Published February 28, 2010
in General.
We then went into the Textile Gallery to look at options for the immediate display. All this time, space and boxes has been an issue. The big plexi boxes that objects go in are very expensive. They can run in the thousand plus dollar range. So using ones that are already in inventory is important. That has been an issue – how tall is the mannequin. Can the mannequin be set on a platform and be only waist up? We can buy one with a pole and is detachable so we have options, etc. How long is the skirt if we go that route… What boxes are available. Its all logistics!
So there were two ideas. The first was to put the fully dressed mannequin in a large wall display with other items. It would be one of the first things seen when going through the gallery, but kinda out of place with the historical items in the case. And we were all wanting to keep it away from the wool (tarnishing potential from outgassing). Covers would be moved around if needed. The video monitor angles would be something to work on.
The second spot was where a embroidered chair is currently. The case wasn’t big enough but one that could be substituted for another. The spot is a bit more private and secluded from view when you enter the gallery but the object that is there is more highlighted. There was some room for the video monitor too. We were all happy with this spot. That was the preferred choice. A bench was going to be moved to the area and a case with an object moved to accommodate the bench. (A bench is needed to allow people to watch the slide show).
So we had a plan.
Or so we thought.
Tricia
Published February 27, 2010
in General.
So the plan I talked about yesterday went out the door over six months ago as it became apparent that the demand to see it would outstrip the docent availability. So into the Textile Galleries it would go as soon as staff could get it mounted. That meant in late April after the museum was closed for a month and a few new exhibits were mounted. Then they could spend the time getting the mounting done and the ‘collateral’ that would be needed to tell a bit of the story ready.
So Linda took us into the galleries to discuss space. Through the generosity of the blog readers around Christmas, we knew now that we could afford a video screen to help us tell the story through a rotating slide show and maybe some video (we are working on all that now – more choices to be made!).
We visited four spaces. Two for the mini-display for now and two for the larger exhibit. The mini-display we had some input on what we thought might work best for the jacket. The other space choice is pure $$ available. So fund raising is needed.
Let’s talk major exhibit in 2011 first. Here is the small gallery (green) that Linda has already reserved and uses frequently for her textile exhibits. We have already raised about enough money to do this space. Not too big. Intimate and would fit the jacket but not the people who might come. It limits what about the project we can show and the overall theme of the exhibition. The current plan is to use the jacket as part of a larger story about how embroidered objects are made – there are lovely original patterns in the collection from other time periods, and other themes that would allow a mixture of historic objects and this reproduction to tell a bigger story. We also wouldn’t be able to borrow pieces related from external collections to add to the story if we were limited to the small space.
Now the second space (blue) is an exhibit that is being taken down. A very nice large space. About ten times the size of the first. I really want to come to an embroidery exhibition in this space because it can hold alot. And we have started requests for objects to come to sit next to the jacket if we get the dollars in place. Wouldn’t you like to see an original piece related to that workshop next to the reproduction?
As Linda told us, we all need to do fundraising (every $5 helps!) and if we can clear certian numbers by a certian date, we can commit to this space for 2011. She is getting me the date and numbers and we are going to make a good try! That button on the sidebar still works and every little bit helps.
Tricia
Published February 26, 2010
in General.
Before Karin left, Linda wanted to discuss where Faith would be displayed in the first ‘mini’ exhibit. As soon as the rumor got going that the jacket was coming to Winterthur, their main line has been getting tons of calls. So the original plan was modified.
The original idea was for the jacket to be in the Textile Study room. This is a room that is only available on a booked docent led tour a few days a week. I liked it as it kept it on display but not accessible to the general passerby. That seems nasty at first for a project that is all about sharing, but let me explain. The problem was how to tell the story before the main exhibit in 2011. Those who knew about the story could see it relatively easily if it was tucked away on the docent tour. But it was out in the general gallery, those who stumbled by it wouldn’t know what it is. The viewing is kinda lost on someone without the context. Putting together such collateral is expensive and time consuming. Think about what you would say about this project in only 150 or less words (about the length of a typical museum label). I can’t even fit anything more than an ‘elevator pitch’ in 2500 words for articles I am asked to write!
Here is one my son would write to give you an example of how hard this is. It would fit in the space but doesn’t say much.
The Plimoth Jacket, circa 2010
This pretty jacket was made by alot of really passionate people who came from all over and learned to do hard things. It looks like it is old but it isn’t and it took a long time to make. It is really important to history as we learned alot. I am not sure why they did it. By the way, they made lots of other things too and discovered stuff. People cried when they saw it. Come back in 2011 to hear the whole story.
Linen, silk and metal threads. Hand dyed silk lining. Made by around 300 people whose names don’t fit here, 2006-2010
There have been many cuts for the real object label already. It will go through many more modifications and committee before it is set. It is pretty tough to sumarize this project. And there are good reasons for the limits on space. Trust me on this. I think you are getting the idea of why exhibits are hard to put together now.
That is why the video screen…
Tricia
Published February 25, 2010
in General.
So we have some really obvious stuff to keep and some not so obvious to keep. Keep the jacket pattern and let the orts go. (Somewhere along the line, almost everyone started keeping orts). In some cases, doing the measurement on them (weighing the orts) was all that is needed and then they can go. And after those decisions are made, in what form to keep the stuff (digital or hard copy) and what to do with the stuff that is being ‘deaccessioned’. And ownership too. Some of the stuff is not owned by Plimoth and some is copyrighted. Then there is paperwork to be done to allow ownership to transfer on things that Plimoth or Winterthur doesn’t want or only wants in digital form. But in the end, almost all of it has ‘value’. I am sure there are a few of you out there who would like a souvenir.
Yes – we will need to do paperwork on orts. Can you believe it! After I am finished digitizing a ton of stuff, some will be transferred to me to keep for research and book prep. Some becomes part of the official archive at Plimoth. Some travels with the jacket. Some is going to Winterthur to be used in the conservation program they run with University of Delaware to educate new conservators. A bit of it is going to be used in an exciting experiment that I will talk about in a later blog with the conservators at Winterthur. And the rest may be auctioned off to benefit the project.
A list of just SOME of the things:
- 12 binders of instructions
- several gallon bags of orts
- Three gallon bags of linen and silk lining scraps
- lace and embroidery samples from stitchers
- about 100 used needles
- empty thread tubes
- cardboard boxes that we kept the threads in
- samples we worked to figure out the lace and embroidery
- extra thread
- patterns
- and files, files, files of correspondence.
If you want to add to our 80 GB of data (pre-scanning!) and have even a few pictures on your camera – send them to me at tricia@alum.mit.edu or I can give you an address for a CD. We have gotten fantastic pictures so far from participants. One of the wonderful things about these gifts is that they are date stamped in the digital file. From that I have been able to pull out info that is either confusing in the database or missing about who stitched where. So even though you thought you were just taking a picture of your motif for your edification. It is actually really useful for historical research. Send them on over. I am building the digital archive for Plimoth with folders that have the info on each photographer so we can use it later to help us fill in details.
Tricia
Published February 24, 2010
in General.
One of the unique things about this project was that we were creating a museum object and knew it from the start. Not many things can say that about their origin. Because of this, care has been taken from day one to document and keep things.
There are alot of things. About six bankers boxes full in fact. And that doesn’t count the photos, emails, computer files, and the objects themselves. We knew the day of reckoning was coming – what to do with it all. We call it the archive.
So all the while during this project I have been talking to various curators, historians, and conservators. When I speak to them, I will often ask “If you could have anything from the manufacture, what would you like to know about an object”. I have gotten many interesting and thoughtful answers over the last three years. This has educated our saving and recording. The blog is a vital part of that process. Sometimes Jill and I have taken great pains to get a detail or picture into the blog as it records that info. The format of the blog is great because you can put your thought process and mistakes down as well. Something that never will get into a book or journal about this project but that is invaluable to a historian.
When we wrote in the seams of the jackets, coifs and forehead cloth – people said ‘brilliant’. Well it was just the outgrowth of talking to all these people and asking what someone like them would want to know in a hundred years.
Now that we have all the stuff, it is obvious that there is too much. Plimoth has limited space for object and information storage. Winterthur is in the same boat. Digital is the way to go – but gold CD’s for long term archive storage. But we have things too. And a whole large file drawer as well.
So one of the goals while we were at Winterthur was to make decisions on the archive. I had complied a list of stuff as well as brought examples (remember that property pass) to the meeting. Karin and Linda sat with me and we made the judgements of Soloman right then and there. This took over an hour. But imagine – trying to figure out what a historian, curator or conservator would want in a hundred years. That is amazing to be able to decide.
I will fill you in more on the details tomorrow
Tricia
Published February 23, 2010
in General.
Faith is more delicate that you would think looking at her. For one thing, the hooks and eyes constantly catch the lace when moved. We put those on at the last possible moment. Then the seams almost seem as if they will rip apart with the weight of the fabric. And on top of it all – she is shedding spangles.
Before someone gets all upset that she has lost spangles, its only been a few so far. But any excessive handling increases the likely hood that more come off. When you think about how they are made, they have a little join that sometimes is open. And when putting lots on, some of the open ones get sewn in place. And when it is sewn on from spangle to spangle, the linen is taut and the thread is taut. But once it is off the frame and constructed, the thread gets loose and the open spangles can fall off if they rotate enough.
Take a deep breath out there spanglers. It is a natural process. When going in to see objects in a storage area, there is always a little plastic bag with the 17th century ones for their shed spangles. That is one reason why handling them is restricted. And if you look close at some pictures, you will see the tell-tail stitches left were the spangles once were. So the staff at Winterthur put more paper in place with handling instructions – be careful and keep the spangles. We had already established a spangle bag that lived with her in the box. She is aging and it is natural. But it helps to explain what you see on the historical objects.
One of the things that was done and needed to be finished was giving the objects a number. Accession/catalog numbers are how objects are tracked in museums. But they also need to be on or connected to the object in some way also to help identify. Karin had worked on providing numbers and in many cases actual tags for the objects. Those numbers needed to be recorded and anything missing generated.
I forgot to take down Faith’s number.
Tricia
Published February 22, 2010
in General.
So Karin and I had provided an official condition report to Winterthur. Now it was time for them to review the report, examine the objects (remember there are almost a dozen being unpacked), verify that they are in the condition reported and add any comments about said condition to the report. After this process is done (with copious picture taking) and everyone agrees that the conditions are as jointly marked down on the paper, there is more paper and signatures.
Hours. This took hours.
Just to give you a hint of what types of things we needed to record in words, location and pictures. Scuffs on the toes and marks on the leather of the handmade shoes. A safety pin hole in the handwoven silk garters. Staining to the top of the handknit silk stockings. Loose threads. Yes, loose threads. Think about any split gold thread on the jacket and a little piece of gold sticking up. Documented. Missing spangles (more on that another day). Documented. Snags. Think about almost 10 yards of silk fabric on the two skirts that had to be examined. The uneven results of the hand dyed fabrics and any dark dye spots on them. Black dots on the linen of the embroidery. Those dots came from the miniscule amount of machine oil on the gilt strip that makes the gold threads. The dots are where the waste knot was. Sometimes it is noticeable. HOURS and four people.
Why? Well, insurance and responsibility. If something this valuable gets damage you need to have something in your files to prove its condition when you accepted responsibility for it. It reduces the finger-pointing and ensures that care is taken with the objects.
Makes sense. But manpower costs money.
Tricia
Published February 21, 2010
in General.
It wasn’t all condition reports and paperwork. We did have the fun of showing Faith off to people. There were museum staff and directors, curators and docents as well as a few loyal supporters of the museum who came by to see us while we worked. Everytime we were happy to give them a rundown of the project and show them the pieces. The light was stunning in the room and the three embroidered pieces glowed. In the end (I’ll tell you about it in a few days), these little side shows were very important.
Tricia
P.S. There are a few lecture dates that I need to let the blog know about. I will be at RIT in Rochester, NY on Friday, March 12th lecturing on the jacket project and then working at an open collaboration between the students in the innovation programs there and stitchers. The subject will mix historic with modern e-textiles. They want to learn how to make and innovate with embroidery and other textile techniques. The stitching public is invited to come to the ‘fiber-day’ that is being put together and to share their expertise. Contact Carol Romanowski at cjrcms@rit.edu for a schedule and to reserve a seat. Carol is an avid blog reader. There are even rumors that some of the ‘collateral’ from the project will be there to view.
The second date is March 14th at Winterthur. That is the official ‘opening’ of the display of the jacket. I will be flying direct there from RIT to lecture on the project at both 11am and 2pm. So if you are local to either area, stop in.
Published February 20, 2010
in General.
As I said yesterday, we were in a temporary spot where Faith and friends could be locked up but any cooties couldn’t get to the valuables. Now it was time to unpack and begin the real work for the week.
All the lovely packing that Joanna Hill had done needed to be undone. But they arrived safely as expected. And we weren’t just unpacking to bask in the gilded glory (there was alot of that too) but we had serious work to do that day before Karin could leave and travel back to Plimoth.
Condition reports.
Tricia
Published February 19, 2010
in General.
Yes – poor Faith might have cooties.
This was a lively discussion before transfer – the permission to treat the pieces with standard textile collection techniques. Man did I learn something I didn’t know!
We can’t have bugs in a textile collection – storage or gallery. So no objects can be brought into those areas until they have gone through a quarantine process. And that is not just locking them in a room for a week. You have to kill or remove any parasites or bugs that might be on/in the object and don’t forget its packing materials too. This goes for paper also.
So how to kill bugs? You can fumigate them. Yuck. You could try to examine the object carefully and remove any bugs and their eggs. Well, you and I know that isn’t going to be that effective. How about freezing them to kill?
Yup – that is the answer. Everything that could have bugs has to be frozen first before entering the collection. I know you are freaking out reading this. But you know in your heart that it is necessary. We just spent 3500 hours making some moth’s lunch? NO WAY. Kill the suckers. Faith was going into a deep freeze as soon as we were done with her. There were endless jokes (would they put her next to Ted Williams? Sorry for the Boston reference).
But all joking aside – there is a process for this. You need to fast freeze the items to a certain temperature and hold it for over a week. The idea is to drop the temperature fast enough that the bugs can’t use their hibernation mechanism to survive. The procedure used to be two freezes to first stun into hibernation and then allow them to come out (i.e. spring) and then fast freeze them again to make sure they were dead. But examination over decades has shown that if you get the temperature down fast enough, one freeze is enough.
Apparently a common problem is silverfish in the conservation boxes. So everything has gotta go in. I don’t have any pictures today as I want to save them for a week from now. But I was so thrilled when the conservation staff piped up and said ‘we’ll take pictures!’. So yes – I have the deep freeze on tape and I will explain more then – yes there is more to it.
Who would have thunk it?
Tricia
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