Conservation Graduate Program


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Student Announcements

The Conservation Center at the Institute of Fine Arts, New York University

The Conservation Center at the Institute of Fine Arts, New York University is pleased to announce our Class of 2023!

Students

Laura Bergemann

Alexa Machnik

Emma Hartman

Laura Richter

James Hughes

Ruth Waddington

Josephine Jenks

 

Queen’s University Art Conservation

Queen’s University Art Conservation Department welcomes the Class of 2022:

Students

Melissa Allen

Jocelyn Hillier

Sandrine Blais

Laura Jacobs

Miriam Bowen

Pui Yee (Kitty) Lam

Robin Canham

Kathryn Stark

Emma Griffiths

Camille Turner-Hehlen

Katharyn Hernandez

 

State University of New York State, Buffalo College, Patricia H. & Richard E. Garman Art Conservation Department

The State University of New York Buffalo State College Art Conservation Department is excited to welcome our Class of 2023:

Students

Lorna Brundrett

(Charlotte) Yuyin Li

Lindsay Cross 

Christy McCutcheon

Camille Ferrer

Katherine McFarlin 

Meredith French 

Emily Mercer 

Grace Johnson

Maeve O’Shea

Weitzman School of Design Historic Preservation

The Weitzman School of Design at University of Pennsylvania welcomes our new students in the following programs:

Master of Science in Historic Preservation

Alison Cavicchio

Arden Jordan

Carly Adler

Caitlin Livesey

June Armstrong

Hilary Morales Robles

Namrata Dadawala

Allison Nkwocha

Emily Fenn

Monique Robinson

Priyanka Gorasia

Tejal Shrotriya

Anne Greening

Agatha Sloboda

Xiyue He

Ying Wang

Heather Hendrickson

Yuxuan Wu

Allisa Horton

Yifei Yang

Yimin Hu

Chuxuan Zhang

Master of Science in Design with a concentration in Historic Preservation

Michele Kolb

 

Winterthur/University of Delaware Program in Art Conservation

The Winterthur/University of Delaware Program in Art Conservation is pleased to announce the Class of 2023:

Students

Meghan Abercrombie

Elle Friedberg

Olav Bjornerud

Veronica Mercado Oliveras

Riley Cruttenden

Margaret O’Neil

Kaeley Ferguson

Alyssa Rina

Sarah Freshnock

Katie Shulman 


The Winterthur/University of Delaware Program in Art Conservation, Preservation Studies program is pleased to announce the following doctoral dissertations in progress.

Student

Dissertation Title

Sanchita Balachandran

Identifying Authorship through Technology: Ancient Greek Ceramics

Aidi Bao

Value of Craquelure in Chinese Culture: Guqin Craquelure Formation, Mechanism, and Connoisseurship

Michael J. Emmons

“Marking” [Graffiti] and Inscribing in Early America

Reyhane Mirabootalebi

Traditional Kurdish Textiles: Cultural Interweaving and Unraveling

Catherine Morrissey

Maintaining the Past, Preserving the Future: Reexamining Historically Designated Buildings and Landscapes

Ying Xu

When Historic Preservation Encounters Minorities: Examining the Significance of Historic Architecture and Intangible Cultural Heritage of the Bapai Yao

The Straus Center for Conservation and Technical Studies, Harvard Art Museums

The fellows at the Straus Center for Conservation and Technical Studies are completing the first year of their two-year term. Working remotely since mid-March, they are writing up and presenting their ongoing research projects to various audiences and creating content for the Harvard Art Museums’ website. They are also collaborating with colleagues remotely, watching webinars, and participating in online courses.

Ruby Awburn, Fellow in Painting Conservation, is continuing research on zinc soaps in modern paintings and potential treatment impacts, technical analysis into the artistic process of the artist Albert Moore, and cataloguing the Barnett Newman studio contents.

Haddon Dine, Fellow in Objects Conservation, continues research on the materials and construction of an Egyptian plaster mummy mask in the Harvard Art Museums’ collection.

Leonie Müller, Craigen W. Bowen Paper Conservation Fellow, is producing inks by following historical recipes in her kitchen as continuation of her research project about ink identification.

Julie Wertz, Beal Family Postgraduate Fellow in Conservation Science, is completing her second year of three. She is working on a pigment survey of Indian opaque watercolors, an online exhibition about the technical study of Han-dynasty funerary ceramics, and a preliminary investigation of non-invasive analysis for works on paper.


UCLA/Getty Program in the Conservation of Archaeological and Ethnographic Materials

PhD student Elizabeth Salmon tests a protocol to detect oily residue using FTIR., courtesy of Marissa Bartz.

The UCLA Interdepartmental Program in the Conservation of Archaeological and Ethnographic Materials admitted its inaugural class of PhD students in fall 2019. The PhD program in the Conservation of Material Culture (CMC) is a cross-disciplinary, research-focused degree. Research areas include four core categories: materials, technology, environment, and traditional ecological knowledge.

Students in the CMC PhD program can focus on the following research areas:

  • Conservation & Material Culture Science
  • Preventive Conservation & Care of Collections
  • Cultural Property Forensics
  • Advanced Multidimensional Documentation
  • Biocultural Heritage Conservation
  • Emergency Planning and Managing Disaster Risks of World Cultural Heritage
  • Conservation Philosophy & Ethics

We are pleased with the variety of projects the four inaugural students are undertaking. As with all of us, their research plans for the summer shifted to remote study. Fortunately, they have a lot of preliminary literature research to undertake as they launch their studies. Nothing like sheltering in place to get a lot of reading done!

Chris de Brer is working on a technical study of West Mexican ceramics both from recently excavated finds housed in Mexican regional institutions and from the vast collections in Southern Californian museums. He is particularly interested in synthesizing archaeological and museum related inquiries. He is also focusing a significant portion of his research on the restoration practices of West Mexican vessels and their impact on interpretation and display.

Moupi Mukhopadhyay. The beautiful and culturally rich wall paintings in the Kerala Mural tradition of south India are recognized for their artistic creativity and expression, as well as the cultural and material exchanges required for their creation. However, many potentially important paintings have nearly vanished, due to weathering and subsequent degradation, by overpainting, and sometimes demolishment. Moupi’s project aims to use non-invasive scientific imaging and spectroscopy techniques to realize the cultural heritage potential of some of these less visibly apparent and therefore understudied murals. Through her research, she strives to advance the comprehensive research in this field and highlight the need for their conservation for the benefit of future generations.

Jaime Fidel Ruiz-Robles is developing a novel biocide nanosystem capable of long-lasting microbial inhibition regardless of a controlled environment. Through this system, he is addressing the continuous issues presented by the microbial metabolic activity on stone surfaces, focusing on the Mayan archeological site of Palenque, and more specifically, the pillars at El Palacio structure.

Elizabeth Salmon is looking to traditional ecological knowledge for culturally relevant pest management solutions to advance preventive care of cultural collections. Her project takes an interdisciplinary approach to consider how traditional pest eradication methods can be incorporated into the academic and professional fields of preventive conservation, supported by ethnographic study and experimental research. By looking to culturally relevant and locally available pest management methods, this work addresses a need to make preventive care of collections more accessible, sustainable, and resource efficient for a broader range of cultural institutions.

—Glenn Wharton, Lore and Gerald Cunard Chair, UCLA/Getty Program in the Conservation of Archaeological and Ethnographic Materials


Teaching Via Zoom: Crash Course from WUDPAC

Like so many around the country, on March 9, 2020, we got notice from the University of Delaware administration that all students would be sent home at the end of the week and that teaching online would begin immediately. We are reporting here about some of what we learned in the ensuing nine weeks and providing some insight into what worked for us.

From In-person to Online
For our field, most of how and what we teach does not simply transfer from classroom to Zoom room. A lecture that involves very minimal discussion and utilizes a PowerPoint will transfer quite well. Just about everything else (especially those things that rely on hands-on components and significant discussion) was partly or completely reimagined.

  • For object-based teaching, take a “less is more approach.”
  • We are likely working alone and home set ups for online teaching are not ideal; choose objects that can do double or triple duty.
  • Use a list of core learning goals to build your new syllabus and don’t just rely on your previous classes. Consider opportunities for content and activities that the new format allows to include or improve.
  • This focus on core principles and new opportunities helps every time you have to remove something that just won’t work via Zoom.

Simple Technical Add-ons
In taking our teaching online, we should consider that our institutions’ IT departments are overburdened right now. We can handle much of this on our own by utilizing webcams, cell phone apps, tripods with cell phone mounts and ring lights purchased from photo supply houses or online retailers. There are multiple options for setting up an online classroom, but simple is best.

  • Think about how you’ll use your set up, will you show 2D or 3D objects?
  • When working alone, how will you easily access the materials used for live demo?
  • You’ll want to be sure that your equipment set up doesn’t interfere with safe object handling or your teaching flow.
  • Recorded lectures don’t have to be polished; filler words like “ah” and “um” create authentic content and humanize us as lecturers.
  • Even though you may not have been previously videoed, remember that you likely conveyed this material in front of students for many years – be yourself.

Tips for Teaching Hand Skills
Used in combination with live demonstrations through a video conferencing platform, take-home kits can be used to teach conservation techniques and hand skills with synchronous questions and discussions.

  • Having two cameras set up allows students to see both the hands-on demonstration and the speaker’s face at the same time.
  • Instructions for kits should be more detailed for take home exercises than they would be in-person and should include thorough directions as well as clear expectations about the purpose of the exercise. Feedback for the students can be accomplished through image captures and screen sharing as well as discussion.

Avoiding Zoom Fatigue
Zoom fatigue is challenging for students and instructors and can be managed by planning ahead. Consider ways to limit screen time in general, and especially with large groups.

  • Class time can be broken up to include small groups in breakout rooms.
  • Some content can transition to asynchronous teaching.
  • Regular scheduled breaks are also helpful.
  • Communicate with guest speakers in advance so that they can plan their presentations to accommodate breaks and other techniques that help with this fatigue.
  • Another option is to include time for simple ergonomic stretches during class.

Building Community
Building a strong class community will support better conversations and student participation. In an online class, simple questions like “how do you feel?” or “what are you having for lunch?” can help foster community.

  • Some techniques for active participation include student collaboration on Google documents and Zoom polls.
  • Jokes and humor translate well from in person to online.
  • Welcoming pets to the class is advantageous while using Zoom.

Managing Discussion
Conversations tend to be more labored in an online format and allotting extra time for discussions is crucial.

  • Have at least two moderators on hand; designate one person as time manager and technology troubleshooter. This person can also manage the chat window to help address questions and provide additional information.
  • It can be helpful to create an order for student speakers to reduce long pauses and a burst of multiple speakers.
  • Reach out to guest speakers ahead of time, so that they are aware of scheduled breaks and won’t be caught off-guard when notified during their lecture.
  • Break-out rooms are a useful option for discussions and can encourage more participation for students who feel more comfortable in a smaller group setting.

Collaborative Projects
Collaborative projects are often some of the most meaningful experiences either in a classroom or online. Collaborative projects have additional benefits of helping reduce Zoom fatigue and building community. Also, projects assigned to partners or small groups of students can support non-synchronous learning.

  • Plan to provide time for students to share their projects with the class and receive feedback from their peers and instructors.
  • Google Drive allows multiple participants to create and edit files simultaneously.

More Possibilities
Other platforms that can support online learning include Slack and Canvas. The game app Kahoot can provide a fun way to quiz students. Other software makes it possible to broadcast images from a microscope.

Distance learning can provide opportunities to collaborate more closely with other programs, diversify teaching staff, and is more inclusive for students with limited options with regards to transportation.

Joelle Wickens (jwickens@udel.edu), Laura Mina (lmina@winterthur.org), William Donnelly (wdonne@winterthur.org), Kate Sahmel (ksahme@winterthur.org)

Additional Resources

For more information about our teaching set ups, please visit our shared Google folder: https://drive.google.com/drive/folders/1gejqZX-_5514UWmQI1r_mXrZm5UQ0Buq?usp=sharing


ANAGPIC

ANAGPIC, the Association of North American Graduate Programs in Conservation, works to strengthen and advance graduate-level education and training in art and heritage conservation.

ANAGPIC meets regularly to provide a venue for the presentation and exchange of graduate student work and research. Student papers from the annual ANAGPIC conference can be found at http://resources.culturalheritage.org/anagpic-student-papers/.


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