The Glass House Blog

Six Panels: Al Taylor (May 31 – July 15, 2014)


Six Panels: Al Taylor May 31 to July 15, 2014

Six Panels is a new series of exhibitions organized by guest curators in the Glass House Painting Gallery. When the Glass House was the private residence of Philip Johnson and David Whitney, the gallery had an active life as new works were acquired and displayed. Building upon this legacy, Six Panels — named for the gallery’s unique display system — inaugurates the Painting Gallery as a site of temporary exhibitions for the public.
The first exhibition in this series presents Al Taylor (1948 – 1999), an artist whose work Johnson and Whitney collected and knew well. Six Panels: Al Taylor is organized by Robert Storr, a former Senior Curator of Painting and Sculpture at The Museum of Modern Art who worked closely with Johnson and Whitney. 

Taylorism: Lyrical Loopiness and Canny Uncanniness

Al Taylor had a singular knack for making something out of nothing. Of course “nothing” doesn’t exist. Everything is something, and the best artists can take the most meager of means and give them form while imbuing them with substance. But only the best are capable of performing such alchemical feats — and, in the present context, we should consider underlining the prefix “al” while capitalizing the “A”— that is to say, the magic of transforming base matter into aesthetic gold.

Taylor’s mentor Robert Rauschenberg was a past master at the same sort of conjury, and much of the power of his work emanates from the fact that Rauschenberg never gilded a lily, much less a package wrapper, torn magazine photo, shoe, hat, stuffed bird, or any of the found objects and images he incorporated into his work. Rather, he let twentieth-century culture speak in its own vernacular and taught the public to find beauty in the 24-karat “thingness” of the least of things.

Whereas Rauschenberg was an omnivorous scavenger and hoarder, Taylor was the most discriminating and formally economical of recyclers. As exemplified by the works in this exhibition, the ready-made predicates of Taylor’s art range from cardboard tubes to tin cans (Warhol went for the graphics of Campbell’s Soup, Taylor for the ridged shape of its containers), to broom handles, to fishing net floats, to novelty shop collectibles such as plastic shrunken heads. Those heads are among the comparatively rare instances of explicitly figurative, much less overtly Pop elements to be found in his palette of materials. And I use the term “palette” intentionally, since the color of a painted broom handle or the given tones of the scrap lumber Taylor redeployed and sometimes repainted were all factors in the carefully considered spectrum of his sculptures.

Trained as a painter at the Kansas City Art Institute in the late 1960s before moving to New York in 1970, Taylor contributed to a long tradition of painterly innovation in sculpture that started at the beginning of the twentieth century with Henri Matisse, Pablo Picasso, and the Russian Constructivists, notably Vladimir Tatlin, with whose wall reliefs Taylor’s own resonate sympathetically. By contrast, though, Taylor was unconcerned with revolutionizing the world by means of art, but concentrated instead on shifting our vantage point on the commonplaces of the world as it is so as to gently destabilize everything we are inclined to take for granted, including gravity.

Innate whimsicality and formal wit, so Taylor shows us, can be just as metamorphic as programmatic single-mindedness. Likewise, “bricolage” — a French word for making things up as you go along from the resources at hand or, in simple English, “tinkering” — is as fertile a basis for engendering fresh art as the “will -to-form” expressed in “media-specific” terms long advocated by “mainstream” modernism. Moreover, impish charm can be as subversive as argument — often more so — just as the self-effacing trickster is at times a more reliable guide to existential absurdity than the grimly determined hero or antihero — and often more so.


Al Taylor. [no title], 1987

Taylor was both a deft tinkerer and a sly trickster. Take his untitled relief of 1987 that when confronted head-on from a distance appears to be a conventional abstract construction mounted on a relatively small support but, when approached up close or seen from an angle, reveals itself to be a zigzagging amalgam of various lengths, widths, and colors of wooden dowel that jut far out into the room from its simple plywood backboard like a sprung Jack-in the-Box eager to “get in the face” of the unsuspecting viewer, or, without there being anything overtly representational about the piece, like the very long arm of a party guest waving a lighted cigarette.

Taylor’s floor-bound, hence differently invasive “Pet Stain Removal Devices” (1989 – 1992) — of which Black Piece (for Étienne-Jules Marey) (1990) is a puddling cousin — are similarly unhousebroken. Dedicated to the French scientist who, along with English inventor Eadweard James Muybridge, pioneered the techniques and uses of sequential photography, this stepped or terraced sculpture seems to record a splash in cascading stages. And, given the spontaneity of its structural elaboration and the apparently unstoppable spread of the black enamel, one is tempted to hike up one’s trouser cuffs or the hem of one’s skirt to avoid contamination.


Al Taylor. Black Piece (for Étienne-Jules Marey), 1990

Other works are more sober in their abstraction, but the essence of their articulation is no less a product of visual play. The untitled cardboard tube variations of 1987 with which this show opens are a marvelous demonstration of some of the many permutations to which an ordinary manufactured form can lend itself. Who has not, at one time or another, toyed with a toilet paper roll after the last sheet is gone, bending it or pulling apart its coiled laminates? But who, other than Taylor, has thought to create such wonderfully syncopated volumes by “deconstructing” such a throwaway item. The Spanish Cubist Juan Gris famously said that while Cézanne had made a cylinder out of a bottle, he aimed to make a bottle out of a cylinder — or words to that effect. Taylor takes a cylinder, slices it like a sausage, unravels it like a rope, and juxtaposing the fragments, utterly reconfigures it like a jeweler working in perishable pulp rather than precious metals.

Taylor was expert at freeing mundane objects from their given identities and settings — tin cans from the pantry shelf, bicycle wheels from the pavement — and suspending or cantilevering them into weightlessness, like so many untethered bits of flotsam and jetsam floating free inside a space capsule. Distill (1988) has this quality, as does Untitled (Night Lessons) (1993), though the wooden armature of the latter is partially anchored to the wall. Exactly where on the wall other reliefs are placed becomes their defining characteristic. Low Fat (1995) sticks out such that it could trip an oblivious passerby, or at least bark at their ankles or calves. Upper Case (Bern) (1992) tips down from on high like a surveillance mirror, except that the plain plywood face of the relief reflects nothing and no one besides the gallery goer is watching. Station of the Cross (1990), Untitled (Mapplethorpe Pc.) (1986), and related pieces hew more closely to traditional modernist concerns but display an improvisatory verve and linear animation that is unique to Taylor’s work.


Al Taylor. Odd/Even, 1989

For their part, Untitled (Mapplethorpe Pc.) and Station of the Cross redraw, reconfigure, and remodel ambient space, even as the pressure plates of the austere Upper Case (Bern) and kindred pieces such as Untitled (1987) reshape it, and the long arm of the work with no title and the festive Layson a Stick (1989) probe and enliven it. For its part, Shrunken Heads with X-Ray Vision III (1993) hovers disturbingly, but also comically, just above eye level, metaphorically miniaturizing the spectator’s head while calling into question the relative intensity of his or her gaze—is he, is she, or are we gifted with X-ray vision? It also links Taylor to the Funk sensibility that has long thrived West of the Hudson even as it obliquely, teasingly evokes Bruce Nauman’s many beleaguered hanging heads. To be in the company of all these ambiguously assertive presences is to be enveloped in a linear, planar, and chromatic “happening” that prompts participation via one’s own forward, backward, and sideways movement.

Taylor’s prodigious talents with a pencil and a brush have much the same effect in two dimensions as his sculptures have in three. To enter into his drawings — for that is what looking at them entails — is to be caught up in an antic conjugation of charged strokes, bold marks, and subtle delineations that coalesce in the suggestion of expanding and contracting volumes frequently shadowed by rich washes and variously broad or attenuated currents of dilute ink or watercolor. These graphic forces attract and hold the stationary glance only to throw it off-balance. The experience of such pleasurable tipsiness and the equally pleasurable effort it requires to re-establish an elusive compositional equilibrium is what makes his work so memorable. In Taylor’s pictorial universe there is no standing still, indeed no fixed contour without latent flux, no void without the potential for a sudden infusion of palpable form. Everything about his works on paper, like everything about his sculpture, converges on the tipping point between eidetic coherence and dissolution, knitting and unspooling, becoming and coming apart. Scrutinizing Taylor’s drawings is like watching a card shark in action perform serial feats of prestidigitation, dealing at will from the top, bottom, and middle of the draftsman’s deck with such dexterity that one is convinced his every spontaneous move, his every trick must have been rehearsed a thousand times, and yet, one after the other, they remain mesmerizingly impromptu.


Installation view of Six Panels: Al Taylor.

Finally, it must be stipulated that this selection of Taylor’s work should not be regarded as a systematic survey or art historical summary of his prolific output. After all, the venue was not designed by Philip Johnson — its resident architect — as a museum but rather as a site for intimate delectation. Accordingly, this presentation should be approached as a sampler whose sole purpose other than providing immediate delight is to tantalize those familiar or unfamiliar with Taylor’s achievement and to inspire them to want more. Nevertheless, as the first exhibition in this uniquely conceived private viewing room since Johnson’s death, it is also a tribute to his partner David Whitney, who was an early and steadfast fan of the artist. To that extent, choosing Taylor as the initial focus of the exhibition series “Six Panels” is a salute to both men.

– Robert Storr, 2014

Robert Storr is the Stavros Niarchos Foundation Dean of the Yale School of Art. He was formerly Senior Curator in the Department of Painting and Sculpture at The Museum of Modern Art, New York, where in 1996 he co-organized From Bauhaus to Pop: Masterworks Given by Philip Johnson. In 2002 he was named the first Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, New York University. He has also taught at the CUNY Graduate Center, the Bard Center for Curatorial Studies, the Rhode Island School of Design, Tyler School of Art, New York Studio School, and Harvard University. He has been a frequent lecturer in this country and abroad. From 2005 to 2007 he was Director of Visual Art for the Venice Biennale, the first American invited to assume that position. The exhibition he organized at David Zwirner in the Fall of 2013 to celebrate the centenary of Ad Reinhardt was voted “Best Show in a New York Commercial Space” by the American Section of the AICA (Association Internationale des Critiques d’Art).

Photographs by Ron Amstutz.

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Summer Party at the Glass House


FINAL_EVITE_1The Glass House Summer Party will take place on Saturday, June 14 from 12 noon to 4 p.m. With support from Swarovski, the Summer Party will feature a festive picnic lunch, lawn games, music, and a silent auction along with opportunities to experience Fujiko Nakaya: Veil and the entire Glass House campus.
$10,000 Table Host* (Includes ten VIP seats and two signed benefit edition prints by Candida Höfer).

$5,000 VIP Friend* (Includes one signed benefit edition print by Candida Höfer)

$1,000 VIP Individual Ticket

$500 Individual Ticket

*This level will be acknowledged on the Glass House donor wall as well as all printed and online materials.

For more information, please contact or call 203.594.9884 x33335.














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Spring 2014 Programs at the Glass House


Photo by Sandra Hamburg

Daniel Mendelsohn reading at The Glass House


Glass House Presents

Glass House Presents is an ongoing series of public programs – including conversations, performances, and gatherings – that sustains the site’s historic role as a meeting place for artists, architects, and other creative minds. Before each event, visitors will enjoy the opportunity to explore the Glass House campus and view current exhibitions, including Fujiko Nakaya: Veil. The program concludes with light refreshments. Public programs take place from 3:00 to 5:30 p.m. on Sundays, and 5:30 to 8 p.m. on Thursdays.

May 18, 2014 – Maya Lin + Edwina von Gal

June 8, 2014 – David Adjaye + Thelma Golden


Glass House Presents is generously supported by an anonymous donor.

by Tom Hall

Lucky Dragons

Night Sounds #4
Featuring lucky dragons
A musical performance + reception
at the Glass House
May 4, 2014, 3:00 – 5:30 p.m.

lucky dragons is an ongoing collaboration between Los Angeles-based artists Sarah Rara and Luke Fischbeck. Active since 2000, lucky dragons is known for an open and participatory approach to making music, radically inclusive live shows, and playful, humanistic use of digital tools. Photo by Tom Hall.


Night Sounds #4 is generously supported by a grant from the Graham Foundation for Advanced Studies in the Fine Arts.


courtesy Fujiko Nakaya and The Glass House

Rendering photo of Fujika Nakaya: Veil

Into the Fog with Fujiko Nakaya
Panel discussion at the Japan Society, New York
May 13, 2014, 6:30 p.m.

Renowned artist Fujiko Nakaya, known for her pioneering use of fog as a sculptural medium, is joined by Henry Urbach, Director of the Glass House, to discuss the artist’s current project, Fujiko Nakaya: Veil, on view at the Glass House through November 30.


Fujiko Nakaya: Veil is generously supported by the National Endowment for the Arts, the Robert Rauschenberg Foundation, The Japan Foundation, and Oldcastle BuildingEnvelope®. Additional support is provided by Mee Industries, Inc.

The Glass House

The Glass House

Self-Guided Tours

Self-guided tours of the Glass House offer visitors a unique opportunity to experience the Glass House campus at their own pace. In addition to the permanent art collection and temporary exhibitions, visitors enjoy access to seven structures designed by Philip Johnson, including: the Glass House, the Painting Gallery, the Sculpture Gallery, Da Monsta, and the Library, as well as the lower landscape’s Pond Pavilion and Lincoln Kirstein Tower. Photo by Carol Highsmith.



photo by Sandra Hamburg

The Glass House Summer Party

Glass House Summer Party, June 14, 2014

The Glass House Summer Party will take place on Saturday, June 14 from 12 noon to 4 p.m. With support from Swarovski, the Summer Party will feature a festive picnic lunch, lawn games, music, and a silent auction along with opportunities to experience Fujiko Nakaya: Veil and the entire Glass House campus.



Filed under: Exhibitions, Glass House Presents, Night Sounds, Summer Party, Tours + Programs, Uncategorized, , , , , , , , , , , , , , , , , , ,

The Glass House Debuts New Work by Artist Tauba Auerbach for Night (1947 – 2015) + Night Sounds Performance by ARP


The Glass House is pleased to debut Gnomon/Wave Fulgurite l.l, a new work by Tauba Auerbach for Night
(1947 – 2015)
and Still Life (Glass, Grass, Sky, Sand)
for Night Sounds, a performance series that parallels
Night (1947 – 2015)

Tauba Auerbach, Gnomon/Wave Fulgurite l.l for Night (1947 – 2015)
On view May 2 – September 1, 2013

The Glass House
199 Elm Street, New Canaan, CT 06840
Open Thursday – Monday, 9:30 a.m. – 5:30 p.m.
Tickets start at $30, including tour of the site.

The Glass House is pleased to debut Gnomon/Wave Fulgurite l.l, a new work by New York-based artist Tauba Auerbach for Night (1947 – 2015), a “sculpture-in-residence” series presented on the Mies van der Rohe glass coffee table inside the Glass House, as well as Still Life (Glass, Grass, Sky, Sand) by ARP for Night Sounds, a performance series that parallels the exhibition. Selected by Jordan Stein, guest curator of Night (1947 – 2015) and project coordinator of Night Sounds, both Auerbach and ARP explore ideas of materiality, patterning, permanence, and entropy. Stein says of the pairing, “Their commitment to precision and beauty make the two artists an excellent, effortless match.”

Tauba Auerbach, Gnomon/Wave Fulgurite I.I (2013)  Sand, resin 26 x 11 x 2 in. (66 x 27.9 x 5.1 cm) Photography by Andy Romer Photography (2013), Courtesy of the Glass House, National Trust for  Historic Preservation

Tauba Auerbach, Gnomon/Wave Fulgurite I.I (2013)
Sand, resin
26 x 11 x 2 in. (66 x 27.9 x 5.1 cm)
Photography by Andy Romer Photography (2013),
Courtesy of the Glass House, National Trust for Historic Preservation

Auerbach’s first sand sculpture, Gnomon/Wave  Fulgurite l.l evokes a solid wave of light composed of tiny particles. The physical form of the work resembles that of a gnomon, the vertical component of a sundial that casts the shadow from which time is measured. Throughout the day, Gnomon/Wave Fulgurite l.l will cast a moving shadow along and through the glass table on which it rests. It will be on view until early September 2013.

Still Life (Glass, Grass, Sky, Sand) consists of a suite of compositions written for cello and French horn. Alexis Georgopoulos, the composer and artist who performs as ARP, remarks: “When Tauba decided to construct her sculpture from sand, the links between sand and glass became a motif in my piece.” Georgopoulos continues, “At points, the cello and French horn will be recognizable, at others blurred beyond distinction, leaving a glassy finish, the sense of a horizontal pane of sound. Slowing the instruments down renders the instruments transparent and difficult to make out. The source material turns into something else. Through a very simple act, involving time — often associated with sand, be it the hourglass or the crossing of deserts — the sound transforms itself. Whether crossing the Sahara or finding a place to throw one’s towel on the beach, a passage through sand alters one’s orientation to time and the way one views landscape. “

For the Night Sounds #2 performance, three double-sided vinyl acetates, or dubplates, will be pressed. The music on these six sides will contain specific, sometimes singular elements that make up the composition and will be arranged by ARP live, on site, using two turntables. The sound recorded on the fragile dubplates will degrade, distort, and dissolve during the performance. This quality will be exploited to emphasize ideas of material, relation to time, to sound, and to degradation and obfuscation.

Night (1947 – 2015) presents a series of contemporary artists whose work contends with the legacy of Night, a 1947 sculpture by Alberto Giacometti that disappeared from the Glass House in the mid-1960s, as well as the architecture of the Glass House itself. It is an unfolding sculpture exhibition held in the same spot where Giacometti’s Night once stood. On display for three to six months at a time, the individual sculptures in Night (1947 – 2015) will disappear after their run, making room for new work and new absences. 

Night Sounds is a new performance series that parallels Night (1947 – 2015). Live musical acts are paired with the sculpture on view for each of the seven rotations of Night (1947 – 2015), engaging the current sculpture while contending with the legacy of Alberto Giacometti’s absent sculpture Night. Each performance is documented by Derrick Belcham, who will produce a short film that will be made available online free of charge. Night Sounds invites the audience and online viewers to reinterpret Johnson’s architectural opus, the Glass House.

Night (1947 – 2015) and Night Sounds are part of the strategic development of the Glass House from house museum to a vibrant center for intellectual and cultural life which aims to recapture the site’s earlier legacy as a laboratory for the presentation of new works and ideas. During their lifetimes, Philip Johnson and David Whitney were famously curious, generous, and eager to try new things on the grounds of the Glass House.

About the Artists and Organizers:

Alexis Georgopoulos is a composer and artist based in New York City. As ARP, he makes liminal, minimal music, often with analog synthesizers and, increasingly, with classical stringed instruments. Since 2002, he has performed internationally and has been presented by CHANEL, The Kitchen, PS1, Goethe–Institut, Deitch Projects, Walker Art Center, MoMA, New Museum, White Columns, 303 Gallery, Jacob’s Pillow, SFMOMA, Luggage Store Gallery, Jack Hanley Gallery, New Langton Arts, Yerba Buena Center and Frieze Art Fair. He has released work on labels such as RVNG Intl, Type, Smalltown Supersound, DFA, True Panther Sound, Rong, Eskimo, Lo, Root Strata, Troubleman Unlimited, White Columns & Deitch Projects. He has remixed Lindstrøm, Delorean, Lawrence Wiener and Ned Sublette, Harald Grosskopf and Shocking Pinks and has been remixed by Hot Chip, Studio, Munk, Optimo, Etienne Jaumet and Soft Pink Truth.

Tauba Auerbach makes art that addresses language and logic through painting, weaving, photography, sculpture, bookmaking and instrument-building. Auerbach’s training as a traditional sign painter cultivated her love for words and letters; her text-based work is equally focused on the internal mechanics of language and its formal elements. Recent work has probed the fields of topology, color perception, and higher spatial dimensions. In her paintings, Auerbach confronts the division between the discrete states of flatness and three-dimensionality, gesturing towards a possible escape from the latter. Auerbach’s one-person exhibition, Tetrachromat, presented at Bergen Kunsthall and Malmö Konsthall is currently on view at Wiels Contemporary Art Center. Her work was included in MoMA’s 2012 exhibition Ecstatic Alphabets: Heaps of Language, the 2010 Whitney Biennial, MoMA P.S. 1’s 2010 Greater New York and the New Museum’s 2009 Younger Than Jesus. In 2011 Auerbach was awarded the Smithsonian’s Artist Research Fellowship. She is represented by Paula Cooper Gallery, New York and STANDARD (Oslo), Norway.

Derrick Belcham is the videographer of “Night Sounds.” Based in Brooklyn, New York, Belcham is an internationally recognized Canadian filmmaker, known for his work in vérité music documentary. He has worked with artists such as Philip Glass, Thurston Moore and Wilco. He is presently working on a series of dance films featuring acclaimed dancers of New York City performing choreography and improvisations in the streets of the city.

Jordan Stein Jordan Stein is a curator, programmer, and researcher based in San Francisco, CA. His recent projects have appeared in the New York Times, Artforum, Frieze, and NPR. He is an Assistant Curator at the Exploratorium, a museum of human perception, and is a co-founder of Will Brown, an experimental exhibition and program space. He also operates Glass, house, a collaborative operation concerned with transparency. He has twice been awarded the Alternative Exposure Award from Southern Exposure, andwith Will Brownwas a 2013 artist-in-residence at Headlands Center for the Arts. He received his MFA from the San Francisco Art Institute in 2005.His latest project, The Best Things in Museums are the Windows, a four-day trek with Harrell Fletcher to the top of Mount Diablo, takes off from the Exploratorium in July, 2013.

The Glass House was built between 1949 and 1995 by architect Philip Johnson, the Glass House is a National Trust Historic Site located in New Canaan, CT. The pastoral 49-acre landscape comprises fourteen structures, including the Glass House (1949), and features a permanent collection of 20th century painting and sculpture, along with temporary exhibitions. The tour season runs from May to November and advance reservations are required. For more information, and to purchase tickets, visit

The National Trust for Historic Preservation is a privately funded nonprofit organization that works to save America’s historic places to enrich our future.  Night (1947 – 2015) and Night Sounds contribute to the National Trust for Historic Preservation’s larger goal of reimagining historic sites for the 21st century. The guiding principles of this initiative are that historic sites must be dynamic, relevant, and evolving and that they must foster an understanding and appreciation of history and culture that is critical, sensory, and layered.

Filed under: Exhibitions, Tours + Programs, , , , , , , , , , , , , ,

New Exhibition Launches at The Glass House – Frank Stella: Scarlatti Kirkpatrick (2006 to present)

Art:  Frank Stella, K.80, 2006 © 2012 Frank Stella / Artists Rights Society (ARS), New York Photo: Andrew Romer, 2012 

Frank Stella: Scarlatti Kirkpatrick (2006 to present)

On view September 22–November 30, 2012

The Glass House
199 Elm Street, New Canaan, CT 06840

Open Thursday–Saturday and Monday, 9:30 a.m.–5:30 p.m.,
Sunday  11:30 a.m. to  5:30 p.m.

Tickets start at $30, including tour of the site.


Scarlatti Kirkpatrick (2006–present) is a series of recent works by the renowned American abstract artist Frank Stella. The series represents Stella’s current and latest body of work.

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Frank Stella Painting from the Glass House Collection Included in New Exhibition at L&M Arts

Philip Johnson Glass House, Painting Gallery, © Harf Zimmermann. Painting on View at right is Averroes (1960) by Frank Stella.
Paintings in the Philip Johnson Glass House Painting Gallery, from left to rightPhilip Johnson (1972) by Andy Warhol, Brzozdowce I (1973) by Frank Stella, Konskie III (1971) by Frank Stella, Tetuan II (1964) by Frank Stella, and Averroes (1960) by Frank Stella.
Photo © Harf Zimmermann.

The Frank Stella painting, Averroes (1960), from the Philip Johnson Glass House permanent collection is currently on view as part of the exhibition Frank Stella: Black, Aluminum, and Copper Paintings at L&M Arts gallery in New York.

Art critic Roberta Smith of the New York Times recently described the exhibition in her review Laying the Tracks Others Followed, Frank Stella’s Early Work at L&M Arts:

It features 13 of the adamant, quietly pulsing, exceedingly frontal paintings that Mr. Stella made in New York in the three and a half years after he arrived here in the summer of 1958, fresh out of Princeton.

This amounts to more early Stellas than have been exhibited in New York since the survey of his work at the Museum of Modern Art in 1970. They provide a heady sense of the first few fastest-moving years of his development, when he helped bring the Abstract Expressionist chapter of New York School painting to a close and lay the foundation for Minimalism.

Smith goes on to describe Stella’s Aluminum series, including Averroes:

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The Glass House Congratulates New Canaan High School Photography Teacher Jeanne McDonagh + Student Dylan Neuhaus for 2012 Scholastic Gold Key Award

Image of Glass House by New Canaan High School student Dylan Neuhaus

Photograph of the Philip Johnson Glass House by New Canaan High School student Dylan Neuhaus

The Philip Johnson Glass House congratulates New Canaan High School photography teacher Jeanne McDonagh, and her student Dylan Neuhaus, who won a 2012 Scholastic Gold Key award for a portfolio of photography including a photograph (above) of the Glass House.

Glass House Partnership with New Canaan High School Students + Faculty

The cultivation of young talent is central to the mission of The Philip Johnson Glass House.

The collaboration between the Glass House and New Canaan High School (NCHS) began shortly after the Glass House opened to the public. Photography, documentary film and journalism students, with the support of their teachers, began recording oral histories of the architects, craftsmen and homeowners who created New Canaan’s remarkable heritage of modernist residential architecture.

Additionally numerous photography projects using the Glass House site as inspiration have been woven into the art curriculum at New Canaan High School. Several of these images (including the work of Dylan Neuhaus) have become commissioned products for the Glass House Design Store, sharing this work with thousands of visitors each year.  Fifty percent of the proceeds from the sale of items using images from the students’ work will be directed to fund this ongoing partnership.

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Glass House Focus Tours: Architecture + History

Glass House Focus Tours: Architecture + History

2-hour guided tour | $45 per person | Select Wednesdays at 2:30pm


Focus tours delve into specifics of the tour topic, including special access and alternate paths. Focus Tours are intended for guests interested in learning more about a key element of the site or for those looking to see the Glass House through a new perspective.

Architecture + History | Explore the history and theory, materials and technologies, influential architects, and preservation challenges of Modern architecture through the lens of the Glass House campus. Visit interiors of the Glass House (1949), Painting Gallery (1965), Sculpture Gallery (1970), da Monsta (1995), and access (through a field of tall grass) the Library/Study (1980), housing Johnson’s architectural library spanning Schinkel to Hadid and overlooking the Ghost House (1984).

For more information on this and other Glass House tours visit

The 2012 Glass House public tour season runs from May 2 – November 30, 2012 (closed Tuesdays). Tickets are available now!  Advance reservations are highly recommended.  Tickets by phone, please call 866.811.4111.

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Glass House Focus Tours: Art + Influence

Glass House Focus Tours: Art + Influence

2-hour guided tour | $45 per person | Select Wednesdays at 2:30pm


Focus tours delve into specifics of the tour topic, including special access and alternate paths. Focus Tours are intended for guests interested in learning more about a key element of the site or for those looking to see the Glass House through a new perspective.

Art + Influence | Philip Johnson and David Whitney played a significant
role in cultivating and commissioning the work of world-renowned creative talent that defined an era: enjoy deeper discussion and close observation
of the art works of the Glass House campus, including one of the world’s foremost collections of pieces by Frank Stella. Artists include Andy Warhol, Donald Judd, Cindy Sherman, David Salle, Lynn Davis, Julian Schnabel, Michael Heizer, Robert Morris, Bruce Nauman, Andrew Lord and John Chamberlin. Explore the personal relationships between the Glass House, these artists, and the founding and development of The Museum of Modern Art.

For more information on this and other Glass House tours visit

The 2012 Glass House public tour season runs from May 2 – November 30, 2012 (closed Tuesdays). Tickets are available now!  Advance reservations are highly recommended.  Tickets by phone, please call 866.811.4111.

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Glass House Pop Up Shop on!

Support The Glass House: Visit to check out our
Glass House Design Store sale going on now through April!

Bracelets by Jessica Kagan Cushman with quotes by Philip Johnson.

Bracelets by Jessica Kagan Cushman with quotes by Philip Johnson, now available on!

The sale includes great gifts and Glass House-commissioned products by Michael Graves, Jessica Kagan Cushman, Moleskine and more!

Sign-up to be a member of (it’s free!) to view Glass House Design Store products available now on!

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