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Data Analysis & Visualization for Conservation Professionals: Part 1Contains 6 Component(s) Includes Multiple Live Events. The next is on 01/12/2021 at 1:00 PM (EST)
Online course January 12 - February 23, 2021
January 12 - February 23, 2021
The waitlist for this course is currently closed. Please keep an eye out for announcements regarding future programming.
Data Analysis and Visualization for Conservation Professionals is a two-part course designed to introduce conservators and cultural heritage professionals to the fundamentals of working with data sets. Numerous types of projects within conservation and preservation can benefit from data-driven tools and methods. Both small and large data sets are now commonly collected and readily accessible for querying. While many are familiar with conventional tools such as Microsoft Excel, a broader picture of strategy, reasoning, and specific tools will open up the possibilities for more successful projects.
Part 1 which will teach participants statistical reasoning, ethics and bias in data collection, data formats, data extraction, database design, and data scrubbing. Participants will learn to properly plan for and collect data sets so they can perform statistically sound analysis. Part 2 will introduce tools for analysis of text, numeric, and image data sets, visualization of data, and dissemination. Participants will learn multiple methods for data analysis and visualization with both open-source and proprietary tools using various tools with a focus on open source software. After completion of part one and two of the course participants will be able to collect and organize data in strategic ways, use common open-source data collection and management tools, evaluate data-driven projects and publications in cultural heritage, recognize questions that can be answered with data driven methods, and recognize when to seek a collaborator and how to find one.
This is Part 1 only. Participants are encouraged to participate in both parts, although it is not required. Registration for Part 2 will be available in early 2021 and priority will go to those who participate in Part 1. Those who do not participate in Part 1 may participate in Part 2, but will be required to purchase and complete a self-study version of Part 1. Space is limited in order to allow for discussion and individual feedback from the instructors.
The live sessions for the course will take place in Zoom and live captions will be available.
Fundamentals of Thinking Quantitatively with Diana Greenwald
January 12: Live session at 1:00 - 3:00 p.m. Eastern Time
January 16: Optional assignment due
Working with Existing Data Sets with Diana Greenwald
January 19: Live session at 1:00 - 3:00 p.m. Eastern Time
January 23: Optional assignment due
Data Collection 1 with Lee Ann Daffner
January 26: Live session at 1:00 - 3:00 p.m. Eastern Time
January 30: Optional assignment due
Data Collection 2 with Lesley Langa
February 2: Live session at 1:00 - 3:00 p.m. Eastern Time
February 6: Optional assignment due
Data Review with Kelly Davis
February 9: Live session at 1:00 - 3:00 p.m. Eastern Time
February 13: Optional assignment due
Fundamentals of Databases with Kelly Davis
February 16: Live session at 1:00 - 3:00 p.m. Eastern Time
February 20: Optional assignment due
All live sessions will be recorded and accessible to participants shortly after the session is complete.
This program is an FAIC Collaboration Workshop in Photograph Conservation. This series of workshops was initiated by Debra Hess Norris and Nora Kennedy in 1997, with funding from The Andrew W. Mellon Foundation. The program became part of the FAIC professional development program in 2009, under an endowment grant from The Andrew W. Mellon Foundation.
The FAIC Collaborative Workshops in Photograph Conservation Endowment was created by a grant from The Andrew W. Mellon Foundation and is supported by donations from members of the American Institute for Conservation and its friends. Courses are made possible with the assistance of many AIC members, but no AIC membership dues were used to create or present this course.
Without support, the registration fee for this course would be over $400. FAIC relies on your contributions to support these and its many other programs. Learn more about donating to the foundation here.
Lee Ann Daffner
Lee Ann Daffner is the Andrew W. Mellon Conservator of Photographs at The Museum of Modern Art where she established the museum’s first photograph conservation section in 1998. She received her M.A. in Art Conservation from the University at Buffalo, State University of New York in 1994. Before joining MoMA, she held conservation appointments at The Metropolitan Museum, Harvard University, The Library of Congress, and The Better Image.
Daffner oversees the conservation and preservation of all the photographs in the museum, located in every curatorial department, library and archives. Daffner promotes materials-based scholarship and assimilation of this content in curatorial, technical art history and academic initiatives. From 2009 to 2015, she directed the conservation portion of the cross-disciplinary study of the Museum’s Thomas Walther Collection of Modernist Photography, co-edited the Object:Photo print and online publications, and has contributed essays to numerous exhibition catalogues. She currently serves as Associate Editor for JAIC.
Kelly Davis is a data manager of the Getty Provenance Index, a database for the field of collecting and provenance. She completed her Master’s from Pratt Institute in 2014, in the fields of Library Science and Art History. Her work is focused on updating and maintaining an excellent research tool by standardizing metadata, conforming to internal schema and reconciling entities. She’s known as an “Open Refine guru” at the Getty, and works frequently with that program and other data science methods.
Diana Seave Greenwald is an art historian and economic historian. Her work uses both statistical and qualitative analyses to explore the relationship between art and broader social and economic change during the nineteenth and early twentieth centuries, particularly in the United States and France. Her first book, Painting by Numbers: Data-Driven Histories of Nineteenth Century Art, will be published by Princeton University Press in February 2021.
Diana is currently the Assistant Curator of the Collection at the Isabella Stewart Gardner Museum in Boston. Prior to joining the Gardner, she was an Andrew W. Mellon Postdoctoral Curatorial Fellow at the National Gallery of Art in Washington, D.C., working in the departments of American and British Paintings and Modern Prints and Drawings.
She received a D.Phil. in History from the University of Oxford. Before doctoral study, Diana earned an M.Phil. in Economic and Social History from Oxford and received a Bachelor’s degree in Art History from Columbia University.
Dr. Langa is a strategic research and program manager with over 15 years of experience managing national initiatives that address the needs of libraries, museums and other heritage institutions. Her work focuses on the big picture of cultural heritage, including an individual's experience with it, how we protect it, how we support the cultural sector, how we care for it and evaluating the mechanisms we use to do all of this. Her work has spanned several areas including digital collections, metadata management, evaluation and research, and user experience across the cultural heritage sector in museums, federal cultural agencies, and small nonprofits. Using this diverse background, Dr. Langa sets out to find the answers to questions that can affect practice in the field and deliver practical solutions for cultural heritage professionals. She runs a consulting firm, NovaKultura, and recently completed a PhD at the University of Maryland's iSchool.
- Registration Closed. Maximum Number of Registrants reached.
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Health and Safety in DisastersContains 1 Component(s) Includes a Live Web Event on 12/09/2020 at 2:00 PM (EST)
Guidelines for incorporating health and safety material into institutional disaster training.
Emergency responders face many hazards on the job. While emergency response is a hazardous occupation, appropriate training for personnel who are equipped with appropriate tools and equipment, and appropriate Personal Protective Equipment (PPE), can reduce, or at least, minimize responder injuries and illnesses. Training, practice, and experience build capabilities necessary to perform this work safely every day. Many responses are routine, and this preparation minimizes risk.
Certain emergencies are less routine and pose hazards that responders may be less prepared for because they do not face these hazards in their ordinary day-to-day work, such as a mass casualty incident in a large facility such as a stadium, a train derailment, or a hazardous materials response to a chemical processing plant that is subject to OSHA’s Process Safety Management Standard. Federal and State laws require that emergency responders work with owners and operators in planning and exercises to prepare for unique hazards from these operations. Other organizations and workplaces also have unique hazards, and although not required by law, it is in the best interest of responder safety to use a similar stakeholder participation process in emergency planning, and to utilize site specific knowledge during a response when an incident occurs. Museum artifacts may contain residues of arsenic, cyanide, lead, or other hazardous materials that can pose risk to responders. Museum operators have unique knowledge of these hazards at their facilities and should be prepared to participate in planning and exercising incident scenarios. During a response, museum personnel should coordinate with the Safety Officer to assess unique hazards as they arise. To be effective in this role, museum personnel must develop a good operating understanding if the Incident Command System and how they can be incorporated into this system to be most effective. Safety Officers must also understand that coordination with onsite personnel during a response is necessary to best ensure the safety of all responders.
Dana Stahl is the author of Health and Safety in Emergency Management and Response published by John Wiley and Sons. She is a Certified Industrial Hygienist with more than 20 years experience managing health and safety programs in private industry and the public sector. She holds a degree in Biology from the University of California, Berkeley, and a Masters Degree in Environmental Health with emphasis in Industrial Hygiene and Toxicology from the University of Washington. She is currently the Safety and Health Manager for The Seattle Public Library and has held positions managing health and safety programs in the Corporate Safety Department at the Port of Seattle, as the Manager of Health, Safety and Emergency Management at The Central Puget Sound Regional Transit Authority. She is an instructor for the Pacific Northwest OSHA Training Center, where she developed the Emergency Safety Officer Course and the Emergency Safety Specialist Certificate Program.
Decolonizing Collections and Prioritizing Community PartnershipsContains 2 Component(s) Includes a Live Web Event on 12/07/2020 at 4:00 PM (EST)
Online webinar December 7, 2020 at 4:00-5:30 p.m. Eastern Time
December 7, 2020 at 4:00-5:30 p.m. Eastern Time
Calls to decolonize collections and partner with communities have gained momentum in recent years. Decolonizing would mean transforming the way we view and interact with collections and people, de-centering white colonizer perspectives, and addressing the traumatic histories that have led to our existing systems. The current racial justice movement has made the need to be inclusive and to partner with communities even more clear. What would it look like if we rejected conservation's traditional top-down approach and instead shared authority with Black, Indigenous, and other communities of color? This session will examine the need to dismantle our problematic foundations and discuss how we can enrich our work through partnerships with others.
The webinar will take place on Zoom and automated live captions will be available for those who choose to use them. The webinar will be recorded and the recording will be available to view shortly after the live event is complete.
Dr. Melanie Adams
Director, Anacostia Community Museum
Artist, Arts Administrator, and Cultural Organizer
Joel Garcia (Huichol) is an artist, arts administrator and cultural organizer with 20+ years of experience working transnationally focusing on community-centered strategies. His approach is rooted in Indigenous-based forms of dialoguing and decision-making (non-hierarchical) that uplifts non-institutional expertise. Joel uses arts-based strategies to raise awareness of issues facing underserved communities, youth, and other targeted populations garnering national press in publications such as the LA Times and Artforum among others. He has been a lead organizer removing both the Columbus and Serra statues in Los Angeles and surrounding areas as well as developing programming that counters those narratives and centering Indigenous perspectives. He’s the co-founder of Meztli Projects, an Indigenous based arts & culture collaborative centering indigeneity into the creative practice of Los Angeles. He served as Co-Director at Self Help Graphics & Art (‘10-’18) a nationally acclaimed arts organization founded in 1972 which helped nurture Chicano Art and Dia de los Muertos.
Director of Decolonization, Museum of Us
Héctor Berdecia-Hernandez (Moderator)
Héctor J. Berdecía-Hernández, Assoc. AIA (He/him) is an Architectural Conservator, an Architect-in-Training, and Director/Coordinator-General of the Escuela Taller de Conservación y Restauración del Patrimonio Histórico de Puerto Rico at the Institute of Puerto Rican Culture. The institution provides training on traditional building trades. It seeks to advance the scientific research on historic building materials, technologies, and conservation practices for architectural heritage in Puerto Rico and the Caribbean region. In his current role, he oversees all academic and research projects.
He currently serves as Co-Communications Officer of the AIC’s Emerging Conservation Professionals Network (ECPN). Héctor is also a member of the American Institute of Architects (AIA), the Association for Preservation Technology International (APTI), the International Committee on Monuments and Sites (ICOMOS) and member of the Young Practitioners College at the International Network for Traditional Building, Architecture and Urbanism (INTBAU).
His research focuses on the conservation of historic buildings and sites, with emphasis on vernacular construction, technical and analytical understandings of traditional building materials and technologies in the Caribbean region, and 20th-century building materials.
Héctor holds an M.S. in Historic Preservation, specializing in Architectural Conservation from the University of Pennsylvania, and a B.EnvD. in Environmental Design-Architecture with a double major in History of the Americas from the University of Puerto Rico, Rio Piedras Campus. He also studied Conservation Science courses within Georgetown University and the Universitá degli Studi di Firenze.
Amy Tjiong (Moderator)
Amy Tjiong is an Associate Conservator in the Anthropology Department of the American Museum of Natural History (AMNH) working on the renovation of the Northwest Coast Hall. In her current role, she initiates and facilitates outreach and collaboration efforts, on behalf of the conservation team, with Indigenous communities represented in the hall. Prior to AMNH, Amy had worked in multiple capacities at the Fine Arts Museums of San Francisco, the Freer Gallery of Art and the Metropolitan Museum of Art. She holds a Master of Arts degree in Art History and an Advanced Certificate in Conservation from the Institute of Fine Arts, New York University, as well as a Master of Arts degree in Anthropology from Columbia University. Amy is currently enrolled in the Anthropology doctoral program at the CUNY Graduate Center. Her professional interests include experimental archaeology and applying analytical techniques to research the properties and uses of cultural heritage materials. She is passionate about community outreach, building long term partnerships, and continually learning and growing from these interactions to become a more thoughtful conservator and museum professional.
Physical Media to Digital Storage: Migrating Audiovisual Files in Museum CollectionsContains 10 Component(s)
C2C Care presents a course consisting of five (5) webinars that will assist collecting institutions in the proper handling, storage, and transfer of removable media (optical media, hard drives, flash drives, etc.).
Do you have collections of obsolete and vulnerable removable media (optical media, hard drives, flash drives, etc.) but no backup of the files (the content) to safe and secure storage? This course, created for collections care staff at small and mid-sized institutions, takes you through the steps to identify, prioritize, describe, verify, and to safely transfer the files.
At the end of the course, participants will be equipped to plan and carry out their own migration plans of these critically endangered materials. The emphasis will be on moving image, sound and multimedia content, but the course will be applicable to the shared concerns about other materials such as photos and text. A sample Excel template will be provided listing the key information necessary for management of the carriers and files.
Please note this is a self-study course originally offered in a live webinar format between October 13 and November 12, 2020.
Webinar 1: Digital Media Carriers and Their Properties
Presenter: Elena Colón-Marrero, Digital Archivist, Computer History Museum
In the first webinar, participants will learn to distinguish media carriers and their variations, as well as their relative risks, thus providing data for priority-setting.
Webinar 2: Examining Media Carriers
Presenter: Lorena Ramirez López, Full Stack Developer / Media Preservation Specialist
In the second webinar, participants will be introduced to the “what and why” of a basic migration workflow using write blockers and will learn various ways to gather information about the carrier’s key attributes.
Webinar 3: Examining Media Files
Presenter: Caroline Gil (she/her), Media Conservation Fellow, MoMA/Metropolitan Museum of Art
In the third webinar, participants will be presented with techniques for evaluating moving image and sound files in terms of their historical use, technical specifications, and sustainability, and will learn how to use computer-based tools to capture and organize available metadata.
Webinar 4: Creating a Migration Plan
Presenter: Annie Schweikert, Digital Archivist, Stanford University Library Special Collections
In the fourth webinar, file transfer will be demonstrated after a discussion of the principles of digital storage and the practical preparatory steps necessary to begin migration.
Webinar 5: Media Migration Case Studies
Presenters: Caroline Gil (she/her), Media Conservation Fellow, MoMA/Metropolitan Museum of Art and Elena Colón-Marrero, Digital Archivist, Computer History Museum
The fifth webinar will present one or more case studies where a museum or archive has implemented a migration plan.
By end of course, the participants will have the skills and knowledge to:
- Identify and understand the risks of common removable media carriers (optical media, hard drives, flash drives, etc.) used to store moving images, sound and multimedia files
- Examine and analyze the carriers by such attributes as type, formatting, connector type, and capacity
- Examine and analyze the files contained on the media by such attributes as type, format, codec (encoding), size, interdependencies and sustainability
- Describe and document the carrier and the files using digital tools and inventories to capture information used for discovery, planning and prioritization, and monitoring for sustainability
- Analyze the state of the organization’s digital storage against community standards, and understand how to plan for, prepare, and arrange the digital storage pre-transfer of the files
- Transfer files to the storage using workflows (including write blocking and checksums) that maintain the integrity of the files and their arrangement and retain associated metadata
- Create a plan that reflects community standards for the migration of files and care of the media carriers, considering organization’s needs and resources
Registration Fee: $89
Our Course Coordinators are Kristin MacDonough (she/her), Assistant Conservator of Media, Art Institute of Chicago and Mona Jimenez (she/her), Media Arts Consultant, Materia Media
Connecting to Collections Care courses are made possible in part by generous support from the Institute of Museum and Library Services.
Annie Schweikert is a Digital Archivist at Stanford University Libraries, where she reformats, processes, and makes accessible born-digital archival materials. Previously, she worked as an audiovisual archivist at the Human Studies Film Archives (part of the Smithsonian's National Museum of Natural History) and the Berkeley Art Museum and Pacific Film Archive. She has a master’s in Moving Image Archiving and Preservation from New York University.
Mona Jimenez (Moderator)
Mona Jimenez specializes in conservation/preservation of independent media and media art collections in libraries, archives and museums. From 2003-2017 she was on the faculty of the Moving Image Archiving and Preservation Program (MIAP) at New York University and led curriculum development in areas of video preservation, collection management, and media art conservation. Jimenez is dedicated to collaborative and cross-disciplinary models for media archiving and preservation, founding NYU-MIAP’s international program Audiovisual Preservation Exchange and initiating the Community Archiving Workshop model.
Elena Colón-Marrero is the Digital Archivist at the Computer History Museum. She has been at the museum since 2016 where she manages the museum’s digital collections and historic software collection. Previously, Colón-Marrero served as the 2015 John Foster and Janet Avery Dulles Archival Fellow at the Mudd Manuscript Library at Princeton University where she conducted a survey of born-digital media within the collections. She has her Master of Science in Information from the University of Michigan with concentrations in Archives and Records Management and Digital Preservation.
Kristin MacDonough (Moderator)
Assistant Media Conservator
Kristin MacDonough works as the Assistant Media Conservator at the Art Institute of Chicago, where she collaborates with colleagues throughout the museum to implement guidelines and procedures for acquiring, assessing, exhibiting, and conserving time-based media artworks. She also co-leads the TBM Forum and oversees the development of digital storage for artworks. Prior to this role, Kristin held the position of Digitization Specialist at the Video Data Bank where she migrated much of the analog video collection. A member of the Chicago Area Archivists, she also coordinates the Audiovisual Materials Interest Group and organizes video preservation workshops. She serves as the 2020-2022 Chair for the Electronic Media Group, part of the American Institute for Conservation. Kristin is a founding member of XFR Collective and a 2013 graduate of the Moving Image Archiving and Preservation program at New York University.
Caroline Gil Rodríguez
Media Art Conservator and Archivist
Caroline Gil Rodríguez is a media art conservator, archivist and writer from Puerto Rico. She is currently an Andrew W. Mellon Fellowship in Media Conservation, completing a third year placement at the Metropolitan Museum of Art and prior to that working for two years at the Museum of Modern Art (MoMA). At both institutions, she collaboratively works with the media conservation team in the acquisition, exhibition, treatment, and research of the collection’s audio, film, video, performance and software-based works. Her areas of interest include media art technologies, the circulation of time-based media art in Latin America and the Caribbean, low-cost open-source solutions for digital preservation and collectivism.
Lorena Ramírez López
Full Stack Developer
Lorena Ramírez-López is a full stack software developer from the Flatiron program. An alum from the National Digital Stewardship Residency of the American Archive of Public Broadcasting, a graduate from the Moving Image Archiving and Preservation program at New York University, member of XFR Collective, and consultant at Myriad, she has been a moving image specialist for the past 5 years. In that time she has focused on the preservation, conservation, and restoration of digital collections, specifically the installation and storage of time-based media art. A native New Yorker from Queens, Lorena believes in access and sharing resources which is why she participates and volunteers in open-source projects, hackathons, and the Audiovisual Preservation Exchange from NYU.
Contested MonumentsContains 1 Component(s)
The controversy surrounding Confederate statues and other contested monuments that celebrate slave owners, imperialism, and white settler colonialism have been highlighted in recent months. Although activists have advocated for the removal of these monuments for years, the racial unrest this summer has brought these issues to the forefront of the cultural heritage sector and greater society as community activists empower themselves to take down such monuments all over the world. This has caused conflicted feelings in some conservators who want to support racial justice in public spaces, but who have been traditionally taught to always prioritize the preservation of outdoor sculpture and monuments. Conservators may also be conflicted if their employers task them with the care of contested monuments, calling professional ethics into question. At the crux of the matter are questions surrounding who is valued in our society and who gets to make decisions in regard to public spaces and the interpretation of history. Competing values surrounding the removal of contested monuments will be explored with panelists including artists, historians, and preservation professionals.
The webinar will take place on Zoom and captions will be available for those who choose to use them. The webinar will be recorded and the recording will be available to view after the event is complete.
Dr. Renée Ater
Dr. Renée Ater holds a B.A. from Oberlin College, and a M.A. and Ph.D. in Art History from the University of Maryland. A public scholar who works at the intersection of art and history, Dr. Ater’s research focuses on monuments, race, national identity, and public space. She is the author of Keith Morrison, volume 5 of The David C. Driskell Series of African American Art (Pomegranate Books, 2005) and Remaking Race and History: The Sculpture of Meta Warrick Fuller (University of California Press, 2011) as well as essays on a wide range of public monuments.
Brent Leggs is the executive director of the African American Cultural Heritage Action Fund at the National Trust for Historic Preservation and the Senior Advisor and Adjunct Associate Professor at the University of Pennsylvania’s Center for Preservation of Civil Rights Sites. Brent authored Preserving African American Historic Places and led efforts to establish the Birmingham Civil Rights National Monument. From his work to protect NY’s Madam C. J. Walker’s Villa Lewaro and NC’s Nina Simone’s Childhood Home, he believes that preservation is activism and a tool for growing equity and justice.
Ada Pinkston is an artist, educator, and cultural organizer living and working in Baltimore, MD, where she is a lecturer in Art Education at Towson University. Her work explores the intersection of imagined histories and sociopolitical realities on our bodies using performance, digital media, and mixed-media sculptures and installations.
Nylah Byrd (Moderator)
Nylah graduated with Honors from Stanford University with a B.A. in Archaeology and minors in Studio Art and Chemistry. In her junior year at Stanford she was introduced to the field of Conservation while visiting the Presidio of San Francisco as part of an archaeology course field trip. The following summer she interned under the supervision of Dana Moffett at the National Museum of African Art. Nylah worked with African ethnographic objects such as Adinkra stamps, Kissi pennis, and Akan gold weights. After graduating, she began a six-month internship at the National Museum of American History in the paper conservation lab. While she worked mainly with Janice Ellis, she was given projects in the textile and object labs as well. Her projects included mending century-old papers used in the textile manufacturing process, constructing a head mount for a bonnet, cleaning a Yankee ticket booth, and rehousing a collection of 120 pocket watch papers. She also has archaeological fieldwork experience and developed strong administrative skills in her various short-term jobs during and after undergraduate years. In her free time, she enjoys painting her nails, performing hip-hop and k-pop dance, and is a tiny bird enthusiast.
Laleña Arenas Vellanoweth (Moderator)
Laleña Arenas Vellanoweth is a textile conservator 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 York University. She has worked at the Metropolitan Museum of Art, Natural History Museum of Los Angeles County, Autry Museum of the American West, and Los Angeles County Museum of Art. She currently works as the Civic Art Conservation and Collections Manager for the Los Angeles County Department of Arts and Culture, where she manages the preservation of the County's Civic Art collection and oversees projects that promote healing, equity and access for the County's artworks in public spaces.
Psychology of Disasters and Community RecoveryContains 1 Component(s)
Webinar, September 23, 2020, Instructor: Jody Horstman
This webinar focuses on understanding the psychological aspects and impacts of disasters and disaster response as applied to communities, agencies, those directly impacted, and ourselves. Aspects of the COVID-19 pandemic will be included. Common themes and experiences of disaster and ongoing crisis response will be discussed using multiple real-life examples. Participants will gain knowledge of common reactions to disasters for both survivors and responders, as well as the importance of self-care. As a part of this course, participants will be introduced to Psychological First Aid (PFA,) an evidence-supported modular approach to focus on and enhance personal and community resilience.
Chief Clinical Officer at Aspire Indiana
A licensed clinical psychologist and clinical addictions counselor, Dr. Jody Horstman serves as Chief Clinical Officer at Aspire Indiana, a community mental health center and integrated health system in central Indiana. Dr. Horstman has worked within the community mental health system since 1990 and also has extensive experience in community disaster mental health, having served in New York following 9/11, as part of the Indiana Task Force following Hurricane Katrina, and in Haiti following the 2010 earthquake. She is a member of Indiana’s State Disaster Mental Health Team and a trainer of Psychological First Aid (PFA). Her experiences led her to develop a greater appreciation and interest in resilience and well-being, leading her to work for the past ten years with the international Episcopal Church Pension Group (CPG) as a consultant/contractor providing seminars on resilience, work-life balance, Psychological First Aid, and related topics. Dr. Horstman has also previously worked with the Foundation for Advancement in Conservation in presenting webinars related to the impact of disasters.
2020 AIC Virtual Annual Meeting PackageContains 6 Product(s)
Join us for AIC's 48th Annual Meeting.
Join us for AIC's 48th Annual Meeting, now held virtually online.
Register today to engage with over a hundred hours of professional presentations on conservation issues, techniques, and advances.
- Student members need to use a special discount code to register at the student rate.
- If you cannot register using the link above, use our printable, fillable registration form below. Please email, if possible, as we are still under work-from-home orders. You can use this form for group registrations as well.
- They are planned by topic or specialty and will include posters with individual presentations and discussion.
- They are scheduled from May through August.
- The schedule of individual presentations are in two-hour blocks and take place from 1:00 – 3:00 p.m. Eastern Time.
- They will include two to four talks or panels. Individual presentations are not each two hours long. They will just each take place within that block of time.
- They are listed in the Content tab above.
- They are not visible through a mobile device or tablet in either live or recorded format. You must use a desktop or laptop to access.
- They will be available for viewing by registrants until the end of the calendar year.
This meeting's theme is “Conservation: Reactive and Proactive.” We work in a rapidly changing world. Globally, the economy is volatile, the marketplace demanding, and the negative impact of climate change looms large in conservation. Many collecting institutions have shifted their priorities to preventive conservation for collections and interactive learning in exhibitions, which can decrease emphasis on traditional conservation treatment and the supremacy of original display materials. Conservation professionals are drawing from a wide skill set to respond to these challenges in creative and productive ways. From offering conservation services that go beyond treatment, to focusing on sustainability, to utilizing materials science and technical art history in public education, our field is adapting and evolving. In 2020, we’ll explore ways we can anticipate and embrace change. How are you meeting your biggest challenges? Please join us to share your triumphs and reflect on areas for growth.
2020 EXHIBITOR PROFILES
Virtual Meet & Greet: June 17, 22, 30; July 13; August 27
5465 E. Cheryl Parkway, Madison, WI 53711 USA
Contact: Kodi Morton Ph: 608-276-3017 Fx: 608-276-3006
Bruker is one of the world’s leading analytical instrumentation companies. We cover a broad spectrum of advanced solutions in all fields of research and development. Bruker’s innovative methods and non-destructive analytical techniques help to protect and preserve artifacts and historical monuments all over the world.
Goppion designs, develops, builds, and installs state-of-the-art display cases and museum installations. We work with curators, designers, and conservators to resolve all exhibition display-related issues with engineering solutions. Our tradition of innovation is sustained by our collaborations with our clients, including some of the most highly regarded architects, designers, and cultural institutions throughout the world.
Tru Vue, Inc.
Virtual Meet & Greet: August 20
9400 West 55th St., Countryside, IL 60525 USA
Contact: Yadin Larochette
Ph: 312-758-3737 Fx: 708-854-2660
With nearly 50 years of proven protection and preservation, Tru Vue fine art acrylic and glass solutions, including Optium Museum Acrylic and UltraVue Laminated Glass, are trusted by conservation and fine art professionals to protect and display the most celebrated artworks in the world. We work closely with the museum community to develop products that meet superior aesthetic and conservation standards. For more information visit our website: www.tru-vue.com/museums-collections.
Atlas Preservation Inc.
Atlas Preservation, Inc. was conceived based on the need for a one stop source for all monument restoration supplies. Our mission quickly expanded to include many other fields relating to conservation & historic preservation. such as products for metal conservation, historic window repair, modern stone working, and more. Jonathan Appell is the founder of Atlas Preservation Inc., with over 30 years of experience he has personally conserved some of the oldest dated stones in America. He also performs the majority of historic gravestone preservation workshops throughout America.
Foster + Freeman USA, Inc.
Virtual Meet & Greet: June 29; July 14; August 31
46030 Manekin Plaza, Ste. 170, Sterling, VA 20166 USA
Contact: David Tobin
Ph: 888-445-5048 Fx: 888-445-5049
Manufacturer of the Video Spectral Comparator (or “VSC”) range of instruments for examining documents, paintings, and similar items. Sophisticated optics and specialized lighting allow viewing at various magnifications, throughout the UV, visible and infrared wavebands. Images are easily captured, analyzed and compared via the user-friendly software. Now with 3D-imaging to help reveal the topography of a surface. Sponsoring: BPG Session.
G.C. Laser Systems, Inc.
Virtual Meet & Greet: June 8 and 23
900 S. Des Plaines Ave., Forest Park, IL 60130 USA
Contact: Magdalena Dajnowski
Ph: 844-532-10641 Fx: 773-353-8699
G.C. Laser Systems, Inc. designs and builds unique laser systems specifically for art and architecture conservation. Our compact and portable systems, such as the GC-1, offer unmatched precision and control over the level of cleaning. We also offer custom built laser cleaning solutions and laser cleaning training.
Hollinger Metal Edge, Inc.
Hollinger Metal Edge, Inc. has been the leading supplier of archival storage products for Conservators, Museums, Government and Institutional Archives, Historical Societies, Libraries, Universities, Galleries and Private Collectors for over 65 years. Famous for The Hollinger Box – the metal edged gray document cases that fill the shelves of thousands of organizations, we offer a wide variety of box styles made with various appropriate materials to store any collectible. We also supply conservation materials, inert polyester, polypropylene and Tyvek products, archival folders, buffered and unbuffered envelopes, Permalife bond papers, and buffered and unbuffered tissue paper. Hollinger Metal Edge manufactures custom orders on a daily basis and is committed to educational support for preservation workshops. Please contact us regarding your workshop, and we will provide free catalogs and samples as required.
Kremer Pigments, Inc.
For over 40 years, Kremer Pigments continues to research, produce, and procure the highest quality pigments and raw materials for all types of historical fine arts recipes. Dr. Georg Kremer began making pigments in 1977 by producing Smalt--a 19th century cobalt-based synthetic blue. His inventory of pigments has grown steadily year by year and continues to grow with the most recent mineral pigment, Thulit. Conservators, gilders, decorative painters, luthiers, dyers, and all manner of artists rely on Kremer Pigments to supply hard-to-find ingredients for their specific needs. Today, Kremer Pigments NYC is the only store outside of Germany to carry the full inventory of over 1,000 historical raw materials.
NanoRay, headquartered in Taiwan, has pioneered the design and development of Transmission X-Ray technology for its application in Non-Destructive Testing – Automated Art Inspection. NanoRay has successfully developed a portfolio of intelligent Automated Art X-Ray Inspection solutions, with patented Transmission X-Ray Technology, to help in preventive maintenance, restoration and research of art objects like Paintings, Sculptures, Relics, artifacts, etc., and ensure the safe keep of priceless heritage of mankind.
TandD US, LLC.
T&D Corporation manufactures a complete line of network connected and stand-alone Data Loggers that are optimized for automated, error free data collection, remote monitoring and warning notification. T&D’s products offer an extensive array of connectivity options including loggers with built-in network interfaces, wireless handheld data shuttles, network and cellular gateways, and even BlueTooth interfaces for direct connection to smart phones and tablets. Developed specifically for Museum and Archive applications, T&D produces 4 in 1 loggers that record Temperature, Humidity, Illuminance, and Ultra Violet light, that also maintain internal running exposure totals. T&D offers an exceptional value proposition to its customers through its completely free WebStorage Service. T&D Corporation, the world’s leading supplier of wireless data loggers, is headquartered in Matsumoto Japan, and has been engaged in the design, development and manufacture of high reliability, high quality electronic measurement systems since 1986.
University Products, Inc.
University Products, the leading supplier of conservation tools, equipment and archival storage enclosures, provides a variety of new tools and equipment for conservation. Working with our international partners, Preservation Equipment (PEL) in Europe and Marco Polo in Mexico, University Products selection of tools and equipment is the most complete selection of products specifically designed for AIC members.
BMS CAT offers restoration and reconstruction services to customers all over the world. Over the years, we have helped thousands of clients recover from disasters – both big and small. By providing recovery services to mitigate fire, water and storm damage, we help reestablish businesses and restore communities. When Mother Nature or man-made accidents strike, we are there for you with a full range of disaster recovery and restoration services. Founded in 1948, our company has the experience, equipment and people to handle any size restoration job.
Conservation by Design
Conservation by Design is a part of an international group of complimentary companies dedicated to working with conservators from museums, galleries, libraries and archives around the world, in the protection of our cultural heritage. We believe in a holistic approach to conservation, understanding the essential value of “joined-up” thinking, in the development of innovative solutions that enable the long-term display, storage and survival of valuable materials.
Crystalizations Systems, Inc.
CSI’s newest innovations, the secure and eminently maneuverable Transporter 101 and 201, arrive fully assembled and are changing how conservators move collections and exhibitions, room to room, gallery to gallery and location to location. CSI has manufactured storage solutions for leading museums, galleries, and private collections since 1976. All CSI storage systems, including Moving Painting, Rolled Textile and PerfectFit Kits, incorporate the masterful application of superior design, quality aluminum materials and aerospace engineering manufacturing techniques.
Visit Gaylord Archival to see our new and innovative Frank Showcase System! It’s the first patented, fully demountable acrylic showcase system in the world—it ships flat! Let us help you bring your exhibit to life with our unparalleled selection of cases, as well as everything you need to prepare, install, display and protect your collections. If you are looking for something specific, we offer unlimited options for customization. We also carry a comprehensive selection of preservation products and conservation materials, many of which are handcrafted at our headquarters, so we can respond quickly to your custom requirements. Our wide array of museum-quality cabinets, art storage systems and flat files address your long-term storage needs. To maintain your storage environment, look to Gaylord Archival for environmental controls and monitoring devices that will suit any need or budget. Learn more about our products by visiting our website.
Onset HOBO Data Loggers
Used in museums, archives, and exhibit spaces worldwide, Onset’s award-winning Bluetooth-enabled HOBO temperature and humidity data loggers protect irreplaceable objects, including the best-surviving copy of the Magna Carta, which was on display to commemorate the document’s 800-year anniversary. And with the new MX Gateway, users can remotely manage data, receive alarm notifications via email or text, and create custom dashboards in HOBOlink, Onset’s cloud software. Based on Cape Cod, Massachusetts, Onset has been designing and manufacturing its products on site since the company’s founding in 1981.
Opus Instruments (Atik Cameras)
Virtual Meet & Greet: June 15; July 23
Unit 8 Lodge Farm Barns, New Rd., Norwich, Norfolk NR9 3LZ United Kingdom
Contact: Catherine Wilkinson
Opus Instruments are the team behind the world’s leading cameras for Infrared Reflectography. The renowned Apollo camera has been used to examine hundreds of artworks at leading institutions, galleries and auction houses around the globe, making notable contributions within the fields of both art conservation and art history. Apollo allows you to capture and explore infrared reflectographs in more depth and detail than ever before.
Prairie Paper, University of Illinois, Library
Prairie Paper is a sustainable option for conservation and the fine arts, ideal for case bindings, printable, and available in multiple weights. All papers have a relatively stable pH and minimal color change after artificial aging. Our carbon footprint is significantly lower than traditional paper-making studios from using locally sourced ingredients, solar powered studios, and high-efficiency stoves for cooking fibers.
57640 North Eleventh St., Calumet, MI 49913 USA
Contact: Robert Sturos
Ph: 906-337-3018 Fx: 906-337-2930
REL is an Original Equipment Manufacturer located in Michigan’s Upper Peninsula. REL has inherent knowledge of material deformation, energy absorption and machining. This understanding allows REL to design, develop, and manufacture the most severely tested, inspection products on the market. REL’s product line consists of the most space efficient FPI systems and highly engineered LED lighting solutions for Non-Destructive Evaluation.
SmallCorp manufactures products for the display, conservation and storage of works of art, textiles and objects. Our frames and display cases figure prominently in museum and corporate collections. SmallCorp customers include picture framers, galleries, art conservators and related institutions, and professionals.
Studio Arts College International
Studio Arts College International (SACI) is more than an opportunity to study abroad in Florence, the birthplace of the Renaissance. Accredited by the National Association of Schools of Art and Design (NASAD), SACI offers a wide range of innovative, hands-on graduate and undergraduate programs in traditional and contemporary studio arts, design, conservation, art history, and Italian language and culture. Programs integrate diverse disciplines and emphasize the essential role of art and design in how we shape and sustain our planet both socially and environmentally.
Applied Surface Technologies
Applied Surface Technologies will demonstrate CO2 Snow Cleaning as applied to cleaning and restoring art. We will demonstrate the CO2 Snow Cleaning units, with and without heated compressed air about the CO2 snow stream, for cleaning different materials and items. CO2 snow can remove soot, hydrocarbon oils, fingerprints, dust, particles of all sizes, polishing residues and more. Examples shown include fingerprints on a polymer structure, polishing and wax residues, soot and, more.
Barnett Technical Services
Virtual Meet & Greet: July 9; August 19
5050 Laguna Blvd., Ste. 112-620, Elk Grove, CA 95758 USA
Contact: Steve Barnett
Supplier of Micro Support bench top micromanipulators for precise micro-sampling on a scale that is invisible to the naked eye. We also supply larger systems to assist with restoration. Our systems include probes, knives, and scrapers to facilitate chemical analysis or cleaning. Systems can be full micromanipulators with arms or individual arms for sampling on larger works.
Carestream Non-Destructive Testing
Virtual Meet & Greet: June 15 and 17; July 2
150 Verona St., Rochester, NY 14608 USA
Contact: Stephen Pflanz
Ph: 585-627-6705; Cell: 585-230-0972
Carestream NDT is a worldwide provider of X-ray imaging systems used by Art Conservatories around the world. Products include digital computed radiography (CR) systems, digital radiography (DR) systems, imaging plates, cassettes, DICONDE archiving, conventional film & chemicals, automatic film processing equipment and accessories. Our innovative solutions enable our customers’ success and reveal critical information on priceless works of art and artifacts. Our award-winning products keep conservators at the forefront of technological advancements in art imaging.
The CoLibrì Cover System offers the most advanced, highest quality book covering system available worldwide. Our easy and innovative system allows any type and size of book to be covered with the touch of a button. The system consists of a simple desktop machine and polyethylene covers. This carefully designed system is the simplest and most practical book covering system available.
Dorfman Museum Figures, Inc.
Dorfman Museum Figures, Inc. is the leader in creating three-dimensional Ethafoam Conservation Forms for archival display and storage of your artifact garments. Choose between our full Economy Ethafoam Man and Woman, Dress and Suit Forms, Classic Forms, Storage Hat Mounts, Conservation Hangers, and more. In addition to our standard product line, we can create custom Ethafoam forms to fit specific needs.
Getty Conservation Institute
The Getty Conservation Institute (GCI) works internationally to advance conservation practice in the visual arts—broadly interpreted to include objects, collections, architecture, and sites. The Institute serves the conservation community through scientific research, education and training, field projects, and the dissemination of information. In all its endeavors, the GCI creates and delivers knowledge that contributes to the conservation of the world's cultural heritage.
Getty Publications produces award-winning titles that result from or complement the work of the J. Paul Getty Museum, the Getty Conservation Institute, and the Getty Research Institute. This wide variety of books covers the fields of art, photography, archaeology, architecture, conservation, and the humanities for both the general public and specialists.
Hiromi Paper, Inc.
Specializing in papers from Japan and around the World since 1988, Hiromi Paper, Inc. has been devoted to the creation of a greater rapport between Japanese papermakers, conservators, printers, artists, and bookmakers, while developing new directions and a deeper understanding of Japanese papers or WASHI. We not only strive to support papermakers and the traditions, but to also grow with the present and future needs of the people that use the papers.
Hirox is the pioneer of 3D Digital Microscope System. Our digital microscope system is a versatile tool for measurement, recording, and see things “as they truly are.” Hirox’s high-quality optical and lighting designs allow a magnification range of 0x-10,000x, live focus, and real-time 2D/3D tiling with an automated XY stage.
Huntington T. Block Insurance Agency, Inc.
Virtual Meet & Greet: July 16 and 27
1120 20th St. NW, Ste. 600, Washington, DC 20036 USA
Contact: Ever Song
Ph: 202-429-8506 Fx: 312-381-0698
The American Institute for Conservation (AIC) and Huntington T. Block Insurance Agency, Inc. (HTB) have partnered to provide AIC’s members with the Conservator’s Insurance Program – an insurance solution customized to your unique exposures.
Jack Richeson & Co.
Jack Richeson & Co. is a manufacturer of fine art materials and BEST stretcher bars. We are dedicated to ensuring that you receive a quality product that is always in stock with on-time shipments and superior customer service. BEST museum quality stretcher bars are available in six profiles from 8" to 144". Every bar is selected from the finest raw materials and must be free of knots and completely straight.
Middleton Spectral Vision
Middleton Spectral Vision is an innovative company specializing in hyperspectral imaging and spectroscopy. Art and cultural heritage are an important area of interest to us. Hyperspectral imaging is a proven technique for looking at underdrawings in paintings, color analysis, and chemical composition. We seek to develop easy to use systems that deliver high-quality images along with powerful analysis software to assist in the understanding of valuable works of art.
MuseuM Services Corporation
MuseuM Services Corporation would like to thank the art conservation community for its support in this, our 40th anniversary year. MuseuM Services Corporation remains committed to safely and efficiently serving you with equipment, supplies and services. Please check out our newly launched website and call or email us with your conservation equipment and supply needs.
National Center for Preservation Technology & Training (NCPTT)
The National Park Service’s National Center for Preservation Technology and Training protects America’s historic legacy by equipping professionals in the field of historic preservation with progressive technology-based research and training. Since its founding in 1994, NCPTT has awarded over $7 million in grants for research that fulfills its mission of advancing the use of science and technology in the fields of archaeology, architecture, landscape architecture and materials conservation.
NEDCC | Northeast Document Conservation Center
Founded in 1973, NEDCC | Northeast Document Conservation Center specializes in the preservation of paper-based materials for cultural institutions, government agencies, and private collections. NEDCC serves clients nationwide, providing conservation treatment for book, photograph, and paper collections, including works of art on paper, Asian art, and oversize works. NEDCC provides digital imaging, audio preservation, assessments, consultations, training, and disaster assistance, and is a trusted resource for preservation information worldwide.
Print File, Inc.
Print File Archival Storage at www.printfile.com, is your complete source for innovative product solutions that include traditional or digital photographic presentation and storage needs as well as the lowest prices on all document and paper-borne storage materials. With Print File’s expertise, spanning more than 50 years, institutions have been using Print File products in housing their valuable collections and archives. Print File’s commitment to deliver only the highest quality products throughout the world has established our reputation as the world leader in museum quality storage. Print File Archival Storage will continue to be your partner in preserving the memories of yesterday, for the appreciation of tomorrow’s generations.
RH Conservation Engineering
Established in 1991 by conservator Robin Hodgson, RH Conservation Engineering is a research driven supplier of the most innovative, technically advanced and aesthetically pleasing equipment available, providing consistent quality results in the conservation of human artistic and cultural heritage. Many of the materials and manufacturing techniques used in our equipment come from the aerospace, electronics, and advanced manufacturing industries.
Protect the past and prepare for the future with reconfigurable museum cabinets, shelving, art screens, compactors, and more. Spacesaver's engineers and project managers team up with your local distributor to provide design assistance, installation, and maintenance for any collections care space, large or small. Call 800-255-8170 to arrange a free on-site consultation or visit us at Spacesaver.com.
Bookbinding, Conservation and Archival supplies. Visit our website to see our most recent catalogs and featured new products.
We will be presenting our MiScope Megapixel MP3 and our new “premium plus” MiScope Megapixel MP4K. These USB 3 powered devices are portable, lightweight, have a small footprint, and are available for every budget. Their micron level resolution, excellent color accuracy and included precision measurement software with patented calibration tools will improve your process and documentation to image and record the finest details and color pigments for your own purposes or to share with colleagues, or customers. We will demonstrate how the MiScope can be used for art conservation and restoration to image book and paper, photographs, fabric, paintings, objects, historic buildings, sculptures, and anywhere you want to image for damages, to compare and match pigments, or to look to see if something is an original or a copy. Proudly designed and built in New Jersey since 2001.
A Failure Shared is not a Failure: Making Mistakes in ConservationContains 1 Component(s)
A Failure Shared is not a Failure: Making Mistakes in Conservation
A Failure Shared is not a Failure: Making Mistakes in Conservation
Collections Management for Smaller Cultural InstitutionsContains 8 Component(s) Recorded On: 02/26/2019
During this four-part self-study course, participants will learn about essential aspects of collections management, from the acquisition and registration of objects through the care, use, and deaccessioning of objects.
During this four-part self-study course, participants will learn about essential aspects of collection management, from the acquisition and registration of objects through the care, use, and deaccessioning of objects. The importance of collection storage, exhibition, and collection management policies will be considered as participants produce a needs assessment for their home institution’s collections.
Join instructor John Simmons and Connecting to Collections Care to explore the essentials of good collections management no matter how small your institutions.
Through recorded webinars and related readings, the course's four sections cover:
Week 1: Introduction to Collections Management
Week 2: Day-to-Day Management of Collections
Week 3: Using the Collections
Week 4: Collections Management Policies
Connecting to Collections Care courses are made possible in part by generous support from the Institute of Museum and Library Services.
John E. Simmons (Moderator)
John E. Simmons (BA, Systematics & Ecology; MA, Museum Studies) was a zoo keeper before becoming a collections manager, lecturer and museum consultant. He is a board member of the Association of Registrars and Collections Specialists (ARCS) and current chair of the Collections Stewardship Professional Network (CS-AAM). His recent publications include Museums: A History (2016), Things Great and Small: Collections Management Policies (2nd edition, 2017), and the chapter on “Collections Management: History, Theory, and Practice” in the International Handbook of Museum Studies Volume 4, Museum Practice: The Contemporary Museum at Work (2015). He currently runs Museologica consulting, serves as Adjunct Curator of Collections at the Earth and Mineral Sciences Museum & Art Gallery at Penn State University, and teaches museum studies for Kent State University, the Universidad Nacional de Colombia, and Museum Study LLC. When not working, John likes to read, garden, hike, and travel.
What are C2C Care Courses?
Our courses offer the chance to have a more interactive participation with instructors and to concentrate on a series of webinars devoted to a specific topic with the possibility to check on your understanding of new materials. Courses can include a variety of activities including just watching the live webinars, to discussions with your fellow participants, and to completing a project designed to help you apply what was covered in the course.
Who are the instructors?
Our webinar coordinators are leaders in their field and they choose instructors who they feel are not only leaders but, who understand the setting and milieu of those working in smaller institutions that may not have access to professional help. We find our instructors with our participants in mind.
How much time will I need to commit?
You may commit as much time as you wish, however, the minimum time is about 2-3 hours per week – including the time for live webinars.
What if I can’t watch all of the Course Webinars “live”?
The recordings of the webinars will be posted soon after the “live” webinars. If you miss a live webinar, you will have access through the Course set-up and be able to watch the webinar at a later time, as long as you do so during the Course period. You will need to keep up with the webinars to be able to participate fully in the other course activities.
What do I need to do to earn a Credly badge?
- View all webinars – these can be viewed either live or the recordings as long as they are viewed during the Course period.
- Participate in Discussions and other interactive portions of the Course.
- Complete any projects that are part of the Course.
What can I do with a Credly badge?
A Credly badge (https://credly.com/ is an electronic acknowledgement that you have completed a learning objective that can be linked to your social media, to a profile on LinkedIn, or to your digital resume. The badge links refer an employer or a prospective employer to the Badge that contains a capsule of what you did to earn the badge and an introduction to the organization granting the badge. Learn more about how to take advantage of an earned badge here https://credly.com/blog/post/video-youve-earned-digital-badge-now-what It is an acknowledgement of professional development activity, that you learned a new skill, and that you are part of the community of lifelong learners.
For additional FAQs, see https://community.conservation-us.org/faq#learning.
ECPN Information & Town Hall SessionContains 1 Component(s)
Meet the current ECPN officers, hear about our recent and upcoming initiatives, and learn how to get involved! All are welcome, emerging conservation professionals and preservation professionals at all career stages.
Join our Emerging Conservation Professionals Network for a virtual annual information session. This session is an opportunity to meet the current ECPN officers, hear about our recent and upcoming initiatives, and learn how to get involved! Participants are welcome to ask questions about how AIC and ECPN operate, and voice your ideas for building community and resources to support emerging conservation professionals. In recognition of the unprecedented effect COVID-19 has had on the field of conservation, particularly for pre-program and graduate students, ECPN will be joined by Ellen Pearlstein, current president of ANAGPiC, to answer concerns from the ECPN community. All are welcome, emerging conservation professionals and preservation professionals at all career stages.
Caitlin graduated from the Winterthur/University of Delaware Program for Art Conservation (WUDPAC) in 2019 with a M.S. in Objects Conservation with a minor in Preventive Conservation. She is currently an Assistant Conservator at the American Museum of Natural History. Prior to joining AMNH she completed graduate internships at the Museum of Modern Art (MoMA), the Stedelijk Museum, the San Francisco Museum of Modern Art (SFMOMA), and Glenstone Museum. She holds a B.F.A. in Art History, Theory, and Criticism from the Maryland Institute College of Art. She is a member and certified facilitator for the American Association of University Women (AAUW).