IMF2020 PRESENTERS

Mount-making for Display and Conservation: A Case Study

Leanne Smith

Whitworth Art Gallery, Manchester, UK

Nowhere to Hide: Seamless mounting on a Plexiglass Panel

Andrew Estep; Jody Hanson

Metropolitan Museum of Art, New York, New York, USA; Jody Hanson, Freelance Mountmaker, Buffalo, New York, USA

Telescopic Slide: A wall-mount system for presenting light and fragile objects.

Pierre-Luc Brouillette

Musée national des beaux-arts du Québec, Québec, CA

St Louis Art Museum: Virtual Mount Lab Tour

Tim Skornia

Saint Louis Art Museum, St. Louis, Missouri, USA

Floating cradle for pamphlets and light books.

Lucía Torner

Winterthur Museum, Garden & Library, Winterthur, Delaware, USA

Internal Struggles: A Look at Interior Mounting Solutions

Warren Bennett

Metropolitan Museum of Art, New York, New York, USA

Invisible Mounts: Internal Mounting Techniques at the Harvard Art Museums

Jill Comer

Harvard Art Museums, Cambridge, Massachusetts, USA

Mounting religious objects with a consideration for access to the object

Louise Bradley

Conservation Framing for Works of Art, Rye, Victoria, AU

Mounting a private collection of ethnographic art

Louise Bradley

Conservation Framing for Works of Art, Rye, Victoria, AU

Mount Fixtures for Donald Judd Sculpture

Tim Skornia

Saint Louis Art Museum, St. Louis, Missouri, USA

Mounting Isamu Noguchi's 1 Ton Sculpture, The Seeker Sought

Vincent Avalos

Asian Art Museum, San Francisco, California, USA

Shaken Not Stirred

Ted Gardeline and Monica Shah

Anchorage Museum, Anchorage, Alaska, USA

Earthquakes and Mounts Panel Discussion

Ted Gardeline; Monica Shah; BJ Farrar; Vincent Avalos; Jamie Hascall; Richard Hards; Mark Mitton

MFA-Boston: Virtual Mount Shop Tour

Brett Angell

Museum of Fine Arts Boston, Boston, Massachusetts, USA

Herculaneum Tripod and Ivory Fragments: A Visible Mount

Richard Hards and Jessie Arista

J. Paul Getty Museum, Pacific Palisades, California, USA

Digital Fabrication in the Museum space

Adam Bradshaw

Smithsonian Institution, National Air and Space Museum,

3D Technology for the making of Replicas and Mounts

Bebay Gonzalez

Auckland War Memorial Museum, Auckland, NZ

Displaying a leather back turtle amongst a sea of rubbish

Tom Beeston

Auckland War Memorial Museum, Auckland, NZ

Stephen Jones Hats: A Pragmatic Approach to Mounting 160 Objects in 30 Days

Jamie Robinson and Ania Golebiowska

Zenzie Tinker Conservation, Brighton, UK

Waist-ing away: developing a hanging waist support system for safe costume storage

Becky Doonan

freelance textile conservator, Maastricht, NL

Hang in There! Fashioning Storage Mounts for Costume

Ann Coppinger and Alison Castaneda

Museum at the Fashion Institute of Technology, New York, New York, USA

Overcoming the Challenges of Mounting a 39 foot long Painted Textile with a Magnetic Mounting System

Gwen Spicer and Tim Harriss

Spicer Art Conservation, LLC, USA; Virginia Museum of Fine Arts, Richmond, Virginia, USA

Mountmaking Focus Studio: Virtual Shop Tour

Jamie Hascall

Mountmaking Focus, Seattle, Washington, USA

Paper Hair and Paper Maché: Mounting Two Korean Headpieces at the Victoria and Albert Museum Using Paper Materials

Andrea Goldstein

Philadelphia Museum of Art, Philadelphia, Pennsylvania, USA

Mannequins at NMAI: An Ongoing Conversation

Shelly Uhlir and Emil Her Many Horses

Smithsonian Institution, National Museum of the American Indian, Washington, DC, USA

Mannequin Matters at Kent State University Museum

Jim Williams and Sarah Hume

Kent State University Museum, Kent, Ohio, USA

Anchorage Museum mannequin evolution

Sarah Owens

Anchorage Museum, Anchorage, Alaska, USA

Mannequins For Real People: Historic Vs. Contemporary

Lara Flecker

V&A Museum, London, UK

MFA-Boston- A Mannequin Is Converted

Brett Angell

Museum of Fine Arts, Boston, Boston, Massachusetts, USA

Mount for a Riding Habit

Sam Gatley

Te Papa Museum, Wellington, NZ

Animated Forms

Mair LaTouche

Benchmark, Rosemont, New Jersey, USA

There Are Two Sides to Everything

Heidi Swierenga

The University of British Columbia, Museum of Anthropology, British Columbia, CA

Mounting a Queue of Human Hair for an Exhibit on Discrimination:

Ian Hart (US)

Natural History Exhibit Preparator, San Francisco, California, USA

A Mountmaking Story

Erika Johnson, Jen Simons

Brigid Mountmaking, USA

A Reimagining: Returning the Lost Ornaments to Robert Adam's Table at the Metropolitan Museum of Art

Jody Hanson and Nick Pedemonti

Freelance Mountmaker, Buffalo, New York, USA; American Museum of Natural History, New York, New York, USA

The Chair That Wouldn't Fall Over

Brett Angell

Museum of Fine Arts Boston, Boston, Massachusetts, USA

Buttons and Magnets: A Mountmaker's Journey

Laura McClure

Smithsonian Institution, National Museum of American History, Washington, DC

Looking at Magnetic Cleaning Pads for Exhibit Display Cases

Gwen Spicer; Yadin Larochette

Spicer Art Conservation, LLC, USA; Tru Vue, USA

Magnet Panel Discussion

Gwen Spicer; Laura McClure; Pierre-luc Brouillette

Spicer Art Conservation, LLC, USA; Musée national des beaux-arts du Québec, Québec, CA; National Museum of American History, Washington, DC, USA

Golden Mummies of Egypt

Zoé Lanceley

Freelance Conservator, UK

A Clear View From Above. View-top jar lids for the exhibition of fluid preserved specimens

Ian Hart

Natural History Exhibit Preparator, San Francisco, California, USA

You Can Stick It: Tips on the Use of Lascaux 303 for Temporarily Securing Museum Objects on Display

Sebastian Denize, Neeha Velagapudi and Emily Fryer

Canterbury Museum, Christchurch, NZ

Remote mountmaking and virtual couriering: a case study

Philip Brutz; Renée Stein; Robin Hanson; Bruce Raper

Cleveland Museum of Art, Cleveland, Ohio, USA; Emory University, Atlanta, Georgia, USA

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