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SUMMARY:Looking Back to the Future: Realizing the “Afric-American Picture Gallery”
DESCRIPTION:Almost Unknown\, the Afric-American Picture Gallery brings to life William J. Wilson’s 1859 fantastical essay. This symposium will explore broader approaches to how Wilson’s essay can be integrated into American history and how it connects to Henry Francis du Pont’s legacy and Winterthur’s history.  \nThe keynote speaker is Fred Wilson\, curator of Mining the Museum\, the seminal 1992 exhibition at what is now the Maryland Center for History and Culture. Wilson used that museum’s collections to confront and challenge perceptions about history\, culture\, and race\, and the installation continues to influence scholars and museum professionals today. \nJoin a diverse audience of museum professionals\, educators on the college and secondary levels\, scholars\, enthusiasts of African American history\, and the wider Wilmington community for this engaging two-day event.
URL:https://www.winterthur.org/calendar/looking-back-to-the-future-realizing-the-afric-american-picture-gallery/
CATEGORIES:Conference,Museum
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DTSTART;TZID=America/New_York:20250322T080000
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SUMMARY:March into Spring
DESCRIPTION:Winterthur is pleased to host the Hardy Plant Society/Mid-Atlantic Group’s annual conference\, A Changing World. Plant and garden book vendors will be on-site for perusal and purchase. Registration required. \nRegister online at www.hardyplant.org. \n“Where the Wild Things Are: The Role of Cultivation in Plant Conservation”— Richard T. Olsen\, Ph.D. \n“Shrubs & Hedges: The Ecological Role They Play”—Eva Monheim \n“The Butterfly Effect: Micro Plants for Macro Impact”—Jared Barnes\, Ph.D. \n“Plants\, Wildlife and People”—Mary Phillips
URL:https://www.winterthur.org/calendar/march-into-spring-2/
CATEGORIES:Conference,Lecture,Program
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DTSTART;VALUE=DATE:20231020
DTEND;VALUE=DATE:20231022
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CREATED:20230517T135833Z
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SUMMARY:Ann Lowe Fashion Symposium
DESCRIPTION:In the Legacy of Ann Lowe: Contemporary American Fashion\nOctober 20-21\, 2023 \nAnn Lowe (ca. 1898–1981) designed couture-quality gowns for six decades for America’s most elite women\, including Jacqueline Kennedy\, Olivia de Havilland\, and Marjorie Merriweather Post. Lowe’s influence on American fashion has only recently begun to receive the attention it deserves. This two-day symposium will be held in conjunction with the largest exhibition of Lowe’s work to date\, Ann Lowe: American Couturier. The exhibition will feature nearly 40 iconic Lowe gowns drawn from institutions and private collections across the country\, as well as the work of contemporary couturiers and fashion designers whose current design practices\, perspectives\, and career paths reflect the trajectory of American fashion emanating from Lowe’s foundation.\n\nJoin guest curator Elizabeth Way\, associate curator at The Museum at the Fashion Institute of Technology\, Winterthur staff\, visiting scholars\, contemporary designers\, and students for a series of talks and demonstrations that will explore Lowe’s legacy and how it continues to impact fashion culture today. \nThis symposium is made possible through support from the Terra Foundation for American Art and the Coby Foundation\, Ltd. \n$85 conference only; $130 for conference and evening event. Space is limited. Registration required by October 15. Scholarships available.\n \nSchedule of Events \nFriday\, October 20\, 2023 \n8:30 am \nRegistration and coffee\, Visitor Center Café \n9:00 am \nWelcome\, Copeland Lecture Hall\nChris Strand\, Charles F. Montgomery Director & CEO \nAlexandra Deutsch\, John L. and Marjorie P. McGraw Director of Collections \n\n9:15 am \nGleaning from the Mastery of Ann Lowe\nCarla Nelson\, creator\, president & CEO of the Black Fashion World Foundation \n10:00 am \nAnn Lowe: A Life in Gowns\nElizabeth Way\, associate curator at The Museum at FIT and curator of Ann Lowe: American Couturier \n10:45 am \nBreak \n11:15 am \nThe Remaking of Ann Lowe’s Most Famous Dress\nKatya Roelse\, instructor in the Fashion and Apparel Program at the University of Delaware and director of Design and Creative Making Certificate Program \n12:00 pm \nLunch\, available for purchase in the Visitor Center Café \n1:15 pm \nPlaying a Supporting Role: A Behind-the-Scenes Look at Costume Display and Textile Conservation at Winterthur\nKatherine Sahmel\, conservator of textiles and affiliated assistant professor of the Winterthur/University of Delaware Program in Art Conservation\nHeather Hansen\, textile conservation assistant\nHeather Hodge\, textile conservator at The Preservation Society of Newport County in Rhode Island \n2:30–5:00 pm \nTours and Workshops\, Museum and Research Building\nRegistration required. Space is limited. \n• Tours of Ann Lowe: American Couturier with curator Elizabeth Way: 45 minutes (2:30 and 3:30 pm)\n\n• Caring for Clothing Collections: 25 minutes (2:45\, 3:15\, 3:45\, and 4:15 pm) \n• Meet-and-Greet with University of Delaware design students (Galleries Stair Hall; open) \n• The Flowers of Fashion: Vintage Techniques of Flower Making with Katya Roelse: 30 minutes (2:45\, 3:20\, and 4:00 pm) \n• Option to visit the house\, galleries\, and Museum Store \n\n4:30–5:15 pm \nElizabeth Way book signing of Ann Lowe: American Couturier\, Museum Store \n5:00–6:30 pm\nReception\, Museum Store Café \nIncludes small bites\, open beer and wine bar\, and conversation with conference speakers. Advanced registration and additional fee required. Limited capacity.  \n\nSaturday\, October 21\, 2023 \n8:30 am\nCoffee and conversation with book signing by Elizabeth Way\, Visitor Center Café \n9:15 am\nWelcome back\, Copeland Lecture Hall\nAlexandra Deutsch \n9:30 am \nEnvisioning Boldness: Ann Lowe\, America’s Couture Designer\nElaine Nichols\, supervisory curator of culture at the Smithsonian National Museum of African American History and Culture (NMAAHC) \n10:15 am \nNavigating a Career in Fashion\, a conversation with Asata Maisé Beeks and Shawn Baron Pinckney\nAlexandra Deutsch\, Asata Maisé Beeks\, multidisciplinary artist\, and Shawn Baron Pinckney\, designer \n11:00 am\nTours and Workshops\, Museum and Research Building\nRegistration required. Space is limited. \n• Tour of Ann Lowe: American Couturier with curator Elizabeth Way: 45 minutes (11:15 am)\n\n• Caring for Clothing Collections: 25 minutes (11:15 and 11:45 am\, 12:15 pm) \n• Meet-and-Greet with University of Delaware design students (Galleries Stair Hall; open) \n• The Flowers of Fashion: Vintage Techniques of Flower Making with Katya Roelse: 30 minutes (11:15 and 11:45 am) \n• Option to visit the house\, galleries\, and Museum Store \n\n12:30 pm \nLunch\, available for purchase in the Visitor Center Café \n1:30 pm\nSlavery’s Warp\, Liberty’s Weft: Ann Lowe and the Legacy of Eighteenth- and Nineteenth-Century Enslaved Fashion Makers\nDr. Jonathan Michael Square\, assistant professor at Parsons School of Design \n2:30 pm \nRefashioning My Life as an Artist\nPrecious D. Lovell\, mixed-media artist \n3:30 pm\nB Michael: American Couturier\nElizabeth Way\, associate curator\, Museum at FIT and curator of Ann Lowe: American Couturier \nB Michael\, co-founder\, fashion designer\, and creative director of B Michael Global \n4:30 pm\nClosing remarks \n\nRegistration fee covers lectures\, tours\, workshops\, coffee breaks\, Winterthur general admission\, and admission to the exhibition. \nRegistrants are invited to join our evening reception with beer\, wine\, and light fair for an additional fee. \nRegister for the in-person conference now. \nRecorded Lectures and Tour\nRecorded lectures and a tour of the exhibition will be available after the symposium for those who cannot attend in person. Access to recorded conference content is $50 ($40 for Winterthur members.)\nRegister for the the recorded lectures and tour now. \n\nTalk/Program Descriptions \nGleaning from the Mastery of Ann Lowe\nCarla Nelson\, creator\, president\, and CEO of Black Fashion World Foundation\nCarla Nelson will explore how the strategies used by Ann Lowe to succeed against the odds remain relevant today. She is the creator\, president\, and CEO of Black Fashion World Foundation\, an organization that provides black fashion professionals access to higher education\, capital\, mentorship\, the advice of business experts\, advertising opportunities\, and distributors. \nAnn Lowe: A Life in Gowns\nElizabeth Way\, associate curator at the Museum at the Fashion Institute of Technology\nAnn Lowe’s fashion career spanned six decades from the 1910s to 1972. Her designs evolved with the times\, from sparkling 1920s flapper gowns to exquisite 1960s debutante gowns\, yet she developed a signature style that emphasized high quality construction and femininity\, often incorporating her signature floral embellishments. Her most famous gowns were seen by millions and made a significant impact on fashion culture. Lowe’s career\, explored through gowns on view in the Ann Lowe: American Couturier exhibition\, reveals how fashion developed aesthetically and as an industry over the twentieth century. Her extraordinary life as a Black woman is an important story of American history. \nThe Remaking of Ann Lowe’s Most Famous Dress\nKatya Roelse\, instructor in the fashion and apparel program at the University of Delaware\nKatya Roelse will share the reproduction process and the unexpected revelations made by discovering and learning the techniques of Ann Lowe by discussing one of her most significant creations\, the wedding gown she made for Jacqueline Bouvier when she married John F. Kennedy. The original gown is in the archives in the John F. Kennedy Presidential Library and Museum in Boston\, Massachusetts\, and is unable to be displayed. I was given the honor of recreating the gown so that Lowe’s tour de force design could be seen and her techniques could be documented. I spent six months measuring\, analyzing\, sourcing materials for\, and sewing the gown. This process not only created a dress\, but it also allowed my student assistants and me to walk in the footsteps of a highly skilled and talented designer. \nPlaying a Supporting Role: A Behind-the-Scenes Look at Costume Display and Textile Conservation at Winterthur\nKate Sahmel\, Heather Hansen\, and Heather Hodge \nWinterthur’s textile conservation staff will share a behind-the scenes look at the process to prepare the exhibition Ann Lowe: American Couturier. This multifaceted project required more than two years of planning to design the mannequins\, do the conservation treatments\, take photographs\, and finally install. Images and stories from the process will give the audience a chance to see all that goes into preparing for a costume and dress exhibition at Winterthur. \nCaring for Clothing Collections \nKate Sahmel and Heather Hansen\nFind out how the conservation staff at Winterthur cares for and displays textiles in the museum collection\, with a focus on clothing and garments. Tour the Textile and Preventive labs and learn about ways you can protect and preserve textiles at home. \nMeet-and-Greet with University of Delaware Design Students\nStudents from the Fashion and Apparel Studies Department at the University of Delaware share their experiences working on the Ann Lowe Jacqueline Kennedy gown. On display will be their own designs inspired by the work of Ann Lowe\, as well as studies of the haute couture sewing techniques Lowe used in her garments. \nThe Flowers of Fashion: Vintage Techniques of Flower Making\nKatya Roelse\, instructor in the fashion and apparel program at the University of Delaware \nLike French haute couture houses\, Ann Lowe was inspired by flowers\, and they appear in many of her designs as embroidery\, surface design\, and appliqué. Artisans like the House of Legeron have created fanciful and intricate silk flowers for haute couture brands such as Dior\, Chanel\, and Givenchy since the late 1800s. The techniques are not widely known or practiced because of the time and cost involved. Here I will demonstrate a few techniques by les fabricants de fleur artificielles (fabric flower makers). \nEnvisioning Boldness: Ann Lowe\, America’s Couture Designer\nElaine Nichols\, supervisory curator of culture at the Smithsonian National Museum of African American History and Culture (NMAAHC)\nAnn Lowe knew who she was as a person and as an exceptional designer. She was one of America’s most outstanding designers. Her clients included the Rockefellers\, the du Ponts\, and the Colgates. She is best remembered for making the wedding gown and bridal attire for Jacqueline Bouvier when she married the then Senator John F. Kennedy in 1953. This presentation offers a glimpse into her long and illustrious career and passion for creating exceptional fashion designs\, from the early twentieth century until she retired 1972. \n\nNavigating a Career in Fashion: a Conversation with Asata Maisé Beeks and Shawn Barron Pinckney\nAlexandra Deutsch with Asata Maisé Beeks and Shawn Barron Pinckney\nWinterthur’s director of collections\, Alexandra Deutsch\, speaks with Wilmington-based designers Asata Maisé Beeks and Shawn Baron Pinckney about their work\, careers\, and their designs inspired by Ann Lowe that will be featured in this year’s Yuletide installation at Winterthur.\n\nSlavery’s Warp\, Liberty’s Weft: Ann Lowe and the Legacy of Eighteenth- and Nineteenth-Century Enslaved Fashion Makers\nDr. Jonathan Michael Square\, assistant professor at Parsons School of Design\nAnn Lowe was a Harlem-based African American designer who created fashion for a largely white elite clientele\, including most notably for the wedding of Jacqueline Lee Bouvier to John F. Kennedy. Lowe’s maternal grandmother was an enslaved seamstress named Georgia\, whose freedom was bought by Lowe’s grandfather “General” Cole\, a free black carpenter. The two married soon thereafter. Their daughter Janey followed the métier of her mother\, and later gave birth to her own daughter Ann. Ann Cole Lowe was thus a third-generation needleworker who could trace her sewing skills all the way to her formerly enslaved grandmother. In my presentation\, I will place Lowe within a genealogy of enslaved makers and argue that Lowe is an important bridge in our understanding of the transference of expert needlework from the era of enslavement to our modern day. \nRefashioning My Life as an Artist\nPrecious D. Lovell\, mixed-media artist\nFashion design and art are intimately linked in my creative practice. Having worked as a fashion designer in New York City’s garment district for twenty years\, I know the power that clothing has to send a message. As an artist\, I investigate the potential of cloth and clothing to tell stories about African descended people\, especially the Black American experience. In my practice\, Black women and the work of their hands serve as muses and methods for me. \nB Michael: American Couturier\nB Michael\, co-founder\, fashion designer\, and creative director of B Michael Global\nElizabeth Way\, associate curator at the Museum at the Fashion Institute of Technology\nExhibition curator Elizabeth Way is joined by B Michael\, couturier to some of America’s most elegant women\, including Cicely Tyson\, Phylicia Rashad\, Valerie Simpson\, and Beyoncé. He is co-founder with partner Mark-Anthony Edwards of B Michael America and designs both ready-to-wear and couture collections. The two will discuss American couture\, B Michael’s career\, and the fashion business today. \nSpeaker Biographies \nAsata Maisé Beeks\nBorn and raised in Wilmington\, Delaware\, Asata Maisé Beeks is a multidisciplinary artist preserving the ancestral practice and cultural significance of textile production\, weaving\, and garment construction through her work. Her reverence for haute couture (the highest level of sewing) is intersected by her West African lineage\, American pop cultural influences\, and the sustainable practices of her upbringing. Asata meditates on the many connections and themes that show up through her practice of refining raw and recycled materials\, often perceived as lacking value\, into manifestations of harmonious beauty. \nAlexandra Deutsch\nAlexandra Deutsch leads Winterthur’s collections and interpretation division. Before arriving at Winterthur in 2019 as director of museum engagement\, she was vice-president of collections and interpretation and chief curator at the Maryland Center for History and Culture in Baltimore. Her tenure there was distinguished by nationally recognized exhibitions that included Woman of Two Worlds: Elizabeth Patterson Bonaparte and Her Quest for an Imperial Legacy and Spectrum of Fashion. From 2010 until 2019\, she worked at the Maryland Center to establish the Barbara P. Katz Fashion Archives\, a collection of over 14\,000 garments dating from the eighteenth century to the present day. \n     Throughout her career\, Alexandra has written and lectured about diverse topics in American material culture and placed a particular emphasis on women’s and fashion history. Her publications\, Woman of Two Worlds: Elizabeth Patterson Bonaparte (2016)\, Spectrum of Fashion (2019) and her other scholarly works examine the role that fashion has played in shaping concepts of identity and celebrity. An avid vintage clothes wearer\, she has worked for over a decade to create a wardrobe that is ninety-nine percent second-hand\, thrifted\, and vintage. \nHeather Hansen\nHeather Hansen is a textile conservation assistant at Winterthur Museum\, Garden & Library. She received her bachelor of arts in art conservation and art history from the University of Delaware and a master of arts from the Winterthur Program in American Material Culture. Heather worked as collections manager at the Chester County History Center in West Chester\, Pennsylvania\, before returning to Winterthur. She supports the textile conservation department by creating custom housings and exhibition mounts for textiles\, practicing preventive collections care\, and giving presentations about natural fibers\, dyes\, and historic textile construction techniques. \nHeather Hodge\nHeather Hodge (she/her/hers) graduated from Juniata College with a bachelor of arts in art history. She received her master of arts and Certificate of Advanced Study in art conservation from the SUNY Buffalo State Garman Art Conservation Department in 2021. Heather completed graduate internships at The Indianapolis Museum of Art at Newfields\, Zephyr Preservation Studio\, LLC\, Trupin Conservation Services\, LLC\, and The Colonial Williamsburg Foundation. She was a post graduate fellow in textile conservation at Winterthur Museum\, Garden\, and Library\, and is currently a textile conservator at the Preservation Society of Newport County in Rhode Island. \nPrecious D. Lovell\nPrecious Lovell is a mixed media artist based in Raleigh\, North Carolina. Her sociocultural creative practice explores the narrative potential of cloth and clothing. The cultural significance\, narrative\, aesthetic\, and technical qualities of traditional textiles and clothing\, particularly those of the African Diaspora\, heavily influence her work. She was the 2022 Brightwork Fellow at Anchorlight in Raleigh\, North Carolina. She holds a master of art and design in fibers and surface design and a bachelor of fine arts BFA in fashion design. A former fashion designer and associate professor\, Precious has presented lectures at universities\, museums\, and national and international conferences about clothing and cloth of the African Diaspora. She has been granted international artist residencies and has traveled to forty-five countries researching and collecting textiles and clothing. Precious’s work has been exhibited in the United States and internationally. \nB Michael\nB Michael is the co-founder\, fashion designer\, and creative director of B Michael Global. Presently\, he is the chief designer for the brand’s couture and designer ready-to-wear collections. He received acclaim designing the costumes for Whitney Houston’s last film\, Sparkle\, ballet costumes for the Joffrey Ballet’s premiere of Windy Sand\, and received numerous commissions to design for film and television. B Michael started his career as a millinery (Hat) designer for the hit TV show Dynasty and later worked as a millinery designer for Louis Feraud in Paris and for Oscar de la Renta.\n     B Michael is a member of the Council of the Fashion Designers of America and serves on the board of the Youth America Grand Prix. In 2016 he was awarded the prestigious Design Visionary Award by the Lighthouse Guild. In 2019 B Michael became the first Black American fashion designer in the luxury space to dress an OSCAR recipient\, longtime friend and muse Cicely Tyson\, for the iconic red-carpet moment “Making History.” In 2021 B Michael was honored by the National Congress of Black Women during their 37th anniversary awards gala titled “Through It All\, Still Standing.”\n     B Michael’s collections have garnered appreciative fans including socialites and personalities such as longtime friend and MUSE Cicely Tyson . . . Phylicia Rashad\, Halle Berry\, Cate Blanchett\, Valerie Simpson\, Brandy\, Beyoncé\, Nancy Wilson\, Susan Fales-Hill\, poet laureate Elizabeth Alexander\, and Lena Horne\, among many others. He has shown his couture collection in Beijing\, Shanghai\, and Korea. B Michael’s designer ready-to-wear collection will be available on the brand’s e-commerce website launching 2024. You can follow his work via social media: Instagram: B Michael @bmichaelamerica\, Twitter: B Michael @bmichaelamerica; TikTok: B Michael @bmichaelfashiondesigner\n     B Michael lives in Harlem\, New York City\, with his husband Mark-Anthony Edwards\, CEO and chairman of B Michael Global. \nCarla Nelson\nCarla Nelson is the creator\, president\, and CEO of Black Fashion World Foundation\, an organization that provides black fashion professionals access to higher education\, capital\, mentorship\, the advice of business experts\, advertising opportunities\, and distributors.\n     Carla’s dream of being in fashion was denied. Through the eyes of a friend/aspiring fashion stylist\, she became aware of the many challenges faced by other African Americans seeking fashion industry careers. Her organizational skills and love of fashion collided causing her to create this organization with the focus of providing empowerment via education\, networking\, and opportunity events to Blacks and People of Color in a platform that has not been provided before.\n     Carla holds a bachelor of science in accounting and a master of business administration with a business concentration. She has operated in various leadership roles in both corporate and nonprofit sectors. Throughout her professional career\, her organizational skills formed the core of her success. Starting her career as an administrative assistant\, her experience spans from event planning and production\, international import/export\, to financial services.\n     A catalyst for process improvement\, Carla has established and implemented various operational procedures; she implemented a New Hire Orientation program and secured an Employee Gym Discount program. Carla has been presented with a Spirit of Excellence Award from Christian Cultural Center and three (3) Bronze Awards by Zurich Insurance. \nElaine Nichols\nElaine Nichols is the supervisory curator of culture at the Smithsonian National Museum of African American History and Culture (NMAAHC) in Washington\, D.C. A native of Charlotte\, North Carolina\, Nichols developed her love for African American history at a young age by listening to the stories about her heritage\, culture\, and resilience from the elders in her family. Her love of history would later guide her academic pursuits\, leading her to complete a master of art in public service archaeology from the University of South Carolina and a master of art in social administration and planning from Case Western Reserve University.\n     Nichols made her curatorial debut at the South Carolina State Museum\, where she curated the exhibition\, The Last Miles of the Way: African American Funeral and Mourning Customs in South Carolina\, 1890–Present. The exhibition received international attention. She later mounted several exhibitions about dress and fashions\, the inaugural attire of South Carolina governors and First Ladies and purses.\n     In 2009\, after working as a contractor for the NMAAHC “Save Our National Treasures” project\, Nichols was recruited into her current role at the Museum. She is the curator of record for several areas: dress\, fashion\, textiles\, dolls\, toys\, and games. \nShawn Baron Pinckney\nAt the foundation of artist Shawn Baron Pinckney’s practice is a reverence for both the transformative and symbolic power of clothing. Garments constructed by Pinckney are a metaphor for the ability to transcend culturally defined boundaries as fashion is employed as a formidable form of projection. In his current work\, Pinckney uses the familiarity of clothing as a means of lowering defenses in the viewer\, creating space for the facilitation of difficult conversations about gender\, race\, and class. His work juxtaposes symbolically loaded fabrics with traditionally gendered cuts\, emphasizing how clothing can alter our perspective and challenge culturally imposed definitions of identity.\n     Currently residing in Delaware\, Pinckney has participated in several exhibitions at The Delaware Contemporary. He had his first fashion show in 1992\, where he received a review by critic Roy Campbell and was awarded the title of Best New Designer for the Eastern Regional Division by the National Association of Fashion and Accessories Designers (NAFAD). Since then\, his work has been published domestically and internationally\, including in Tableaux Vivants by Tony Ward\, Vigore Magazine\, Mami Magazine\, The Philadelphia Inquirer\, and The News Journal (Delaware). Pinckney has been a guest lecturer at the University of Pennsylvania for The Art of Couture series. \nKatya Roelse\nKatya Roelse is an instructor in the Fashion and Apparel Program at the University of Delaware. She has worked in the fashion and apparel industry as a creative and technical designer for womenswear\, menswear\, childrenswear\, uniforms\, and wearable medical devices. She teaches computer-aided design\, illustration\, sewing\, and patternmaking. Her scholarship integrates design\, pedagogy\, and technology\, and she recently co-authored The Book of Pockets: A Practical Guide for Fashion Designers. She has a bachelor of art from the University of the Arts and a master of science from Drexel University. She is currently pursuing her doctoral studies in Educational Leadership at UD. \nKatherine Sahmel\nKatherine Sahmel is conservator of textiles at Winterthur Museum\, Garden & Library and affiliated assistant professor of the Winterthur/University of Delaware Program in Art Conservation (WUDPAC). Previously\, she worked with many local Delaware and Philadelphia institutions on textile care and treatment through her private conservation practice. She also spent time as a conservation fellow in the Costume and Textiles Department at the Philadelphia Museum of Art. She holds a master of science in Art Conservation from the WUDPAC program and continues to be inspired by the stories and significance held within textile material culture. \nDr. Jonathan Michael Square\nDr. Jonathan Michael Square is the assistant professor at Parsons School of Design. He holds a Ph.D. from New York University\, a master of arts from the University of Texas at Austin\, and bachelor of arts from Cornell University. He was previously a lecturer in the Committee on Degree in History and Literature at Harvard University and a fellow in the Costume Institute at the Metropolitan Museum of Art. He curated Complicated Stories: Black Artists Respond to the Complicated Histories of Slavery at the Herron School of Art and Design that closed in January 2023. He will curate an upcoming show at Winterthur opening in May 2025 based on the African-American Picture Gallery. Square runs the digital humanities project Fashioning the Self in Slavery and Freedom. \nElizabeth Way\nElizabeth Way is associate curator of costume at The Museum at the Fashion Institute of Technology. Her past exhibitions include Black Fashion Designers (2016)\, Fabric In Fashion (2018)\, Head to Toe (2021)\, Fresh\, Fly\, and Fabulous: Fifty Years of Hip Hop Style (2023)\, and Food & Fashion (2023). Way’s personal research focuses on the intersection of Black American culture and fashion. She edited Black Designers in American Fashion (2021) and has contributed to numerous publications. Way holds a master of arts in costume studies from New York University and a bachelor of science in apparel design and a bachelor of arts in history from the University of Delaware. \nRegister for the in-person conference now. \n\nRegister for the the recorded lectures and tour now. \n\nAccommodations \nHotels near Winterthur:\nDoubleTree by Hilton Hotel Wilmington\nThe Inn at Montchanin\nHotel du Pont\nThe Fairville Inn \nTransportation \nWinterthur is approximately 45 minutes from Philadelphia International Airport and 15 minutes from the Amtrak Station in Wilmington. \nCabs\, Ubers\, and Lyfts are not readily available near the property and must be pre-arranged. We recommend Delaware Express. \n  \nThis exhibition is made possible through support from the Terra Foundation for American Art\, the Coby Foundation\, Ltd.\, and the National Endowment for the Humanities. \n \n 
URL:https://www.winterthur.org/calendar/ann-lowe-fashion-conference/
LOCATION:Winterthur
CATEGORIES:Ann Lowe,Conference,Exhibition
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DTSTART;TZID=America/New_York:20230512T090000
DTEND;TZID=America/New_York:20230512T123000
DTSTAMP:20260617T060330
CREATED:20230405T133420Z
LAST-MODIFIED:20230405T133457Z
UID:40727-1683882000-1683894600@www.winterthur.org
SUMMARY:The Denig Manuscript Project: Art Making in the Early American Borderlands
DESCRIPTION:Early in 2020\, Winterthur received the gift of an extraordinary leather-bound manuscript made in the 1780s by Ludwig Denig (1755-1830)\, a shoemaker and apothecary who live in Lancaster\, Pennsylvania. The Denig illuminated manuscript combines intricate ink and watercolor drawings\, personal and devotional text\, and sheet music hymns\, forming a compelling record of art and life in the borderlands of early 18th-century America. Now more than 200 years old\, the manuscript is too fragile to display. \nAn interdisciplinary team of scholars and advisors has been working on a project\, funded by the Getty Foundation and the Schwartz Foundation\, which will allow Winterthur to develop a digital platform for publication and interpretation of the Denig manuscript. For this study day\, scholars and advisors will share their work and perspectives on the manuscript and how it helps them better understand life and art in an early American borderland: the town of Lancaster\, Pennsylvania. Free \nRegister now. 
URL:https://www.winterthur.org/calendar/the-denig-manuscript-project-art-making-in-the-early-american-borderlands/
CATEGORIES:Conference
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DTSTART;TZID=America/New_York:20230420T083000
DTEND;TZID=America/New_York:20230420T163000
DTSTAMP:20260617T060330
CREATED:20230130T163406Z
LAST-MODIFIED:20251028T153118Z
UID:39401-1681979400-1682008200@www.winterthur.org
SUMMARY:Shifting Tides: Art in the 18th-Century Caribbean
DESCRIPTION:April 20–21\, 2023\nJoin leading and emerging scholars\, museum professionals\, and community partners as we rethink narratives surrounding colonial art in the Caribbean region. Shifting Tides: Art in the 18th-Century Caribbean aims to reimagine the relationship between American historical collections in public institutions and the communities they serve. The conference is made up of an in-person symposium followed by a virtual study day\, with livestreamed roundtable discussion and an examination of paintings in the Winterthur collection. \nConference is free\, with a box lunch available for purchase. All lectures take place in Copeland Lecture Hall\, located in the Visitor Center.  \nThursday\, April 20\, 2023\n8:00 – 8:30 am: Registration and coffee\, Visitor Center  \n8:30 am: Welcome  \nChris Strand\, Charles F. Montgomery Director and CEO\, Winterthur \nAlexandra Deutsch\, John L. and Marjorie P. McGraw Director of Collections\, Winterthur \n8:40 to 10:40 am: Panel #1 \nSources and Perspectives: Rethinking the 18th-century Caribbean \nScholars will introduce new perspectives on comparative colonialism in the Americas\, on the Caribbean\, and the Atlantic world and their role in renewing our understanding of the Americas in the eighteenth century. The panel will also reflect on the ways the field of United States American and Latin American art history have engaged with this recent historiography.  \nJosé Luis Lazarte Luna (Metropolitan Museum of Art)\nChristelle Lozère (Université des Antilles)\nPedro Luengo (Universidad de Sevilla)\nEveline Sint Nicolaas (Rijksmuseum) \n11 am to 12:30 pm: Panel #2 \nCentering the Caribbean \nPanelists will present new sources that are currently employed by art historians\, scholars of material culture\, and conservators in their research on eighteenth-century art and material culture. The speakers will discuss how their sources have been key to the emergence of new ways of seeing the nature of artmaking in American colonies\, the mobility of creators\, the role of enslaved individuals\, knowledge transfer\, and mixed-race artists and artisans.  \nEmily Casey (University of Kansas)\nJaneth Rodríguez Nóbrega (Universidad Central de Venezuela)\nSophie White (University of Notre Dame) \n12:30 to 1:30: Lunch\, Visitor’s Center  \nOptional boxed lunch available for pre-purchase when you register online.  \n1:30 to 3:30: Panel #3 \nBeyond Boundaries: Artists and Creators \nThis panel will focus on individual-centered narratives emerging from research on creators\, as well as curatorial practice. The speakers will talk about their projects and discuss how such individual-centered approaches present models for shifting our approach to what American art as a field of study should encompass.  \nAlexis Callender (Smith College)\nIraida Rodríguez-Negrón (Museo de Arte de Ponce)\nMarc Vermeulen (National Archives\, UK)\nMichael Wilson (Temple University) \n3:45 to 5:15 pm: Panel #4 \nColor & Artistic Creation \nThis panel will center questions of race and colorism in Caribbean art. Speakers will discuss research and projects that address the various roles that enslaved people and free people of African and Indigenous descent played in artmaking in the Caribbean\, as well as their relationships with artistic practices in continental colonies.  \nMark Aronson (Yale University)\nJorge Rivas Pérez (Denver Art Museum) \nLucia Noor Melita (Victoria and Albert Museum) \nFriday\, April 21\, 2023\n9 am – 12 pm: Study Day \nPhysical examination and discussion of colonial paintings in the Winterthur collection\, highlighting their Caribbean connections. The selected group of paintings include those by John Greenwood\, Benjamin West\, William Williams\, John Smibert\, John Wollaston\, and Robert Feke.  \nStephanie Delamaire (Carnegie Museum of Art)\nMatthew Cushman (Winterthur Museum\, Garden & Library)\nMina Porell (The Barnes Foundation) \n***Due to space constraints\, the Study Day will be filmed and available online only. Registrants will receive further information with a link to the recording.  \n2 pm to 4 pm: Roundtable Discussion Livestream \nArt in the 18th-century Caribbean: Research\, Methodologies\, and Institutional Initiatives \nThis final roundtable brings together scholars\, museum and historic site administrators\, and community partners who have contributed to initiatives that are creating spaces for Caribbean art in their institutions and communities. They will discuss new trends and opportunities for an expanded view of the significance of eighteenth-century Caribbean art in various regional and national institutions. \nRocío Aranda-Alvarado (Ford Foundation)\nRafael Damast (Taller Puertorriqueño)\nWim Klooster (Clark University)\nLouis Nelson (University of Virginia) \nPresenters/Panelists\nRocío Aranda-Alvarado\, PhD\nSenior Program Officer\, The Ford Foundation \nDr. Rocío Aranda-Alvarado is an art historian\, curator\, and arts worker. She joined the Ford Foundation in 2018 after serving as curator at El Museo del Barrio in New York City for nearly a decade. At the Ford Foundation\, she is part of the Creativity and Free Expression team\, focusing on support for arts and culture organizations across the U.S. At El Museo\, she presented visual arts and programming that reflected the history and culture of El Barrio as well as the greater U.S. Latinx and Latin American diaspora. She organized exhibitions featuring emerging and established artists\, including Presente! The Young Lords in New York and Museum Starter Kit for El Museo’s 45th anniversary and several versions of El Museo’s biennial. From 2000 to 2009\, she was curator at the Jersey City Museum\, where she organized solo exhibitions of Chakaia Booker and Raphael Montañez Ortiz as well as many group exhibitions. Aranda-Alvarado has lectured as an adjunct professor; consulted and curated independently on Latinx and Latin American art and culture; and published and advised\, in both a scholarly and curatorial capacity\, at various institutions. She earned her PhD in art history from the Graduate Center\, City University of New York. \nMark Aronson \nDeputy Director and Chief Conservator\, Yale Center for British Art. \nMark received a BA from Reed College\, an MS in the conservation of art from the University of Delaware\, and a certificate of study in painting conservation from the Center for Conservation and Technical Studies at Harvard’s Fogg Museum. He held postgraduate fellowships at the Cincinnati Art Museum\, the Philadelphia Museum of Art\, and the Frans Hals Museum and was a guest conservator at the J. Paul Getty Museum. He is particularly interested in old and modern master painting techniques and attitudes toward restoration. He has spoken and published on the history of conservation at Yale\, light levels in Louis Kahn’s Yale Center for British Art\, the treatment of Italian Renaissance painting\, Sir Joshua Reynolds\, Benjamin West\, the Haitian painter Louis Rigaud\, and a sculpture about baseball. His teaching includes serving as a critic at the Yale School of Art and courses on the history of painting technique and painting as well as seminars on technical art history with students and faculty from Historically Black Colleges and Universities \nAlex Callender\nAssistant Professor of Art\, Smith College \nAlex Callender works in drawing\, painting\, and installation to trace and remap historical materials to explore how we might disentangle the interwoven relations of race\, gender\, and capitalism. Callender has had recent solo shows at Northeastern University’s Gallery 360\, NYU Gallatin Galleries\, the Rubber Factory (NY)\, and Michigan State University’s LookOut Gallery. Currently\, she has a public work on view at UMass Amherst commissioned by the University Museum of Contemporary Art. She has held artist residencies with the MacDowell Colony\, Schomburg Center for Research in Black Culture\, Lower Manhattan Cultural Council\, the Drawing Center’s Open Session program\, Art in Embassies Program\, the Vermont Studio Center\, Urban Glass\, the Santa Fe Art Institute\, Alice Yard in Trinidad\, and DRAW International and the BAU Institute in France.  \nEmily C. Casey\, PhD\nHall Assistant Professor of American Art and Culture\, University of Kansas \nDr. Emily C. Casey is an art historian specializing in the early modern Atlantic world. Her current book project critically examines British and American visual and material culture to reveal how the world’s oceans became a space through which networks of empire and capital were imagined and constructed. Her most recent article\, “A More Perfect Atlantic World: Abolition\, Liberty\, and Empire in Art after the American Revolution\,” critically reevaluates Samuel Jennings’s Liberty Displaying the Arts and Sciences\, which is considered to be the earliest abolitionist painting in the United States\, a version of which is in the collection at Winterthur. Casey holds a PhD from the University of Delaware\, and an AB from Smith College. She has received grants and fellowships to support her research from the Metropolitan Museum of Art\, the Smithsonian American Art Museum\, the Peabody Essex Museum\, the Library Company of Philadelphia\, and the National Maritime Museum in London. In the fall of 2022\, she joined the Kress Foundation Department of Art History at the University of Kansas. \nRafael Damast\nExhibitions Manager and Curator\, Taller Puertorriqueño \nSince joining Taller Puertorriqueño in December 2010\, Rafael Damast has curated over 40 exhibitions. As manager of the exhibitions program\, he has brought in new audiences and expanded and deepened the institution’s connection with the local community.  \nWim Klooster\, Ph.D.\nRobert H. and Virginia N. Scotland Chair in History and International Relations\, Clark University \nDr. Wim Klooster has taught at Clark University since 2003. After earning his doctorate at the University of Leiden\, he was a Fulbright Fellow\, an Alexander Vietor Memorial Fellow\, an Inter-Americas Mellon Fellow at the John Carter Brown Library\, a Charles Warren Fellow at Harvard University\, a postdoctoral fellow in Atlantic History at the National University of Ireland\, Galway\, and a fellow at the Netherlands Institute of Advanced Study in Wassenaar. His work has a strong comparative dimension and focuses on revolt and revolution\, maritime illegality\, the Dutch empire\, and Jewish trade and migration. He is the author of dozens of articles and 11 monographs and edited books\, including The Dutch Moment: War\, Trade\, and Settlement in the Seventeenth-Century Atlantic World\, Revolutions in the Atlantic World: A Comparative History\, and Illicit Riches: Dutch Trade in the Caribbean\, 1648–1795. Klooster has been coeditor of Brill’s Atlantic World series since 2001. \nJosé Luis Lazarte Luna\nAssistant Conservator\, The Metropolitan Museum of Art \nJosé Lazarte joined the Department of Paintings Conservation at the Metropolitan Museum of Art in 2016 to complete a Mellon Fellowship\, followed by a Research Scholar position\, and became a member of the staff in 2019. He works primarily with European paintings of the 16th to the 18th centuries and American paintings\, including works from colonial Latin America. Lazarte received a BA in Art Conservation (with a minor in studio arts) from the University of Delaware and an MA in Science from the Winterthur/University of Delaware Graduate Program in Art Conservation in 2016. During his studies\, he undertook internships at the Yale University Art Gallery\, the Prado Museum\, and the Fine Arts Museums of San Francisco. \nChristelle Lozère\, PhD\nProfessor of Art History\, University of the West Indies \nDr. Christelle Lozère’s work focuses on the history of art in the French West Indies in a slavery and post-slavery context (19th and 20th centuries) and the construction of colonial imaginaries between Europe and the Caribbean. She is the author of Bordeaux Colonial\, La Croisière du Tricentenaire des Antilles et de la Guyane\, and 40-some articles on the history of colonial art and the Caribbean. Her doctoral thesis won the 2011 Musée d’Orsay prize. She is also a guest researcher at the National Institute for Art History (INHA)\, the Clark Art Institute\, and the Villa Vassilieff.  \nPedro Luengo\, PhD\nAssociate Professor of Art History\, University of Seville \nDr. Pedro Luengo teaches at the University of Seville and has been a visiting scholar in the Philippines\, Mexico\, Italy\, and the United Kingdom. His research has focused on the history of 18th-century architecture in East Asia and the Caribbean\, and he is the author of seven monographs. Luengo is the principal investigator on projects financed by Spain and China\, as well as participating in others from Mexican or Brazilian institutions. He currently serves on the boards of CEHA (Spanish CIHA)\, HDH (Spanish Digital Humanities Association) and AEEAO (Spanish Association of East Asian Studies) and is a corresponding researcher at CHAM. \nLucia N. Melita\, PhD\nConservation Scientist\, Victoria and Albert Museum \nLucia N. Melita is a material scientist\, holding BSc and MSc degrees in Heritage Science. She completed her PhD at UCL and specialized in the development of nanomaterials and the assessment of long and short-term effects of innovative conservation practices. She has expertise in the analysis of a wide range of materials\, both traditional and modern\, using various analytical and imaging techniques\, as well as in the identification of conservation treatments and degradation products. Her research interests include the understanding of degradation processes and changes in material properties associated with environmental conditions and ageing in museum objects. She recently joined the British Library as conservation scientist after one year at the Victoria and Albert Museum. Prior to that\, she was an Andrew W. Mellon fellow at the British Museum\, working on the analysis of colorants in Japanese woodblock prints from the Edo period and on the laser cleaning project.   \nLouis P. Nelson\, PhD \nVice Provost for Academic Outreach and Professor of Architectural History\, University of Virginia \nDr. Louis P. Nelson is a specialist in the built environments of the early modern Atlantic world\, with published works on the American South\, the Caribbean\, and West Africa\, and is a leading advocate for the reconstruction of place-based public history. In the summer of 2020\, he was awarded funding for “Recovering Erased Histories\,” an Andrew Mellon grant supporting three team-led and community-engaged field schools to document African American cultural landscapes. He is part of the advisory team for an NEH-funded initiative to extensively revise the interpretation of the Hermann-Grima House in New Orleans. He has argued for the preservation of damage to the U.S. Capitol from the January 6 insurrection as an important threshold in the history of American democracy. On the international stage\, he is a member of the international Institute for Historical Research funded seminar “The World in a Historic House” and has just begun a new partnership with the curators of Dyrham Park in South Gloucestershire\, England. He has previously worked with the Maison des Esclaves on Goree Island\, Senegal\, and built an online platform\, the Falmouth Project\, a GIS-based data information system used as a repository for ongoing work in Falmouth\, Jamaica. Nelson is an accomplished scholar\, with two book-length monographs; three edited collections of essays; two terms as senior coeditor of Buildings and Landscapes\, the leading English-language venue for scholarship on vernacular architecture; and numerous articles. The majority of his work focuses on the early American South\, the Greater Caribbean\, and the Atlantic rim.  \nJorge F. Rivas Pérez\, PhD\nFrederick and Jan Mayer Curator and Department Head of Latin American Art\, Denver Art Museum \nDr. Jorge F. Rivas Pérez is an art historian\, architect\, and designer. Prior to his role at the Denver Art Museum\, he served as the curator of Spanish colonial art at the Colección Patricia Phelps de Cisneros in Venezuela and as the associate curator of Latin American art at the Los Angeles County Museum of Art. He is the Latin American art editor and organizer of the Mayer Center Symposium program and publications and has curated exhibitions and contributed essays to publications on a wide range of Latin American art\, architecture\, design\, and material culture topics. He received his architecture degree from Universidad Central de Venezuela\, an MA from the University of Florence\, Italy\, and an MPhil and PhD from the Bard Graduate Center in New York City. \nJaneth Rodriguez-Nobrega\nProfessor of Art\, Universidad Central de Venezuela \nJaneth Rodriguez-Nobrega is an art historian specializing in Venezuelan colonial art. She holds an MFA in History and Theory and a BA from Universidad Central de Venezuela. At the Universidad Central de Venezuela’s School of Art\, she teaches courses about the history of Latin American art. She has supervised various undergraduate and graduate theses dealing with Venezuelan colonial art\, a field in which she has distinguished herself as a researcher\, participating in various international conferences and editorial projects. \nIraida Rodríguez-Negrón\nMuseum Curator\, Museo de Arte de Ponce \nCurrently at the Museo de Arte de Ponce\, Iraida Rodriguez-Negrón has worked at the Frick Collection in New York and received the first Meadows/Kress/Prado curatorial residency from the Meadows Museum. She holds a BA with a concentration in Humanities and Art History from the University of Puerto Rico\, Río Piedras Campus; an MA with a concentration in Art History from the George Washington University in Washington D.C.; and an MPhil in Art History and Archaeology from the Institute of Fine Arts at New York University\, where she studied with the renowned Hispanist Jonathan Brown. She has published many essays in books and various specialized magazines in the U.S. and Europe. \nEveline Sint Nicolaas\nCurator of History\, Rijksmuseum \nEveline Sint Nicolaas studied socioeconomic history and cultural studies at the University of Amsterdam and has been the Curator of History at the Rijksmuseum since 1998. A key area of focus in her work is the relationship between the Netherlands and Brazil\, Suriname\, and the Caribbean Netherlands. She is the author of Shackles and Bonds: Suriname and the Netherlands from 1600.  \nEmily Thames\, PhD \nDr. Emily Thames received a PhD in art history from Florida State University in 2022. She specializes in the visual and material culture of the colonial Atlantic World\, with a focus on the Spanish Americas and the Caribbean. Her dissertation project focused on José Campeche\, a Puerto Rican artist working in San Juan during the late 18th and early 19th centuries. She received a BA in art history and criticism from the University of Arkansas and an MA from the University of North Texas; her thesis focused on a set of buttons allegedly painted by Italian artist Agostino Brunias and worn by Haitian revolutionary Toussaint L’Ouverture. She has received many fellowships and awards\, including the Joe and Wanda Corn Predoctoral Fellowship at the Smithsonian American Art Museum and the Object Research and Teaching Programming Internship at the Crystal Bridges Museum of American Art.  \nMarc Vermeulen\, PhD \nSenior Conservation Scientist\, National Archives\, UK \nDr. Marc Vermeulen obtained his PhD in Chemistry from the University of Antwerp in collaboration with the Royal Institute for Cultural Heritage (Belgium)\, where he focused on the multi-analytical characterization of natural and synthetic arsenic sulfide pigments and the understanding of their degradation processes in painted works of art. He gained experience in various heritage science labs across Europe and the United States\, including an internship at Winterthur Museum\, Garden & Library\, research positions at the Royal Institute for Cultural Heritage\, the Museum of Modern Art\, Geneva’s Musée d’Art et d’Histoire\, the Netherlands Cultural Heritage Agency\, and the Art Institute of Chicago\, where he focused on pigment characterization in easel paintings\, furniture\, works on paper\, and photography. In 2018\, Vermeulen was awarded an Andrew W. Mellon Post-Doctoral Senior Fellowship in Conservation Science at the Metropolitan Museum of Art\, where he undertook a comprehensive imaging and spectroscopic study of approximately 150 prints by Hokusai from the Thirty-Six Views of Mount Fuji series. Before joining the National Archives\, he worked as a research associate at the Center for Scientific Studies in the Arts at Northwestern University in Chicago. \nSophie White\, PhD\nProfessor of American Studies\, University of Notre Dame \nDr. Sophie White holds an MA and PhD from the Courtauld Institute of Art\, where she specialized in the study of material culture and race. She is the author of more than 20 articles and essays and two monographs\, Wild Frenchmen and Frenchified Indians: Material Culture and Race in Colonial Louisiana and Voices of the Enslaved: Love\, Labor\, and Longing in French Louisiana\, which has won nine book prizes including the 2020 Frederick Douglass Prize for the best book on slavery. She is currently completing a Digital Humanities Project on slavery for the Omohundro Institute of Early American History and Culture and is writing a cultural and visual studies history of red hair\, for which she was awarded her third NEH fellowship. \nMichael Wilson\nCuratorial Fellow\, African American Museum of Philadelphia \nMichael Wilson is a PhD candidate in the Department of Africology and African American Studies at Temple University and a Curatorial Fellow at the African American Museum in Philadelphia. His research interests include decolonial aesthetics in addition to the relationship between ancestral memory\, memorialization\, and counterarchival practices throughout the African diaspora\, particularly among artists of Caribbean descent. His publication contributions include the edited volume New Frontiers in the Study of the Global African Diaspora and the monograph Visible Man: Fahamu Pecou. \n\nThis in-person and virtual conference is supported by grants from the Terra Foundation for American Art\, the Carl & Marilynn Thoma Foundation\, and Delaware Humanities\, a state program of the National Endowment for the Humanities. \n \nPhoto: A New and Correct Map of the Trading Part of the West Indies . . . \, 1741. Published by Henry Overton I (1676–1751); London\, England. Engraving\, etching\, and watercolor on laid paper. Museum purchase with funds drawn from the Centenary Fund 2019.0034
URL:https://www.winterthur.org/calendar/shifting-tides-art-in-the-18th-century-caribbean/2023-04-20/
CATEGORIES:Conference,Museum
ATTACH;FMTTYPE=image/jpeg:https://www.winterthur.org/wp-content/uploads/2019-0034_Map_Bearing_Witness_Exhibit.jpg
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DTSTART;TZID=America/New_York:20221111T130000
DTEND;TZID=America/New_York:20221111T163000
DTSTAMP:20260617T060330
CREATED:20220922T181940Z
LAST-MODIFIED:20250303T140622Z
UID:37481-1668171600-1668184200@www.winterthur.org
SUMMARY:Furniture of Eighteenth-Century Newport\, Rhode Island
DESCRIPTION:Explore materials\, techniques and points of connoisseurship of 18th-century furniture from the Winterthur collection made in the Newport\, Rhode Island workshops of the celebrated Townsend and Goddard families of cabinetmakers and allied craftsmen. \n\nJeffrey Greene\, master cabinetmaker and principal of the Newport-based furniture shop The Ball and Claw\, and Winterthur staff will provide insights on design\, construction and historical contexts to deepen understanding\, appreciation\, and enjoyment of the furniture. Before and after the program\, participants will have the opportunity to view an exhibition of significant Newport roundabout chairs and a card table on short-term loan to the museum. $65; Member\, $50. \nRegister now.
URL:https://www.winterthur.org/calendar/37481/
CATEGORIES:Conference,Lecture
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20221006
DTEND;VALUE=DATE:20221008
DTSTAMP:20260617T060330
CREATED:20220506T183852Z
LAST-MODIFIED:20251013T071447Z
UID:34800-1665014400-1665187199@www.winterthur.org
SUMMARY:Needlework Conference
DESCRIPTION:The Needle’s I: Stitching Identity\n\n\n  \n\n\n\n\nAnn Plato\, needlework picture (detail)\, Hartford\, Conn.\, ca. 1824. \nMuseum purchase with funds provided by the Henry Francis du Pont Collectors Circle 2018.0029 A\n\n\n\n\nOctober 6–7\, 2022\n\n\nNeedleworkers have always used needle and thread to tell stories of family\, memory\, and tradition as they stitched samplers or clothing. Join Winterthur staff\, visiting scholars\, designers\, and artists for a series of talks\, workshops\, and discussions that will explore the ways stitchers past and present have employed their craft to express a sense of self. Please note: masks are required in Copeland Lecture Hall\, in workshops\, and on tours. \n  \nRegister now. \nRegister for virtual option. \n\n\nSchedule of Events\n\n\nThursday\, October 6 \n\n\nCopeland Lecture Hall \n\n\n8:30 am\nRegistration and coffee\, Visitor Center \n\n\n9:00 am\nWelcome\nLaura Johnson\, Linda Eaton Associate Curator of Textiles\, Winterthur \n\n\n9:15 am\nKeynote Presentation \n\n\nMarla Miller\, Distinguished Professor of History\, University of Massachusetts\, Amherst\, MA \n\n\nFor more than twenty years\, Miller’s scholarship has explored early American women’s work in clothing and textiles\, from the Mantua makers\, tailoresses\, and seamstresses of Hadley and Boston\, Massachusetts\, to the needlework of quiltmaker Hadassah Chapin Ely to Black dressmakers and costumers in the 19th-century Connecticut Valley. In her keynote address\, Miller will connect that scholarship to her longtime practice as a public historian. Her talk will contemplate textiles as vehicles for pastkeeping and consider fibers as channels of communication over generations. \n\n\n10:00 am\nSearching for Africans and Their Needlework in the World History of Embroidery \n\n\nKelli Barnes\, Ph.D. Candidate\, University of Delaware \n\n\nI will be speaking about how my research centering on Black American girls as historical subjects and an analysis of the samplers and girlhood embroideries they created led me to consider the history of their needlework knowledge. They were taught needlework in newly established\, European-inspired\, American schools\, but they undoubtedly also learned needlework from their mother\, father\, and kin within the home. Seamstress\, dressmaker\, mantua maker\, and needleworker were some of the few jobs African American women were tasked to do or could find employment in during the antebellum era\, regardless of whether they attended school. This needlework knowledge learned within the home traveled with many Africans who were stolen from their homelands and brought to the Americas. Therefore\, what is the pre-colonial history of embroidery on the African continent and why is it so difficult to find in scholarship on the subject? How might we locate this knowledge in the creation of needlework in the United States during the antebellum era? \n\n\n10:45 am\nBreak \n\n\n11:15 am\nThe Life of Martha Edlin \n\n\nTricia Wilson Nguyen\, Owner\, Thistle Threads\, Arlington\, MA \n\n\nThe embroideries of Martha Edlin\, housed in the Victoria and Albert Museum\, are cited as a perfect surviving example of the boarding school education of a girl in the second half of the 17th century. The set comprises two samplers\, a stumpwork casket\, beaded jewelry box\, and numerous pincushions and toys kept in the cabinet. As we have come to expect\, they speak silently to an industrious youth and her neat and well-preserved work\, which makes us wonder about who she was\, where she lived\, what the life of a girl given an expensive education was like\, and who cared for these heirlooms after she was gone. In the pursuit of understanding the socioeconomic background of the girls who made these caskets for my research\, a treasure trove of documents regarding Martha’s life have been unearthed. What has resulted is an extraordinarily full picture of her life as an adolescent\, married woman\, and widow through the examination of more than a hundred primary source documents. Martha Edlin Richmond was simultaneously a nobody and a somebody. She lived a typical life of an upper-middle-class woman\, the type who we previously thought of as only leaving behind a set of silent embroideries. But a trail of documents tell a loud and boisterous story of her life as part of the aspirational class of people whose origins outside of London brought them to the city\, working hard to get ahead. She led an amazing life in the center of social\, economic\, political\, and religious events at the end of the Stuart era and left an extraordinary trail of her own words through court cases regarding her and her family’s fortunes and misfortunes. \n\n\n12:00 pm\nStudent Presentations \n\n\nConserving a Needlework by Ann Plato\nKris Cnossen\, WUDPAC\, Class of 2022 \n\n\nNatchez Needlework: The Conservation Treatment of a 19th-Century Painted Silkwork Picture\nAnnabelle Camp\, WUDPAC Class of 2022 \n\n\nThreads of Change: Assessing a Potential Meiji Era Silkwork Painting\nRachael Kane\, WPAMC\, 2022 \n\n\n12:45 pm\nLunch \n\n\n2:15–6:00 pm\nWorkshop and Tour Sessions \n\n\n6:00–7:30 pm\nReception\, Winterthur Visitor Center \n\n\nFriday\, October 7 \n\n\nCopeland Lecture Hall\n8:00 am\nCoffee and conversation \n\n\n8:45 am–12:15 pm\nWorkshop and Tour Sessions \n\n\n12:15–1:30 pm\nLunch \n\n\n1:30 pm\nLiberty and Loyalty: Embroidered Coats of Arms in an Age of Revolution. \n\n\nErica Lome\, Associate Curator\, Historic New England\, Boston\, MA \n\n\nIn 1775\, Mary Jones of Weston\, Massachusetts\, watched her life collapse around her as her family\, all supporters of the British Crown\, fled their homes and had their immense fortune confiscated during the Revolution. Torn between her Loyalist father and Patriot husband\, Mary spent the next several years in search of safety\, and one of her sole surviving possessions was a mostly finished needlework sampler displaying the Jones family coat of arms. Years later\, she returned to Massachusetts and settled in Concord\, where this sampler now resides in the collection of the Concord Museum. Mary Jones was one of many students who attended the Misses Cuming School in Boston (1768-70)\, run by two Concord sisters\, Ame and Elizabeth Cuming\, whose refusal to boycott imported British goods also led to their persecution and eventual exile. Several other embroidered coats of arms are attributed to this school and demonstrate the enduring fashion for heraldic imagery among colonial Americans on both sides of the conflict. \n\n\nUsing this grouping as a starting point\, this presentation surveys new research into the origins\, evolution\, materiality\, and meaning of embroidered coats of arms made in Boston and considers the importance and impermanence of family in an ever-changing Atlantic world. \n\n\n2:15 pm\nDechados y Bordados: The Changing Role of Embroidery in Mexican Female Education \n\n\nDr. Lynne Anderson\, Professor Emeritus\, University of Oregon\, and Director of the Sampler Archive Project\, Eugene\, OR \n\n\nIn Spanish America\, girlhood samplers are known as “dechados\,” a reference to both the embroidered products and the desired spiritual transformation associated with their creation. This lecture introduces the richly embroidered dechados made by girls and young women living in what is now Mexico\, emphasizing changes over time and the impact of social\, religious\, and educational contexts. Discussed and illustrated are motifs and stitches unique to Mexican samplers\, ties to diverse needlework traditions\, and the lessons girls followed when creating their “paragons of virtue.” Highlighted are the stories of a few girls who proudly claimed ownership of their work\, leaving stitched signatures that reveal identity\, geographic location\, and even socioeconomic status. \n\n\n3:00 pm\nBreak \n\n\n3:30 pm\nThe Mend as Mirror \n\n\nKate Sekules\, Author of MEND! A Refashioning Manual and Manifesto\, New York\, NY \n\n\nTextiles were of supreme value—and garment maintenance essential—right up until the current century\, when industrial production metastasized and replacement replaced repair. Ironically\, since it takes time and skill\, mending is now a luxury and has also recently become art form\, activism\, and fashion trend. The practical\, economic\, sociopolitical\, and ethical implications of the current mending revival are complex\, but—as painstaking reconstruction of the invisible millennia-long history of this gendered labor practice shows —not unprecedented. \n\n\n4:15 pm\nStudent Presentations \n\n\nMaterials Analysis of a Late 18th-Century Needlework from Massachusetts \nAwyn Beatrix Rileybird\, WUDPAC\, 2023 \n\n\n“Highly educated and accomplished”: Martha Denny Martin’s Moravian Needlework \nEmily Bach\, WPAMC\, 2022 \n\n\nThe Conservation of Ann Flower’s Needlework \nMargaret O’Neil\, WUDPAC\, 2023 \n\n\n5:00 pm \nBrief Closing Remarks \n\n\nWorkshop and Tours \n\n\nIn Celebration of the Strawberry \nPenelope S. Minner\, Traditional Native Artist\, Seneca Nation of Indians\, Salamanca\, NY \n\n\nIn the Haudenosaunee (Iroquois /Six Nations) culture\, the strawberry is considered a gift from the Creator. We give thanks to the strawberry as it is a symbol of health\, blessings\, and thanksgiving\, with deep roots in our Creation story. For all these reasons\, as well as their beauty\, functionality\, and saleability\, strawberry pin cushions have long been made by Haudenosaunee bead workers. \n\n\nWe will be sewing a beautiful beaded velvet pin cushion in our session. Basic sewing stitches will be taught so that you can complete your own one-of-a-kind pin cushion. All materials will be provided. Bring your favorite pair of scissors and patience! We will be using size 11 beads\, if you need your close-up glasses\, bring those also. \n\n\nSkill level: All \n90 minutes \nFee: $30 \nOffered: October 6\, 2:30 and 4:15 pm\, and October 7\, 9:00 am \n \n\n\nEmbroidery Close Up \nTricia Wilson Nguyen\, Owner\, Thistle Threads\, Arlington\, MA \n\n\nOften embroiderers choose fibers that are complex or techniques that are unexpected and are hard to see when looking at an object in a case or a picture in a book. There is meaning\, effect\, or some interesting story about the embroidery or maker that can be teased from these choices\, if we only knew they were there. During this workshop\, Tricia will project highly magnified images of a selection of embroideries from various public or private collections and lead discussions with the class on what can be seen and what these complex and surprising images mean. A handout will be provided with some images\, techniques\, or additional information to take away as inspiration for your own works. The images will be supplemented by additional visuals or video as needed to elaborate. \n\n\nSkill level: All \n90 minutes \nFee: $45 \nOffered: October 6\, 2:30 and 4:15 pm\, and October 7\, 8:45 and 10:45 am \n\n\n\n\nGregg Pink Blossom \nKatherine Diuguid\, Studio Artist Specializing in Hand Embroidery\, Dressmaking\, and Textiles\, Mooresville\, NC \n\n\nInspired by the floral embroidery on a pair of men’s waistcoats from the Gregg Museum Collection at North Carolina State University\, this floral design blends silk and goldwork techniques including satin stitch\, stem stitch\, spangles\, and various cutwork techniques. The finished product measures 3” x 5”. Images of the reference pieces will be shown during the workshop with the gracious permission of the Gregg Museum. \n\n\nKit includes metallic linen with cotton backing fabric and pre-printed design outline\, silk embroidery threads\, metal embroidery wires\, gilt spangles\, and needles. \n\n\nSkill level: All (hand sewing or embroidery experience is recommended) \nKit: $150 \n3 hours \nOffered: October 6\, 2:30 pm\, and October 7\, 9:00 am \n\n\n\n\n\n\n\n\n\n\n\nU.F.O. [UnFinished Objects] \nSamantha Soifer\, Professional Embroidery Artist\, Philadelphia\, PA \n\n\nWhat have you let languish in your creative spaces\, both mental and physical? What projects have you almost finished but not quite found the motivation to complete? If all you need is a little time\, space\, helping hands\, and a dash of inspiration to get you to the finish line\, join me! \n\n\nBring along: \n\n\nWhatever has been haunting your craft bin \nAny materials necessary to finish your project (needles\, yarn\, thread\, tape\, pins\, etc.) \nA working idea of how you’d like to Get. This. Project. Done! \n\n\nThis is a cooperative experience facilitated by a professional embroidery artist with knowledge of multiple craft disciplines but who is not an expert in everything craft. Let’s breathe new life into your old projects and see what happens! \n\n\nSkill level: All \nFee: $30 \n90 minutes \nOffered: October 7\, 9:00 and 10:45 am \n\n\nDr. Mend’s Surgery \nKate Sekules\, Author of MEND! A Refashioning Manual and Manifesto\, New York\, NY \n\n\nGet inspired to mend with verve\, nerve\, and glaringly obvious thread; to value and preserve what you already have. Bring your sick or injured garment and get a personal consultation with Dr. Mend and a prescription for your rip\, hole\, stain\, or damage\, complete with sample materials and instruction. Learn Kate’s tips and tricks and how the art of visible mending is part of an important contemporary movement to give fashion back its soul. \n\n\nSkill level: All \nFee: $45 \n3 hours \nOffered: October 6\, 2:30 pm \n\n\nStorage\, Care\, and Display of Textiles \n\n\nWant to feel like a student in the Winterthur Graduate Programs? Join members of the Winterthur Preventive and Textile Conservation teams to discuss care of collection textiles. Learn about archival materials for storage\, methods of care\, and guidance for display and lighting. We will look at needlework examples from the Winterthur permanent and teaching collections to illustrate proper care and display. This workshop will take place in the Winterthur textile and preventive conservation labs as well as the galleries. \n\n\nSkill level: All \nFee: $20 \n90 minutes \nOffered: October 6\, 2:30 and 4:15 pm\, and October 7\, 9:00 and 10:45 am \n\n\nNeedlework at Winterthur \nSmall group tours highlight treasures of Winterthur’s unparalleled needlework collection. \n\n\nSkill level: All \nFee: $20 \n90 minutes \nOffered: October 6\, 2:30 and 4:15 pm\, and October 7\, 9:00 and 10:45 am \n\n\nStitch Space \nLaura Johnson\, Linda Eaton Associate Curator of Textiles\, Winterthur \n\n\nDrop by during the first workshop block either Thursday afternoon or Friday morning to probe deeper into the conference themes through lively discussions\, informal trivia\, a stitching challenge\, and the opportunity to chat or share photos with other stitchers. Bring your stitching! \n\n\nSkill level: All \nFee: $0 \nDrop-in \nOffered: October 6\, 2:30-4:00 pm\, and October 7\, 9:00-10:30 am \n\n\nDrop-In Opportunities \nAvailable During all Workshop Sessions \n\n\nLibrary \n\n\nVisit the library to revel in a variety of needlework-related resources drawn from its world-class collections\, which span from 1600 to the early 1900s. Take notes or photos. Find inspiration for further study or for your next stitching project. Please wash your hands before coming to the library. \n\n\nExhibition \n\n\nHead upstairs to the Second Floor Galleries to explore The Needle’s I: Stitching Identity\, which presents stitchers and stitchery from the 18th century to the present day and explores these makers\, their marks\, and their stories through themes of family\, memory\, and craft tradition. The exhibition is inspired by The Needle’s Eye: Women and Work in the Age of Revolution by Marla Miller. \n\n\nSpeaker Bios \n\n\nLynne Anderson is director of the Sampler Archive Project\, a nationwide collaborative effort to create an online database of information and images of American samplers. She is also founder of the Sampler Consortium\, an international member organization for individuals interested in the study of schoolgirl samplers and related girlhood embroideries. Dr. Anderson has published numerous articles on the role of schoolgirl samplers in female education and is a frequent speaker at national conferences. Her study of Mexican samplers is informed by an ongoing collaboration with Mayela Flores Enriques\, lecturer in Art History and Ph.D. candidate in Critical Gender Studies at the Universidad Iberoamericana in Mexico City. \n\n\nKelli Barnes is a Ph.D. candidate in History and African American Public Humanities Fellow at the University of Delaware. Her research focuses on Black girls and girlhood\, African American history of the 18th and 19th centuries\, and transatlantic history—all through the lens of Black feminist and womanist theories\, material culture\, and visual culture analysis. This research builds on her previous work as an interior designer and historic preservationist and her interest in curatorial and exhibit design work upon graduation. \n\n\nErica Lome is associate curator at Historic New England. She was previously the Peggy N. Gerry Curatorial Associate at the Concord Museum\, a position sponsored by Decorative Arts Trust. She received her M.A. from the Bard Graduate Center and her Ph.D. from the University of Delaware’s American Civilization Program. \n\n\nMarla Miller teaches history\, public history\, material culture\, and museum studies at University of Massachusetts Amherst. Her interest in women’s work before the industrial revolution has led to several award-winning publications\, including The Needle’s Eye: Women and Work in the Age of Revolution (2006)\, and Betsy Ross and the Making of America (2010). Her most recent work\, Entangled Lives: Labor\, Livelihood\, and Landscapes of Change in Rural Massachusetts\, published in 2019\, highlights the limitations and opportunities Anglo-\, African\, and Native American women encountered through their work in the community of Hadley\, Massachusetts. Marla also serves on the board of the New England Quarterly and as a consultant for museums and historic sites. \n\n\nTricia Wilson Nguyen is a teacher\, historian\, entrepreneur\, and engineer. Her interests stretch between the embroidery and technology of the past and present. Dr. Nguyen’s primary field is engineering where she has been part of a small group of scientists and artists who have pioneered the new field of electronic textiles. Her product developments in that field have been seen in Land’s End\, Brookstone\, the fields of World Cup Soccer\, and have been exhibited at the Smithsonian. But in this venue\, Tricia is best known for her knowledge and interpretation of historical needlework through projects such as the Plimoth Jacket. She is owner of Thistle Threads\, a company which researches and designs historically inspired needlework. Her unique twist is viewing the objects through the lens of economic history using her engineering background to understand the clues they hold. \n\n\nKate Sekules is a Ph.D. candidate in Material Culture and Design History at Bard Graduate Center\, New York\, using interdisciplinary approaches to research mending cultures and related fields. She has lectured on the history\, methodologies\, and contexts of dress and textile repair at institutions including Parsons\, NYU\, New School\, FIT\, and Tufts\, runs the mending program at NYC nonprofit Custom Collaborative\, and has taught workshops at RISD Museum\, the Textile Arts Center\, New York\, and the Costume and Textile Association UK\, among many others. She is a board member of the Ethical Fashion Forum\, UK\, and sits on the advisory council of the New Standard Institute\, NYC. She received an M.A in Costume Studies from NYU. Her book MEND! A Refashioning Manual and Manifesto was published by Penguin in fall 2020. \n\n\n$425; $350 Winterthur Members. Save $50 if you register by June 30. Access to Asynchronous Virtual Conference content is $200; $150 Winterthur Members. Space is limited. Registration Required by September 30. \n\n\nAll presentations will be recorded and made available two weeks after the conference for access by conference registrants for one month. \n\n\nWinterthur reserves the right to cancel the conference. Should Winterthur cancel\, participants will be issued a full refund. Needlework Conference participants who cancel by September 15\, regardless of reason\, will be issued a full refund minus a $50 handling fee. No refunds will be issued after September 15.
URL:https://www.winterthur.org/calendar/needlework-conference/
CATEGORIES:Class,Conference,Lecture,Member,Program,Workshop
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220426
DTEND;VALUE=DATE:20220429
DTSTAMP:20260617T060330
CREATED:20210811T151924Z
LAST-MODIFIED:20220421T185151Z
UID:30153-1650931200-1651190399@www.winterthur.org
SUMMARY:Inlay and Marquetry Conference
DESCRIPTION:Image: Gerrit Jensen\, marquetry panel\, London\, 1685. Courtesy of Burghley House\, Lincolnshire.\nThe Wonder of Wood: Decorative Inlay and Marquetry in Europe and America\, 1600–1900\nA Winterthur Museum\, Garden & Library and Philadelphia Museum of Art Conference \nApril 26–28\, 2022 \nThe Wonder of Wood is a unique collaborative conference that will explore the history and artistry of inlay and marquetry within America and Europe. In both techniques\, artisans apply small pieces of different species of wood to create pictures or patterns on furniture. The basic concept has a long and illustrious past. “The woodworker’s desire to decorate wooden objects\,” noted a famed marqueter\, “is as old as man’s desire to work with wood.” Inlay and marquetry traditions existed in ancient Egypt\, Greece\, and Rome\, were revived during the Renaissance (as seen in the glorious Gubbio studiolo at the Metropolitan Museum of Art)\, and have flourished ever since. Over the centuries\, the complexity of the ornament has varied enormously\, from simple bands of light and dark stringing to outline the drawers of a plain desk of the 1790s to breathtaking trompe l’oeil imagery on Dutch and French cabinets a century earlier. By focusing on the years from 1600 to 1900\, The Wonder of Wood will consider an especially rich period in European and American furniture history during which craftsmen produced many of the grandest inlaid objects ever made. \nThis conference brings together 24 exceptional scholars—a creative mix of curators\, academics\, conservators\, artists\, and craftsmen drawn from museums and private practice in America and abroad—resulting in an unparalleled roster of conference speakers\, including two of the globe’s finest marqueters\, Silas Kopf and Yannick Chastang. Never before has such a talented team come together in the United States to share their collective expertise on this topic with the public. \nA comprehensive\, beautifully illustrated volume\, edited by  Brock Jobe\, Professor Emeritus at Winterthur; Alexandra Kirtley\, the Montgomery-Garvan Curator of American Decorative Arts at the Philadelphia Museum of Art; and Steve Latta\,  craftsman\, teacher\, and historian of decorative inlay\, will provide the lasting record of this ground-breaking conference.  \n$375; $300 for members of Winterthur or the PMA; $250 Access to Asynchronous Virtual Conference Content; $200 Access to Asynchronous Virtual Conference Content for members of Winterthur or the PMA; $225 for nonprofit employees. Scholarships are available. \nAll presentations will be recorded and made available two weeks after the conference for access by conference registrants for one month. \nSpace is limited. Register by April 19 to attend in person! \nPlease follow each institution’s Covid-19 guidelines. Please check their websites for the latest information:  \n\n	Winterthur Covid-19 Information\n	Philadelphia Museum of Art Covid-19 Information\n\nWinterthur reserves the right to cancel the conference. Should Winterthur cancel\, participants will be issued a full refund. Furniture Up Close participants who cancel by April 6\, regardless of reason\, will be issued a full refund minus a $50 handling fee. No refunds will be issued after April 6. \nHands-on Inlay Workshop\, April 29 and 30\nThe conference will be followed by a two-day\, hands-on workshop that will take place in the Furniture Conservation Lab at Winterthur and will be taught by Steve Latta. Due to space and equipment constraints\, the workshop will be limited to six participants. This workshop is supported by the Wooden Artifacts Group (WAG) of the American Institute for Conservation (AIC). Preference will be given to applicants who attend the Marquetry and Inlay Conference or to those who are currently working in the field of furniture conservation or are interested in pursuing a career in furniture conservation and would like to enhance their woodworking skills to that end. The workshop will allow participants to work with materials\, tools\, and techniques demonstrated in the conference and produce a finished sample incorporating inlay methods. Materials and tools will be provided. \nApply by February 1\, 2022. \n  \nSee the event program for presentation and workshop descriptions. \n  \nSchedule of Events\nTuesday\, April 26\, 2022\nWinterthur Museum\, Copeland Lecture Hall \n\n\n\n8:00–8:45 am\n\nCoffee and registration\n\n\n8:45–9:30 am \n\n\nWelcome and introduction\nChris Strand\, Charles F. Montgomery Director and CEO\nBrock Jobe\, Professor Emeritus of American Decorative Arts\nJames Kelleher\, Inlay Project Fellow\nWinterthur Museum\, Garden & Library\nWinterthur\, Delaware \n\n\n\n9:30–10:30 am\n\n\nBoullework \nYannick Chastang\, Independent Furniture Conservator and Designer\nKent\, United Kingdom\nLecture/Video Assist Demonstration \n\n\n\n10:30–11:00 am\n\nBreak\n\n\n11:00–11:45 am\n\n\nThe Challenges of Identifying Woods Used in Marquetry and Inlay: Past\, Present\, and Future\nRandy S. Wilkinson\, Senior Furniture Conservator\, Fallon & Wilkinson\, LLC\nBaltic\, Connecticut \n\n\n\n11:45 am–12:20 pm\n\n\nMade with a Knife\, Not with a Brush\nAntoine Wilmering\, Senior Program Officer\, Getty Foundation\nLos Angeles\, California \n\n\n\n12:20–1:30 pm\n\nLunch\n\n\n1:30–2:40 pm\n\n\nEuropean Marquetry in the Second Half of the 18th Century\nYannick Chastang\, Independent Furniture Conservator and Designer\nKent\, United Kingdom\nLecture/Video Assist Demonstration \n\n\n\n2:40–3:10 pm\n\n\nTaracea de las Américas: Inlay and Marquetry Traditions in Colonial Latin America\,\nDennis Carr\, Virginia Steele Scott Chief Curator of American Art\, The Huntington Library\, Art Museum\, and Botanical Gardens\nSan Marino\, California \n\n\n\n3:10–3:40 pm \n\n\nTwo Cupboards by Herman Doomer– the Origins of Dutch Floral Marquetry\nReinier Baarsen\, Senior Curator of Furniture\, Rijksmuseum\nAmsterdam\, the Netherlands \n\n\n\n3:40–4:10 pm\n\nBreak\n\n\n4:10–4:40 pm\n\n\nThe Marquetry of Gerrit Jensen\nAdam Bowett\, Independent Furniture Historian and Chairman of the Chippendale Society\nRipon\, United Kingdom \n\n\n\n4:40–5:10 pm\n\n\nDrawings for Parisian Marquetry of the Mid–Eighteenth Century\nReinier Baarsen\, Senior Curator of Furniture\, Rijksmuseum\nAmsterdam\, the Netherlands \n\n\n\n5:10–5:45 pm\n\n\nInlaid Lutes and Sand–Shaded Flutes: Marquetry Harpsichords from the Workshop of Jacob Kirkman\nAlexandra Cade\, PhD candidate in American Civilization\nUniversity of Delaware\nNewark\, Delaware \n\n\n\n5:45–6:00 pm\n\nAnnouncements and concluding remarks\n\n\n6:00–7:30 pm\n\nHappy hour and displays of work by active marqueters and inlay specialists in the Visitor Center\n\n\n\n  \nWednesday\, April 27\, 2022\nPhiladelphia Museum of Art \n\n\n\n8:00–8:30 am\n\n\nGather at the Winterthur Visitor Center for coffee; buses board at 8:30 am \n\n\n\n8:30–9:30 am\n\nBus trip to Philadelphia Museum of Art\n\n\n9:30–10:00 am\n\n\nWelcome in the Skylight Atrium\, Perelman Building\nKathleen A. Foster\, The Robert L. McNeil\, Jr. Senior Curator of American Art and Director of the Center for American Art\, Philadelphia Museum of Art\nPhiladelphia\, Pennsylvania \n\n\n\n\n(Divide into two groups: Group A to attend lectures before lunch; Group B to attend lectures after lunch) \nGroup A \n\n\n\n10:00–10:30 am\n\n\n“A Beautiful Kind of Mosaic Work”: Inlaid Marquetry on Early Pennsylvania Tables\nAlexandra A. Kirtley\, The Montgomery–Garvan Curator of American Decorative Arts\, Philadelphia Museum of Art\nPhiladelphia\, Pennsylvania \n\n\n\n10:30–11:00 am\n\n\nRecent Discoveries on 18th-Century Marquetry Furniture at Hillwood\nRebecca Tilles\, Curator of 18th Century Western European Art\nHillwood Estate\, Museum & Gardens\nWashington\, DC \n\n\n\n11:00–11:30 am\n\n\nObservations on the Furniture Attributed to Jean–Henri Riesener\nJürgen Huber\, Senior Furniture Conservator\, The Wallace Collection\nLondon\, United Kingdom \n\n\n\n11:30 am–12:00 pm\n\nBreak\n\n\n12:00–12:30 pm\n\n\nTurnbull’s Diversity: Marquetry in a Post–Slavery Workshop\nJohn Cross\, Independent Furniture Historian and Curator\, Frederick Parker Collection\, The Furniture Makers’ Company\nLondon\, United Kingdom \n\n\n\n12:30–1:00 pm\n\n\nThe Marquetry Work of Art Furniture Makers\, Collinson and Lock\, London\nClive Edwards\, Professor Emeritus of Design History\, Loughborough University\nLeicestershire\, United Kingdom \n\n\n\n1:00–4:15 pm \n\nLunch and self–guided tours of American and European galleries\, with special focus on inlaid and marquetry objects\n\n\n\nGroup B \n\n\n\n10:00 am–1:00 pm\n\n\nSelf–guided tours of American and European galleries\, with special focus on inlaid and marquetry objects\, and lunch \n\n\n\n1:00–1:15 pm\n\n\nWalk from the main building of the Philadelphia Museum of Art to the auditorium of the Perelman Building \n\n\n\n1:15–1:45 pm\n\n\n‘A Beautiful Kind of Mosaic Work’: Inlaid Marquetry on Early Pennsylvania Tables\nAlexandra A. Kirtley\, The Montgomery–Garvan Curator of American Decorative Arts\nPhiladelphia Museum of Art\nPhiladelphia\, Pennsylvania \n\n\n\n1:45–2:15 pm\n\n\nRecent Discoveries on 18th-Century Marquetry Furniture at Hillwood\nRebecca Tilles\, Curator of 18th Century Western European Art\nHillwood Estate\, Museum & Gardens\nWashington\, DC \n\n\n\n2:15–2:45 pm\n\n\nObservations on the Furniture Attributed to Jean–Henri Riesener\nJürgen Huber\, Senior Furniture Conservator\, The Wallace Collection\nLondon\, United Kingdom   \n\n\n\n2:45– 3:15 pm\n\nBreak\n\n\n3:15–3:45 pm\n\n\nTurnbull’s Diversity: Marquetry in a Post–Slavery Workshop\nJohn Cross\, Independent Furniture Historian and Curator\, Frederick Parker Collection\, The Furniture Makers’ Company\nLondon\, United Kingdom \n\n\n\n3:45–4:15 pm \n\n\nThe Marquetry Work of Art Furniture Makers\, Collinson and Lock\, London\nClive Edwards\, Professor Emeritus of Design History\, Loughborough University\nLeicestershire\, United Kingdom \n\n\n\n\nGroups A and B \n\n\n\n4:30–5:45 pm\n\nBoard buses and return to Winterthur\n\n\n6:00–8:00 pm \n\n\nReception at Winterthur; displays of work by active marqueters and inlay specialists in the Visitor Center.  \n\n\n\n\nThursday\, April 28\, 2022\nWinterthur Museum\, Copeland Lecture Hall \n\n\n\n8:00–8:45 am\n\n\nCoffee \n\n\n\n8:45–8:55 am\n\n\nAnnouncements \n\n\n\n8:55–9:25 am\n\n\nGerman Inlay and German Influences on Inlaid Furniture from Charleston\, South Carolina\nTom Savage\, Director of Educational Travel and Conferences\nThe Colonial Williamsburg Foundation\nWilliamsburg\, Virginia \n\n\n\n9:25–10:40 am \n\n\nDemystifying the ‘Art and Mystery’ of Inlay: Surface Ornamentation during the Federal Period\nSteve Latta\, Professor\, Cabinetmaking and Wood Technology\nThaddeus Stevens College of Technology\nLancaster\, Pennsylvania\nLecture/Video Assist Demonstration \n\n\n\n10:40–11:10 am\n\n\nBreak \n\n\n\n11:10–11:40 am\n\n\nFlowers\, Fans\, Shells\, and Eagles: Creating an Online Dictionary of American Inlay\nDaniel Ackermann\, Chief Curator and Director of Research\, Collections\, and Archaeology\, Old Salem Museums & Garden and Museum of Early Southern Decorative Arts\nWinston–Salem\, North Carolina\nBrock Jobe\, Professor Emeritus of American Decorative Arts Winterthur Museum\, Garden & Library\nWinterthur\, Delaware \n\n\n\n11:40 am–12:10 pm\n\n\nRife with Inlay: The Banding and Pictorial Inlay of One Virginia Cabinetmaker\nTara Gleason Chicirda\, Curator of Furniture\, The Colonial Williamsburg Foundation\nWilliamsburg\, Virginia \n\n\n\n12:10–1:15 pm\n\nLunch\n\n\n1:15–2:30 pm \n\n\nHistoric Objects and Techniques and Their Influence on a Contemporary Marquetry Artist\nSilas Kopf\, Studio Furniture Artist\nNorthampton\, Massachusetts\nLecture/Video Assist Demonstration \n\n\n\n2:30–3:00 pm\n\n\nThe Inlaid Furniture of the Upper Ohio River Valley\, 1790–1830\nAndrew Richmond\, Independent Scholar and Owner\, Wipiak Consulting and Appraisals\nMarietta\, Ohio \n\n\n\n3:00–3:30 pm\n\n\nDecorative Inlay in Kentucky\nMack Cox\, Collector and Independent Scholar\nRichmond\, Kentucky \n\n\n\n3:30–4:00 pm\n\n\nBreak \n\n\n\n4:00–4:30 pm\n\n\nMarquetry and Inlay in New York Furniture of America’s Gilded Age\nAlice Cooney Frelinghuysen\, Anthony W. and Lulu C. Wang Curator of American Decorative Arts\, The Metropolitan Museum of Art\nNew York\, New York \n\n\n\n4:30–5:00 pm \n\n\nThe Marquetry of George A. Schastey and Co. (1873–1897)\nMarijn Manuels\, Conservator\, The Metropolitan Museum of Art\nNew York\, New York \n\n\n\n5:00–5:10 pm\n\nConcluding remarks\n\n\n6:00–9:00 pm\n\nPreview party\, The Philadelphia Show (optional). Participants are responsible for their own admission and for transportation to and from The Philadelphia Show.
URL:https://www.winterthur.org/calendar/the-wonder-of-wood-conference/
LOCATION:Winterthur
CATEGORIES:Conference
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210917T090000
DTEND;TZID=America/New_York:20210917T170000
DTSTAMP:20260617T060330
CREATED:20260611T194243Z
LAST-MODIFIED:20260611T194243Z
UID:62906-1631869200-1631898000@www.winterthur.org
SUMMARY:Marian Coffin Symposium
DESCRIPTION:This fall marks the 150th birthday of Marian Coffin\, the pioneering woman of landscape architecture who designed the gardens of Winterthur\, Gibraltar\, Winterthur\, and Mt. Cuba\, the University of Delaware Green\, and many others in the Delaware Valley and beyond. This also marks the 10-year anniversary of the launch of the university’s Bachelor of Landscape Architecture program. \nTo celebrate these milestones\, Winterthur\, Bachelor of Landscape Architecture program\, and Preservation Delaware\, the non-profit that oversees the Coffin Garden at Gibraltar\,  have developed a two-day symposium to bring awareness to her remarkable achievements and her influence on landscapes and relevance of the field of landscape architecture and historic garden and landscape preservation today. \nClick here for more information and to register.
URL:https://www.winterthur.org/calendar/marian-coffin-symposium/
CATEGORIES:Conference,Garden,Lecture,Program,Workshop
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210917T090000
DTEND;TZID=America/New_York:20210917T170000
DTSTAMP:20260617T060330
CREATED:20210627T053423Z
LAST-MODIFIED:20220302T140755Z
UID:29157-1631869200-1631898000@www.winterthur.org
SUMMARY:2021 Winterthur Garden Symposium
DESCRIPTION:The Secret Garden\nFriday\, September 17\, 9:00 am–5:00 pm\n \n\n\n  \n\n\nRegistration is now closed.  \nFrances Hodges Burnett’s 1911 novel The Secret Garden has been a gateway to gardening for generations of readers. Revealing both the magical metamorphosis of hidden spaces and the transformational aspects of nurturing nature\, the novel inspires us to re-examine the latent possibilities of places and people. Join us to explore secret gardens and garden secrets through a series of talks and walks with experts and authors from the fields of horticulture\, landscape architecture\, and horticulture therapy.  \nWinterthur’s Garden Symposium has been approved for LA CES HSW. \n\n\n\nProgram \n\n\n\n\n\nShow All  |  Hide All\n\n\n\n9:00 am     Welcome & Introduction\n\n\n\n☙  \n\nWelcome & Introduction\n\nChris Strand\nBrown Harrington Director of Garden & Estate\, Winterthur Museum\, Garden & Library \n\n\n\n\n\n\n\n\n9:15 am     The Secret History of The Secret Garden\n\n\n\n☙  \n\nThe Secret History of The Secret Garden\n\nMarta McDowell\nAuthor and Teacher of Landscape History and Horticulture at the New York Botanical Garden\n\nExplore the backstory of the classic novel through the life of its author\, Frances Hodgson Burnett. Discover the restorative power of her gardens in Kent\, England; Long Island; and Bermuda\, and their connections to her fictional creation at Misselthwaite Manor\, the book’s setting. \n\n\n\n\n\n\n\n\n10:00 am     Urban Nature: Human Nature\n\n\n\n☙  \n\nUrban Nature: Human Nature\n\nPeter del Tredici\nSenior Research Scientist emeritus\, Arnold Arboretum\, Harvard University;\nVisiting Lecturer of Applied Ecology and Planning\, MIT\n\nUrban ecosystems are the ultimate manifestation of the dynamic conflict between humans and nature—between our desire for neat\, orderly landscapes and our fear of messy ecological chaos. This presentation focuses on the plants that grow without cultivation in cities and their remarkable ability to flourish in spite of stressful environmental conditions. This spontaneous urban vegetation is as cosmopolitan as the city’s human population and\, quite frankly\, is better adapted to our rapidly-changing climate than the native species that once grew there. Like it or not\, the ecosystems created by these plants have become the new ecological normal\, and it is time we recognize that they are not only making our cities more livable\, but also helping clean up the mess we have made of the planet. \n\n\n\n\n\n\n\n\n10:45 am     Break \n\n\n\n☙  \n\nBreak\n\n15 minutes./p> \n\n\n\n\n\n\n\n\n11:00 am     The Secret Garden: Landscapes Through a Gardener’s Lens\n\n\n\n☙  \n\nThe Secret Garden: Landscapes Through a Gardener’s Lens\n\nDavid Rubin\nFounding Principal\, David Rubin Land Collective\n\nLandscapes and gardens are highly political constructs\, reflecting the culture and character of the citizenry that create them. Rubin will explore the resonance of creating place and the inherent emotion to be found in gardens as narratives\, as personal constructs\, and as community builders. \n\n\n\n\n\n\n\n\n11:45 am     Lunch\n\n\n\n☙  \n\nOptions\n\n#1 Caesar Salad with grilled chicken\, romaine hearts\, ciabatta crouton\, shredded parmesan\n#2 Applewood smoked ham sandwich\, Swiss cheese\, apricot chutney\, greens\, on pretzel roll \n#3: Moroccan chickpea wrap\, roasted beets\, field greens\, lemon parsley\, feta crumbles\n      All lunches include fruit\, kettle chips\, house made cookie\, and bottle of water \n\n\n\n\n\n\n\n\n12:45 pm     Walks & Workshops\n\n\n\n☙  \n\nWalks & Workshops\n\nPre-registration required. All walks begin at the Visitor Center Patio (through the Café)\n\nA – Enchanted Woods\nSuzanne French\, Interpretive Horticulturist\, Winterthur Museum\, Garden & Library\n\nDiscover the magic of a woodland garden created for children under a majestic canopy of oak\, tulip\, and beech trees. Take a walk through Enchanted Woods and learn how its design encourages children of all ages to experience imaginative play\, connect with nature\, and develop a sense of wonder.\n\nB – Introduction to Forest Therapy\nAnisa George\, Association of Nature and Forest Therapy Certified Guide\n\nForest Therapy is a healing practice inspired by the Japanese art of shinrin yoku\, or “forest bathing.” It enables individuals to slow down and cultivate a deeper sense of connection both with nature and with themselves. Enjoy a guided walk during which you will deepen your personal connections to the natural world and explore how mindful time with nature can increase your sense of calm\, resilience\, clarity\, and connection to your true self.\n\nC – The Transitional Garden\nCarol Long\, Garden Curator\, Winterthur Museum\, Garden & Library\n\nGardens are in a constant state of transformation as the elements defining them change seasonally\, yearly\, and sometimes abruptly. Take a walk through three adjacent gardens—Azalea Woods\, Browns Meadow\, and the March Bank—to learn how these spaces were designed and are maintained in accordance with Mother Nature’s influence.\n\nD – Curator-led Tour of Outside In: Nature-inspired Design at Winterthur\nAlexandra Deutsch\, Director of Collections\, and Kim Collison\, Curator of Exhibitions\, Winterthur Museum\, Garden & Library\n\nBeginning in childhood\, Winterthur founder Henry Francis du Pont was a collector\, gathering birds’ eggs\, plants\, and other natural objects from the gardens and woods. In later years\, that same drive to “gather” and create beauty with objects was translated on a grand scale into his remarkable collections of decorative arts. Explore the exhibition Outside In: Nature-inspired Design at Winterthur with its curators and consider the many ways that H. F. du Pont looked to nature for inspiration for his interiors and brought the outside in\, creating an aesthetic that has inspired designers ever since.\n\nE – Uncovering Library Treasures\n\nThe Winterthur Library is a treasure trove of resources pertaining to garden and landscape design in Britain and North America across three centuries. From 18th-century pattern books to 19th-century plant catalogues to 20th-century autochromes of the early Winterthur garden\, librarians\, graduate students\, and visiting scholars will share a few of their favorite selections and discuss the flourishing research they inspire and enrich. \n\n\n\n\n\n\n\n\n2:15 pm     Horticultural Therapy: Using the Garden’s Secrets to Heal\n\n\n\n☙  \n\nHorticultural Therapy: Using the Garden’s Secrets to Heal\n\nAbby Jaroslow\, HTR\, CH\nThe Alice and Herbert Therapeutic Conservatory at Moss Rehab/Einstein Healthcare\n\nThe relationship between people and plants has been evident since ancient times. In the modern world\, research and clinical observation support the idea that spending time in nature has physiological\, emotional\, and social benefits. Learn how skilled horticultural therapists utilize this knowledge to create treatments for improved health and wellness across a wide spectrum of individual needs. \n\n\n\n\n\n\n\n\n3:00 pm     The Power of Plants and People\n\n\n\n☙  \n\nThe Power of Plants and People\n\nSue Wyndham\nDirector of Programs\, Delaware Center for Horticulture\n\nThe Delaware Center for Horticulture’s Branches to Chances Return to Work Program is a re-entry program focused on job readiness and horticultural skills training\, life skills development\, and character-building outcomes. Launched in 2009\, Branches to Chances has evolved into a collaborative\, partnership-based curriculum\, which incorporates mindfulness practice and emotional and mental wellness support to complement the hands-on training experience and classroom curriculum. For some participants\, this is an introduction to public gardens and horticulture and their first time experiencing what Delaware Center for Horticulture promotes as “the power of plants and people.” \n\n\n\n\n\n\n\n\n3:45 pm     Break\n\n\n\n☙  \n\nBrea\n\n  \n\n\n\n\n\n\n\n\n4:00 pm     The Magic of Children’s Gardens: Inspiring Through Creative Design\n\n\n\n☙  \n\nThe Magic of Children’s Gardens: Inspiring Through Creative Design\n\nLolly Tai\nProfessor of Landscape Architecture\, Temple University\n\nAn examination of 19 case studies of public children’s gardens reveals primary goals\, concepts\, and key considerations for designing outdoor spaces that are attractive and suitable for children. Two case studies from the presenter’s recent book illustrate how key design elements are integrated in creating children’s gardens. Through beautiful graphics and photographs\, the audience will gain an understanding of the design process and key considerations for designing inspiring children’s gardens. \n\n\n\n\n\n\n\n\nFarewell\n\n\n\n☙  \n\nFarewell\n\nHappy Hour and networking option: conference participants are invited to register for Harvest Tasting at a special price for symposium participants. \n\n\n\n\n\n\n\n\nHarvest Tasting\n\n\n\n☙  \n\nHarvest Tasting\n\n4:00–-7:00 pm\nReflecting Pool\n\nProhibition inspired the du Ponts to create a wine cellar that could last the rest of their lives. A dozen or so closets\, cellars\, and storage areas were packed with wine across the 2\,000-acre estate. After the death of Colonel Henry Algernon du Pont in 1926\, Henry Francis du Pont inherited Winterthur\, where he continued to enjoy the extensive collection of wines from his father\, as well as his own\, into the 1960s.\n\nEnjoy a beautiful evening in the garden as you sip on wines from around the world\, perfectly paired with an apertivo. Each wine—sparkling rosé from France\, sauvignon blanc from New Zealand\, gewurztraminer from Germany\, chenin blanc from South Africa\, sangiovese from Italy\, and cabernet sauvignon from America—will highlight a unique wine region\, including some of H. F. du Pont’s favorites. Wander throughout the Reflecting Pool area as you enjoy live music and relax beneath the early autumn skies. $90; $85 for Winterthur and Delaware Museum of Natural History members; $75 for Garden Symposium participants; $35 per designated driver\n\nOutdoor event. Limited transportation available. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSpeaker Bios (in alphabetical order) \n\n\n\n\n\nShow All  |  Hide All\n\n\n\nPeter del Tredici\n\n\n\n☙  \n\n\nPeter del Tredici has been affiliated with the Arnold Arboretum for more than 30 years. He has worked with a number of plants\, most notably ginkgo biloba\, conifers in the genera Tsuga and sequoia\, various magnolias\, and several Stewartia species (family Theaceae)\, integrating various aspects of the botany and ecology of a given species with the horticultural issues surrounding its propagation and cultivation. This fusion of science and practice has also formed the basis of his teaching at the Harvard Graduate School of Design (since 1992)\, especially as it relates to understanding the impacts of climate change and urbanization on plants in both native and designed landscapes. His recent research has expanded to the subject of spontaneous urban vegetation\, which resulted in the publication of Wild Urban Plants of the Northeast: A Field Guide (Cornell University Press\, 2010). \n\n\n\n\n\n\n\n\nAbby Jaroslow\n\n\n\n☙  \n\n\nAbby Jaroslow\, Horticultural Therapist\, has an extensive background in historic preservation\, architecture\, and public art. She began her career working on large scale public sculptures in California and eventually moved to New York City to work in materials conservation and landscape restoration on public environmental and parks development projects at South Street Seaport\, Riverside Park\, and Central Park\, among others. Jaroslow manages the Sachs Conservatory at Moss Rehab\, where she designed the gardens and developed an extensive and integrated horticultural therapy program. She collaborates with the treatment teams\, serving individuals recovering from brain and spinal cord injuries\, stroke\, amputation\, and complex neurological conditions. \n\n\n\n\n\n\n\n\nSue Wyndham\n\n\n\n☙  \n\n\nSue Wyndham is the director of programs at the Delaware Center for Horticulture\, where her team works to advance their educational community outreach and greening initiatives. She previously worked as a landscape planner at the University of Delaware (UD)\, collaborating with a diverse campus community to enhance and develop its outdoor spaces\, and serving on its professional advisory board to support its new BLA program. A registered landscape architect with training and experience in the fields of horticulture and psychology\, she has worked for more than 30 years in for-profit and not-for-profit settings\, advocating to preserve and improve outdoor public spaces through landscape design\, community collaboration\, and promoting environmental literacy and stewardship. \n\n\n\n\n\n\n\n\nMarta McDowell\n\n\n\n☙  \n\n\nMarta McDowell lives\, writes\, and gardens in Chatham\, New Jersey. She shares her garden with her husband\, Kirke Bent\, their crested cockatiel\, Sydney\, and assorted wildlife. Her garden writing has appeared in The New York Times\, Woman’s Day\, and Country Gardening. She is a regular contributor to the British journal\, Hortus. Marta’s work typically follows the relationship between the pen and the trowel\, that is authors and their gardens. Her books include Emily Dickinson’s Gardening Life\, The World of Laura Ingalls Wilder\, Beatrix Potter’s Gardening Life\, and All the Presidents’ Gardens\, which was a New York Times bestseller and won an American Horticultural Society book award. \n\n\n\n\n\n\n\n\nDavid Rubin\n\n\n\n☙  \n\n\nDavid Rubin is Founding Principal\, David Rubin Land Collective\, recipient of the 2011–2012 Garden Club of America Rome Prize in Landscape Architecture from the American Academy in Rome\, and a Fellow of the American Society of Landscape Architects. His visionary contribution to the field in “empathy-driven design” is a hallmark of the studio\, earning increasing renown for fusing issues of social justice in cities with excellence in the design of public spaces. His work has received awards and honors from the American Society of Landscape Architects and the American Institute of Architects. David serves as Design Critic at Harvard University School of Design and was the Nadine Carter Russell Chair in Landscape Architecture at Louisiana State University for spring 2020. \n\n\n\n\n\n\n\n\nLolly Tai\n\n\n\n☙  \n\n\nLolly Tai\, Professor of Landscape Architecture\, Temple University\, focuses on sustainable landscape design. Tai’s experience includes a wide range of landscape architectural design projects of varying scope and scales. She incorporates innovative technologies of best management practices\, green infrastructure\, and forward-looking strategies into her classroom projects. Tai’s courses include design studios\, research design methods\, computer graphics\, materials\, and methods of construction and site engineering. Her research emphasis is on designing spaces that afford children the opportunity to engage in creative and active play\, which is crucial to children’s mental\, moral\, emotional\, and physical development. Author of the acclaimed books The Magic of Children’s Gardens: Inspiring Through Creative Design [Temple University Press\, 2017] and Designing Outdoor Environments for Children [McGraw-Hill\, 2006]\, she has written articles on computer technology\, landscape architecture education\, service learning\, design build\, and outdoor environments for children\, which have been published in Landscape Architecture Magazine\, Landscape Journal\, Landscape Review\, and other journals. \n\n\n\n\n\n\n\n\n\n\n\nThe 2021 Winterthur Garden Symposium was organized by Linda Eirhart\, Curator\, Horticulture; Lois Stoehr\, Curator of Education; and Chris Strand\, Brown Harrington Director of Garden & Estate.\n\nPhoto by Bob Leitch
URL:https://www.winterthur.org/calendar/2021-winterthur-garden-symposium/
CATEGORIES:Conference,Garden,Lecture,Program,Workshop
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