This workshop will cover the various techniques used in the photography of three-dimensional textiles. Different types of three-dimensional textiles will be provided throughout the workshop for both the theoretical and practical aspects of the workshop. Photographic coaching will be provided through instant replay of the participants' practical sessions with onsite computers. A survey will be conducted as to the photographic equipment used by the participants and their overall individual ease/level of 3-D photography. Similarly, the limits and possibilities according to the types of equipment that the participants work with on a daily basis will be identified. Registered participants are encouraged to bring thier own digital cameras.
Guy Couture has been photographing cultural heritage for over 30 years. His career started at the Musée national des beaux-arts du Québec, where he was delegated to photograph the museum's diverse collections. From 1981 to 1990 he was Chief Photographer for the Centre de Conservation du Québec. In 1990 he established Guy Couture photographe through which he continues to actively photograph French Canadian heritage for such museums as le Musée des Ursulines de Québec, le Musée de Sainte-Anne de Beaupré and le Musée des Hospitalières de Montréal. In 2002-2003 he was a professor of photography at the CÉGEP of Limoilou, Québec. His photographs have been published in several books, including Monographie sur la Ville de Sainte-Foy (2000) and La nouvelle encyclopédie des Antiquités du Québec (2008), both by the reputable Québec author Michel Lessard.
Susan Grundy, President of Grundy Marketing Inc., brings to this workshop three decades of business consulting experience in market research, analysis, strategy and planning on behalf of a diverse client base in private industry and in the government, cultural and community sectors. Prior to establishing her practice in 1987, she was a senior consultant in Ernst and Young's Montréal office. Under her vision, Grundy Marketing aims to enable clients to make informed decisions and take effective action. In this context, Susan typically assumes the role of facilitator, bringing an outside perspective in an effort to optimize the clients' (in this case, the workshop participants') internal wealth of experience and knowledge.
This workshop will discuss various techniques used for the display of three-dimensional textiles at theCanadian Museum of Civilization, Gatineau, Québec. These will include intersecting silhouette mannequins, hollow form mannequins, nest supports, and the use of rare earth magnets. Demonstrations of some of the techniques will take place with opportunities for participants to take part. We hope to inspire a lively, informal discussion exploring the display of three-dimensional textiles.
Julie Hughes has a diploma from the fine arts program, with a major in textiles, from Algonquin College, Ottawa, Ontario. Starting in 1979, she was employed for seven years with the Textiles Lab at the Canadian Conservation Institute. In 1985 she established the Textile Conservation Lab at the Canadian Museum of Civilization, and has headed the lab since that time. The museum's collection of more than three million artifacts, and the fast pace of changing exhibits, loans, and care of collections projects at CMC, have presented a diverse array of treatment and display challenges. With a special interest in historic costume, Julie founded the Eastern Branch of the Costume Society of Ontario in the early 1980s. She has worked in close partnership with Paul Vardy, co-instructor of this workshop, for the past 20 years.
Paul Vardy has a degree in fine arts from the University of Guelph, Ontario, and a diploma in museum studies from Algonquin College, Ottawa, Ontario. He has been an Exhibit Preparator with the Canadian Museum of Civilization for the past 20 years. Over the course of that time, he and co-instructor Julie Hughes have worked together devising many techniques and adaptations for the display of all types of textiles — ethnographic, historic and contemporary — for a vast array of display scenarios, both in-house and travelling.
This workshop covers both historical and technical overviews of Wendat Moosehair embroidery. Also on the agenda is the presentation of a video on these aspects and a brief visit of the new Musée Huron-Wendat. Following the examination of the various embroidery stitches, materials and equipment, each participant will have the opportunity to embroider, with moosehair, a sample-souvenir Wendat motif.
Marie-Paule Gros-Louis, a Wendake elder, has actively participated in the revival of the traditional arts of the Huron-Wendat, notably that of the art of moosehair embroidery. In 1980 she developed her workshops with the Native Women's Association of Canada (NWAC) and has since been invited to give many demonstrations on this highly specialized technique. She has participated in many of the annual Wendake pow-wows and the recent arts and crafts demonstrations at the Musée Huron-Wendat and the Maison Tsawenhohi. In 2007 and 2009 she supervised the arts and crafts courses for Wendake, at the Centre cultural de Wendake, with the objective of passing on to the next generation the art of moosehair decoration amongst the Wendat.
This workshop covers both historical and technical overviews of the genuine Québec Fléché technique commonly known as French Canadian Arrowhead Finger Weaving. This technique, not to be confused with the universal chevron technique, is used to make the famous arrowed sash or ceinture fléchée, dating back to the 18th century. Each participant will have the opportunity to complete a small sample-souvenir of Québec Fléché.
Yvette Michelin is an associate professor at La Maison-Routhier Centre d'arts textiles, Québec, Québec. Since her training, completed in 1978, with Association des artisans de ceinture fléchée du Québec,she continues to lecture and demonstrate the genuine Québec Fléché locally, nationally and internationally through events such as: Weaving and Interweaving 2000 (UNESCO), Québec, Québec; Conference of Popular Arts (1988), Winnipeg, Manitoba; and Folkloriada 2000 (UNESCO), Tokyo, Japan. In 2003 the Québec Living Heritage Council honored her for being part of the committee on the preparation of Les états généraux du patrimoine vivant. In association with the Québec Winter Carnival, every year since 1995, she can be seen in the foyer of the Château Frontenac, demonstrating the fléché technique. A member of Es Trad, she constantly works towards the preservation and valorization of ancestral techniques and Québec living heritage.
Luba Dovgan (England). A support mount made from Nomex ® card for flat storage & three-dimensional display of a fragile 19th-century bonnet
Clare Lewarne (Canada). Fibre identification and condition characterization of 1920s and 1930s rayon dresses
Sarah McNett (U.S.). Identifying the source of mercury on a Nez Perce horse mask
Marine del Carmen Rivadeo Torres (Argentina). Chaguar: Bromelia hieronymi
Ada Hopkins (Canada). The height of fashion: Conservation of a pair of 17th-century slap-sole shoes
Adriana Sanroman (Mexico). Mexican silk-flower industry in the late 19th century
Rosa Lorena Román Torres (México). Rigattino applied to the conservation of silk brocade
Mónica Vargas Ramos (Mexico). Frida through her textiles. Conservation issues in the textile collection of the Museo Frida Kahlo
Tanja Aronsson (Sweden). Disassembling and Reassembling: Problems and ethics concerning the process of bleaching a parasol
Nancy Britton (U.S.). Treatment of Egyptian Revival furniture: Part I. Three-dimensional structure (springs and webbing)
María Victoria Carvajal Campusano (Chile). Conservation treatment of a ceremonial Chimú costume
Emilia Cortés (U.S.). Long Term Preservation of Ptolemaic to Late Antique Period Burials at The Metropolitan Museum of Art Excavation in Dahshur, Egypt
Jan Vuori (Canada). Treatment of Egyptian Revival furniture: Part II. Aesthetics of show cover
Jessie Firth (Australia). How to bag a warbird: The re-covering of two German First World War aircraft
Sarah Foskett (Scotland). Precious Metal: The conservation of a 17th-century Garter suit
Kathryn Gill (England). When minimal intervention is not enough: Deconstructing and reconstructing a sprung upholstered chair
Joanne Hackett (England). She Walks in Beauty: The conservation, reconstruction, mounting and packing of an English court mantua
Elizabeth-Anne Haldane (England). What lies beneath: The biography of an Egyptian tunic
Meghan McFarlane (U.S.). The treatment and analysis of a Hausa horse bridle
Solitaire Osei (Australia). Conservation and logistics for a simultaneous two-venue exhibition, Black in Fashion: Mourning to Night
Chris Paulocik (U.S.). Every picture is worth 1,000 words but an object speaks volumes
Catalina Plazas (Colombia). Textiles from the beyond
Anne-Solène Roland (France). Pour une gestion rationnelle d'une collection hétérogène: La politique de conservation des costumes ethnographiques tridimensionnels au musée du quai Branly, Paris
Rosa Lorena Román Torres (Mexico). Basketry conservation: The case study of the palm box from the Chagüera cave, Ticumán, Morelos, México
Gwen Spicer (U.S.). The re-tufting of a Hunzinger armchair
Sharon Little (Chair), Fondation Little/Ragusich
Carole Baillargeon, Maison des métiers d’art de Québec
Gemma Ampleman Marcotte, Honorary Consul of Peru
Madeleine Therrien, Honorary Consul of Mexico
Translation: Michael Bourguignon, Loreta Giannetti, Solène Lemay
Website: Etienne Cimon, Pascal Daneault, Dzenan Ridjanovic
Volunteers: Mireille Bonin, Michael Bourguignon, Ann Cochrane, Amra Curovac Ridjanovic, Rachel Dessaints, Loreta Giannetti, Ndèye Fall, Groupe Esperanza