Artist and Curator Leslie Norman assembles an exhibition showcasing American Heritage Glass. Both traditional glass works, photographic representations of glass works, and Uranium glass works will be on display.
From Leslie:
The series American Heritage Glass was born amid humble beginnings in 2022 with a
photogram of a piece of Anchor Hocking glassware in the popular mass-produced ‘Star of
David’ pattern that I inherited from my maternal grandmother.
The ‘American Heritage Glass’ project is my modest attempt to catalog a bit of Ohio history by
way of contemporary photography. This curated collection features glass from the American Brilliant Period (circa 1870 - 1920) through Mid-Century (circa 1930 - 1970). Companies such as Libbey, Fostoria, Anchor Hocking, A.H. Heisey, Federal Glass, Cambridge Glass, Imperial Glass Co., and Lancaster Glass are featured in this collection, as are others.
Traditional, handmade gelatin silver prints, photograms, and a few alternative process prints are
represented in this collection. The photogram, a photographic technique devoid of camera or
film, is a darkroom print created by the interplay of light and shadow on abstract shapes and
material densities. The black and white photogram brilliantly lends itself to the amorphous,
mysterious properties of glassware.
My growing interest In Ohio glass has propelled me to visit places of historical significance in
Ohio’s glass making past. Many once-thriving factories sit in crumbled disrepair, decaying in
long-forgotten fields. However, many of the former glass houses retain a modest repository
brimming with stunning museum-quality pieces. Their doors barely remain open, their survival
owed to volunteer glassware enthusiasts and small estate donations. Some hold annual
conventions and auctions, which act as a social event for the dwindling population of collectors
as well as a chance to see rare pieces in the wild.
Curiously, some of my most treasured pieces have been scoured from thrift stores for a fraction
of their original worth. Only a generation or two after the heyday of Ohio’s glass manufacturing
period, elegant glassware once a testament to one’s wealth and status, now goes unrecognized
on dusty shelves and can be had for mere dollars. Consequently, I have built a sizable and
varied collection. What began as a curiosity developed into an obsession of sorts, as I
fastidiously researched each piece: the (often perilous) chemical properties of early colors, the
process of acid etching, decaling, and the unique characteristics of elegant, pressed, wheel cut,
and blown glassware. Pieces were initially selected based on pattern complexity, geometry, and
how their physical characteristics might play out in the darkroom. Secondly, I considered the
provenance of the glass. Many of the works exhibited are quintessential to their makers. One
cannot consider Ohio glass without mentioning the “Cambridge Keyhole”, Imperial’s Nucut line,
the beauty of Heisey Crystolite, or Libbey’s Brilliant Era glass.
Early companies specializing in the production of glassware brought global attention to the Ohio
River Valley. Like so many industries of that period, the early glass houses experienced their
share of negative attention when controversial and questionable practices became known.
Issues of pay, hours, child labor, discrimination, and segregation, and extremely dangerous and
often harrowing factory conditions went unchecked.
And yet, the work produced was unrivalled in beauty and quality. As you contemplate this
collection of work, consider the intricate and delicate patterns in the glassware, the shift of
consumerism and values, and what the future might hold. Appreciate our collective inheritance,
with a nod of gratitude to Ohio’s brief yet unparalleled glass making past.
From Sabrina:
Yá’át’ééh.
Shí éí Sabrina Mathues Manygoats yinishyé.
Naakai dine'é nishłį́.
Kinyaa'áanii bashishchiin.
Naakai dine'é dashicheii, áádóó
Tódich'ii'nii dashinalí.
Hello.
My name is Sabrina Mathues Manygoats. I am from Naakai diné, born for Kinyaa'áanii. My maternal grandfather is from Naakai diné, and My paternal grandfather is from Tódich'ii'nii. I cannot express the importance of highlighting indigenous art, stories, and media. Showcasing our creations is an investment into indigenous future and excellence.
As a Diné Artist, who owns and operates The Mathues. Our Diné (Navajo) owned small business strives in providing awareness, education and recognition to the Uranium mines that were abandoned on Dinétah (Navajo Nation) through making Contemporary Navajo Artistry incorporating Uranium Glass. My work at the Blockfort Gallery showcases a mixed media piece that enables the viewer to ponder on the real meaning behind Uranium Glass and the history within these awe-inspiring pieces.
Ahéhee' Thank You
Join us on Saturday June 1, 4-6pm for the opening reception.
