Abstract

In 2007, the artist Josiah McElheny stumbled across a reference to a little-known short story by Paul Scheerbart, “Der Lichtklub von Batavia: Eine Damen-Novellette” (“The Light Club of Batavia: A Ladies’ Novelette”) (1912). McElheny, recognized for his work with glassblowing and elaborate sculptural installations consisting of glass and mirrored objects, was already familiar with Scheerbart’s utopian treatise on glass architecture, which called for the creation of a spiritual environment built from new technology, “the new environment [that] . . . must bring with it a new culture.”1 The artist’s fascination with Scheerbart’s writing extended beyond a shared interest in the medium of glass. In his work, McElheny ..