- UD grad students help preserve cultural heritage across U.S., around globe
- LeeAnn Barnes Gordon: Agora Excavations, Athens, Greece
- Lauren Bradley: Walters Art Museum, Baltimore
- Alisha Chipman: Paul Messier, LLC
- Rose Daly: Nasher Sculpture Center, Dallas
- Emily MacDonald-Korth and Carlos Moya: Fengguo Temple, Yixian, China
- Amanda Maloney: C.C. von Waldthausen Fotorestauratie Atelier, Amsterdam
- Gwen Manthey: Western Center for the Conservation of Fine Arts, Denver
- Carrie Roberts: English Heritage, London
- Kirsten Travers: Stichting Restauratie Atelier Limburg, the Netherlands
- Renee Wolcott: Smithsonian National Portrait Gallery
- Erin A. Anderson: Poggio Colla, Mugello Valley of Tuscany
- Tatiana Cole: Metropolitan Museum of Art
- Anne Getts: Philadelphia Museum of Art
- Sarah Gowen and Stephanie Oman: Shangri La, Honolulu, Hawaii
- Allison Holcomb: Colonial Williamsburg, Williamsburg, Va.
- Ellen Moody: Sherman Fairchild Center, Metropolitan Museum of Art
- Steve O'Banion: Smithsonian American Art Museum, Lunder Conservation Center
- Ellen Promise: Philadelphia Museum of Art
11:56 a.m., July 28, 2010----This summer, I am interning in the Costume and Textile Conservation lab at the Philadelphia Museum of Art, under the direction of textile conservator Sara Reiter. During my time here, I am fortunate to be getting a taste of the varied activities that occur in the conservation lab of a large museum -- a new and exciting opportunity for me.
Much of the work in the lab this summer is centered on preparation for and changing of museum exhibits which feature costumes and textiles. I have been assisting in work for multiple exhibitions, allowing me to experience a diverse range of conservation activities. For example, in the newly installed “Threaded Adornment: Four Centuries of English Embroidery” exhibit, I learned about the construction of mounts and the various methods by which an object can be secured to a mount while on display.
For an upcoming show on male fashions, I am researching, assessing and doing minor treatment on a pair of embroidered and beaded slippers, as well as assisting in wet cleaning a pair of breeches that are part of a Philadelphia City Cavalry uniform. For an exhibition on tailored men's wear, I have prepared condition reports and performed minor treatments in order to ready the objects for display.
The upcoming “Desert Jewels” show, featuring African jewelry as well as a few textiles, has given me an opportunity to learn about the work required for a hanging wall display. Another big part of the summer will focus on the de-installation of the “Kantha: The Embroidered Quilts of Bengal” exhibit.
In addition to exposure to such a varied array of costumes and textiles, I am working with Sara and conservation scientists to investigate the possible deterioration of hook-and-loop tape mounts of textiles currently on display in the museum. As well, I get to spend one day a week in the storage area.
The costume and textile collection recently moved into new facilities at the Perelman Building, and many of the objects were re-housed in preparation for the move. What we have been doing each week is re-assessing each object to ensure that it is being stored in the most appropriate and space-effective manner; engendering proper storage conditions maximizes the long-term preservation of a collection.
Overall, this has been, and promises to continue to be, a wonderful experience, broadening my horizons and exposing me to an array of conservation activities.