Loading…
Welcome to the AIC Annual Meeting Program! Browse our draft schedule for the 2025 meeting in Minneapolis!

REGISTER  |  ADD TICKETS   |  RESERVE A HOTEL ROOM

Please note that ticketed events like workshops, luncheons, tours, and receptions are add-ons for meeting attendees. The prices listed are in addition to the meeting registration fees.

Banner photo by Lane Pelovsky, Courtesy of Meet Minneapolis
arrow_back View All Dates
Friday, May 30
 

8:00am CDT

PSG Networking Event
Friday May 30, 2025 8:00am - 9:00am CDT
Join your fellow Paintings Specialty Group members for an informal networking session before the start of the talks at 9 am.
Friday May 30, 2025 8:00am - 9:00am CDT
Hyatt Regency Minneapolis

8:30am CDT

(Architecture + Preventive Conservation) Building Together Better: Establishing Dynamic Models for Collections Storage Planning at The New York Public Library Research Libraries
Friday May 30, 2025 8:30am - 9:00am CDT
Planning one storeroom with integrated preventive conservation controls is admittedly a complex endeavor. But how do large organizations undertake comprehensive storage planning, especially when they have fifty storage areas of 250,000sf in three historic Manhattan research centers (plus a giant high-bay storage facility in New Jersey)? How does an organization begin to steer planning to meaningfully incorporate climate action methodology and build resilience systems? What coaching, education, and facilitation are needed to redirect a storied institution from localized episodic planning to a powerful and pervasive strategy to protect collections?

The Research Libraries for the New York Public Library (NYPL) is building a foundation for dynamic storage planning for a changing world. Large institutions need to focus on global, values-based thinking when building or renovating collections storage to equitably incorporate sustainability and preservation concepts. With support from the Sustaining Cultural Heritage Collections (SCHC) program of the National Endowment for the Humanities (NEH), NYPL designed a collaborative pre-planning exercise to inform long-range collection storage planning. A project team of NYPL stakeholders and experts in cultural heritage architecture, preservation environment, and sustainability collaborated to establish a path toward a more responsive and ongoing storage planning model. The project included a week-long walkthrough of all storerooms, followed by several months of distillation of these observations. The project established in its report foundational planning tasks, maintenance tasks, and capacity concepts for exploration in future storage planning.

This talk will discuss building a unified momentum through sustained institutional messaging, risk-taking, and taking advantage of key moments. A specific area of focus will include relationship-building between collection management, facilities, capital planning, energy, health and safety, and curatorial staff to build trust and create space for planning. Discussion of the pre-planning exercise will highlight conditions NYPL is attempting to address, concepts the pre-planning team used for structuring their observations, and logistical practicalities of planning this type of onsite assessment. 

Building on the success of the pre-planning grant, NYPL received a second NEH SCHC grant in August 2024 to develop the Collection Space Construction Design Standard. NYPL will convene experts in architecture, mechanical engineering, electrical engineering, fire protection, security, and sustainability, to create construction design standards for reading rooms, storage, and collection workspaces that will be made available to other institutions. This presentation will also include an update on this project, as well as collection storage’s high-level inclusion in NYPL’s new strategic plan.
Speakers
avatar for Rebecca Fifield

Rebecca Fifield

Associate Director (Head), Collection Management, The New York Public Library
Becky Fifield is Associate Director, Collection Management at The New York Public Library. Beginning her cultural heritage career in 1988, she has provided collection management expertise to libraries and museums for over 30 years experience including the Metropolitan Museum of Art... Read More →
Authors
avatar for Rebecca Fifield

Rebecca Fifield

Associate Director (Head), Collection Management, The New York Public Library
Becky Fifield is Associate Director, Collection Management at The New York Public Library. Beginning her cultural heritage career in 1988, she has provided collection management expertise to libraries and museums for over 30 years experience including the Metropolitan Museum of Art... Read More →
Friday May 30, 2025 8:30am - 9:00am CDT
Hyatt Regency Minneapolis

8:30am CDT

(Book & Paper + Photographic Materials + RATS +Imaging) Investigating Transmitted Infrared Imaging to Detect Chalk Media on the Verso of Lined Stradanus Drawings
Friday May 30, 2025 8:30am - 9:00am CDT
The Cooper Hewitt, Smithsonian Design Museum has a collection of approximately 300 sketches by Jan van der Straet (called Stradanus) a 16th century court artist to the Medici in Italy. A group of these drawings may have important information on the verso written with black chalk, but unfortunately, have been lined with paper. The presence of inscriptions/drawings on the verso has been detected using transmitted visible light when the media is ink but not for chalk. To minimize carrying out interventive conservation treatment to remove the linings from the fragile drawings, transmitted IR imaging was investigated to determine whether the technique could be used to detect chalk drawings on the verso without removing the linings from the drawings.

This initial imaging investigation involved four Stradanus drawings. Reflected and transmitted visible light and IR images were acquired of the recto and verso of the drawings. The investigation started with the three drawings that had the paper linings removed and had known verso chalk drawings. The first step involved testing whether transmitted IR imaging of the recto could resolve the verso chalk drawing which could be verified with reflectance images of the verso. Preliminary processing, during the image acquisition, indicated that transmitted IR and image processing could detect the verso drawing, so the next step involved imaging one of the unlined drawings with a paper support placed behind the object to mimic the lining. The final step involved the imaging of a fourth drawing that had not had the paper lining removed and it was unknown whether there was a verso chalk drawing. 

Transmitted IR images on their own did not provide much information, but image processing, both false color and image subtraction, was essential for further analysis. The false color image processing involved combinations of reflected and transmitted visible light and IR images including newer techniques that have only been introduced and used on paintings. The image subtraction processing was the difference between the reflected and transmitted IR images. The most promising methods were the image subtraction and the false color processing using transmitted visible and IR images. The image subtraction was able to fully resolve the verso chalk drawing for one of the drawings (both with and without a tertiary support), but the same processing was less conclusive for a verso chalk drawing that did not have identifiable features. When the difference mode was less conclusive, some of the false color processing seemed to be able to reveal some features that do not correspond with the recto ink drawing and could suggest that there might be verso chalk drawings.



The imaging of four Stradanus sketches suggests that transmitted IR imaging and additional processing is promising for detecting verso chalk drawings without removing the paper lining, but the results were not always definitive. Additional testing with a larger subset of drawings is needed to further investigate the potential of transmitted IR imaging and image processing.
Speakers
avatar for E. Keats Webb

E. Keats Webb

Imaging Scientist, Smithsonian's Museum Conservation Institute
E. Keats Webb is the imaging scientist at the Smithsonian’s Museum Conservation Institute (MCI) where she uses scientific and computational imaging to aid in the research and conservation of the Smithsonian collections. Recent research includes investigating the optimization of... Read More →
Authors
avatar for E. Keats Webb

E. Keats Webb

Imaging Scientist, Smithsonian's Museum Conservation Institute
E. Keats Webb is the imaging scientist at the Smithsonian’s Museum Conservation Institute (MCI) where she uses scientific and computational imaging to aid in the research and conservation of the Smithsonian collections. Recent research includes investigating the optimization of... Read More →
PC

Perry Choe

Paper Conservator, Cooper Hewitt, Smithsonian Design Museum
Friday May 30, 2025 8:30am - 9:00am CDT
Hyatt Regency Minneapolis

8:30am CDT

(CAN! - VoCA) The conversation in a language of love. Passion or murder? An interactive presentation between Chilean artist Daniela Rivera and Spanish conservator Ruth del Fresno-Guillem
Friday May 30, 2025 8:30am - 9:00am CDT
We highlight the need to create bridges and trust when discussing interviews and long-term relationships with artists. Trust is the base of most of the deep relations we make in our lives and in a professional capacity. Interviews, when conducted from a trusted perspective, are “a place of shared vulnerability” (Daniela Rivera, 2024). Still, this vulnerability becomes complicated or different when we add language to the equation of trust and vulnerability. 

When conducting the research and the pre-interview contact with the Cuban artist Gladys Triana for the CALL/VoCA series back in 2019, I noticed how different it was to talk and interact with Gladys when we were speaking Spanish versus when speaking English. Spanish was our commonplace language, but we also agreed it was the language of love and rage. Emotions were better expressed in our mother tongue. Even though we speak different Spanish versions, the connection was more natural, and her memories came from a feelings perspective.

Curator Leah Triplett Harrington interviewed artist Daniela Rivera for the VoCA Talk series during the pandemic. Her experience with all the uncertainties and the imposed distance made her reflect on many aspects of the interview from the artist's point of view. While presenting this experience in one of the Spanish VoCA workshops, the issue related to the language arose, and it captured the interest of both the artist and the conservator to dive into the experiences and conduct a new interview in Spanish.

In this presentation, Chilean artist Daniela Rivera and Spanish conservator Ruth del Fresno-Guillem want to expose the shared vulnerabilities that have been lost in translation. We want to expose the experience, the results and the research conducted from the perspective of a language of love and a language of work. The difference between using language to communicate concepts and the use of language to communicate emotions and how to reach the desired outcome of integrating them. Ultimately, the interview as an act of love and kindness in a double direction. Language as a possible enhanced channel of connections or a political contradiction. As a Spanish-born professional, working with Latin American artists can be a position of connection by language and some cultural aspects. Still, it can also be a separation by historical colonialism and misunderstandings. We want to explore the language and cultural limitations and possibilities and question our biases and strengths. 

This presentation wants to be a reflection/experience-based to enhance the reflection about how we conduct and receive an interview.
Speakers
avatar for Ruth Del Fresno-Guillem

Ruth Del Fresno-Guillem

Owner, Ruth del Fresno Integral Art Services
Dr. Ruth del Fresno-Guillem is a researcher who cares, raises awareness, and conserves contemporary art in private practice internationally. Her work offers a window into the conservation practice –preventive and remedial for art professionals and agencies. Working towards awareness... Read More →
avatar for Daniela Rivera

Daniela Rivera

Visual Artists and Professor of Art, Wellesley College
Daniela Rivera is a Chilean artist based in Boston, MA, where she teaches at Wellesley College. Her work looks into cultural migration, labour and identity, and vulnerability as resistance. She is exhibiting mainly in the US and Latin America. Her MFA is from SMFA at Tufts University... Read More →
Authors
avatar for Daniela Rivera

Daniela Rivera

Visual Artists and Professor of Art, Wellesley College
Daniela Rivera is a Chilean artist based in Boston, MA, where she teaches at Wellesley College. Her work looks into cultural migration, labour and identity, and vulnerability as resistance. She is exhibiting mainly in the US and Latin America. Her MFA is from SMFA at Tufts University... Read More →
avatar for Ruth Del Fresno-Guillem

Ruth Del Fresno-Guillem

Owner, Ruth del Fresno Integral Art Services
Dr. Ruth del Fresno-Guillem is a researcher who cares, raises awareness, and conserves contemporary art in private practice internationally. Her work offers a window into the conservation practice –preventive and remedial for art professionals and agencies. Working towards awareness... Read More →
Friday May 30, 2025 8:30am - 9:00am CDT
Hyatt Regency Minneapolis

8:30am CDT

(Objects) Fit to float: Conservation of a Painted Canvas and Birchbark Canoe
Friday May 30, 2025 8:30am - 9:00am CDT
The Linklater/Warren canoe is considered to be the last indigenous object related to Isle Royale National Park. The canoe is an interesting style; mixing traditional Ojibwe birchbark canoe techniques with the early 20th century trend of canvas covered canoes. The canoe was built by John and Tchi-Ki-Wis Linklater, “the last Native Americans to live and work on Isle Royale” before the park designation. John Linklater worked as a guide for Frank Warren, a mining engineer from Minneapolis who was a champion of establishing Isle Royale as a national park in the 1920s. It is unclear if the canoe was made on the island for the specific use of guiding the Warrens, or if it was brought from Minnesota, and later purchased by Frank Warren. It is a “long-nose Ojibwe” canoe, which was common for border lakes Anishinaabeg. However, instead of traditional pitched edges to the bark, the entire canoe was wrapped in a green canvas that was nailed under the gunnels. Wood and canvas canoes were common in the 1910s and 1920s, suggesting an active aesthetic choice in the material, possibly made by the Warrens.

The canoe was given to the National Park Service in 1971. It was described when cataloged in 1983 in similar condition to that prior to treatment, with heavily soiled peeling canvas, the lack of two black ash thwarts, and damage to lashings and birchbark structure.   

To ensure work was undertaken with the respect for the object’s indigenous history, we conducted an outreach session with Ojibwe representatives from Grand Portage. 

We treated the canoe to reduce the embedded soiling throughout the canoe, and to stabilize loose components, preventing future loss. Furthermore, discussions with current canoe builders were undertaken in order to ensure the further stabilization of the canoe by creating replacement thwarts. Following input from park staff to determine interpretation needs, we performed additional treatment to compensate for losses and create a visually cohesive canoe, retaining signs of use as part of the park’s overall history. 

The techniques used to compensate for losses in the canvas were pulled from those used by paintings conservators: spun bond polyester and BEVA 371 linings, and  book and paper conservators: textured Japanese paper fills, in which a silicone mold is made of a similarly textured surface and acrylic paint is used to create a cast of texture, which can then be easily applied to Japanese paper, or used without as a thin film which can be heat set into place. 

The combination of these techniques allowed for a cohesive appearance for the canoe, whilst still retaining reversibility as a core tenement, and provides an additional tool in the object conservator’s toolbox for mimicking original surfaces.
Speakers
avatar for Sejal Goel

Sejal Goel

Objects Conservator, Williamstown Art Conservation Center
Sejal Goel is an Objects Conservator at Williamstown Art Conservation Center. Sejal joined Williamstown following work as a fellow at the National Park Service and the Missouri Historical Society as a conservator focussing on composite and inorganic objects.She graduated from Durham... Read More →
avatar for Fran E. Ritchie

Fran E. Ritchie

Conservator, National Park Service
Fran Ritchie is an Objects Conservator at the National Park Service's (NPS) Harpers Ferry Center, focusing on organic materials, especially leather objects and natural history specimens. Fran joined the NPS after working several years on the taxidermy and Native American collections... Read More →
Authors
avatar for Fran E. Ritchie

Fran E. Ritchie

Conservator, National Park Service
Fran Ritchie is an Objects Conservator at the National Park Service's (NPS) Harpers Ferry Center, focusing on organic materials, especially leather objects and natural history specimens. Fran joined the NPS after working several years on the taxidermy and Native American collections... Read More →
avatar for Nicole Peters

Nicole Peters

Conservator, National Park Service, Harpers Ferry Center
Nicole Peters is an objects conservator for Museum Conservation Services, Harpers Ferry Center, National Park Service. She received her M.A and Certificate of Advanced Study in Art Conservation with a focus in objects conservation from Buffalo State College. Prior to her position... Read More →
avatar for Sejal Goel

Sejal Goel

Objects Conservator, Williamstown Art Conservation Center
Sejal Goel is an Objects Conservator at Williamstown Art Conservation Center. Sejal joined Williamstown following work as a fellow at the National Park Service and the Missouri Historical Society as a conservator focussing on composite and inorganic objects.She graduated from Durham... Read More →
Friday May 30, 2025 8:30am - 9:00am CDT
Hyatt Regency Minneapolis

8:30am CDT

(Textiles) “Form Inventions”: A Technical Analysis of Barbara Rossi’s Prints on Textiles
Friday May 30, 2025 8:30am - 9:00am CDT
Barbara Rossi (1940-2023) was a preeminent member of the Chicago Imagists, a loose collective of artists associated with the School of the Art Institute of Chicago in the mid 20th century who frequently exhibited together and produced a striking body of Surrealist-influenced art. Rossi is primarily known for her paintings, drawings, and prints, which she produced on substrates as diverse as paper, masonite, plastic, and textiles, often incorporating elements of collage and mixed media. Thematically, Rossi’s artistic style is characterized by grotesque abstractions, with figural representational components such as teeth, hair, hands, and feet rendered in her distinctive style of fine lines and subtle coloration. A recent acquisition of 24 of Rossi’s prints on a variety of synthetic fabrics were acquired by the Textiles curatorial department at the Art Institute of Chicago just before her death in 2023. These joined a selection of over 70 works on paper by Rossi in the Prints and Drawings department. A corpus of her work including a selection of these prints and textiles were brought together in the Four Chicago Artists exhibition at the Art Institute of Chicago in the summer of 2024. This presented an opportunity for conservators across the disciplines of textiles and paper to perform a technical analysis and comparison of her materials and methods on paper and textile substrates. 

Processes developed by fine artists and commercial printers have resulted in distinct combinations of methods, materials, tools, equipment, terminology, and traditions that are often disparate between printing on textiles versus paper substrates. Using equipment and materials intended for paper print production to print on textiles,however, does have recognized art historical precedents, including James Ensor’s influential 19th-century experiments with etching on satin weave silk. In the 1960s and 1970s, Rossi drew on these histories to produce several sets of monoprints using the same etching plates across widely varied textile and paper substrates. These series, created by mixing techniques and materials, resulted in unique impressions from the printing plates as they were worked and re-worked for each print. Our research explores the social and art historical context in which these works were made, complemented by a technical exploration of Rossi’s textile substrates as well as a comparison of the visual and aesthetic qualities of the prints on textiles with the more well-known prints on paper. Analytical methods include imaging, XRF, FTIR, polarized light microscopy, stereomicroscopy, and analysis of paper and textile manufacturing.
Speakers
avatar for Megan Creamer

Megan Creamer

Assistant Textiles Conservator, The Art Institute of Chicago
Megan Creamer is an Assistant Textiles Conservator at the Art Institute of Chicago. They received an MPhil Textiles Conservation from the University of Glasgow’s Center for Textile Conservation and Technical Art History, an ALM concentrating in Museum Studies from Harvard University... Read More →
Authors
avatar for Gillian Marcus

Gillian Marcus

Assistant Paper Conservator, The Art Institute of Chicago
Gillian Marcus is an Assistant Paper Conservator at the Art Institute of Chicago. She received an MA in Conservation of Art on Paper from Camberwell College of Arts and a BA in Photography from London College of Communication. She has held paper or preventive conservation roles at... Read More →
avatar for Megan Creamer

Megan Creamer

Assistant Textiles Conservator, The Art Institute of Chicago
Megan Creamer is an Assistant Textiles Conservator at the Art Institute of Chicago. They received an MPhil Textiles Conservation from the University of Glasgow’s Center for Textile Conservation and Technical Art History, an ALM concentrating in Museum Studies from Harvard University... Read More →
SS

Stephanie Strother

PhD Candidate in Art History, The University of Chicago
Stephanie Strother is a PhD Candidate in Art History at the University of Chicago, where she specializes in modern art of the 19th and 20th centuries. As a Research Associate in the Prints and Drawings Department at the Art Institute of Chicago, she co-curated the recent exhibition... Read More →
Friday May 30, 2025 8:30am - 9:00am CDT
Hyatt Regency Minneapolis

8:30am CDT

(Wooden Artifacts) Unleashing the Evidence: Creating an Interactive Didactic Centered on Conservation-Derived Content
Friday May 30, 2025 8:30am - 9:00am CDT
The Museum of Fine Arts, Boston (MFA) has one of the largest and most important collections of Japanese Buddhist sculpture outside of Japan. For five years (2019-2024), the Conservation in Action: Japanese Buddhist Sculpture in a New Light project focused on the examination and treatment of seven large-scale wooden sculptures from the Heian period (9th-12th centuries). Since 1909, a selection of Buddhist sculptures have been displayed in the Temple Room, a gallery designed to evoke the contemplative atmosphere of a Buddhist temple. During the recent project, conservators worked thousands of hours to examine, document, analyze, and stabilize the seven Temple Room sculptures, uncovering new and exciting discoveries and generating many new technical images.



Although the Temple Room aspires to place the sculptures in an “appropriate” context for viewers, it does not attempt to replicate a complete temple environment. One of the MFA’s goals was to embrace the space’s meditative ambiance by keeping it free of text panels and object placards when the Temple Room was reinstalled. A conservator was invited to join an interdepartmental group with representatives from the curatorial, interpretation, and exhibition media departments to envision what other methods might be employed to better provide contextual information and encourage close-looking of these specific seven Buddhist sculptures. The so-named Temple Room Didactic group partnered with outside collaborator Ideum, a technology company with expertise in creating museum interactives. For a year, the group worked to refine the content of an interactive didactic that was to be placed right outside the central entrance to the Temple Room.



Ideum was responsible for building a custom app that would meet the Museum’s interpretative goals and could technically support the different types of data that were slated for inclusion. For example, an opening choreographed sequence shows visitors what one might experience walking into a Buddhist temple complex in Japan and the main landing page displays 3D models of all seven sculptures in a virtual temple environment. The completed didactic encourages self-led exploration as visitors can choose a specific sculpture or opt to read about the sculptures’ fabrication. The 3D models can be rotated and are tagged with hotspots that prompt viewers to engage with additional information. In-depth conservation stories are available for three of the sculptures. The didactic includes much more information than can be shared on wall labels and gives visitors a more interactive and exploratory experience.



The Temple Room didactic project underwent several iterations as the group sorted through five years of technical data and images to select content that fit within the didactic framework and was illustrative of the interpretative narrative. The separation of complicated technical stories into short clips that fit within the navigation of a yet-unbuilt app was challenging as it was difficult to envision how the completed interactive would function. The final realized interactive didactic successfully presents conservation-derived information in a digestible manner that reinforces the reverence of these Buddhist devotional figures while highlighting the recent conservation efforts.
Speakers
avatar for Eve Mayberger

Eve Mayberger

Assistant Conservator, Museum of Fine Arts, Boston
Evelyn (Eve) Mayberger Eve Mayberger holds a B.A. in Art History with a concentration in Asian Art from Wesleyan University. She graduated with a M.A. and M.S. degrees in art history and conservation at the Institute of Fine Arts, New York University where she specialized in objects... Read More →
Authors
avatar for Eve Mayberger

Eve Mayberger

Assistant Conservator, Museum of Fine Arts, Boston
Evelyn (Eve) Mayberger Eve Mayberger holds a B.A. in Art History with a concentration in Asian Art from Wesleyan University. She graduated with a M.A. and M.S. degrees in art history and conservation at the Institute of Fine Arts, New York University where she specialized in objects... Read More →
Friday May 30, 2025 8:30am - 9:00am CDT
Hyatt Regency Minneapolis

9:00am CDT

(Book & Paper + Photographic Materials + RATS+Imaging) Colorant Detectives: An Interactive Dichotomous Key for Multiband Imaging
Friday May 30, 2025 9:00am - 9:15am CDT
Colorant Detectives: An Interactive Dichotomous Key for Multiband Imaging

L. M. Ramsey, The Metropolitan Museum of Art

The Colorant Field Guide is an online, interactive tool designed to aid in the visual interpretation of colorants on paper based on their responses to visible (VIS 380-650nm), ultraviolet induced fluorescence (UVF 420-650nm), ultraviolet reflected (UVR 320-400nm), and reflected infrared radiation (IR 780-1100nm [850 peak]). By employing standardized vocabularies and metrics like CIELAB and Munsell color systems, the guide ensures rigorous, reproducible, and communicable results.

Rather than relying on static research papers, black-box algorithms or automated false color post-processing systems to locate and provide results, users must navigate through a decision tree that exposes them to the various factors that influence sample behavior, including light absorption, fluorescence, and reflectance. This process demystifies colorant response by breaking it down into manageable steps, helping users to build a strong foundation of knowledge that can be applied in real-world conservation scenarios.

Transparency in documenting light/radiation sources, filters, and post-processing techniques is emphasized to achieve consistency and comparability across institutions. This approach fosters collaboration and enhances the collective knowledge base in conservation while addressing the inherent uncertainties in multispectral imaging and dichotomous identification methods.

Building a dynamic dichotomous key involves both a logical framework and technical implementation to ensure usability and functionality. I designed it to be simple and effective using basic HTML, CSS and JavaScript languages to make the key interactive, process user input, and display results dynamically. To translate the flow chart to an interactive framework, it was important to list each colorant and their responses in a standardized order. This order helps build a logical, hierarchical flow. At each decision point, users are guided either to the next question or to a result, allowing for the possibility of future expansion.

In addition to the key, I am developing a pictorial atlas of colorants recorded under these imaging techniques to serve as a visual reference. This project is intended to be publicly accessible and expandable, allowing users to submit data that meets established criteria. These submissions will be clearly credited, promoting transparency and collaboration. By encouraging contributions, this tool fosters a cooperative research environment, enriching the field of cultural heritage preservation and providing a shared resource for the broader academic community.

Dichotomous keys have long been valued in education, particularly for teaching critical thinking, systematic problem-solving, and observation skills. As multiband imaging becomes a standard practice in more institutions, this accessible tool will help ensure visual literacy in the conservation field remains strong.
Speakers
avatar for L. M. Ramsey

L. M. Ramsey

Associate Manager of Conservation Documentation, The Metropolitan Museum of Art
L. M. Ramsey is the Associate Manager of Conservation Documentation at The Metropolitan Museum of Art where she manages the department’s image creation, post-processing and asset management efforts. This includes standard visible, raking and specular light imaging, infrared and... Read More →
Authors
avatar for L. M. Ramsey

L. M. Ramsey

Associate Manager of Conservation Documentation, The Metropolitan Museum of Art
L. M. Ramsey is the Associate Manager of Conservation Documentation at The Metropolitan Museum of Art where she manages the department’s image creation, post-processing and asset management efforts. This includes standard visible, raking and specular light imaging, infrared and... Read More →
Friday May 30, 2025 9:00am - 9:15am CDT
Hyatt Regency Minneapolis

9:00am CDT

(Architecture + Preventive Conservation) Flood Barriers: Examining and Improving Flood Preparedness at Museums and Sites in Historic Buildings
Friday May 30, 2025 9:00am - 9:30am CDT
More cultural heritage sites across the United States are at risk of flooding than previously recognized due to the escalating effects of climate change. The National Flood Insurance Program, which is responsible for mapping and communicating flood risk to citizens, has had little impact on the cultural heritage stewardship community. As a result, there is generally low flood risk awareness, low flood insurance take-up rates, and minimal investment in long-term adaptation among site and collections stewards. More sophisticated, accessible tools for understanding flood risk are now available and should be leveraged to promote a culture of flood preparedness within the field.

As disaster planning is becoming increasingly integrated into cultural heritage site management, most preparedness resources focus exclusively on collections, largely omitting consideration for the historic structures which house and are the backbone of many sites and collections. This may be because strategies for preparing historic structures for flooding require specialized knowledge of historic architectural systems, building codes, and preservation standards that collections stewards do not have - particularly at smaller sites and institutions. 

The historic preservation community, conversely, has not sufficiently committed to developing and supporting preparedness guidance which integrates structures preparedness with the complexities of site and collection management. What guidance is available on flood preparedness for historic structures is written primarily for private property owners and is deferential to the Secretary of the Interior’s Standards, which do not formally promote adaptation. 

This presentation, based on a larger masters thesis project, therefore examines what flood preparedness guidance for historic structures at cultural heritage sites does exist and recommends how the cultural heritage stewardship community can improve and promote flood preparedness before their irreplaceable historic museums and sites, and the collections they support, become functionally obsolete or lost due to flood risk.
Speakers
avatar for Meris Westberg

Meris Westberg

Architectural Conservator, Jablonksi Building Conservation
Meris Westberg is an architectural conservator living and working in New York City. She began her career in Washington DC, working in library and archives conservation at the National Park Service and National Archives and Records Administration, then transitioned to Preventive and... Read More →
Authors
avatar for Meris Westberg

Meris Westberg

Architectural Conservator, Jablonksi Building Conservation
Meris Westberg is an architectural conservator living and working in New York City. She began her career in Washington DC, working in library and archives conservation at the National Park Service and National Archives and Records Administration, then transitioned to Preventive and... Read More →
Friday May 30, 2025 9:00am - 9:30am CDT
Hyatt Regency Minneapolis

9:00am CDT

(CAN-VoCA) Planting the Seed: Collaboration in the Preservation of Kraus Campo
Friday May 30, 2025 9:00am - 9:30am CDT
In 2004, construction was completed on Kraus Campo, a large-scale outdoor art installation functioning as a green roof and sculpture garden on the campus of Carnegie Mellon University in Pittsburgh Pennsylvania. Consisting of over 2,000 individual plants and over 1,000 feet of painted concrete pathways that converge upon a 25” x 60” x 3” tiled interactive sculpture in the form of a large French Curve, the garden is a collaborative work by the artist Mel Bochner and Landscape Architect Michael Van Valkenburgh. Conceived as a single integrated work combining art and landscape design, the diverse materials and components of the living artwork has required the care and input from a wide variety of specialists and contractors to maintain it over the past 20 years.  

 A critical moment was encountered in 2023 when one of the primary plants of the artwork was classified as an invasive species in Pennsylvania. The conversations that ensued triggered an in-depth revisiting of the meaning and importance of the work as a whole, and resulted in the development of a comprehensive Conservation Management Plan that would look beyond the seasonal, routine maintenance requirements to the long-term considerations of an artwork that literally grows and evolves over time. To create this document, the Preservation team at UAP (Urban Art Projects) collaborated with the artists, collecting institution, donor and the individuals on the CMU facilities maintenance team by conducting interviews, reviewing archives, and capturing the stories from those who were present throughout the artwork’s creation and life up to the present. The process raised critical questions about differing perspectives, transference of knowledge, and resulted in a proposal for a full reset and replanting of the garden. This project explores the importance of collaboration in revising, reviewing, and updating living artworks while considering the priorities and resources of those charged with its care.
Speakers
avatar for Gwynne Ryan

Gwynne Ryan

Senior Conservator, CAS Conservation, LLC
Gwynne Ryan is the founder and Principal Conservator of CAS Conservation, LLC and a consultant for the Preservation department at Urban Arts Projects (UAP). Specializing in the conservation of contemporary art and large-scale outdoor sculpture with a research focus on the collaboration... Read More →
Authors
avatar for Gwynne Ryan

Gwynne Ryan

Senior Conservator, CAS Conservation, LLC
Gwynne Ryan is the founder and Principal Conservator of CAS Conservation, LLC and a consultant for the Preservation department at Urban Arts Projects (UAP). Specializing in the conservation of contemporary art and large-scale outdoor sculpture with a research focus on the collaboration... Read More →
avatar for Sylvia Jeffriess

Sylvia Jeffriess

Head of the Preservation Department, Urban Art Projects (UAP)
Sylvia Jeffriess is a conservator working in modern and contemporary art, with a background in contemporary art fabrication. Her fabrication background includes working directly with a range of contemporary artists. She completed a Masters of Cultural Materials Conservation at the... Read More →
Friday May 30, 2025 9:00am - 9:30am CDT
Hyatt Regency Minneapolis

9:00am CDT

(Objects) “Turning the Feather Around”: Conservation of a Monumental George Morrison Mural
Friday May 30, 2025 9:00am - 9:30am CDT
Founded in 1975, the Minneapolis American Indian Center is one of the oldest urban American Indian community centers in the country, providing educational and social services for a large and tribally diverse Native American community in the metropolitan area. As the building was being constructed, artist George Morrison (Grand Portage Ojibwe) was commissioned to design a mural for the south side of the building: the monumental artwork has remained an integral part of the Minneapolis American Indian Center façade for nearly 50 years. Primarily composed of over 800 Western Red Cedar boards of various lengths, the boards are assembled to create a repeating chevron and morning star motif.  Never officially given a title, Morrison once suggested calling the mural “Turning the Feather Around: A Mural for the Indian”.

In fall 2022, the Center began a major renovation to upgrade and expand the facility, which reopened to the public in May 2024. As part of the expansion, Midwest Art Conservation Center (MACC) was contracted to remove, conserve, and reinstall the mural in a new location on the renovated building façade, a location that was both more visible to the community and more exposed to weathering and wet/dry cycling. This was not a project MACC would (or should) take on alone. Collaboration was essential to make the project successful.

MACC partnered with Wolf Magritte, a design, fabrication and installation firm for complex works of art, to carry out the project. Project technicians were hired from the local community of Native artists to work alongside MACC and Wolf Magritte. The technicians were a great asset to the team, as they shared stories and history of the local Native community and acted as ambassadors of the project within the neighborhood. Most importantly however, was the collaboration and communication between the Executive Director of the Center, Mary LaGarde (White Earth Nation), architectural design teams, led by Sam Olbekson (White Earth Nation), Loeffler Construction, and other stakeholders that was crucial to inform complex decisions about the mural’s new location and proposed preservation methods. This paper will provide an overview of the Mural’s conservation, with an emphasis on creative design solutions for reinstallation and treatment decisions based on sustainable long-term care.
Speakers
avatar for Megan Emery

Megan Emery

Chief Conservator and Senior Objects Conservator, Midwest Art Conservation Center
Megan Emery joined MACC in 2013 and is the Chief Conservator and Senior Objects Conservator. Megan received her MA in Art Conservation from Buffalo State’s Garmen Art Conservation Department. Previously she was objects conservator at the Cincinnati Art Museum and held fellowships... Read More →
Authors
CM

Courtney Murray

Senior Objects Conservator, Midwest Art Conservation Center
LB

Luke Boehnke

Principal, Wolf Magritte
Luke Boehnke is the principal of Wolf Magritte LLC, located in Missoula Montana. Wolf Magritte specializes in design, fabrication, and rigging for difficult and/or large scale art and artifact installations. Luke Boehnke received his MFA from the School of the Art Institute of Chicago... Read More →
ML

Mary LaGarde

Executive Director, Minneapolis American Indian Center
avatar for Megan Emery

Megan Emery

Chief Conservator and Senior Objects Conservator, Midwest Art Conservation Center
Megan Emery joined MACC in 2013 and is the Chief Conservator and Senior Objects Conservator. Megan received her MA in Art Conservation from Buffalo State’s Garmen Art Conservation Department. Previously she was objects conservator at the Cincinnati Art Museum and held fellowships... Read More →
avatar for Megan Randall

Megan Randall

Object Conservator, Midwest Art Conservation Center
Megan Randall is an Object Conservator at the Midwest Art Conservation Center. Previously she worked at the Museum of Modern Art (MoMA) from 2015-2021. Prior to entering the field of conservation, she worked as a finisher at Modern Art Foundry in Astoria, Queens. She received a Master’s... Read More →
Friday May 30, 2025 9:00am - 9:30am CDT
Hyatt Regency Minneapolis

9:00am CDT

(Paintings) “Preserving Oversize Paintings: Collaborative Innovations between Paintings Conservation and Collections Management at the Heritage Conservation Centre, Singapore”
Friday May 30, 2025 9:00am - 9:30am CDT
The Heritage Conservation Centre (HCC), Singapore, an institution of the National Heritage Board (NHB) is the centralized storage and conservation facility of Singapore in charge of managing, preserving, documenting, conserving and supporting access to more than 230,000 works of the National Collection of Singapore. Within this collection, oversize paintings, some spanning up to ten meters, have been stored in rolled form due to space constraints at HCC. Anticipating the continued acquisitions of oversize paintings, a senior collections officer’s enquiry to the Paintings conservators about reducing the diameter of the rollers to maximise storage capacity, prompted a three-year study on improving the care and storage of large paintings in the National Collection. 

Collaboratively, the conservators and senior collections officer surveyed a total of sixty-one rolled paintings encompassing traditional easel works to opera theatre and puppet backdrops on different supports and mediums. Among these paintings are works by renowned Southeast Asian artists such as Semsar Siahaan, Basoeki Abdullah, Maria Taniguchi, and others. The team meticulously documented the whole process of unrolling and rerolling of the paintings, examining and recording details such as the dimension of the rollers, interleaving materials and storage systems. 

During the assessment of the paintings' condition, historically known and expected damages resulting from the rolling system proved to be true as the members observed a rhombus-like pattern imprinted on the paintings, undulations and deformations across the paint surface and support on many works. The findings propelled the team to embark on research for solutions to improve the methods and materials used. They explored alternative storage spaces, developed a guideline on rolling paintings and established a protocol on storing newly acquired large paintings. Additionally, they aimed to raise awareness on the adverse effects of permanently storing paintings rolled among the various stakeholders including collections officers, paintings conservators, curators and art handlers. Importantly, this collaborative effort also enables collections officers and conservators to work together to prioritize paintings for stretching and storage, taking into account the available storage space and planning for areas that can accommodate stretched paintings in the future.
Speakers
FM

Filzah Mohd Amir

Conservator, Heritage Conservation Centre
Filzah Mohd Amir is a Paintings Conservator at the Heritage Conservation Centre | National Heritage Board, Singapore. She holds a Bachelor of Science (Chemistry), National University of Singapore (NUS) 2009 and had interned at the Mori Art Conservation, Japan. Filzah has an interest... Read More →
avatar for Irene Dominguez Jimenez

Irene Dominguez Jimenez

Paintings Conservator, Heritage Conservation Centre
Irene Dominguez Jimenez is a Paintings Conservator at the Heritage Conservation Centre (HCC), Singapore, since 2014. She obtained her Bachelor of Fine Arts (Paintings), followed by a Master’s in Cultural Heritage Management from the University of Barcelona, Spain; and a Master’s... Read More →
Authors
FM

Filzah Mohd Amir

Conservator, Heritage Conservation Centre
Filzah Mohd Amir is a Paintings Conservator at the Heritage Conservation Centre | National Heritage Board, Singapore. She holds a Bachelor of Science (Chemistry), National University of Singapore (NUS) 2009 and had interned at the Mori Art Conservation, Japan. Filzah has an interest... Read More →
avatar for Irene Dominguez Jimenez

Irene Dominguez Jimenez

Paintings Conservator, Heritage Conservation Centre
Irene Dominguez Jimenez is a Paintings Conservator at the Heritage Conservation Centre (HCC), Singapore, since 2014. She obtained her Bachelor of Fine Arts (Paintings), followed by a Master’s in Cultural Heritage Management from the University of Barcelona, Spain; and a Master’s... Read More →
Friday May 30, 2025 9:00am - 9:30am CDT
Hyatt Regency Minneapolis

9:00am CDT

(Textiles) In the French Style: The Conservation of an 18th Century Chinese Tapestry in the Collection of the Cleveland Museum of Art
Friday May 30, 2025 9:00am - 9:30am CDT
Among the hundreds of tapestries treated by the Textile Conservation Lab at the Cathedral of St. John the Divine was an unusual 18th-century example woven in China but incorporating some European tapestry techniques, in the Cleveland Museum of Art’s collection. The tapestry was to be featured in a 2023 CMA exhibition China’s Southern Paradise, Treasures from the Lower Yangzi Delta. This tapestry had unusual features including a vertical warp and presented many challenges; a stitched treatment was not an option due to the extremely fragile raw silk warp and silk and wool weft. Previous darning and patching treatments created more losses and breaks; condition issues including tide lines and prior treatment campaigns were documented by CMA in summer 2022 and the tapestry photographed at that time. It was determined that an adhesive treatment was the only viable option. Extensive testing of adhesives and substrates resulted in the choice of BEVA 371 1mm film on lightweight cotton patches, reactivated with a heated spatula to consolidate the breaks. This presentation will cover the tapestry’s history, compare Chinese and French tapestry manufacture, and discuss prior treatments and current condition issues. Adhesive testing will be detailed and the treatment itself outlined.
Speakers
avatar for Margaret O'Neil

Margaret O'Neil

Mellon Fellow in Costume and Textile Conservation, Philadelphia Museum of Art
Margaret O’Neil graduated Summa Cum Laude from the University of Minnesota with a BA in History and minors in Fashion Studies and Art History. Margaret was introduced to the field of conservation her freshman year of college through educational programming on PBS and further internet... Read More →
Authors
avatar for Margaret O'Neil

Margaret O'Neil

Mellon Fellow in Costume and Textile Conservation, Philadelphia Museum of Art
Margaret O’Neil graduated Summa Cum Laude from the University of Minnesota with a BA in History and minors in Fashion Studies and Art History. Margaret was introduced to the field of conservation her freshman year of college through educational programming on PBS and further internet... Read More →
ME

Marlene Eidelheit

Director, Cathedral of St. John the Divine
avatar for Robin Hanson

Robin Hanson

Associate Conservator of Textiles, Cleveland Museum of Art
Robin Hanson has managed the textile conservation lab at the Cleveland Museum of Art for the past 17 years. In 1997 she completed graduate training in conservation, with a specialization in textiles, at the Winterthur / University of Delaware Program in Art Conservation. She is a... Read More →
avatar for Valerie Soll

Valerie Soll

Conservator, Textile Conservation Laboratory
Valerie Soll has been a conservator at the Textile Conservation Laboratory at the Cathedral Church of St John the Divine in NYC since 1995, working on a wide variety of textiles. She teaches Collections Management Skills and Textile Conservation: Theory and Practice as an adjunct... Read More →
Friday May 30, 2025 9:00am - 9:30am CDT
Hyatt Regency Minneapolis

9:00am CDT

(Wooden Artifacts) How do you fill?  How hallway conversations built collaborations for the conservation of wooden objects
Friday May 30, 2025 9:00am - 9:30am CDT
Since joining the Canadian Conservation Institute, many of my collaborations have taken shape during hallway conversations. When asked the simple question "How do you feel?," I responded off-topic, due to my struggles as a francophone to understand English and my preoccupation with the treatment of a mismatched veneer repair on an 19th century English piano: "I want to fill with wood, but I have several issues..."

The conservation of wooden furniture and objects often requires the integration of new components due to degradation, breakage, or loss. This process becomes particularly complex when filling large areas with an alternate material. Wood is typically the compensation material of choice, but several factors can complicate the filling process, including the availability of specific wood species and the surface characteristics of colour, grain, and finish. Importantly, there is the challenge of a colour difference developing between the object and the fill after subsequent light exposure. But what is responsible for this – the original wood, the wood fill, or both? Eric Hagan, senior conservation scientist, was kind enough to ask how I was feeling one day, and that conversation led to experiments that address this question. Using customized light ageing boxes and fadeometers, we investigated the colour change response of wood to museum lighting conditions, the influence difference light sources have, and the light dose that changes color slowly enough to be acceptable. Results from our experiments showed that all freshly sanded woods, when exposed to light without UV, undergo a rapid colour change (rated Blue Wool 1 to 3) followed by a slowdown. Experiments on mahogany and purpleheart under LED, Halogen, Fluorescent, and Ceramic Metal Halide sources seem to demonstrate that light source does not have a major influence on colour change. Initially very sensitive, all woods shift to Blue Wool 5 at approximately 50 to 60 Mlxh. 

 

Thanks to these key numbers, we concluded that wood used for a fill should be chosen based on its texture and not its colour. Moreover, an object’s original wood, depending on its age, exposure, and treatment history, may remain highly sensitive to colour change; mismatches will arise over the course of a conservator’s career, requiring re-treatment of the object. Indefinitely removing and replacing adhered wood fills is not a viable option, given the potential for damaging the object. Therefore, I had to rethink my approach to matching the colour of wood fills, which led my feet down the hallway to my colleagues in paintings conservation, Marie-Hélène Nadeau and Fiona Rutka. After testing different natural and synthetic resins, we found that Orasol dyes mixed with Aquazol 200 successfully toned the sealed, light-aged wood fill, and it was easily reversible.
Speakers
avatar for Anne-Stephanie Etienne

Anne-Stephanie Etienne

Furniture and Wooden Objects Conservator, Canadian Conservation Institute
Anne-Stéphanie holds a Master’s degree in Heritage Conservation with a specialization in furniture from the Institut national du patrimoine in Paris. She also received a diploma in cabinetmaking from the Institut Saint-Luc in Tournai, Belgium.After her studies, she worked in France... Read More →
Authors
avatar for Anne-Stephanie Etienne

Anne-Stephanie Etienne

Furniture and Wooden Objects Conservator, Canadian Conservation Institute
Anne-Stéphanie holds a Master’s degree in Heritage Conservation with a specialization in furniture from the Institut national du patrimoine in Paris. She also received a diploma in cabinetmaking from the Institut Saint-Luc in Tournai, Belgium.After her studies, she worked in France... Read More →
avatar for Eric Hagan

Eric Hagan

Senior Conservation Scientist, Canadian Conservation Institute
avatar for Fiona Rutka

Fiona Rutka

Paintings Conservator, Canadian Conservation Institute
MN

Marie-Helene Nadeau

Conservator, Canadian Conservation Institute
Friday May 30, 2025 9:00am - 9:30am CDT
Hyatt Regency Minneapolis

9:15am CDT

(Book & Paper + Photographic Materials + RATS +Imaging) Automating Image Registration with OpenCV-Python: Lowering the Cost Barrier for Multiband and Multispectral Imaging Setups
Friday May 30, 2025 9:15am - 9:30am CDT
Both multiband and multispectral imaging can provide a wealth of information about material characteristics and condition—with insights derived from qualitative and quantitative comparisons of images captured at different wavelengths and with different excitation sources. Workflows for these types of imaging often require costly additions to existing setups: IR-modified and/or monochrome cameras, filter sets, apochromatic lenses, and even licenses for proprietary image processing software, the sum of which can present a significant cost barrier. Certain equipment is essential, such as modified UV-VIS-IR full spectrum color or monochrome cameras. However, it is possible to perform multiband and multispectral imaging without the added cost of an apochromatic lens—one which produces a single focal plane across all wavelengths. The main challenge, however, with using a regular (achromatic) lens is the need to re-focus for each filter band, leading to registration issues across the entire set of images captured. This misalignment must be corrected post-capture not only to remove visual inconsistencies in false-color images but also to carry out any further computational analysis, such as Principal Component Analysis or Spectral Angle Mapping. 

With this issue in mind, this project has focused on developing a low-cost, open-source method for automating the registration of image sets generated from multiband and multispectral imaging workflows. Drawing on research beyond the field of art conservation, we have adapted Python code from a recent publication on vision-based robotics grasping in order to identify the specific feature-based pixel coordinates necessary for image registration. Specifically, the code utilizes an Open Source Computer Vision Library (OpenCV) tool called template matching as an alternative to feature-point detection algorithms or more complex object-detection models. In total, this method requires the addition of only a few printed paper targets and is designed to be integrated easily into existing multiband and multispectral imaging workflows. The current iteration of our adapted Python code can be executed directly from a computer’s command line, and we are hoping to create an ImageJ/FIJI plugin to make the script more readily available and user-friendly.
Speakers
avatar for Jiuan Jiuan Chen

Jiuan Jiuan Chen

Assoc. Prof, Buffalo State University
Jiuan Jiuan Chen is the Associate Professor of Conservation Imaging, Technical Examination, and Documentation at the Patricia H. and Richard E. Garman Art Conservation Department at SUNY Buffalo State University. She received the Sheldon and Caroline Keck Award in 2023 in recognition... Read More →
avatar for Grace Wilkins

Grace Wilkins

Graduate Fellow (Class of 2025), SUNY Buffalo State University
Grace Wilkins is currently pursuing a dual MA/MS degree in Conservation of Art & Cultural Heritage and Conservation Science & Imaging at SUNY Buffalo State University. She is originally from San Francisco, CA, and earned her undergraduate degree in Neuroscience (ScB) from Brown University... Read More →
Authors
avatar for Grace Wilkins

Grace Wilkins

Graduate Fellow (Class of 2025), SUNY Buffalo State University
Grace Wilkins is currently pursuing a dual MA/MS degree in Conservation of Art & Cultural Heritage and Conservation Science & Imaging at SUNY Buffalo State University. She is originally from San Francisco, CA, and earned her undergraduate degree in Neuroscience (ScB) from Brown University... Read More →
avatar for Jiuan Jiuan Chen

Jiuan Jiuan Chen

Assoc. Prof, Buffalo State University
Jiuan Jiuan Chen is the Associate Professor of Conservation Imaging, Technical Examination, and Documentation at the Patricia H. and Richard E. Garman Art Conservation Department at SUNY Buffalo State University. She received the Sheldon and Caroline Keck Award in 2023 in recognition... Read More →
Friday May 30, 2025 9:15am - 9:30am CDT
Hyatt Regency Minneapolis

9:30am CDT

(Architecture + Preventive Conservation) Preserving Ukraine's Cultural Heritage during Russia's Invasion
Friday May 30, 2025 9:30am - 10:00am CDT
The onset of Russia's war against Ukraine on February 24, 2022, demonstrated the country's government unprepared to protect its cultural heritage from destruction. And yet, in the early days of the invasion, members of the non-governmental Society for the Protection of Historical Monuments in Lviv rose to this existential challenge. They organized the city populace and, at their own expense, procured protective materials and implemented strategies to safeguard vulnerable cultural heritage sites. This grass roots effort then became a role model for other communities, quickly spreading throughout the country. International organizations also became involved, providing risk assessment strategies, additional materials, and sophisticated instrumentation to document war damage and implement a preventive conservation program. My talk will shed light on this evolutionary process, the role of conservators in it, and outline pathways for the future.

The paper presents the collaborative research initiated by HCC to develop a digital tool to support the decision of Collection stewards to implement optimal and sustainable management of Collection environments in the tropical climate of Singapore. The methodology selected for the research project uses digital twining as a simulation tool to guide decision-making on environmental recommendations for buildings housing NC located in tropical climate.

Digital twin of major buildings containing NC in Singapore are developed using 2 modelling building blocks: one, specific to each specific building, permits to estimate the energy consumption depending on the environmental settings, room occupancy and outdoor climate; the second model uses the scientific data obtained when testing Collection materials in a weather chamber for accelerated aging. Chemical, structural and biological deterioration will be monitored depending on environmental conditions and duration of exposure. Results will be used to estimate the damage induced on NC by changes in environmental control based on the material vulnerability and the significance importance of the collection item. The developed model will enable to determine the most sustainable storage / display environmental conditions considering (i) the resulting life span of heritage / art objects; and (ii) the corresponding reduction of carbon footprint and financial savings.

For the first time in Singapore, this 2-year project brings together various teams of key Singaporean public sector institutions alongside one of its major corporatized museums. The cross departmental HCC team - constituted by conservators, conservation scientists, collection managers and facility managers - will closely collaborate with two allied institutions from the GLAM sectors - the National Archives and the National Gallery of Singapore-, and partners with 3 research divisions from A*Star, one of the most renown High Education Institute in Singapore, by leveraging on their expertise and experience in collection care, conservation science, computing expertise and technological innovation.

The digital simulation model, based on solid scientific database on aging behavior of artistic materials under tropical climate, is envisioned to be widely applicable: should the proof of concept successful, it would benefit all Singaporean heritage institutions as well as any heritage institutions located in tropical climate aiming to preserve and transmit its collection to future generations while increasing its operational sustainability.
Speakers
MS

Marila Salyuk

Member, Society for the Protection of Historical Monuments in Lviv
Mariya Salyuk is a painting conservator from Lviv, Ukraine. She holds a Bachelor of Arts degree from the Lviv Academy of Arts in Lviv, Ukraine, and a Master of Arts degree from Palazzo Spinelli in Florence, Italy. She is a member of the Society for the Protection of Historical Monuments... Read More →
Friday May 30, 2025 9:30am - 10:00am CDT
Hyatt Regency Minneapolis

9:30am CDT

(Book & Paper + Photographic Materials + RATS+ Imaging) Using multispectral imaging to augment digitized West African manuscripts
Friday May 30, 2025 9:30am - 10:00am CDT
Northwestern University Libraries (NUL) is home to over 3,000 Arabic script materials from West Africa. Part of the Herskovits Library of African Studies, these manuscripts come primarily from northern Nigeria and cover subjects including history, theology and astronomy. Most are Arabic, but some are Ajami – non-Arabic languages written in Arabic script. The size, scope and uniqueness of these underrepresented collections, along with increasing global scholarly interest, make them a priority for conservation and digitization. In collaboration with curatorial, cataloging, and digitization staff, the NUL Preservation Department has established standardized protocols to survey, house, treat, and – using a VSC®80 forensic questioned document examination workstation – capture a range of multispectral images (MSI) that are integrated into the digital repository, adding a degree of materiality to the imaged West African manuscripts.  

Paden 417 (مختصر في فروع المالكية), a copy of the “Mukhtasar” of Khalil b. Ishaq b. Musa al-Jundi, a fourteenth-century handbook of Maliki legal principles, is one of the oldest, largest and most complex manuscripts we have worked on and serves as a case study. It is comprised of 230 individual leaves of handmade paper contained in a later leather wrapper. The primary text is written in neatly ruled lines using brown and red inks, with commentaries and annotations filling virtually all other areas of the paper in brown and black inks. The paper is brittle and discolored, with extensive losses along the edges. In preparation for imaging, the manuscript received over 300 hours of treatment from ten different current and former staff members. Our collaborative approach is not unique to this object, but it was critical for addressing the challenges presented by Paden 417, which would have been daunting and laborious for a solo conservator.  

Many of the Arabic manuscripts lack colophons or other means cataloguers use to establish clear provenance, so to understand their history and production, we must rely on the physical objects. NUL purchased a VSC®80, which allows us to quickly and consistently capture and annotate a wide range of MSI of watermarks, inks, ruling lines, and other materiality of the manuscripts.  

As one exciting example of how MSI may be used, portions of Paden 417, along with a selection of MSI files, were recently examined by scholars at the Centre for the Study of Manuscript Cultures in Hamburg, Germany. Although they had actual manuscript pages, the enhanced images of the watermarks allowed them to date the manuscript to the mid-16th century, making this one of the earliest written examples of Hausa Ajami.  

As of this writing, Paden 417 has been treated, housed, and VSC®80 images of select pages have been captured.  Digitization is underway and collation of this fragile object will follow. We anticipate that the manuscript and associated MSI will be publicly available in the digital repository by early 2025. Incorporating MSI into our digital repository augments the standard digital images, opens the door to scholarship worldwide and presents future opportunities for collaboration on machine learning and generative AI initiatives.
Speakers
avatar for Stephanie Gowler

Stephanie Gowler

Book & Paper Conservator, Northwestern University Libraries
Stephanie Gowler is the Book & Paper Conservator for Northwestern University Libraries. She holds a Certificate of Advanced Study in Conservation from the University of Texas at Austin, an MLIS and a Certificate in Book Arts from the University of Iowa, and BA in English Literature... Read More →
Authors
avatar for Stephanie Gowler

Stephanie Gowler

Book & Paper Conservator, Northwestern University Libraries
Stephanie Gowler is the Book & Paper Conservator for Northwestern University Libraries. She holds a Certificate of Advanced Study in Conservation from the University of Texas at Austin, an MLIS and a Certificate in Book Arts from the University of Iowa, and BA in English Literature... Read More →
Friday May 30, 2025 9:30am - 10:00am CDT
Hyatt Regency Minneapolis

9:30am CDT

(CAN!/VoCA) Developing a Designer Residency Program from the ground up
Friday May 30, 2025 9:30am - 10:00am CDT
Speakers
avatar for Sarah Barack

Sarah Barack

Head of Conservation/Senior Objects Conservator, Cooper Hewitt Smithsonian Design Museum
Sarah Barack is currently the Head of Conservation and Senior Objects Conservator at the Cooper Hewitt Smithsonian Design Museum. She received her Master’s in Art History and an Advanced Certificate of Conservation from the Conservation Center, Institute of Fine Arts, New York University... Read More →
avatar for Jessica Walthew

Jessica Walthew

Conservator, Cooper Hewitt Smithsonian Design Museum
Jessica Walthew is an objects conservator at Cooper Hewitt Smithsonian Design Museum. She holds an MA in Art History and Archaeology with an advanced certificate in Conservation from NYU's Institute of Fine Arts, Conservation Center. Her research and teaching interests include history... Read More →
Friday May 30, 2025 9:30am - 10:00am CDT
Hyatt Regency Minneapolis

9:30am CDT

(Objects) Radiography in the Round: Capturing and Viewing X-rays in 360°
Friday May 30, 2025 9:30am - 10:00am CDT
X-radiography has been used since its invention to study works of art. X-rays of complex three-dimensional objects, such as sculpture, are notoriously difficult to interpret because the X-ray ‘flattens’ the object into two dimensions and there is no easy way to tell if an observed feature is near the front, middle, or back.

The advent of direct digital radiography (DR) has allowed x-ray images to be acquired more rapidly and efficiently than ever before. The availability of relatively inexpensive computer-controlled turntables for the photography market has precise and repeatable rotation of artworks in the X-ray studio. By placing sculptures on a turntable and making a series of high-resolution radiographs at pre-set intervals (typically 72 images at 5° intervals), we allow researchers and other viewers to see the entire sequence of images and freely ‘spin’ the objects in X-ray view. This helps tremendously in understanding complex internal structures. After radiography is complete, a digital camera can placed in the position of the X-ray source and photographs can be made at precisely the same intervals as the radiographs. This image set can be overlaid or placed side by side with the radiographs to further assist with interpretation of the radiographs.

Many sculptures or other 3D works of art are larger than a typical DR detector (14"x14" or 11"x17") We have designed and built a flexible and low-cost aluminum easel that allows the detector to be repositioned after each 360° rotation of the turntable. With the X-ray tube in the same position, the detector can be placed in an array of positions so that the entire object can be imaged in overlapping frames. For each detector position, the turntable rotates the subject through exactly the same series of positions, capturing an image at each. This process is easily automated using a two-monitor configuration for the control computer and simple task automation software. The resulting image sequences can be merged efficiently using movie editing software such as Adobe After Effects, yielding a single sequence of full-sized, high-resolution radiographs at regular angular increments.

Viewing and disseminating these radiography-in-the-round image sets presents certain challenges. Some product photography software can generate an interactive, browser-based viewer that allows the viewer to spin the image set and switch between X-ray and visible views but zooming can be awkward and slow refresh rate can be frustrating, particularly with large composite radiographs. A customized and optimized web-based viewer has been developed to overcome these obstacles and allow streamlined dissemination of radiography-in-the-round image sets.

Taken together, these developments should allow any museum radiography studio with a DR detector and an affordable automated turntable to capture, format, and disseminate their own radiography-in-the-round.
Speakers
avatar for Arlen Heginbotham

Arlen Heginbotham

Conservator of Decorative Arts and Sculpture, J. Paul Getty Museum
Arlen Heginbotham is currently Conservator of Decorative Arts and Sculpture at the J. Paul Getty Museum. He received his A.B. in East Asian Studies from Stanford University, his M.A. in Art Conservation from Buffalo State College, and his Ph.D. in Earth Sciences from the Vrije Universiteit... Read More →
Authors
avatar for Andrea Seim

Andrea Seim

Chair of Forest Growth and Dendroecology and Chair of Forest History, University of Freiburg
avatar for Arlen Heginbotham

Arlen Heginbotham

Conservator of Decorative Arts and Sculpture, J. Paul Getty Museum
Arlen Heginbotham is currently Conservator of Decorative Arts and Sculpture at the J. Paul Getty Museum. He received his A.B. in East Asian Studies from Stanford University, his M.A. in Art Conservation from Buffalo State College, and his Ph.D. in Earth Sciences from the Vrije Universiteit... Read More →
BF

BJ Farrar

Sr. Mountmaker, J. Paul Getty Museum
avatar for Robert Erdmann

Robert Erdmann

Senior Scientist / Professor, University of Amsterdam
Prior to earning his Ph.D. from the University of Arizona in 2006, Robert Erdmann started a science and engineering software company and worked extensively on solidification and multiscale transport modeling at Sandia National Laboratories. He subsequently joined the faculty at the... Read More →
Friday May 30, 2025 9:30am - 10:00am CDT
Hyatt Regency Minneapolis

9:30am CDT

(Paintings) Andy Warhol's Oxidation Paintings
Friday May 30, 2025 9:30am - 10:00am CDT
Andy Warhol’s Oxidation paintings of 1977-78 represent the Pop Artist’s exploration of abstraction in the final decade of his life. For an artist deeply invested in a mechanical approach to image making, Warhol paradoxically introduced the intimately human element of urine as the painting medium to the effect of unpredictable colors and patterns. The resultant series of nearly 100 works with irregular forms and sometimes-arabesque abstractions are a distinctive contribution to the art and conservation fields alike as no other paintings containing urine are so widely known. The renowned gold and copper-colored canvases, with fields of greens, blacks, and browns, belong to institutions and private collections in the States and abroad, but the focus of this research is the oversized 1978 Oxidation (50” x 200”, 127 x 508 cm) in The Andy Warhol Museum. The project was facilitated by a temporary HVAC failure at The Warhol during the pandemic summer of 2020 when Oxidation reacted to the fluctuations in the gallery climate. The 45-year-old canvas secreted liquid from within its paint layers, resulting in color changes and new drips in the metal field. The Warhol is uniquely positioned to carry out the study because it is also home to archives of the artist’s work, which include scraps cut off from original canvases and numerous painting materials, such as the metallic powders and paints used by the artist in the Oxidation series. Empirical data was collected from the painting as well as mockups, which were made according to the documented techniques of Warhol and his Factory assistants. Scientists in sister institutions and the private sector then identified materials and corrosion products in the original works with x-ray diffraction and SEM/EDS. Subjection of mockups in artificial aging chambers set to parameters akin to those experienced in June of 2020 helped to determine the active role of metallic salts in climate variation. This study confirms the delicate nature of materials in modern collections, especially the non-static behavior of components in the Oxidation series and the importance of reliable climate control systems in facilities that house works of art and cultural heritage. During a time when museums are considering means to reduce their carbon footprint, this study supports a continuation of strict climate standards.
Speakers
RF

Rikke Foulke

Paintings Conservator, The Andy Warhol Museum
Rikke Foulke earned a Master of Arts and Certificate in the Conservation of Works of Art from the Institute of Fine Arts, New York University. She worked at the Pennsylvania Academy of Fine Arts in Philadelphia, the Lenbachhaus in Munich, Germany; the Straus Center for Conservation... Read More →
Authors
RF

Rikke Foulke

Paintings Conservator, The Andy Warhol Museum
Rikke Foulke earned a Master of Arts and Certificate in the Conservation of Works of Art from the Institute of Fine Arts, New York University. She worked at the Pennsylvania Academy of Fine Arts in Philadelphia, the Lenbachhaus in Munich, Germany; the Straus Center for Conservation... Read More →
Friday May 30, 2025 9:30am - 10:00am CDT
Hyatt Regency Minneapolis

9:30am CDT

(Textiles) Stranger than it Seams: Treatment of a 19th-century Painted Embroidered Picture
Friday May 30, 2025 9:30am - 10:00am CDT
Treatment of an early 19th-century painted embroidery attributed to Mary Roberts and the Folwell School of Philadelphia provided an excellent opportunity for collaboration between the textiles and paintings graduate fellows at the Philadelphia Museum of Art.  Rinaldo and Armida, the painted embroidery at the center of this study, is one representative of many which exist in private and institutional collections.   Production of a painted embroidery was itself a collaborative effort, with input from an embroidery instructor, a designer, an embroidery student, and a painter.  It is both a textile and a painting; with embroidered and painted components on a silk support, stretched over a wooden strainer, then framed for display.  Created in the setting of a girls’ school, painted embroideries have often been deemed domestic craft and ‘women’s work.’ Painted embroideries are often held in textiles collections and little research has been carried out on the painted components.   

Major condition issues existed in both embroidered and painted portions; thus, the primary goal was treatment of the painted embroidery to return it to a state in which it could be safely exhibited.  As treatment was planned, gaps in the literature led to an expansion of goals to include identifying the materials and methods of construction and learning more relating to the individuals involved in creating the work. Close examination, technical imaging, comparative study, historical research, and scientific analysis provided deeper insight into the components of the work and supplied contextual information when it came to treatment.  Analysis suggests the work was likely completely repainted at a later date, a revelation which factored into treatment decisions and in the overall understanding of the work itself.

At each step of treatment, both textiles and paintings conservation methods were discussed, tested, and implemented, resulting in a cross-disciplinary treatment which was carried out collaboratively.  Structural intervention was necessary to stabilize the deteriorated and rapidly failing silk support.  Large tears in painted areas were repaired using reinforcements of Beva 371 and non-woven spunbonded polyester.  The work was removed from its strainer to be lined with nylon bobbinet and reactivated acrylic adhesive.  It was then edge-lined to support the fragile tacking margins and sewn to a padded board whose dimensions are equivalent to the original strainer.  Aesthetic compensation was also carried out to reintegrate areas of loss and damage into the surrounding composition.  

Blending paintings and textiles conservation methodologies through a year of planning, research, and treatment led to a successful outcome.  In addition to mentorship and collaboration from both the paintings and textiles conservation labs, the authors were supported by a broad network of colleagues throughout the museum and beyond, including paper conservators, furniture conservators, conservation framers, analytical scientists, imaging specialists, collections managers, and curators. This project highlights the benefits gained in treatment and research as a result of diverse contributions from different specialties and allied fields.
Speakers
avatar for Nhat Quyen Nguyen

Nhat Quyen Nguyen

Student, Independent Conservator
Nhat Quyen Nguyen earned her MA/MS in Conservation of Art and Cultural Heritage and Conservation Science and Imaging from Patricia H. & Richard E. Garman Art Conservation Department at SUNY Buffalo State University. As a student, Nguyen completed a research thesis and treatment of... Read More →
Authors
avatar for Nhat Quyen Nguyen

Nhat Quyen Nguyen

Student, Independent Conservator
Nhat Quyen Nguyen earned her MA/MS in Conservation of Art and Cultural Heritage and Conservation Science and Imaging from Patricia H. & Richard E. Garman Art Conservation Department at SUNY Buffalo State University. As a student, Nguyen completed a research thesis and treatment of... Read More →
avatar for Susan Enterline

Susan Enterline

Assistant Conservator of Paintings, Nelson-Atkins Museum of Art
Susan Pavlik Enterline is the Assistant Paintings Conservator at the Nelson-Atkins Museum of Art in Kansas City, Missouri. She earned her dual MA/MS from SUNY Buffalo State in Conservation of Art and Cultural Heritage and Conservation Science and Imaging, in addition to holding a... Read More →
Friday May 30, 2025 9:30am - 10:00am CDT
Hyatt Regency Minneapolis

9:30am CDT

(Wooden Artifacts) In Between the Layers: Technical Study of a Contemporary Vietnamese Lacquer Painting
Friday May 30, 2025 9:30am - 10:00am CDT
Leisure Time is a largescale (320cm x 160cm) four-piece lacquer-on-wood panel painting created by Hawaiian-Vietnamese artist Tim Nguyễn in 2008.  In just 14 years, the painting exhibited unique discoloration on the surface, with bright yellows turning to dull browns, bright greens fading to dark greens, and oranges shifting to browns. While much information on Asian Lacquer exists, there is limited published research on the relationship between the materials and techniques when used as a painting medium and their degradation mechanisms. In 2023, one panel of the painting was transported from the artist’s studio in Hawaii to the Garman Art Conservation Department at SUNY Buffalo State University for research to study the materials, process of painting, and conservation possibilities. 

 

Vietnamese lacquer, known as laccol, is derived from the sap of Toxicodendron succedaneum, a species in the Anacardiaceae family, which also includes the lacquer trees found in Japan, China, Thailand, and Burma. Lacquer is a unique substance that cures only under high humidity conditions through polymerization. While freshly made lacquer is highly durable, aged lacquer films become sensitive to light and sudden changes in humidity. Vietnamese lacquer painting, known as sơn mài, may be described as a form of reverse painting, consisting of as many as 10-20 layers. Lacquer is an art of uncertainty, as each layer can take days or even months to fully cure. By combining the lacquer with various additives, such as oils and resins, artists achieve a wide range of textures. The final image is created by carefully sanding back these layers of paint. In addition to pigments, lacquer artists use playful materials like metal leaves, mother of pearl, and shells to create depth, transparency, and intricate patterns. Traditional restoration techniques often involve using the same type of lacquer; however, these methods are irreversible and tend to age at a different rate than the original lacquer. Moreover, lacquer sap is highly toxic and can cause allergic reactions similar to those triggered by poison ivy. 

 

The current study analyzed the materials and layer structure of the painting, via several analytical techniques. These included multimodal imaging, x-radiography, infrared reflectography, cross-sectional analysis, scanning electron microscopy with energy-dispersive X-ray spectroscopy, x-ray fluorescence spectroscopy, and Raman spectroscopy. Lacquer samples were further analyzed using THM-Py/GC-MS following Getty’s Recent Advances in Characterizing Asian Lacquer protocol. Mockup lacquer samples were custom-created, light-aged, and subjected to sea salt in an attempt to replicate the discoloration observed in the original artwork. An artist interview with Tim Nguyễn was also conducted.

 

The results of the research indicated that photodegradation due to light exposure combined with arsenic-containing pigments was the primary cause of the color changes in the painting. Aged samples also showed the migration of silver ions to the lacquer surface when exposed to light, where they reacted with sulfur-containing pigments forming inclusions on the lacquer surface. In examining conservation techniques, the use of traditional transparent lacquer is irreversible and unstable. It is possible that a modern synthetic varnish may be used as a coating on lacquer paintings. While more study is needed, an initial test of several conservation grade varnish formulations, including MS2A, Regalrez 1094, and Paraloid B72 was conducted and exhibited promising results.
Speakers
avatar for Vu Do

Vu Do

Fulbright Graduate Fellow, Garman Art Conservation Department, SUNY Buffalo State University
Vu Do is a Fulbright Graduate Fellow in conservation at SUNY Buffalo State University. Originally from Vietnam, he worked as an art educator, artist, and curator before coming to Buffalo. He holds a BFA in painting from the Pennsylvania Academy of the Fine Arts in Philadelphia. Vu... Read More →
Authors
avatar for Emily Hamilton

Emily Hamilton

Assistant Professor, Garman Art Conservation Department, SUNY Buffalo State University
Emily Hamilton holds an M.A. and Certificate of Advanced Study (C.A.S.) in conservation from SUNY Buffalo State College and a B.A. in art history from Reed College. She is currently the Assistant Professor of Objects Conservation at SUNY Buffalo State University. She serves on the... Read More →
avatar for Fiona Beckett

Fiona Beckett

Assistant Professor, SUNY Buffalo State University
Fiona Beckett is the Associate Professor of paintings conservation at the Garman Art Conservation Department at the State University of New York Buffalo State University. She holds a master’s degree in conservation with a specialization in paintings from Queen’s University. Fiona... Read More →
avatar for Gregory Smith

Gregory Smith

Senior Conservation Scientist, Indianapolis Museum of Art at Newfields
Dr. Smith designed, outfitted, and now operates the conservation science laboratory at the Indianapolis Museum of Art at Newfields where he conducts technical studies of the museum’s collections. His research interests include undergraduate education at the Arts-Science interface... Read More →
avatar for Jiuan Jiuan Chen

Jiuan Jiuan Chen

Assoc. Prof, Buffalo State University
Jiuan Jiuan Chen is the Associate Professor of Conservation Imaging, Technical Examination, and Documentation at the Patricia H. and Richard E. Garman Art Conservation Department at SUNY Buffalo State University. She received the Sheldon and Caroline Keck Award in 2023 in recognition... Read More →
avatar for Rebecca Ploeger

Rebecca Ploeger

Professor/Educator, Buffalo State University
Dr. Rebecca Ploeger is an Associate Professor of Conservation Science in the Garman Art Conservation Department at Buffalo State College. She received her Ph.D. in Chemical Sciences from the University of Torino, Italy. Her main research interests are in the design, characterization... Read More →
avatar for Vu Do

Vu Do

Fulbright Graduate Fellow, Garman Art Conservation Department, SUNY Buffalo State University
Vu Do is a Fulbright Graduate Fellow in conservation at SUNY Buffalo State University. Originally from Vietnam, he worked as an art educator, artist, and curator before coming to Buffalo. He holds a BFA in painting from the Pennsylvania Academy of the Fine Arts in Philadelphia. Vu... Read More →
Friday May 30, 2025 9:30am - 10:00am CDT
Hyatt Regency Minneapolis

10:00am CDT

Morning Exhibit Hall Break
Friday May 30, 2025 10:00am - 10:30am CDT
Friday May 30, 2025 10:00am - 10:30am CDT
Hyatt Regency Minneapolis

10:30am CDT

(Architecture + Preventive Conservation) Let there be light (or maybe not)
Friday May 30, 2025 10:30am - 11:00am CDT
There are always challenges for collection care, particularly in a historic building. The Carnegie Museum of Natural History is no different. The building was constructed as a museum, music hall, and a library in 1898. There have been several expansions and reorganizations since then, including a major expansion in 1907 and an expansion for Art in 1974. The building complex now houses a public library, music hall, Carnegie Museum of Pittsburgh (CMP) offices, the Museums of Art (CMOA) and Natural History (CM). The library and music hall are part of the complex but are separate entities. The museums and the music hall facilities are taken care of by the CMP Facilities, Planning and Operations (FP&O). The building complex is on the National Register of Historic Buildings. 

 
In preventive conservation, we consider the building envelope as the first line of defense for collection care. Finding the time, resources (staff and money), and setting priorities for repairing gaps in the 125-year-old building is challenging. The roof, walls and windows leak and the numerous environmental systems undergo constant repair. FP&O does an incredible job, but their priorities often differ from ours. 
 
We recently had the opportunity to prototype a new method for improving some of these leaks in the bird collection. The bird collection has large casement windows original to the 1907 building. The windows were covered with black-out shades. Cabinets were backed up to the windows and radiators, exposing collections to temperature extremes. When I arrived in 2009, the blackout shades were disintegrating. The windows behind the cases leaked – both air and insects. Working with the new collection manager (Serina Brady) and our head of operations, we developed a strategy to improve the situation, while respecting the historic structure. 
 
We approached the problem as a collaboration between the conservator, collection manager for the bird collection and new operations manager, discussing each step as we moved forward. Interior storm windows were constructed, and new blackout curtains were made, all in-house to save money. 
 
This paper will examine the efficacy of the strategy we employed. It will look at process, resources, and the advantages/disadvantages of what was done. Did the methods we used make the much-needed improvements to the environmental conditions of storage? Was the time and money we spent worth the effort? There are several other collection storage spaces that are faced with the same challenges. Can we use this strategy to make improvements in these spaces as well?
Speakers
avatar for Gretchen Anderson

Gretchen Anderson

Conservator, Carnegie Museum of Natural History
Objects conservator Gretchen Anderson established the conservation department at the Science Museum of Minnesota in 1989, where she developed preventative conservation standards for collections care, Integrated Pest Management, and strategies for storage and display. While there... Read More →
Authors
avatar for Gretchen Anderson

Gretchen Anderson

Conservator, Carnegie Museum of Natural History
Objects conservator Gretchen Anderson established the conservation department at the Science Museum of Minnesota in 1989, where she developed preventative conservation standards for collections care, Integrated Pest Management, and strategies for storage and display. While there... Read More →
Friday May 30, 2025 10:30am - 11:00am CDT
Hyatt Regency Minneapolis

10:30am CDT

(Book and Paper) The Ties That Bind: Communication, Collaboration, and Cross-Disciplinary Professional Development in the Service of Library Special Collections
Friday May 30, 2025 10:30am - 11:00am CDT
Stanford Libraries (SUL) comprises 20 branch libraries and centers, many with their own special collections materials. Over the past few years, Conservation Services has been actively reaching out to individual branch libraries to expand preservation efforts across SUL. These efforts generated an influx of materials in need of treatment from SUL’s East Asia Library. In order to better conserve East Asian bound materials and deepen our relationship with this library, we collaborated with internal staff and external conservation peers within and beyond book conservation to understand curatorial expectations, select appropriate terminology, and develop new techniques allowing us to meet treatment priorities.

Most materials we received from the East Asia Library have been traditional side-stitched books, bound as multiple fascicles enclosed in cloth-covered wrappers. Conservators at SUL found that our existing documentation forms and terminology, designed for European-style books, were inadequate. We addressed this by working with curatorial and cataloging staff to develop new treatment documentation policies. Conservators also shared treatment knowledge with one another to increase confidence and efficiency. This led to further collaboration with international peers on the Book and Paper Group wiki working group for East Asian Bound Formats, enhancing our understanding of East Asian book structures and materials. 

Discussions with East Asia Library curators highlighted the importance of retaining and stabilizing the original wrappers for continued use. Standard book conservation techniques were used to stabilize the wrappers, but many items required additional enclosures after treatment as we lacked the textile conservation expertise to repair and restore function to failing textile components. To fill this expertise gap, Conservation Services hosted a textile conservator for a workshop in 2023. The East Asia Library selected items with failing textile components for trial treatment, with the goal of restoring functionality to wrappers and eliminating the need for additional enclosures. Book conservators worked closely with the textile conservator to explore treatment options for these items.

Successful application of textile conservation techniques on trial treatments has resulted in more regular workflows from the East Asia Library. Our growing relationship with them has spurred more discussions with curatorial, technical, and public services staff about preservation best practices for security tags, labeling, and handling. While these individual efforts on different areas of focus might seem minor, together they have strengthened our partnership with a relatively new “client” library and expanded treatment possibilities. We view this collaboration as a model for engaging with other branch libraries and collections, addressing their unique cultural and material needs through thoughtful conservation practices.
Speakers
avatar for Aude Gabory

Aude Gabory

Assistant Conservator, Stanford Libraries
Aude Gabory is a Book Conservator at Stanford Libraries. She holds a certificate from the Bookbinding program at North Bennet Street School and trained in book conservation at the Art Institute of Chicago, the Newberry Library, and the Boston Athenaeum. Prior to joining Stanford Libraries... Read More →
avatar for Kimberly Kwan

Kimberly Kwan

Book Conservator, Stanford Libraries
Kimberly Kwan is a Book Conservator at Stanford Libraries. She is an AIC Professional Associate and holds an MA in Conservation from Camberwell College of Arts. Prior to Stanford, she held positions at the Toronto Public Library, Northwestern University Libraries, and the Harry Ransom... Read More →
avatar for Elizabeth Ryan

Elizabeth Ryan

Conservator, Stanford Libraries
Elizabeth Ryan is a Book Conservator at Stanford University Libraries. She is an AIC Professional Associate and serves on the board of the American Bookbinders Museum. Elizabeth holds an MLIS from the State University of New York at Albany, completed an internship in Library Preservation... Read More →
Authors
avatar for Aude Gabory

Aude Gabory

Assistant Conservator, Stanford Libraries
Aude Gabory is a Book Conservator at Stanford Libraries. She holds a certificate from the Bookbinding program at North Bennet Street School and trained in book conservation at the Art Institute of Chicago, the Newberry Library, and the Boston Athenaeum. Prior to joining Stanford Libraries... Read More →
avatar for Elizabeth Ryan

Elizabeth Ryan

Conservator, Stanford Libraries
Elizabeth Ryan is a Book Conservator at Stanford University Libraries. She is an AIC Professional Associate and serves on the board of the American Bookbinders Museum. Elizabeth holds an MLIS from the State University of New York at Albany, completed an internship in Library Preservation... Read More →
avatar for Kimberly Kwan

Kimberly Kwan

Book Conservator, Stanford Libraries
Kimberly Kwan is a Book Conservator at Stanford Libraries. She is an AIC Professional Associate and holds an MA in Conservation from Camberwell College of Arts. Prior to Stanford, she held positions at the Toronto Public Library, Northwestern University Libraries, and the Harry Ransom... Read More →
Friday May 30, 2025 10:30am - 11:00am CDT
Hyatt Regency Minneapolis

10:30am CDT

(CAN!/VoCA) The Evolution of Glenstone Museum’s Artist Oral History Program
Friday May 30, 2025 10:30am - 11:00am CDT
When Glenstone opened to the public in 2006, it was a small private foundation in Potomac, Maryland. The process of interviewing artists began organically, as significant site-specific outdoor sculptures were being installed across the landscape. Glenstone’s founders had the forethought hire a film crew to document the installation process, which led to filming the artists when they visited for the installation. This in turn triggered the founders to pull the artists aside to speak to them in a more focused way about their work. The practice developed into a desire to approach interviews systematically, recording formal conversations with as many of the artists whose works are represented in the collection as possible. In 2009, a curatorial staff position was created with the intention of expanding the oral history program to include not just artists, but also those who could lend special insights into their work, such as collectors, estate directors, installers, family members, curators, etc. Glenstone established an in-house conservation department in 2014, which resulted in collaborative discussions merging curatorial and preservation perspectives to document a more holistic view of what it means to care for and exhibit works the way their creators intended. As Glenstone has matured from a small foundation to an expansive museum, much of the audio and video production has moved in-house and the pool of collections staff able to conduct interviews has grown and diversified. A curriculum is now being developed to train staff on oral history best practices. This has allowed for thoughtful pairing of interviewers and narrators and resulted in conversations that vary in formality. It is hoped that tailoring of the interview experience to each participant will foster meaningful dialogues and help build enduring relationships that are an essential component of being responsible stewards of an artist’s legacy.
Speakers
SO

Steven O'Banion

Director of Conservation, Glenstone
Steven O’Banion is the Director of Conservation at Glenstone, responsible for comprehensively addressing the conservation needs of Glenstone’s collection. Steven graduated from Middlebury College with a major in Biochemistry and a minor in the History of Art and Architecture... Read More →
Authors
avatar for Samantha Owens

Samantha Owens

Associate Conservator, Glenstone
Samantha Owens is Associate Conservator at Glenstone Museum in Maryland, where she specializes in contemporary art, focusing on sculpture and time-based media. She holds an M.S. in Art Conservation from Winterthur/University of Delaware and a B.A. in Art History from Emory University... Read More →
SO

Steven O'Banion

Director of Conservation, Glenstone
Steven O’Banion is the Director of Conservation at Glenstone, responsible for comprehensively addressing the conservation needs of Glenstone’s collection. Steven graduated from Middlebury College with a major in Biochemistry and a minor in the History of Art and Architecture... Read More →
Friday May 30, 2025 10:30am - 11:00am CDT
Hyatt Regency Minneapolis

10:30am CDT

(Objects) Perpetual Conservation: a continuing collaboration to conserve Jack Nelson’s kinetic Sculpture Clock
Friday May 30, 2025 10:30am - 11:00am CDT
Jack Nelson was an artist and educator who was part of the Experimental Studios in the College of Art at Syracuse University in New York. Although he was known primarily for his kinetic sculptural assemblages, as a teacher Nelson inspired a generation of multi-media artists including celebrated time-based media artist Bill Viola, to whom he served as an advisor. 

Jack Nelson’s Minneapolis Sculpture Clock was fabricated in 1967, and installed in 1968 on Nicollet Mall, Minneapolis’ downtown pedestrian shopping street.  An early example of integrated public art, the Sculpture Clock is the last remaining element of the respected historic design from the 1960s Mall, created by visionary landscape architect, Lawrence Halprin in an effort to keep downtown vibrant in the era of burgeoning suburban shopping malls. 

From the start, this timepiece and artwork was engaging and distinctive, quickly becoming a well-known and beloved landmark. It is both a street clock, with 4 large dials in the upper cabinets of the case; and it is also a kinetic sculpture, or as the artist called it, a “Perpetual Motion Stabile.” A 16’ glass and steel case encloses a complex grouping of more than 830 copper alloy moving parts. After installation, the kinetic sculpture ran for 34 years, receiving minimal maintenance and occasional minor repairs and modifications by city workers to keep it running.  However, by 2002, only the clock elements were still working. The kinetic artwork had ground to a halt. The motors were beyond repair; the metal was heavily tarnished; and there were many missing and broken elements. 

A large-scale renovation of Nicollet Mall began in 2015. In preparation, the City of Minneapolis conducted research within the community about the existing collection of public art on the mall. The results showed that Minneapolitans felt the Sculpture Clock contributed to the community, provided continuity with the Mall’s past, and was the work of art that the public most hoped would return after the redesign. 

Between 2015 and 2017, KCI Conservation undertook the complex, collaborative conservation treatment of Jack Nelson’s perpetual motion sculpture and clock. A team was assembled consisting of KCI conservators and interns, clock experts, metal artists and fabricators, electricians, engineers, and Minneapolis’ public art administrators. After discovering a remarkable trove of historic documentation, KCI was able to repair and restore the intricate kinetic sculpture, replacing motors and re-creating missing elements, re-engineering hidden functional components for longevity, as well as repairing and returning the clock case and clock dials to their intended appearances. 

Since the full conservation treatment, KCI continues to work with members of the treatment team to carry out regular inspections and maintenance on the Sculpture Clock, thanks to an ongoing commitment to its upkeep by the City of Minneapolis and the Minneapolis Downtown Improvement District. In 2024, the clock received another conservation treatment after an incident of vandalism which shattered the glass on one of the case doors. This paper explores the history, treatment, and continuing work it has taken to conserve this extraordinary example of public art.
Speakers
avatar for Nicole Flam

Nicole Flam

Objects Conservator, KCI Conservation
Nicole Flam is an Object and Sculpture Conservator with KCI Conservation. She earned a Master of Arts degree with a Certificate of Advanced Study in Art Conservation from the SUNY Buffalo State College Art Conservation Program in 2020. During her career, Nicole has worked with objects... Read More →
avatar for Laura Kubick

Laura Kubick

Owner and Object Conservator, KCI Conservation
Laura Kubick is the owner and Principal Object and Sculpture Conservator of KCI Conservation, a 3-conservator object conservation practice in Minneapolis-St. Paul, MN. Laura took over ownership of KCI in 2019 after working in the firm for 5 years. Prior to joining KCI, Laura ran the... Read More →
Authors
avatar for Kristin Cheronis

Kristin Cheronis

Principal, KCI Conservation
Kristin Cheronis has been a practicing Object and Sculpture Conservator since 1986. She currently works at KCI Conservation, which she founded and ran as the principal conservator for 18 years. Prior to that, Kristin worked for 15 years as the Senior Objects and Sculpture Conservator... Read More →
avatar for Laura Kubick

Laura Kubick

Owner and Object Conservator, KCI Conservation
Laura Kubick is the owner and Principal Object and Sculpture Conservator of KCI Conservation, a 3-conservator object conservation practice in Minneapolis-St. Paul, MN. Laura took over ownership of KCI in 2019 after working in the firm for 5 years. Prior to joining KCI, Laura ran the... Read More →
avatar for Nicole Flam

Nicole Flam

Objects Conservator, KCI Conservation
Nicole Flam is an Object and Sculpture Conservator with KCI Conservation. She earned a Master of Arts degree with a Certificate of Advanced Study in Art Conservation from the SUNY Buffalo State College Art Conservation Program in 2020. During her career, Nicole has worked with objects... Read More →
Friday May 30, 2025 10:30am - 11:00am CDT
Hyatt Regency Minneapolis

10:30am CDT

(Paintings) A Mysterious Pair: the treatment and technical study of Veronese’s Allegories of Navigation at LACMA
Friday May 30, 2025 10:30am - 11:00am CDT
Two large, full-length paintings of male figures, each wearing antique garb amid ruined architectural surroundings, have been art historical mysteries for decades, if not longer. These works on canvas, in the collection of the Los Angeles County Museum of Art (LACMA), were made by the famous Venetian master of the cinquecento Paolo Caliari, otherwise known as Veronese, but it is unclear when exactly the artist made them, for what building, and for what patron. Their subjects, while tentatively described as allegories—Allegory of Navigation with a Cross-Staff and Allegory of Navigation with an Astrolabe—are uncertain, and though they have long been hung together, it is unclear if they were initially part of a larger decorative cycle. LACMA deinstalled much of its permanent collection as it prepares for the grand opening of its new Geffen Galleries, presenting an opportunity to both treat and carry out research on these intriguing paintings.

            The paintings were examined closely throughout conservation treatment, which included cleaning, varnishing, and retouching, among other steps. The surface was examined using a stereomicroscope, and high-quality imaging and materials analysis were carried out, including X-radiography, infrared photography, and hand-held XRF. Paint sample cross-sections were examined using PLM and analyzed using SEM-EDX. In addition, a study trip to see related works, two of which have been suggested as being part of a series with LACMA’s works, and the Biblioteca Marciana in Saint Mark’s Square, Venice, which has been long been cited as the possible original location of the works, complemented the technical study. The results of this research provide valuable insight into Veronese’s approach to creating LACMA’s works. The authors will discuss these findings in detail, including the use of certain materials that have become altered over time, affecting our current perception of the works. The study’s results also provide new clues as to the painting’s origins. For instance, research into old paper labels on the paintings’ reverse establishes a new link previously unknown in the painting’s nineteenth century provenance (including a passing connection to the Statue of Liberty in New York!). They also show that Veronese opted for the relatively inexpensive blue pigment smalt, both for use in the skies and in several draperies, and they show that Veronese made few changes in the composition as he worked. These last two findings differ markedly from the artist’s approach in one of the possible pendants, and the authors discuss possible reasons for these differences. 

               While many questions remain, this study makes a small but significant contribution towards refining our understanding of these works. The authors additionally suggest future steps that could be carried out to solve some of the outstanding mysteries surrounding the paintings’ origins.
Speakers
avatar for Gerrit Albertson

Gerrit Albertson

Associate Paintings Conservator, Art Institute of Chicago
Gerrit Albertson is an Associate Paintings Conservator at The Art Institute of Chicago. Previously, he was an Associate Conservator of Paintings at the Los Angeles County Museum of Art, a fellow in paintings conservation at the National Gallery of Art, Washington D.C. and at the Metropolitan... Read More →
Authors
avatar for Gerrit Albertson

Gerrit Albertson

Associate Paintings Conservator, Art Institute of Chicago
Gerrit Albertson is an Associate Paintings Conservator at The Art Institute of Chicago. Previously, he was an Associate Conservator of Paintings at the Los Angeles County Museum of Art, a fellow in paintings conservation at the National Gallery of Art, Washington D.C. and at the Metropolitan... Read More →
avatar for Laura Maccarelli

Laura Maccarelli

Andrew W Mellon Head Scientist, Los Angeles County Museum of Art
Laura Maccarelli, M.Sc. in Conservation Science from the University of Bologna, is the Andrew W. Mellon Head Scientist at the Los Angeles County Museum of Art (LACMA). She focuses on the material identification of art objects and leads research on paintings, 3D objects, textiles... Read More →
YP

Yosi Pozeilov

Managing Photographer and Imaging Specialist, Los Angeles County Museum of Art
Yosi Pozeilov (he/him), currently the Managing Photographer and Imaging Specialist, joined the Los Angeles County Museum of Art (LACMA), Conservation Center as the Senior Conservation Photographer in 2003. Besides doing all the technical, scientific and multiband imaging for the conservation... Read More →
Friday May 30, 2025 10:30am - 11:00am CDT
Hyatt Regency Minneapolis

10:30am CDT

(Research & Technical Studies) Challenges and benefits of community-based participatory research (CBPR) in technical art history and conservation science: The Tikuna/Magüta blue case
Friday May 30, 2025 10:30am - 11:00am CDT
Collaborations among scientists, conservators, and curators have been fundamental for understanding and conserving objects like from fine and modern arts. Those collaborations have been successful in many cases, but in others, have been limited especially due to challenges associated with team dynamics. Professionals from different fields may use different terminologies and have different understandings of how cultural items should be used, conserved, and studied. The challenges are intensified when considering the engagement with non-academics, who have other terminologies and may be personally and culturally attached to the cultural items. For example, collaboration with local non-academic Indigenous people may be vital when scientifically investigating cultural items of communities still practicing their traditions. But when, why, and how scientists can or should cooperate with them?



In my research group, we are investigating a still unknown blue colorant among technical art historians and conservation scientists (https://doi.org/10.3390/heritage7090222). Such colorant has been prepared by the Tikuna/Magüta people, who live in the Amazon Forest near the borders of Brazil, Peru, and Colombia. The ethnologist and anthropologist Curt Nimuendajú described in his book, published in the 1950s, that "the juice of one fleshy fruit (T., na’inku) furnishes a dark violet which, upon contact with iron, changes into a clear blue." To investigate materials like this, scientists usually select cultural items from museums for analytical investigation, try to make the colorant using the historical recipe, or get a sample of the colorant directly from the community. All those options consider the publication of the results in scientific journals, which are usually investigator-driven and academically centered strategies that generate benefits mainly for the researchers and their scholarly fields. However, the Tikuna/Magüta people are a living culture, still producing colorants from natural sources, and it is vital to consider their collaboration in the research for mutual benefits.



Among the different approaches for community-engaged research, we have been exploring community-based participatory research (CBPR). CBPR has social justice and empowerment at its foundation and considers community members' participation from formulating research questions to developing methods and collecting, interpreting, and using data. It considers power-sharing with the community members, is based on the community's strengths and resources, promotes reciprocity and mutual learning, considers the outcomes' sustainability, and disseminates results for all interested parties and partners. In these kinds of research, Indigenous members can participate as collaborators instead of subjects or sources of materials.



CBPR has been employed in fields like healthcare, archaeology, and education. Still, it has yet to be explicitly and systematically explored in technical art history and conservation science. In this presentation, I will address the challenges and benefits of CBPR in the context of technical art history and conservation science, based on our case study of the Tikuna/Magüta blue colorant and experiences of CBPR in other fields from different authors. With our work and this presentation, I also aim to stimulate discussions about how we can promote more socially responsible and inclusive practices in technical art history and conservation science.
Speakers
avatar for Thiago Puglieri

Thiago Puglieri

Assistant Professor, University of California, Los Angeles
Thiago Puglieri is an assistant professor at the UCLA/Getty Interdepartmental Program in the Conservation of Cultural Heritage and the UCLA Department of Art History. He works in the intersections of art history, chemistry, and conservation, focusing on Indigenous cultural items and... Read More →
Authors
avatar for Thiago Puglieri

Thiago Puglieri

Assistant Professor, University of California, Los Angeles
Thiago Puglieri is an assistant professor at the UCLA/Getty Interdepartmental Program in the Conservation of Cultural Heritage and the UCLA Department of Art History. He works in the intersections of art history, chemistry, and conservation, focusing on Indigenous cultural items and... Read More →
Friday May 30, 2025 10:30am - 11:00am CDT
Hyatt Regency Minneapolis

10:30am CDT

(Textiles) Glue Me Once, Glue Me Twice: Adhesive Retreatment of an Early 18th C Embroidered Palampore
Friday May 30, 2025 10:30am - 11:00am CDT
This presentation documents the evolving treatment of an early 18th century Indian palampore in the Saint Louis Art Museum collection. The palampore depicts a tree of life motif, executed in silk chain stitches on fine cotton twill weave ground. It is an impressive example of ari (hook) embroidery, and would have taken many expert hands and hours to complete at this size (132.5 in. x 98 in.). Most palampores are printed; only two other embroidered palampores have been identified in western collections (Museum of Fine Arts Boston, Victoria and Albert Museum). 

When acquired in 1922, this palampore was considered an exceptional example. It likely hung on display at the Saint Louis Art Museum for many years, until it was sent out for treatment in 1939. An independent textile restorer, Helene Fouché, was hired to stabilize the ground fabric that had torn with the weight of the embroidery. The palampore was both stitched and adhered to a full backing, using an adhesive which she described as “liquid thread.” Once returned to the museum, the curator Thomas T. Hoopes expressed his dissatisfaction, noting that the adhesive had already discolored, and fearing further damage. 

In 2022, the palampore was chosen as an ongoing graduate summer internship project. By then the palampore was in extremely poor condition and required an in-depth treatment. With further aging, the adhesive deposits had stiffened, causing fracturing and breakage of the ground fabric. The entire ground had lost flexibility and yellowed, in addition to the brown spots of adhesive residue throughout the textile. That first summer, treatment focused on solubilizing the adhesive and removing it with a suction plate.

In 2024 treatment shifted to restabilizing the splits and areas of loss. The adhesive removal had brightened and softened the ground, but the fabric remained too fragile to stitch into. It was therefore determined that another adhesive treatment was the best course of action. An overall support could not be used, as distorted “excess” ground fabric remained puckered within the embroidery motifs. Small localized adhesive supports were instead custom cut for each area of damage, and laid perpendicularly on flat ground to bridge splits and support the edges of losses. 

Though much was accomplished during these two ten-week internships, treatment of the palampore is ongoing. There is more adhesive stabilization to be completed, as well as compensation for loss, and development of a mounting plan. It has proven to be a complex, yet rewarding collaboration thus far, and the authors welcome reflections and suggestions before its continuation.
Speakers
avatar for Annalise M. Gall

Annalise M. Gall

Graduate Student, Fashion Institute of Technology
Annalise Gall is an emerging conservator based in New York. She studied textile and costume conservation at the Fashion Institute of Technology, and sociology and English at the University of Minnesota. She has worked with the Saint Louis Art Museum, the Cathedral of Saint John the... Read More →
avatar for Karri Vaughn

Karri Vaughn

Conservation Fellow, George Washington University Museum
Karri Vaughn is a conservation fellow at the George Washington University Museum and the Textile Museum. She recently completed an Andrew W. Mellon Fellowship at the Metropolitan Museum of Art in the Michael C. Rockefeller Wing. Previously, she interned at the Saint Louis Art Museum... Read More →
Authors
avatar for Annalise M. Gall

Annalise M. Gall

Graduate Student, Fashion Institute of Technology
Annalise Gall is an emerging conservator based in New York. She studied textile and costume conservation at the Fashion Institute of Technology, and sociology and English at the University of Minnesota. She has worked with the Saint Louis Art Museum, the Cathedral of Saint John the... Read More →
avatar for Karri Vaughn

Karri Vaughn

Conservation Fellow, George Washington University Museum
Karri Vaughn is a conservation fellow at the George Washington University Museum and the Textile Museum. She recently completed an Andrew W. Mellon Fellowship at the Metropolitan Museum of Art in the Michael C. Rockefeller Wing. Previously, she interned at the Saint Louis Art Museum... Read More →
Friday May 30, 2025 10:30am - 11:00am CDT
Hyatt Regency Minneapolis

10:30am CDT

(Wooden Artifacts) Re-define the craquelure patterns on traditional Chinese musical instrument guqin with advanced imaging techniques RTI and micro-CT
Friday May 30, 2025 10:30am - 11:00am CDT
Guqin is a Chinese plucked musical instrument with profound symbolic, aesthetic, and socio-cultural meanings. It consists of seven silk strings and a rectangular wooden soundbox painted with multi-layers of Asian lacquer-based coatings. The art of guqin has been inscribed on the UNESCO Intangible Cultural Heritage List since 2003, and the collecting of antique guqin instruments has been an important and active part of Chinese material culture since the eleventh century. Mostly resulting from natural aging processes due to playing and chemical and mechanical deteriorations of the compositional materials, craquelure appears on guqin’s surface coatings with time. Interestingly, instead of being viewed as defects or ugly, these craquelures are highly valued as cultural beauty, a sign of authenticity, and a key criterion for appraisal in the guqin collecting tradition. As the connoisseurship of guqin craquelure developed from the eleventh to the nineteenth century, various craquelure patterns were recognized, named, and associated with specific production periods.

However, these seemingly self-explanatory pattern names, such as snake-belly, ice-cracking, and plum-blossom craquelure, have never been clearly defined or illustrated in historical documents or guqin treatises. Although these terms continue to be widely used in contemporary catalogs, auctions, and museum practices, the lack of clarification and in-depth understanding of guqin craquelure patterns has caused issues like arbitrary naming, miscommunication, controversial dating and valuation, and thus puzzling the decision-making of guqin conservation treatments. 

This research used non-destructive imaging techniques, including normal and raking light photography, reflectance transformation imaging (RTI), multi-band imaging, and digital microscopy, for over fifteen historical guqin instruments in both public museums and private collections in China and the US. The goal is to document the cracking surfaces at different magnifications and lighting conditions, and segment the most characteristic visual features to re-define and distinguish those traditional pattern names. From this imaging, four comparable attributes are summarized that best differentiate the guqin craquelure patterns in planar: 1) degree of cross-linking, 2) shape and size of networked islands, 3) direction and distribution of disconnected patterns, and 4) formal features of individual cracks. Additionally, we used micro-CT to scan detached coating samples from five historical guqin to study the depth profile of the cracks and fine crackles, the stratigraphic structure of the coatings, and the distribution of the binder and filler in the ground layers. Although often disturbed by later restoration and re-lacquering layers, the micro-CT analysis proved to help study the more complex areas and distinguish craquelure patterns developing top-down that were potentially initiated by light damage, versus patterns developing bottom-up that were more likely caused by mechanical stress in between the wood substrate and the coating. 

We hope the results of this ongoing project can contribute to building a more scientific classification system of guqin craquelure and clarifying its crack-forming mechanism, which ultimately could improve current restorative and preventive conservation practices and bring more attention to the understudied category of East Asian musical instruments in the context of global collecting and cross-cultural conservation.
Speakers
avatar for Aidi Bao

Aidi Bao

PhD Candidate, University of Delaware
Aidi Bao is a Ph.D. candidate in Preservation Studies at the University of Delaware, and currently a graduate intern at the Getty Conservation Institute. Before this, she worked as an Andrew W. Mellon fellow at the Objects Conservation, Metropolitan Museum of Art from 2022-2023, and... Read More →
Authors
avatar for Aidi Bao

Aidi Bao

PhD Candidate, University of Delaware
Aidi Bao is a Ph.D. candidate in Preservation Studies at the University of Delaware, and currently a graduate intern at the Getty Conservation Institute. Before this, she worked as an Andrew W. Mellon fellow at the Objects Conservation, Metropolitan Museum of Art from 2022-2023, and... Read More →
avatar for E. Keats Webb

E. Keats Webb

Imaging Scientist, Smithsonian's Museum Conservation Institute
E. Keats Webb is the imaging scientist at the Smithsonian’s Museum Conservation Institute (MCI) where she uses scientific and computational imaging to aid in the research and conservation of the Smithsonian collections. Recent research includes investigating the optimization of... Read More →
Friday May 30, 2025 10:30am - 11:00am CDT
Hyatt Regency Minneapolis

10:30am CDT

(Electronic Media) Learning on the Job with Maintenance Culture: Creating a digital media art preservation Field Guide and trainings for small shops and artists - a 90 minute panel
Friday May 30, 2025 10:30am - 12:00pm CDT
While larger museums move forward with their Time Based Media collections, smaller and mid-size institutions continue to struggle with preservation planning for these complex contemporary works without easy access to media conservators - especially if they are all digital. Maintenance Culture is a project created by Myriad, funded by the National Endowment for the Humanities, to address challenges related to preserving complex, born-digital, creative works in smaller institutions. From 2022 - 2024, Maintenance Culture brought together creators and maintainers of digital design, web art, time-based media art, virtual reality, and more to address pressing challenges of preserving these works in small institutions. Through a Design Charrette and various working groups, Myriad organized across institutions and disciplines to create events, workshops, and guidelines for creators and maintainers (curators, conservators, librarians, other cultural heritage workers) who preserve digital design, time-based media art, net art, augmented reality, and more. 

Workshops were offered in 6 cities across the U.S., focusing on mid-sized cities including Baltimore, Houston, Detroit, and New Orleans.  Participants included cultural heritage professionals from a wide range of institutions seeking to provide long-term access to complex digital creative works. Participants shared experiences, discussed best practices, and worked across disciplines to consider new solutions for preservation of complex objects.

Project staff had ideas about preserving born-digital works at the start of the project, but the addition of artists’ knowledge provided insights into their creative process, intentions, and skill sets that changed the course of the work. We will share information about the implementation of the project, insights learned through the project, ways that  collaborations with creators shaped the outcomes of the work, and lessons learned. We will include evaluation data showing workshop participants’ achievements and reactions, and we will also talk about the future of Maintenance Culture, which has secured a new round of funding from the NEH and will continue through at least 2026.
Speakers
avatar for Frances Harrell

Frances Harrell

Executive Director, Myriad Consulting & Training
Frances (she/her) is the Executive Director for Myriad, and is responsible for project coordination with all our clients. She is an independent archives professional with over ten years of experience working with cultural heritage organizations. She has spent the larger part of her... Read More →
Authors
avatar for Frances Harrell

Frances Harrell

Executive Director, Myriad Consulting & Training
Frances (she/her) is the Executive Director for Myriad, and is responsible for project coordination with all our clients. She is an independent archives professional with over ten years of experience working with cultural heritage organizations. She has spent the larger part of her... Read More →
avatar for Joana Stillwell

Joana Stillwell

Myriad Consulting & Training
Joana Stillwell is an artist and archivist based between Washington DC, and Baltimore, MD. She has worked on projects with the National Gallery of Art, Filipino American Community Archive, and the Smithsonian Libraries and Archives. Joana is currently the AV Archivist for the Mid-Atlantic... Read More →
Friday May 30, 2025 10:30am - 12:00pm CDT
Hyatt Regency Minneapolis

11:00am CDT

(Architecture + Preventive Conservation) Common HVAC issues and ways to avoid or correct them.
Friday May 30, 2025 11:00am - 11:30am CDT
Heating ventilation and air Conditioning (HVAC) systems are an integral part of our collection facilities. We rely on them to acclimatize our storage spaces, keep our visitors comfortable and happy, condition our displays, and keep the moisture under control to prevent mold in our buildings. When these systems function properly all is bliss, however, even the slightest malfunction of these systems can have a major effect on a collection space. These effects can range from high moisture levels, the inability to achieve set points, to comfort complaints from visitors.

These problems can lead to thousands of dollars in abatement or remediation and potentially cause damage to collection materials.  Many HAVC issues are more common than most would believe, impacting collecting institutions as well as commercial facilities across the country every day. Compounding this problem is the fact that many institutions are striving to reduce their carbon footprint and be more sustainable. Unfortunately, inefficiencies can negate the benefits of any implemented sustainable strategy by forcing a system to use more energy to perform a task that it is struggling to achieve.  While these issues can keep staff members up at night, there are ways to avoid HVAC malfunctions and practical solutions to resolve many of them.

Collections staff may be the first ones to notice that something is amiss within storage and display spaces. Data monitoring programs and staff presence in the collections spaces often help them identify issues or concerns before the facilities staff can see them. This information can help the facility’s team resolve the problem.

This presentation will cover many of the common HVAC issues that collecting institutions encounter from leaking condensation lines to high dew points. It will describe the causes of these issues including, but not limited to, congested drain lines, cooling coil inefficiency, poor airflow and dew point problems in a space. The presentation will also elaborate on the risks these issues pose to the facility and collections, and some ways to avoid or correct them. Attendees will learn how other institutions work to solve these problems, how to collaborate with facilities and their administrative team to solve them, and what some of the solutions are that they can bring back to their organizations.
Speakers
avatar for Christopher Cameron

Christopher Cameron

Facilities and Museum Environment Specialist, Sustainable Heritage
Christopher Cameron worked as a Sustainable Preservation Specialist at the Image Permanence Institute (IPI) for 9 years. During this time, he assisted over 60 institutions with projects ranging from evaluating collections environment and mechanical systems to establish environmental... Read More →
Authors
avatar for Christopher Cameron

Christopher Cameron

Facilities and Museum Environment Specialist, Sustainable Heritage
Christopher Cameron worked as a Sustainable Preservation Specialist at the Image Permanence Institute (IPI) for 9 years. During this time, he assisted over 60 institutions with projects ranging from evaluating collections environment and mechanical systems to establish environmental... Read More →
Friday May 30, 2025 11:00am - 11:30am CDT
Hyatt Regency Minneapolis

11:00am CDT

(Book and Paper) A History of the Books in Taiwan: The Transformation of Bookbinding Formats During the Period under Japanese Rule (1895-1945)
Friday May 30, 2025 11:00am - 11:30am CDT
Taiwan is a country located in East Asia, lying on the northwest side of the Pacific Ocean and off the southeastern coast of China. Its geographic position has historically made it a crucial crossroads for trade and cultural exchange among China, Japan, and Southeast Asia. The period of Japanese rule in Taiwan (1895–1945) stands out as an era of profound multicultural interaction and significant transformation. This period was marked by modernization and infrastructural development initiated by the Japanese government. Combined with the flourishing of Taiwanese art and literature in multiple languages, the island’s book publishing industry underwent a transformative evolution. This project employs both documentation of binding formats and historical research methodologies to explore the evolution of bookbinding. We have documented various bookbinding formats, including their structures, materials, and conditions, to analyze how they transformed over time and the historical reasons and impacts of these changes.

Before this era, books in Taiwan were predominantly printed and bound outside the island. The Japanese period marked a significant shift, heralding the beginning of local book publishing, printing, and binding industries. By the 1920s, there was a greater emphasis on Japanese language and culture led by the government. Influenced by movements outside the island, Chinese-language books became a means for intellectuals to express self-identity and spread new ideologies. The development of libraries also reflects the transformation. The first library established during the Japanese period was the Taiwan Library (1898). As the demand for books and Taiwan’s relation to the world changed, one of the most notable aspects of this period is the transition in binding formats. Over the fifty years of Japanese rule, there was a marked shift from predominantly East Asian side-stitched bindings to a variety of Western European bookbinding styles. It is interesting to observe the shift also in Western styles from a small amount of leather or cloth bindings to mostly modern case bindings. In the later years of this period, it was also common to see a mixture of Western materials with side-stitched bindings. This is one of the first detailed studies on this subject, yet the transformation connects with broader changes in Taiwanese society during this time.

Bookbinding formats reflect the economy and cultural movements of the period, showcasing a piece of history that is often overlooked. To gain a comprehensive understanding of bookbinding practices, the project involves documenting hundreds of books from the period of Japanese rule, collected from the National Taiwan University Library, Tainan National University of the Arts Library, and the National Taiwan Library. We recorded information on binding structures and materials, and are analyzing this data in conjunction with historical records to understand the frequency of different bindings and their relationship to social changes of the time. Additionally, we are compiling condition reports on the books to understand common deterioration, which will provide valuable insights for future conservators and enhance our understanding of bookbinding formats from this important historical period.
Speakers
avatar for Lois Su

Lois Su

Student, Tainan National University of the Arts Graduate Institute of Conservation of Cultural Relics
Lois Su is a master’s degree candidate at the Graduate Institute of Conservation of Cultural Relics and Museology (Division of Book and Paper, East Asian Art, and Photograph Conservation), Tainan National University of the Arts, Taiwan. During the degree program she interned at... Read More →
Authors
FT

Fei-Wen Tsai

Professor, Tainan National University of the Arts Graduate Institute of Conservation of Cultural Relics
Fei-Wen Tsai is a professor at the Graduate Institute of Conservation of Cultural Relics and Museology (Division of Book and Paper, East Asian Art, and Photograph Conservation), Tainan National University of the Arts (TNNUA), Taiwan. She graduated from the School of Library Service... Read More →
avatar for Lois Su

Lois Su

Student, Tainan National University of the Arts Graduate Institute of Conservation of Cultural Relics
Lois Su is a master’s degree candidate at the Graduate Institute of Conservation of Cultural Relics and Museology (Division of Book and Paper, East Asian Art, and Photograph Conservation), Tainan National University of the Arts, Taiwan. During the degree program she interned at... Read More →
Friday May 30, 2025 11:00am - 11:30am CDT
Hyatt Regency Minneapolis

11:00am CDT

(CAN!/VoCA) Bringing in new voices: the next generation of the Artist Documentation Program
Friday May 30, 2025 11:00am - 11:30am CDT
Talking to artists - learning about their materials, practices, and desires for how their artwork should live, age, and be treated- was, thirty years ago, a novel concept.  In 1990, faced with the unique challenges presented by the care of contemporary art, Carol Mancusi-Ungaro, then the Chief Conservator at the Menil Collection, initiated what evolved into the Artists Documentation Program (ADP).  The program grew with time, developing into a partnership with the Whitney Museum of American Art after Mancusi-Ungaro relocated there in 2001, at which point Brad Epley was appointed Chief Conservator at the Menil.  Until their departures in 2023, the program continued under their co-direction. At this juncture Matthew Skopek, the Melva Bucksbaum Director of Conservation at the Whitney Museum of American Art and Dr. Corina Rogge, Director of Conservation at the Menil Collection assumed co-directorship. 

This transition offered an opportunity to reevaluate the program, redefine its mission and values, and outline a three-year strategic plan.  Rather than siloing the decision-making at the director level, this process, conducted over a 2-day retreat, was opened to archivists and conservators working at the Menil and Whitney to leverage their broad expertise. 

To figure out where ADP was going, the group first had to evaluate the past, assessing how the program evolved from its inception and looking critically at why some interviews were more successful than others and how that could inform practices moving forward. The group then collaboratively developed mission and vision statements and outlined a core set of values that can be used to inform the project's future. The mission and vision statements confirm Mancusi-Ungaro's foundational precepts that the purpose of the interviews is to document, at that particular point in time, the subject’s memories and thoughts about their artwork, and that the interviews should be minimally edited to ensure the integrity of the interview, respect the artist’s voice, and best facilitate seeing and hearing the artist in the presence of their work. With these guiding principles the group then determined strategic goals, each of which were designated as short-, middle- and long-term action items. 

As one of the longest running artist interview programs, this reevaluation may strike some as heretical, but just as artistic practices change, so must interview practices.  Especially important to all participants were the issues of accessibility and diversity, and we are currently engaged in exploring how to most effectively provide English and Spanish closed-captioning and transcripts.  The value of this effort was made evident by Irene Esteves-Amador's 2021 interview with Daniel Lind-Ramos in Spanish, which was the first ADP interview conducted in a language other than English.  

A periodic re-evaluation is critical to ensure long-running programs remain relevant; successes and disappointments are lessons that need to be evaluated and learned from. Change and adaptation can be nurtured.  We hope that by sharing our process and the thoughts and motivation behind these actions and changes, we will help others engaged in their own evolutionary process.
Speakers
avatar for Corina Rogge

Corina Rogge

Director of Conservation, The Menil Collection
Corina E. Rogge is the Director of Conservation at the Menil Collection. She earned a B.A. in chemistry from Bryn Mawr College, a Ph.D. in Chemistry from Yale University and held postdoctoral positions at the University of Wisconsin-Madison and the University of Texas Health Sciences... Read More →
avatar for Matthew Skopek

Matthew Skopek

Melva Bucksbaum Director of Conservation, The Whitney Museum of American Art
Matthew Skopek has served as the Melva Bucksbaum Director of Conservation at the Whitney Museum of American Art since 2023. After receiving his MA and Advanced Certificate in Conservation from Buffalo State College in 2002 he had internships at the Philadelphia Museum of Art, the... Read More →
Authors
avatar for Corina Rogge

Corina Rogge

Director of Conservation, The Menil Collection
Corina E. Rogge is the Director of Conservation at the Menil Collection. She earned a B.A. in chemistry from Bryn Mawr College, a Ph.D. in Chemistry from Yale University and held postdoctoral positions at the University of Wisconsin-Madison and the University of Texas Health Sciences... Read More →
avatar for Farris Wabeh

Farris Wabeh

Benjamin and Irma Weiss Director of Research Resources, The Whitney Museum of American Art
Farris Wahbeh works within the field of cultural informatics to enhance access to art and archival collections. Mr. Wahbeh has worked with collections that house archival materials ranging from the 18th century to art collections of the 21st.
JD

Jeremy Davet

Project Archivist, Artist Documentation Program, The Menil Collection
avatar for Joy Bloser

Joy Bloser

Conservator, The Menil Collection
Joy Bloser is an associate objects conservator at The Menil Collection, Houston, where she specializes in the care of contemporary art and the treatment of polymeric materials. She earned her MS in Conservation and MA in Art History from The Institute of Fine Arts, NYU, and a BA in... Read More →
avatar for Matthew Skopek

Matthew Skopek

Melva Bucksbaum Director of Conservation, The Whitney Museum of American Art
Matthew Skopek has served as the Melva Bucksbaum Director of Conservation at the Whitney Museum of American Art since 2023. After receiving his MA and Advanced Certificate in Conservation from Buffalo State College in 2002 he had internships at the Philadelphia Museum of Art, the... Read More →
avatar for Sara Kornhauser

Sara Kornhauser

Assistant Paintings Conservator, The Menil Collection
Sara received her M.A. and C.A.S. in Paintings Conservation from SUNY Buffalo State College, and earned a B.A. in Art History from Bard College. She is currently the Project Conservator for a Getty Conserving Canvas Initiative Project at the Menil Collection and the Museum of Fine... Read More →
Friday May 30, 2025 11:00am - 11:30am CDT
Hyatt Regency Minneapolis

11:00am CDT

(Objects) Gorgonized by Her Monsterful Snoutfair Visage: Harriet Hosmer's Medusa in Context
Friday May 30, 2025 11:00am - 11:30am CDT
To be strong and powerful, a woman must be monstrous, dangerous, other. That has for centuries been the take-away message behind the Medusa myth. To label a woman a Medusa or Gorgon has been to rationalize or demean her power by making her threatening, inhuman, and therefore deserving of attack and ridicule. This was true in 2016 when Presidential candidate, Hillary Clinton was called Medusa in media, is still true eight years later, and was very much true when Harriet Hosmer carved Medusa in 1854. 

In November 2020, as the newly arrived Mellon Fellow in Objects Conservation at the Detroit Institute of Arts, I hiked up to the American Neoclassical gallery to examine this prized piece earmarked for cleaning and fill adjustment. I found a typical neoclassical ideal bust, which showcased many of the skills that earned Hosmer her contemporary reputation as one of the great sculptors of the period—her anatomical modeling, thoughtful composition, and attention to subtle textural detail. Through the subsequent weeks of treatment, including the removal of a visitor’s unsanctioned lipstick kiss, I became fascinated by the reflection this carved-marble piece presented of the difficult social lines Hosmer walked in her own life as an independent artist, expat, and queer woman defying gender stereotypes even within the medium she chose to sculpt. 

When the Medusa was deinstalled to the conservation lab, she arrived plastered to her pedestal top, covered in discolored wax fills and irregular surface dirt, holding remnants of previous cleanings and coatings in the recesses, and sporting a red-brown lipstick print on her proper left cheek. The subtle textures for which Hosmer is known were disturbed by fine abrasion, areas of unsaturated opacity, and now yellowed oil application. Additional examination under ultraviolet radiation revealed an interesting handling history. I tested various poultice applications and experimented with fill materials to replace the aged wax, ultimately settling on a combination of mechanical action and buffered solutions to even the appearance. I also grew to understand the Medusa with every step of the process. 

In context, this piece is a commentary on the status of women in the period of change leading into the American Civil War and a subtle juxtaposition of mythological and artistic tropes that empowers women through the subversion of both. Hosmer placed the Medusa and her message as the subject of a sculpture style that marketed woman’s bodily suffering and subservience to faith and man as feminine virtues. In so doing, strength and power are shown as regalia a woman may carry with grace and pride, if not freedom. The 1850’s were an early time of change toward a more modern valuation of women’s education and societal contribution; however, American women were still second-class citizens stuck largely in traditional roles without legal autonomy—a contradiction exposed in Hosmer’s Medusa. In this regard, the kiss strikes me as a sign of Hosmer’s success—a crowned Medusa is shown approachable, sympathetic, her innocence returned and blessing conferred all wrapped in a blatant act of violation.
Speakers
avatar for Clara Livingston Bailin

Clara Livingston Bailin

Assistant Objects Conservator, Detroit Institute of Arts
Clara Bailin currently holds the position of Assistant Objects Conservator at the Detroit Institute of Arts. She has an MA in Art Conservation from the Garman Art Conservation Program at SUNY Buffalo State College, and a BA in Art History from Wellesley College. Clara has worked or... Read More →
Friday May 30, 2025 11:00am - 11:30am CDT
Hyatt Regency Minneapolis

11:00am CDT

(Paintings) “I paint paintings”: The materials, techniques, and conservation of Joan Mitchell’s Paintings on Canvas
Friday May 30, 2025 11:00am - 11:30am CDT
Joan Mitchell (1925–1992), with her bold, intense colors and dynamic compositions, created some of the most lush and painterly surfaces of the 20th century. The question of how Mitchell painted has intrigued viewers, art historians, and conservators since the beginning of her career. Irving Sandler’s 1957 profile, which focused on the creation of her painting Bridge, was the first major article to delve into her process. In 1974, Marcia Tucker observed that "Mitchell is an artist whose work is less concerned with ideas or art issues than with the act of painting itself—with the gesture, physicality, and sumptuousness of the pigment she uses." Critics often note her background in figure skating, suggesting that her paintings should be viewed with an awareness of her talent for spinning and gliding. Mitchell is frequently described as a "painter's painter," implying that the tactile experience of brush on canvas is essential to fully understanding and appreciating her work.

Despite the importance of Joan Mitchell’s painting techniques to her lasting significance, there has yet to be a dedicated study of her methods and materials. Having examined and/or treated over one hundred of her paintings, the team at Modern Art Conservation has gained significant technical insights. Her work presents various challenges to the conservator, both when writing condition reports that accurately document and describe conditions that may be inherent to and even expected of her materials, as well as when devising effective and appropriate treatment strategies to ensure the longevity of her works. Many of our colleagues have encountered similar challenges, especially in recent years, as major exhibitions such as the Joan Mitchell Retrospective in 2021 and Monet – Mitchell in 2023 have been mounted and as Mitchell’s paintings continue to rise in value in the market.

This paper will explore Mitchell's choices of paints, tools, and supports and will examine her working methods throughout her career, situated within the context of the artistic communities and environments in which she lived. It will also address the ways her paintings continue to evolve and the conservation challenges this can present, with the goal of guiding future conservation efforts and ensuring that inherent changes do not distort the ongoing interpretation and appreciation of her work.
Speakers
avatar for Suzanne Siano

Suzanne Siano

Paintings Conservator/Director, Modern Art Conservation
Suzanne Siano is the owner and chief conservator of Modern Art Conservation, a private practice focused on the examination, conservation, and restoration of modern and contemporary paintings from the late 19th century to the present. Founded in 2007, the team now includes 8 paintings... Read More →
avatar for Shauna Young

Shauna Young

Senior Conservator, Modern Art Conservation
Shauna Young is the Senior Conservator at Modern Art Conservation, having joined in 2010. She holds an MA in Art History and an Advanced Certificate in Conservation from the Institute of Fine Arts Conservation Center at NYU. Her early professional experience includes training at The... Read More →
Authors
avatar for Annika Finne

Annika Finne

Associate Conservator, Modern Art Conservation
Annika Finne, Associate Conservator, began working at Modern Art Conservation (MAC) in 2017. She holds an M.A. in Art History and an M.S. in the Conservation of Historic and Artistic Works from the Institute of Fine Arts (IFA), New York University, and a B.A. with an independent concentration... Read More →
avatar for Pamela Johnson

Pamela Johnson

Senior Associate Conservator, Modern Art Conservation
Pamela Johnson is the Senior Associate Conservator at Modern Art Conservation (MAC) and has been part of the MAC team since 2017. She received an MS in Art Conservation from the Winterthur/University of Delaware Program in Art Conservation in 2016, and a BA in studio art and Spanish... Read More →
avatar for Shauna Young

Shauna Young

Senior Conservator, Modern Art Conservation
Shauna Young is the Senior Conservator at Modern Art Conservation, having joined in 2010. She holds an MA in Art History and an Advanced Certificate in Conservation from the Institute of Fine Arts Conservation Center at NYU. Her early professional experience includes training at The... Read More →
avatar for Suzanne Siano

Suzanne Siano

Paintings Conservator/Director, Modern Art Conservation
Suzanne Siano is the owner and chief conservator of Modern Art Conservation, a private practice focused on the examination, conservation, and restoration of modern and contemporary paintings from the late 19th century to the present. Founded in 2007, the team now includes 8 paintings... Read More →
Friday May 30, 2025 11:00am - 11:30am CDT
Hyatt Regency Minneapolis

11:00am CDT

(Research & Technical Studies) Embracing Uncertainty: Exploring New Perspectives in the Story of a Chinese Lacquer Screen
Friday May 30, 2025 11:00am - 11:30am CDT
Historically, museums are perceived as repositories for definitive knowledge on the objects they exhibit. As a result, artworks that conservators and curators have the most questions about often remain in storage and out of public view. At the Walters Art Museum (WAM), a shift towards showcasing objects with unresolved histories has fostered engagement and curiosity from visitors.

The unexpected results of a recent technical study of a Chinese lacquer screen prompted a reassessment of whether and how it could be displayed. Inscribed with the date 1681, the four-panel screen depicts the hermitage of fourth-century scholar Xie An. This type of lacquerware was popularized during the Kangxi period of the Qing Dynasty (1661-1722). Kuan cai, meaning “incised colors,” refers to the technique in which compositions are carved into a smooth lacquer surface and filled with colored paints. Kuan cai screens were first produced for the domestic market in Southern China in the seventeenth century. They are commonly known in the West as “Coromandel screens” or “Bantam work,” referring to two popular European-run trading ports in Southeast India and Indonesia from which they were first exported. 

Kuan cai screens are made from a complex layered system of wood, clay-based grounds, fabric and paper preparatory layers, lacquer, and oil-based paints. Due to their composite nature, damage from fluctuating environments, mechanical forces, and light is common. The WAM screen entered the collection in 2012 but has never been exhibited. Prior to acquisition, it underwent multiple restoration campaigns which now partially disguise the original surface. The goal of this technical study was to determine the composition of the screen’s original and restoration materials to draw inferences on dating and historic context. Multiband imaging, microscopy, radiography, fiber optics reflectance spectroscopy (FORS), x-ray fluorescence spectroscopy (XRF), scanning electron microscopy with energy dispersive x-ray spectroscopy (SEM-EDS), pyrolysis gas chromatography/mass spectrometry using tetramethylammonium hydroxide (THM-Py-GC/MS), and cross section analysis were completed.

While the screen was initially attributed to the seventeenth century, our results support the hypothesis that it was created during a later period. Radiography revealed an atypical construction with numerous nails attaching six horizontal cross bars on the verso. XRF showed the presence of zinc white in areas of white polychromy, while barium was detected in several passages of the screen in a variety of colors. Barium-based pigments were not available until the eighteenth century, raising questions about the screen’s dating and the extension of restoration. The absence of vermilion, orpiment, copper-based, and other commonly reported pigments was curious. 

WAM has established a precedent for displaying objects with pending questions. In the 2024 exhibition “Objects of Curiosity: What Will We Discover?,” visitors engaged in an ongoing conservation and curatorial investigation of artworks whose origin, authenticity, or utility were unknown. Taking inspiration from this exhibition, to tell the story of the lacquer screen we are developing didactic materials that reveal its layered history of use and repair. This approach to telling the stories of artworks situates visitors as active participants, rather than passive receivers of resolute information.
Speakers
avatar for Elle Friedberg

Elle Friedberg

Mellon Fellow in Objects Conservation, Walters Art Museum
Elle Friedberg is currently the Mellon Fellow in Objects Conservation at the Walters Art Museum in Baltimore, Maryland. They received their Masters of Science from the Winterthur/University of Delaware Program in Art Conservation in 2023 with specializations in objects and preventive... Read More →
Authors
avatar for Annette Ortiz Miranda

Annette Ortiz Miranda

Researcher/ Conservation Scientist, Walters Art Museum
avatar for Elle Friedberg

Elle Friedberg

Mellon Fellow in Objects Conservation, Walters Art Museum
Elle Friedberg is currently the Mellon Fellow in Objects Conservation at the Walters Art Museum in Baltimore, Maryland. They received their Masters of Science from the Winterthur/University of Delaware Program in Art Conservation in 2023 with specializations in objects and preventive... Read More →
Friday May 30, 2025 11:00am - 11:30am CDT
Hyatt Regency Minneapolis

11:00am CDT

(Textiles) Alf Engen Ski Museum Gets a Lift
Friday May 30, 2025 11:00am - 11:30am CDT
At the 2024 American Institute for Conservation (AIC) Annual Meeting in Salt Lake City, the AIC Emerging Conservation Professionals Network (ECPN), Utah Field Services (UFS), and AIC Textile Specialty Group (TSG) joined forces to describe, assess, and rehouse a collection of ski fashion history objects at the Alf Engen Ski Museum in Park City, Utah. The 2024 service day, or Community Partnership Project (CPP), brought together UFS and AIC members  to serve a local audience in the conference host city.

The Barbara Alley Simon collection comprises 350 separate items and accessories spanning 30 years of ski clothing history (1968-1998), and it is a cornerstone of the Alf Engen Ski Museum. Until recently, the collection featured in an annual fashion show, demonstrating a heavy use of collections in a community-focused way, but in opposition to preservation “best practices.” Textile conservators had not previously consulted on this collection of objects as few conservators work in the region, with even fewer textile-focused conservators available. 

Utah Field Services is a partnership among the Utah Division of Arts & Museums, Utah Humanities, and Utah Historical Society. Together, UFS supports the preservation and access of collections by assisting Utah’s museums and collecting institutions. UFS staff facilitated a community-centered approach, avoiding the extractive/negative associations a host site might feel when allowing strangers to directly handle and address  their collections. TSG was brought into the project, providing specific necessary textile expertise and insight to materials. TSG, is a subset of AIC; conservators interested specifically in the care and preservation of textile materials. AIC and USF ordered supplies and coordinated logistics to support the success of this new interdisciplinary partnership, from conservators to service providers, to host site staff. 

 On May 21, 18 volunteers, spanning from pre-program to professional levels with varying textile experience, broke into production teams. The volunteer teams worked side-by-side with UFS and Alf Engen Ski Museum staff to photograph, assess, label, and fabricate custom protective covers for this unique collection. More than 40 objects were addressed, including  vacuuming furs, creating quality, long-term storage solutions for ski suits, and completing condition documentation for a significant representation of the collection.  

This project helped provide Alf Engen Ski Museum staff the knowledge to continue to care for this collection for the future. Conservation volunteers gained first-hand experience with a very unique collection, with a museum without conservation staff, and with colleagues outside of their region and direct networks. One of the visiting conservators remarked, “This site and project scope allowed conservators to connect, learn, and teach, all while making lasting connections outside of our day-to-day jobs.”  Further, ECPN officers were able to successfully plan and execute collaborative programming, typically outside the scope of their career stage. When practitioners and service providers come together to collaborate with a host site on a project, as participants did at the CPP, the potential for growth and learning, meaningful connections between communities and practitioners, success and productivity, and the long term stability of collections is increased.
Speakers
avatar for Reilly Jensen

Reilly Jensen

Museums Field Services Coordinator, Utah Division of Arts & Museums
Reilly Jensen is the Museum Field Services Coordinator at the Utah Division of Arts and Museums, where she supports community-focused projects and initiatives serving 250+ museums across the state of Utah. Reilly brings a decade of experience working as an archaeologist, educator... Read More →
Authors
avatar for Kaela Nurmi

Kaela Nurmi

Objects Conservation Fellow, Harvard Art Museums
Kaela Nurmi (she/her) is an objects conservator specializing in modern and contemporary art. She earned her MA and Certificate of Advanced Study in Art Conservation from the Patricia H. and Richard E. Garman Art Conservation Department at SUNY Buffalo State, following a BA in Art... Read More →
avatar for Marie D. Desrochers

Marie D. Desrochers

Preventive Conservator, Utah Division of Arts & Museums
Marie Desrochers currently serves as the Preservation Outreach Coordinator for our division. In this role, she has launched the Utah Collections Preservation Program, which provides training for small collecting institutions across the state. This work is funded by the National Endowment... Read More →
avatar for Reilly Jensen

Reilly Jensen

Museums Field Services Coordinator, Utah Division of Arts & Museums
Reilly Jensen is the Museum Field Services Coordinator at the Utah Division of Arts and Museums, where she supports community-focused projects and initiatives serving 250+ museums across the state of Utah. Reilly brings a decade of experience working as an archaeologist, educator... Read More →
avatar for Steph Guidera

Steph Guidera

Objects Conservator, North Carolina Museum of History
Stephanie Guidera is located in Raleigh, North Carolina. She holds a Master of Arts degree and Certificate of Advanced Study in Art Conservation at the Patricia H. & Richard E. Garman Art Conservation Department, State University of New York at Buffalo State. Employment experiences... Read More →
Friday May 30, 2025 11:00am - 11:30am CDT
Hyatt Regency Minneapolis

11:00am CDT

(Wooden Artifacts) Furthering Conservation in Wartime Ukraine
Friday May 30, 2025 11:00am - 11:30am CDT
Russia’s invasion in February of 2022 of Ukraine dramatically altered the cultural as well as the physical landscape. Numerous Ukrainian conservators scrambled to protect their cultural heritage, while others left the country as refugees. Western conservators and conservation scientists, conservation organizations, non-profits, and foundations responded to this event with fruitful initiatives to assist in these preservation efforts and to prevent a now well-documented existential threat to Ukrainian culture. This presentation will focus on the collaborative efforts of Ukrainian conservators, conservation educators and scientists, art historians, translators, university faculty members, historic preservationists, and their peers and concerned parties outside of Ukraine. The perspective will be of an AIC Wooden Artifacts conservator, Fulbright Specialist, and Scholar to Ukraine before the war. It will illuminate the will and determination of Ukrainians to acquire and implement the conservation knowledge and values of the West under challenging circumstances.
Speakers
avatar for Yuri Yanchyshyn

Yuri Yanchyshyn

Principal and Senior Conservator, Period Furniture Conservation LLC
YURI YANCHYSHYN is the principal and senior conservator of Period Furniture Conservation LLC and Kensington Preservation LLC, both metropolitan New York City firms dedicated to wooden artifact conservation, as well as cultural heritage objects preservation. Yuri holds degrees from... Read More →
Authors
avatar for Yuri Yanchyshyn

Yuri Yanchyshyn

Principal and Senior Conservator, Period Furniture Conservation LLC
YURI YANCHYSHYN is the principal and senior conservator of Period Furniture Conservation LLC and Kensington Preservation LLC, both metropolitan New York City firms dedicated to wooden artifact conservation, as well as cultural heritage objects preservation. Yuri holds degrees from... Read More →
Friday May 30, 2025 11:00am - 11:30am CDT
Hyatt Regency Minneapolis

11:30am CDT

(Book and Paper) Sympathetic to Synthetics: Developing Tear Repairs for Matte Laminated Papers in Twenty-first Century Periodical Covers
Friday May 30, 2025 11:30am - 11:45am CDT
Plastic-coated papers can be found in the covers of paperbacks, periodicals, and other commercial books of the twenty-first century. These books are potentially collected in libraries and archives containing contemporary print materials, likely becoming more prevalent with time. While synthetic coatings provide added strength and durability to book covers, the waterproof and adhesive-resistant properties of plastic present challenges to the application of conventional treatments for the mending or stabilisation of tears. Adhering synthetic papers with wheat starch paste is likely to be unsuccessful due to the low surface energy of certain plastic coatings. 

This project aimed to identify conservation materials and methods for stabilising tears in early twenty-first century periodical journals with matte laminated covers (see Figure 1), a type of synthetic-coated paper that was identified in analysis to contain polyethylene. Analytical examination of the paper was conducted with microscopy, infrared spectroscopy, X-ray fluorescence, Photographic Activity Testing, and pH testing. Next, a range of 9 common conservation adhesives were trialled for adhesion to matte laminated papers with an adapted peel testing method. Successful candidates were artificially aged, tested for reversibility, and compared using visual examination, colourimetry, and gloss measurements. Adhesive candidates were then applied in over 160 blends with varying methods of brushed wet application, pre-coated tissues, and cast films. Results were ranked for adhesion and visual properties to select for the most successful methods. 

Results indicate that while repairs with most cellulosic adhesives are likely to fail, a strong and reversible bond can be achieved with certain synthetic polymer-based adhesives (e.g., Aquazol® 500, Lascaux® 303 HV, and ethylene vinyl acetate (EVA)). Performing a successful repair is dependent on blend ratios and application techniques that avoid both weak adhesion and high surface tack, the latter of which could cause blocking. Three techniques using a Japanese tissue carrier and compatible adhesive blends were refined for application, namely: brushing through, brushing on, and reactivating pre-coated tissues with ethanol. A practical workshop for conservators and related roles was conducted to demonstrate and disseminate the techniques.

The presented tear repair techniques are proposed based on test findings on matte laminated papers and may be suitable for use with other papers containing polyethylene. Further research is needed to address additional deterioration pathways of synthetic papers, such as deformation and abrasion. There is a need for conservators to be equipped with adapted techniques for synthetic papers, as these materials can and do form part of present and prospective collections. 

This project was supported by the 2022-2023 Fulbright-National Archives Heritage Science Fellowship.
Speakers
avatar for Cancy Chu

Cancy Chu

Conservator, Paper, National Museum of Australia
Dr. Cancy Chu is a Paper Conservator at the National Museum of Australia. She was the inaugural Fulbright-National Archives Heritage Science Fellow at the National Archives and Records Administration, USA. She has a research focus on modern book and paper materials, as demonstrated... Read More →
Authors
avatar for Cancy Chu

Cancy Chu

Conservator, Paper, National Museum of Australia
Dr. Cancy Chu is a Paper Conservator at the National Museum of Australia. She was the inaugural Fulbright-National Archives Heritage Science Fellow at the National Archives and Records Administration, USA. She has a research focus on modern book and paper materials, as demonstrated... Read More →
Friday May 30, 2025 11:30am - 11:45am CDT
Hyatt Regency Minneapolis

11:30am CDT

(Architecture + Preventive Conservation) “Understanding the Problem and Defining the Goal: Environmental Assessments in Historic Buildings and Collections in the NPS, Region 1”
Friday May 30, 2025 11:30am - 12:00pm CDT
“Understanding the Problem and Defining the Goal: Environmental Assessments in Historic Buildings and Collections in the NPS, Region 1”

 

Historically within Region 1 in the NPS, environmental problems within historic house museums were dealt with by either complete replacement of their HVAC systems or by the installation of new, sometimes invasive systems that could fix the perceived problem.   However, this problem was often not fully identified, or not well defined from what was originally perceived as the initial issue such as a mold outbreak, high or low humidity, or too high or low temperatures.  Additionally, the condition of the collections was not examined for evidence of environmental damage.  Now, the Historic Architecture, Conservation, and Engineering Center (HACE) in Region 1, has developed Environmental Assessments that, often with the assistance of contracted professionals, assess the historic building envelope, collect environmental data, and examine the condition of the collections contained therein, to determine any problems and to define the goal of the interior environment before a solution is implemented.

Too often, condition problems in historic house museums are viewed as solvable by the implementation of controlled HVAC systems.  Mold outbreaks or uncomfortable summer or winter conditions are the impetus for system upgrades.  However, without examining the current condition of the buildings and exhibited collections in greater detail, as well as the behavior of the building to the ever-changing exterior environment, we cannot know how to effectively solve any system problem.  These Assessments use targeted systems-wide evaluations of the building envelope and building systems to fully understand the current environment.  Evaluations such as envelope condition assessments, differential pressure testing, scoping of ductwork and chimneys, thermal imaging, pollution monitoring, temperature and humidity data analysis, moisture monitoring, and other data collection that might inform decisions and shed light on observed conditions.  

The objective of these assessments is to propose what environmental parameters can reasonably be maintained in the Region’s uninsulated historic exhibition buildings. This can be achieved by thoroughly understanding the building design, and the current quality of environment the building has been able to achieve.  This approach has been taken with numerous historic buildings in Region 1 of the National Park Service over the past five years, such as Lindenwald, the home of Martin Van Burren; the Vanderbilt Mansion in Hyde Park, New York; and the Rockefeller Mansion in Woodstock, Vermont.   The projects are supplied with specific funding for the purpose of determining the best possible outcome of system replacement for these historic buildings.  Smaller condition assessments of collections have also been implemented as requirements for changes or upgrades to building systems of any kind to ensure that the interests of the collections and building fabric are considered during system design.  It is the hope of the author that these Environmental Assessments be viewed as baseline documents for any historic building, just as Historic Structure Reports (HSRs), Historic Property Project Documentation (HPPD), or Historic Furnishing Plans (HFPs).
Speakers
avatar for Margaret D. Breuker

Margaret D. Breuker

Branch Chief: Conservation, Construction, and Strategic Planning, National Park Service
Margaret Breuker is the Branch Chief of Conservation, Construction, Strategic Planning and Training with the Historic Architecture, Conservation and Engineering Center for Region 1 in the National Park Service at the Department of the Interior. Margaret has over 25 years of experience... Read More →
Authors
avatar for Margaret D. Breuker

Margaret D. Breuker

Branch Chief: Conservation, Construction, and Strategic Planning, National Park Service
Margaret Breuker is the Branch Chief of Conservation, Construction, Strategic Planning and Training with the Historic Architecture, Conservation and Engineering Center for Region 1 in the National Park Service at the Department of the Interior. Margaret has over 25 years of experience... Read More →
Friday May 30, 2025 11:30am - 12:00pm CDT
Hyatt Regency Minneapolis

11:30am CDT

(CAN!/VoCA)Evolving Dialogues: Revisiting the Artist Interview
Friday May 30, 2025 11:30am - 12:00pm CDT
The artist interview is one of the most valuable tools in the contemporary art conservator’s toolbelt, and it’s been over two decades since the field began to critically examine and formalize the practice. To close this session, co-hosted by Voices in Contemporary Art and the Contemporary Art Network, we'll ask contributing authors and the audience to reflect on how their approach to eliciting, analyzing, and sharing information from these dialogues has evolved over the years.
Speakers
avatar for Sarah Barack

Sarah Barack

Head of Conservation/Senior Objects Conservator, Cooper Hewitt Smithsonian Design Museum
Sarah Barack is currently the Head of Conservation and Senior Objects Conservator at the Cooper Hewitt Smithsonian Design Museum. She received her Master’s in Art History and an Advanced Certificate of Conservation from the Conservation Center, Institute of Fine Arts, New York University... Read More →
SO

Steven O'Banion

Director of Conservation, Glenstone
Steven O’Banion is the Director of Conservation at Glenstone, responsible for comprehensively addressing the conservation needs of Glenstone’s collection. Steven graduated from Middlebury College with a major in Biochemistry and a minor in the History of Art and Architecture... Read More →
avatar for Daniela Rivera

Daniela Rivera

Visual Artists and Professor of Art, Wellesley College
Daniela Rivera is a Chilean artist based in Boston, MA, where she teaches at Wellesley College. Her work looks into cultural migration, labour and identity, and vulnerability as resistance. She is exhibiting mainly in the US and Latin America. Her MFA is from SMFA at Tufts University... Read More →
avatar for Gwynne Ryan

Gwynne Ryan

Senior Conservator, CAS Conservation, LLC
Gwynne Ryan is the founder and Principal Conservator of CAS Conservation, LLC and a consultant for the Preservation department at Urban Arts Projects (UAP). Specializing in the conservation of contemporary art and large-scale outdoor sculpture with a research focus on the collaboration... Read More →
avatar for Matthew Skopek

Matthew Skopek

Melva Bucksbaum Director of Conservation, The Whitney Museum of American Art
Matthew Skopek has served as the Melva Bucksbaum Director of Conservation at the Whitney Museum of American Art since 2023. After receiving his MA and Advanced Certificate in Conservation from Buffalo State College in 2002 he had internships at the Philadelphia Museum of Art, the... Read More →
Friday May 30, 2025 11:30am - 12:00pm CDT
Hyatt Regency Minneapolis

11:30am CDT

(Objects) Still Got The Blues: The Technical Study and Conservation Treatment of a Tian-Tsui Headdress
Friday May 30, 2025 11:30am - 12:00pm CDT
The focus of this presentation is the investigation and treatment of a tian-tsui headdress from the collection of the Museum of Chinese in America (MOCA). This project was completed in an advanced graduate course at the Conservation Center of the Institute of Fine Arts, New York University, under the supervision of Judith Praska Distinguished Visiting Professor in Conservation Pamela Hatchfield. The course was designed in collaboration between Hatchfield, MOCA Director of Collections Yue Ma, and private conservators from A.M. Art Conservation, LLC: Rachael Perkins Arenstein, Anne Léculier King, and Eugenie Milroy. 

MOCA was founded in 1980 and began as a grassroots organization with community-driven collecting practices and the guiding aim of preserving and sharing the diverse tangible heritage, oral histories, and cultural experiences of people of Chinese descent in the United States. Some of its earliest accessioned objects were brought in by museum staff, donated by Chinatown residents, or even collected from the curb; as such, there is limited or nonexistent provenance for many items in the collection, the tian-tsui headdress included. MOCA is in the process of recovery and new growth after a devastating fire in 2020, and the headdress is among the objects that sustained damage related to this event. A driving goal of this project was thus to research and prepare the headdress to go on display alongside other conserved MOCA objects when the renovated museum reopens in 2025. 

The headdress is skillfully constructed in the style of a dianzi, an ornate, horseshoe-shaped headdress worn by wealthy Manchu women in the Qing Dynasty (1636–1912 CE) for festive occasions. A woven framework of black silk-wrapped rattan cane supports dozens of gilt copper openwork and filigree ornaments set on wires and springs that allow them to tremble with the movement of the wearer, a style that can be traced back to the buyao (“step-shake”) hair ornaments of the Han Dynasty (206 BCE–220 CE). The ornaments are further decorated with tian-tsui (or diancui, literally “dotting with kingfishers”), an ancient Chinese decorative tradition related to cloisonné that utilizes the cut feathers of kingfishers to create striking inlaid motifs in various shades of blue.

Prior to treatment, the aesthetic value of the headdress was diminished by physical deformation that suppressed the stylistically essential trembling movement of the gilt copper ornaments. The headdress was further disfigured by delamination, detachment, and loss of the tian-tsui decoration resulting from failure of the original water-soluble adhesive used to secure the kingfisher feathers to the metal ornaments. In collaboration with MOCA and A.M. Art Conservation, a holistic understanding of the context and manufacture of the headdress was produced through in-depth research and instrumental analysis. With respect to tian-tsui craft tradition, sustainability principles, and the priorities of MOCA staff, a complex but appropriate structural and cosmetic treatment methodology was devised and executed: the conservation intervention involved stabilizing the tian-tsui inlay, reshaping the crushed buyao ornaments, and developing an innovative approach to kingfisher feather inlay loss compensation. This presentation will describe the pitfalls and successes therein.
Speakers
DL

Devon Lee

National Endowment for the Humanities Fellow in Conservation, The Conservation Center of the Institute of Fine Arts, New York University
Devon Lee (she/her) holds a B.A. in Art History and a B.F.A. in Studio Art (University of Minnesota - Twin Cities, 2017). In 2025 Devon will graduate from the Conservation Center of the Institute of Fine Arts, New York University, after completing her 4th-year placements at the Denver... Read More →
Authors
DL

Devon Lee

National Endowment for the Humanities Fellow in Conservation, The Conservation Center of the Institute of Fine Arts, New York University
Devon Lee (she/her) holds a B.A. in Art History and a B.F.A. in Studio Art (University of Minnesota - Twin Cities, 2017). In 2025 Devon will graduate from the Conservation Center of the Institute of Fine Arts, New York University, after completing her 4th-year placements at the Denver... Read More →
Friday May 30, 2025 11:30am - 12:00pm CDT
Hyatt Regency Minneapolis

11:30am CDT

(Research & Technical Studies) Our Elusive Yellow Whale: New Findings on the History and Identification of Patent Yellow/Lead Oxychloride Pigment in Painted Heritage Objects
Friday May 30, 2025 11:30am - 12:00pm CDT
Recent discoveries of Patent yellow (also known as Turner’s yellow) a brilliant yellow lead-based pigment, in collection objects from The Colonial Williamsburg Foundation initiated research into the history and use of this under-researched colorant and an exploration of the most suitable analytical methods for its identification. Patent yellow’s precise introduction date and narrow window of use (1781 – ca. 1830) make it an important benchmark for dating and contextualizing objects, while recent documentary research shows it was an important and widely used inorganic yellow that may have been produced in the United States as early as 1783. However, it is little-known and rarely reported in conservation or art historical literature, possibly because lead (in the form of lead white) is ubiquitous on most historical painted surfaces, and chlorine, especially in the presence of lead, can be challenging to detect with techniques common to most conservation science laboratories such as XRF and SEM-EDS. Efforts to find and obtain reference samples of this pigment were fruitless, and attempts to synthesize it have, to date, been unsuccessful. These and other conditions can make this yellow frustratingly elusive to confirm. 

Collaborative analyses carried out at Colonial Williamsburg using cross-section and polarized light microscopy, XRF, and SEM-EDS, with further analysis using XRD and Raman spectroscopy at the Smithsonian Natural Museum of Natural History and the University of Delaware Microscopy and Microanalysis Laboratory have contributed to a better understanding of this pigment and challenges to its identification. Findings indicate its chief component is lead oxychloride (Pb7O6Cl2), consistent with Lorettoite, a (now-discredited) lead mineral, although other lead-oxide-chloride phases may be present. Raman and new XRD data for Patent Yellow have been obtained through this research, which has not previously been reported elsewhere in heritage science literature.  Photomicrographs of Patent yellow paint dispersions collected from case studies illustrate some previously unreported optical and morphological properties and demonstrate the effectiveness of polarized light microscopy in identifying this pigment, as it exhibits unique microscopic characteristics compared to other yellows, making optical microscopy a critical, simple, and effective first step in identification. Patent yellow case studies include varied decorative and fine art objects such as a painted coffeepot, a drum, a chair fragment, an easel painting by a Baltimore portraitist, and, most recently, a period room at the Museum of Early Southern Decorative Arts. This research suggests that Patent yellow/lead oxychlorides may be more common in painted surfaces than previously documented. It is hoped these findings can facilitate the identification of this pigment in other collections to better understand its broader use, properties, and role in late-eighteenth and early-nineteenth-century painted cultural heritage.
Speakers
avatar for Dr. Jocelyn Alcantara Garcia

Dr. Jocelyn Alcantara Garcia

Associate Professor, Winterthur/University of Delaware Program in Art Conservation
Jocelyn Alcántara-García joined the WUDPAC program in the fall of 2014 after working for about five years in interdisciplinary projects (predominantly in Mexico, where she was born). All projects were conducted in close collaboration with conservators and scientists, and included... Read More →
avatar for Kirsten T. Moffitt

Kirsten T. Moffitt

Conservator & Materials Analyst, Colonial Williamsburg Foundation
Kirsten Travers Moffitt is the Senior Conservator & Materials Analyst for the Colonial Williamsburg Foundation in Virginia. She received her MSc from the Winterthur/University of Delaware Program in Art Conservation with a specialization in painted surfaces, where she now serves as... Read More →
Authors
avatar for Dr. Jocelyn Alcantara Garcia

Dr. Jocelyn Alcantara Garcia

Associate Professor, Winterthur/University of Delaware Program in Art Conservation
Jocelyn Alcántara-García joined the WUDPAC program in the fall of 2014 after working for about five years in interdisciplinary projects (predominantly in Mexico, where she was born). All projects were conducted in close collaboration with conservators and scientists, and included... Read More →
avatar for Gabriela Farfan

Gabriela Farfan

Coralyn W. Whitney Curator of Gems and Minerals, Smithsonian National Museum of Natural History
avatar for Kirsten T. Moffitt

Kirsten T. Moffitt

Conservator & Materials Analyst, Colonial Williamsburg Foundation
Kirsten Travers Moffitt is the Senior Conservator & Materials Analyst for the Colonial Williamsburg Foundation in Virginia. She received her MSc from the Winterthur/University of Delaware Program in Art Conservation with a specialization in painted surfaces, where she now serves as... Read More →
Friday May 30, 2025 11:30am - 12:00pm CDT
Hyatt Regency Minneapolis

11:30am CDT

(Textiles) A comparative practical study to evaluate the impact of the selected Bio and Synthetic polymers loaded with cleaning agents applied for reduction different stains from dyed stained wool fabric
Friday May 30, 2025 11:30am - 12:00pm CDT
This study offers comparative results concerning the effect of bio polymer as gellan gum and synthetic polymers as polyacrylamide Loaded with different cleaning agents as protease enzyme and siloxan D5 according to type stain on dyed wool fabric before and after thermal ageing and different periods of application time.

Dyed textiles in museums sometimes are exposed to various types of stains which contributing degradation of fabric and effect on dyes. Using of uncontrolled treatment can cause dye bleeding and shadow lines, therefore, this study presents a practical stain reduction on dyed wool fabric mock-ups using gel poultice cleaning treatment by Protease enzyme and siloxan D5 cleaning materials separately loaded poultices of 2% gellan gum or acrylamide carrier. The protease enzyme poultices target to reduce animal glue stain where siloxane D5 poultices target to reduce the blue ink pen stain. 

The main purpose of this practical study to evaluate the efficiency of bio and synthetic polymers loaded with cleaning materials in reducing ink and animal glue stain and characterize changes in red dye of treated wool fabrics before and after thermal ageing through three different periods (zero ageing, 72 hrs and 144 hrs) at 100 oC taking into consideration that, the application of each poultice on the stained samples was tested for different periods of application(30,60,90 min) through different type of analysis methods as color measurements according to CIE lab system. SEM analysis is used to study the surface morphology of dyed fabric before and after treatment. EDX analysis is used to study gel cleaning efficiency by detecting the presence of residues.             

KEYWORDS: Bio polymer – Synthetic polymer – Ink stain – Animal glue stain – Gel poultice – Dyed wool.
Speakers
avatar for Eman Osman

Eman Osman

Professor, National Institute of Standards
Eman Osman is a professor of chemical metrology, at the chemical metrology division, National Institute of Standards, Egypt. She has a lot of publications as research work, book chapters and encyclopedia, in the fields of:• Natural dyeing and non-destructive techniques in cultural... Read More →
avatar for Heba Saad

Heba Saad

Textile Conservator, Fayoum university,Restoration department
Heba Saad is a Textile Conservator at the Egyptian Ministry of Antiquities. She holds a master's degree in conservation and preservation of Coptic textiles from the Faculty of Archaeology, Fayoum University, and is currently pursuing a PhD in textile conservation. Her research focuses... Read More →
Authors
avatar for Eman Osman

Eman Osman

Professor, National Institute of Standards
Eman Osman is a professor of chemical metrology, at the chemical metrology division, National Institute of Standards, Egypt. She has a lot of publications as research work, book chapters and encyclopedia, in the fields of:• Natural dyeing and non-destructive techniques in cultural... Read More →
avatar for Heba Saad

Heba Saad

Textile Conservator, Fayoum university,Restoration department
Heba Saad is a Textile Conservator at the Egyptian Ministry of Antiquities. She holds a master's degree in conservation and preservation of Coptic textiles from the Faculty of Archaeology, Fayoum University, and is currently pursuing a PhD in textile conservation. Her research focuses... Read More →
NK

Neveen Kamal

Assistant Professor, Fayoum University, Restoration Department
Assistant Professor in restoration department – Faculty of archaeology – Fayoum University. Received B. Sc. in 2004. M.Sc. in Conservation and restoration of historical Tapestry in 2010. Ph.D. degree in Conservation and restoration of historical Textile in 2015 at Faculty of archaeology... Read More →
WS

Wael Sabry

Professor, Polymers & Pigments Dept, Chemical Industry Division – National Research Centre
"Prof.Dr. Wael Sabry Mohamed Professor in polymers & Pigments Dept. Chemical industry division – National Research Centre. Ph.D. from Stuttgart University – Germany in the application of nanotechnology in the polymer field. Principle investigator for many interior scientific projects... Read More →
Friday May 30, 2025 11:30am - 12:00pm CDT
Hyatt Regency Minneapolis

11:30am CDT

Conservator as Project Manager:Lessons I learned and friends I made while moving a Keith Haring Mural
Friday May 30, 2025 11:30am - 12:00pm CDT
Construction at Ernest Horn Elementary school in Iowa city necessitated the moving of a little-known mural by Keith Haring.  This mural as the result of a long-time friendship between artist Keith Haring and art teacher Colleen Ernst.  In 1989 months before his death Haring traveled to Iowa City and completed the mural in the school library in front of crowd of children and teachers.  
What appeared to be as simple project, taking a large, framed artwork from a cinder block wall, developed into a complex and costly construction project involving multiple parties.  Not only was the mural firmly attached to the wall, but the clients for the project were a city school district and a state university.  Neither large organization had the personnel of the bandwidth to devote the necessary attention to detail to manage a project of this scale.
Few conservators have formal training in project management, but the daily problem-solving skills necessary to navigate treating works of art are similarto project management.  Flexibility and the nimble approach the conservators bring to the table make them excellent planners.  Familiarity with working within the limits of material objects leads to compatibility with construction trades.
This paper will outline how following the protocol of conservation treatments served to organize a multi-faceted project with many challenges and personalities.


Speakers
avatar for Nina Roth Wells

Nina Roth Wells

Conservator, Nina A Roth-Wells LLC
Nina has a master of art conservation specializing in paintings from Queens University in Kingston Ontario. In 2000 Nina started Nina A Roth-Wells painting conservation, she works with both museums and private collectors. In addition to to her work as a conservator Nina teaches an... Read More →
Friday May 30, 2025 11:30am - 12:00pm CDT
Hyatt Regency Minneapolis

11:45am CDT

(Book and Paper) When Outreach Reaches Back: The Treatment and Re-Treatment of Katsukawa Shunshō’s Abalone Fishergirl with an Octopus
Friday May 30, 2025 11:45am - 12:00pm CDT
Over the past decade, museums have prioritized outreach, engaging online audiences through blogs and social media platforms with increasing sophistication. Conservators have joined the effort, creating digital content that raises awareness about the field of conservation and carves a window into the day-to-day operations of museum conservation labs. This type of outreach, however educational and entertaining, is generally rather unidirectional, with the information being transmitted from the museum to the audience. It is rare for social media interaction to directly influence the course of a conservation treatment. In contrast, this talk will present an example where outreach resulted in a conservation treatment being revisited and revised.

In 2018, I treated the Japanese woodblock print Abalone Fishergirl with an Octopus (c. 1773-74) by Katsukawa Shunshō. The treatment was performed in preparation for LACMA’s ambitious 2019 exhibition, Every Living Thing: Animals in Japanese Art. The print had suffered significant loss and subsequent restoration in the area of the octopus’ mouth. Treatment involved removing an overall lining and disfiguring overpaint that did not correspond to the original design, and filling losses in the primary support. When it came to adding visual compensation to the lost image area, I ran into trouble. There were no other known impressions of the print to which I could refer. I scoured museum catalogs and auction records. My supervisor contacted art historians in Japan. We had no luck. Eventually, deadlines necessitated that I move forward with treatment. In the end, I in-painted the lost image area with an intentional vagueness, adding a fill of background color but no new lines to define form. The result was obviously incomplete but attracted minimal attention, allowing the rest of the print to be properly appreciated.

Soon after treating Abalone Fishergirl with an Octopus, we published an entry on LACMA’s Unframed blog explaining the treatment process. The post included an appeal to readers to contact LACMA’s Paper Conservation lab with any information about other impressions of the print. It felt like a long shot at the time. Miraculously, four years later in 2022, my supervisor received an email from an art dealer in Venice, Italy who had come across the blog post. He had an intact impression of Abalone Fishergirl in his possession and generously sent a photo, solving the mystery of the missing octopus’ mouth in an instant.

This year I finally had the chance to return to Abalone Fishergirl. This talk will describe how I modified the earlier treatment to incorporate the new visual information, including by creating a digital fill (printed onto tengujo and finished by hand with watercolor). It will explore the lightfastness of some accessible printing methods, consider the importance of re-treatability, and celebrate the sharing of information.
Speakers
avatar for Amanda Burr

Amanda Burr

Andrew W. Mellon Fellow, Paper Conservation Center, Los Angeles County Museum of Art
Amanda Burr is a Paper Conservator at the Los Angeles County Museum of Art. She holds a Master of Arts and Certificate of Advanced Study in Conservation from the SUNY Buffalo State Art Conservation program. Prior to joining LACMA, she worked as Book and Paper Conservator at The Huntington... Read More →
Authors
avatar for Amanda Burr

Amanda Burr

Andrew W. Mellon Fellow, Paper Conservation Center, Los Angeles County Museum of Art
Amanda Burr is a Paper Conservator at the Los Angeles County Museum of Art. She holds a Master of Arts and Certificate of Advanced Study in Conservation from the SUNY Buffalo State Art Conservation program. Prior to joining LACMA, she worked as Book and Paper Conservator at The Huntington... Read More →
Friday May 30, 2025 11:45am - 12:00pm CDT
Hyatt Regency Minneapolis

12:00pm CDT

Book and Paper Group Wiki Discussion
Friday May 30, 2025 12:00pm - 1:00pm CDT
Led by Book and Paper Group Wiki coordinators Sandrine Blais and Mitchel Gundrum, this discussion session will inform the membership about the progress of the BPG Wiki, bring together people who have made contributions, and encourage the formation of new participation groups. New and improved wiki pages will be introduced. Attendees will be invited to provide input to shape the development of the wiki for the coming year.

As in past years, feedback on changes to the wiki will be welcome. A discussion with the audience on selected BPG Wiki topics will follow and give direction on how to proceed with future updates. We invite conservators from all stages of their careers to attend this session and partake in the lively discussion that will add to the continued effort to build this collaborative knowledge base.
Moderators
avatar for Mitchel Gundrum

Mitchel Gundrum

Book Conservator, The Huntington
Mitchel Gundrum began his training in 2017 at the San Francisco Center for the Book. He earned a diploma in traditional bookbinding techniques from North Bennet Street School in 2021 and an MA in book conservation from West Dean College in 2023. He has previously worked at the US... Read More →
Friday May 30, 2025 12:00pm - 1:00pm CDT
Hyatt Regency Minneapolis

12:00pm CDT

( Luncheon) The Impact of the New Orleans Charter after 30 Years - Cost $39
Friday May 30, 2025 12:00pm - 2:00pm CDT
  • $35 registration fee
  • Adding this event to your schedule does not guarantee you a space. You must add it to your registration via the above "Add to Registration" button.

Join the Architecture Specialty Group (ASG) and Preventive Care Network (PCN) for lunch and an engaging discussion on the intrinsic connection between the care and maintenance of historic buildings and the preventive care of collections. The luncheon will feature panelists exploring the 1992 New Orleans Charter for the Preservation of Historic Structures and Artifacts, considering its impact over the past three decades, and examining how emerging challenges and trends shape its relevance today. This conversation will lay the foundation for a Symposium hosted by ASG and PCN in 2026, dedicated to reflecting and revisiting the Charter.
Moderators
avatar for Ali Wysopal

Ali Wysopal

Project Manager III, Minnesota Historical Society
Ali Wysopal earned her MS in Historic Preservation with a focus on material conservation from the University of Texas at Austin School of Architecture. Trained as both a stained glass craftsperson and architectural conservator, Ali has held internships at the Western Archeological... Read More →
Sponsors
Friday May 30, 2025 12:00pm - 2:00pm CDT
Hyatt Regency Minneapolis

12:00pm CDT

(Luncheon ) Embracing “It Depends”: A Collaborative Discussion on Navigating Ambiguity in Art Conservation - Cost $39
Friday May 30, 2025 12:00pm - 2:00pm CDT
  • $35 registration fee
  • Adding this event to your schedule does not guarantee you a space. You must add it to your registration via the above "Add to Registration" button.

Art conservation is a field filled with ambiguity, where often there is no single “right” answer to a conservation challenge. This uncertainty can be both frustrating and liberating, especially for students and emerging professionals who are accustomed to clear-cut solutions. In this interactive session, we will explore the role of uncertainty in conservation and how it can be leveraged to foster creativity, critical thinking, and resilience among early-career professionals.

Drawing from my own experiences as a conservator and educator at the University of Delaware, I have observed that many students struggle with the concept of "it depends"—the idea that conservation solutions are rarely definitive and often require careful consideration of context, materials, and ethical implications. This session will feature a collaborative dialogue between myself, current undergraduate and graduate students, recent graduates, and board members from the Emerging Conservation Professionals Network (ECPN). Together, we will share insights and strategies for embracing uncertainty as a valuable aspect of the conservation process and provide reassurance that this feeling is universal, sharing helpful coping mechanisms.

The session will begin with brief presentations from me, students, and recent graduates on their personal experiences with uncertainty in their academic and early professional journeys. These presentations will highlight the challenges they faced and the strategies they developed to navigate the lack of clear answers in conservation practice. Following these presentations, we will break into smaller discussion groups, ideally with a mix of conservators in different career stages, each facilitated by a panelist, to delve deeper into specific topics such as decision-making in treatment proposals, the role of collaboration in managing uncertainty, and the ways in which educators can support students in developing confidence amidst ambiguity.

The goal of this session is to create an open and supportive environment where participants can exchange ideas, share personal experiences, and develop a toolkit for navigating the uncertainties inherent in art conservation. By the end of the session, participants will have gained new perspectives on how to approach uncertainty not as a hindrance but as an opportunity for growth and innovation.

This collaborative session aims to provide a platform for emerging conservation professionals to connect, learn from one another, and build a community that embraces the complexities of our field. In doing so, we hope to inspire a shift in how uncertainty is perceived—transforming it from a source of anxiety into a catalyst for creativity and professional development.
Speakers
avatar for Madeline Hagerman

Madeline Hagerman

Director, Undergraduate Program, Assistant Professor, University of Delaware
Madeline Hagerman is the Director of the Undergraduate Art Conservation Program and an Assistant Professor. She received her B.A. in history and anthropology with minors in European studies and material culture studies from the University of Wisconsin-Madison. She completed her M.A... Read More →
Friday May 30, 2025 12:00pm - 2:00pm CDT
Hyatt Regency Minneapolis

12:00pm CDT

Luncheon - Objects Tips Lunch - Cost $39
Friday May 30, 2025 12:00pm - 2:00pm CDT
  • $35 registration fee
  • Adding this event to your schedule does not guarantee you a space. You must add it to your registration via the above "Add to Registration" button.
Friday May 30, 2025 12:00pm - 2:00pm CDT
Hyatt Regency Minneapolis

2:00pm CDT

2:00pm CDT

(Leading the Way: Conservation Strategies in Museum Redevelopment) Introduction by Session Chair Vanessa Applebaum and Sponsor Remarks by Tru Vue
Friday May 30, 2025 2:00pm - 2:10pm CDT
Moderators
avatar for Vanessa Applebaum

Vanessa Applebaum

Director of Conservation, Toledo Museum of Art
Vanessa Applebaum is an accredited conservation manager and objects conservator, currently working as Director of Conservation for the Toledo Museum of Art. She previously served as Conservation Operations Manager at the Victoria & Albert Museum in London. Her research interests include... Read More →
Sponsors
Friday May 30, 2025 2:00pm - 2:10pm CDT
Hyatt Regency Minneapolis

2:00pm CDT

2:00pm CDT

(Capturing Complexity: Addressing Imaging Challenges through Collaboration) A Partnership Between The City Palace Museum in Udaipur and The Metropolitan Museum of Art in New York: The Joint Study of Mewar Paintings Through Multiband Imaging
Friday May 30, 2025 2:00pm - 2:30pm CDT
Some of the most admired Indian court painters of all times worked for the Maharanas who ruled the princely state of Mewar from the majestic palaces of the city of Udaipur in Rajasthan between the 16th and the mid-20th centuries. The City Palace Museum in Udaipur (CPM) holds a rich collection of paintings on paper described as miniature in style but not in size, as they range from one to six feet in length. These were commissioned for the devotional practice of the elites, and also to portray the splendors of a highly cultural court life, as well as the activities that expanded beyond the walls of the palaces into the surrounding landscape, such as processions and hunting expeditions. Examples of these paintings exist also in the holdings of other museums and private collections. 

Few studies have been done to characterize the colorants and techniques employed in this workshop, and The CPM collection of Mewar paintings has not been subject to technical analysis yet. A recent collaborative project between The CPM and The Metropolitan Museum of Art in New York (The Met) has brought for the first time the capability to perform Multiband Imaging (MBI) at The CPM and allowed the comparison of data among the two institutions. MBI for this project includes images obtained in the visible, infrared and ultraviolet regions of the electromagnetic spectrum with a full spectrum-modified digital camera. Information obtained with MBI was supplemented with XRF analysis. Lastly, observations made on painting practices, such as the setting of preparatory drawings or the use of admixtures of pigments to represent certain common elements, like bodies of water or vegetation, were also discussed with contemporary artists who continue to exercise miniature painting following the footsteps of their predecessors. Conservators from both museums describe together the methodology they employed to obtain images that rendered objectively comparable data and will share examples of some of the findings. 

Conservation is at its core the result of multidisciplinary expertise, and this case study truly illustrates the tremendous amount of collaboration that is necessary to accomplish technical imaging at this level. Conservators, curators, and officers from The CPM have worked closely with their peers at The Met. We have also benefited from the input of scientists, photographers and digital documentation specialists within the museum community and beyond. Specific discussions among these experts included best practices for color and tone calibration, workflows, light sources, filters and targets. The CPM is an international pioneer user of Met MCLED lights, a prototype multichannel LED lighting fixture designed at The Met with the intention to improve the quality and consistency of visible, ultraviolet and infrared radiation in a portable, affordable way. 

While MBI has become widespread practice in many parts of the world, it is still at an early phase of implementation among museum experts in India. This project has given colleagues in the Indian subcontinent the opportunity to reflect on the benefits and the challenges associated with this complex, ever-evolving method of looking at cultural heritage.
Speakers
avatar for Marina Ruiz Molina

Marina Ruiz Molina

Conservator, Metropolitan Museum of Art, Paper Conservation Department
Marina Ruiz Molina obtained her degree in Paper Conservation in 2000 at the Escuela Superior de Restauración y Conservación de Bienes Culturales de Madrid, Spain. She completed her education through Internships at the Stedeljikmuseum and the Rijksmuseum in Amsterdam, The Netherlands... Read More →
avatar for Bhasha Shah

Bhasha Shah

Conservator, The City Palace Museum, Udaipur
Ms. Bhasha Shah has completed Bachelors in History (hons.) from University of Delhi and Masters in Art Conservation from National Museum Institute of History of Art, Conservation and Museology, New Delhi. She has attended Conservation Training Programme held at Institute of Conservation... Read More →
Authors
avatar for Anuja Mukherjee

Anuja Mukherjee

Conservator, The City Palace Museum, Maharana of Mewar Charitable Foundation
She has completed Bachelors in History (hons.) from university of Delhi and Masters in Conservation from National Museum Institute, New Delhi, India. She has attended Conservation Training Programme held in Institute of Conservation, Vienna from Ministry of culture. She received the... Read More →
avatar for Bhasha Shah

Bhasha Shah

Conservator, The City Palace Museum, Udaipur
Ms. Bhasha Shah has completed Bachelors in History (hons.) from University of Delhi and Masters in Art Conservation from National Museum Institute of History of Art, Conservation and Museology, New Delhi. She has attended Conservation Training Programme held at Institute of Conservation... Read More →
avatar for Girikumar Sekharakurup

Girikumar Sekharakurup

Conservation Consultant, The City Palace Museum
S.Girikumar is one of the leading art conservators in India. He did Masters in Conservation of works of art from the National Museum Institute, New Delhi and then a year long Post Graduate internship in the Conservation Laboratory of Opificio delle Pietre Dure, Florence, Italy. He... Read More →
avatar for Marina Ruiz Molina

Marina Ruiz Molina

Conservator, Metropolitan Museum of Art, Paper Conservation Department
Marina Ruiz Molina obtained her degree in Paper Conservation in 2000 at the Escuela Superior de Restauración y Conservación de Bienes Culturales de Madrid, Spain. She completed her education through Internships at the Stedeljikmuseum and the Rijksmuseum in Amsterdam, The Netherlands... Read More →
Friday May 30, 2025 2:00pm - 2:30pm CDT
Hyatt Regency Minneapolis

2:00pm CDT

(Collaboration in Conservation Education) A Broad Brush Approach to Learning: Preserving Community Heritage
Friday May 30, 2025 2:00pm - 2:30pm CDT
In 2023, a unique course in graduate conservation treatment was developed using an approach to the conservation of community heritage focused on meaning and collaborative work at the Conservation Center of the Institute of Fine Arts, New York University. Titled Transferable Skills in Objects Conservation, this course was designed by Pamela Hatchfield, Judith Praska Distinguished Visiting Professor of Conservation and Technical Studies, in collaboration with Yue Ma, Director of Collections at the Museum of Chinese in America (MOCA), and private conservators from A.M. Art Conservation: Rachael Perkins Arenstein, Anne Léculier King, and Eugenie Milroy. Artifacts from MOCA’s collection with complicated condition issues and compelling histories were selected for treatment. Students explored a variety of skills increasingly central to current approaches to the conservation of objects, including storytelling, sustainability, and provenance research. Rather than focusing only on examination and treatment, we partnered with a local community museum, private conservators, and experts in fields including lifecycle analysis and journalism, embracing a holistic approach to the care of collections. The course also delved into treatment materials and techniques used in other specializations within conservation to highlight the composite nature of objects and the diverse range of materials and approaches that may be employed during treatment. 

Established in 1980, MOCA preserves and shares the diverse cultural experiences and material heritage of people of Chinese descent in the United States. MOCA’s collection was damaged by fire in 2020, an event of particular concern due to the museum’s role as a repository of community heritage. MOCA’s collection includes objects that are valued primarily for their significance to community members, sometimes placing less emphasis on their aesthetic and material qualities. Although intangible values are often considered during treatment, prioritizing cultural significance foregrounds the act of storytelling within the process of conserving objects. The students collaborated with MOCA staff to understand the contexts and histories of their objects, exploring archives and oral histories, developing treatments in consultation with Ma and A.M. Art Conservation, and navigating sustainability challenges. After receiving training in engaging and accessible storytelling, students shared treatment presentations geared toward different audiences: technical presentations for their conservation colleagues, general presentations for the broader community, and blog posts for MOCA’s use in publicity and outreach. We also shared our work through virtual group presentations with UCLA conservation graduate students. 

This holistic approach to the conservation of community heritage presents a model for the inclusion of reciprocal exchange of knowledge and resources with colleagues and those outside the field, and the importance of incorporating soft skills into our practice. This collaboration provided valuable treatment experience while presenting an opportunity to develop communication, storytelling, provenance, and sustainability skills. It enriched the learning experience for the students while making these objects accessible for the institution and the public. While students benefited throughout the consultation and treatment process, the tangible impact for MOCA will be visible when conserved objects are displayed when the renovated museum reopens in 2025.
Speakers
DL

Devon Lee

National Endowment for the Humanities Fellow in Conservation, The Conservation Center of the Institute of Fine Arts, New York University
Devon Lee (she/her) holds a B.A. in Art History and a B.F.A. in Studio Art (University of Minnesota - Twin Cities, 2017). In 2025 Devon will graduate from the Conservation Center of the Institute of Fine Arts, New York University, after completing her 4th-year placements at the Denver... Read More →
avatar for Halina Piasecki

Halina Piasecki

Graduate Fellow (Class of 2026), The Conservation Center of the Institute of Fine Arts, New York University
Halina Piasecki (she/her) holds a B.A. in Classical Studies from Bard College, where she graduated in 2018. Halina is currently completing an M.A. in Art History and a M.S. in Conservation Science at the Conservation Center at New York University's Institute of Fine Arts. She will... Read More →
Authors
avatar for Anne Léculier King

Anne Léculier King

Conservator, A.M. Art Conservation, LLC
Anne Léculier King is a Professional Associate member of the American Institute for Conservation (AIC) with 27 years of museum and conservation experience. Anne obtained her degree in the Conservation of Cultural Materials from Canberra University, Australia in 1993 where she specialized... Read More →
DL

Devon Lee

National Endowment for the Humanities Fellow in Conservation, The Conservation Center of the Institute of Fine Arts, New York University
Devon Lee (she/her) holds a B.A. in Art History and a B.F.A. in Studio Art (University of Minnesota - Twin Cities, 2017). In 2025 Devon will graduate from the Conservation Center of the Institute of Fine Arts, New York University, after completing her 4th-year placements at the Denver... Read More →
avatar for Eugenie Milroy

Eugenie Milroy

Conservator, A.M. Art Conservation, LLC
Eugenie Milroy is a Professional Associate of the American Institute for Conservation (AIC) with many years of museum and conservation experience. She is a Principal at A.M. Art Conservation, LLC the private practice she co-founded in 2009. Based in New York, the company helps institutions... Read More →
avatar for Halina Piasecki

Halina Piasecki

Graduate Fellow (Class of 2026), The Conservation Center of the Institute of Fine Arts, New York University
Halina Piasecki (she/her) holds a B.A. in Classical Studies from Bard College, where she graduated in 2018. Halina is currently completing an M.A. in Art History and a M.S. in Conservation Science at the Conservation Center at New York University's Institute of Fine Arts. She will... Read More →
avatar for Pamela Hatchfield

Pamela Hatchfield

Conservator, Museum of Fine Arts
Pamela Hatchfield is the Emerita Head of Objects Conservation at the Museum of Fine Arts, Boston, and the 2023 Judith Praska Distinguished Professor of Conservation and Technical Studies at New York University. She currently serves as a consultant to the Italian Consiglio National... Read More →
avatar for Rachael Arenstein

Rachael Arenstein

Principal, A.M. Art Conservation
Rachael Perkins Arenstein is a Professional Associate member of the American Institute for Conservation and Fellow in IIC. She is a principal of A.M. Art Conservation, LLC, the private practice that she co-founded in 2009. She has worked at the Bible Lands Museum Jerusalem, the Smithsonian's... Read More →
YM

Yue Ma

Director for Collections and Research, Museum of Chinese in America
Friday May 30, 2025 2:00pm - 2:30pm CDT
Hyatt Regency Minneapolis

2:00pm CDT

(Conservation in Times of Historical Conflict) Before There Was War, There Was Kristallnacht
Friday May 30, 2025 2:00pm - 2:30pm CDT
In early November, 1938, thousands of Polish Jews living in Germany w ere expelled from the Reich. Denied entry into Poland, the exiles found themselves in a make-shift refugee camp near the border. Among them were the parents of seventeen-year-old Herschel Grynszpan, who was living illegally in Paris. Distraught at the precarious condition of his family, he sought revenge by appearing at the German Embassy and shooting the diplomat Ernst vom Rath. On November 9th at a meeting of the Nazi Party leadership in Munich, Propaganda Minister Joseph Goebbels suggested that “World Jewry” was responsible for the assassination and announced that the Führer had decided that the “demonstrations should not be prepared or organized by the Party, but insofar as they erupt spontaneously, they are not to be hampered.” Immediately after the speech, Party leaders instructed their local offices to avenge the murder of vam Rath by attacking Jewish owned businesses, homes, places of worship, and other institutions. The violence began later that evening. 

 

In the early hours of November 10th, Reinhard Heydrich, head of the Security Police sent telegrams to the district headquarters and stations of the State Police and the Storm Troopers with specific directives for the riots including the engagement of Hitler Youth, the wearing of civilian clothes, and most importantly for our discussion, to remove and transfer all synagogue and Jewish community archives to the Nazi Security Service. The pogrom, now known as Kristallnacht or Night of the Broken Glass, was a well-planned attack designed to assert domination over the Jewish minority population through the destruction of the cultural and economic fabric of the community.

 

The state-sponsored activities of Kristallnacht served as a template for the continued attacks on the population and as the Nazi’s advanced across Europe. The United States Holocaust Memorial Museum has many examples of the damaged and fragmentary survivors of these campaigns. The collections contain a wide variety of objects and materials, so for clarity I will focus on a few that share the common characteristic of having come from synagogues that were vandalized and looted. They are also all displayed in the Permanent Exhibition which over the years, has necessitated a collaborative approach to their care and display across several museum departments. The Torah Ark from the synagogue in the small village of Nentershausen, Germany has hatch marks from an axe, primarily on the lintel of the painted wooden frame. It is placed in front of a case containing fragments of desecrated Torah scrolls gathered from different sites. In another area a heavily damaged stained-glass window that survived the burning of the Tempel Synagogue in Krakow is displayed. Each of these objects challenge the balance between conservation interventions and preserving the ability of the object to tell its story while ensuring appropriate display methodologies.
Speakers
avatar for Jane Klinger

Jane Klinger

Special Advisor and Senior Research Conservator, United States Holocaust Memorial Museum
Jane E. Klinger earned her Master of Fine Arts in Conservation in Florence, Italy at the Villa Schifanoia, Rosary College Graduate School of Fine Arts. She has held positions at Winterthur Museum, the Smithsonian’s National Portrait Gallery, and the National Archives. Ms. Klinger... Read More →
Authors
avatar for Jane Klinger

Jane Klinger

Special Advisor and Senior Research Conservator, United States Holocaust Memorial Museum
Jane E. Klinger earned her Master of Fine Arts in Conservation in Florence, Italy at the Villa Schifanoia, Rosary College Graduate School of Fine Arts. She has held positions at Winterthur Museum, the Smithsonian’s National Portrait Gallery, and the National Archives. Ms. Klinger... Read More →
Friday May 30, 2025 2:00pm - 2:30pm CDT
Hyatt Regency Minneapolis

2:05pm CDT

(We’re All in This Together: Conservation Outreach and Community Engagement) Teacher/Conservator Co-Creation: Lessons in K-12 Outreach at the Conservation Center for Art and Historic Artifacts
Friday May 30, 2025 2:05pm - 2:15pm CDT
This year, the Conservation Center for Art & Historic Artifacts (CCAHA) developed and piloted an in-school educational program for students in grades 6-12 in the Philadelphia school district titled “Art Conservation in the Classroom: Science, History, and Creativity”.  Through outreach visits to classrooms, and pre- and post-visit lesson plans that teachers can adapt to their curricula, this program introduces students to the fields of cultural heritage conservation and preservation, applies transferrable skills from these fields to other areas in their lives, and empowers them to care for the meaningful heirlooms in their families and communities. 

This program has arisen from the regular meeting of a CCAHA staff committee devoted to the development of K-12 educational programming.  This committee was formed in response to the goals of FAIC’s Held in Trust report about the need to build awareness among young people, particularly from BIPOC, LGBTQIA+, lower income, and disabled communities about the conservation field and the careers within it. In addition to making students aware of conservation as a possible career path, Art Conservation in the Classroom also aims to demonstrate how conservation links to other subjects such as chemistry, biology, art, and history.  By utilizing original artworks and historical documents from CCAHA’s study collection, the program also reinforces the importance of primary sources, what can be learned from physical examination of them, and the need to care for them for future generations.   

Recognizing the importance of co-creating these lessons with teachers who hold the expertise in their student’s needs, we kicked off the program with an Educator Open House designed to introduce educators to the kinds of things that we could do in their classrooms with the idea of sparking a conversation about how to adapt these ideas to their curricula. Following this, lesson plans will be developed in conjunction with a paid advisory committee composed of local teachers as well as education/writing consultant Lori Litchman, who is herself a former high school teacher.

In this presentation, CCAHA Education Program Manager, Greg Stuart, will share lessons learned from this program in the midst of its first year with an eye towards how you can implement K-12 programming at your own institution. 

 “Art Conservation in the Classroom: Science, History, and Creativity” is generously supported by the FAIC’s Holly Maxson Conservation Grant.
Speakers
avatar for Greg Stuart

Greg Stuart

Education Program Manager, Conservation Center for Art & Historic Artifacts
As CCAHA's Education Program Manager, Greg Stuart (he/they) is responsible for connecting CCAHA's virtual and in-person audiences to engaging educational programs, tours, and written resources, bringing preservation awareness to cultural heritage professionals in the Mid-Atlantic... Read More →
Authors
avatar for Greg Stuart

Greg Stuart

Education Program Manager, Conservation Center for Art & Historic Artifacts
As CCAHA's Education Program Manager, Greg Stuart (he/they) is responsible for connecting CCAHA's virtual and in-person audiences to engaging educational programs, tours, and written resources, bringing preservation awareness to cultural heritage professionals in the Mid-Atlantic... Read More →
Friday May 30, 2025 2:05pm - 2:15pm CDT
Hyatt Regency Minneapolis

2:10pm CDT

(Leading the Way: Conservation Strategies in Museum Redevelopment) Let there be light: reintroducing natural light with mixed displays at the National Portrait Gallery London
Friday May 30, 2025 2:10pm - 2:35pm CDT
In 2023 the National Portrait Gallery in London (NPG) reopened to the public after undergoing the most extensive transformation of the building since the Gallery first opened its doors in 1896. The project, known as Inspiring People (IP), comprised a complete redisplay of the Collection, significant refurbishment of the building, the creation of new public spaces, a more welcoming visitor entrance and public forecourt, and a new learning centre.

One of the key aims of the building project was to enhance the visitor experience by the controlled re-introduction of daylight into spaces where windows had previously been blocked. At the same time, the new displays diversified the type of artworks on display, incorporating significant numbers works on paper and photography in the permanent galleries alongside paintings and sculpture. 

The engineering and design consultants Max Fordham were engaged to support the new vision for the Gallery. They created solar maps or ‘digital twins’ of the galleries simulating the natural light over a year using existing measured data as well as predicted future climate data. 

The modelling used a limiting illuminance (lux) and an annual exposure limit for artworks (klux.h per year) related to the light sensitivity of objects categorised as: 

2- Low responsivity (e.g. oil and tempera painting, wood, ivory) with a 200 lux limiting illuminance and 600 klux.h per year exposure limit, and 

3- Medium responsivity (e.g. prints and drawings, manuscripts, miniatures with a 50 lux limiting illuminance and 150 klux.h per year exposure limit). 

The use of annual exposure limits was new to the conservation team and required a shift in thinking as it did not align with the existing light sensitivity categories and exposure limits for objects at the NPG.

The digital twins allowed different methods of daylight control to be tested, including UV film, blinds, scrim and alternative settings for existing louvres. A range of different solutions were designed for different galleries, allowing curators to position category 2 light sensitive objects within the general gallery spaces. 

While modelling and planning was extensive, re-introducing and managing increased daylight across a range of differing display spaces is a complex undertaking requiring ongoing re-evaluation and adjustment. After opening, light monitors were placed into the galleries where category 2 objects were on display in spaces with natural light. Positioning of the sensors was a balancing act between aesthetic considerations for the re-displayed collection, and effective data gathering. With a year’s worth of data gathered since re-opening, these measurements can now be compared to the modelling by Max Fordham to assess the accuracy and review the parameters if necessary. 

This paper will discuss the challenges posed by the new approach to light management at the NPG and also the role of cross-team collaboration in the management and delivery of lighting projects.
Speakers
avatar for Alexandra Gent

Alexandra Gent

Paintings Conservator, National Portrait Gallery
Dr Alexandra Gent is a Paintings Conservator at the National Portrait Gallery in London and was conservation manager for the Inspiring People renovation project reinstallation. Prior to joining the Portrait Gallery in 2018 she worked for English Heritage, Tate, National Galleries... Read More →
avatar for Emmanuelle Largeteau

Emmanuelle Largeteau

Paper Conservation Manager, National Portrait Gallery
Emmanuelle Largeteau graduated in 2013 from the University Paris 1 Panthéon Sorbonne in book and paper conservation, after completing internships in the Library of the American Museum of Natural History in New York, at the Harry Ransom Center in Austin (USA) and at the Rijksmuseum... Read More →
Authors
avatar for Alexandra Gent

Alexandra Gent

Paintings Conservator, National Portrait Gallery
Dr Alexandra Gent is a Paintings Conservator at the National Portrait Gallery in London and was conservation manager for the Inspiring People renovation project reinstallation. Prior to joining the Portrait Gallery in 2018 she worked for English Heritage, Tate, National Galleries... Read More →
avatar for Emmanuelle Largeteau

Emmanuelle Largeteau

Paper Conservation Manager, National Portrait Gallery
Emmanuelle Largeteau graduated in 2013 from the University Paris 1 Panthéon Sorbonne in book and paper conservation, after completing internships in the Library of the American Museum of Natural History in New York, at the Harry Ransom Center in Austin (USA) and at the Rijksmuseum... Read More →
avatar for India Picton

India Picton

Project Manager, Estates and Operations, NPG
Friday May 30, 2025 2:10pm - 2:35pm CDT
Hyatt Regency Minneapolis

2:10pm CDT

(Lighting the Way: Museum Illumination Policies and MIcroFade Testing) Sustainability-based decision making for museum lighting
Friday May 30, 2025 2:10pm - 2:35pm CDT
Sustainability is proving to be a strong driver of new technologies, solutions and practices in museums. In this context sustainability is usually characterised as the saving of energy and consequent reduction in greenhouse emissions environmental sustainability. Some consideration is often given to resource use and reuse and to the financial consequences of changes made to improve sustainability.As conservators we are interested in the effect that such changes in technology or practice might have on the short- or long-term preservation of objects and on the balance between preservation of collections and their availability to visitors and researchers.In this presentation I will look at two ways in which museums have responded for the drive for greater environmental sustainability in the field of museum lighting.First, the exponential growth of lighting technologies that reduce energy consumption, principal among these being the massively increased use of LED lighting. What is the current state of LED technology, where might advances lead in the future and what alternatives are likely?Second, the greater use of daylight, which as a carbon-neutral source has been seen as another potential answer to the question of environmental sustainability in lighting. What are its advantages and drawbacks, does the implementation of daylighting save energy, and what new technologies might change the situation?In both the above cases, I will look at how a push towards greater sustainability might affect the preservation of objects and accessibility of collections, factors that have sometimes been termed people-centred measures of sustainability. In other words, to what extent do we upset the hard-won balance between preservation and access in the name of environmental sustainability?The solution, I will argue, is that our policies need to be driven by sustainability-based decision making, but that in so doing our definition of sustainability must go beyond that traditionally associated with environmental concerns to include considerations of people-centred sustainability that address the current and future perspectives of individuals, groups and societies.
Speakers
avatar for David Saunders

David Saunders

Honorary Research Fellow, British Museum
Dr David Saunders FSA FIIC. Honorary Research Fellow and formerly Keeper of Conservation and Scientific Research at the British Museum. Honorary Researcher at the National Gallery, London. After postdoctoral research in chemistry, he began his conservation career in the Scientific... Read More →
Authors
avatar for David Saunders

David Saunders

Honorary Research Fellow, British Museum
Dr David Saunders FSA FIIC. Honorary Research Fellow and formerly Keeper of Conservation and Scientific Research at the British Museum. Honorary Researcher at the National Gallery, London. After postdoctoral research in chemistry, he began his conservation career in the Scientific... Read More →
Friday May 30, 2025 2:10pm - 2:35pm CDT
Hyatt Regency Minneapolis

2:25pm CDT

(We’re All in This Together: Conservation Outreach and Community Engagement) Letters to a Pre-Scientist: Accessible and Inclusive K-12 Outreach for Every Conservator
Friday May 30, 2025 2:25pm - 2:40pm CDT
Letters to a Pre-Scientist is a free, accessible, and easy avenue for conservation outreach. Letters to a Pre-Scientist is a program that connects 5th-10th grade science students in low-income communities across the US to an international network of STEM professionals. Each student, or “pre-scientist”, is paired with a STEM professional and over the course of a school year, they correspond through eight letters. The letters discuss higher education pathways, career journeys, and overcoming obstacles. After you’re accepted to be a pen pal, you complete a training module to prepare you for writing to an audience you might not generally interact with. The training modules teach you how to tell compelling stories in STEM and adapt complex or abstract ideas to middle school reading levels. The resources available through the training portal dive into the systematic challenges around inequitable STEM education in the US and how to close the gap in communities. The goal of LPS is to broaden students’ awareness of what STEM professionals look like, demystify STEM career pathways, and inspire their curiosity about a future in STEM. 




      Students are matched with scientists based on their interests, allowing students who are interested in art to be paired with a conservator. In my first year as a pen pal, I was assigned to a 12-year-old girl who was interested in art but was not excited about STEM. Through images, diagrams, and compelling storytelling, I was able to discuss current work I was doing and how it combined art with science. I related aspects of my work, such as corrosion on metal objects, to what the student was learning in her science class. The Letters to a Pre-Scientist program also allows you to send class activities to the science teacher, enabling conservators to pass along hands-on conservation workshops such as testing pH on old paper. I was able to talk to my pen pal about my own academic struggles in chemistry and how I overcame them.  We were able to form a relationship on a personal level by discussing her friends, music interests, and our pets. Doing so humanized me as a STEM professional. Not only was the program fulfilling on a personal level, but the training also empowered me to learn more about systematic barriers within the cultural heritage field. The program has also challenged me to explain my work in a new way and has made me more confident speaking to intergenerational audiences. Letters to a Pre-Scientist is ideal for all conservators looking to make a difference, including emerging professionals who want to become more involved in outreach or private practice conservators who don’t have access to institutional outreach programs.
Speakers
avatar for Ella Andrews

Ella Andrews

Assistant Conservator, Vizcaya Museum and Gardens
Ella Andrews is the Assistant Conservator at Vizcaya Museum and Gardens in Miami, Florida. She received an M.S. in Conservation for Archaeology and Museums and an M.A. in Principles of Conservation from University College London subsequent to a B.A. in Anthropology from the University... Read More →
Authors
avatar for Ella Andrews

Ella Andrews

Assistant Conservator, Vizcaya Museum and Gardens
Ella Andrews is the Assistant Conservator at Vizcaya Museum and Gardens in Miami, Florida. She received an M.S. in Conservation for Archaeology and Museums and an M.A. in Principles of Conservation from University College London subsequent to a B.A. in Anthropology from the University... Read More →
Friday May 30, 2025 2:25pm - 2:40pm CDT
Hyatt Regency Minneapolis

2:30pm CDT

(We’re All in This Together: Conservation Outreach and Community Engagement) Community-Led Preservation: Our Stuff, Our Stories at the Conservation Center for Art & Historic Artifacts
Friday May 30, 2025 2:30pm - 2:55pm CDT
This year, we piloted a new program at the Conservation Center for Art & Historic Artifacts, titled Our Stuff, Our Stories, which functions as a community-driven preservation pop-up. Designed to launch in full as part of the Philadelphia 250th commemoration of the Declaration of Independence in 2026, we seek to reach communities who have been left out of the promises of the Declaration, and indeed, they are often the same people for whom preservation of cultural heritage can feel out of reach.

In developing this program which offers a mix of preservation services, conservation consultation, digitization, and oral storytelling, we wanted to create something flexible and adaptable to the needs of the community organizations involved. To do so, we presented this program as a menu of options of what we might do, not what we should do, thereby taking a backseat to each organization’s goals and priorities to function more in a support role. While each iteration of Our Stuff, Our Stories will look unique, we will offer lessons learned so far, as well as tips on community-driven programming and how you can create something similar at your organization.
Speakers
avatar for Katie Lowe

Katie Lowe

Preservation Specialist, Conservation Center for Art & Historic Artifacts
In her position as Preservation Specialist, Katie Lowe conducts onsite preservation needs and risk assessments and assists with preservation and emergency planning at cultural heritage organizations across the country.Katie is a public historian with ten years of experience in museums... Read More →
avatar for Greg Stuart

Greg Stuart

Education Program Manager, Conservation Center for Art & Historic Artifacts
As CCAHA's Education Program Manager, Greg Stuart (he/they) is responsible for connecting CCAHA's virtual and in-person audiences to engaging educational programs, tours, and written resources, bringing preservation awareness to cultural heritage professionals in the Mid-Atlantic... Read More →
Authors
avatar for Greg Stuart

Greg Stuart

Education Program Manager, Conservation Center for Art & Historic Artifacts
As CCAHA's Education Program Manager, Greg Stuart (he/they) is responsible for connecting CCAHA's virtual and in-person audiences to engaging educational programs, tours, and written resources, bringing preservation awareness to cultural heritage professionals in the Mid-Atlantic... Read More →
avatar for Katie Lowe

Katie Lowe

Preservation Specialist, Conservation Center for Art & Historic Artifacts
In her position as Preservation Specialist, Katie Lowe conducts onsite preservation needs and risk assessments and assists with preservation and emergency planning at cultural heritage organizations across the country.Katie is a public historian with ten years of experience in museums... Read More →
Friday May 30, 2025 2:30pm - 2:55pm CDT
Hyatt Regency Minneapolis

2:30pm CDT

(Capturing Complexity: Addressing Imaging Challenges through Collaboration) Photogrammetry Fast: Developing a New Automated Pipeline.
Friday May 30, 2025 2:30pm - 3:00pm CDT
The ability to generate 3D models of heritage objects opens up many exciting possibilities for conservation. However, the options for 3D digitizing objects are either prohibitively expensive for many cultural institutions (structured light scanning and laser scanning), or too slow and skill-dependent to be of use in scanning large collections (photogrammetry). In an effort to address the limitations of photogrammetry as a commodity 3D digitization technique, a game programmer and a conservator began collaborating to reduce the total time for producing a model to ~10 minutes.

This paper presents their interim results on doing photogrammetry quickly, accurately, and reproducibly using an automated turntable and multi-camera arm along with Agisoft Metashape Pro and a processing pipeline written in the Python programming language. 

The pipeline script waits for photographs from a multi-camera, processing them and building masks while photos continue being taken. A palette of computer-readable markers placed beneath the object on the turntable allows for scaling and the orientation of the object in space such that each model is oriented and scaled consistently in relation to the others. When photography has completed, the images are automatically built into a model using Agisoft Metashape Pro. The finished model is exported, and an archival render of the 3D model is taken using Blender.  

After initial setup and configuration, the pipeline requires little further user input and can build a model in as little as ten minutes and thirty seconds from starting photography to the export of the final model.  The pipeline script is extensible, configurable, and is usable with or without an automated turntable. This  method promises to make photogrammetry not only faster, but more efficient, consistent, and accessible to a wider number of institutions.
Speakers
KJ

Kea Johnston

Joint Postdoctoral Researcher at ISAC and the Field Museum, University of Chicago
Kea got her PhD In Egyptology from University of California, Berkeley in 2022, and her undergraduate degree in computer science at Brown University in 2005. She is currently combining these interests as a postdoctoral scholar at the Field Museum and ISAC Museum.
Authors
avatar for JP Brown

JP Brown

Senior Conservator, Field Museum
JP holds degrees in both Archaeological Conservation (University College Cardiff) and Computer Science (University of Chicago). JP has worked at the Field Museum for the last twenty years on the documentation, conservation, and analysis of archaeological and social history museum... Read More →
KJ

Kea Johnston

Joint Postdoctoral Researcher at ISAC and the Field Museum, University of Chicago
Kea got her PhD In Egyptology from University of California, Berkeley in 2022, and her undergraduate degree in computer science at Brown University in 2005. She is currently combining these interests as a postdoctoral scholar at the Field Museum and ISAC Museum.
Friday May 30, 2025 2:30pm - 3:00pm CDT
Hyatt Regency Minneapolis

2:30pm CDT

(Collaboration in Conservation Education) Strategies for Accessible and Collaborative Training in Indigenous Collections Care
Friday May 30, 2025 2:30pm - 3:00pm CDT
Ongoing developments have created a more enlightened understanding of the complex relationships between Indigenous communities, collections care, and museums. The inception of the Preservation of Tribal Cultural Materials in Tribal Collections program began in 2008-2009 as a pilot hybrid course offered through UCLA Extension to address the needs of full-time workers for education in the care of Indigenous heritage. The course was revitalized and offered again in 2020 in a fully virtual format, with extensive evaluation of the benefits, accessibility, and affordability of this structure. An expanded program, offered from 2022-2025 with generous support from the National Endowment for the Humanities, focuses on the unique histories, challenges, and contributions of Native peoples to their respective communities and how to honor and preserve associated heritage and belongings.




Under the leadership of Professor Ellen Pearlstein of the UCLA/Getty Conservation Program, this three-year fully supported program offered two iterations of three unique fully online courses in preservation techniques, collections management, and exhibition planning for Indigenous heritage collections. These courses were instructed by established members in the field who are already incorporating Native perspectives into course design.




In addition, UCLA/Getty partnered with two museums to offer in-person regional workshops, one in California and one in New York, for Native heritage stewards to engage with care and conservation of collections, with instruction by conservator Nicole Passerotti who directs the Mellon Opportunity for Diversity in Conservation, and Michelle Brownlee, collections manager at the Field Museum. The workshops were planned around topics suggested by participants, and aided in skill building for enclosures, introduction to risks in museum environments, and basic cleaning methods for a variety of materials, while also providing opportunities for networking and engagement with Native stewards in their region of the US.




In this presentation, we will describe the successes and challenges posed through this work and discuss how continued offering of these types of learning opportunities has been beneficial to Indigenous communities through participation and peer mentorship. We will also discuss shifts in collections care pathways that encourage students who are at different levels of their career or who come from diverse backgrounds to find suitable introductions to conservation training opportunities.
Speakers
avatar for Ellen Pearlstein

Ellen Pearlstein

Professor, UCLA
Ellen Pearlstein is a founding faculty member and Professor Emerita in the graduate UCLA/Getty Conservation Program, where she incorporated Indigenous instruction into the understanding and care of California basketry and featherwork. Her publications include the book Conservation... Read More →
avatar for Justine Wuebold

Justine Wuebold

Program Manager / Research Facilitator, NEH Grant Projects, UCLA
Justine Wuebold has worked more than a decade in museums and cultural heritage, and has specialized knowledge in collections care, conservation, and green museum practices. She holds a BA in Art History from San Francisco State University and earned a dual Masters in Museum Studies... Read More →
Authors
avatar for Ellen Pearlstein

Ellen Pearlstein

Professor, UCLA
Ellen Pearlstein is a founding faculty member and Professor Emerita in the graduate UCLA/Getty Conservation Program, where she incorporated Indigenous instruction into the understanding and care of California basketry and featherwork. Her publications include the book Conservation... Read More →
avatar for Justine Wuebold

Justine Wuebold

Program Manager / Research Facilitator, NEH Grant Projects, UCLA
Justine Wuebold has worked more than a decade in museums and cultural heritage, and has specialized knowledge in collections care, conservation, and green museum practices. She holds a BA in Art History from San Francisco State University and earned a dual Masters in Museum Studies... Read More →
avatar for Nicole Passerotti

Nicole Passerotti

Objects Conservator, Associate Director, Andrew W. Mellon Opportunity for Diversity in Conservation, UCLA
Friday May 30, 2025 2:30pm - 3:00pm CDT
Hyatt Regency Minneapolis

2:30pm CDT

(Conservation in Times of Historical Conflict) Conservation, site preservation, and civil war at the UNESCO World Heritage Site of Jebel Barkal, Sudan: lessons from work during armed conflict
Friday May 30, 2025 2:30pm - 3:00pm CDT
This paper reports on recent conservation and site preservation efforts at the UNESCO World Heritage site of Jebel Barkal, with a focus on how the catastrophic civil war in Sudan has challenged, altered, and expanded our team’s mission. 

Located along the Nile in northern Sudan, the archaeological site of Jebel Barkal preserves one of the most important ancient cityscapes in Africa. Its archaeological remains document two millennia of unique artistic, social, political, and religious achievements by the powerful, ancient African empire of Kush and include temples, palaces, a settlement area, and more than 20 royal pyramid burials. Prior to the recent civil war, the site was a popular attraction for both international and Sudanese tourists. At the same time, it is also an integral part of the nearby modern community of Karima. 

Our team began work at Jebel Barkal in 2018, with a dual emphasis on archaeological research and site conservation and a deliberately collaborative approach that pairs Sudanese and foreign specialists as co-leads in every major project role. In the autumn of 2020, in part because of this collaborative leadership structure, we were fortunate to receive a generous award from the U.S. Department of State’s Ambassador’s Fund for Cultural Preservation to support conservation, site management, and community engagement efforts at the site. The COVID-19 pandemic and travel restrictions delayed our work, and our first full season of field conservation was held in 2023. One month after its conclusion, Sudan was suddenly and unexpectedly at war as two rival military generals battled for control of the country. Since that time, every aspect of our work has changed and, for Sudanese team members, our homes, jobs, financial security, family life, and daily existence have altered radically in stressful and exhausting ways.   

This talk explores our pre-war plans, how the war has affected the site and our project in both predictable and surprising ways—good and bad, and the hard questions we have asked ourselves as the months of war continue. Our project’s design and structure have helped us continue aspects of our work during the war, and we also reflect on why this has been successful for parts of the project but not for others. 

While aspects of our project are unique and site-specific, the challenges we face are similar to and may offer valuable insights for other conflict-prone communities. Key takeaways include an intersectional understanding of how armed conflict, economic fragility, and climate change are combining to devastating effect for cultural heritage sites around the world; the need for special programming for internally displaced people during armed conflicts; and the need for significant, strategic shifts in conservation capacity-building in conflict-prone countries.
Speakers
avatar for Suzanne Davis

Suzanne Davis

Curator and Head of Conservation, University of Michigan, Kelsey Museum of Archaeology
Suzanne Davis is a senior associate curator and head of the Conservation Department at the Kelsey Museum of Archaeology at the University of Michigan, Ann Arbor. She oversees preservation of the museum’s 100,000+ artifacts and historic building and directs conservation programs... Read More →
Authors
ED

Elmontaser Dafalla

Conservator, National Corporation for Antiquities and Museums
Elmontaser "Dodey" Dafalla is a conservator with Sudan's National Corporation of Antiquities and Museums. He specializes in preventive conservation for archaeological artifacts and sites and co-directs onsite conservation for the Jebel Barkal Archaeological Project.
avatar for Geoff Emberling

Geoff Emberling

Associate Research Scientist, University of Michigan, Kelsey Museum of Archaeology
Geoff Emberling is an archaeologist specializing in cultures of the ancient Middle East and North Africa. He is currently associate research scientist at the Kelsey Museum of Archaeology, University of Michigan, and has been co-director of the Jebel Barkal Archaeological Project since... Read More →
SE

Sami Elamin

Archaeologist and Senior Antiquities Inspector, National Corporation for Antiquities and Museums
Sami Elamin is an archaeologist and senior antiquities inspector with Sudan’s National Corporation of Antiquities and Museums (NCAM). He is the site manager for Jebel Barkal and a senior member of the Jebel Barkal Archaeological Project team. He is currently directing all onsite... Read More →
avatar for Suzanne Davis

Suzanne Davis

Curator and Head of Conservation, University of Michigan, Kelsey Museum of Archaeology
Suzanne Davis is a senior associate curator and head of the Conservation Department at the Kelsey Museum of Archaeology at the University of Michigan, Ann Arbor. She oversees preservation of the museum’s 100,000+ artifacts and historic building and directs conservation programs... Read More →
Friday May 30, 2025 2:30pm - 3:00pm CDT
Hyatt Regency Minneapolis

2:35pm CDT

(Leading the Way: Conservation Strategies in Museum Redevelopment) “If you build it, they will come”: Building a Climate-Controlled Storage Unite Inside a 1940s Warehouse on a Navy Base
Friday May 30, 2025 2:35pm - 3:00pm CDT
Artifacts need to be stored somewhere, but there’s always a range of options from dirty basements to scorching attics with pests, mold, lead, and all sorts of other hazards and issues. It doesn’t happen in everyone’s career that they have to move an entire artifact collection, but usually when it does, they don’t get a choice on where the artifacts will be stored. Once in a great while, you get the opportunity to have a brand new custom storage facility, and if you’re REALLY lucky, then you’re included in the project to be able to advocate for the collection and how it will be stored. This was one of those times.

This was a construction project for a fully-roofed and insulated, three-hour fire-rated climate-controlled collection storage building inside of a “temporary” warehouse built in 1941. (We can see how well that temporary thing went.) To complicate this build further, this was to be done on a highly secure Naval base in Newport, RI. This complicates the process of finding contractors, getting people on base to do the work, getting construction equipment on the base, and what can even be ordered to be used for the project.

Thankfully, a trained conservator was brought into the project at the very beginning stages of it, making sure that every need was considered for the space to function best for the artifacts. Temperature, humidity, lighting, conservation equipment, sinks, door heights, exact high-density storage needs, fire suppression systems, office areas, etc. were all able to be considered in the beginning, instead of at the end, or not at all.

This talk will cover the struggles and triumphs from the very beginning of the project, through its completion. Unforeseen problems along the way will be discussed to help others in the future for their own considerations when completing a similar project. Conservators aren’t, generally speaking, also construction specialists, so hopefully, this talk will give some helpful tips to be considered in other collections’ construction projects.
Speakers
MR

Meghan Rathbun

Executive Director, Battleship Cove, Submarine Force Museum
A native of Virginia, Meghan Rathbun was educated in Scotland and holds a Master of Arts in Medieval History and Master of Letters in Medieval History from the University of St Andrews and a Master of Science in Museum Studies from the University of Glasgow. Prior to joining NHHC... Read More →
avatar for Maria Vazquez

Maria Vazquez

Collections Manager, Naval War College Museum
Maria Vazquez has a Master’s of Science degree in Textile Conservation from the University of Rhode Island. She also has three Master Seamstress certificates through the University of Rhode Island, and eighteen years of sewing experience. In high school, she went to a trades school... Read More →
Authors
avatar for Maria Vazquez

Maria Vazquez

Collections Manager, Naval War College Museum
Maria Vazquez has a Master’s of Science degree in Textile Conservation from the University of Rhode Island. She also has three Master Seamstress certificates through the University of Rhode Island, and eighteen years of sewing experience. In high school, she went to a trades school... Read More →
MR

Meghan Rathbun

Executive Director, Battleship Cove, Submarine Force Museum
A native of Virginia, Meghan Rathbun was educated in Scotland and holds a Master of Arts in Medieval History and Master of Letters in Medieval History from the University of St Andrews and a Master of Science in Museum Studies from the University of Glasgow. Prior to joining NHHC... Read More →
Friday May 30, 2025 2:35pm - 3:00pm CDT
Hyatt Regency Minneapolis

2:35pm CDT

(Lighting the Way: Museum Illumination Policies and MIcroFade Testing) Tribute and Light: An Honest Telling of Lighting Policy at the National September 11 Memorial & Museum
Friday May 30, 2025 2:35pm - 3:00pm CDT
The 9/11 Memorial Museum in New York, NY houses a collection honoring and commemorating the victims, survivors, first responders, and recovery workers of both the catastrophic 2001 attacks and the 1993 World Trade Center bombings. In addition to oral histories, digital images, audio, and video, the collection comprises approximately 30,000 physical objects, including damaged and recovered artifacts, items donated in memory of victims, and tribute art. Many of these items are composed of ephemeral, light-sensitive materials which were never intended to be preserved. However, their personal significance, and the resulting need for accessibility to the local, national, and global 9/11-affected communities cannot be overstated.  In addition to a conservation approach that emphasizes the person connected with the object, other factors associated with a memorial museum context complicate the decision-making process for artifact lighting and display.  

Storytelling personal narratives is a primary consideration from the acquisition phase through installation, exhibition, and storage, particularly because stakeholders are also predominantly the collection’s donors. Decision-making for exhibition duration and light levels becomes a collaborative but sometimes fraught process between the conservation, curatorial, and exhibition teams. For every object slated for display, 9/11 Memorial Museum staff must consider its myriad values which may include its historical value, its associated individual victims or stories, its significance as evidence of the attacks, and the existence of identical objects or similar examples. We must also weigh its social value, i.e., the perceived needs of both present-day community members and future generations with no living memory of the day. These values factor in addition to material concerns. The inevitable result of achieving this balance is longer display periods and the reluctant acceptance of potential fading. 

We propose that “lifetime fading allowances” be flexible to acknowledge that a particular object may have greater impact to the current generation than to a nebulous “posterity.” When “light” and “dissociation from social/trauma context” are given equal weight as agents of deterioration, the decision to keep light-sensitive objects off view resting in storage is not so straightforward. This is especially true if an object contains a fugitive material that will degrade in storage regardless.  

Conservators at the 9/11 Memorial Museum are working across departments to collaborate on a lighting policy unique to the needs our institution. These include staff resources; bespoke and inaccessible exhibition fixtures; and a lack of light-induced fading data for many of the unique and under-studied materials on display. As the factors weighing lighting decisions in traumatic contexts are not always straightforward, we are developing a decision tree to help parse out the questions bearing significance providing clarity to an otherwise daunting and subjective process. This talk will provide examples that highlight the nuances of this approach, including the identification of duplicate or similar objects as substitutions, or the creation of facsimiles, where physically and ethically feasible. As current caretakers, we acknowledge the privilege to make these subjective decisions that affect future generations’ ability to understand, display, and view these artifacts and the gravity and accuracy of their stories.
Speakers
avatar for Kerith Koss Schrager

Kerith Koss Schrager

Head of Conservation, National September 11 Memorial & Museum
Kerith Koss Schrager is an objects conservator and Vice President, Head of Conservation at the National September 11 Memorial & Museum. She specializes in occupational health and safety for cultural heritage workers and completed an M.S. in Environmental Health Sciences through the... Read More →
avatar for Andy Wolf

Andy Wolf

Assistant Conservator, National September 11 Memorial & Museum
Andy Wolf is Assistant Conservator at the National September 11 Memorial & Museum. He holds an MA in Art History and an MS in Conservation from the Conservation Center of the Institute of Fine Arts at New York University. During his graduate education, he completed conservation internships... Read More →
Authors
avatar for Andy Wolf

Andy Wolf

Assistant Conservator, National September 11 Memorial & Museum
Andy Wolf is Assistant Conservator at the National September 11 Memorial & Museum. He holds an MA in Art History and an MS in Conservation from the Conservation Center of the Institute of Fine Arts at New York University. During his graduate education, he completed conservation internships... Read More →
avatar for Kate Fugett

Kate Fugett

Preventive Conservator, National September 11 Memorial & Museum
Kate Fugett is Preventive Conservator at the National September 11 Memorial & Museum. Prior to that she worked at the Metropolitan Museum of Art, the American Museum of Natural History, Brooklyn Museum, and Cooper-Hewitt. She completed internships at the Natural History Museum, London... Read More →
avatar for Kerith Koss Schrager

Kerith Koss Schrager

Head of Conservation, National September 11 Memorial & Museum
Kerith Koss Schrager is an objects conservator and Vice President, Head of Conservation at the National September 11 Memorial & Museum. She specializes in occupational health and safety for cultural heritage workers and completed an M.S. in Environmental Health Sciences through the... Read More →
Friday May 30, 2025 2:35pm - 3:00pm CDT
Hyatt Regency Minneapolis

2:40pm CDT

(We’re All in This Together: Conservation Outreach and Community Engagement) Establishing a Conservation Outreach Position at the Smithsonian National Museum of Asian Art
Friday May 30, 2025 2:40pm - 2:55pm CDT
In recent years, the Smithsonian’s National Museum of Asian Art Department for Conservation and Scientific Research (CSR) has increased efforts to make its work known to the public. This includes the development of resources and public programs, including in-gallery cart talks and Art & Me family workshops. The success of these efforts and interest in furthering them led to the creation of the position that I now hold: an outreach specialist, with a background in education and outreach, who could develop new ways to introduce conservation to diverse audiences. This presentation will discuss the opportunities and challenges associated with establishing a conservation outreach position in our museum.

This position is unusual in several ways and required creativity in establishing standard practice. First, given the position did not require a background in conservation, initial months were focused on observation and inquiry. This period was also spent exploring existing content, which could be applied in new ways without the need to borrow excessive time from colleagues. Additionally, the whole department needed to adapt to an increase in outreach output. Conservators and scientists learned to share their work methods and identify projects that could tell conservation stories.

The establishment of this position also redefined the CSR department’s relationship with other departments, particularly Marketing and Communications (MAC) and Education. Given that CSR could begin producing programs and materials with greater independence, it was important to configure these activities into the greater fabric of the museum. Furthermore, as these departments were peers in terms of their roles in the museum, they were ideal collaborators for projects requiring more than one outreach or education staff member. Although there had been some previous collaboration with family programs, more regular channels of communication were established between CSR and other relevant departments. Through these channels, significant opportunities for collaboration took shape.

The establishment of this position has been a shared effort, making possible a number of opportunities. CSR now contributes more content to social media, resulting in regular in-depth posts about conservation. In March 2024, this led to the most popular post in museum history, with over one million views, which featured one of our paper conservators. CSR also designs and facilitates a hands-on conservation workshop for visiting students. In its first year, the program reached over one thousand sixth grade students from Fairfax County Public Schools, the ninth largest school division in the U.S. It is expected to reach a similar number of students this school year. CSR also expanded its conservation family workshops so that they now reach children ages 3-11 and occur twice as often. While the establishment of an outreach specialist position in CSR required a great deal of creativity and effort, it has not only expanded awareness of our work, but also increased our connectedness to other departments in our museum.
Speakers
avatar for Sarah Rontal

Sarah Rontal

Conservation Outreach Specialist, Smithsonian National Museum of Asian Art
Sarah Rontal is a Conservation Outreach Specialist at the Smithsonian National Museum of Asian Art where she develops educational programs and outreach materials highlighting behind-the-scenes work by the museum’s conservators and scientists. She is an experienced educator, formerly... Read More →
Authors
avatar for Sarah Rontal

Sarah Rontal

Conservation Outreach Specialist, Smithsonian National Museum of Asian Art
Sarah Rontal is a Conservation Outreach Specialist at the Smithsonian National Museum of Asian Art where she develops educational programs and outreach materials highlighting behind-the-scenes work by the museum’s conservators and scientists. She is an experienced educator, formerly... Read More →
Friday May 30, 2025 2:40pm - 2:55pm CDT
Hyatt Regency Minneapolis

3:00pm CDT

(We’re All in This Together: Conservation Outreach and Community Engagement) The Stories We Keep: Conservation as the bridge to connect visitors, staff and the Carnegie Museum of Natural History’s collections.
Friday May 30, 2025 3:00pm - 3:10pm CDT
Objects tell stories of craft, use and care, from their creation to their preservation. Preservation is showcased in museums in various capacities but is usually not directly noticeable. At times, conservation is undertaken in the public view, whether it is on a site or as part of a visible lab. In the latter case, it might often be in a temporary or small space. 

The Carnegie Museum of Natural History (CMNH) has gone further. The Stories We Keep: Conserving Objects from Ancient Egypt exhibit is directly focusing on conservation, while displaying Ancient Egyptian artefacts. Resources are dedicated to sharing behind the scenes activities with the public and putting conservation in the spotlight. It invites visitors to reflect on “things” that have value to them, then to see how the museum cares for objects through different methods and tools, that are part of a conservation approach. A third part of the exhibit is a functional large size visible conservation lab.  

The development of the exhibit was possible thanks to the renovation of the Ancient Egypt exhibit, put in place in 1990. The style very much reflected on the design aesthetics and education style of the time, involving human remains on view. The advanced deterioration of a large 4,000-year-old Dahshur boat initiated a reflection on the renovation of the exhibit. It was coordinated nicely with the approval of the new CMNH’S Human Remains policy in 2023, defining how human remains in general are to be handled, displayed, and returned. The policy went into effect immediately, therefore the three mummified people on display, and the coffins and grave goods associated with them, had to be removed from public view.  

To better care for the human remains and the boat, the exhibition closed in 2023, with the goal of reinterpreting the collection and the space with updated knowledge on the Ancient Egyptian artefacts and new policies on human remains. Knowing that the public was very attached to the Ancient Egyptian exhibit and collection, CMNH decided to create this temporary and transitional exhibit, focusing on the way collections are cared for and on conservation in general, and allowing the public to witness the preservation of artefacts in progress. The public also has the opportunity to speak with the conservation team through an open window on a regular basis to learn about conservation work, how an institution works, and discuss various museum related topics. Besides, this has allowed to expose/inspire a career to the general public and students at the nearby colleges and high schools, as well as to recruit interns and volunteers. Educational outreach is central to the project. 

The exhibition is a great example of a collaboration between the departments of Conservation, Anthropology, Exhibits and Education, with full support of the museum’s director. They were involved in the development of the idea, the building of the space and the lab, as well as the efficient running of the exhibition and associated educational programs. Aspects of collection care, safe storage, mounting, and integrated pest management, among others, are additionally presented and addressed in this space. General collection care is a central theme of the exhibition and of the work in the conservation lab. 

The visible lab was a long-term dream of Gretchen Anderson, the Head of Conservation at CMNH, after working in a similar lab at the Science Museum in Minneapolis. Conservators and conservation technician, interns and volunteers are currently working on the preparation of Ancient Egyptian artefacts for the new exhibit called Egypt on the Nile, planned to open in the fall 2026. Aside from this focus project, the team supports all the museum’s departments with their specific conservation needs.  

The Stories We Keep visible conservation lab in the middle of an exhibit is a hub, a place of collaboration with other departments, such as Ornithology, Herpetology and Paleontology, and has been a great educational tool to share with the public and build communities, and a connector between the public and the museum professionals.  

This paper will present the genesis of the project and the evolution into a spotlight on conservation.  It will describe the conservation lab, the collaborations across the museum, and all the exchanges that the project has fostered. The paper will express successes and challenges of such a space, and future evolutions of the exhibition.
Speakers
avatar for Annick Vuissoz

Annick Vuissoz

Objects Conservator, Museum Study LLC
Annick Vuissoz is a Swiss trained object conservator with over 20 years of experience, gathered while working in Europe, North America (ASM, NMAI, AMNH, CMNH), Pacific, and Antarctica. She has a wide experience with ethnographic, historic, and archaeological collections, as well as... Read More →
Authors
avatar for Annick Vuissoz

Annick Vuissoz

Objects Conservator, Museum Study LLC
Annick Vuissoz is a Swiss trained object conservator with over 20 years of experience, gathered while working in Europe, North America (ASM, NMAI, AMNH, CMNH), Pacific, and Antarctica. She has a wide experience with ethnographic, historic, and archaeological collections, as well as... Read More →
avatar for Gretchen Anderson

Gretchen Anderson

Conservator, Carnegie Museum of Natural History
Objects conservator Gretchen Anderson established the conservation department at the Science Museum of Minnesota in 1989, where she developed preventative conservation standards for collections care, Integrated Pest Management, and strategies for storage and display. While there... Read More →
Friday May 30, 2025 3:00pm - 3:10pm CDT
Hyatt Regency Minneapolis

3:00pm CDT

(Collaboration in Conservation Education) Teaching and Networking as a Strategy for the Preventive Conservation of Cultural and Scientific Heritage at the University of São Paulo and in Brazil
Friday May 30, 2025 3:00pm - 3:15pm CDT
In Brazil, there are very few options for education in conservation, and none in the state of São Paulo. The University of São Paulo (USP), the largest in Brazil, does not offer any degree programs in conservation and restoration. In 2018, some USP affiliates founded the Preventive Conservation Network of USP (REDE) aiming to promote heritage preservation initiatives such as discussion groups, events, training sessions, and courses to address this gap.

Amongst courses organized by REDE, the “Preventive Conservation of Collections Course” is the most successful in terms of public interest and feedback. This course is divided into three sequential modules: 1 - The Impact of the Building and Its Surroundings; 2 - Collection Management; and 3 - Conservation Science for Collections. Each module consists of 36 hours divided into online classes, site visits, and hands-on training. It emphasizes the practical application of the content, ideally using the institution where students work as a case study. The course is coordinated by REDE and features five to six experts teaching specific topics.

Until now, Module 1 has been offered three times (2022, 2023, 2024); Module 2 is being prepared and will be available in early 2025; and Module 3 is planned. The demand has been steadily increasing (over 70 applications for 25 places in 2024). The students are primarily from the state of São Paulo, but many come from other states as well. It has an affordable price, and its hybrid format makes it accessible to those who work and study in parallel. As teachers, we have observed that, despite being a short-term course, the engagement, quality of discussions, and results are excellent. The final project typically generates a diagnostic with proposals for the analyzed areas that are presented to colleagues and teachers, giving a unique view of the diverse realities of Brazil.

The case studies profile is very broad: from big public cultural institutions to smaller places run by volunteers. As teachers, we have the privilege to see the diversity and richness of collections, but we also feel the enormous challenge of preserving them. The exchange of experiences shows that, independently of the resources available, the presence of qualified personnel must be an essential goal.

The feedback we receive consistently highlights the quality of the course content, which addresses cutting-edge topics of preventive conservation and presents an evaluation methodology for collection storage facilities developed by the School of Architecture and Urbanism (FAU-USP). Students and teachers stay connected by WhatsApp group and, even after two years we still observe active networking.

At the AIC Annual Meeting, we would like to present the results of the REDE strategy of investing in courses and training focused on advanced knowledge in preventive conservation. This approach has been successful in the vertical dissemination of knowledge (from teachers to students) and also in the horizontal exchange of experience (among all participants).  We also want to reflect on the urgent need for USP to establish formal public education programs to secure the preservation of our cultural and scientific heritage.
Speakers
avatar for Ina Hergert

Ina Hergert

Paper Conservator, University of São Paulo (USP)
Ina Hergert has been a paper conservator at Museu Paulista of the University of São Paulo. She graduated in Art Education from Armando Alvares Penteado Foundation with a specialization in paper conservation. Develops research and projects in the field of ​​paper conservation... Read More →
avatar for Juliana Saft

Juliana Saft

Professor, Federal Institute of Education, Science and Technology of São Paulo (IFSP)
Juliana Saft is an architect with a doctorate in Post-Occupancy Evaluation (POE) applied to building quality for collection storage facilities (FAU-USP), and a specialist in energy efficiency, environmental management, and paper conservation. She works as an architecture professor... Read More →
Authors
avatar for Ina Hergert

Ina Hergert

Paper Conservator, University of São Paulo (USP)
Ina Hergert has been a paper conservator at Museu Paulista of the University of São Paulo. She graduated in Art Education from Armando Alvares Penteado Foundation with a specialization in paper conservation. Develops research and projects in the field of ​​paper conservation... Read More →
avatar for Juliana Saft

Juliana Saft

Professor, Federal Institute of Education, Science and Technology of São Paulo (IFSP)
Juliana Saft is an architect with a doctorate in Post-Occupancy Evaluation (POE) applied to building quality for collection storage facilities (FAU-USP), and a specialist in energy efficiency, environmental management, and paper conservation. She works as an architecture professor... Read More →
Friday May 30, 2025 3:00pm - 3:15pm CDT
Hyatt Regency Minneapolis

3:00pm CDT

(Capturing Complexity: Addressing Imaging Challenges through Collaboration) The Challenge of Chemical Reagents:The Verona Gaius and Vergil Palimpsests at the Confluence of Technologies
Friday May 30, 2025 3:00pm - 3:30pm CDT
For the past three years, the Biblioteca Capitolare di Verona, the oldest library in the world, has been the site of a manifold collaboration among four scientific- and two scholarly teams representing eight countries to solve one of the most intractable problems in cultural heritage imaging. The Palimpsests in Danger project was convened to address the illegibility of two of the most important palimpsests in existence: the Verona Gaius, the only remaining witness to Roman law, and the Verona Vergil which, along with known undertexts containing Euclid and Livy, we revealed to contain a new Apuleius. 

Over two centuries, both palimpsests had been treated with multiple layers of two different chemicals: oakgall reagent and Gioberti tincture. The manuscripts, their parchment weakened by the reagents’ corrosive acids, were then disbound and set in gelatin. Creating a chemical layer that overwhelms fluorescent response from the parchment and attenuates the infrared, the chemical reagents proved to be nearly insuperable impediments to even state-of-the-art multispectral imaging.  

To learn more about the precise nature of the challenge and to find effective recovery techniques, the Early Manuscript Electronic Library, supported by the Lazarus Project, the University of Hamburg, and the University of Torun, organized a program of material analysis, new imaging modalities, and innovative image processing techniques all supported by a grant from the Arcadia Foundation. XRF, XRD, and Raman spectroscopy furnished specifics about inks and reagents, whilst scanning XRF, IR Reflectography, RTI, and the newly-developed techniques of IR Fluorescence MSI and scanning Optical Coherence Tomography (OCD) yielded new images of the undertext. 

This talk will reveal our results for the first time, covering the exact chemical and imaging challenges of chemical reagent-damaged manuscripts, the advantages and drawbacks of each technology and processing technique used, show never-before-seen images of the undertexts from the Gaius and the Vergil palimpsests, and make recommendations for best practice. Above all, it will highlight the importance of cross-disciplinary collaboration among scientists and scholars from the US (EMEL, University of Rochester, Rochester Institute of Technology, UCLA) and Europe (University of Hamburg, University of Torun, the Sorbonne, Oxford University, the Biblioteca Capitolare di Verona).
Speakers
avatar for Gregory Heyworth

Gregory Heyworth

Associate Professor of English, History and Computer Science, University of Rochester
Gregory Heyworth is an associate professor of English, History and Computer Science at the University of Rochester. He holds BAs from Columbia and Cambridge in English, and a Ph.D. in Comparative Literature from Princeton. Trained as a medievalist, he is an expert in both cultural... Read More →
Authors
avatar for Gregory Heyworth

Gregory Heyworth

Associate Professor of English, History and Computer Science, University of Rochester
Gregory Heyworth is an associate professor of English, History and Computer Science at the University of Rochester. He holds BAs from Columbia and Cambridge in English, and a Ph.D. in Comparative Literature from Princeton. Trained as a medievalist, he is an expert in both cultural... Read More →
Friday May 30, 2025 3:00pm - 3:30pm CDT
Hyatt Regency Minneapolis

3:00pm CDT

(Conservation in Times of Historical Conflict) Wooden Churches in Wartime Ukraine: Conservation Challenges
Friday May 30, 2025 3:00pm - 3:30pm CDT
The use of wood is an integral part of Ukrainian culture, and the tradition of wooden building technology goes through the whole history of Ukraine, back to the very beginning of architecture. Its diversity and richness may impress even those who are well familiar with the best examples of the world's wooden heritage. Wooden churches are the quintessence of Ukrainian wooden building tradition. There are thousands of historic wooden churches in Ukraine. Many of them are understudied or introduced into scientific discourse in very general terms, the vast majority are completely unknown in the world, and all of them are endangered today, as the most vulnerable and fragile structures under the threat of Russian attacks.




After Russia's brutal invasion of Ukraine in 2022, we face many challenges in addition to those concerning conservation under normal circumstances. Scale of the damage, legislative issues on war damaged landmarks, conservation as a long lasting process while heritage buildings, if damaged and in use, require immediate response, cooperation with emergency services, database of damages and prioritizing sites in terms of conservation potential and even possibility - these are just a few to mention.




We do make attempts to preserve our heritage though, in particular wooden architecture.  Among other initiatives, a project has been launched to digitally document endangered valuable wooden churches. We have defined the heritage value, architectural typology, the threat level and the accessibility (proximity to the frontline and to the border with the enemy, artillery strike risk, liberation of occupied territories etc) as the main criteria of choice of the sites. The first selected 11 oldest wooden churches in Central, Northern and Eastern Ukraine have been scanned with a 3D scanner and photo-documented on three expeditions in November 2023 - February 2024. These were 17th - 18tth century churches in Pechera, Puhachivka, Novomoskovsk, Novy Bilous, Sedniv, Syniavka, Stepanivka, Novhorod Siversky, Pyrohivka, Fastiv and Zhubrovychi. Six of these sites have overlived occupation and still remain under direct threat - a number of neighboring villages have been shelled just while we were scanning churches in Syniavka and Stepanivka. The project is ongoing as we are writing this abstract, and another 25 churches are waiting for their turn.




3D scanning together with photogrammetric surveying is one way to give these churches a chance. It allows us to record very accurately, get the maximum data in the shortest time, explore later and safe structures in detail with the understanding of colors and textures. This is valuable in case of damage or loss of a heritage building. This project is also the first stone laid for further thorough study of Ukrainian wooden churches. Unlike the western region of the country, most of the churches in question happened to be in use of the Russian Orthodox Church, due to the complexity of the Ukrainian situation, which made them inaccessible for Ukrainian scientists and architects. The last time these churches were explored as the phenomenon of Ukrainian wooden architecture was in the 1920s by the famous Ukrainian art historian and professor Stefan Taranushenko.
Speakers
IB

Ihor Bokalo

Associate Professor, Lviv Polytechnic National University
Ihor Bokalo began his career as an architect in 2002. In 2010, he defended his PhD thesis, Architecture of the Lost Churches in the City of Lviv. Since then, he has been working as an Associate Professor at the Department of Architecture and Conservation at Lviv Polytechnic National... Read More →
avatar for Mariana Kaplinska

Mariana Kaplinska

Associate Professor, Lviv Polytechnic National University
Mariana Kaplinska has been working as an architect since 2008 at a number of companies and later as an individual entrepreneur. In 2016, defended her PhD thesis - The Principles of Regeneration for the Market Squares in the Historic Towns and Cities of the Western Region of Ukraine.She... Read More →
Authors
IB

Ihor Bokalo

Associate Professor, Lviv Polytechnic National University
Ihor Bokalo began his career as an architect in 2002. In 2010, he defended his PhD thesis, Architecture of the Lost Churches in the City of Lviv. Since then, he has been working as an Associate Professor at the Department of Architecture and Conservation at Lviv Polytechnic National... Read More →
avatar for Mariana Kaplinska

Mariana Kaplinska

Associate Professor, Lviv Polytechnic National University
Mariana Kaplinska has been working as an architect since 2008 at a number of companies and later as an individual entrepreneur. In 2016, defended her PhD thesis - The Principles of Regeneration for the Market Squares in the Historic Towns and Cities of the Western Region of Ukraine.She... Read More →
Friday May 30, 2025 3:00pm - 3:30pm CDT
Hyatt Regency Minneapolis

3:00pm CDT

(Leading the Way: Conservation Strategies in Museum Redevelopment) Hundreds of objects, very few of us: treatment, prioritization, and teamwork during the Yale Peabody Museum renovation
Friday May 30, 2025 3:00pm - 3:30pm CDT
On October 10th, 2019, at 8:30am, I started my job as Natural History Conservator at the Yale Peabody Museum. That same day at 11 o’clock, I had a meeting on how to protect the Age of Reptiles and Age of Mammals murals by Rudolph Zallinger during construction. This need for conservation knowledge and expertise continued for the remainder of the project, which ended in the spring of 2024 with the reopening of the entire museum after four years of closure.

Work during construction involved liaising with construction workers, architects, and engineers, as well as with museum leadership and colleagues. The conservation staff consisted of only me and one fellow initially focused on moving collections (and later on, on treatment of Anthropology objects). Partnerships with other departments that were not able to carry out their normal duties due to the pandemic, as well as with museum assistants made the work manageable and delegation of tasks possible. During this time, my lab at the museum was demolished and I had to move all my operations to the Shared Conservation Lab at Yale’s West Campus, as well as to a small museum classroom that was not to be renovated until the new Conservation triage space was to be built. In addition, object lists were being completed and exhibit layouts were being held by Exhibits with curators and collection managers, and me.

In 2022, I was asked a crucial question: what do you need? Being alone at the time, I answered: interns. In November of that year, the museum hired for the first time two pre-program interns for one year (positions that were later on extended). Their job was to be trained in the treatment of objects and specimens, to work on their portfolios, to have the experience of being in a renovation, and to learn what it is like to work in a museum. With my team in place, we started the impossible task of condition reporting and treating hundreds to thousands of objects and specimens with ever-changing object lists and gallery priorities.

This renovation taught me many things. As a colleague, it taught me to anticipate the needs of others. As a liaison, it taught me to speak in many other languages to get points across and to make those working with me get a sense of belonging. As a manager, it taught me that the more involved my team is in every aspect of the project, the more they will understand the bigger picture. As a mentor, it taught me to prioritize the education of the interns over the goals of the project. As a conservator, it taught me that you can always do more, but you have to learn to stop.

The Yale Peabody Museum reopened its doors in the spring of 2024 with a newly renovated museum. Conservation was involved early enough in planning but being new, I had to build trust with every person at the museum. To this day, I continue to work on this.
Speakers
avatar for Mariana Di Giacomo

Mariana Di Giacomo

Natural History Conservator, Yale Peabody Museum
Mariana Di Giacomo is the Natural History Conservator at the Yale Peabody Museum and recently finished her three-year tenure as Chair of the Conservation at Yale Steering Committee, where she still serves. Prior to coming to Yale, she spent three years as a Conservation Fellow at... Read More →
Authors
avatar for Mariana Di Giacomo

Mariana Di Giacomo

Natural History Conservator, Yale Peabody Museum
Mariana Di Giacomo is the Natural History Conservator at the Yale Peabody Museum and recently finished her three-year tenure as Chair of the Conservation at Yale Steering Committee, where she still serves. Prior to coming to Yale, she spent three years as a Conservation Fellow at... Read More →
Friday May 30, 2025 3:00pm - 3:30pm CDT
Hyatt Regency Minneapolis

3:00pm CDT

(Lighting the Way: Museum Illumination Policies and MIcroFade Testing) Illuminating Acceptable Change: Collaborative, Data-Driven Lighting Guidelines
Friday May 30, 2025 3:00pm - 3:30pm CDT
The stewardship and exhibition of cultural heritage collections demands careful balance between preservation, institutional mandates, and visitor experience. Conservators and curators at the Colonial Williamsburg Foundation (CWF) have been refining tools and techniques for managing light exposure while navigating a range of factors that have impacted methods of implementation – creating challenges and providing new avenues for thinking about how our actions impact the collections in our care. Four of these factors will be discussed – institutional priorities, improvements to data collection and interpretation, impact on staff, and the role of visitors – with a brief discussion of future plans.   

With 35 galleries across two museums and limited staff, curators and conservators are regularly asked to extend exhibition periods beyond originally scheduled end dates. Institutional habits and staff resource availability have been the driving factor for exhibition decision making. The conservation team has increased efforts to incorporate data into exhibition planning conversations by tracking light exposure levels and durations for motion-activated lighting and measuring light-induced change through spectrophotometry.  These documentation activities are incorporated into long-standing exhibition practices. We are now able to introduce exhibit light budgets, based on this data, with a corresponding review triggered when the budget is near exhaustion. The predictive data from microfade testing is expected to further inform light budgets.   

Pressures to extend exhibition durations of sensitive media have a direct impact on staff. They express concerns about knowingly inducing significant change in collections. This has required a reframing of the language used to describe the impact of our exhibition policies, shifting from “damage” to “change”. Longer exhibition durations yield reduced opportunities for curatorial research and writing exhibitions. Collaborative conversations about exhibition lengths, initially framed around light levels and sensitivity of artifacts, have become a platform to advocate for limiting exhibition durations based on CWF’s mission as an educational institution and our preference to rotate objects or curate new exhibitions regardless of sensitivity of the media. Lack of long-term planning impacts how collections are treated. The perception of staff time being inordinately usurped by maintenance of light-sensitive media overrides consideration for the sensitivities of other object types like paintings and furniture on display in exhibitions not officially described as permanent.  

Historically, the visitor’s role in exhibition decisions has been based on assumptions. Staff now collect data on the use of light dosage limiting efforts, like motion activated or push button lighting, to better understand how visitors interact with exhibition spaces with low light levels. A new emphasis on visitor surveys provides valuable information to help us understand our visitors and their perceptions and preferences.   

The development of these policies is ongoing, with an eye toward addressing objects that have been on display for long periods of time. Bringing these discussions to the forefront makes us more collaborative in implementing decisions that balance preservation and access.
Speakers
avatar for Patricia Silence

Patricia Silence

Director of Preventive Conservation, The Colonial Williamsburg Foundation
Patricia Silence (she/her) joined the Colonial Williamsburg Foundation as a preventive conservator, following a 15-year career in textiles and objects conservation. She has worked at CWF for 25 years and is currently the Director of Conservation Operations. The conservation department... Read More →
Authors
avatar for Gretchen Guidess

Gretchen Guidess

Senior Conservator, Textiles, The Colonial Williamsburg Foundation
GRETCHEN GUIDESS (she/her) is the Conservator of Textiles for the Colonial Williamsburg Foundation. She was the Associate Conservator of Objects & Textiles at the Williamstown Art Conservation Center in Williamstown, MA. She graduated from the University of Connecticut with a B.A... Read More →
avatar for Jacquelyn Peterson-Grace

Jacquelyn Peterson-Grace

Associate Textile Conservator, The Colonial Williamsburg Foundation
Jacquelyn Peterson-Grace (she/her) is the associate conservator of textiles at The Colonial Williamsburg Foundation. She holds a BSc in conservation studies from Marist College and an MSc from the Winterthur/University of Delaware Program in Art Conservation with concentrations in... Read More →
JG

Jan Gilliam

Manager of Exhibition Planning and Associate Curator of Toys, The Colonial Williamsburg Foundation
Jan Gilliam is the Manager of Exhibition Planning and Associate Curator of Toys at the Colonial Williamsburg Foundation. In her over 35 years at the Foundation, she has managed the furnishing and interpretation of historic interiors in the Historic Area buildings before taking on... Read More →
KM

Kelly McCauley

Preventive Conservator, The Colonial Williamsburg Foundation
Kelly McCauley (she/her) is the Preventive Conservator at the Colonial Williamsburg Foundation, and Chair Emeritus of the Preventive Care Network. Following graduation from the Winterthur/University of Delaware Program in Art Conservation, she worked for seven years as a preventive... Read More →
avatar for Michelle Leung

Michelle Leung

Textiles Intern, Colonial Williamsburg Foundation
Michelle Leung graduated from the University of Rhode Island in 2023 with a MS in Textiles, Fashion Merchandising and Design with a specialization in Historic Fashion and Textiles, Textile Conservation, and Cultural Analysis. Her thesis work is on Solvent Gels for Textile Conservation... Read More →
avatar for Neal Hurst

Neal Hurst

Curator of Textiles and Historic Dress, The Colonial Williamsburg Foundation
Neal Hurst is the Curator of Textiles and Historic Dress at the Colonial Williamsburg Foundation.  He received his B.A. in history from the College of William and Mary and his M.A. from the Winterthur Program in American Material Culture at the University of Delaware.  He served... Read More →
avatar for Patricia Silence

Patricia Silence

Director of Preventive Conservation, The Colonial Williamsburg Foundation
Patricia Silence (she/her) joined the Colonial Williamsburg Foundation as a preventive conservator, following a 15-year career in textiles and objects conservation. She has worked at CWF for 25 years and is currently the Director of Conservation Operations. The conservation department... Read More →
avatar for Perrine LeSaux

Perrine LeSaux

Assistant Paper Conservator, The Colonial Williamsburg Foundation
Perrine LeSaux (she/her) is the assistant paper conservator at the Colonial Williamsburg Foundation. She received a BFA in Illustration from University of Hartford and her MA and Certificate of Advanced Study from the Garman Art Conservation Program at Buffalo State University. Before... Read More →
Friday May 30, 2025 3:00pm - 3:30pm CDT
Hyatt Regency Minneapolis

3:10pm CDT

(We’re All in This Together: Conservation Outreach and Community Engagement) (Un)Concealed Layers: design + public reception of a technical analysis exhibition
Friday May 30, 2025 3:10pm - 3:20pm CDT
People of all ages dream of superpowers that allow them to play doctor with X-ray vision, detective with ultraviolet lights, or artist with powdered pigments. The exhibition Concealed Layers: Uncovering Expressionist Paintings invited audiences to share in these roles through the process of technical imaging and analysis. This project highlighted new discoveries made during a three-year study of the Saint Louis Art Museum’s world-class collection of German Expressionist paintings. The two-gallery show explored eleven paintings through methods ranging from physical examination to diagnostic imaging with radiography, infrared, and ultraviolet light–all designed to help identify the artist’s materials and techniques. Developed by a conservation-curatorial team, this research was then embraced by departments across the museum (e.g. learning and engagement, design, digital interpretation, marketing, development, and information technology) to create an experimental, education-focused exhibition with “behind-the-scenes” sneak peeks. Originally set to run from March until August 2024, the exhibition dates were extended through that October to capitalize on the fruitful STEAM opportunities.  

This presentation will take a candid approach to sharing how Concealed Layers matured from concept to installation–challenges, triumphs, and missteps included. Full immersion into the science-laden world of technical analysis, a new venture for the museum, demanded expansion of its interpretative strategies. What are the most effective ways to display an internal layer of a painting, hidden to the naked eye? Internal debates tackled everything from cost efficiency to display safety (e.g. is an X-ray emitting device perceived as safe?). Shared goals danced between engaging multigenerational visitors with artists’ techniques and materials without overwhelming them with dense science lessons. Colleagues in digital assets developed interactive content for media consoles plus evergreen web content, and educators flexed STEAM outreach programming (K-12 plus universities). The exhibition occupied two galleries that are typically installed with the permanent, non-rotating collection and intersected with multiple doorways. Therefore, the museum used trackers to measure “hot zones” to map preferred pathways as visitors navigated the space. Additionally, summer interns in education conducted comprehensive visitor interaction surveys of the exhibition. Their collective data on visitor engagement has offered invaluable encouragement of successes and, critically, areas for improvement. 

Conservation-based content is not always easy for museum professionals to display. Concerns surrounding appropriate content (i.e. image rights, oversharing of condition concerns, etcetera) is often uncomfortable for stakeholders, and museum educators still face apprehension of didactic interpretation that is, by nature, science dense. Sharing a transparent view of an exhibition’s variable triumphs and challenges in educational programming and public reception may promote traction for similar projects.
Speakers
avatar for Courtney Books

Courtney Books

Paintings Conservator
Courtney June Books is a private paintings conservator based in St. Louis. She currently serves on the editorial board of the open-sourced, peer-reviewed publication Materia: Journal of Technical Art History and on the AIC-PSG nominating committee. Courtney holds a M.A. in Art Conservation... Read More →
Authors
avatar for Courtney Books

Courtney Books

Paintings Conservator
Courtney June Books is a private paintings conservator based in St. Louis. She currently serves on the editorial board of the open-sourced, peer-reviewed publication Materia: Journal of Technical Art History and on the AIC-PSG nominating committee. Courtney holds a M.A. in Art Conservation... Read More →
Friday May 30, 2025 3:10pm - 3:20pm CDT
Hyatt Regency Minneapolis

3:15pm CDT

(Collaboration in Conservation Education) Enhancing Diversity in Conservation through Collaboration at the World’s Largest Consortium of HBCUs
Friday May 30, 2025 3:15pm - 3:30pm CDT
The collaboration between the Institute of Museum and Library Services (IMLS), Spelman

College Museum of Fine Art, and the Atlanta University Center (AUC) Collective represents a

significant initiative to enhance diversity in the conservation field. This partnership aims to

provide collections care exposure, education, and pipeline opportunities for students from the

AUC, which includes Spelman College, Clark Atlanta University, and Morehouse College. As

part of the world’s largest consortium of historically Black institutions, this collaboration

leverages the AUC Art History and Curatorial Studies Collective, an emerging leader in

nurturing Black art historians, curators, and museum professionals. As an active educational

partner of the AUC Collective and the only museum in the nation with a mission focused on

women artists of the African diaspora, the Spelman Museum is uniquely poised to respond to

calls for social and racial justice impacting the museum industry.




Through a $500,000 IMLS grant, the Spelman Museum focuses on advancing collections care,

accessibility, and diversity. The project emphasizes educational programs and student

participation, offering work-study and internship opportunities to foster hands-on experience in

conservation while digitization and organization of the museum's collection, which comprises a

nationally recognized repository of works by Black artists.




The initiative also explores integrating conservation into the AUC Collective curriculum,

offering workshops and exploring various training modules. This collaboration aims to make

significant strides in diversifying the field of conservation and enhancing the cultural vitality of

the museum industry.




Keywords: Diversity, Conservation, Education, Collaboration, Atlanta University Center,

Spelman College, Collections Care, Museum Studies, AUC Collective
Speakers
avatar for Shannon Kimbro

Shannon Kimbro

Museum Collections Manager, Spelman College Museum of Fine Art
Shannon Douglas Kimbro joined Spelman College Museum of Fine Art as the inaugural Museum Collections Manager in September of 2022, after over a decade of working as a conservator in both the private and public sectors. Shannon spent several years as the Painting Conservator and later... Read More →
Authors
avatar for Shannon Kimbro

Shannon Kimbro

Museum Collections Manager, Spelman College Museum of Fine Art
Shannon Douglas Kimbro joined Spelman College Museum of Fine Art as the inaugural Museum Collections Manager in September of 2022, after over a decade of working as a conservator in both the private and public sectors. Shannon spent several years as the Painting Conservator and later... Read More →
avatar for Tempe Stewart

Tempe Stewart

Roy Lichtenstein Post-Baccalaureate Fellow in Museum Professions, Midwest Art Conservation Center
I am Tempe Stewart. I was born and raised in Atlanta, Georgia, and I am a recent AUC Art History and Curatorial Studies Collective graduate from Spelman College. I currently serve as the Government and Foundations Fellow at the High Museum of Atlanta, with my next appointment being... Read More →
Friday May 30, 2025 3:15pm - 3:30pm CDT
Hyatt Regency Minneapolis

3:30pm CDT

4:00pm CDT

(Elements of Effective Collaboration) Introduction and Sponsor Remarks by Click Netherfield
Friday May 30, 2025 4:00pm - 4:10pm CDT
Sponsors
avatar for Click Netherfield

Click Netherfield

We are Click Netherfield, global museum showcase experts with over 50 years experience working with institutions and communities from Royal Families and National Institutions, to Independent Galleries & Private Collectors. With roots in Scottish soil, and North American operations... Read More →
Friday May 30, 2025 4:00pm - 4:10pm CDT
Hyatt Regency Minneapolis

4:00pm CDT

4:00pm CDT

4:00pm CDT

4:00pm CDT

(Documenting Reactivations: Between Materials & Sensory Experiences and Interactions) Jordan Wolfson's Body Sculpture: Transferring skills and documenting robots at the National Gallery of Australia.
Friday May 30, 2025 4:00pm - 4:20pm CDT
In 2019-2024, The National Gallery of Australia (NGA) commissioned, exhibited and acquired the artwork Body Sculpture by provocative American artist Jordan Wolfson. Body Sculpture utilizes an industrial robot suspended from a gantry, and a metal animatronic cube form with arms and hands.  Across choreographed phases, the cube performs humanistic behaviors and emotional states: drumming its surface with its hands, being swung and beaten whilst suspended by a chain from the ABB robot, simulating states of playfulness, sexuality, shame, rage and death.  

The technical complexity of the artwork is unparalleled in the NGA’s collecting history. The production of the artwork included Jordan Wolfson Studio collaborating with diverse specialists including choreographers, highly specialized roboticists, software engineers and structural engineers. The extended production phase of the artwork in the US, meant limited access from Australia, and ongoing technical refinements extended beyond the exhibition opening due to both the complex nature of the work and the ongoing artist investment.  

Meeting Australian robotic safety standards, digital security requirements and battery safety regulations were managed in a variety of ways: including contracting a robotic safety robustness report and developing a risk management framework to distribute responsibilities between risk stewards, ensuring ongoing responsibility for public and artwork safety. 

The specialized knowledge required to build the artwork means that critical knowledge of technical properties is distributed between a network of specialists, holding at times proprietary knowledge and resulting in a reliance on contractors. Acquiring Body Sculpture required transfer of a basic level of operational knowledge to the museum, and this was transferred particularly when the 4 person US led technical team moved to an entirely local team, with online support as needed.  

The documentation of operational and maintenance skills was undertaken by technicians and conservators and included extensive manual review and development, the production of facsimile components for future training purposes, video documentation, maintenance logs, performance statistics and iteration specific documentation. The documentation requirements essential for transferring this operational knowledge challenged NGAs internal document management processes. This prompted development of new processes across departments to manage the scope and complexity of produced documentation, leading to the development of a centralized document management system for complex artworks.

Body Sculpture exists at the intersection of materiality and the technological cutting edge. Decisions made during commissioning and exhibition of the work resulted in the ongoing development and evolution of the performative outcome. It is inevitable as technology changes and evolves, so too will the realization of this work. Central to ensuring its continued success is a robust yet flexible documentation approach. Throughout this presentation the authors reflect on the ongoing challenge of ensuring future transfer of knowledge from disparate subject matter experts, operation technicians and internal stakeholders. The role of the conservator throughout this process is discussed, as well as reflections on the realities of relinquishing control over the direct material outcome of the work and instead locating oneself in a stepped back role of mapping and maintaining the interconnecting relationships between disparate subject experts whose experiences combined actualize the work.
Speakers
avatar for Paul Coleman

Paul Coleman

Time Based Media Conservator, National Gallery of Australia
Paul is a Time-Based Media conservator working at the National Gallery of Australia. Paul is interested in preserving methods, techniques and processes with a particular focus on early digital technologies. Paul has held previous roles at Queensland Museum, Brisbane, Australia, and... Read More →
Authors
avatar for Melanie Barrett

Melanie Barrett

Senior Objects Conservator, National Gallery of Australia
avatar for Paul Coleman

Paul Coleman

Time Based Media Conservator, National Gallery of Australia
Paul is a Time-Based Media conservator working at the National Gallery of Australia. Paul is interested in preserving methods, techniques and processes with a particular focus on early digital technologies. Paul has held previous roles at Queensland Museum, Brisbane, Australia, and... Read More →
Friday May 30, 2025 4:00pm - 4:20pm CDT
Hyatt Regency Minneapolis

4:00pm CDT

(Context-Based Practice: Conservation Field Services) Embedding Community Conservators in Public Libraries: Conservation as a Public Service
Friday May 30, 2025 4:00pm - 4:25pm CDT
Embedding Community Conservators in Public Libraries: Conservation as a Public Service is a new program being launched by the presenters. Community conservators will be library employees empowered by the remit to provide free, readily available, and in-person preservation services to individuals, groups, and institutions that don’t have the capacity to hire conservators and/or wish to be more hands-on in the care of their collections. They will:

* offer individual and group consultations on the care of personal and institutional items that can be transported to the library

* make “house” calls to provide guidance regarding the care of entire collections and objects that cannot be moved to the library

* offer disaster preparedness and response training, and guidance during disaster recovery

* hold workshops to teach material treatment skills and storage techniques to people of all ages, in the form of single workshops, series, summer camps and more

* provide open studio time when individuals and groups can work on conserving their objects with assistance from the community conservator

* facilitate events and discussions centered around the celebration of and/or mourning the loss of cultural heritage



This project builds on programs and workshops the project directors have already run, and a wide variety of work carried out by regional centers, field services programs, statewide heritage organizations and others. Our program will take the exciting, and as yet uncharted, path to providing the free exchange of knowledge and skills the public needs to preserve their personal and community cultural heritage, out of the heritage institution setting and into public libraries. 




Personal scrapbooks, quilts, photographs, journals, painted murals on the building next door, art in a local restaurant, archives of local religious institutions and historical societies and community organization are important to people and play crucial roles in maintaining a sense of identity, developing a sense of belonging, and acknowledging individual and collective cultural value. When people preserve these things they are uplifted and empowered, and their social well-being improves. 




Conservators hold valuable, specialized knowledge about the care and repair of cultural heritage and disaster preparedness and response that can help preserve these things. Accessing this knowledge outside the institutions and art galleries that typically employ these conservators is challenging, due primarily to cost and availability barriers, but also societal prioritization. Institutional structures and systems in the United States are more commonly organized to place conservators in cultural institutions and prestigious art galleries, responsible for the care and preservation of collections they hold. Many have tried to overcome these barriers by providing free conservation consultations to members of the public and hosting conservation resources on institutional websites, but this is resource intensive and hard to maintain. 




The community conservator project has a vision to launch programs in public libraries across the country in order to establish conservation as an accessible public service. It will also build new training paths for people to become community conservators, creating a new sector of the field for practitioners.
Speakers
avatar for Joelle Wickens

Joelle Wickens

Assistant Professor of Preventive Conservation, University of Delaware
Dr. Joelle Wickens is Assistant Professor of preventive conservation in the Department of Art Conservation at the University of Delaware. Her current work in preventive conservation is dedicated to evolving the practice of the specialty to place social, economic, and environmental... Read More →
Authors
avatar for Anisha Gupta

Anisha Gupta

PhD Researcher, University of Delaware
Anisha Gupta is a cultural heritage conservator, educator, and doctoral candidate at the University of Delaware. Her research is centered on community-driven conservation, where she studies the conservation needs and priorities of everyday people and community groups. Her goal is... Read More →
avatar for Joelle Wickens

Joelle Wickens

Assistant Professor of Preventive Conservation, University of Delaware
Dr. Joelle Wickens is Assistant Professor of preventive conservation in the Department of Art Conservation at the University of Delaware. Her current work in preventive conservation is dedicated to evolving the practice of the specialty to place social, economic, and environmental... Read More →
Friday May 30, 2025 4:00pm - 4:25pm CDT
Hyatt Regency Minneapolis

4:05pm CDT

(Inside Out: Rewriting the Power Dynamics in Conservation) NEW Conservation Leadership Program with a Foundation in Cultural Equity
Friday May 30, 2025 4:05pm - 4:20pm CDT
The field of cultural heritage is experiencing a profound reckoning regarding whose culture is preserved and why, while also addressing the existential threat posed by the climate crisis. Facing these challenges requires leadership skills to navigate the tensions between the histories we inherited, current field needs, and uncertain futures–no leadership training program currently exists that directly speaks to the work we do. Our collective, comprising national, regional, institutional, and independent partners is laying the groundwork for a pilot program. This session previews the earliest stages of building with opportunities to get involved in the future.

Imagine, what could conservation leadership training for our field look like? What are the characteristics of great leaders? What does it mean to lead with a foundation of cultural equity? And why does this matter? We are shaping space for a national Summit (Washington, DC 2025) with panels and working group sessions to address these questions and collectively form building blocks of a NEW Conservation Leadership Program with a foundation in cultural equity (pilot 2026). We need your imagination and action.

Americans for the Arts defines cultural equity as "Embodying the values, policies, and practices that ensure that all people — including but not limited to those who have been historically underrepresented based on race/ethnicity, age, disability, sexual orientation, gender, gender identity, socioeconomic status, geography, citizenship status, or religion — are represented” in the development of policy and fair distribution of programmatic, financial, and informational resources. Despite significant efforts to diversify the conservation field, the demographics in 2022 are still 80% white and 76% female (Mellon Foundation, Art Museum Staff Demographic Survey). Such a concentration of power and resources is contrary to cultural equity.

This matters because our decisions regarding collections are not theoretical. Our training, to preserve cultural heritage (artifacts), which focuses on “maintaining in an original or existing state” has also preserved systems of structural racism. Conservators require capacity building skills to facilitate cultural equity in our roles preserving history. Efforts to diversify the field will fail without creating conditions for inclusive cultures of belonging and attentiveness to the six conditions of systems change: policies, practices, resource flows, relationships & connections, power dynamics, and mental models (belief systems). 

This work is for leaders, no matter what age or positional authority, who want to further their skills within their community and organization.The Summit and subsequent Conservation Leadership Program focuses on conservators and allied professionals who have identified a need to shift the field and desire to be part of the collaborative efforts that impact systems change. Is this you?

Leadership takes many forms: management positions, organizational advocacy, committee work, and self-leadership (by example). The goal of this collaboration is to shift the field of cultural heritage preservation at a national level towards radical inclusion and cultural equity; thus ensuring the legacies of many instead of a few and catalyzing responsive succession planning. This four-year project, a first of its kind, offers a platform for dialogue and direction at a critical juncture in the field's evolution.
Speakers
avatar for Sarah Kleiner

Sarah Kleiner

Founder and Lead Consultant, Living Histories Expansion Project
Sarah Kleiner is the Founder and Lead Consultant of the Living Histories Expansion Project (LH//EP) based in San Francisco, CA. The firm focuses on shifting the practice of art conservation to include anti-racism at its foundation alongside the field’s traditional tenets of art... Read More →
Authors
avatar for Amber Kerr

Amber Kerr

Head of Conservation, Smithsonian American Art Museum
Amber Kerr received her BA from Virginia Commonwealth University and her MS from the Winterthur/University of Delaware Program in Art Conservation. She is Head of Conservation and Senior Paintings Conservator for the Smithsonian American Art Museum at the Lunder Conservation Center... Read More →
avatar for Anisha Gupta

Anisha Gupta

PhD Researcher, University of Delaware
Anisha Gupta is a cultural heritage conservator, educator, and doctoral candidate at the University of Delaware. Her research is centered on community-driven conservation, where she studies the conservation needs and priorities of everyday people and community groups. Her goal is... Read More →
JM

Jen Mayer

Founder & Principal, Becoming Better Together
Jen Mayer is the Founder & Principal of Becoming Better Together, LLC, a consulting collective focusing on delivering research-based and practical expertise clients need, when they need it. Mayer’s work focuses on helping leaders work from their collective wisdom while building... Read More →
avatar for Leticia Gomez Franco

Leticia Gomez Franco

Executive Director, Balboa Art Conservation Center
Leticia Gomez Franco (she/her/hers) is the Executive Director of the Balboa Art Conservation Center in San Diego, CA. Her work is rooted in the intersection of culture, representation and social justice, all values that play a role in her position at BACC where she is leading the... Read More →
avatar for Lissa Rosenthal-Yoffe

Lissa Rosenthal-Yoffe

Executive Director, Foundation for Advancement in Conservation
Lissa Rosenthal-Yoffe is Executive Director of AIC and FAIC. Her extensive nonprofit leadership experience is primarily in service to the arts and culture sector focused on development, coalition building, membership service, advocacy, and communications and marketing. Lissa has worked... Read More →
avatar for Sarah Kleiner

Sarah Kleiner

Founder and Lead Consultant, Living Histories Expansion Project
Sarah Kleiner is the Founder and Lead Consultant of the Living Histories Expansion Project (LH//EP) based in San Francisco, CA. The firm focuses on shifting the practice of art conservation to include anti-racism at its foundation alongside the field’s traditional tenets of art... Read More →
Friday May 30, 2025 4:05pm - 4:20pm CDT
Hyatt Regency Minneapolis

4:10pm CDT

(Elements of Effective Collaboration) A Focused and Critical Look at Collaborative Relationships at the National Museum of the American Indian
Friday May 30, 2025 4:10pm - 4:25pm CDT
The conservation team at the National Museum of the American Indian strives to implement the Museum’s mission of service and partnership with its Native and Indigenous constituency, while acknowledging that we are continually learning how to effectively collaborate. The opening session presentation, given by our Head of Conservation, discussed in a broader sense the effective elements of collaboration learned over the years at the NMAI. It relayed how the spirit of collaboration, necessitates  operating in service to the collective goal, prioritizing the group’s objectives over individual agendas. Trust serves as the foundation for any collaborative endeavor and is built on consistent and transparent communication, reliability, and mutual respect. Humility, equitable power dynamic among all stakeholders, as well as truth recognition and an understanding of historical facts and present realities are essential. Power dynamics play a significant role in collaboration, balancing power among stakeholders ensures equitable participation. Access to relevant resources and open information sharing ensures well-informed decision making. Commitment follow-through and continuity are critical to maintaining trust, demonstrating reliability and sustainability supporting long-term impact. Preserving what is valued identifies and safeguards core principles, traditions, and goals essential to the collective identity and purpose of the collaboration.  

The NMAI has a long history of working with Indigenous communities and institutions throughout the Americas. Each engagement and partnership are unique with its own hurdles, successes and failures. During this presentation, we will take a closer look at our current, long-term collaborations and critically review their efficacies and frustrations. Through honest discussions with several current partners and colleagues, we hope to offer lessons learned that will contribute to and inform the larger goal of effective collaboration within our conservation community. While our partners will participate during the talk through prerecorded videos to respect their time and community commitments – acknowledging the difficulties attending the conference in person – we would like to offer a Q&A session with our colleagues remotely listening in following this talk.
Speakers
avatar for Beth Holford

Beth Holford

Objects Conservator, National Museum of the American Indian
Beth is an objects conservator at the National Museum of the American Indian. Previously, she was owner and principal conservator for Holford Objects Conservation, LLC and worked as an assistant objects conservator for the Museums of New Mexico in Santa Fe. Beth received a MS in art... Read More →
avatar for Caitlin Mahony

Caitlin Mahony

Objects Conservator, National Museum of the American Indian
Caitlin Mahony is an objects conservator at the National Museum of the American Indian. She is a graduate of the UCLA Getty Program in the Conservation of Archaeological and Ethnographic Materials. Some of her interests include historic and contemporary basketry, care of outdoor sculptures... Read More →
Authors
avatar for Beth Holford

Beth Holford

Objects Conservator, National Museum of the American Indian
Beth is an objects conservator at the National Museum of the American Indian. Previously, she was owner and principal conservator for Holford Objects Conservation, LLC and worked as an assistant objects conservator for the Museums of New Mexico in Santa Fe. Beth received a MS in art... Read More →
avatar for Caitlin Mahony

Caitlin Mahony

Objects Conservator, National Museum of the American Indian
Caitlin Mahony is an objects conservator at the National Museum of the American Indian. She is a graduate of the UCLA Getty Program in the Conservation of Archaeological and Ethnographic Materials. Some of her interests include historic and contemporary basketry, care of outdoor sculptures... Read More →
Friday May 30, 2025 4:10pm - 4:25pm CDT
Hyatt Regency Minneapolis

4:12pm CDT

(Digitization and Open Access to Conservation Research and Technical Images) Publishing Technical Material on a Museum Website: The Early Netherlandish Paintings at The Met as a Case Study
Friday May 30, 2025 4:12pm - 4:30pm CDT
The technical study of art, a valuable and rich field, is at its most effective when projects follow a collaborative approach.  Studies are frequently enhanced by and even dependent upon comparative data, whether this be underdrawings in Infrared Reflectograms, the scientific analysis of materials, or observations about the stratigraphy of paint layers.  However, obtaining such material is not always possible, and often reliant on the willingness of institutions to share information.  Recent initiatives by some museums and cultural institutions to make technical material accessible to both the scholarly and the general public in a digital form are very encouraging.  The publication of online catalogue entries of Early Netherlandish Paintings in The Metropolitan Museum of Art, which include technical images and reports, is one such example.

In 2014 Keith Christiansen, Chairman of the Department of European Paintings, Maryan Ainsworth, Curator in European Paintings, and Michael Gallagher, Chairman of the Department of Paintings Conservation, initiated a project to expedite publication of an online catalogue of the Early Netherlandish collection by incorporating entries into the pre-existing object pages on the website.  In addition to updated art historical research (including provenance and bibliographical references), the online catalogue entries include detailed technical descriptions and materials analysis, as well as technical images.  Significant analytical support for this project was provided by Marco Leona, Scientist in Charge of the Department of Scientific Research, Research Scientists Silvia Centeno, and Federico Caró.  This initiative has made been possible by the support of Hester Diamond and the Slifka Foundation.  

Donor funding supported the time of one conservator, Sophie Scully, who works in collaboration with Maryan Ainsworth, curatorial Fellows, and curatorial department administrative and research staff.  Content of the texts is similar in scholarship and detail to that of a traditional print catalogue, including footnotes, references, and captions.  Since 2017, all images of public-domain artworks in The Met collection can be downloaded from the website at full resolution.  This enables us to efficiently share high resolution technical images for each entry.  The publication of the entries is being accomplished in a rolling manner, as completed and, as the website format is flexible, it allows updates to be done immediately and efficiently.  

Institutions seeking to digitize technical material are each operating in their own unique landscape with different aims, resources, and constraints, hence this undertaking at the Met is not offered as a blueprint but a case study.  Outlining some of the advantages of this project as well as the practical considerations might help others seeking to launch such initiatives and to stimulate discussion.  The digital publication of technical material and scholarship online has incredible potential: it could lessen barriers to accessing and sharing material and collapse the distance between far-flung works of art and scholars.  But there are some challenges, and as this is a critical moment for these relatively new initiatives, we wish to share our experiences and ideas.
Speakers
avatar for Sophie Scully

Sophie Scully

Associate Conservator, The Metropolitan Museum of Art
Sophie Scully is an Associate Conservator in the Department of Paintings Conservation at The Metropolitan Museum of Art. She has worked in the department since 2012 as a graduate intern, an Annette de la Renta fellow, and a Research Scholar, and was appointed to the staff in 2016... Read More →
Authors
avatar for Sophie Scully

Sophie Scully

Associate Conservator, The Metropolitan Museum of Art
Sophie Scully is an Associate Conservator in the Department of Paintings Conservation at The Metropolitan Museum of Art. She has worked in the department since 2012 as a graduate intern, an Annette de la Renta fellow, and a Research Scholar, and was appointed to the staff in 2016... Read More →
Friday May 30, 2025 4:12pm - 4:30pm CDT
Hyatt Regency Minneapolis

4:15pm CDT

(Prioritizing People Over Objects: Re-imagining Conservation Ethics) Darning the Wear of Time in the 21st Century: Redefining the Art Historical Narrative and the Role of the Textile Conservator
Friday May 30, 2025 4:15pm - 4:30pm CDT
As museums across the country are redefining and diversifying their collections, curators and conservators are increasingly seeking new approaches to forging cultural relationships and community building aiming to decentralize Western perspectives and foreground Indigenous and community voices. Much like textiles, Indigenous or community-centered cultural materials have been marginalized, undervalued, and misrepresented within museum collections and the broader art historical narrative. Textiles are often deeply embedded in sacred spaces and communal practices, serving as repositories of spirituality, identity, and memory. These parallels position textile conservators to approach cultural collaboration with a unique understanding, compassion, and respect that can influence the wider conservation practices.  

Traditional museum practices present that the care of an object is commonly predicated on its “value and significance” in the greater art historical narrative. This approach requires a fundamental shift when considering community-centered cultural material, where significance is deeply tied to cultural and spiritual identity. Such a transformation involves not only revising traditional conservation methodologies but also rethinking institutional language and everyday interactions with these objects. Therefore, fostering a deeper connection with communities that created these artworks is essential to long-term preservation strategies. 

Textile conservators, through their specialized skills and historical perspective, are uniquely equipped to lead institutions in integrating Indigenous knowledge and perspectives into conservation and museum practices. By foregrounding cultural knowledge keepers as experts and decolonizing institutional language and procedures, textile conservators can help ensure that the conservation efforts respect and honor cultural practice. This includes recognizing contributions of the “nameless” artists or “Once Known Weavers” and “Once Known Artists”, whose historical significance has been obscured over time.  

This presentation explores the distinct role of textile conservators in fostering community relationships and reshaping institutional practices. It argues that textile conservation, with its long history of collaboration and sensitivity to cultural context, offers broader lessons for the conservation profession as a whole. By embracing cultural perspectives and incorporating them into conservation protocols, textile conservators can help museums establish deeper connections with communities and create more inclusive narratives. 

Drawing on examples from the work being undertaken at the Toledo Museum of Art, this presentation will demonstrate how these strategies are being implemented to build meaningful connections with Indigenous communities. Through collaborative efforts, we are amplifying community voices, enhancing transparency, and creating a greater sense of belonging within the institution. This presentation invites the broader conservation community to reflect on how these practices can reshape the future of conservation, ensuring that cultural preservation is as much about people and relationships as it is about objects.
Speakers
avatar for Marissa Stevenson

Marissa Stevenson

Associate Conservator of Textile Based Collections, Toledo Museum of Art
Marissa Stevenson is the Associate Conservator of Textile-Based Collections at the Toledo Museum of Art. Marissa graduated from the University of Toledo with a B.A in Art History and obtained her M.A. in Fashion and Textiles: History, Theory and Museum Practice from the Fashion Institute... Read More →
Authors
avatar for Marissa Stevenson

Marissa Stevenson

Associate Conservator of Textile Based Collections, Toledo Museum of Art
Marissa Stevenson is the Associate Conservator of Textile-Based Collections at the Toledo Museum of Art. Marissa graduated from the University of Toledo with a B.A in Art History and obtained her M.A. in Fashion and Textiles: History, Theory and Museum Practice from the Fashion Institute... Read More →
Friday May 30, 2025 4:15pm - 4:30pm CDT
Hyatt Regency Minneapolis

4:15pm CDT

(Context-Based Practice: Conservation Field Services) Acts of Commemoration: When Narrative Precedes Material Context at the National September 11 Memorial & Museum
Friday May 30, 2025 4:15pm - 5:15pm CDT
The nearly 30,000 artifacts at the 9/11 Memorial & Museum serve to bear witness to the terrorist attacks and commemorate and honor the stories of the 2,983 victims of September 2001 and February 1993 and all those who are affected in their aftermath. The museum’s nascent collection was the result of immediate action taken by local cultural heritage workers in collaboration with law enforcement and recovery organizations along with donations from survivors, victims’ families and friends, and local and global communities. These objects are in service to the people they represent and provide individual voices to a universal tragic experience.  Consultation and relationship-building with 9/11-community members and donors is integral to the Museum’s mission, and community input is considered in exhibition development. In this memorial context, the ability of an object to telegraph parts of a narrative may take priority over its material “authentic” state. 

Conservators at the Museum put great thought into when, how, and whether to provide conservation intervention, recognizing that any treatment can alter interpretation of objects that hold great personal significance. In instances of Ground Zero-recovered artifacts, they may be all that remains of someone who died that day. Generally, interventive treatment is limited to changes identified as occurring after a particular moment such as the day of attacks or the moment of acquisition. Even then, the decision to not treat is given heavier weight than it may at traditional cultural institutions; damage is often integral to the significance of an artifact. However, there are circumstances in which these principles accede to storytelling that represents or honors the community. This presentation discusses instances when intervention resulted in a visibly changed artifact, where the after-treatment condition is not only of greater physical stability, but also of greater accessibility and emotional power. 

Case studies include artifacts that have images of victims or other deeply personal associations where restoration of imagery such as faces was conducted even if the damage was part of the object’s “authentic” historical narrative. Another example is the consideration of the toxic dust that coated everything in lower Manhattan following the collapse of the buildings. Leaving the encrusted dust in place, the way the object was recovered, might be the most “accurate” method of display, but issues of toxicity and available resources introduced discussion of when it is appropriate to remove or consolidate dust. Decisions to abate dust may allow for highlighting one narrative (the impact of crumpled steel or the emblazoned logo of a particular FDNY Ladder company) over another (the pervasiveness of toxic dust), resulting in some of the institution’s most impactful visitor experiences. Consolidation of dust, on the other hand, which alters the chemical composition central to its toxicity narrative, may allow for an object to safely travel and experienced by a broader audience. For trauma heritage collections, we must acknowledge that loss of an object’s traumatic context may be inevitable. This means that decision-making around preservation and treatment can diverge from traditional methodologies.
Speakers
avatar for Kerith Koss Schrager

Kerith Koss Schrager

Head of Conservation, National September 11 Memorial & Museum
Kerith Koss Schrager is an objects conservator and Vice President, Head of Conservation at the National September 11 Memorial & Museum. She specializes in occupational health and safety for cultural heritage workers and completed an M.S. in Environmental Health Sciences through the... Read More →
avatar for Andy Wolf

Andy Wolf

Assistant Conservator, National September 11 Memorial & Museum
Andy Wolf is Assistant Conservator at the National September 11 Memorial & Museum. He holds an MA in Art History and an MS in Conservation from the Conservation Center of the Institute of Fine Arts at New York University. During his graduate education, he completed conservation internships... Read More →
Authors
avatar for Andy Wolf

Andy Wolf

Assistant Conservator, National September 11 Memorial & Museum
Andy Wolf is Assistant Conservator at the National September 11 Memorial & Museum. He holds an MA in Art History and an MS in Conservation from the Conservation Center of the Institute of Fine Arts at New York University. During his graduate education, he completed conservation internships... Read More →
avatar for Kate Fugett

Kate Fugett

Preventive Conservator, National September 11 Memorial & Museum
Kate Fugett is Preventive Conservator at the National September 11 Memorial & Museum. Prior to that she worked at the Metropolitan Museum of Art, the American Museum of Natural History, Brooklyn Museum, and Cooper-Hewitt. She completed internships at the Natural History Museum, London... Read More →
avatar for Kerith Koss Schrager

Kerith Koss Schrager

Head of Conservation, National September 11 Memorial & Museum
Kerith Koss Schrager is an objects conservator and Vice President, Head of Conservation at the National September 11 Memorial & Museum. She specializes in occupational health and safety for cultural heritage workers and completed an M.S. in Environmental Health Sciences through the... Read More →
Friday May 30, 2025 4:15pm - 5:15pm CDT
Hyatt Regency Minneapolis

4:20pm CDT

(Documenting Reactivations: Between Materials & Sensory Experiences and Interactions) A Touchy Subject:  Advancing Tactile Accessibility for Everyone
Friday May 30, 2025 4:20pm - 4:40pm CDT
Museums and other cultural heritage sites are working hard to attract and welcome more diverse audiences.  This talk will examine ways in which conservators can be a resource for finding and expanding the common ground between best visitor experiences and best practices in caring for collections.  The particular research to be presented is focused on improving access for visitors with blindness and partial blindness but, as in other contexts, an improvement intended for one group often extends well beyond that.

Art conservators are often the ones who have to balance the competing priorities of visitor access and protecting collections.  In museum settings this may translate to stanchions, platforms, vitrines, guards, alarms and “Please do not touch” signs.  But as any museum professional knows, people love to touch and feel things.  For people with visual impairments, being able to touch and feel the art is one of a limited set of options for experiencing the collection.  

Like other museums, the Isabella Stewart Gardner Museum (ISGM) in Boston, offers guided touch tours for visitors with visual impairments; however, these tours are generally limited to a select group of three-dimensional objects.  Unlike sighted visitors, blind visitors do not have the opportunity to engage with two-dimensional works of art that typically hang framed on gallery walls.   

In response to the limitations of touch tours and a mid-career “itch”, in 2024 I applied for and received a Fulbright U.S. Scholar award to the University of Dundee in Scotland.  The subject of my work was to research ways of advancing the accessibility of two-dimensional works of art such as paintings, prints, drawings or photographs that have historically been excluded from museum touch tours.  At the university I was situated in an interdisciplinary studio within the Duncan of Jordanstone College of Art and Design, called Studio Ordinary.  Studio Ordinary is a place where design research and disability studies come together so design can be used as a tool to change the conversation around disability.  

While the focus of my work was outside of the explicit confines of art conservation, I approached my research by centering on my deep experience as a practicing art conservator and the knowledge of materials that comes with that.  That experience and knowledge opened many doors, making it possible to collaborate with and learn from a range of colleagues including disability scholars, designers, artists, technology experts and members of the blind community.  I will show examples of prototypes we produced in Scotland, share the ways in which my project evolved to include multi-sensory experiences, and how this work is moving forward in Boston.
Speakers
avatar for Jessica Chloros

Jessica Chloros

Objects Conservator, Isabella Stewart Gardner Museum
Jessica Chloros is the Objects Conservator at the Isabella Stewart Gardner Museum and a Visiting Lecturer at the Massachusetts College of Art and Design. In 2024 she completed a Fulbright U.S. Scholar award to carry out a four-month Professional Project at the Duncan of Jordanstone... Read More →
Authors
avatar for Jessica Chloros

Jessica Chloros

Objects Conservator, Isabella Stewart Gardner Museum
Jessica Chloros is the Objects Conservator at the Isabella Stewart Gardner Museum and a Visiting Lecturer at the Massachusetts College of Art and Design. In 2024 she completed a Fulbright U.S. Scholar award to carry out a four-month Professional Project at the Duncan of Jordanstone... Read More →
Friday May 30, 2025 4:20pm - 4:40pm CDT
Hyatt Regency Minneapolis

4:20pm CDT

(Inside Out: Rewriting the Power Dynamics in Conservation) Managing change - Leadership in conservation and science for a new era
Friday May 30, 2025 4:20pm - 4:40pm CDT
After the founding in 1888 of the Chemical Laboratory of the Berlin Museums, and following the Rome conference of 1930[1], the 20th century saw the development of museum labs on both sides of the Atlantic. In the US, the 1928 founding of the Fogg Museum’s Department of Technical Research at Harvard is considered the beginning of the modern conservation lab[2] .  As we near the 100 year anniversary of those pioneering museum conservators and scientists, it is useful to examine how the enterprise of institutionalized conservation practice has evolved in the 21st century in both the United States and Europe.

As part of a constellation of diverse and synergistic visions for future leadership within the field of  conservation, we present here the results of a survey exploring the evolution of the skills needed to successfully lead a contemporary museum practice that is both expansive and innovative.  

Recent surveys of business[3] and museum leaders[4] have evidenced shifts in the traits that are considered essential to successfully lead institutions. Translating this research to our contexts we asked : what has changed with respect to the past, and how can we ensure that we build a pipeline equipped to be successful in the future? 

Survey participants were asked to select and rank their top leadership traits out of a list of 30. A few museum Directors were also asked to prioritize the characteristics of the successful candidate for a headhunter.

Other questions aimed at exploring the public value of conservation and scientific research in museums in terms of communication, interpretation, publishing, public exhibitions and programs, pay equity, engaging with communities, and the museum’s responses to sustainability demands and restitution claims.

The results highlighted considerable alignment between museum directors and practitioners on several sets of key traits, including vision, integrity and an inclusive leadership style. Differences emerged in the value placed on skills that are essential for the day-to-day management of people and operations, versus reputational and strategic aspects of the role.

Overall, our results show that research and achievements in conservation and scientific research are being valued and shown in museums across the Atlantic. They demonstrate a steady progress towards eroding, if not completely disrupting, established institutional hierarchies and dismantling exclusionary labor practices that have so far favored a pipeline from privileged socioeconomic tiers into the profession.  

Our work also starts to chart the preferences that colleagues in the field have for leadership development opportunities, matching aspirations with financial sustainability and existing workloads. 

Building on these accomplishments, we imagine a future where conservators and scientists will consistently be leaders in the public facing mission of the museum, and have access to the resources that enable bold plans for change. If we want our field to continue to be a relevant force in the complex ecosystem of museums we need to invest in people and nurture the development of future leaders that will carry out this work. 

[1] Conference Internationale d’etude des methods scientifiiques appliques a l’examen et a la conservation des oeuvres d’art; Rome, October 13-17, 1930

[2] Bewer, Francesca G. 2010. A Laboratory for Art : Harvard’s Fogg Museum and the Emergence of Conservation in America, 1900-1950. Cambridge, MA, New Haven: Harvard Art Museum ; Yale University Press.

[3]  Hewlett, Sylvia Ann, 2024,The New Rules of Executive Presence: How leaders need to think and act now. Harvard Business Review,  p.134

[4] Sweeney, Liam and Joanna Dressel. "Art Museum Director Survey 2022: Documenting Change in Museum Strategy and Operations." Ithaka S+R. Last Modified 27 October 2022. https://doi.org/10.18665/sr.317777.
Speakers
avatar for Francesca Casadio

Francesca Casadio

Andrew W. Mellon Senior Conservation Scientist and Co-director NU-ACCESS, The Art Institute of Chicago
Francesca Casadio is the founder of the scientific research laboratory at the Art Institute of Chicago, where she currently holds the post of Vice President and Grainger Executive Director of Conservation and Science. In this capacity she leads a team of over thirty specialists for... Read More →
Authors
avatar for Benjamin Rous

Benjamin Rous

Coordinator, Rijksmuseum
avatar for Francesca Casadio

Francesca Casadio

Andrew W. Mellon Senior Conservation Scientist and Co-director NU-ACCESS, The Art Institute of Chicago
Francesca Casadio is the founder of the scientific research laboratory at the Art Institute of Chicago, where she currently holds the post of Vice President and Grainger Executive Director of Conservation and Science. In this capacity she leads a team of over thirty specialists for... Read More →
avatar for Robert van Langh

Robert van Langh

Head of Conservation & Science, Rijksmuseum
Friday May 30, 2025 4:20pm - 4:40pm CDT
Hyatt Regency Minneapolis

4:25pm CDT

(Context-Based Practice: Conservation Field Services) A Field Services Guide to Emergency Response
Friday May 30, 2025 4:25pm - 4:45pm CDT
The Local History Services team at the Minnesota Historical Society (MNHS) was founded in 1916. For over a century it has supported smaller organizations across the state of Minnesota to interpret and preserve the history of their community. The Minnesota Alliance of Local History Museums (MALHM) was formed in 1991 with the goal of local history organizations helping their peers, including with emergency response. MNHS and MALHM are partners in supporting local history across the state including with emergency planning, preparedness, and response for collections.


Minnesota is home to a thriving art, culture, and heritage community. As an example, there are an estimated 500+ historical organizations in the state, ranging from tiny all-volunteer area history museums to the Minnesota Historical Society. Minnesota is susceptible to natural disasters including tornados, flooding, fires, and winter storms that threaten the long-term preservation of cultural heritage.


This presentation will discuss Local History Services’ and MALHM’s roles in emergency preparedness and response and how they have evolved to become more collaborative over time. The role of field services will be explored in examples ranging from in-person response, establishing a network of emergency response caches, disaster plan writing workshops and mutual assistance networks and the Minnesota Alliance for Heritage Response. Finally, the crucial elements of partnership and respectful cooperation in our work will be highlighted.


Speakers
avatar for Todd Mahon

Todd Mahon

State History Services Manager, Minnesota Historical Society
Todd helps individuals and organizations who are seeking, saving and sharing Minnesota history expand their capacity to achieve their missions. He works with statewide and local organizations that are focused on preserving local history and supporting the overall development of Minnesota's... Read More →
avatar for Megan Brakob Narvey

Megan Brakob Narvey

Outreach Conservator, Minnesota Historical Society
Megan Brakob Narvey is the Outreach Conservator at the Minnesota Historical Society. She received an MA in Principles of Conservation and an MSc in Conservation for Archaeology and Museums from University College London, and then completed a postgraduate fellowship in objects conservation... Read More →
Authors
avatar for Megan Brakob Narvey

Megan Brakob Narvey

Outreach Conservator, Minnesota Historical Society
Megan Brakob Narvey is the Outreach Conservator at the Minnesota Historical Society. She received an MA in Principles of Conservation and an MSc in Conservation for Archaeology and Museums from University College London, and then completed a postgraduate fellowship in objects conservation... Read More →
avatar for Todd Mahon

Todd Mahon

State History Services Manager, Minnesota Historical Society
Todd helps individuals and organizations who are seeking, saving and sharing Minnesota history expand their capacity to achieve their missions. He works with statewide and local organizations that are focused on preserving local history and supporting the overall development of Minnesota's... Read More →
Friday May 30, 2025 4:25pm - 4:45pm CDT
Hyatt Regency Minneapolis

4:25pm CDT

(Elements of Effective Collaboration) Building Bridges: Reflections from a Collaborative Conservation Project
Friday May 30, 2025 4:25pm - 4:50pm CDT
This paper will explore the outcomes and lessons learned throughout a four-year IMLS grant-funded collaborative conservation project at the Avenir Conservation Center of the Denver Museum of Nature & Science. During the project, entitled Northwest Coast Collection: Building Bridges and Detailed Conservation Survey, we welcomed over 20 Indigenous representatives from five North American Tribes and First Nations to engage with their cultural heritage and participate in shared decision-making about conservation and care of over 700 collection items. We found some common trends that spanned the groups across many topics, including how sensitive materials should be stored, tolerance of a significant amount of wear on objects that were made for use, and an acceptance of freezing items for pest prevention. There are also many examples of feedback unique to individual groups, such as one group’s interest in identifying original pigments and another group's strong desire to keep old museum labels adhered on objects. The project included two visits with a total of 14 Musgamakw Dzawada’enuxw First Nation (Kwakwaka’wakw) community members from Gwa’yi (Kingcome Inlet, British Columbia); many of the visitors have direct familial ties to items in the DMNS collection, including parents and grandparents who made belongings in the collection. These visits demonstrated the power of expanding the participants beyond individuals who are accustomed to doing this type of work with museums. By including more representatives in the conversations, we were able to promote access to family treasures and facilitate discussions about future care for the items with the people who have the authority to make those decisions. The work with the representatives from Kingcome provided a different model for collaboration, as it became apparent that decision-making needed to be made at the family level for belongings that could be associated with a maker or owner. An important finding from the grant also included the importance of external collaboration between the museum and communities, as well as internal collaboration between museum departments to establish mechanisms for feedback from participants. In this project, the Museum’s Community Research and Collaboration department collected feedback from representatives during an evaluation session near the end of each visit. These sessions were an opportunity for visitors to candidly share what was successful during the visit, what could be improved, and what their hopes were for the future of the collaboration. The project has helped clarify what we can do as museum professionals to build trust and be better collaborators.
Speakers
avatar for Katy Kaspari

Katy Kaspari

Objects Conservator, Denver Museum of Nature and Science
Katy Kaspari is an Objects Conservator at the Denver Museum of Nature and Science. She was the IMLS conservator on the IMLS-funded Building Bridges grant working with Indigenous communities from the Northwest Coast. She is interested in people-centered approaches to conservation and... Read More →
avatar for Megan E. Salas

Megan E. Salas

Objects Conservator, Denver Museum of Nature & Science
Megan E. Salas is an Objects Conservator at the Denver Museum of Nature & Science. In this role, she was Project Director for an IMLS-funded collaborative conservation project working with Indigenous communities from the Northwest Coast. Her work at DMNS also involves conservation... Read More →
Authors
avatar for Chris Patrello

Chris Patrello

Assistant Curator of Anthropology, Denver Museum of Nature and Science
avatar for Ellen Roth

Ellen Roth

Director, Insights & Analytics, Denver Museum of Nature and Science
avatar for Katy Kaspari

Katy Kaspari

Objects Conservator, Denver Museum of Nature and Science
Katy Kaspari is an Objects Conservator at the Denver Museum of Nature and Science. She was the IMLS conservator on the IMLS-funded Building Bridges grant working with Indigenous communities from the Northwest Coast. She is interested in people-centered approaches to conservation and... Read More →
MN

Marianne Nicolson

Musgamakw Dzawada’enuxw First Nation
avatar for Megan E. Salas

Megan E. Salas

Objects Conservator, Denver Museum of Nature & Science
Megan E. Salas is an Objects Conservator at the Denver Museum of Nature & Science. In this role, she was Project Director for an IMLS-funded collaborative conservation project working with Indigenous communities from the Northwest Coast. Her work at DMNS also involves conservation... Read More →
Friday May 30, 2025 4:25pm - 4:50pm CDT
Hyatt Regency Minneapolis

4:30pm CDT

(Prioritizing People Over Objects: Re-imagining Conservation Ethics) Resonating Change through Collections Stewardship: The Creation of the Indigenous Collections Care (ICC) Guide
Friday May 30, 2025 4:30pm - 4:55pm CDT
For centuries, museums have been the accepted authority on Indigenous cultural materials and have acquired and amassed indigenous cultural items for their own use and benefit with minimal consideration from source communities. This structure is built on the foundation of colonization that show the public a version of history that is often disconnected from descendant communities and Indigenous ways of knowing. Further, the heart of every museum is its collections, which are expressed through avenues of conservation, stewardship, education, exhibition, and research. The values expressed in museum collections stewardship resonate throughout an entire institution and set the tone for how an institution operates.  

In 2021, the Indigenous Collections Care (ICC) working group was established to advocate for approaches that privilege Indigenous knowledge and respect and recenter concepts of culturally appropriate care for items in museum collections. These conversations transpired to the creation of the ICC guide, with its members consisting of diverse backgrounds, both Indigenous and non-Indigenous museum and academic professionals, tribal historic preservation officers, collections staff, and NAGPRA coordinators. The ICC guide is rooted in Indigenous perspectives and priorities, as well as practical applications. The document will not instruct museums on how to specifically care for each item, since protocols vary among communities, but will offer scalable considerations of culturally appropriate collections stewardship, with questions and talking points to address during a consultation, and with templates and case studies for use in implementation, advocacy, and the creation of policies and procedures. 

In dialogue with the conference theme, this paper focuses on years of collaboration between indigenous and non-indigenous museum collection professionals and source communities to develop the Indigenous Collections Care (ICC) guide. The development of the ICC guide is currently funded through an IMLS National Leadership Grant for Museums, under the School for Advanced Research (SAR). The guide will be available by 2026 and will be a free reference tool for preventive conservation and collection professionals that interact regularly with indigenous collections. Overall, the museum field has expressed a need for this resource. In a recent survey conducted by the Indigenous Collections Care (ICC) working group, 84% of collections professionals from a range of art, history, archaeology, historic preservation, and university backgrounds said an ICC guide would be highly beneficial to their institution. 

Museums can be places where ancestral connections are reawakened and relationships are built that create space where diverse Indigenous cultures and values are lived, protected, and respected.  The aim of conservation is the preservation of cultural heritage for future generations and should emphasize the rights of indigenous peoples to maintain and strengthen their own cultural traditions. In conclusion, reaching a larger museum audience in the conservation community, the presenters will discuss some of the foundational concepts of the ICC guide's content, and the process of the collaborative review sessions. Attendees will understand the value of culturally appropriate care, how the values expressed in collections and conservation stewardship resonate throughout an entire institution, and a pathway of how to incorporate these values into their daily work.
Speakers
avatar for Laura Elliff Cruz

Laura Elliff Cruz

Head of Collections, School for Advanced Research (SAR), Indian Arts Research Center (IARC)
Laura Elliff Cruz (Choctaw Nation of Oklahoma) has 21 years of experience in the museum field specializing in preventive conservation care. She is currently the Head of Collections at the School for Advanced Research (SAR), Indian Arts Research Center (IARC) in Santa Fe, New Mexico... Read More →
avatar for Angela Neller

Angela Neller

Curator, Wanapum Heritage Center
Angela Neller (Native Hawaiian) has 35 years of experience managing archaeological, ethnographic, and archival collections. Her accomplishments include contributing to the design and construction of the Wanapum Heritage Center and its permanent exhibit, coordinating collection moves... Read More →
Authors
avatar for Angela Neller

Angela Neller

Curator, Wanapum Heritage Center
Angela Neller (Native Hawaiian) has 35 years of experience managing archaeological, ethnographic, and archival collections. Her accomplishments include contributing to the design and construction of the Wanapum Heritage Center and its permanent exhibit, coordinating collection moves... Read More →
LB

Laura Bryant

NAGPRA Coordinator, Gilcrease Museum
Laura Bryant serves as the NAGPRA Coordinator at Gilcrease Museum in Tulsa, Oklahoma. With over 10 years of collections stewardship and NAGPRA experience, she specializes in repatriation and all components of collections care. Bryant has led in large collections construction and relocation... Read More →
avatar for Laura Elliff Cruz

Laura Elliff Cruz

Head of Collections, School for Advanced Research (SAR), Indian Arts Research Center (IARC)
Laura Elliff Cruz (Choctaw Nation of Oklahoma) has 21 years of experience in the museum field specializing in preventive conservation care. She is currently the Head of Collections at the School for Advanced Research (SAR), Indian Arts Research Center (IARC) in Santa Fe, New Mexico... Read More →
MT

Marla Taylor

Curator of Collections, Robert S. Peabody Institute of Archaeology, Phillips Academy
Marla Taylor is the Curator of Collections at the Robert S. Peabody Institute of Archaeology at Phillips Academy in Andover, MA. In her sixteen years at the institution, she has planned and conducted the institution’s first full inventory of the collection (over 600,000 items... Read More →
Friday May 30, 2025 4:30pm - 4:55pm CDT
Hyatt Regency Minneapolis

4:30pm CDT

(Digitization and Open Access to Conservation Research and Technical Images) Developing a Legacy of Open Access, Digital Catalogs at the Indianapolis Museum of Art
Friday May 30, 2025 4:30pm - 5:00pm CDT
In recent years, the Indianapolis Museum of Art (IMA) at Newfields has reimagined the way it tells stories of the objects in its collection through the production of several open-access, online publications.  

The first of these publications catalogs the 86 paintings in the Clowes Collection, which comprises of a large portion of the Old Master paintings at the IMA. The Clowes Collection was assembled by Dr. G.H. A. Clowes and Edith Clowes in the second half of the 20th century and includes paintings ranging from Rembrandt van Rijn, Juseppe Ribera, Agnolo Gaddi, and Peter Paul Rubens to countless workshop copies and reproductions. A brief catalog was published in 1973 but interest in better understanding this eclectic collection prompted the creation of a large-scale digital catalogue in 2016 that incorporated not only the art historical perspective, but also the technical analysis and conservation histories behind these works.  

The open access, online format of the catalog was designed with the intention of making research more interactive and widely accessible. Art historical entries were largely written by Allen Whitehill Clowes Fellows, early career art historians who had researched works in the collection. When it came to the technical portion of the catalog, conservators worked with software developers in the Newfields Lab to create fully interactive technical entries that paralleled the art historical entries. For many of the works this would mark the first time they were technically imaged and analyzed, developing their rich (and at times known) histories and revealing new information. A radically transparent ethos was adopted sharing fully downloadable technical images of all paintings, during treatment images, scientific analysis, and technical examinations.   

The success of the Clowes catalog prompted the creation of a second catalog of seven paintings by Camille Pissarro and his son Lucien and George as part of a Samuel H. Kress Fellowship in paintings conservation in 2021. This catalog is equally transparent in the dissemination of technical and scientific information. A third digital catalog, featuring the tapestries in the Clowes Collection, is currently underway.  

These projects highlight the importance of collaboration between the conservators, editors, art historians, data architects, and software developers who remain dedicated to creating open access, interactive platforms. While these projects have not been without some challenges and risks, the decision to use an online format to openly share and educate marks a shift away from previous approaches that hoard data under the guise of protecting against misinformation.
Speakers
avatar for Fiona Beckett

Fiona Beckett

Assistant Professor, SUNY Buffalo State University
Fiona Beckett is the Associate Professor of paintings conservation at the Garman Art Conservation Department at the State University of New York Buffalo State University. She holds a master’s degree in conservation with a specialization in paintings from Queen’s University. Fiona... Read More →
avatar for Roxane Sperber

Roxane Sperber

Clowes Associate Conservator of Paintings, Indianapolis Museum of Art at Newfields
Roxy Sperber is the Clowes Conservator of Paintings at the Indianapolis Museum of Art (IMA) at Newfields. She is a founding member an editor of Materia: Journal of Technical Art History and serves on the AIC Sustainability Committee. She completed a Postgraduate Diploma in the Conservation... Read More →
Authors
avatar for Alex Chipkin

Alex Chipkin

Samuel H. Kress Fellow in Paintings Conservation, Indianapolis Museum of Art at Newfields
Alex Chipkin was a Samuel H. Kress Fellow at the Indianapolis Museum of Art at Newfields from 2022-2023. She received her Postgraduate diploma in the Conservation of Easel Paintings from the Courtauld Institute of Art in 2020. Alex has worked in both private studios and museum labs... Read More →
avatar for Fiona Beckett

Fiona Beckett

Assistant Professor, SUNY Buffalo State University
Fiona Beckett is the Associate Professor of paintings conservation at the Garman Art Conservation Department at the State University of New York Buffalo State University. She holds a master’s degree in conservation with a specialization in paintings from Queen’s University. Fiona... Read More →
avatar for Roxane Sperber

Roxane Sperber

Clowes Associate Conservator of Paintings, Indianapolis Museum of Art at Newfields
Roxy Sperber is the Clowes Conservator of Paintings at the Indianapolis Museum of Art (IMA) at Newfields. She is a founding member an editor of Materia: Journal of Technical Art History and serves on the AIC Sustainability Committee. She completed a Postgraduate Diploma in the Conservation... Read More →
Friday May 30, 2025 4:30pm - 5:00pm CDT
Hyatt Regency Minneapolis

4:40pm CDT

(Inside Out: Rewriting the Power Dynamics in Conservation) Empowering Black Preservation: A Collaboration of Community, Conservation, and Construction at Mt Zion Baptist Church in Athens, Ohio
Friday May 30, 2025 4:40pm - 4:50pm CDT
The current building of Mount Zion Baptist Church has been an anchor for the Black Community in Athens, Ohio since 1909; while the inception of the congregation dates back to 1872. Listed in the National Register of Historic Places in 1980, the church was in regular use through the 1990’s to the early 2000’s when attendance dwindled. Eventually the congregation disbanded, leaving the building vacant.

In 2013, a group of community members formed the Mount Zion Baptist Church Preservation Society (MZBCPS) with the mission of restoring the building to become a Black Cultural Center. Yet, unlike many sacred spaces that have been repurposed without ties to, or recognition of,  past use; this project actively involves its history with a keen eye to the future.

Core to the preservation of the building is current MZBCPS President, Ada-Woodson Adams, who attended the church as a child, is Baptist and was married in the church. Adams is a genealogist, local historian, community organizer and Civil Rights activist. An advocate for historical preservation by recounting oral histories of underrepresented people and places; Ada-Woodson’s involvement has been included in a video documentation series spearheaded by Trevellya “Tee” Ford-Ahmed, PhD.,  Director of Communications and Media of MZBCPS. 

Tee has actively woven Mt. Zion’s significance into current events, such as integrating the series into school curriculum at Ohio University. Highlighting the building preservation as a conduit for discourse about community inequities has drawn the attention of the National Trust for Historic Preservation from which the MZBCPS has received a grant through the African American Cultural Heritage Action Fund.

The grant thrust the efforts of the MZBCPS onto the national preservation stage not only as a recipient of funds; but as an example of how alternate efforts of advocacy can have success. Both Black women have been elevated through allyship by other members of the group - many who are newer to Athens and its history. MZBCPS exemplifies the power of acknowledging primary sources and voices, rather than deferring to parties disconnected to people and place to speak on behalf of a “disenfranchised” group. 

One of the first active conservation projects was a detailed survey of the historic stained glass windows conducted by stained glass conservator (and FAIC Fellow) Ariana Makau, principal conservator of Oakland, California based Nzilani Glass Conservation, (NGC). When it became time for the removal of the windows from the building in order to preserve them while other building elements were addressed, Makau paired with Lindsay Jones, owner and architectural preservation specialist of Blind Eye Restoration and BER’s team, based in Columbus, Ohio. 

The collaboration was more than the sum of its parts with insights shared freely on unusual window sash fabrication and installation (BER), health and safety considerations specific to leaded art glass treatment and removal (NGC) plus ongoing historic context shared by members of the MZBCPS throughout the process. This talk will cover the process of that collaboration, during that phase as well as the ongoing relationship, with highlights of our lessons learned and successes along the way.
Speakers
avatar for Ariana Makau

Ariana Makau

Conservator, Nzilani Glass Conservation
Ariana Makau is the founder of Nzilani Glass Conservation; their mission, “Be Safe. Have Fun. Do Excellent Work.” focuses on education through information, sharing: processes, health and safety procedures (specifically lead exposure) and the importance of preserving cultural landscapes... Read More →
Authors
avatar for Ariana Makau

Ariana Makau

Conservator, Nzilani Glass Conservation
Ariana Makau is the founder of Nzilani Glass Conservation; their mission, “Be Safe. Have Fun. Do Excellent Work.” focuses on education through information, sharing: processes, health and safety procedures (specifically lead exposure) and the importance of preserving cultural landscapes... Read More →
avatar for Lindsay Jones

Lindsay Jones

Owner, Blind Eye Restoration
As the Owner and Lead Architectural Conservator of Blind Eye Restoration, Lindsay has made a living out of her passion for old buildings and public art. She started BER to offer her blended experience in architectural conservation and construction contracting, and to share her passion... Read More →
Friday May 30, 2025 4:40pm - 4:50pm CDT
Hyatt Regency Minneapolis

4:40pm CDT

(Documenting Reactivations: Between Materials & Sensory Experiences and Interactions) Future lives: Collaborative approaches to the Conservation of Choreographic Artworks
Friday May 30, 2025 4:40pm - 5:00pm CDT
The research project Precarious Movements: Choreography and the Museum (2021 to 2024) funded by the Australian Research Council brought together artists, researchers and museums to discuss the best ways in which to support the choreographer and the museum. Choreographic artworks within the scope of visual arts and museum contexts considers dance as a contemporary art medium, as distinct from contemporary dance presented on the stage.  Collecting, and therefore conserving, choreographic artworks by museums is relatively new, with the first choreographic work collected into a museum was in 2016 with Dance Constructions by Simone Forte acquired by Museum of Modern Art, New York.  Tate acquired its first choreographic artwork three years later in 2019 and now has three choreographic works in its permanent collection. 

The project placed communities of artists, choreographers and performers at its centre, and engaged with artists to commission six new artworks.  Two of the commissioned artists were core researchers throughout the project enabling the exploration of what is needed to conserve such artworks working in partnership with the communities that create, produce and present such artworks.  The exploratory space of research facilitated a level of autonomy and agility to consider new ways of doing between disciplines, institutions and worlds of practice that might not have come together through the usual institutional pathways of acquisition or display.    The presentation reflects on how moving towards a social model of conservation, that places the community centrally, is required. People have always been at the centre of choreographic artworks, and the need to work collaboratively across our practice, building trust, nurturing relationships is critical.  It is these instances of social connection that have enabled choreographic works to materialise and thrive in their future lives.  

A focus in this presentation, beyond the wider research project, is one the commissioned artworks, A Sun Dance by artist Rochelle Haley, also a core researcher in the project.  This work was co-commissioned and presented with the National Gallery of Australia in February 2024.  At the heart of the work is a relation between sunlight, dancer and architecture.  A Sun Dance is a site-harmonising performance made in relation to sunlight streaming through architectural forms, providing a changing ‘set’ for dance over the course of a day.  Documentation strategies, informed through the relational practices across the conservators, performers, archivists, artists, curators and producers formed a key part of the working process for the authors, with engagement and partnership stimulated by both the commission and associated research shifting into practice.  A performance manual was developed alongside the work and tested in a subsequent presentation of A Sun Dance at Tate St Ives in September 2024, further revealing a collaborative approach to the translation and transmission of choreographic artworks in different spaces and contexts.  It also revealed how A Sun Dance is materialised and mobilised through the social connections surrounding it, what holds the work together, and how to preserve what is valued across the networks and relationships of the communities that sustain such works.
Speakers
avatar for Rochelle Haley

Rochelle Haley

Artist and Senior Lecturer, University New South Wales
Rochelle Haley is an artist engaged with painting, drawing, choreography and dance to explore relationships between bodies and physical environments. She is also a Senior Lecturer at the School of Art & Design, University of New South Wales. Haley’s approach merges visual arts and... Read More →
avatar for Louise Lawson

Louise Lawson

Head of Conservation, Tate
Louise Lawson is Head of Conservation at Tate. In this role she is responsible for the leadership and strategic direction, development and delivery of Conservation at Tate. Her research has focused on the conservation of performance and dance-based artworks, with the most recent work... Read More →
Authors
avatar for Louise Lawson

Louise Lawson

Head of Conservation, Tate
Louise Lawson is Head of Conservation at Tate. In this role she is responsible for the leadership and strategic direction, development and delivery of Conservation at Tate. Her research has focused on the conservation of performance and dance-based artworks, with the most recent work... Read More →
avatar for Rochelle Haley

Rochelle Haley

Artist and Senior Lecturer, University New South Wales
Rochelle Haley is an artist engaged with painting, drawing, choreography and dance to explore relationships between bodies and physical environments. She is also a Senior Lecturer at the School of Art & Design, University of New South Wales. Haley’s approach merges visual arts and... Read More →
Friday May 30, 2025 4:40pm - 5:00pm CDT
Hyatt Regency Minneapolis

4:45pm CDT

(Context-Based Practice: Conservation Field Services) Cultivating Collaborative Care: The Sol Legare Community, Clemson University, and the Seashore Farmers’ Lodge
Friday May 30, 2025 4:45pm - 5:00pm CDT
In the spring of 2022, Clemson University’s Warren Lasch Conservation Center began a two-year Donnelley Foundation grant in collaboration with the Sol Legare descendant settlement community and the Clemson University Graduate Program in Historic Preservation. Through the conservation of the community’s cultural heritage and training sessions on collections management and emergency preparedness for disasters, the grant’s overarching aim was to encourage and support the community in the sharing of their own history. What resulted was a partnership that enabled both the community and the university organizations to appreciate both the preservation of cultural heritage and its purpose in sharing diverse historic narratives in a more holistic way.




The Sol Legare community is a freedmen settlement community located in the Lowcountry region of South Carolina. The community was established after the Civil War by a population of recently emancipated people who had previously cultivated the plantation landscapes located on the sea islands of Sol Legare and James Island. These people purchased former plantation land, established their own thriving and successful farming practices, and cultivated a community of freedmen and descendants whose purpose was to support and serve each other. In the early 20th century, Sol Legare farmers established a fraternal and mutual aid society connected to the International Farmers’ Liberty Union Justice organization. This society supported farmers in purchasing seed for growing crops, provided educational resources, and raised money to cover expenses like funeral costs for community members. Between 1912 - 1915, members funded and constructed the Seashore Farmers’ Lodge No. 767 building, which served as a cultural and economic center for the community and a meeting place for the fraternal organization. The lodge became a symbol within the community as a place of support, refuge, and resilience during the Jim Crow era in South Carolina.




The lodge has retained its original purpose as a meeting space, and now additionally serves as a museum that displays community-donated objects related to the history of the people and landscapes of Sol Legare and James Island. The museum artifacts include farming and agricultural tools from the 19th and 20th centuries, musical instruments used for communication and celebration on the island, and salvaged furniture from community buildings which no longer exist. Additionally, they maintain the original 1912 Lodge charter, as well as other photographs and documents telling the story of the people who lived and worked on the island from the 18th century to the present.




The grant partnership between the Sol Legare community and Clemson University allowed conservators and preservationists to learn from community leaders about the significance of the lodge and its collection. It also allowed for ties to be formed between the tangible artifacts undergoing conservation treatment and the intangible histories behind those objects. In turn, those same community members, after attending the training sessions on collections care and disaster preparedness and recovery, now feel empowered to continue in their roles as caretakers of their own cultural heritage and the narrators of their own history.
Speakers
avatar for Patricia Ploehn

Patricia Ploehn

Historic Preservation Specialist, Warren Lasch Conservation Center, Clemson University
Patricia Ploehn is a historic preservation specialist who works on the conservation team at the Warren Lasch Conservation Center. She is a graduate of the Clemson University Master of Science in Historic Preservation program, where she worked on the preservation and documentation... Read More →
Authors
avatar for Patricia Ploehn

Patricia Ploehn

Historic Preservation Specialist, Warren Lasch Conservation Center, Clemson University
Patricia Ploehn is a historic preservation specialist who works on the conservation team at the Warren Lasch Conservation Center. She is a graduate of the Clemson University Master of Science in Historic Preservation program, where she worked on the preservation and documentation... Read More →
Friday May 30, 2025 4:45pm - 5:00pm CDT
Hyatt Regency Minneapolis

4:50pm CDT

(Inside Out: Rewriting the Power Dynamics in Conservation) Your Neighborhood Museum: creating a workspace for sustainable community-led cultural heritage preservation models
Friday May 30, 2025 4:50pm - 5:00pm CDT
This session is an introduction to Your Neighborhood Museum, a social justice organization based in California dedicated to sustainable community-led cultural heritage preservation models. Our mission is to help each other care for our cultural heritage with a focus on under-represented communities and to investigate and address the root causes of inequities in the arts and culture landscape.




We do this by making critical resources such as art conservation, exhibition design, research, technical and administrative support directly available and accessible to those under-resourced and under-recognized by traditional institutions. We leverage our professional skills, networks, and experience to collaborate with artists, culture workers, and communities to develop community-led projects and support communities in reaching their goals. We utilize a mutual aid framework that places value in people and relationships to strengthen our capacity to address community preservation needs.




YNM moves beyond the recognition that the predominant museum model is unsustainable and unethical, and presents a successful alternative model to how cultural heritage preservation efforts and resources can be organized. We will share the conditions and motivations behind the inception of YNM, our methodology for program development, and the values and ethics that guide our vision for the future. We acknowledge, uplift, and build upon previous and continuous efforts made by BIPOC culture workers to create and sustain models that center community needs, talents, and strengths.
Speakers
JK

Jennifer Kim

Co-Director, Your Neighborhood Museum
Jennifer Kim is a conservator working with cultural and academic institutions, communities, municipalities, and private individuals on projects including treatments, exhibitions, preservation planning, grant writing, teaching, and research. She is the co-founder of Your Neighborhood... Read More →
avatar for Lylliam Posadas

Lylliam Posadas

Co-Director, Your Neighborhood Museum
Lylliam Posadas is the co-founder and co-director of Your Neighborhood Museum and the Colonial Pathways Repatriation Manager at the Museum of Us. Lylliam has 15 years of experience in repatriation and focuses on collaborative program development, community-led research practices and... Read More →
Authors
JK

Jennifer Kim

Co-Director, Your Neighborhood Museum
Jennifer Kim is a conservator working with cultural and academic institutions, communities, municipalities, and private individuals on projects including treatments, exhibitions, preservation planning, grant writing, teaching, and research. She is the co-founder of Your Neighborhood... Read More →
avatar for Lylliam Posadas

Lylliam Posadas

Co-Director, Your Neighborhood Museum
Lylliam Posadas is the co-founder and co-director of Your Neighborhood Museum and the Colonial Pathways Repatriation Manager at the Museum of Us. Lylliam has 15 years of experience in repatriation and focuses on collaborative program development, community-led research practices and... Read More →
Friday May 30, 2025 4:50pm - 5:00pm CDT
Hyatt Regency Minneapolis

4:50pm CDT

(Elements of Effective Collaboration) Supporting Our Communities On the Edge: Community-led conservation in the midst of the climate crisis
Friday May 30, 2025 4:50pm - 5:10pm CDT
The Nunalleq archaeological site is the ancestral home to the people of Quinhagak, Alaska, about 420 miles east and south of Anchorage, on the coast of the Bering Sea. The site consists of a large multi-room dwelling and dates from about 1450 to 1650 AD. It has numerous phases of re-building and modification over the years of occupation, before it was attacked and burned during the “Bow and Arrow Wars”, a period of warfare still remembered in oral histories today. Today’s residents of Quinhagak trace their ancestry to the site and to those who lived and died there. 

Until recently, the site has been amazingly well preserved by permafrost. But like countless others in the north, it is being destroyed by the combined effects of climate change. Since 2009, the Yup'ik village of Quinhagak has teamed with professional archaeologists and conservators with two primary goals: to rescue as many artifacts as possible and to train local community members in caring for their own history. To date, over 100,000 artifacts have been excavated, racing against winter storms and thawing permafrost, while also engaging younger generations to care for their own heritage. Today, the culture center cares for the largest collection of Yup’ik heritage made prior to Euro-American contact. 

For the past seven years, the Anchorage Museum has partnered with Qanirtuuq, Nalaquq, and the Nunalleq Culture and Archaeology Center in Quinhagak to support their heritage and culture work. Quinhagak Heritage Inc. (QHI) operates the cultural center, and Nalaquq coordinates the archaeological work each season. During the first 10 years, all of the artifacts were sent overseas to the University of Aberdeen (one of their partners) to be conserved. Since 2019, with Anchorage Museum collaboration, QHI and Anchorage Museum are helping keep the newly excavated artifacts in Alaska and preserve them locally, while also training members of their community to do this work. 

Museums are slow to change. If museums and the conservation field are to remain relevant, supported, and viable, we must reexamine our practices. The legacy of taking cultural belongings from communities cannot be ignored. Whether we have contributed to them or not, we have benefited from these colonial systems. Radical actions may be needed to affect change. Only through working closely with communities, and ensuring the control lies with those who have previously been ignored, will we be able to ethically preserve and steward collections. The collaboration between the village of Quinhagak and its many partners is a model for the future of conservation.
Speakers
avatar for Monica Shah

Monica Shah

Deputy Director, Collections & Conservation, Anchorage Museum
Monica Shah serves as the Deputy Director of Collections & Conservation at the Anchorage Museum. Her formal training is in archaeology and art conservation, obtaining a B.A. from Bryn Mawr College and M.S. from Winterthur-University of Delaware. As a museum professional, she has worked... Read More →
Authors
LC

Lynn Church

Nalaquq, Inc
avatar for Monica Shah

Monica Shah

Deputy Director, Collections & Conservation, Anchorage Museum
Monica Shah serves as the Deputy Director of Collections & Conservation at the Anchorage Museum. Her formal training is in archaeology and art conservation, obtaining a B.A. from Bryn Mawr College and M.S. from Winterthur-University of Delaware. As a museum professional, she has worked... Read More →
RK

Richard Knecht

Chairman, Quinhagak Heritage Inc
Dr. Rick Knecht is Chairman, Quinhagak Heritage Inc, Director of Nunalleq Archaeology Project & Research Fellow with the Anchorage Museum. Rick has been conducting archaeology and cultural preservation projects in partnership with Alaska Native communities for 40 years; on Kodiak... Read More →
WJ

Warren Jones

CEO, Qanirtuuq
Warren Jones is CEO of Qanirtuuq Inc. Warren is a lifelong resident of Quinhagak and has been a community leader for many years, serving in law enforcement, fisheries management and since 2006 as CEO of Qanirtuuq, the ANCSA Corporation for Quinhagak and owners of the Nunalleq collection... Read More →
Friday May 30, 2025 4:50pm - 5:10pm CDT
Hyatt Regency Minneapolis

4:55pm CDT

(Prioritizing People Over Objects: Re-imagining Conservation Ethics) Traditional Care and Western Care – A “Kinship” Approach to Collections Care
Friday May 30, 2025 4:55pm - 5:15pm CDT
Solely focusing on Western Care for an Ethnographic Collection can be detrimental for the Relatives’ Belongings housed therein. 

The oldest belongings in Native American ethnographic collections are meant to be in use. These belongings, collected during a time when Native people were transitioning to a sedentary and oppressive life on reservations, were often traded for Western supplies required for survival in a new settler-colonial world.  

Much thought and intention went into the making of these Relatives’ Belongings. Designs and color choices unique to the tribal nation were chosen specifically for the wearer. 

With intention and thought embedded in the materials, the connection between the maker, the wearer, and the land is made. As most Native people believe that they are part of the land and the Earth is their mother/grandmother, this connection is representative of that relationship, that kinship.

Traditional care most often includes smudging (using medicinal plants important to Native people and gathered directly from the land) and feeding (sharing food and nourishment at community gatherings with relatives and with the Relatives’ Belongings, symbolically). 

In an active collection, community member visits add to the spiritual and physical care of a collection. Community members, relatives, will often sit with, talk with, and cry with their Relatives’ Belongings in a collection. They are allowed to hold their Relatives’ Belongings without gloves as a barrier. This contact with the Belonging creates connection. 

We have a partnership between the anthropology, facilities, safety, and collections stewardship departments to practice traditional care, including smudging in collections storage and reviewing historical pesticide treatments of Relatives’ Belongings.

Community members assist the Science Museum of Minnesota with the care of their Relatives’ Belongings. By including community members in the museum’s stewardship efforts, this museum and their collections staff are putting in work towards reparative actions. The museum does not own these Relatives’ Belongings. By acknowledging this fact, and speaking it aloud, the museum, more specifically the staff, can find common ground with community members. Most Native people are governed by values that they strive to meet in their everyday lives. With humility being a commonly held virtue, staff members practicing this belief does a tiny amount of bridging and acknowledges the very colonial nature of collecting institutions like museums. Traditional care of an Ethnographic collection challenges Western ideas of ownership and can minutely encourage shifts in perspective within museum culture. 

Traditional care is about access and honoring kinship.
Speakers
PH

Pejuta Haka Win Red Eagle

Assistant Curator of Native American Ethnographic Collections, Science Museum of Minnesota
Pejuta Haka Win Red Eagle is an Oglala Lakota/Waḣpekute & Waḣpetuŋwaŋ Dakota wiŋyaŋ and museum professional with experience working in both Native-led and non Native-led museums and cultural centers. She is happiest when she is immersed in a work environment that endeavors... Read More →
Authors
PH

Pejuta Haka Win Red Eagle

Assistant Curator of Native American Ethnographic Collections, Science Museum of Minnesota
Pejuta Haka Win Red Eagle is an Oglala Lakota/Waḣpekute & Waḣpetuŋwaŋ Dakota wiŋyaŋ and museum professional with experience working in both Native-led and non Native-led museums and cultural centers. She is happiest when she is immersed in a work environment that endeavors... Read More →
avatar for Rebecca Newberry

Rebecca Newberry

Conservator, Science Museum of Minnesota
I'm a bench trained conservator specializing in preventive conservation and natural history objects. I am happiest when I can improve the stewardship of a collection while also increasing accessibility.
Friday May 30, 2025 4:55pm - 5:15pm CDT
Hyatt Regency Minneapolis

5:00pm CDT

(Documenting Reactivations: Between Materials & Sensory Experiences and Interactions) Visceral Adipose Tissue: Overcoming Boundaries for the Presentation and Preservation of 2000-04-11 by Gu Dexin
Friday May 30, 2025 5:00pm - 5:20pm CDT
Gu Dexin, a radical pioneer of contemporary Chinese art, retired from the art world after his last solo exhibition in 2009. He is recognized for his large-scale installations that explore decay, transformation, and impermanence. Using perishable materials such as raw animal flesh and adipose tissues, pig brains, fresh flowers, fruit, and plastics, his works evoke strong sensory experiences, characterized by intense odors and continual material degradation.

This contribution presents a two-year conservation project focused on 2000-04-11, an installation created by Gu for the controversial Fuck Off exhibition held in Shanghai in 2000, featuring works by 48 avant-garde artists. The work entered the M+ collection in 2013 without any historical documentation. It consists of a chair filled with visceral pork fat displayed on a vermillion-colored carpet runner, with a framed vermillion-colored wall section opposite the chair. Viewers are invited to sit in the chair, experiencing the decomposing fat while contemplating the framed red plane.

Ephemerality, material transition, and decomposition are central themes in Gu’s practice. His works often deteriorate or transform during exhibitions, sometimes provoking reactions to the smell of rotting substances. Presenting 2000-04-11 in a museum context posed unique challenges due to the lack of artist involvement, limited information about the piece’s creation, and the potential risks of infestation and unpleasant odors in gallery spaces. To address these issues, the conservation team conducted historical and material research and testing and consulted with Gu's assistant and others familiar with the work. We also monitored the microbiota changes in sealed pork fat to faithfully recreate the sensory experience of the piece while ensuring the safe display of the work.

Despite the absence of written instructions for reinstalling the piece, the team's approach honors Gu's conceptual legacy while adapting the work to its new museum setting. The lack of documentation is attributed to the commercialization and exploitation of the artist’s work. This presentation explores the collaborative efforts made to exhibit 2000-04-11 in Gu’s absence, the risks associated with recreating the experience, and the multiple voices that contributed to presenting and documenting this installation.
Speakers
avatar for Alessandra Guarascio

Alessandra Guarascio

Conservator, Installation Art, M Plus Museum Limited
Alessandra Guarascio holds the position of Conservator, Installation Art at M+ since 2018, where she contributes to the documentation, preservation, and presentation of the installation art collection. She obtained her BA in Art Restoration and MA in Conservation of Contemporary Art... Read More →
Authors
avatar for Alessandra Guarascio

Alessandra Guarascio

Conservator, Installation Art, M Plus Museum Limited
Alessandra Guarascio holds the position of Conservator, Installation Art at M+ since 2018, where she contributes to the documentation, preservation, and presentation of the installation art collection. She obtained her BA in Art Restoration and MA in Conservation of Contemporary Art... Read More →
avatar for Sara Moy

Sara Moy

Conservator, M Plus Museum Limited
Sara Moy specializes in the preservation and presentation of modern and contemporary objects and installations, with a focus on complex composite materials. At M+, she has played an integral role in developing the museum’s conservation practices and procedures. In addition to her... Read More →
Friday May 30, 2025 5:00pm - 5:20pm CDT
Hyatt Regency Minneapolis

5:00pm CDT

(Digitization and Open Access to Conservation Research and Technical Images) From Shared Mission to Shared Resources: The Joint Design and Development of the Samuel H. Kress Foundation and NYU Kress Conservation Websites
Friday May 30, 2025 5:00pm - 5:30pm CDT
From its inception, the conservation of paintings has been a fundamental concern of The Samuel H. Kress Foundation. Its two principal conservators, Stephen Pichetto (1887-1949) and Mario Modestini (1907-2006), not only established standards for the treatment of the collection but played a vital role in every aspect of the Foundation’s activities. In keeping with this tradition, The Kress Program in Paintings Conservation (hereafter KPPC) at New York University's Conservation Center of the Institute of Fine Arts was inaugurated in 1989 with support from the Foundation, implementing two of its key commitments: conservation treatment and technical study of paintings from the dispersed Kress Collection in collaboration with museums and individual locations that do not have an in-house department, while simultaneously training graduate art conservation students. Recently, recognizing a shared commitment to open access, the two institutions embarked on a joint project to create interconnected websites, bringing an exceptional amount of collection and conservation data into public view. The result represents a paradigm shift in the digital presentation of conservation research.




For 35 years, the KPPC has accumulated treatment reports, conservation and technical images, paint analyses, and art historical research for over 280 Kress paintings. Previous dissemination efforts through NYU's website (e.g., blogs, PDFs) proved unsustainable and lacked a coherent structure that would provide a systematic resource for the field. The Foundation’s website, while functional, was outdated and lacked adequate resources to showcase the vast collection or reflect its commitment to digital art history. In response to the joint need for a more robust framework for dynamic content display, the institutions took the unprecedented step to share resources and develop their digital platforms simultaneously.




Working with C&G Partners and BMM Art&Computer, input was culled from conservators, curators, archivists, scholars, and educators. This approach ensured both websites would meet diverse users' needs. Shared visual branding provided unity, while a flexible framework accommodated each institution's specific requirements. The development involved designing the websites in parallel, allowing for shared features and enhanced functionalities that might not have been achieved independently.




The Kress Conservation website’s digital catalogue entries uniquely position conservation data as primary content rather than supporting material. They feature powerful IIIF-based digital viewers with "curtain view" functionality, enabling users to study various technical images (X-ray, IRR, cleaned-state treatment photos) in full resolution. Flexible visual galleries and content layouts accommodate diverse data and illustrated entries ranging from 500 to 10,000+ words. This "living" platform allows continuous updates, ensuring sustainable dissemination of conservation research. The Kress Foundation site benefited from these features, which enhanced the display of its entire collection of artworks. Conversely, features designed for the Foundation (e.g., collection database, comprehensive search functions, interactive maps, detailed filters, publications and news pages) were repurposed by the KPPC to publish in-house papers, talks, and conservation resources.




These interconnected platforms fulfill the Kress Foundation and the KPPC’s longtime shared commitment to open-access. The two websites will grow in tandem, adapting to the evolving needs of the art history and conservation communities, ensuring the Kress Collection's legacy remains vibrant and accessible for the future.




Note: The Foundation (http://www.kressfoundation.org/) and Conservation websites (http://www.kressconservation.org/) went live in 2021 and 2022 respectively.
Speakers
avatar for Shan Kuang

Shan Kuang

Conservator of Paintings, Kimbell Art Museum
Shan Kuang is currently Conservator of Paintings at the Kimbell Art Museum. She was previously Associate Conservator and Research Scholar at the Conservation Center of the Institute of Fine Arts, New York University. As part of the Kress Program in Paintings Conservation, she researched... Read More →
Authors
avatar for Dianne Modestini

Dianne Modestini

Clinical Professor Emerita for the Kress Program in Paintings Conservation, Conservation Center, Institute of Fine Arts, New York University
Dianne Dwyer Modestini is Clinical Professor Emerita for the Kress Program in Paintings Conservation at the Conservation Center of the Institute of Fine Arts, NYU, where, since 1988, she has treated or overseen the conservation of over 250 paintings from the dispersed Samuel H. Kress... Read More →
avatar for Lisa Schermerhorn

Lisa Schermerhorn

Deputy Director, Samuel H. Kress Foundation
Lisa W. Schermerhorn has served, since 2008, as the Deputy Director of the Samuel H. Kress Foundation, which supports the study and conservation of European Art through its fellowship and grant programs. She plays a strategic role in both operations and programs, especially those... Read More →
avatar for Maya Kopytman

Maya Kopytman

Partner, C&G Partners
Maya Kopytman is a Partner at C&G Partners, specializing in branding, interactive technologies, and websites. She has three decades of design experience and is internationally recognized for her pioneering work in designing interfaces for a variety of interactive media, from software... Read More →
avatar for Shan Kuang

Shan Kuang

Conservator of Paintings, Kimbell Art Museum
Shan Kuang is currently Conservator of Paintings at the Kimbell Art Museum. She was previously Associate Conservator and Research Scholar at the Conservation Center of the Institute of Fine Arts, New York University. As part of the Kress Program in Paintings Conservation, she researched... Read More →
Friday May 30, 2025 5:00pm - 5:30pm CDT
Hyatt Regency Minneapolis

5:10pm CDT

(Inside Out: Rewriting the Power Dynamics in Conservation) Community-Inclusive Public Art Conservation: Inner Resources Mural Conservation Apprenticeship Project
Friday May 30, 2025 5:10pm - 5:20pm CDT
The Los Angeles County’s Civic Art collection is comprised of over 600 contemporary and historic permanent public artworks located across County-owned property. These artworks are cultural assets that belong to and are enjoyed by all Los Angeles County residents. In recent efforts to provide equitable resources through the Civic Art Division’s commissions and programming, community engagement has been a focused goal. Artists are required to provide activities and feedback from community when fabricating a new artwork, ensuring that the artwork is truly representative of the communities where it resides. The natural extension to this work is to continue the engagement throughout the lifetime of the artwork, through artist activities, educational curriculum, and conservation projects. 

One of the collection’s most treasured artworks, Paul Botello’s Inner Resources mural, was created in 2000 at City Terrace Park. The artwork is one of the largest murals in Los Angeles and is the most often referenced of Botello’s works. Because of the mural’s significance to the community, the mural’s conservation was an ideal opportunity to support the growth of developing conservators and public artists from the surrounding City Terrace and East Los Angeles communities. The Civic Art Division released an open call for the Inner Resources Mural Conservation Apprenticeship Project in Winter 2023 for those interested or emerging in the conservation field and emerging public artists who have a connection or investment in the City Terrace and East Los Angeles communities. The open call provided a rare and paid opportunity to learn about the importance of preservation and participate in the conservation of a significant artwork in their community. 

Four artist apprentices and two emerging conservators were selected by a diverse panel of conservators, cultural workers, and the artist Paul Botello. Work began in Spring 2024 under the supervision of Site & Studio Conservation, led by Kiernan Graves and supported by a team of conservation professionals. The apprentices were given extensive training on identification and examination of condition phenomena and artist materials, agents of deterioration and risks to murals, conservation treatment skills, technical photography/documentation, and an introduction to analytical techniques. The artist Paul Botello worked on the larger areas of loss and mentored the apprentices about his artistic process giving the artists the opportunity to incorporate skills required for restoration.

Public artworks, and especially murals in the East Los Angeles community, provide inspiration, acting as both beautifier, educator, and witness. Communities like East Los Angeles, at the risk of displacement and gentrification greatly benefit from the investment in conservation, as one perceives the erasure of the visual stories of the artists and artworks as the erasure of the communities themselves. When community participates in the conservation of artworks that hold value to their culture and ancestral pasts, it creates an exchange of passion and appreciation for the artworks' meaning and preservation for the conservators, the participants, all that witness the conservation in action, and all who live in the community with an artwork that is cared for. The Civic Art Division hopes to continue this apprenticeship model that centers community knowledge and leadership for future conservation projects, as the response through this project amplifies the need for the conservation field to engage with communities, not as our presumed role as teacher, but as collaborator.
Speakers
JP

Jennifer Payan

Curatorial Assistant, City of Los Angeles Department of Cultural Affairs
Jennifer Payan is a graduate from the University of California, Los Angeles and majored in Art History. She is a Curatorial Assistant at the Los Angeles Municipal Art Gallery and a newly appointed Assistant Registrar, Loans and Exhibitions at the Academy Museum of Motion Pictures... Read More →
avatar for Laleña Vellanoweth

Laleña Vellanoweth

Conservation and Collections Manager, Los Angeles County Department of Arts and Culture
Laleña Arenas Vellanoweth is a textile conservator and cultural worker in Los Angeles, CA. She received her B.S. in Biochemistry and B.A. in Art from California State University, Los Angeles and MA in Art History and Certificate in Conservation from the Institute of Fine Arts, New... Read More →
Authors
BR

Bianca Ramirez

Student, University of California, Berkeley
JP

Jennifer Payan

Curatorial Assistant, City of Los Angeles Department of Cultural Affairs
Jennifer Payan is a graduate from the University of California, Los Angeles and majored in Art History. She is a Curatorial Assistant at the Los Angeles Municipal Art Gallery and a newly appointed Assistant Registrar, Loans and Exhibitions at the Academy Museum of Motion Pictures... Read More →
KG

Kiernan Graves

Owner, Site & Studio Conservation
avatar for Laleña Vellanoweth

Laleña Vellanoweth

Conservation and Collections Manager, Los Angeles County Department of Arts and Culture
Laleña Arenas Vellanoweth is a textile conservator and cultural worker in Los Angeles, CA. She received her B.S. in Biochemistry and B.A. in Art from California State University, Los Angeles and MA in Art History and Certificate in Conservation from the Institute of Fine Arts, New... Read More →
Friday May 30, 2025 5:10pm - 5:20pm CDT
Hyatt Regency Minneapolis

5:10pm CDT

(Elements of Effective Collaboration) Thirty Sailors Walk into a Museum: A Story of Collaboration Between Collections Professionals and a US Naval Nuclear Submarine Crew
Friday May 30, 2025 5:10pm - 5:25pm CDT
The US Navy Submarine Force Museum (SFM) and Historic Ship Nautilus (SSN 571) is the only museum in the United States where nuclear-trained US Navy Submarine Sailors and museum professionals have the opportunity to work together to care for a museum collection. Collections staff gain daily access to the foremost subject matter experts and cultural stakeholders of the collection, as well as exclusive insight into Sailors’ lives onboard submarines. Meanwhile our Sailors discover unique skills and a knowledge base they would otherwise not encounter in their Navy careers. Over time, this relationship has proven mutually beneficial, but it wasn’t always that way.  

Our presentation charts the evolution of this collaborative relationship via the trials and triumphs of our ongoing 100% collection inventory. Previously, civilian and military staff operated in isolation from each other. This changed in 2021 when Sailors volunteered to serve as liaisons between the civilian staff and the military command to ensure programming and collections work continued in the event of civilian furloughs. As our Sailors’ interest in museum work grew, we trained them on basic collections care and incorporated them into our inventory teams. Their extensive knowledge and “Sailor power” were welcome additions to the moving and processing of both large quantities of artifacts and just plain large artifacts. It is now a full-fledged collaboration that includes Sailors in artifact handling, conservation, exhibit planning, and programming. As the Sailors work with collections staff, their investment and pride in caring for the museum has grown, using their positions to streamline collections care and facilities management. Having a crew of thirty highly-trained and physically-fit Sailors as first responders to a collections’ emergency (e.g. fire, leaks, or loss of electrical power) takes a significant burden off the collections team. The Sailors are also the primary force behind maintaining and preserving SFM's most priceless artifact – Historic Ship Nautilus herself, the world’s first nuclear submarine and the only US Navy nuclear submarine available for public touring.  

The tangible benefits of collaboration have been invaluable to improving SFM in predictable ways, but what we never anticipated was our Sailors truly investing in learning how to better preserve their own heritage. We all have continued to grow and learn about the traditions, missions, and occasionally embellished history – “sea stories” – that make the US Navy Submarine Force a one-of-a-kind community. This is only a temporary duty in these Sailors’ careers, but they take this unique knowledge and skillset with them, applying it to other facets of their lives, whether at follow-on duties assisting with other heritage assets within the US Navy or in a volunteer capacity as civilians. This inventory has fostered skills and relationships that extend beyond the walls of SFM. This presentation is our chance to share our experiences, pass on our lessons, and spin our very own sea story. Or two.
Speakers
avatar for Alyssa C. Opishinski

Alyssa C. Opishinski

Museum Technician, History, USN Submarine Force Museum and Historic Ship Nautilus (SSN 571)
Alyssa C. Opishinski (M.S. Textiles, Fashion Merchandising and Design, with a specialization in Historic Fashion and Textiles, Textile Conservation, and Cultural Analysis) is the Museum Technician (History) in the Collections Department at the USN Submarine Force Museum and Historic... Read More →
avatar for Brendan G Perry

Brendan G Perry

Assistant Curator, USN Submarine Force Museum and Historic Ship Nautilus (SSN 571)
MMN1(SS) Brendan G. Perry (BA, Studies in War and Peace) is the Sailor Assigned to the Curatorial Department at the US Navy Submarine Force Museum and Historic Ship Nautilus (SSN 571) in Groton, CT. MMN1(SS) Perry graduated Magna Cum Laude from the Norwich University Corps of Cadets... Read More →
Authors
avatar for Alyssa C. Opishinski

Alyssa C. Opishinski

Museum Technician, History, USN Submarine Force Museum and Historic Ship Nautilus (SSN 571)
Alyssa C. Opishinski (M.S. Textiles, Fashion Merchandising and Design, with a specialization in Historic Fashion and Textiles, Textile Conservation, and Cultural Analysis) is the Museum Technician (History) in the Collections Department at the USN Submarine Force Museum and Historic... Read More →
avatar for Brendan G Perry

Brendan G Perry

Assistant Curator, USN Submarine Force Museum and Historic Ship Nautilus (SSN 571)
MMN1(SS) Brendan G. Perry (BA, Studies in War and Peace) is the Sailor Assigned to the Curatorial Department at the US Navy Submarine Force Museum and Historic Ship Nautilus (SSN 571) in Groton, CT. MMN1(SS) Perry graduated Magna Cum Laude from the Norwich University Corps of Cadets... Read More →
Friday May 30, 2025 5:10pm - 5:25pm CDT
Hyatt Regency Minneapolis

5:15pm CDT

(Prioritizing People Over Objects: Re-imagining Conservation Ethics) To Box or Not to Box that is the question of Being Boxed in - The Designing Process of Culturally Sensitive Containers
Friday May 30, 2025 5:15pm - 5:30pm CDT
A sizable collection of approximately three hundred Southwest Pueblo wooden figures (often erroneously referred to as “Kachina dolls”) were in a donation to start a Cultural Center – Museum. The figures are organic with wood, fur and feathers. Native Americans and conservators’ beliefs often differ drastically on what a collection piece is and how to treat the piece. The dilemma of the opposing views is visited in this abstract.

Many Indigenous Peoples believe everything has an animistic life force with a life cycle that ends in decay to then start another life cycle. The degree of life energy depends on various factors. Some of the most powerful animate sources are man-made entities made from re-purposed once living organic materials.

Conservation best practices when faced with a fragile fur and feathers collection that are susceptible to agents of deterioration, is to keep them in the dark in a temperature and humidity-controlled environment. Creating an securely enclosed mini-environment box that is light and humidity free, airtight boxes made of archival materials that buffer any extreme fluctuations in temperature or relative humidity would be ideal to preserve these figures. Yet, living animistic creatures want to stand upright, breathe, need light, and do not wish to be alone. The containers could not be regular boxes.

A solution of compromise resulted in the design of Culturally Sensitive Archival Containers.

The containers use all archival materials. Blue board is used to make a three-sided box and cover. UV restricting acrylic thermoplastic creates the front side permitting the entrance of light while restricting harmful light waves. There are breathe holes cut in the sides which are covered with unbleached cotton linen so pests and surrounding environmental factors are deterred. Two-inch plank Etha foam with Tyvek support the figures so they can securely stand and each container has two or more figures so they are not alone.

The container’s design considers the benefits of a mini-environment away from harmful light, pests, and other agents of deterioration while still considering the aspects of a living entity being able to breath in the light and not be alone. While both sides of this discussion compromise in the creation of these containers, the result is a good middle ground.

This journey brought an understanding of the pieces, their energy, and their care from a Native American’s view point while still accommodating the conservator’s ethics of good stewardship in combating the agents of deterioration. As we move forward in collection care, we must learn to listen and communicate. Both sides need to understand and accommodate views different than our own. These containers promote understanding between cultures and ideals. Most Native Americans are open to conservation practices if presented in terms of respect. In preserving collections conservators and stewards can give respect by listening. Maybe you too, will feel and hear the voice of the inanimate thing.
Speakers
avatar for Jo Lynne Fenger

Jo Lynne Fenger

Collection Steward, University of New Mexico - Maxwell Museum of Anthropology
Jo Lynne, in her quest for knowledge, has obtained college degrees in fine art, psychology, and a master’s in museum studies. Her enthusiasm for conservation increased during her master’s in museum studies as a student of Harriet “Rae” Beaubien. During this time she dismantled... Read More →
Authors
avatar for Jo Lynne Fenger

Jo Lynne Fenger

Collection Steward, University of New Mexico - Maxwell Museum of Anthropology
Jo Lynne, in her quest for knowledge, has obtained college degrees in fine art, psychology, and a master’s in museum studies. Her enthusiasm for conservation increased during her master’s in museum studies as a student of Harriet “Rae” Beaubien. During this time she dismantled... Read More →
Friday May 30, 2025 5:15pm - 5:30pm CDT
Hyatt Regency Minneapolis

5:15pm CDT

5:20pm CDT

5:20pm CDT

5:25pm CDT

5:30pm CDT

5:30pm CDT

7:30pm CDT

AIC and RATS – Drag After Party - Roxy’s Caberat - Cost $39 - VIP Package - $75
Friday May 30, 2025 7:30pm - 10:15pm CDT
Back by popular demand, AIC and RATS have teamed up to bring you the 2025 edition of the Drag After Party.

Join us at Roxy’s Cabaret conveniently located across the street from the host hotel – the Hyatt Regency Minneapolis. AIC has rented out the venue until 10 pm at which point it will open to the public. There are two floors – the lower level is the cabaret where the drag shows will be hosted. The 2nd floor consists of a lounge that has an amazing outdoor balcony.

Upgrade to our VIP Package and enjoy a private dinner reception in the 2nd Floor lounge with special guests from 6:30 - 7:30 pm and reserved seats up front or the 8 PM Drag Show.

Here is a timetable for the event:
VIP Party Buffett – 6:30 -7:30 PM - VIP Ticket Holders Only
7:30 pm – doors open for main event and 1st drag show.
8:00 – 8:45 pm – 1st Drag Show
8:45 pm – 9:30 pm – mix and mingle on the 2nd floor
9:30 – 10:15 pm – 2nd Drag Show

Your ticket includes one drag show and 1 drink ticket. Please select from the three ticket options: VIP Package, Regular ticket - 8 PM drag show, Regular ticket 9:30 drag show you would like to attend during the registration process. Depending on the number of tickets sold, you might be able to attend both shows. AIC guests are welcome to stay after the venue opens to the public. Help us support this Minneapolis institution and LGBTQ+ community.
Friday May 30, 2025 7:30pm - 10:15pm CDT
Roxy's Caberat 1333 Nicollet Mall, Minneapolis, MN 55403
 

Share Modal

Share this link via

Or copy link

Filter sessions
Apply filters to sessions.
Filtered by Date - 
  • Concurrent General Session
  • Dinner/Reception
  • Discussion Session
  • Exhibit Hall
  • General Session
  • Lunch Session
  • Poster Session
  • Pre-Session Seminar
  • Reception
  • Specialty | Interest Sessions
  • Tour
  • Workshop