explanation of cathode ray experiment nyu

EXPLANATION OF CATHODE RAY EXPERIMENT NYU PROFESSIONAL
EXPLANATION OF CATHODE RAY EXPERIMENT NYU SERIES

Because I knew I was interested in furniture conservation, I sought out woodworking courses to fill the 3-dimensional design requirements. Anselm College and the University of New Hampshire, near my hometown, while working as a veterinary assistant part-full time. I continued working through the pre-reqs by completing non-degree coursework at St. This was a great overview of how much science affects art and gave me great perspective on why I needed to take chemistry courses to continue in the conservation field. In my senior year, the heads of the Chemistry and Art History departments teamed up to teach a course called Chemistry and Art. I was only one course away from completing my degree requirements in Italian Studies at the time, so I used my available electives to start checking off the required courses I hadn’t taken yet, including the studio art and chemistry courses. I am particularly fond of the forms that are highly specific and representative of a small window in time, like the voyeuse of the 18th century and the telephone table of the 20th century.ĮCPN: What has been your training pathway? Please list any universities, apprenticeships, technical experience, and any related jobs or hobbies.ĬS: After my introduction to conservation in my junior year at Ithaca College, I began researching conservation programs and the prerequisites. I was so excited to connect with history in this tangible way, and I knew that I wanted to seek similar experiences in the future.ĮCPN: Of all specializations, what contributed to your decision to pursue furniture conservation?ĬS: Furniture conservation appealed to me because furniture, as a subsection of decorative arts, can include a wide variety of materials, and there is a wonderful overlap between architecture, textiles, and objects. I love seeing the way the intended function of an object affects its design and how that changes over time. I found this work dynamic and compelling, and was surprised to discover that I learned as much (if not more) about history from working in the house and on the objects than I did in my associated art history course. I grew up in New Hampshire and did much of my pre-program work in the New England area.ĮCPN: How were you first introduced to conservation, and why did you decide to pursue conservation?ĬS: My first introduction to conservation was during an undergraduate internship in London at the Leighton House Museum. Organized through the Art History Department of Ithaca College, my internship was divided between assisting the Curator of Collections and Research and working with a Conservation Cleaner in the Linley Sanbourne House, a historic property also managed by LHM. in Italian Studies, and a double minor in Art History and Classical Studies. I am completing my internship year in Furniture Conservation at The Philadelphia Museum of Art (PMA). She received a Bachelor of Art in Italian Studies from Ithaca College, with a double minor in Art History and Classical Studies.ĮCPN: Please tell us a little bit about yourself.Ĭaite Sofield (CS): I am a third year graduate fellow in the Winterthur/University of Delaware Program in Art Conservation (WUDPAC), specializing in Furniture Conservation. Caite is specializing in Furniture Conservation, and she is also a graduate intern in Furniture Conservation at The Philadelphia Museum of Art (PMA).

In our first interview from the WAG series, we spoke with Caite Sofield, a third year fellow in the Winterthur/University of Delaware Program in Art Conservation (WUDPAC).

EXPLANATION OF CATHODE RAY EXPERIMENT NYU PROFESSIONAL

These conservators work with various wooden objects, which can range from furniture, musical instruments, waterlogged wood, frames, and more! We’ve asked our interviewees to share some thoughts about their career paths, hoping to inspire new conservation professionals and provide valuable insight into these areas of our professional field. Now, we are interviewing conservation professionals working in AIC’s Wooden Artifact Group (WAG).

EXPLANATION OF CATHODE RAY EXPERIMENT NYU SERIES

We began the series with Chinese and Japanese painting conservation and continued the series by focusing on practitioners working with Electronic Media. To promote awareness and a clearer understanding of different pathways into specializations that require particular training, the Emerging Conservation Professionals Network (ECPN) has been conducting a series of interviews with conservation professionals in various specialties.

Explanation of cathode ray experiment nyu