Tag: The Fabric Workshop and Museum

Ella Evans, BMC 25′

Archival Inventorying at the Fabric Workshop and Museum

Semester: Spring 2025

Praxis Course: HART 420 Museum Studies Fieldwork

Faculty Advisor: Monique Scott and Sylvia Houghteling

Field Site: Fabric Workshop and Museum

Field Supervisor: Justin Hall

Praxis Poster:

HART_EllaEvans_FWMPoster

 

Further Context:

This past semester, I had the wonderful opportunity to intern with the Fabric Workshop and Museum (FWM) in their museum archives. Marion ‘Kippy’ Boulton Stroud founded the workshop in 1977, and the institution has collaborated with artists to create contemporary art in a variety of media ever since. The workshop pushes artists to move outside of their comfort zones or preferred media and embrace innovation and possibility. From its onset, the FWM has collected the contemporary art produced during its artist-in-residence collaborations, which means that they have a robust and multifaceted collection. I focused on several different projects during my internship which were geared towards inventorying and cataloguing parts of the collection in order to increase public accessibility. 

My main project examined the accessioned object records in CollectionSpace, FWM’s online records management software. My role was to evaluate the presence and quality of the images in the over 1100 objects accessioned into the FWM’s permanent collection and create an inventory spreadsheet. This spreadsheet will be used in the future to ensure that all of the accessioned objects in the collection have high-quality photographs, so that each object’s information can be uploaded to FWM’s public browser site. This future site will assist researchers and the public in learning about the diverse collection of art at the museum. During my internship, my supervisor used the spreadsheet to locate items of clothing in the collection that had low-quality or absent photos and then scheduled photography sessions with the staff photographer to begin the process of building the index of website-worthy photos. I assisted with arranging t-shirts, robes, and dresses during these photography sessions, and it was so cool to be hands-on with the artwork. 

Besides the photo inventory project, I worked to catalogue the materials in several different Artist Boxes in the FWM’s collection. These Artist Boxes contained process materials from the stay of contemporary artists during their Artist-in-Residences at the FWM. Through my cataloguing, I created a visual guide of the materials in the Artist Boxes for future use by researchers. This project let me hone my cataloguing skills and I gained practice describing collection objects and formatting museum documents. 

Additionally, the FWM attended the IFPDA print fair in New York City in March. Prior to the fair, I assisted my supervisor with conducting condition reports of objects, small conservation measures for objects, and packing objects for shipment to New York. I learned important art handling skills from my supervisor during this experience, understanding the intricacies of bubble wrap and frame tape. 

Reflecting on my diverse experiences at the FWM, I learned so much about the role of archives and registrars within small museum institutions. This experience solidified my desire to pursue a role in museum archives upon graduation. Ultimately, I am so grateful to all the FWM staff to being so supportive through my internship. I’m excited to see the new projects that the FWM decides to embark on! 

Claire Mehta Scott, BMC 25′

The Lifecycle of an Artist in Residence at the Fabric Workshop and Museum

Semester: Spring 2025

Praxis Course: HART 420 Museum Studies Fieldwork

Faculty Advisor: Monique Scott and Sylvia Houghteling

Field Site: Fabric Workshop and Museum 

Field Supervisor: Judson Browning

Praxis Poster:

HART_MEHTASCOTTPRAXIS_RevisedForPrint-compressed

 

Further Context:

This past semester I was lucky enough to intern at the Fabric Workshop and Museum (FWM) with the Exhibitions Manager, Judson Browning. FWM is a contemporary art institution founded in 1977 with the express purpose of collaborating with Artists-in-Residence, as well as their high school and adult apprentices, to “reveal new possibilities.” This is done through encouraging experimentation with unfamiliar materials and modes of production. The workshop specializes in screen printing fabric and producing yardage. Additionally, FWM is free to the public and hosts Artist-in-Residence as well as high school and adult apprentices.

During my time at the workshop, I undertook several projects, with my main focus being creating an AIR (Artist-In-Residence) & Exhibition Standard Operating Procedure. This living document exists with the express purpose of streamlining hosting an Artist-In-Residence, outlining all the possible outcomes that emerge from this collaboration while avoiding language that feels limiting or expectant about what the end goal might be. This involved breaking down residencies into potential “phases,” and further delineating each possibility into sub-phases, i.e. renaming Phase 3 (previously “exhibition”) to “completion” which contains 3a: “exhibition,” but does not necessitate it. Additionally, new phases emerged within this framework which include Phase 4: “performance,” in the case of an AIR who is interested in pursuing a post-exhibition project, and Phase 0: “orientation” which encourages an AIR to have face time with each department within FWM at the onset of the residency.

To consider every perspective in creating the SOP, I interviewed various department heads within the workshop/museum. I worked to place everyone’s needs and deadlines within an exhibition timeline, which will hopefully prompt further cross-departmental communication.

Before I began working on the AIR & Exhibition SOP, I spent the first few months of my internship getting acquainted with the unique institution.  I was working within and building relationships that would further serve me in the interview process and throughout my time at FWM. While running around with my supervisors addressing projects on a need-by-need basis, such as doing upkeep and maintenance on the current exhibition, Softcover, or researching forthcoming AIRs (like Cherry Moki and Lisa Alvarado), I also worked on two other written documents, namely, the Exhibition Checklist for Softcover and an AIR Welcome Packet. An exhibition checklist is a list of everything that is in a show and the materials and dimensions of each piece. The checklist I created for Softcover will be used when traveling the show. The AIR Welcome Packet is a document that contains everything you might want a friend visiting Philly to know. In addition to introducing the institution, it includes a list of grocery stores, my restaurant recommendations, a guide to Reading Terminal Market, museums, and a SEPTA guide.

I am so so glad for this experience and all the people who worked so hard to make it as enjoyable and educational as it was! I have gathered so many new skills and built so many incredible relationships during my time at FWM. I’m leaving my internship feeling excited for the next time I can come and visit my friends in the offices upstairs.

Mary-Grace Culbertson, BMC ’25

Cataloging Collections at The Fabric Workshop and Museum

Semester: Spring 2023

Praxis Course: HART 420 Museum Studies Fieldwork Seminar

Faculty Advisors: Matthew Feliz &  Monique Scott

Field Site: The Fabric Workshop and Museum

Field Supervisor: Justin Hall

Praxis Poster:

Final_Culbertson,Mary-GraceHART420Poster

 

Further Context:

This semester I worked with the Fabric Workshop and Museum in Philadelphia in their collections department. I had two main tasks in my work this semester—gathering contact information for all artists that have complete residencies with the FWM and digitally cataloging the Artist Boxes that are stored in collections. I spent about 5 weeks locating and documenting contact info for the 400+ artists that have work with the museum’s Artist-in-Residence program; the rest of my semester was spent on cataloging Artist Boxes.

My first objective of the semester was to use a list of over 400 names of artists that have worked with the FWM and to locate contact information for them. This task was important to the collections department as having a resource in which collaborators’ information is neatly compiled and readily available makes it much easier for staff to contact artists about the status of their works that exist in collections. If a question of ownership is to arise regarding objects made by a certain artist, it is helpful to have their contact in an easy to locate file. To make this file, I was first to make note of whether each artist was deceased or living—and if living, where—then to find their gallery representation. For some names, this process was quite easy, especially if the artist is well known; however, for others this was a bit tricky. I searched each name in a search engine and did my best to find the information I needed. I found that if artists had their own websites this search was a bit easier as they tended to list their gallery representation(s), and if they were really thorough, they even included phone numbers and emails for those galleries. For many artists, I was able to locate gallery representation directly through the galleries’ websites that tended to be top results when I searched their names. There were also many artists on my list of much smaller acclaim that were challenging to gather information for; many of them had websites that seemingly hadn’t been updated in years or simply had Instagram pages with little information about location and representation. While this task was tedious and time consuming, I actually quite enjoyed it as it was satisfying to go down a list knowing I would eventually complete it.

Once I completed my list, I began working on cataloging the Artist Boxes that are held in collections. The FWM has a special practice of archiving certain objects from each artist that completes the Artist-in-Residency in boxes known as Artists Boxes. These boxes contain a wide variety of objects that illustrate the artists’ process working with the FWM and often have prototypes of the final design or material that is used for the artists’ exhibit with the FWM. My supervisor Justin was very flexible with letting me choose which boxes I’d like to open and catalog. I was able to complete the cataloging process for nine different artists. To catalog each box’s contents, I photographed each item, making note of whether it was loose in the box or stored in a bag. I also measured each item and made a note of the dimensions. Once I had finished photographing and measuring all contents, I put the box back in its proper location and started digitally documenting each box. I compiled all the pictures into a single document that I titled “[Artist and year of residency] Artist Box” that also included a photograph of the final work and information regarding ownership of the work. Once I had all photographs inserted into the document, I began to describe each item visually, making note of any writings or distinguishing marks, and noting the measurements of each item. After I finished describing each object, I uploaded the file to a SharePoint folder that my supervisor has access to so that he has the ability to review the content and add any information that I may not have access to. These documents, once fully completed and double-checked for errors, are uploaded to the FWM website as educational materials. These documents allow interested parties to access objects in collections and to learn more about artists, their process, their works, and the FWM’s practices. I found cataloging the Artist Boxes to be incredibly interesting and fulfilling. I took great pleasure in seeing what kind of objects existed in these boxes and being able to physically see and touch art made by artists that I enjoy or am learning about in other courses.

I had a great experience working with the FWM as I was able to immerse myself in museum work and explore my personal interests as well as opportunities that exist in museums. Working at the FWM opened my eyes to all the different roles that exist in museums and showed me how museums can differ from institution to institution. Being able to work closely with work belonging to artists whose work I enjoy and artists that I was learning about in other courses created a dynamic and fulfilling semester at the FWM and on campus.

Frances Millar, BMC ’23

Applied Museum Practices II – The Fabric Workshop and Museum

Semester: Spring 2023

Faculty Advisor: John Muse

Field Site: The Fabric Workshop and Museum

Field Supervisor: Christina Roberts

Praxis Poster:

Frances Millar_Praxis Poster_Final

 

Further Context:

Spring 2023 was my second semester participating in Praxis IS, as I was lucky enough to extend my internship placement at the Fabric Workshop and Museum and my advising relationship with Professor John Muse (of Haverford’s Visual Studies program) after a wonderful experience in the fall semester. Working in FWM’s Education department has continued to be an incredible supplement to my academic work within my History of Art major, especially as I have been completing my senior thesis and beginning my career in the arts this term. As a small institution that is both a contemporary art museum and a working artist’s studio, the work of FWM is inherently collaborative and interdepartmental. Under Director of Education, Christina Roberts, my work in the education department has been varied and engaging, taking place in both the museum’s office and studio spaces.

At the beginning of the semester, I was tasked with designing the content for a proposed workshop, rag rug weaving in collaboration with the (then upcoming) artist-in-residence exhibition, Henry Taylor’s Nothing Change, Nothing Strange. This show, which I helped open in March, features a large loom and woven element, among other sculptural components. Having interned previously at a historic weaving guild and fiber arts education center, the Little Loomhouse in Louisville KY, I had a background in weaving that made me apt for this project. Over the course of a few weeks, I researched weave structures, tested the weave structures in conjunction with the looms and warp threads we had onsite, and timed the run of the weaving project from start to finish to ensure it could be completed within the allotted time. The result was a unique design woven from scrap fabrics and heavily inspired by the use of tartan in Taylor’s exhibition. Throughout the semester I also helped with a variety of studio projects and tasks, like creating dye mordant for a natural dye workshop, mixing inks, demonstrating silkscreen techniques to tour groups, and teaching another intern to use a sewing machine. I also assisted with a major collaboration event – the opening of Radically Merrimeko at the Swedish American Historical Museum in South Philadelphia. At the exhibition opening, Christina Roberts and I assisted over one hundred twenty museum guests in creating their own Merrimeko-inspired prints using collage and silkscreen processes. Working with physical materials in the studio is not only incredibly personally rewarding but is key to my understanding of the work of FWM.

I’ve been involved in many efforts in the office as well as the studio. At the end of the fall semester, FWM hosted a fundraiser and closing ceremony for their Fall 2022 college/post-graduate and high school apprentice cohorts. This event, which I helped to promote, was a great success, bringing in nearly $8,000 in direct support of the program. This spring, I corresponded with the donors we recruited at the event, facilitating the gifting of printed banners in thanks for their contributions. I helped with institutional/program funding in other ways too, like assisting in writing grant applications. As FWM is a non-profit organization, external funding is key to our ability to provide exhibitions and programming. In the latter half of this semester, I spent considerable time doing research for the exhibition of an upcoming artist-in-residence, Jessica Campbell, whose show will open in October. For this project, I researched her oeuvre, exhibition themes, and potential partners for collaboration.

My work at the Fabric Workshop and Museum this semester has been invaluable to me as a young person entering the museum/arts field. Through two semesters, I have thoroughly developed and improved a skillset in museum administration practices that will be vital to my career. I am very grateful to have worked alongside Christina Roberts, as well as my faculty advisor John Muse, who has been instrumental in my understanding of the Philadelphia arts community, knowledge of museum/visual studies theory, and professional development.