Kait Rhodes, Kusha, featured in
New Glass Review 32 (2011).
For almost 40 years, The Corning Museum of Glass has published the highly-regarded periodical New Glass Review (NGR), a showcase of 100 artworks by 100 artists. Most recently, New Glass Review has been curated by Susie Silbert, curator of modern and contemporary glass at the Museum, and a group of her peers. With established artists and designers sharing the page alongside students new to the medium, New Glass Review is a diverse reflection of the innovation and ideas thriving in contemporary glass today.
In 2019, The Corning Museum of Glass celebrates the publication’s 40th anniversary with both an exhibition in print and a physical exhibition at CMoG, New Glass 2019, which will feature the works selected for New Glass Review 40. Artists, craftspeople, designers, and architects are invited to submit images of new works made in glass—including video works and performance art in which glass plays a fundamental role—for New Glass 2019. Emerging and established artists, as well as students from around the world are encouraged to put forward work for consideration. Works must have been made between 2015 and 2018. We invite you to submit your work.
As we fondly look back on 40 groundbreaking years, we asked artists from past and present to describe the importance of New Glass Review to them and the glass community.
How did you discover NGR?
Tali Grinshpan: “I discovered NGR the first time I visited The Studio at Corning for a class. It took me some time to figure out how to get a copy, but when I did, I knew I would like to have my work featured in it one day.” Represented in NGR 39.
Howard BenTré: “At the time NGR started, there were very few publications that included glass as a subject. NGR filled a void and allowed artists working with glass to have a venue for publication.” Represented in NGR 3, 4, 7.
Andrew Erdos: “I started working in glass when I was 15 years old, taking classes at Bucks County Community College in Pennsylvania. There were always copies of NGR hanging around in the glass studio, so it has been in my subconscious from the very beginning.” Represented in NGR 28, 33, 35.
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- Howard BenTre, Bench 1, featured in New Glass Review 7 (1986).
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- Andrew Erdos, Expansion Regeneration Candy Rot, featured in New Glass Review 33 (2012).
How would you describe NGR?
Sylvia Levenson, Everyone Has Somebody But Me,
featured in New Glass Review 31 (2010).
Sylvia Levenson: “If you compare NGR now with the ones of 10 or 20 years ago, you can see how the tastes, ideas, and ‘fashions’ are changing and evolving. Artists now are more focused on ideas than in the beauty or perfection of glass.” Represented in NGR 25, 26, 29, 31, 32, 35.
Mark Peiser: “Well, I think it’s a survey. What it’s surveying I believe has changed since I first heard about it. Of course, so has the glass world, as well as the audience for such a publication.” Represented in NGR 19, 27.
Andrew Erdos: “It is one of the most democratic curatorial approaches in contemporary art. Anyone can apply, and your work will be reviewed by a panel of relevant judges.”
Katherine Gray: “It’s always a great resource to see what others in my field are doing around the world. It’s a good reflection of current issues/trends in the glass world that is not reflected in what one can see in gallery exhibitions.” Represented in NGR 22, 24, 25, 30, 31, 33, 34.
What role do you think NGR plays in the glass community?
Mark Peiser, Cold Stream Cast Bowl, featured in
New Glass Review 27 (2006).
Tali Grinshpan: “I think NGR is bringing a wide range of glass art and artists to the attention of the contemporary art community. I also find NGR to be educating and aimed to encourage artists to further explore the medium of glass and push its boundaries to new and unexplored directions.”
Justin Ginsberg: “NGR plays a vital role in giving artists an opportunity to share their work on a professional stage. Creating a record over the past 40 years catalogs the development of the movement.” Represented in NGR 32, 34, 35.
Mel Douglas: “I think it can be quite influential, as it often maps the current trends. It also gives an interesting insight into the judge’s practices and interests.” Represented in NGR 22, 26, 34, 35.
Kait Rhoads: “It can give a lot of exposure to new artists and is a barometer of the latest fashions in glass. NGR creates a global glass identity that helps to solidify and cement camaraderie between glass lovers across the world.” Represented in NGR 15, 16, 20, 23, 27, 28, 29, 30, 31, 32.
Read part 2 of New Glass Review(ed): Memories from 4 decades, where artists share how New Glass Review impacted their careers.