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— as well as underknown women artists deserving rediscovery, such as Louise Cox, Bertha Evelyn Jaques, Mabel Pugh, and Ellen Day Hale. Then there are the decorative-arts stars of this exhibition: fragile, extraordinary works of glass, more than a quarter from the coffers of the Smithsonian, joined by loans from more than 45 museums, as well as private collections. Highlights include virtuosi works from the celebrated centuries- old glassworks Seguso (dating from 1397) and Barovier & Toso (established 1295) in an array of forms, from mosaic portraits to cups, goblets, urns, vases, and one of the calling cards of the exhibition, a Byzantine revival gold-and-glass mosaic necklace fit for an empress. Cue Justin Ginsberg This exhibition would be extraordinary if the above were its sole focus, but Amon Carter organizing curator Maggie Adler inserts a surprise, that of artist Justin Ginsberg, whose day job is assistant professor and head of glass at UT Arlington's art and art history department. Over a series of weekends this summer, Ginsberg set up a glass kiln on the lawn of the museum, showcasing his prowess with the medium by pulling filament-thin glass threads that he installed after each session in the Carter's main gallery. The resulting site-specific installation, "Shaking the Shadow," recalls an ethereal waterfall translated into gossamer-like skeins of clear glass. By the time his sculptural installation wraps, there will be 9,200 strands suspended from the Carter's ceiling in a six-foot-by- six-foot footprint, each hair-thin glass piece approximately 20 feet, six inches in height. "Sargent, Whistler, and Venetian Glass: American Artists and the Magic of Murano," through September 11; "Justin Ginsberg: Shaking the Shadow," through early December; at the Amon Carter Museum of American Art, Fort Worth, cartermuseum.org. (Continued from page 62) Justin Ginsberg in his site-specific installation now on view at the Amon Carter Museum of American Art "Justin Ginsberg: Shaking the Shadow" at the Carter 65