Documenting Collaborative Conservation
- Registration Closed
Online, February 26 and 28, 2024, at 1:00-2:30pm EST
Facilitators: Landis Smith and Kelly McHugh
The field of conservation continues to evolve and broaden, becoming increasingly collaborative, inclusive, and contextual. Community and artist-centered conservation practice requires the incorporation of tangible and intangible information from multiple sources, recognition of past and present bias and intent, and a rationale for action or inaction. How can this process be documented and later accessed?
The conservation report, including photo documentation, has long served as a primary requirement for ethical practice, both as a prompt, and as a record, of the conservator’s work. In this workshop, the documentation of collaborative conservation will be examined and discussed among conservators in the context of current practice in various specialties. The workshop will include an overview, case studies, and a panel discussion with audience participation and will explore such questions as:
- What is necessary to document, why, and how?
- Who is included in the documentation?
- Can documentation be a collaborative effort?
- What media is being employed to document collaborative conservation practice?
- How are report forms being adapted to meet the needs of collaborative conservation practitioners?
- How accessible is conservation documentation and is it linked to curatorial records?
- How are conservation students being taught to document their work?
This workshop is free for participants. Accepted participants must attend both live sessions. The live sessions for the workshop will take place in Zoom and automated captions will be available.
Interested individuals should complete an application by February 6. The application will allow for a more inclusive group of participants who will be using the content directly in their work and disseminate the information amongst their communities. Below are the criteria for review. All interested conservation professionals are encouraged to apply! This workshop is free for participants. 30 spaces are available and applicants will be notified by February 20.
Criteria for Review
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Need for the content
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Plan for dissemination of information gained
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The program seeks to support a diverse set of participants and will consider geographic location, place of employment type, profession, and career level
Funding for this program comes from the Foundation for Advancement in Conservation (FAIC) Endowment for Professional Development and a grant from the National Endowment for the Humanities. The FAIC Endowment for Professional Development, which was created by a grant from The Mellon Foundation and is supported by donations from members of the American Institute for Conservation (AIC) and its friends. Workshops are made possible with the assistance of many AIC members, but no AIC membership dues were used to create or present this course.
FAIC relies on your contributions to support these and its many other programs. Learn more about donating to the foundation.
Kelly McHugh (Moderator)
Conservator/Collections Manager
National Museum of the American Indian, Smithsonian
Kelly McHugh became the Head of Collections Care and Stewardship at the National Museum of the American Indian in 2018. Previously, she served as an object conservator where she began working for the museum in 1996 at NMAI’s Research Branch facility in the Bronx, NY. There she participated in a survey of the over 800,000 objects in the collection, prior to the collections move to the Cultural Resources Center in Maryland. As a conservator she played an active role in the development of collaborative conservation practices for the care of Native American collections. She continues to broaden the scope of collaboration and partnership with the Museum’s constituency through collections access, cultural protocol policy and artistic revitilzation. She received her MA Art History with a Certificate in Conservation from New York University, Institute of Fine Arts and her BA in Art History and Peace and Global Policy Studies again from New York University.
Landis Smith (Moderator)
Co-facilitator, Guidelines for Collaboration
Indian Arts Research Center, School for Advanced Research
Landis Smith is an independent consultant and projects conservator based in Santa Fe, New Mexico. The focus of her work over thirty years has been on the development of conservation and documentation methodologies that are collaborative with Native American artists, elders, scholars and leaders. Recent work includes co-facilitating the development and web publication of the Guidelines for Collaboration (www.guidelinesforcollaboration.info) with the Indian Arts Research Center at the School for Advanced Research (SAR). Landis is currently co-editing the Standards of Excellence for Museums with Native American Collections for the American Alliance of Museums and leading an IMLS-funded project to collaboratively document and conserve collections at the Museum of Indian Arts and Culture in Santa Fe. Landis’s previous work includes organizing and leading “place-based” educational programs in New Mexico for NMAI Fellows and staff in collaboration with Native communities and tribal museums. She was Anchorage Project Conservator at the Smithsonian National Museum of Natural History (NMNH) Arctic Studies Center, working extensively with Alaska Native artists and elders. Landis has been a Research Associate with the National Museum of the American Indian and has served on several advisory boards including the Haak’u Museum at Acoma Pueblo and UCLA/Getty Mellon Opportunity for Diversity in Conservation.
Brad Epley
Head of Conservation
Museum Resources Division (MRD), New Mexico Department of Cultural Affairs (NMDCA)
Brad Epley joined the New Mexico Department of Cultural Affairs in July of 2022 as the Head of Conservation for the Museum Resources Division, and oversees the conservation activities across the state museums and historic sites. Prior to assuming his current position, he was at the Menil Collection in Houston for twenty three years, serving as its Chief Conservator from 2006. At the Menil Brad co-directed the Artists Documentation Program, a collaborative interview program with the Whitney Museum of American Art to recorded conversations between conservators and contemporary artists documenting the material and conceptual needs of artworks to create a ‘living will’ for their conservation.