Dr Mary Brooks
(email at firstname.lastname@example.org)
Trained as a conservator, Mary worked as a conservator and curator in the USA, Europe and England before becoming Head of Studies and Research at the Textile Conservation Centre. She was Reader and Programme Leader for their MA Museum & Galleries at the University of Southampton. In 2009-2010, Mary was Director of Studies (Acting) for the MA Cultural Heritage Management, Department of Archaeology, University of York. Appointed to Durham University in 2013, Mary became an Associate Professor in July 2019.
Her research focuses on how society engages with 'material things' and how these are, or have been, collected, interpreted and represented in museums. She is also interested in exploring how conservation approaches operate as means for engaging with object-based research and the wider interpretation and presentation of cultural heritage. She is particularly interested in how textiles have ‘disappeared’ from collective memory as well as the physical problems these materials present in terms of degradation and preservation, especially in relation to seventeenth-century embroideries and regenerated protein fibres.
She was guest curator for The Eye of the Needle exhibition at the Ashmolean Museum in summer 2014, showcasing Elizabeth and Michael Feller's collection of 17th century embroideries, never before displayed in public. The exhibition explored the role these embroideries played in 17th century women's lives as well examining the 'material culture' which they created. It was accompanied by lectures,workshops and a study day on 25 September 2014; see http://www.ashmolean.org/exhibitions/eyeoftheneedle/. With wonderful generosity, the Fellers have now given all their embroideries from the exhibition to the Ashmolean Museum. The exhibition The Needles Excellency at the Ashmolean Museum (April-June 2017) showcases contemporary embroideries inspired by these embroideries. Mary presented an invited paper 'Curiosities from Female Hands' at the Symposium on 27 May 2017 which accompanied this exhibition.
Mary has undertaken curatorial and conservation consultancies for a number of museums and collections. She was Monument Fellow at York Castle Museum in 2011-2012, working on a knowledge transfer project with colleagues and helping to raise awareness of the textile collection. She lectures regularly to universities and professional organisations in this country and abroad. She is a member of the Editorial Board of Textile History having previously been a joint Editor,
Mary is Director of the MA International Cultural Heritage Management; see https://www.dur.ac.uk/archaeology/postgraduate/taughtprogrammes/maichm/.
Mary teaches elements of preventive conservation and an introduction to textiles on the MA Conservation of Archeological & Museum Objects and the MA Museum & Artefact Studies.
She also convenes the Museum Communication module on the MA Museum & Artefact Studies which results in public engagement through collections with pop-up exhibitions in the Museum of Archeology and the Oriental Museum.
I currently supervise PhD students on topics ranging from heritage to conservation and material culture, often with a textile perspective. I welcome enquiries from those who wish to explore such topics. I am especially interested in those who wish to look at sacred material culture, explore the social and cultural value of conservation and examine the interaction between things and gender in the early modern European home.
International Teaching & Learning
Mary was an invited lecturer on the Pingyao Urban-Rural Cultural Heritage Conservation and Development International Workshop, China, 12-20 July 2019, organised by Peking University, School of Archaeology & Museology at Donggeshan Village and Xigeshan Village, Pingyao County with the World Heritage Institute of Training and Research for the Asia and the Pacific Region, UNESCO, Beijing Center; the College of History & Culture, Shanxi University; the School of Tourism Management, Sun Yat-sen University and the Department of Natural Resources, Pingyao County as co-organisers. She presented a lecture with workshop sessions via Skype entitled An Approach to Scenario Analysis for Cultural Heritage (14 vJuly 2019).
In April 2018 Mary presented a lecture and seminar at the Palace Museum and Durham University Lecture Series in Archaeology and Museology, Palace Museum, Beijing Forbidden City Conservation Foundation, the College of Arts and Science of Beijing Union University and the Zhejiang Provincial Archaeology Institute.
Mary was one of the invited experts who taught on the third thematic workshop on textile conservation principles and practice at the International Institute for Conservation (IIC) International Training Centre for Conservation (IIC-ITCC) at the Palace Museum, Beijing, China in November 2017. Twenty-three mid-career conservation professionals, representing a wide range of backgrounds from around the world, were selected to attend this intensive workshop which took place in the newly established and very impressive ‘Hospital for Conservation'. Fellow lecturers included Sarah Staniforth (President of IIC) , Dr Dinah Eastop, Dr Austin Nevin and Diana Collins, together with Dr Shan Jixiang, Director of the Palace Museum, Dr Song Jirong, Vice-Director of the Palace Museum and Dr Shi Ningchan from the Palace Museum. The programme started by focusing on current approaches to preventive conservation and non-destructive analysis of textiles followed five days exploring key principles and themes in the practice of textile conservation. The workshop was the precursor to the Unroll and Unfold: Preserving Textiles and Thangkas to Last Symposium held in Hong Kong on 24-25 November 2017 and jointly presented by IIC, Palace Museum and Leisure and Cultural Services Department in Hong Kong. Mary was a key note speaker at this symposium, speaking on Material Memories: cloth, clothing and conservation.
Recent UK conference papers and public lectures:
Brooks, Mary M 'Unpicking the Morton 'cope'' Hiistory of Christianity Seminar,Theology & History Departments, Durham University, 22 January
Brooks, Mary M. & Arwa Badran. World Heritage Site Placements & Projects. MA International Cultural Heritage Management. World Heritage UK Summer Networking Meeting, Durham World Heritage Site, August 2019.
Brooks, Mary. M., Recusant Vestments, Pugin Workshop (Ornamental Embroidery), Ushaw College, 17 June (Material Culture under Penalty project)
Brooks, Mary M. (presenter), Blackburn, R & Quye, A. Forgotten Histories & Possible Futures: Learning from Fibres and Films made from Regenerated Protein Sources, The Plastics Heritage Congress 2019 – History, Limits and Possibilities, Lisbon, 29-31 May.
Brooks, Mary M Stitching For Your Soul Ashmolean Museum, Oxford, 8 February.
Brooks, Mary M Sustainable Fashion: Follow the Fibre DUCFS Festival of Sustainability, Durham University, 26 January.
Brooks, Mary M. with Marsland, C. The Fabric of Resistance: English Catholic Textiles in the Early Modern Period. Authority, Gender & Social Relations. Durham Early Modern Studies Conference, Institute of Medieval & Early Modern Studies, Durham University, 24 July.
Brooks, Mary M. Unpicking the Morton 'cope': Exploring a Fragmented Medieval Vestment. Archaeology and the Small Finds of North-East England Conference. Finds Research group, Material & Visual Culture Research Group, Durham University, Architectural & Archaeological Society of Durham & Northumberland (AASDN), 20 April.
Brooks, Mary M., The Raiment of the Lord: Investigating the Morton 'Cope'. English Benedictine History Commission, 43rd Symposium, Douai Abbey, 12 April.
Brooks, Mary M. Material Memories: Cloth, Clothing and Conservation. Hongkong Symposium.Unroll & Unfold: Preserving textiles & Thangkas to Last. IIC, Palace Museum & Hong Kong Leisure & Cultural Services Department, 24-27 November 2017.
Eastop, Dinah and Brooks, Mary M. Social Sustainability and Textile Conservation. Abegg Stiftung, Berne, Switerland. Ehemaligentreffen Symposium
Brooks, Mary M. Investigating the Morton 'cope' : Evidence for Changing Faith and Practice, Durham University, Belief in the North-East, 1 October 2017.
Brooks, Mary M.The Tangible Minster: York Minster’s Textiles York Minster (Arts Council England), Unlocking Cathedral Collections, 12 September 2017.
Brooks, Mary M. Heart of Darkness: Making Sense of Decay in the Museum. Museum of Archaeology, Durham University ‘Dig Deeper’ lecture series, 23 August 2017.
Brooks, Mary M. and Marsland, Claire. 'Raiment of the Bride of Christ'. The Design, Creation and Reception of Architect-designed Ecclesiastical Vestments in 19th and 20th Century England. Catholicism, Literature and the Arts:1850 to the Present. Durham University, Centre for Catholic Studies, Centre for Visual Arts & Culture and Ushaw College, 5-7 July 2017.
Brooks, Mary M. and Eastop, D. D. Conservation and the Narrative Power of Exhibited Garments. Costume Committee Meeting, London College of Fashion, The Narrative Power of Clothes. ICOM, 26-29 June 2017.
Brooks, Mary M. Curiosities from Female Hands, Ashmolean Museum, The Needles Excellency Symposium, 27 May 2017.
Brooks, Mary M. and Eastop, D. D. Refashioning and Redress: the conservation and re/presentation of dress in museums and beyond. Centre for Fashion Curation, London College of Fashion, 8 March 2017.
Caple, Chris and Brooks, Mary. Object Lessons. Inaugural Learning & Teaching Conference, Durham University, 13 September 2016.
Brooks, Mary. Potential and Perception: Exploring The Life of Moses Tapestries of Durham Castle Creating Connections: National Co-ordinating Centre for Public Engagement & Arts Council (North East). Museum University Partnerships Initiative (MUPI), University College, Durham University, 31 March 2016.
Brooks, Mary. Decay and Meaning-making. Accessing the Past: The Evidence of Artefacts. Artefact Research Group, Department of Archaeology & Institute of Advanced Study. Palace Green Library, Durham University, 31 March 2016.
Brooks, Mary and Eastop, Dinah. Worn Dress: Display as Meaning-making. ICOM Costume Committee Meeting, Toronto, September 2015
Current research projects:
Material Culture under Penalty: Revealing Hidden Catholic Liturgical Vestments and Practices, c.1530-1829 British Academy funded project with Claire Marsland (Ushaw College)
Material Culture under Penalty analyses a hidden aspect of early modern Catholic material culture to develop new knowledge and practice. It focuses on the penal period (c.1530-1829) when conformity to the Church of England was legally enforced and the practice of Catholicism illegal. In consequence, recusant Catholics developed distinctive liturgical vestments for their clandestine religious practice. This material culture is under-studied and often unidentified, surviving in churches and houses as well as museums. This material is not readily recognised for its unique qualities or and made readily understandable to the public as part of a personal, regional, national and transnational cultural/social history of the practice of concealed faith. The project will use co-production of knowledge and meaning-making to locate and examine these pieces and explore and communicate the inter-relationship between material culture, memory and faith and the sustaining, forgetting or reviving of suppressed religious practice.
Mary gave a brief presentation on this research project at the British Academy Roadshow at Durham University in May 2017.
The first workshop of the project took place at Ushaw College on 23 May 2017.
2019 Contextualising the Morton ‘cope’ Society of Antiquaries (London) funded project with Dr Sonia O'Connor, University of Bradford
This research builds on discoveries made during recent research funded by a Society of Antiquaries Janet Arnold Award in 2016. This established that theso-called ‘cope’, now in the form of a pieced oblong, was once two distinct vestments – a cope and, probably, a chasuble. It aims to contextualise the newly revealed vestments by researching the six surviving vestments associated with Morton to establish whether they originated from the same workshop and how far the unusual features of the Auckland vestments may be interpreted as a individual
expression of Morton’s beliefs.
Investigating the Morton ‘Cope’ Society of Antiquaries (London) funded project
Led by Dr Pam Graves, Durham University.
The Morton ‘cope’ is a rare survival of a medieval vestment associated with a known individual, Cardinal John Morton, who was both Archbishop of Canterbury and Lord Chancellor (c.1420-1500). It is now held by the Auckland Castle Trust, Bishop Auckland County Durham; see http://www.aucklandcastle.org/. The 'cope' is thought to have been made sometime after 1461. Previously a lavish vestment, it has the unusual motif of a Lily Crucifix together with motifs of a barrel and eagle - a rebus which is a visual pun on Morton’s name. It is now in the form of a panelled flat textile which may have been used as an altar frontal or dorsal. The IHS Christogram embroidered on the other face, a later addition, raises the question of whether, in this form, the reworked ‘cope’ might have formed part of an altar dressing used by Roman Catholics during the penal period (1538-1829) or alternatively during the nineteenth-century Anglo-Catholic revival. This project aims to ‘unpick’ the complex biography of the ‘cope’ with the goals of contributing to understanding of the changing religious and iconographic significance of a ‘recycled’ garment, and to enhance its interpretation for visitors to Auckland Castle.
A workshop was held to study the 'cope' and discuss research discoveries at the Oriental Museum, Durham, on 24 May 2017.
2010 University of Leeds: PhD Innovation, invention & failure: the case of regenerated protein fibres
2001 National Qualifications & Curriculum Authority: National Vocational Qualification G3 Level 4 Development of the Museums, Galleries & Heritage Sector
1986 Textile Conservation Centre/Courtauld Institute of Art, University of London: Post-Graduate Diploma in Textile Conservation
1983 Council for National Academic Awards / Polytechnic of Central London: Post-graduate Diploma in Management Studies
1981 University of Cambridge: MA
1977 University of Cambridge: BA (Hons) English
2019 Co-convenor with UNESCO Professor Robin Coingham of the Department of Archeology's Heritage, Archeology, People & Places Research & Impact Group (HAPPi).
2014-2016 Co-convenor with Dr Chris Caple of the Artefact Research Group, Department of Archaeology
2011 The Real Thing, Research Network for Textile Conservation, Dress and Textile History and Technical Art History, University of Glasgow (funded by the Getty Foundation)
2010-2013 Ways of Seeing the English Domestic Interior, 1500-1700, AHRC, http://www.kent.ac.uk/mems/domestic%20interior.html
- Ms Kimberley Foy
- Mrs Margie Stewart-Piercy
- Mrs Gulzhan Karibayeva
- Miss Claire Marsland
- Ms Anouk Lafortune-Bernard
- Miss Ana Fernandes-de-Almeida
- Miss Yuqi Lu
- Miss Donna Mitchenson
- BROOKS, Mary M., FELLER, Elizabeth & HOLDSWORTH, Jacqueline (2011). Micheál & Elizabeth Feller: The Needlework Collection I. Needleprint.
- Brooks, M. M. (2019). Spinning Fates and The Song of the Loom: The Use of Textiles, Clothing and Cloth Production as Metaphor, Symbol and Narrative Device in Greek and Latin Literature (Ancient Textiles Series Vol. 24), Oxbow Books, Oxford and Philadelphia, 2016. Textile History 49 (2): 252-254.
- Brooks, Mary, M. (2018). Book Review. Fibres. Microscopy of Archaeological Textiles and Furs. Antiquity 359.
Chapter in book
- Brooks, Mary M (2019). Curiosities from Female Hands. In The Needles Excellency: English Raised Embroidery. Hulse, L OE Publications. 10-24.
- Brooks, Mary, M. (2017). Reflecting Absence & Presence: Displaying Dress of Known Individuals. In Refashioning and Redress: Conserving and Displaying Dress. Brooks, Mary, M., & Eastop, Dinah, D. Getty Publications. 19-32.
- Brooks, Mary, M. (2016). Curious Work. In The Material Cultures of Enlightenment Arts and Sciences. Craciun, Adriana & Schaffer, Simon Palgrave Macmillan. 35-37.
- Eastop, Dinah D. & Brooks, Mary M. (2016). Introduction: Interactions of meaning and matter. In Refashioning and Redress: Conserving and Displaying Dress. Brooks, Mary M. & Eastop, Dinah D. Los Angeles: Getty Conservation Institute. 1-18.
- BROOKS, Mary, M. & MARSLAND, Claire. (2015). A Hidden Faith. Recusant chasuble and chalice, mid-seventeenth century. In The Treasures of Ushaw. KELLY,James, E. Scala Arts & Heritage Publishers. 90-93.
- BROOKS, Mary, M. & MARSLAND, Claire. (2015). Francis Joseph Sloane’s ‘Testimony of Gratitude. Sloane chalice and vestment, 1605-21, 1730-50. In The Treasures of Ushaw. KELLY, James, E. Scala Arts & Heritage Publishers. 30 & 84-85.
- BROOKS,Mary, M. (2015). The Lisbon chasuble, late seventeenth century. In The Treasures of Ushaw. KELLY,James, E. Scala Arts & Heritage Publishers. 108-111.
- Brooks, M. M. (2014). ‘Indisputable authenticity’ engaging with the real in the museum. In Authenticity and Replication: The 'Real Thing' in Art and Conservation. Gordon, R., Hermens, E. & Lennard, F. London: Archetype Publications. 3-10.
- Brooks, Mary M. (2014). Decay, conservation, and the making of meaning through museum objects. In Ways of Making and Knowing: The Material Culture of Empirical Knowledge. Cook, Harold J., Smith, Pamela, H. & Meyers, Amy R. W. Ann Arbor: University of Michigan Press. 377-404.
- Brooks, Mary M. (2013). 'Culture and Anarchy': considering conservation. In The Public Face of Conservation. Williams, Emily Archetype Publications in association with Colonial Williamsburg. 1-7.
- BROOKS, Mary M. (2013). ‘No less dangerous to use than that of a Basilisk’ skin and seventeenth century English embroideries. In Surface Tensions. Surface, Finish and The Meaning of Objects. ADAMSON, G. & KELLEY, V. Manchester University Press. 98-110.
- BROOKS, Mary M (2011). Sharing conservation ethics, practice and decision-making with museum visitors. In The Routledge Companion to Museum Ethics: Redefining Ethics for the Twenty-First Century Museum. Marstine, J Routledge. 332-349.
- BROOKS, Mary M. (2010). La conservazione degli oggetti della moda (The conservation of fashionable objects). In Storie di Moda (Fashion-able Histories). MUZZARIELLI, M. G., RIELLO, G. & BRANDI, E. T. Bruno Mondadori. 169-179.
- BROOKS, Mary M. (2017), ‘Astonish the world with your new fibre mixture’ producing, promoting and forgetting mid-twentieth century man-made protein fibres, in Madden, Odile, Charol, A. Elena, Cullen Cobb, Kim, DePriest, Paula T. & Koestler, Robert J. eds, THE AGE OF PLASTIC: Ingenuity & Responsibility. Washington, D.C., USA, Smithsonian Institution Scholarly Press, 35-50.
- Brooks, Mary M. (2015), Sustaining Tacit and Embedded Knowledge in Textile Conservation and Textile and Dress Collections, in Summerour, R. & Zaret, C. eds, Textile Specialty Group, American Institute for Conservation, Annual Meeting, Postprints 24: Conservation: Sustainable Choices in Collection Care AIC 42nd Annual Meeting, 28-31 May 2014. San Francisco, USA, American Institute for Conservation of Historic and Artistic Works, Washington, 1-10.
- BROOKS, Mary M. (2013), Revealing the hidden: X-radiography as an investigative technique for textile conservation, in BUYLE, M. eds, 6: Het Onzichtbare Restaureren / Restaurer L’Invisible. Bereoepsvereninging voor Conservators-Restaurateurs van Kunstvoorwerpen VZW / Association Professionnelle de Conservateurs-Restaurateurs d’Oeuvres. Brussels, Flanders Heritage Agency, Brussels, 45-52.
- Brooks, Mary M. & Eastop, Dinah D. (2016). Refashioning and Redress. Conserving and Displaying Dress. Los Angeles: Getty Conservation Institute.
- BROOKS, Mary M. & EASTOP, Dinah D. (2011). Changing Views of Textile Conservation. Readings in Conservation. Getty Conservation Institute.
- O’CONNOR, S. A. & BROOKS, Mary M. (2011). X-radiography of Textiles, Dress and Related Objects. Amsterdam: India. Butterworth-Heinemann / Elsevier.
- Brooks, Mary M. (2019). Conservation. Textile History 50(1): 62-72.
- Brooks, Mary M. (2017). Performing curiosity: re-viewing women’s domestic embroidery in seventeenth-century England. The Seventeenth Century 32(1): 1-29.
- Brooks, Mary M. (2016). ‘Mouldering Chairs and Faded Tapestry Unworthy of the Observation of a Common Person’ Considering Textiles in Historic Interiors. Textile History 47(1): 63-85.
- BROOKS, Mary, M. & EASTOP, Dinah (2014). 'Linked by Design’. Textile collections of York Castle Museum and The Board of Trade Design Register. Text 42: 78-80.
- BROOKS, Mary M. (2012). Seeing the sacred: conflicting priorities in defining, interpreting and conserving Western sacred artifacts. Material Religion: The Journal of Objects, Art and Belief 8(1): 10-28.
- BROOKS, M. M. (2019). The Raiment of the Lord: Investigating the Morton ‘Cope’. The Douai Magazine 180: 33-35.
- Brooks, M.M. (2014). 'Wrought very hard' Ashmolean Museum - exhibition of 17th century embroidery 'The Eye of the Needle'. Country Life 13 August 2014: 70-73.
- O'Connor, S & Brooks, M. M. (2014). Publications on the X-radiography of textiles, dress and accessories. Text 41(-): 57.
- Brooks, Mary, M. (2014). Sewn up. Embroidery from the Ashmolean's Feller Collection. Selvedge 62(Nov/Dec): 70-75.
- BROOKS, M. M. (2019). Tensions in store. 6-7.
- Heritage, Archaeology, People & Places Research & Impact Group
- Visual and Material Culture Research Group
- Linked by Design: Textile collections of York Castle Museum and the Board of Trade Design Register, The National Archive, November 1st, 2013 (Textile Society Grant)
- Binchester Exposed
- Conversations with Broken Things. CRASSH Symposium February 2013
- MAICHM Pinterest board
MA International Cultural Heritage Management ARCH 41760 Managing Cultural Heritage in Context
- MA International Cultural Heritage Management ARCH 41930 Cultural Heritage, Communities & Identities
- MA Museums & Artefacts Studies: ARCH%%"£) Museum Communication Group 1 Exhibition project
- 2017: Material Culture under Penalty: Revealing Hidden Catholic Liturgical Vestments and Practices, c.1530-1829 Project Title: Material Culture under Penalty analyses a hidden aspect of early modern Catholic material culture to develop new knowledge and pra
- 2012: ‘LINKED BY DESIGN: TEXTILE COLLECTIONS OF YORK CASTLE MUSEUM AND THE BOARD OF TRADE DESIGN REGISTER’ MARY M. BROOKS AND DINAH EASTOP