10 days or so ago we wrote you about an idea that germinated in the last board meeting of the Club.

We called it the “Big Idea”. It was to have the Club and its members, in a partnership, seek out museums that were willing to put a representative Carder collection on display that would reasonably show the range of Mr. Carder’s works. Then we would supply that collection. The response has uniformly favorable. Although I must say not in the volume of absolute number as I might have expected. In fact, one prominent museum’s curator specifically indicated a strong desire for such a program for his museum. In another instance another major museum that might well have an interest was suggested with our member willing to step out and make the sale to his museum.

One member of the Club has put together a thoughtful critique and I thought it worthy of sharing her thoughts. Carol Kalinich, of Gloucester, VA, who has curatorial experience and as you’ll see, life in Corning, comments:

I love the idea of preserving the history and the one of a kind work of Frederick Carder in a museum. I am outraged at your description “This begins with a recognition that few museums and their curators give any recognition to the importance of the decorative arts and , in particular, art glass as an important and influential art form; let alone appropriate recognition for the impact of Mr. Carder’s artistic and historic influence on the development of art glass in America”. How many museums have you visited? This exhibits you know little about museums OR curators!!! Also when this subject was being brought up LIBRARIES were in the mix! Good God! Do you think a library would know anything about even holding a piece of Carder art glass?
As a museum Curator of Education, at the Shelburne Museum in VT, Morris Museum in NJ, among
others, curators are keepers of the past as well as the present works of art of all kinds! In the early 1980’s The Morris Museum had a large and important exhibit of art glass and Harvey Littleton and Paul Gardner stayed at our home because they were lifelong friends. At that time the studio glass movement was just being recognized and popular in it’s own right. As a curator, my peers and I love the objects we work with. We often spend hours researching, writing, raising money, choosing the best of the best artists and or pieces we can find for an exhibit, and handle them with the utmost care. As a curator, you must know everything there is to know about an object and its’ creator in order to educate the public. These items are one of a kind, and we want to share and teach the public at large. People do not know of Frederick Carder because he has been stuck in Corning New York for too long. Partially the main fault in my own opinion points to Arthur A. Houghton Jr.-his lies of owning Steuben before he bought it and then the smashing. Or pieces being displayed on someone’s shelf.
He was not prolific as was Tiffany–who is a household name! After the “smashing” and they went to crystal, Mr. Carder got a little more recognition through the status of wedding gifts and the like–but nobody can even pronounce “Steuben”, and unless they study or visit his gallery at Corning, most have no idea the magnitude of his creative genius! Especially his colors, shapes, and breadth of technique! So YES, YES, YES THIS IDEA IS RESONATING WITH ME. The museum should be professional-meaning not some little place in some small town with volunteers managing it. There should be a study done to see which of the larger museums already have Carder glass, what kind, how much etc. I like the Chrysler Museum in Norfolk, VA They have a lovely glass collection now and it is an international varied collection. I like the VA Museum of Fine Arts. I work with the Educators of the Mellon Collection. The Morris Museum Morristown, NJ These just come to mind because I know them, and the Carder Collection would fit-esp. in NJ. They may even make a permanent exhibit space–1000’s of people and school children visit there each year. It would be a good fit because Morristown is 1 hour due West of Manhattan. Is a well rounded popular museum with permanent as well as rotating exhibits AND experienced caring CURATORS! Curators are the keepers of our historical objects-a most important position! I would love to work on this BIG IDEA, by researching museums. Members could submit their choices to me. We could form a group and work with the head of the Steuben Collection Curator as well. This is an important decision to make for The Carder Steuben Club and I believe it warrants some effort from those with some experience and passion.

One other item. My father was chief photographer for most years from the 1939 Worlds Fair in NYC-the early 1950’s. No one’s photographs could compare. “the Glass Center” kept him out of WWII, he did not know what was going on. Kodak wanted to hire him before he left. “the Glass Center” never told him they called.
Then they decided to put a “boss” above him, who knew nothing of photography. You can imagine how my father felt. Dear Fred Carder was a great one for telling what was what. He told my father what was going on, what was being said etc. Mr. Carder told him “Get the hell out of this place. You are an artist. You don’t need those bastards” Then he proceeded to offer him a new car, money, anything he wanted. of course Dad took nothing, but “Fred’s” advice, and quit. Dad made all of the books for visitors–full of photographs, playing card picture, all promotional things WITH NO MENTION OF WHO TOOK THE PICTURES. He was “a company man”. The Glassworks put out a magazine called the GAFFER. Dad did every cover. The entire plant waited to see what the picture would be. Well, most all of his photos even the Gaffers as far as I know were lost in the flood in the 1970’s. Dad got no recognition. He even took the Houghton’s annual Christmas picture, free pictures for the Red Cross etc. etc. He was a giver. That is why I am writing a book about my father’s work and the old Glassworks. Did Frederick Carder get recognition for his genius? NO
His was lost and cruelly destroyed by having his work smashed! Once Carder’s glass went crystal, his color genius was forgotten. There was no art glass movement back then. People didn’t appreciate art–they went modern. Look what that has done to our society-if you get my drift?

Cordially,
Carol E. Kalinich

Additional thoughts are more than welcome.