[Abstract]
The fifteen compositions by Thomas Wilfred on view in the current exhibition Lumia: Thomas Wilfred and the Art of Light (Yale University Art Gallery; Smithsonian American Art Museum) are among the earliest twentieth-century examples of time-based media. In planning and implementing this project, the organizers at Yale have made every effort to follow accepted conservation practices, as well as Wilfred’s specific instructions for care, to preserve the original electrical and mechanical components of the works and to ensure that lumia can continue to be exhibited well into the future. This conversation touches on the technical skills and maintenance plans that the museum’s core exhibition team has developed over the course of their years-long endeavor.
[Speaker Bios]
(Carol Snow)
Carol Snow, Deputy Chief Conservator and the Alan J. Dworsky Senior Conservator of Objects, graduated from Skidmore College and the Winterthur/University of Delaware Program in Art Conservation. She worked at the Walters Art Museum and then as a conservator in private practice, primarily for museums in the greater Boston area. She works on a wide range of materials from ancient bronzes to modern plastics. Carol lectures for the Technical Examination of Art course in the Department of the History of Art and the Kress Summer Teachers Institute in Technical Art History, both at Yale.
(Jason DeBlock)
More detail to follow
(Keely Orgeman)
Keely Orgeman is the Alice and Allan Kaplan Assistant Curator in the Department of American Paintings and Sculpture at the Yale University Art Gallery in New Haven, Connecticut. She received her PH.D. from Boston University in 2014, writing her dissertation on representations of radioactivity in postwar American art. While at BU, she organized the exhibition Atomic Afterimage: Cold War Imagery in Contemporary Art (2008) and authored its accompanying catalogue. Since coming to Yale in 2008, she has contributed to several publications and curated the current exhibition Lumia: Thomas Wilfred and the Art of Light, which is accompanied by a catalogue with a foreword by James Turrell.
The fifteen compositions by Thomas Wilfred on view in the current exhibition Lumia: Thomas Wilfred and the Art of Light (Yale University Art Gallery; Smithsonian American Art Museum) are among the earliest twentieth-century examples of time-based media. In planning and implementing this project, the organizers at Yale have made every effort to follow accepted conservation practices, as well as Wilfred’s specific instructions for care, to preserve the original electrical and mechanical components of the works and to ensure that lumia can continue to be exhibited well into the future. This conversation touches on the technical skills and maintenance plans that the museum’s core exhibition team has developed over the course of their years-long endeavor.
[Speaker Bios]
(Carol Snow)
Carol Snow, Deputy Chief Conservator and the Alan J. Dworsky Senior Conservator of Objects, graduated from Skidmore College and the Winterthur/University of Delaware Program in Art Conservation. She worked at the Walters Art Museum and then as a conservator in private practice, primarily for museums in the greater Boston area. She works on a wide range of materials from ancient bronzes to modern plastics. Carol lectures for the Technical Examination of Art course in the Department of the History of Art and the Kress Summer Teachers Institute in Technical Art History, both at Yale.
(Jason DeBlock)
More detail to follow
(Keely Orgeman)
Keely Orgeman is the Alice and Allan Kaplan Assistant Curator in the Department of American Paintings and Sculpture at the Yale University Art Gallery in New Haven, Connecticut. She received her PH.D. from Boston University in 2014, writing her dissertation on representations of radioactivity in postwar American art. While at BU, she organized the exhibition Atomic Afterimage: Cold War Imagery in Contemporary Art (2008) and authored its accompanying catalogue. Since coming to Yale in 2008, she has contributed to several publications and curated the current exhibition Lumia: Thomas Wilfred and the Art of Light, which is accompanied by a catalogue with a foreword by James Turrell.