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  • Contains 3 Component(s) Includes Multiple Live Events. The next is on 01/20/2023 at 4:00 PM (EST)

    CAN! Reading Group

    Our network reading group will host a series of monthly sessions to discuss recent contributions to contemporary conservation theory.

    Event organizers:

  • Contains 9 Component(s) Includes a Live Web Event on 12/09/2022 at 2:00 PM (EST)

    Connect with your fellow members!

    Our Monthly Member Meetup is a new series of hour-long monthly events that we’ll host every second Friday at 2pm ET, through at least December 2022. Topics may include fiction in conservation, your favorite tools, introductions to our various committees and groups, and more. Our goal is to offer you a social outlet and way to connect with other members, especially after the isolation of the pandemic. (Join us, introverts!) We welcome suggestions for topics and guest hosts! Send us your ideas at membership@culturalheritage.org.

  • Contains 19 Component(s)

    In this course students will learn about the specific deterioration risk factors for collection materials, how materials deteriorate and what practical steps can be taken to improve storage conditions and promote long-term preservation for institutions of various sizes and collection materials.

    With the vast majority institution’s collections in storage rather than on display, understanding the 10 Agents of Deterioration and the way that they affect different collection materials is at the core of a risk management approach to preventive care. In this course students will learn about the specific deterioration risk factors for collection materials, how materials deteriorate and what practical steps can be taken to improve storage conditions and promote long-term preservation for institutions of various sizes and collection materials. Information from the recently published Storage at a Glance chapters in the 2019 Preventive Conservation: Collection Storage edited by Lisa Elkin and Christopher A. Norris will be featured along with other resources and materials. Participants of the live course will also receive a special code the lowers the cost of the book to $75 plus shipping (down from $95 plus shipping).

    Learning Objectives:

    By the end of the course participants will:

    • Understand the matrix graphics in the Storage at a Glance chapters in the Preventive Care: Collection Storage volume.
    • Have an understanding of the risks caused by various agents of deterioration for a range of collection materials.
    • Be able to identify the greatest deterioration risks for materials in their storage areas Know which chapters in the Storage volume contain information to best address the storage needs of various materials.
    • Devise practical improvements for their storage needs.
    • Be familiar with a range of complementary resources to address storage needs.

    Course Schedule

    Webinar 1 – Risk Management Approach to Storage
    Materials to be covered: Overview of Storage issues, Storage at a Glance, and book resources
    -Lead Presenter: Rachael Arenstein
    -Date: October 13, 2022 1pm-230pm ET

    Webinar 2 - Natural Science Collections
    Materials to be covered: Keratin, Skin/Leather, Fossils/Minerals

    -Lead Presenter: Fran Ritchie
    -Contributor: Stephanie Hornbeck
    -Date: October 20, 2022 1pm-230pm ET

    Webinar 3 – Fine Arts Collections
    Materials to be covered: Paintings (traditional & non-traditional), Fine Art Photos
    -Lead Presenter: Sarah Spafford-Ricci
    -Contributor: Paul Messier
    -Date: October 27, 2022 1pm-230pm ET

    Webinar 4 - Humanities Collections
    Materials to be covered: Textiles
    -Lead Presenter: TBD
    -Contributor: Ann Frisina
    -Date: November 10, 2022 1pm-230pm ET

    Webinar 5 – Libraries and Archives
    Materials to be covered: Book/Paper, Film / Negatives, Electronic Media
    -Lead Presenter: Tara Kennedy
    -Contributor: Andrew Robb, Sara Stauderman
    -Date: November 17, 2022 1pm-230pm ET

    All sessions will be recorded and available on-demand the following day.

    Coordinator Rachael Perkins Arenstein is a Professional Associate member of the American Institute for Conservation (AIC) and began her career working in museums at the age of 15. She has worked at the Bible Lands Museum in Jerusalem, Smithsonian National Museum of the American Indian, the Peabody Museum of Archaeology and Ethnology, the American Museum of Natural History and the Metropolitan Museum of Art. She completed internships at the British Museum and the Israel Museum as well as other international institutions. Rachael’s degree in art conservation is from the University of London where she studied at the Institute of Archaeology, University College London. She received her B.A. in Near Eastern Studies and Archaeology from Cornell University where she wrote her honors thesis on the Dendrochronological analysis of an Urartian archaeological site. She has excavated at Tel Miqne-Ekron in Israel and has been the on-site conservator for Tel Gezer excavations. Rachael was in private practice for four years before co-founding A.M. Art Conservation, LLC in 2009. In addition, she is active in several professional organizations including positions as the e-Editor for the AIC and the Co-Chair of the MuseumPests Working Group.

    Fees

    Early Bird Fee: $99 (before October 1)

    Registration Fee: $149*

    Connecting to Collections Care courses are made possible in part by generous support from the Institute of Museum and Library Services.

    Rachael Perkins Arenstein (Moderator)

    Rachael Perkins Arenstein is a partner in A.M. Art Conservation, LLC a private practice in the New York area with a specialization in preventive care.  She has implemented and conducted IPM programs in institutions of various sizes in the U.S. and abroad.  She worked on the Smithsonian’s National Museum of the American Indian Move Project and its extensive pest management program from 2001-2004.  She is a founding member and current Co-Chair of the Integrated Pest Management Working Group which created and supports the www.museumpests.net website and the PestList listserv.  She has held positions at the Bible Lands Museum Jerusalem, NMAI, the Peabody Museum of Art & Archaeology, the American Museum of Natural History amongst others. Her conservation degree is from the Institute of Archaeology, University of London.

    Fran Ritchie

    Fran Ritchie is an Objects Conservator at Harpers Ferry Center, focusing on the conservation of natural history materials and decorative arts for sites across the National Park system. Fran graduated from the Art Conservation program at Buffalo State College and holds an MA in Museum Anthropology from Columbia University. She currently serves as the Objects Specialty Group Chair and is a Member-at-Large and Conservation Committee Co-Chair for the Society for the Preservation of Natural History Collections. Fran has taught workshops on the conservation of mammalian taxidermy in New York City, Denver, and in New Zealand, and has taught conservation strategies for natural science collections at New York University’s Conservation Program. She is a Professional Associate of AIC.

    Stephanie Hornbeck

    Conservator

    Stephanie E. Hornbeck is an art conservator and conservation consultant. From 2017-2021, she served as McCarter Chief Conservator, Anthropology Collections, at the Field Museum. From 2010-2017, she was Director of Conservation at Caryatid Conservation Services, her private practice in object conservation. From 2010-2016, Stephanie worked regularly in Haiti as chief conservator and then consultant to the Smithsonian Institution’s Cultural Rescue Initiative. From 1998-2009, she was Conservator at the Smithsonian’s National Museum of African Art. She holds an Advanced Certificate in Conservation of Historic and Artistic Works (Objects) and M.A. in History of Art and Archaeology from the Institute of Fine Arts, New York University. The study and care of elephant ivory is a long-standing research interest for Stephanie, who lectures, publishes, and teaches on the subject. In 2019 she co-taught with Terry Drayman Weisser the SPNHC workshop “Identification, Care and Documentation of Mammal Ivories”. In 2018 she taught the Connecting to Collections Care webinar “The Care and Documentation of Ivory”, https://www.connectingtocollec...

    Anne King

    Conservator

    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 in Objects Conservation. She has held positions at The Australia Museum and the Powerhouse Museum in Sydney, Australia, and in the Anthropology Department of the American Museum of Natural History, New York. Anne’s conservation treatment experience ranges from ethnographic, archeological, historical and contemporary collections, as well as natural history specimens. Anne has been responsible for the technical examination and treatment of a wide range of artifacts, some examples of which include Aboriginal bark paintings, Lapita pottery of New Caledonia, contemporary Vietnamese cultural materials, the iconic Haida canoe of the American Museum of Natural History, and the modern sculpture of Michael Richards. She has been a conservator in private practice since 2010, and joined with A.M. Art Conservation in 2020.

    Paul Messier

    Conservator

    Paul Messier is an independent conservator of photographs working in Boston Massachusetts, USA. Founded in 1994, his studio provides conservation services for private and institutional clients throughout the world. The heart of this practice is unique knowledge and ongoing research into photographic papers. The Messier Reference Collection of Photographic Papers plays a vital role in this work.  Continuing with the private practice, Paul was appointed head of the newly formed Lens Media Lab at Yale University in 2015. He received a Masters of Arts and certificate of advanced study in the conservation of works on paper and photographs from the art conservation program at the State University of New York College at Buffalo (SUNY).

    Sarah Spafford-Ricci

    Principal Conservator of Fine Art

    Sarah has a B.Sc. from University of Saskatchewan (Saskatoon SK Canada), a Master of Art Conservation from Queen’s University (Kingston ON Canada) and has worked in the conservation labs of the Glenbow Museum (Calgary, AB), Royal Ontario Museum (Toronto, ON), Royal Saskatchewan Museum, the MacKenzie Gallery (both Regina, SK) and National Gallery of Canada (Ottawa). In 1997, Ms. Spafford-Ricci founded Fraser Spafford Ricci Art & Archival Conservation Inc. where she remains the Principal Conservator. The lab employs 5 conservators of different specialties, the largest private lab in Western Canada. Sarah has been on the Executive of the Canadian Association of Conservators (CAC) and was a provincial representative for 16 years. She sat on the Board of the Saskatchewan Museums Association and has worked on peer review panels for grants for Canadian Heritage, the Canadian Archives Association as well as various municipal public art review committees. In 2010, Sarah received the Saskatchewan Centennial Medal for outstanding work in Heritage Conservation. In 2017, Ms. Spafford-Ricci was keynote speaker for the Canadian Conservators Annual Conference, delivering the Per Guldbeck lecture. Sarah has completed over 100 condition surveys and conservation assessments for collections in Canada and the USA, and has taught numerous workshops over the years to community museums, artists and conservators on everything from disaster planning, to storage design, to production of durable art materials, to care of mixed collections. Sarah’s strength lies in her generalist conservation knowledge which allows her to address conservation concerns for both art galleries and historic museums.

    Ann Frisina

    Conservator

    Ann Frisina began her career as a technician at the Textile Conservation Workshop in 1989 under the guidance of Senior Conservator, Karen Clark.  While at the Textile Conservation Workshop her work focused on flat textiles such as samplers and quilts. Moving on to the Cathedral of St. John the Divine Textile Conservation Lab, 5 years were spent conserving European tapestries and rugs . After interning in the Metropolitan Museum of Art Upholstery Lab, Ann moved on to Historic New England to work on upholstery conservation. In 2016 she was accepted and attended the Attingham Summer School program, which provided an in depth tour of English Country Houses. Recently in 2019-21 she served as Vice Chair and then Chair for the Textile Specialty Group of American Institute for Conservation. Ann currently works as the textile conservator for the Minnesota Historical Society, preserving and exhibiting a broad and varied textile collection  as well as her own business Heartland Textile Preservation Services, which serves local institutions.

    Tara Kennedy

    Preservation Services Librarian at Yale University Library

    Tara Kennedy is the Head of Preventive Conservation at the Yale Library Center for Preservation and Conservation. She holds a MLIS and a certificate of advanced studies in Library and Archives Conservation from the University of Texas at Austin, an MS in Forensic Science from the University of New Haven, and a bachelor’s degree in Art History from Northwestern University. Before coming to Yale, she was an intern at the National Archives, and worked at the Smithsonian’s National Anthropological Archives, and the Gerald R. Ford Conservation Center/ Nebraska State Historical Society in Omaha, Nebraska. She is a Professional Associate with the American Institute for Conservation (AIC). She is an active member of the AIC National Heritage Responders, a group of conservators that specialize in emergency preparedness and response. She is co-chair of the National Heritage Responders Working Group, and former chair of the AIC Health and Safety Network. Outside of her preservation work, she is a volunteer for the Doe Network, the Online International Center for Unidentified and Missing Persons.

    Andrew Robb

    Head, Photograph Conservation

    Library of Congress

    Andrew Robb is Head of Photograph Conservation in the Conservation Division of the Library of Congress. He also serves as the Coordinator of the Library’s Preservation Emergency Response Team and is responsible for the preservation housing supplies used across the Library. He has been a conservator and consultant for a variety of institutions, including the National Gallery of Art, the Smithsonian Institution, the Getty Conservation Institute, the National Park Service, Harvard University, the University of Hawaii, and the National Diet Library, Japan. He has been an Associate Editor of JAIC, a Co-Chair of the Emergency Committee, and Chair and Program Chair of PMG. He has an M.S. from the Winterthur / University of Delaware Art Conservation Program with a major in photograph conservation and a minor in paper conservation. He received a B.A. with honors in the History of Art from the University of Pennsylvania. He currently serves on the Steering Committee of the Materials Working Group and as a member of the National Heritage Responders. He is a Fellow of AIC.

    Sarah Stauderman

    Deputy Director, Preservation Programs, National Archives and Records Administration

    Sarah Stauderman is a preservation administrator currently working as the Deputy Director, Preservation Programs at the U.S. National Archives and Records Administration (NARA). Formerly, she was the Director of the Department of Collections Care and Management at the Hirshhorn Museum and Sculpture Garden (2015-2021), and from 2000-2015, Sarah was the preservation manager at the Smithsonian Institution Archives. She has worked in related preservation industries such as VidiPax (a magnetic media reformatting company), art galleries, and art museums in development and communications.

    She is a contributing editor and author to "Preventive Conservation: Collection Storage" (2019) and she co-edited the publication "Proceedings of the Smithsonian Institution Summit of the Museum Preservation Environment" (2016) available for download at opensi.si.edu. Sarah is the Chair of the Bylaws Committee (2022). She was a member of the board of directors of AIC 2012-2015. She has lectured widely on the history of magnetic media formats and was active on the Electronic Media Group. Her areas of interest include preventive conservation, conservation of contemporary media especially magnetic media, paper and photograph conservation, and museum administration.  

    Emily Williams

    Director, MA in Conservation of Archaeological and Museum Objects

    Department of Archaeology, Durham University

    My first exposure to archaeological conservation was an undergraduate field school lecture in Carthage, Tunisia, which focused on how the conservation of lead curse tablets from the circus we were excavating had not only improved the legibility of the tablets but also led to new avenues of research into the social undercurrents in the Roman Empire and the horse-racing world. The marriage of practical methods, knowledge production and people-centered approaches to the study of material culture appealed to me and I was instantly hooked. I completed a Masters in the Conservation of Historic Objects at Durham University and had internships at the British Museum, Museum of London, Institute of Nautical Archaeology in Bodrum, and the Chrysler Museum of Art before being hired by the Colonial Williamsburg Foundation (CWF) as their archaeological conservator. During my tenure at CWF, I had opportunities to take short sabbaticals and work at the Western Australian Maritime Museum, the Bermuda National Trust, as well as the University of Pennsylvania Museum of Archaeology and Anthropology and to work on sites in Syria, Belgium and Iraqi Kurdistan. I also taught Introduction to Conservation at the University of Mary Washington (2010-2017) and Approaches to Art Conservation at William and Mary (Spring 2018). In 2018, I completed my PhD through the University of Leicester. It focused on African American tombstones, US Civil War Monuments and the ways that identity, memory and preservation all impact historical narratives.

    Stephen Koob

    Former Chief Conservator Emeritus

    Corning Museum of Glass

    Stephen Koob was responsible for the care and preservation of all of the Museum’s collections until his retirement in 2020. This included cleaning the glass and making recommendations for its handling, storage, display, and movement. He also oversaw the maintenance and repair of objects in the Museum’s conservation lab, and provided documentation of such objects throughout their repair. Koob collaborated closely with  curators and research scientist to evaluate new acquisitions for condition and quality. He is an expert in dealing with “crizzling,” a condition that affects unstable glass.

    A member of numerous professional organizations, including the Archaeological Institute of America, Koob is also a Fellow of the International Institute of Conservation and the American Institute for Conservation. He replaced Dr. Robert Brill as Chairman of Technical Committee 17, which studies the Archaeometry and Conservation of Glass, as part of the International Congress on Glass. He is the author of the book, Conservation and Care of Glass Objects (2006).

    Koob holds an MA in Classical Archaeology from Indiana University, and a B.Sc. in Archaeological Conservation and Materials Science from the Institute of Archaeology, University of London. Before joining the Museum staff in 1998, Koob worked for 11 years as conservator, specializing in ceramics and glass, at the Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution.

  • Contains 1 Component(s)

    Working with Disaster Recovery Companies

    Hear from National Heritage Responders co-chair, Tara Kennedy, and Belfor representatives, Vernon Duty and Kirk Lively, during a 60-minute webinar on "Working with Disaster Recovery Companies." Send any questions you have for Tara, Vernon, and Kirk to emergencies@culturalheritage.org prior to the webinar. 

    Tara Kennedy

    Preservation Services Librarian at Yale University Library

    Tara Kennedy is the Head of Preventive Conservation at the Yale Library Center for Preservation and Conservation. She holds a MLIS and a certificate of advanced studies in Library and Archives Conservation from the University of Texas at Austin, an MS in Forensic Science from the University of New Haven, and a bachelor’s degree in Art History from Northwestern University. Before coming to Yale, she was an intern at the National Archives, and worked at the Smithsonian’s National Anthropological Archives, and the Gerald R. Ford Conservation Center/ Nebraska State Historical Society in Omaha, Nebraska. She is a Professional Associate with the American Institute for Conservation (AIC). She is an active member of the AIC National Heritage Responders, a group of conservators that specialize in emergency preparedness and response. She is co-chair of the National Heritage Responders Working Group, and former chair of the AIC Health and Safety Network. Outside of her preservation work, she is a volunteer for the Doe Network, the Online International Center for Unidentified and Missing Persons.

  • Contains 1 Component(s)

    Conservators in Private Practice Group Legal Q+A

    Following the success of our Q&A lunch session at this year’s annual meeting, we are excited to offer Conservators in Private Practice Group members another opportunity to discuss new and revised legal documents with the lawyers who developed them. You can find the documents (a contract template both in full and with optional recommended exclusions, additional clauses on disparagement and work for hire, and a receipt of physical possession for artworks delivered to the studio) in our library on Higher Logic.

    We look forward to another round of engaging conversation and thoughtful discussion.  We will record this session and make it available for those unable to attend live.  Please feel free to reach out to officers with any questions in advance at CIPPofficers@gmail.com

    Eden Burgess

    Partner

    Cultural Heritage Partners PLLC

    Eden Burgess is a partner at Cultural Heritage Partners PLLC in Washington, D.C. She practices in cultural heritage, historic preservation, art, museums, and related legal areas. Her practice focuses on legal and government relations representation for cultural heritage, historic preservation, and art and museum organizations. Ms. Burgess helps clients navigate the National Historic Preservation Act, supports historic preservation on the state and federal levels, and provides representation in Indian tribe-related disputes. She has litigated and settled complex claims involving Nazi seizures, wartime looting, forced sales and thefts. Ms. Burgess also publishes and speaks on a broad range of cultural heritage and art issues, and is a Professorial Lecturer in Law for the Advanced Field Placement Program at The George Washington University Law School. She previously taught an art law seminar at GW Law. Prior to her current position, she was a Senior Attorney at Andrews Kurth Kenyon LLP for over 10 years. Ms. Burgess is admitted to practice in Maryland, Virginia and the District of Columbia.

    Leslie Kan

    Associate

    Schindler Cohen & Hochman

    Leslie Kan is an associate at Schindler Cohen & Hochman.  Before joining SCH, Leslie was a litigation associate at Paul, Weiss, Rifkind, Wharton & Garrison in New York and a law clerk to the Honorable Shelley C. Chapman of the United States Bankruptcy Court for the Southern District of New York.  Leslie has worked on a broad range of commercial litigation cases and has represented a diverse array of clients in federal and state court.  Leslie has a J.D. from the University of Michigan Law School, where she was elected to the Order of the Coif and served as a senior editor of the Michigan Law Review.

    Lauren Fly (Moderator)

    Principle

    Fly Arts Initiative

    Lauren was drawn to conservation from a young age, and focused her studies accordingly. She graduated magna cum laude and Phi Beta Kappa with a dual Bachelors Degree in Art History and Historic Preservation (specialised in Architectural Conservation) from Mary Washington College in 2002. She then entered into the graduate program at New York University's Institute of Fine Arts, where she continued to study Art History and trained in paintings conservation at the IFA's Conservation Center. She gained additional experience during her training by working at various museums and private studios in Europe & North America.

    In 2005 she took up a postgraduate internship at the Hamilton Kerr Institute and received a postgraduate certificate from the University of Cambridge, where she was a member of Trinity College. She continued at the HKI under a Kress Fellowship focused on French paintings from the Fitzwilliam Museum.

    Following the completion of her time at the HKI, Lauren worked privately in London and Cambridge, and in 2008 moved to the Netherlands to take up a position first as a paintings conservator for the Instituut Collectie Nederland, and then in 2010 at a private studio in the Netherlands. In her training and subsequent experience, she has worked on a great variety of painted objects, from the sarcophagus of Ramses II to a 14th-century Greek icon to a 19th-century decorative scheme in a Nantucket house to a large contemporary piece in mixed media.

    Lauren enjoys the challenges presented by such varied work, and her special interest is in the structural treatment of canvas paintings, which allows her to combine her personal passion for textiles with her love of paintings.  She started her own studio, the Fly Arts Initiative, in 2011 to focus her work on the vibrant art scene in and around Amsterdam and work more closely with clients, both private and institutional, in caring for their collections.  The Fly Arts Initiative relocated to the US in 2012 and is based in New York City.

  • Contains 1 Component(s)

    Join the Equity & Inclusion Committee for a "Meet and Greet". Please bring your questions and feedback and learn more about our upcoming initiatives.

    Join the Equity & Inclusion Committee for a "Meet and Greet". Please bring your questions and feedback and learn more about our upcoming initiatives.

  • Contains 11 Component(s)

    This course is open to caretakers of photographic collections at small and mid-sized cultural institutions.

    Participants will be introduced to the identification, degradation, and preservation of common photographic print materials, including the salted paper, albumen, silver gelatin, and chromogenic color processes. Ethical and other factors to consider in the preventative care of at-risk print materials will be outlined.  We will address early direct positive processes – the daguerreotype, ambrotype and tintype –  briefly. We’ll also discuss details pertaining to the manufacture, identification and preservation of gelatin dry plate and film-base negatives, along with basic considerations in the care of photographic albums.  We’ll review preservation challenges related to large and diverse photographic collections with attention paid to the importance of proper environments and storage materials, emergency planning, and risk analysis.  The value and significance of photography, global initiatives, and the pressing need to secure external funding and support through effective preservation advocacy will be emphasized throughout the webinar. A listing of key publications and online resources will be provided. 

    Following completion of the webinar, expected competencies and knowledge for all participants include:  

    • Familiarity with the fundamental physical and chemical properties of photographic print and negative collections and the causes and mechanisms of their deterioration.
    • Basic knowledge of the technological developments of photography in the 19th, 20th and 21st centuries with special focus on albumen, silver gelatin, and chromogenic print materials and glass plate and film base negatives. 
    • The ability to distinguish prominent 19th- and 20th-century photographic processes and to assess and articulate their preservation risk. 
    • Understanding of and appreciation for issues relating to preventive care of photographic collections, including appropriate environmental conditions; handling and maintenance procedures for storage; exhibition and display parameters and monitoring techniques; and emergency preparedness, mitigation, and response.
    • Basic knowledge of best practices in photograph preservation and an understanding of the importance of risk assessment and preservation prioritization within a collection and the need to balance preservation and access. 
    • Appreciation for advocacy in the preservation of global cultural heritage. The ability to articulate why the preservation of our photographic heritage is vital and relevant. 

    This self-study program is presented as a series of recordings of a live course offered September 13-27, 2022. Please note that any assignments are designed for enrichment only and will not be reviewed.

    Session 1

    We Can Work it Out: Day one will focus on the value and significance of photography with a goal toward strengthening advocacy skills, critical to the preservation of our photographic heritage. We will also address basic chemical principles and the material characteristics and components of photographic print and negative materials. This session will conclude with a brief discussion of early direct positive images – their manufacture and preservation challenges. Key text and online resources will be shared.

    Session 2

    The Long and Winding Road: Day two will center entirely on 19th-and 20th-century photographic print materials: manufacture, identification, and deterioration with an emphasis on dominant processes, especially albumen, silver gelatin, and chromogenic. Participants will examine and study photographic print samples provided.

    Session 3 

    Help! Day three will center on 19th – and 20th- century photographic negative materials, including their manufacture, identification, deterioration, and preservation. Issues pertaining to the care of large, at-risk collections will be pursued. The value and significance of these amazing cultural records will be emphasized.

    Session 4

    Eight Days a Week: Day four will examine photographic collections and holdings more holistically. Building on your collective knowledge of photographic print and negative materials and their vulnerabilities, this day will center on preservation planning and prioritization, fundamental concepts relating to collections care and emergency preparedness, and some of the types of collections, such as albums or lantern slides, typically held by collecting institutions that require our attention.

    Session 5

    (Don’t) Let it Be and Across the Universe: Our final session will further review conclusions and collection care strategies shared in day four and return to our initial discussion from day one on the value and significance of our photographic heritage. Here we will address opportunities to actively engage and partner with institutional leadership and community members in our preservation efforts. Guidance centered on fundraising and development approaches – from foundations to corporate and individual donor investment – will be shared.  Final questions on all topics related to the webinar content  and next steps will be welcomed.

    Coordinator/Instructor

    This course is coordinated and taught by Debra Hess Norris, Chair and Professor of Photograph Conservation, Art Conservation Department, University of Delaware (UD), and Director of the Winterthur/University of Delaware Program in Art Conservation (WUDPAC). For the past 40 years, Debra Hess Norris has authored 45 book chapters and articles and led 160+ workshops globally centered on the care and preservation of photographic materials, while working in partnership with conservation and allied professionals and community members, to strengthen awareness and relevant collection care practices globally from Benin to Beijing, Boston to Bogota.

    Course assistants are Annabelle Camp, textile, and organic materials conservation, WUDPAC Class of 2022; Ashley Stanford, photograph conservation, WUDPAC Class of 2024; and Morrigan Kelley, a 2022 UD undergraduate in art conservation with an interest in photograph conservation.

    Fees

    Registration Fee: $89*


    Connecting to Collections Care courses are made possible in part by generous support from the Institute of Museum and Library Services.

    Debra Hess Norris (Moderator)

    Chair, Department of Art Conservation and Professor of Photograph Conservation

    University of Delaware

    Norris has authored more than 45 articles/ book chapters on the care of photographic materials and taught/secured support for 170+ preservation workshops and initiatives worldwide from China to Benin. With Jennifer Jae Gutierrez, she co-edited – Issues in the Conservation of Photographs – published by the GCI (2010).  Today, with Bertrand Lavedrine and Nora W. Kennedy, she is co-editing a book with 82 authors worldwide on the conservation of photographic and image collections. Current board service includes the Alliance for HBCU Museums and Galleries, Foundation for the Advancement in Conservation, Conservation Center for Art and Historic Art Materials, American Friends of the National Gallery of Denmark, chair of the ICOM-CC Fund, the University of Delaware Board of Trustees, and advisory councils, including Our World Heritage and the External Advisory Board for NYU Abu Dhabi. Norris was the chair of Heritage Preservation (2003- 2008) and president of the AIC (1993-97) and has led many preservation initiatives worldwide. She has worked with APOYOnline to develop workshops in Colombia, Cuba, and Brazil and co-led the Middle East Photograph Preservation Initiative (MEPPI) with the Arab Image Foundation, The Metropolitan Museum of Art, and the Getty Conservation Institute.

    A Fellow of AIC and IIC, she has received many deeply meaningful professional awards In 2002, Norris was inducted into the University of Delaware's Alumni Wall of Fame. She has received the AIC Rutherford John Gettens Merit Award for outstanding service (1998), the Sheldon and Caroline Keck Award for excellence in the education of conservation professionals (2004), the AIC University Products Award for distinguished achievement in the conservation of cultural property (2008), and the College Art Association/ AIC Award for Distinction in Scholarship and Conservation (2016).   In May 2018, Norris was named a Francis Alison Scholar, UD’s top faculty honor.

    Outside of conservation, Norris has served UD as an interim associate dean for the arts, the humanities, social sciences, and graduate education and as vice provost for graduate and professional education – all at UD, a university she treasures.  Grounded by her beloved family, Debbie believes strongly in the power and potential of our profession to strengthen cultural understanding and to foster joy and well-being. Additional passions teal, and (no surprise if you read the webinar agenda), the Beatles. She is grateful for the help of all course assistants and the C2C staff!

    Morrigan Kelley (Moderator)

    Conservation Teaching Assistant

    University of Delaware

    Morrigan is a 2022 graduate from the University of Delaware with majors in Art Conservation and Art History and a minor in Museum Studies. In addition to completing her degree, Morrigan also earned a graduate certificate in Historic Preservation.

    Since graduating, Morrigan has been working with photographic collections at the University of Delaware, library collections at Hagley Museum and Library, and paintings at Winterthur Museum. She plans to continue learning about different materials and different fields in order to be an advocate for interconnectivity between disciplines.

    Annabelle F. Camp (Moderator)

    Textile and Organic Materials Conservation

    WUDPAC Class of 2022

    Annabelle is a 2022 graduate of the Winterthur/University of Delaware Program in Art Conservation. She has trained in some of the world’s leading textile conservation labs, including the Victoria and Albert Museum, the Abegg-Stiftung, the Philadelphia Museum of Art, and the Colonial Williamsburg Foundation.

    Bellie is passionate about cultural heritage advocacy and outreach. She strives to make source community engagement and collaboration an integral part of her conservation practice. She believes in placing the power of preservation in stakeholders’ hands and has successfully led digital outreach and repatriation projects with this goal.

    In addition to exploring the material questions surrounding textiles and organic objects, Bellie is actively investigating the ways in which the cultural heritage sector can improve its financial and environmental sustainability through grant-writing, consulting, and nonprofit volunteer positions

  • Contains 1 Component(s)

    JAIC's Editorial Board shares tips and experiences related to scholarly writing.

    Program

    This session will cover a variety of topics on scholarly writing for conservation. Join us and bring your questions related to publishing in a scholarly journal. 

    1. Julio M. del Hoyo, Editor-in-Chief will present an overview of JAIC.
    2.  Catherine Stephens, JAIC Associate Editor, will cover “References in Journal Articles: Why They’re Important & When to Use Them.”
    3.  Corina Rogge, JAIC Associate Editor, will present “Navigating the Stormy Seas of Authorship.”
    4.  Lastly George Cooper, Managing Editor, Journals Anthropology, Conservation, Museum Studies & Heritage at Taylor & Francis, will discuss “T&F Plagiarism Policies and Guidance for Authors.”

    We will hold time for Q&A at the end of the session.

    Julio M. del Hoyo

    JAIC Editor-in-Chief

    National Museum in Krakow

    Julio M. del Hoyo-Meléndez holds a PhD in science and conservation of cultural heritage from the Department of Conservation and Restoration of Cultural Heritage of the Polytechnic University of Valencia, Spain. He received a bachelor’s and a master’s degree in chemistry from the University of Puerto Rico and the University of Houston, respectively. He was a graduate intern in the Museum Research Laboratory of the Getty Conservation Institute in Los Angeles, USA from 2005 to 2006. In 2007, he was awarded a predoctoral fellowship at the Smithsonian Museum Conservation Institute in Maryland (USA) for conducting research on the action of light on cultural heritage materials. He is the Head the Laboratory of Analysis and Non-Destructive Investigation of Heritage Objects of the National Museum in Krakow in Poland. He is the Editor-in-Chief of JAIC.

    Catherine Stephens

    JAIC Associate Editor

    Museum of Modern Art

    Catherine H. Stephens is the Sally and Michael Gordon Conservation Scientist in the David Booth Conservation Department at the Museum of Modern Art (MoMA). She works with colleagues across the Museum to protect and understand the collection. Prior to joining MoMA, she worked as a preventive conservation scientist at the Metropolitan Museum of Art and a research-based conservation scientist at both the Institute for the Preservation of Cultural Heritage at Yale University and the Art Conservation Research Center at Carnegie Mellon University. She holds a PhD in macromolecular science and engineering from Case Western Reserve University, and two BAs, in chemistry and art history, from SUNY Geneseo. 

    Corina Rogge

    JAIC Associate Editor

    Museum of Fine Arts, Houston, and the Menil Collection

    Corina E. Rogge is the Andrew W. Mellon Research Scientist at the Museum of Fine Arts, Houston, and 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 Center (Houston). Before joining the Museum of Fine Arts, Houston, she was the Andrew W. Mellon assistant professor in Conservation Science in the Department of Art Conservation at State University of New York Buffalo State. She is currently serving as the Vice-President of the American Institute for Conservation and is a Fellow of that organization and an Associate Editor of the Journal of the American Institute for Conservation.

    George Cooper

    Managing Editor

    Journals Anthropology, Conservation, Museum Studies & Heritage at Taylor & Francis

    George Cooper is Managing Editor for Anthropology, Conservation, Museum Studies & Heritage journals at Routledge, Taylor & Francis and a PhD candidate at UCL’s Centre for Publishing in the Department of Information Studies.

  • Contains 2 Component(s)

    Wooden Artifacts Specialty Group 2022 Business Meeting

  • Contains 1 Component(s)

    Contemporary Art Network 2021 Business Meeting