I'm still planning a post about the second honeymoon shawl, but I was struck down by a summer cold this weekend. Minor illness seemed a good excuse to take my computer to the bedroom and watch videos while working on knitting.
I started to watch the Craft in America on pbs.org about a year ago. Again. I believe I was not feeling entirely well then. I rewatched the first episode, and moved on to the second.
No comprehensive craft documentary would be complete without a mention of the Works Progress Administration. Out of the many,many projects the documentary could have chosen, they discussed Timberline Lodge, and the coordinator of the interior design. Margery Hoffman Smith was the daughter of Portland's Arts and Crafts Society founder Julia Hoffman.
As an archivist you rarely know where the results of your labor will be used. I can't say for sure that the restoration of textiles at Timberline Lodge used the exact collection of photographs, I processed at the Oregon Historical Society, or that the timing of the restoration occurred after I had finished my work there. What I do know is that this is one of those obfuscated moments when an archive made a difference. No one said archives, but I know that when they said Margery kept her photographs of the work, what they meant was "Margery made her life's legacy public by giving her photographs to an institution that would care for them."
I started to watch the Craft in America on pbs.org about a year ago. Again. I believe I was not feeling entirely well then. I rewatched the first episode, and moved on to the second.
No comprehensive craft documentary would be complete without a mention of the Works Progress Administration. Out of the many,many projects the documentary could have chosen, they discussed Timberline Lodge, and the coordinator of the interior design. Margery Hoffman Smith was the daughter of Portland's Arts and Crafts Society founder Julia Hoffman.
As an archivist you rarely know where the results of your labor will be used. I can't say for sure that the restoration of textiles at Timberline Lodge used the exact collection of photographs, I processed at the Oregon Historical Society, or that the timing of the restoration occurred after I had finished my work there. What I do know is that this is one of those obfuscated moments when an archive made a difference. No one said archives, but I know that when they said Margery kept her photographs of the work, what they meant was "Margery made her life's legacy public by giving her photographs to an institution that would care for them."
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