The list below shows Durham University research staff who are members of IMEMS. Click the member's name to see a more detailed biography and department.
We also welcome anyone from outside the University with an interest in our work to join. Membership is free of charge. You will receive invitations to our programme of events, with a weekly emails digest about what is happening in the Insitute and further afield. To join IMEMS contact: firstname.lastname@example.org
Dr Mary Brooks
(email at email@example.com)
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.
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 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'.
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.
She also convenes the Museum Communication module on the MA Museum & Artefact Studies which results in public engagment through collections. The 2016-17 museum communication projects focused on time and decay in the museum. The exhibition DECAY! opened at Palace Green Library Durham on 16 June 2017. The learning pack for teachers to use to introduce school students to the subject of time was launched at the same time. The 2017-2018 projects will be exploring the subjects of Meij Japan and women in archaeology.
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.
Recent conference papers:
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.
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
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
Indicators of Esteem
- 2017: Celebrating Excellence:
- 2017: Key note speaker:
24-25 November 2017: Invited as keynote speaker to lecture on 'Material Memories: Cloth, Clothing and Conservation' at the Hong Kong symposium Unroll and Unfold: Preserving Textiles and Thangkas to Last organised by the International Institute of Conservation, the Palace Museum, Beijing, China and the Hong Kong Leisure and Cultural Services Department.
- 2016: Fellow of Society of Antiquaries (London):
- 2016: Member of the Faith Museum Advisory Panel, Auckland Castle Bishop Auckland:
- 2014: Celebrating Excellence: Invited to attend 'Celebrating Excellence', Durham University, 19 May 2014
- 2014: Guest curator The Eye of the Needle Ashmolean Museum Oxford:
The Eye of the Needle 1 August -12 Otober 2014
The Eye of the Needle will display, for the first time in public, a selection of eye-catching, virtuoso 17th-century embroideries from the internationally renowned Feller Collection, together with outstanding examples from the Ashmolean’s own holdings.
These remarkable embroideries include colourful raised and flatwork pictoral panels, beautiful samplers and household items such as boxes and cushions and dress accessories including caps, coifs and gloves.
The exhibition will explore the context in which these dramatic and technically exacting works were made, examining their importance in creating the ideal goodly and godly woman through the discipline of painstaking embroidery, reinforcing both social status and appropriate behaviour.
Exquisite objects in their own right made with colourful silks, pearls, and semi-precious stones, the embroideries also reflect the religious, political and social concerns of the English Civil War period.
- 2013: Pasold Research Fund Governor:
- 2012: External Examiner, MA Heritage (Contemporary Practice) Kingston University (2012-2015):
- 2010: Textile Conservation Foundation Trustee:
- Cultural significance of heritage and museums, conservation and conservation’s contribution to the making of meaning
- Educational methodologies for teaching and learning in professional education in heritage and conservation sectors
- Material Things: Early Modern English Embroidery as Art, Social Practice and Material Culture
- Material Things: Innovation, Fibres and War: the Agency of Regenerated Protein Fibres
- Vestments and ecclesiastical textiles
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
- BROOKS, Mary M., FELLER, Elizabeth & HOLDSWORTH, Jacqueline (2011). Micheál & Elizabeth Feller: The Needlework Collection I. Needleprint.
Chapter in book
- EASTOP, Dinah, D. with & BROOKS, Mary, M. (2017). Interactions of meaning and matter. In Refashioning and Redress: Conserving and Displaying Dress. BROOKS, Mary, M. & EASTOP, Dinah, D. Getty Conservation Institute. 1-18.
- 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.
- 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. Getty Publications.
- 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. (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. (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.
- 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
- 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