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The purpose of this paper will be to examine the Corning Museum of Glass (CMoG). It’s location, architecture, arrangement and description of it’s collections, and ambiance all work together to create an image. I intend to examine what that image is and explain how it was created.

While writing this paper I made three trips to the museum. On each trip I took notes and enjoyed myself. My first visit was made on October 28^th,2000. I was accompanied by a friend Mr. Charles Lance an amateur photographer. On my second visit November 4^th I was accompanied by my eleven year old son Adam Davis. On my third visit November 11^thI was accompanied by my friend Mr. Lance and his elderly mother Mrs. Betty Lance, age 83. I had intended to gain a new and different perspective by observing my companions and considering their opinions of the museum. I also observed museum personal and other visitors. On my first visit I was able to establish a repour with ‘Rick’, a sales associate in the shop located in the Art and History gallery. I found him to be knowledgeable informant. He described himself as having recently retired from a lifelong museum career. I introduced myself as a student writing a paper on the museum. Much of my factual information was obtained via the Corning Museum of Glass web site (http://www.cmog.org).

The CMoG is located in Steuben County, Corning New York, population 13,000.[1] In 1995 The population of Steuben County was 99,949. [2] The city of Corning is registered as a National Historic District. Steuben County has a lively tourist industry and it accommodates them well. With the LPGA (Ladies Professional Golf Association) tournament offering a purse of $750,000 last year, and the Watkins Glen International Race Track bringing crowds from around the world. [3] Home to two fortune 500 companies, educated professionals are making Steuben County their home. The Corning Museum of Glass is a special collection, the largest in the world of it’s type, appropriate for the “Crystal City”.

The city is home to the headquarters of Corning Incorporated. Established in 1851 as an off shoot of Brooklyn Flint Glass Company a renowned glass cutting shop at that time, Corning Inc. is now the leader in glass products innovations in the world and is a fortune 500 company. In 1905 Corning employed more than 2500 skilled glass workers. There were also 15 other glass cutting shops in the town.[4] Corning currently employs 33,000 worldwide.

Corning having become known to the majority because of its quality cook wear has recently sold this interest and is now concentrated on technology. “Corning manufactures optical fiber, cable and photonic products for the telecommunications industry; and high-performance displays and components for television and other communications-related industries” as well as a myriad of other high tech necessities.[5]

From this tradition of glass making the CMoG was born. First opened in 1951, CMoG is conveniently located off New York State interstate 87 (route 17) the museum serves several functions. The museum facility houses the ‘Finger Lakes Wine Country Visitor Center’ (photo 1 ) greeting visitors to the Corning area. Above the CMoG entrance foreign visitors are greeted in their native language by a digital scrolling banner (photo 2 ).

Museum entrance fees vary greatly from $11.00 for adult visitors, $6.00 for children to $3.00 for local adult residents. A definite incentive to the area resident to make the museum a regular attraction. As with all museums, membership is available. Individual member ship cost is $30.00 and provides free admission to the Museum, 15% discounts on purchases in CMoG Shops and restaurants. Student membership cost is $15. Additional levels of membership are available all at what appear to be reasonable prices for the regular visitor when the benefits are considered (see CMoG pamphlet Join!).

On my second visit the staff were preparing the museum for the Crystal Ball, an annual benefit gala to be held that evening. It was a very enticing display of decadence. Tables were prepared, wine and cheese piled high. White balloons filled with helium drifted about the atrium between the Art and History Gallery, and the Sculpture gallery. Musicians set up their equipment. Displays were moved to accommodate this event, occasionally to the detriment of the enjoyment of that days visitors. In a small remote community such as Corning events such as the Crystal Ball, sponsored by the gallery, become the high culture around which friendships and business deals can be made.

The museum is broken down into five sections (map 1 ). Visitors are first directed to the Nature of Glass Theater for a engaging 15 minute high tech sound and light show successfully packaged as an educational movie about glass. The Innovations Center is the next stop. After these first two stops the Hot Glass Show is easily found and then on down the stairs to see to the Steuben glassworks studio. The visitor is directed with small colored arrows on the ceiling. It is easy to become confused and miss the Art and History Gallery, and the Sculpture Gallery as they are set apart from what feels like the main area. The Innovations Center being the area children are most likely to enjoy.

The collection of glass products and displays in the Innovation’s Center is decidedly Corning Glass Incorporated inspired. It is difficult to remember when visiting the museum that the two are separate entities. The same can be said of the museums association with Steuben Glass also financially separate. Artists of the Steuben studio are employed to create the hot glass show which is a favorite stop on the museums self guided tour by both young and old. On my third visit a raffel was held. Tickets were given to visitors as they entered the show. A young girl won a hand blown vase. A promotion for regular attendance.

The Innovations Center uses models, as well as and computer video displays employing loud music and talk sound tracks to engage the visitor. Step pad sensors are used to control some shows creating an impressive high tech display of innovations over the centuries. While particularly appealing to the younger generation, much of this is lost on the child. There is an abundance of labels and written descriptions. It is necessary to read to be able to understand the displays. Most of the video monitors are set over head making viewing difficult for a child. Many of the labels are very high as well.

All labels are in English. While being in the heart of New York State it is less likely that foreigners will visit, but on each of my visits several tour busses full of Asian travelers arrived. None spoke English to their companions. It would be difficult if not impossible to appreciate the majority of the Innovations Center collection if unable to read English. One of the Asian groups was lead by a foreign speaking guide. The guide did not have on the CMoG uniform.

The museum uses the Corning image of farm town to world class glass manufacturer through out (photo 3 ). Many of the inventors, described as innovators, are credited with on the job training. An unknown boy working in the Corning glass shop is credited with having invented the light bulb used by Thomas Edison. The invention of the light bulb is credited as ushering in the age of industrialization. Billy Woods “Farmer turned glass worker” spun molten cubed glass to make the first television screens. Donald Stookey, credited with 58 patents in glass ceramics (inventor of Pyrex), is described as not knowing anything about glass when he came to work at Corning Glass in 1940.

A rather impressive display in many ways typical of those in the Innovations Center is that which is dedicated to dedicated to Michael Owens (photo 4 ). In 1903 he invented of the worlds first completely automatic glass forming machine (Owens-Corning glass manufacturer). He is also credited as being a “self-taught American inventor” who “propelled the glass industry into the mechanical age”. American ingenuity is at the forefront of each display.

Since my first trip as a child sometime in the 1970’s the museum has been greatly enhanced. Originally the whole museum had been housed in the area that is now the gift shop.[6] The new museum, opened in 1980, has been fully renovated, again. The original 1951 building was designed by Wallace K. Harrison. It “was itself an attraction, a steel and glass symbol of standardized construction and progressive corporate benevolence”.[7] The same can be said about the current building.

In 1981 the Art and History Gallery was added. Designed by architect Gunnar Birkerts the museum uses glass and steel to create a modern hi-tech appearance. “Textured glass panels, vacuum sputtered with stainless steel on the back, sheathe the upper floor of the building and create a subtle mirrored effect while reflecting solar heat.”[8] This mirror effect reflects solar heat as well as much of the damaging sunlight. While in the gallery one is certain whether it is night or day as the windows even in the most restricted areas still allows for daylight to be visible. This gives the museum a natural quality, a feeling of being outdoors as well as in. highlighting yet another quality of glass. The architecture is by itself a fine work of art.

The most recent additions brought the CMoG building to 117,000 square feet (fig. 1 & 2). The new entrance ways and updates by Smith-Miller and Hawkinson Architects are described by Ned Cramer, writing for AIA as “being trapped inside a kaleidoscope” a maze of walkways connects the different levels and, different elements overlap. He points out that it is ironic that the materials and construction methods are similar to “Harrison’s and renders the firm’s elaboration of the structure” “mannered”.[9]

The age differences of the various updates can be noted in various parts on the museum. Not noticeable superficially it’s the little things that draw your attention. The entrance from the parking lot is extremely high tech, even the rest rooms in this area of the museum are hi-tech with automatic water faucets and automatic flushing toilets. While the rest rooms in the Art and History Gallery are those from another building plan, you are required to think and flush.

The renovations of the facility included the Juliette K. and Leonard S. Rakow Research Library. “Originally housed in the area now the Art and History Gallery” on it has been moved to a renovated office building last occupied by Corning Glass Inc..[10] A definite necessity to ensure space for the growing collection. The Rakow Library is the “largest and most advanced library dedicated to glass in the world”.[11] While the CMoG invites visitors to “stop by, browse the ready reference section, or bring questions to the helpful staff” it’s hours are restricted to Monday through Friday. I was unable to visit the library. The library serves the glass researcher living in the Corning area or willing to miss a day of work. The library catalog does not appear to be available for browsing via the Internet, nor are the libraries circulation policies. The library is a member of SCRLC (South Central Research Library Council) making it’s collections are open for interlibrary loan to other member libraries.

In a museum publication dated 1995 the CMoG estimated it’s holdings at 27,000 items in the glass collection “representing every country and historical period in which glass making has been practiced”.[12] The web site currently adjust the museum collection to a size of 33,000 items. Recent acquisitions in the Art and History Gallery were displayed in a wall case. A set of covered goblets engraved with personification of the continents, attributed to “Saxony, probably Glhckburg glass house 1725-1756”.[13] The labels on these new items were quite complete, although I am left unsure what their collection direction or theme is with regard to historical pieces.

Set up using an Art Historical approach the display the history of glass begins in the fertile crescent with the last multimedia display to be seen in this gallery. The Head of Amenhotep II (see postcard) is the crowing glory of this collection. This piece was the first item displayed in the theater, enlarged to the size of the screen. It appears on the web site in numerous places.

Indirect lighting of the display cases and a dark gallery combine to create an almost glowing appearance. This also creates extremely difficult situation in which to photographic the collection or companions (photo 5 ). The height of the display cabinets in the Art and History Gallery was about one foot too high for young children to view easily. It is probably also for wheelchair bound individuals as well. This is most obvious in the paper weight collection.

In the Art and History Gallery an effort is made to include examples from a range of cultural experiences. Several items on display have Jewish symbols. The Islamic collection while well explained uses a poor choice to begin it tour through time in the Grenade. This item is listed with several different options of what it could be including a perfume bottle. It’s primary label, Grenade, reinforces American stereotypes of Islamic countries and produces an inflammatory beginning of an otherwise wonderful collection.

Like many museums CMoG is not without is it’s donor memorial. A large room in the center of the art history collection is dedicated to the Jerome and Lucille Strauss Study Gallery (fig. 3 ). While this is a huge collection of items very few are labeled. A plaque on the wall explains that items are arranged in a sequence by place and date of manufacture. The collection encompasses Ancient, Islamic, Asian, American, English and Continental glass works of all types. These pieces were housed in cabinets of a different style than those of the art history collection. The cabinets seemed almost to resemble a kitchen cupboard more than a museum display. Some of the cabinets were top and back lit, while some had mirrored backs and lit walls.

While visiting the Strauss Study Gallery I overheard a man explaining a piece of glass to a young boy (about 8 years old) and his parents. He said that the piece had fallen from outer space and he went on to explain how it was formed. The father asked, “are these all whiskey bottles”? The man replied “I don’t know”. The man was Frank Starr director of the CMoG education department. The lack of labeling makes this collection just a pretty thing to see. It does not enhance the educational value of the collection. The items that Mr. Starr had been showing the boy were not labeled with the information that he had personally provided.

CMoG has an Online educational tool featuring exquisite photos of various items in the collection information about their acquisition and their history and significance in the history of glass making. These are offered free as teaching tools. The education department at CMoG offered several services including two educational grants both offering $10,000 each. Preference for this grant recipient is given to “projects which will bring researchers to Corning to study the Museum's collections or to use its Library”.[14] Both grants are aimed at drawing new minds to the Corning community of glass workers. Corning Museum of Glass also has a regular lecture series (see CMoG Bi-Monthly Calendar of Activities).

Hands on education is also offered at CMoG. Amy Schwartz a glass artist her self is the ‘Head of The Studio’. CMoG has encouraged the involvement of the local community via a community open house, a regular lecture series, and the available rental of it’s glass crafting studio. Children as well as adults to learn glass working techniques in the studio in the ‘Fun with Glass’ program.

While the CMoG is dedicated to disseminating accurate information about glass products and the variety of manufacturing possibilities, the museum presents it’s information in a subtly ethnocentric manner. The culmination of all glass manufacture is presented as an American achievement. The Corning Museum of Glass is a great ego boost, as well as a great resource for the community of Corning.

Corning Museum of Glass, The Corning Museum of Glass Curator’s Choice. (New York: Corning Museum of Glass, 1995) 1.

Cramer, Ted. “Rear-view mirror” AIA Journal v. 88, no.9 Sept. 1999: 92-99, Firstsearch, online, via Ithaca College Lib., accessed 11/14/2000.

Corning Incorporated. (http://www.corning.com/company_info/index.html) site last visited 11/7/00.

Gunnar Birkerts Architects (http://www.gunnarbirkerts.com/index.html) site last accessed 11/8/2000.

LPGA Corning Classic (http://www.corningclassic.com/index.html)Star-Gazette.com. (updated Feb. 28, 1998) site last visited 11/7/00.

Steuben County Census 1996 (http://www.usaguides.com/cen/46cen.htm) last accessed on 11/8/2000.

[1] Corning New York (http://www.corningny.com/) last accessed on 11/ 8/ 2000.

[2] Steuben County Census Data 1996 (http://www.usaguides.com/cen/46cen.htm) last accessed on 11/ 8/ 2000.

[3] LPGA Corning Classic (updated Feb. 28, 1998) (http://www.corningclassic.com/index.html) last accessed on 11/8/2000.

[4] Museum display CMoG

[5] Corning Incorporated., (http://www.corning.com/company_info/index.html) last visited 11/7/00.

[6] Interview with “Rick” CMoG employee 11/11/2000

[7] Cramer, Ted. Rear-view mirror AIA Journal 88, no.9 (Sept. 1999) p.92

[8] Gunnar Birkerts Architects (http://www.gunnarbirkerts.com/index.html) last accessed 11/8/2000.

[9] Cramer, Ted. Rear-view mirror AIA Journal 88, no.9 (Sept. 1999) p. 99

[10] Interview with “Rick” CMoG employee 11/11/2000

[11] Corning Museum of Glass (http://www.cmog.org/tour/rakow/index.htm) site last accesed 11/8/2000.

[12] Corning Museum of Glass , The Corning Museum of Glass Curator’s Choice. (New York: Corning Museum of Glass 1995) p. 1.

[13] CMoG Recent Acquisitions display 11/11/00

[14] (http://www.corningny.com/)