Ever wondered about the mysterious mushrooms that share the forest with us? Are you fungi-curious? Do you see interesting mushrooms in your travels and wish you knew more about these fascinating organisms?
On this walk we will explore the woods and learn about the mushrooms we find along the way including what they are, how to identify them, and the essential roles that these fungi play in forest ecology. We will also discuss the importance of community science and learn tips and tricks for taking mushroom photos.
Wear comfortable walking shoes, weather-appropriate clothing, and bring your questions and curiosity! A smartphone equipped with the iNaturalist app is a plus, but not required.
Meg Madden leads an exploration on the Museum’s trails: to seek, to find, and to understand the fungi that live in and on our corner of the wood-wide web.
Note: this is NOT a foraging program.
Limit: 15 • please register in advance
About Meg Madden
Fungi educator, author, and professional photographer, Meg Madden can often be found in the forests of her childhood practicing what she calls “mushroom yoga” — laying on the ground, standing on her head, or balancing precariously on a log — to capture the perfect snail’s-eye view of her favorite photo subject: Fungi! Her colorful, highly detailed mushroom portraits offer an intimate look into the often-overlooked world of these extraordinary organisms.
Inspired by the belief that people are more likely to take care of something they love, she finds great joy in facilitating fun and meaningful connections between humans and nature. Meg shares her knowledge and contagious passion for the fantastic world of fungi through visually engaging presentations, mushroom walks, and via her Instagram gallery @megmaddendesign. An advocate for fungal diversity and community science, Meg teaches iNaturalist classes, organizes educational workshops and Bioblitzes, and is compiling an Atlas Of Fungi for the state of Vermont.
Our 2021 art show, Expanding Voices, explores and reflects the past year. Visual arts, poetry, 3D, and prose pieces capture the variety of solitudes, connections, race issues, changes and changelessness, new skills, and understandings we experienced in 2020.
Forty artists, photographers, writers, and poets had their work selected for this year’s show. They range from under 10 to over 80 and speak from their varied experiences of birding, the pandemic, faith, and social issues.
Visitors are invited to explore the visual and written art at their own pace, to be inspired, to ask questions, and to browse through the book of artists’ statements.
Show runs through October • Included with Museum admission
Many of the originals are for sale, and several artists have prints, cards, and other items available in our gift shop.
About the theme “Expanding Voices: perspectives on birding”
Borders: illusions than constrain us is our 2020 art show, where we invite creators and viewers to ask (and even answer) “What do borders mean for birds and which of these are constructs of our imagination?”
Thirty-six artists, photographers, and poets had their work selected for this year’s show. Creators include beginners and established professionals of all ages. Visitors are invited to explore the visual and written art at their own pace, to be inspired, to ask questions, and to browse through the book of artists’ statements.
Show is open through October • Included with Museum admission
Some originals are for sale, and some artists have prints, cards, and other items for sale in our gift shop as well.
About the theme “Borders: illusions that constrain us”
Pollinate This! is our art show asking and sometimes answering “How can art explore, examine, and express pollination—metaphorically and otherwise?”
Thirty-four artists and photographers had their work selected for this year’s show. Creators range in age from child to senior, with experience from just starting to established professional. The works are displayed in thematically-linked groupings, and visitors are invited to explore at their own pace, to be inspired, to engage with the images, and to browse through the book of artists’ statements.
Show is open from May 1 to October 31, 2019 • Included with Museum admission
Guest post by Kari Jo Spear, Photographer, Novelist, and Daughter of Bob Spear
“Take a shot in that direction.” My father pointed down toward the brook through some hemlock trees. “Good ruffed grouse territory.”
“Okay,” I said. My job was to take an interesting photo. So I crouched down, trying to get into ruffed grouse mode, going for an eye level perspective. If I was a grouse, I’d lay my eggs right under the trees. Of course, I wasn’t a grouse, and this was another of my father’s crazy attempts to get me into his “carve all the birds in Vermont” project. He thought it would be helpful to have a plastic sleeve hanging from each display case with some facts about the bird and a photo of its nesting habitat. I thought all the leaves and flowers and stuff he was putting in the cases would be enough to clue people in, but he wanted photos, too. Wouldn’t it be nice if I took them?
Well, I liked taking photos, and my father’s fancy Nikon with interchangeable lenses was pretty cool. But nesting habitat was not exactly an exciting subject to photograph. We’d been hiking for hours, and I’d been dutifully taking shots of deciduous trees, evergreens, moss, and even dead stumps. That part wasn’t really so bad. The real problem was that habitat shots had to be taken in the spring when the birds were nesting. The birds needed to take advantage of insects, who were also doing their multiplying thing. Right now, every black fly in Huntington was taking advantage of their favorite food source—me. They didn’t care about my artistic endeavor, they didn’t care that I reeked of insect repellant, and they didn’t care that I was allergic to them. My eyes were going to be puffed shut tomorrow, I knew it.
I am a grouse, I thought. I snapped two more shots down toward the brook, even climbing into the brush to get a nice, curving limb to frame the top.
“Okay,” my father said. “Now I want to go to a farm up the road. There’s a pair of cliff swallows building under the eaves of the barn. We can get barn swallow habitat inside. And all the apple trees are in bloom. They’re real pretty, and they’d be good blue bird habitat.”
Anything to get away from the buggy brook. I swatted my way out of the woods—flies never seemed to bother my father—and scratched my way up the road to an old farm that looked as thought it had been there since the glaciers moved out. I liked the way the buildings nestled into the hillside. Sure enough, there was a small colony of cliff swallows building their funny little jug-like nests under the eaves. I didn’t even ask how my father had known they were there. While he chatted with the farmer, I photographed the eaves, then some rafters inside where some barn swallows were busy irritating the cows, and then I wandered around the apple trees in full bloom and thought about how nice a big bee sting would look right between my puffy eyes. Maybe some poison ivy to set it off. Then I tripped over a branch buried in the new spring grass and landed in a woodchuck hole, twisting my ankle.
My father got the car and drove me home. Fortunately, I wasn’t bleeding—my father was not good with blood—and the camera was okay, so there was no harm done. “An old war horse,” my father said, seeing me looking at it on the seat between us.
I didn’t think he was referring to me. A young warhorse, maybe.
“You may as well keep it,” he added.
“Until next weekend?” I asked, wondering if my ankle would be up to more traipsing around.
He kind of shrugged. “Till whenever. If I need it for something, you can bring it back.”
“Oh,” I said, it slowly sinking in that he’d just given me a really nice camera. On a kind of permanent borrow.
“Might as well take the lenses, too.” I noticed that they were in the back seat. A 300mm lens and a wide angle.
“Thanks,” I said, meaning it.
“It’s a good camera,” he said. And that was that. Then he added, “But we need to get the film developed right away.”
“What’s the rush?”
Right, I thought. The state capital.
“Library,” he added.
“You’re going to carve books next?” I’d believe anything.
He shot me a look. “No. Going to have the carvings there next week.”
“There’s an art gallery upstairs in the library,” he said patiently. We’re going to have a big opening. Newspapers will be there.”
I looked at him, wondering how he’d known how to set up something like this. He’d probably enlisted Gale. He didn’t even look nervous. I’d be frantic.
“We’ve got to start getting people interested in the project, you know,” he went on. “Need to find someplace to house them.”
At the rate he was carving, he wasn’t going to have room to breathe in the shop much longer.
“There’ll be a reception. With food.” He looked at me hopefully.
“Of course I’ll be there,” I said. And not just for the food.
“Good,” he said. And then he smiled, just a little. “It’s upstairs. Your ankle will be better by next weekend, right?”
Of course it would be. Who wouldn’t want to get all hot and sweaty lugging bird cases to an upstairs gallery? I heaved a sigh. I’d never figure out how he managed to talk me into getting deeper and deeper in this project of his.
The next morning, I limped into school with my eyes puffed mostly shut, my arms and legs sunburned and dotted with red spots, and my left ankle wrapped up.
“What happened to you?” my homeroom teacher asked. All around us were kids with honorable injuries, acquired by heroically sliding into home plate or after bursting through a finish line. Everyone turned to me, waiting to hear my glorious tale.
I dropped into my desk with a sigh. “Wood chuck hole.”
Everyone’s eyebrows went up.
I nodded wisely like this was a big deal. Lowering my voice, I said, “Okay. Let me tell you guys about… habitat shots.”
Author’s Note: Visitors to the museum will notice that there are no photographs hanging from any of the cases. My father finally realized, as someone had tried to tell him, that people would get the idea where the birds nested from all the leaves and flowers and stuff in the cases. The habitat shot phase passed quickly, but to this day if I take a photo with no apparent subject, my father will look at it, smile a little, and say, “Looks like a habitat shot to me.”
And I still have the camera, tucked away somewhere safe. Permanent borrow: thirty-five years and counting.
Winter Birding: Presentation for the Milton Historical Society and friends Wednesday, November 7 • 7:30 p.m. – 9:00 p.m.
Vermont in Winter: cold, muddy, slushy, icy, snowy. But there are still birds! Which ones? How come? What do they eat? How do they shelter from the weather? And how can you get involved with birds, birding, and conservation?
Join the Birds of Vermont Museum for an evening presentation, find out more about birding (whether you are a beginner or have decades of birdwatching experience), bird food, and citizen science, all in the company of friendly people.
Requested by the Milton Historical Society and open to the public. At the Milton Historical Museum, 13 School Street, Milton. Their number is (802) 734-0758 or call us at the Museum (802) 434-2167.
Early in September Kris and Jim Andrews presented an informative talk and slideshow on the Birds of India at the Museum. While visiting acquaintances in Mumbai (formerly Bombay), Kris and Jim were treated to a bird’s-eye view at twenty stories up which afforded them a great view of the city and several high-perching birds. Interestingly, an urban park nearby once served a significant role in Indian rites associated with the dead. Customary practice called for placing deceased bodies on outside biers for vultures to consume. Jim explained that this tradition has been lost locally due to the effects of pollution in the air and environment which have decimated the vulture population.
Following their brief stay in Mumbai, Kris and Jim set out on a self-guided journey to birding regions of the country, photographing a number of India’s 1300 species along the way. Jim suggested that only about a half dozen birds inhabited both India and the northeastern United States, but many names or physical characteristics seemed to show similarities. The couple traveled the landscape exploring the Elephanta Island basalt cave temples dating from the 5th-7th centuries and embellished with Buddhist and Hindu carvings and investigated irrigation systems when not spotting birds such as Mynas, Rock Pigeons, and Green Bee-eaters.
Heading out to the Snake Temples, Kris and Jim snapped photos of Eurasian Curlews, White-throated Kingfishers, Indian Robins, Indian Grey Hornbills, Large-billed Crows, Intermediate Egrets, and Wagtails. Their journey embraced India’s “Golden Triangle”, a three-points region including the cities of Delhi ( New Delhi), Agra (where the Taj Mahal sits), and the Rajasthan desert area which includes Jaipur. Babblers and Hoopoes were documented at the Keoladeo National Park. Also, Red Wattled Lapwings (pictured above), Oriental Magpies, Pochard Ducks, Yellow-beaked Pileated Woodpeckers, Soras Cranes, Whistling Ducks, high-flying Bar-headed Geese, Purple Herons, and Painted and Pink-headed Storks were part of our birders’ visual feast. Jim and Kris featured about fifty species of birds in their slideshow attesting to the wonderful abundance of bird life residing in India’s diverse landscape.
The Birds of Vermont Museum thanks Kris and Jim Andrews for sharing their fascinating insight and images from this most remarkable journey. Please keep an eye to our website for more great programming and opportunities for armchair or lawn chair birding!