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. Over the last decade, the field of design has

Learn more about Louis Comfort Tiffany and his work. In this podcast, Bill Gudenrath, the Museum's resident adviser to The Studio and a glass historian, interviews curator of American glass, Jane Shadel Spillman, and librarian at the Museum's Rakow Research Library, Diane Dolbashian. Both

The Beginning of the Studio Movement During the 1950s, studio ceramics and other craft media in the U.S. began to gain in popularity and importance, and American artists interested in glass looked for new paths outside industry. The catalyst for the development of studio glass in the United States

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

The story of the Blaschkas begins in the small town of Böhmisch Aicha (now Cˇesky´ Dub in the Czech Republic), where Leopold’s father continued the family tradition of flameworking. When Leopold was a student, his favorite  subjects were natural history and painting, and a visiting artist urged him

A special exhibition of 22 vessels and sculptures by Erwin Eisch (German, b. 1927), one of the founders of studio glass in Europe, was on view at The Corning Museum of Glass from March 15, 2012, through February 3, 2013. The exhibition recognized Eisch for his achievements in developing glass as a

In 1979, the Museum’s landmark exhibition, New Glass: A Worldwide Survey, introduced to the American public the work of a Czechoslovak glassmaker, František Vízner. Nearly 30 years later, the Museum presented Vizner once again at Corning as a studio glass master. Masters of Studio Glass: František

In their well-known attempts to make gold, alchemists also provided the foundation for modern chemistry and material sciences. This exhibition explores Northern European glass of the Baroque period and examines the technical advances in glassmaking made by alchemists during that time. Their work

Before the development of high-speed moving image media, or fiberglass, naturalists and educators faced a quandary: it was often impossible to demonstrate exactly what an invertebrate looked like without a live specimen, because the spine collapses and color leaches out of one preserved in alcohol.

Jane Shadel Spillman, curator of American Glass, discusses Louis Comfort Tiffany's blown glass showcased in "Tiffany Treasures: Favrile Glass from Special Collections"- on view at The Corning Museum of Glass November 1, 2009- October 31, 2010.

Toots Zynsky's distinctive filet de verre (glass thread) vessels enjoy a widespread popularity and deserved acclaim for their often extraordinary and always unique explorations in color. Defying categorization, her pieces inhabit a region all their own, interweaving the traditions of painting,

Mt. Washington and its successor, the Pairpoint Corporation, was one of America's longest-running luxury glass companies (1837-1957), one that rivaled its better known contemporaries, Tiffany and Steuben. It constantly reinvented and re-invigorated its business through creativity in texture,

Watch as our conservator, Stephen Koob, restores a 13th or 14th-century prunted beaker for the 2010 exhibition, Medieval Glass for Popes, Princes, and Peasants. This piece was on loan from the Museum zu Allerheiligen, Shaffhausen, in Switzerland. With painstaking care and precision Koob

East Meets West: Cross-Cultural Influences in Glassmaking in the 18th & 19th Centuries at The Corning Museum of Glass November 18, 2010- October 30, 2011, explored the cultural exchanges of glassmaking between the East and West and documents stylistic developments in Western Europe and East

Watch as our conservator, Stephen Koob, restores a 13th or 14th-century prunted beaker for the 2010 exhibition, Medieval Glass for Popes, Princes, and Peasants. This piece was on loan from the Museum zu Allerheiligen, Shaffhausen, in Switzerland. With painstaking care and precision Koob

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 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.

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.

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

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,

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.

"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

On June 23, 1972, Corning, New York and the surrounding communities were devastated by a major flood, as a result of the tropical storm Agnes. At The Corning Museum of Glass, hundreds of objects were broken, more than half of the Library's materials were saturated with flood water, and the

Designer Josh Owen describes working at GlassLab during a design session at The Corning Museum of Glass, May 29 and 30, 2012.

Designer Jason Miller describes working at GlassLab during a design session at The Corning Museum of Glass, June 5 and 6, 2012.

Illustrator Peter Sís describes working at GlassLab during a design session at The Corning Museum of Glass, June 12- 13, 2012.

Designer Wendell Castle describes working at GlassLab during a design session at The Corning Museum of Glass, June 19- 20, 2012.

Designers Sigi Moeslinger and Masamichi Udagawa describe working at GlassLab during a design session at The Corning Museum of Glass, June 26- 27, 2012.

RIT Metaproject students Dan Ipp and Tom Zogas describe working at GlassLab during a design session at The Corning Museum of Glass, July 3- 4, 2012.