Members of Museum of Glass can visit the Whatcom Museum in Bellingham, WA, to explore their newest exhibition, Fluid Formations: The Legacy of Glass in the Pacific Northwest, for free! All members need to do is present their current Museum of Glass membership card at admissions, located in the Lightcatcher building or Old City Hall. This opportunity is available through October 10, 2021. Along with free admission, MOG members can receive 10% off purchases at the Museum Store.
Fluid Formations, which draws from MOG’s permanent collection, celebrates the innovation and striking range of processes and ideas that could only come from decades of a shared passion for the material of glass. From the establishment of Pilchuck Glass School in 1971 to today, the Northwest’s glass community has expanded significantly and has created a rich legacy unique to our region. Fluid Formations features the art of fifty-seven contemporary artists working in glass from the Pacific Northwest, the epicenter of glass.
The Whatcom Museum in Bellingham, WA, offers a variety of exhibitions, programs, and activities about art, nature, and Northwest history for all ages. Its multi-building campus is in the heart of Bellingham’s downtown Arts District. The Lightcatcher building, 250 Flora St., and Old City Hall, 121 Prospect St., are open at 50% capacity due to Covid-19 safety restrictions Thursdays–Sundays, 12–5pm. For more information about the Museum’s exhibitions and admission visit, whatcommuseum.org.
Now that I’m a year into a pandemic, I completely understand why the Roaring Twenties followed the Spanish Flu. I don’t know about you, but after 356 days (and counting) of being marooned in a box on Zoom, I could really use a bigger place. And a fun party. And some new things.
Their drive to be reborn led to a decade of consumption and revelry that became known as the Roaring Twenties. Lalique’s Art Deco designs are both art and artifact, representing the era’s luxurious aesthetics and the era’s new technologies and social changes.
The Deux cavaliers (Two Horsemen) table centerpiece is a dramatic composition of two horsemen, poised mid-duel. By the 1920s, many homes had electric lighting. Lalique took advantage of this new technology, designing statement lighting fixtures like this, with enough presence to replace the now-old fashioned candelabras and chandeliers.
Partly as a result of the suffrage movement, women took center stage in the 1920s. Known as Flappers, these women pushed economic, political, and social boundaries, and their independence sent waves through the design world. Lalique created bottles, like Roscae figurines (Rosette Figurines), with a sculptural eye. They were talismans, representing the sophistication and vibrant independence of their owners.
Standing in the exhibition, I can’t help but hope we are at the beginning of another Roaring Twenties. I wonder if people from 1920 dreamed of the “after pandemic” with the same visions of celebratory excess that I hope will follow this immensely trying year. I’d like to think so.
Museum of Glass is honored to announce that we received a seminal collection of artwork showcasing the development of glass as a studio and contemporary art medium from the Robert M. Minkoff Foundation. Adding these 400 works of art from Robert Minkoff’s personal collection makes the Museum’s glass holdings the largest in the Western United States.
We are honored and grateful to receive this gift from the Minkoff Foundation. This is the first major Studio Glass collection given to the Museum and it is transformational for us. Its comprehensive representation of glass artists, both nationally and internationally, provides a foundation for MOG to tell vital stories of studio and contemporary glass.
– Debbie Lenk, Executive Director
Minkoff was a collector, a collector that celebrated the incredible diversity of glass art and its possibilities in the field of contemporary art. His passion and collecting philosophy complements Museum of Glass, which makes this gift so special to us. Minkoff’s collection includes several incredible artists, such as Jaroslava Brychtová, Stanislav Libenský, Klaus Moje, Debora Moore, William Morris, Paul Stankard, Therman Statom, and Lino Tagliapietra. The collection also provides a look at innovative new approaches to the material by artists including Steffan Dam, Luke Jerram, Silvia Levenson, Beth Lipman, and Karen LaMonte.
MOG will celebrate this significant gift with a major exhibition honoring Minkoff and his collection, with accompanying educational programming, opening in Spring 2022. It will be accompanied by a catalog highlighting the breadth of the collection.
Most of my job is a lot like every other office job. My desk is in a cubicle, and I usually spend my days attending meetings and hopping between Word, Excel, and Microsoft Office. But, one of my favorite parts of my job is when I get to escape my desk and step behind our gray temporary walls to install the art in our exhibitions.
Working on one of our newest exhibitions, Into the Deep, is one of my favorite projects so far – partially because the work in the exhibition presented some interesting challenges, and partially (ok, mostly) because it is a show I’ve been working on curating for almost two years. It was an amazing experience to finally meet artwork I had only seen in photos and to stand in 3D space that I had only been visualizing on paper.
One of my curatorial goals was to give visitors a sense of the diverse number of ways you can use glass to make art. To fulfill this goal I looked for artwork that was as different as possible from the hand-sculpted vase or bowl many you probably have at home. This goal had a fun side-effect for me – several of the pieces in the exhibition presented our Curatorial team with some unique installation challenges.
Blue Dome, by Seattle-based artist Kait Rhoads, is a giant (almost 9-foot tall) dome covered with individual blue glass scales. Visitors are encouraged to stand inside the dome and look up to feel like they are standing underwater.
Fortunately, we didn’t have to attach each of the scales individually. The dome structure is made from a sturdy, steel frame. Kait Rhoads created a system where sheets of scales (attached individually to chicken wire) could be hung in sections across the metal frame.
Two Seas, by Shayna Leib is another piece which took a whole team to hang on the wall. Leib is an avid scuba diver, and each of the frames in this piece represent species of coral, sea grass, or anemone seen through the lens of her underwater camera. Each of the frames is teeming with life, made from fragile, individually-sculpted pieces of glass.
Each of the picture frames arrived carefully packed in individual boxes, which were shipped together in a large, padded wooden crate. We unpacked and cleaned each piece of glass, using Q-Tips, glass cleaner, and canned air to dust the crevices between each glass tentacle.
Often, artists will provide a template along with the artwork, so that we can hang a piece on the wall to their specifications. This is especially important for a piece like Two Seas, where the frames have to hang in a grid, but close enough together so that some of the glass tentacles from adjacent frames have the appearance of overlapping with each other.
Each of the framed glass pieces is attached to the wall using a french cleat. A french cleat is made from two pieces of wood, cut at a corresponding angle. One half of the cleat is attached to the wall, and the other to the top of the piece of artwork (see diagram below). The wood is cut at a steep angle, which act like two puzzle pieces, locking together to secure the artwork to the wall.
These two pieces are just the tip of the iceberg (or should I say reef). I hope you can come down to Museum of Glass and dive on into the rest of the exhibition. Into the Deep is open through September 2017. Check out our calendar at http://museumofglass.org/event-calendar to learn more about events and activities related to the exhibition.
Katie Buckingham is the Assistant Curator at Museum of Glass. She is an alumnus of Whitman College (BA) and University of Washington (MA). In her life outside of the Museum she is outside as much as possible, wearing skis as often as she does hiking boots.
By Rebecca Engelhardt, Collections and Exhibitions Manager
As part of our ongoing series on the care of artwork at Museum of Glass (MOG), this post reviews the methods that we use to protect our collections from fire, water, and pests.
The Curatorial department at MOG works closely with our colleagues in the Security and Facilities departments to monitor for the threat of fire, water, and pests.
Insuring that our smoke detectors and fire extinguishers are properly installed, accessible, and inspected lowers the threat of fire.
Careful storage of flammable chemicals in specially designed cabinets, like this one, isolates them away from the artwork we have on display and in storage.
Leaks and Floods
Much like your own home, damage from rising groundwater or from broken plumbing is a risk to our collection. Undetected or remedied leaks or floods will result in water damage of objects, and could lead to mold, another thread to the collection.
We monitor the building for any leaks and keep a fully-stocked set of disaster response supplies at hand.
Covered display vitrines and storage shelving adds a layer of protection from leaks.
Pests are another risk that museums try to avoid. At MOG, we do not allow food, drinks, or potted plants in our galleries or storage areas, as these things all attract pests. We also ask that our custodial team stays on top of their housekeeping to deter vermin and insects.
Although most of the artwork at the Museum is glass (and not so tasty to pests), many pieces at the Museum include materials such as paper and wood. These are the organic materials that are easily damaged by pests.
Watch out for pests who would like to dine on the materials in your artwork!
Stay tuned for more on caring for art at MOG!
For more from the Care and Handling of Artwork series, check out:
Rebecca Engelhardt is the Registrar/Collections Manager at Museum of Glass. Her background includes ten years at MOG, plus time at major museums such as Smithsonian Institution and The John and Mable Ringling Museum of Art.