane that can be used in vessels, panels and other objects.
Watch as glass artist Martin Janecky demonstrates blown sculpting as he creates one of his signature pieces.
Andrew Erdos' work is pop, sarcastic, and humorous, with a hint of social commentary. He says, "I like taking objects that we are comfortable with—like a human's reaction to animals—and exploring how we interact with them. In my work, there is a complex series of relationships
Emerging artist D.H. McNabb's work has been shaped by his experiences working with many studio glass artists. At 2300°, he explored folding "paper" airplanes out of sheet glass, and took advantage of the camera inside the glory hole to expose the usually secluded space. Hear from
Watch Mark Matthews demonstrate for his Graphic and Color Systems in Glass class at The Studio. This class used colored rods, powders, frits, and techniques such as color overlaying and cane making. Students created combinations of graphic patterns and experimented with color schemes. These
The Studio, which opened in 1996, is an internationally renowned teaching facility that offers classes in a variety of glassmaking techniques to students of all ages and skill levels. Artists and students come from all over the world to teach, to learn, and to create their own work in glass. The
The Corning Museum of Glass presents its popular 2300° series of art happenings each year, featuring live music, hot glassmaking, and great food and drink. This video gives you an inside look at the festivities at 2300°: Finger Lakes Finest (January 17, 2013), including music by The Blind Spots,
Make sure you watch this in HQ! Take 70 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! At the Corning Museum of Glass in The Studio, a team of gaffers, led by George Kennard,
Watch Jordana Korsen demonstrate for her class, Next Steps in Glassblowing. This class focused on the common problems that arise for students when they have been blowing glass for about a year. The class discussed and worked through examples of glassmaking process that present challenges. Heat and
Artist John Miller creates his super-sized "Blue-Plate Specials" in glass at the Hot Glass Show during 2300°: Americana. Watch as he turns some American clas...
We make it easy to bring your group to The Corning Museum of Glass. Enjoy discounted group rates, free motorcoach parking spaces, and a convenient location halfway between New York City and Niagara Falls. End your visit with a trip through the international Museum Shops featuring original glass art
Watch Janusz Poźniak strengthen students' understanding of glassblowing fundamentals for his 2014 class, Blowing Your Mind.
Watch as Ross Richmond demonstrated for his class, Hot Glass Sculpting, the unique techniques and approaches to solid and blown sculpting, emphasizing a freedom to explore process, and the potential of the material.