“I love to think of Corning, NY, in general, as having small town charm with global reach and global impact. When you walk through the Corning Museum of Glass, we kind of want you to forget about the world and be immersed in the experience. And find delight and joy in whatever shape and form that means to you,” as the museum’s Director of Marketing, Beth Duane, glowingly describes this hidden gem sandwiched in between the Finger Lakes and the Pennsylvania Border.
Corning, NY, is not in the shadow of the state’s largest cities, nor is it in a sprawling metropolis. There is, however, a big reason to visit the town of 11,000 on the state’s Southern Tier. And it’s not because it’s the worldwide headquarters of Corning, Inc., but rather the adjacent Corning Museum of Glass, which just happens to be the largest museum dedicated to glass in the world.
Corning Inc., the museum’s major benefactor, did not begin its operations in its current location. Founded in Brooklyn, NY as Flint Glass, the company’s move was necessitated by labor unrest. In what sounds like a fable, the company loaded its equipment on a barge and through connecting waterways and found what they were looking for, access to coal for its kilns, local artisans, and accessible transportation. It set up shop in 1868 in Corning, later known as “Crystal City.”
In 1951, the company known for its successful consumer line (notably Pyrex and Corningware) built the Corning Museum of Glass (CMOG) to benefit the community. The paean to glass currently occupies a ten acre campus and houses glass from around the world inside its 240,000 square foot home. Its permanent galleries contain the full spectrum: from everyday ware to festive, even palatial objects, with the oldest piece dating back to 1,400 BC. The museum is an eye catching, thrilling array of the old and the new, with its share of interpretive and avant-garde works. As a heralded part of the history of glass, its products are prominently displayed. Even Pyrex and Corningware, which were both discontinued over twenty-five years ago, can still be found in the museum.
You can easily spend a few hours in the galleries as you wend your way through antiquity and modern master works alike. Treat yourself and view the works Einar and Jamex de la Torre. The Mexican born brothers’ exhibit, Collidoscope: de la Torre Brothers Retro-Perspective, came to CMOG by way of the Cheech Marin Center for Chicano Art & Culture of the Riverside Art Museum. While the gallery pieces will travel on, the larger than life mixed medium comet-like wall hanging will remain.
There’s something for everyone here. Kiki Smith’s Brown Water, a still life of sorts, features 247 solid glass drops designed to mirror fallen leaves on a damp forest floor. If you’re looking for elegance, try Karen Lamonte’s detailed, Evening Dress with Shawl. If you fancy the whimsical, there are plenty of works on hand, like Ginny Rufner’s, Fishbath and Romance.
For those interested in a closer look the art form, there are frequent demonstrations detailing the glass blowing process. Or, if you’re looking for an interactive experience, participants can try their hand at blowing their own glass objects; the latter requires strict observation as would- be glassblowers have to navigate around a 2,000 degree kiln.
Beyond the very impressive display of glass making and all its possibilities, museum administrators wanted to expand its programming and do their part to nurture the art of glassblowing. The museum tapped Amy Schwartz, a glassblower in her own right, along with her husband, Bill Gunderath, who is not only a internationally renowned glassblower, but a lecturer and hands-on teacher. The mission to build a world class glassblowing studio was achieved in 1995 and has been thriving ever since and has seen three expansions.
The extra space has made it possible for the museum to offer classes in glassblowing to novices and others with advanced abilities. It also opened its doors to the community, providing rental time to the smallest of entrepreneurs allowing them to make glass objects for sale. Sometimes these pieces are sold at the surprisingly large gift shop.
The pride of the program is its ability to offer residencies to artists around the world to create their own work, teach, and make use of CMOG’s Rakow Research Library, the foremost repository on the history of glass. Jason McDonald is one such resident. “I work in a number of materials, but this is my real passion. Glass is one of those materials that completely grabbed my attention, and hasn’t let go. I enjoy clay. I enjoy wood, but glass just never gets old.”
In September of 2025, the studio lab will launch a new program, the Glass Making Institute. It is designed for people who have a strong desire to learn about glass. The institute will offer nine students the opportunity to participate in the two-year degree. Studio Director Schwartz is clearly happy with her long list of accomplishments. “For me, I love glass. I’m a glassmaker, and more than that, it’s all the relationships that you make. People have married here.”
The museum offers guided and self-guided tours, relying on the expertise of docents who are continually meeting with curatorial staffers for updates on new exhibits. There are even occasions to meet with featured artists; most recently a give-and-take over lunch with the de la Torre brothers.
Mieke Fay, the museum’s Manager of Education and Learning, prides herself on programs and tours for school groups. They are not only learning about the history and process of making glass, but its modern applications for the devices we use every day, from the gorilla glass on our phones to flat screen televisions and the omnipresent fiber optic cables. But the tactile program for students between 8th and 12th grade is to learn how to curate an exhibit. Fifteen students take part during a portion of the school year to work together on the project. Ms. Fay describes the curriculum, “They’ve written the labels, they’ve chosen the titles, they’ve chosen the colors, they’ve chosen a graphics treatment. We also have someone from our research library who participates, so they can incorporate library material.” Fay goes on to say that students will often continue the program up to graduation. “We have several students who have changed career direction or anticipated career direction because of their participation in the program.”
Name recognition and marketing are big part of a museum’s draw, and both benefitted immensely as a result of CMOG’s participation in the reality based TV program, Blown Away. Museum officials were approached by the Toronto based production company and decided to sign on, hoping the program, featuring accomplished glassblowers, would be more professional than interpersonal. Employees served as consultants on the project, and their gambled paid off. So much so that the program was renewed for four seasons. The winning contestants, all top glass makers, were awarded cash and a residency at CMOG. While the success of Blown Away can’t be denied, the museum has its grass roots way of raising awareness with its mobile glassblowing studio, Hot Shop, often visiting other institutions involved in glass making.
Eric Meek, the Senior Manager of Glass Programs was himself blown away by the goodwill generated as a result of the glass blowing series. “In terms of special exhibits and things that we’ve been involved with, Blown Away has been by far on the top of our surveys since we’ve gotten involved with the program, so usually between fifteen to twenty percent of our guests sight Blown Away for visiting, which is huge.” For many it’s the Corning Museum of Glass that continues to give the “Crystal City” its luster.
The Corning Museum of Glass
1 Museum Way, Corning, NY 14830
Check website for hours and ticket information:
https://home.cmog.org
Featured Photo: Window from Rochroane Castle, Irvington-on-Hudson, New York, Agnes Northrop and Louis Comfort Tiffany, New York, NY, 1905. 76.4.22.
Article and photos by Tom Farkas, writer, editor, former arts editor for NY1.
