Second Deployment of National Heritage Responders to Puerto Rico 

Two teams of FAIC’s National Heritage Responders are wrapping up a week of work in Puerto Rico. This is the second wave of team members to visit collections on the island affected by Hurricane Maria. 

Mold growth continued to be the primary issue facing most of the institutions visited. With such lengthy power outages, many collections faced exposure to extremely high temperatures and relative humidity. Even as power is restored for some institutions, assessing any incursions of mold remained a priority task. Team members continued to stress the importance of personal protective equipment for staff members working with collections, providing guidance on how to safely address the mold. 

Susan PPE

While site visits made up the bulk of the work completed by the teams, one group held a workshop for local artists and institutions on salvaging works. The Museo de las Américas, a museum in San Juan visited by the first deployment team in late November, graciously offered their space to host the workshop. Over thirty individuals attended to learn about how to handle their affected objects.   

Karen Workshop

FAIC will continue to work with affected collections and provide resources. You can learn more about our emergency programs here http://bit.ly/2okwlX1 and see previous updates on recent emergencies here http://bit.ly/2AErjb5. Stay tuned for more information about this group’s deployment and the team members who participated!

Update on Disaster Response and Recovery 10/13

During what has been one of the worst hurricane seasons on record, FAIC’s Emergency Programs have been working fervently to connect people to planning and response resources. Through collaboration with our partners on the Heritage Emergency National Task Force, (HENTF) we have been working to gather information about affected institutions and provide support as needed.

In Florida, following Irma, National Heritage Responders visited several affected sites to help assess damage and set up cleaning protocols. Museums from Orlando to Miami received in-person assistance, and many more throughout the region were given advice via the NHR hotline (202.661.8068) and email (nhr@conservation-us.org).

A new outreach project has been developed in collaboration with HENTF in order to make contact with all collecting institutions that may have been affected by recent storms. FAIC worked with partners in Texas and Florida to develop lists of regional institutions. Students at the University of Texas’s iSchool created tools to conduct a calling project with the Texas sites; the model has been adopted by students at the University of Florida who are in the process now of reaching out to Florida sites. The primary goal of this outreach effort is to connect those who suffered damage with the National Heritage Responders if salvage information is needed, and with FEMA if information on the Public Assistance process is needed.

Response to Hurricane Maria in the U.S. Virgin Islands and Puerto Rico has been slow-going but progress is being made. The level of damage in the region has meant that life and safety issues have remained the priority far into the recovery process. FAIC is started to gather information about the institutions in need, and is once again closely collaborating with HENTF and our Federal partners to ensure an effective response. We will notify members about opportunities to support these efforts.

Finally, we recognize that hurricanes are not the only natural disasters wreaking havoc on our shared cultural heritage. The wildfires in Northern California have brought devastation to the region, and can impact not only those in the path of the flames, but those who may suffer from smoke and soot damage. FAIC is working closely with California partners to assess the situation, and the National Heritage Responders are developing lists of resources on smoke and soot damage to help with the recovery process.

The natural disasters that our nation has faced in the past several weeks serve as a reminder of the importance of preparedness – in our institutions, in our private practices, and in our homes.

Art preservation and natural disasters, a letter to the NYTimes editor

In response to the recent New York Times article by Paul Sullivan, Protecting Andy Warhol From Flood, Fire and Quake, published online September 15, 2017, the AIC board of directors (through Treasurer Sarah Barack) has submitted a letter to the editor of the Times. The letter is printed in full below.

 

To the Editor,

The recent article, Protecting Andy Warhol from Flood, Fire and Quake, was commendable in that it brought to the forefront the need to protect art collections when disasters are looming. As the professional association for art conservators in North America, the American Institute for Conservation of Historic and Artistic Works (AIC) has long been concerned with mitigating such damage, and aiding those museums, institutions and collectors whose collections have thus been impacted. AIC has resources available on its website (https://www.conservation-us.org/resources/disaster-response-recovery) for the general public, and also provides a Find a Conservator digital database, which allows any individual looking for professional conservation advice to be matched with an appropriate, professional conservator. Further, AIC is able to activate a nation-wide network of conservators trained to respond to emergencies following such events. 

As we all know, an ounce of prevention is worth a pound of cure— however this benefit requires proper prevention which can be provided by trained art conservators. Should these measures prove insufficient, prompt conservation attention can help offset complete property loss.

Sarah Barack

Treasurer of the Board, 

American Institute for Conservation of Historic and Artistic Works

Harvey Updates 9/8

FAIC’s Emergency Programs have been working in high gear to gather information about damage from Hurricane Harvey. Our National Heritage Responders have been fielding calls on their hotline (202.661.8068) and directing resources as appropriate. Steve Pine, an NHR team member and leader of the TX-CERA Alliance for Response group,  has been conducting assessments of Houston-area institutions that sustained damage. Today the first team of responders is arriving to assist with the stabilization of a mold-damaged mural and the flooded collection of props at a prominent local theater.

Many thanks to the Houston-area AIC members who have volunteered their homes for team members to stay in during future NHR deployments. We will keep the membership informed about additional opportunities to assist with recovery efforts.

Today, on a call organized by the Heritage Emergency National Task Force, FAIC shared updates on damage reports and our plans for action. We look forward to future collaborative efforts with our fellow task force members and representatives from Texas state agencies.

The next hurricane, Irma, is almost upon Florida. Our thoughts are with our members in Florida, Georgia, and the Carolinas as they finalize preparations for this historic storm. We will plan to continue to update this blog with information about our response to Irma as well.

Harvey Updates 9/1

The storm system from Harvey has finally moved out of southeast Texas and Louisiana, leaving behind catastrophic flooding. Recovery will take some time in the region, as many individuals are displaced from their homes.

We are just starting to receive some initial reports of affected cultural institutions. A conference call held today, 9/1, shared information between federal and state partners, developing a strategy for future outreach to the 500+ institutions in the region.

Several media outlets have covered the cultural community’s efforts to prepare for and assess damage from Harvey:

We will continue to share information about potential deployments of our National Heritage Responders and other ongoing AIC/FAIC response efforts.

Please encourage local institutions to contact the NHR hotline at 202.661.8068.

 

IIC 2018 Congress in Turin: Call for papers and posters (extended deadline)

IIC 2018 Congress
Preventive Conservation: The State of the Art, Turin, 10 – 14 September 2018
Simultaneous call for papers and posters

  • Closing date extended to June 5, 2017

Preventive conservation is a vital and ever-developing field at the centre of museum, site and heritage management, contributing to the sustainability of organisations as well as to the care of their collections. An IIC Congress last addressed issues in preventive conservation in Ottawa in 1994 and much has changed since then: new methods of investigation and analysis; a greater understanding of materials and how they may change or decay with time; developments in conservation practice. For conservators, conservation scientists and all those concerned with preventive conservation there are still as many questions as answers, still matters of concern to be discussed; many of you working in the field have something to say and exciting research to bring to us. To enable you to do this, we have extended the closing date for the call for papers and posters to 5 June 2017!

It will be 24 years since an IIC Congress last specifically addressed issues in preventive conservation, in Ottawa in 1994. The field has developed enormously since 1994: preventive conservation has a central position in museum, site, and heritage management. In addition to capturing developments and changes in scientific understanding and practice, this congress will focus on current issues that exercise our field and will look to the future. It will build on some recent IIC initiatives, including the 2008 Congress on Conservation and Access and the IIC/ICOM-CC environmental guidelines developed at the 2014 Hong Kong Congress.

The location for the 2018 Congress is Turin, a city with a varied cultural history, a strong international profile and innovative industrial centre and, at the same time, a comfortable, relaxed ambience. We are delighted that our partners in the 2018 Congress are the City of Turin, the Italian Regional Group of IIC (IGIIC), Turismo Torino e Provincia and the Centro per la Conservazione ed il Restauro “La Venaria Reale”, which, most appropriately, is housed in one of the Savoy palaces, La Venaria Reale.

Please don’t delay! We now invite paper and poster proposals that address the issues defining the state of the art in preventive conservation and latest practice. A full list of suggested topics and themes and full details for submission can be found at the main IIC Congress web-site page here:  www.iiconservation.org/congress

Please note that this is a simultaneous call for paper and poster proposals: there will be no later separate call for posters. IIC invites you to submit your proposal for a paper or poster in English in about 500 words (3500 characters) via the website here: www.iiconservation.org/congress. If you have an IIC account, please log in first; if not, please register on the front page of the site for an IIC account before submitting a proposal. Please do not include any illustrations with your proposal submission and please indicate if your proposal is for a paper or for a poster. The deadline for the receipt of proposals has been extended from May 8 to June 5, 2017.

We look forward to seeing you in Turin!

Job Posting: Assistant/Associate Conservator – Asian Art collection, Metropolitan Museum of Art (New York, NY)

THE METROPOLITAN MUSEUM OF ART EMPLOYMENT OPPORTUNITIES

Assistant/Associate Conservator

The Objects Conservation Department at The Metropolitan Museum of Art upholds the highest professional standards in the conservation of the Museum’s three-dimensional works of art. The Assistant or Associate Conservator will be part of a team responsible for conservation of the Asian Art collection consisting of over 35,000 objects in a wide range of materials, spanning 5,000 years. The Assistant or Associate Conservator’s principal responsibility will be for the metalwork, comprising more than 4,000 objects, mainly of gold, silver, and copper alloys, some from archaeological contexts, and exhibiting a variety of methods of manufacture and decoration. The Assistant or Associate Conservator will collaborate with others on the conservation of objects of mixed media including metals.

This is a full-time permanent position.

Primary Responsibilities and Duties:

  • Undertake conservation of metal objects in the Asian Art collection, including examination, treatment, and oversight of environmental conditions in storerooms and galleries.
  • Examine objects for acquisition, incoming or outgoing loans and gifts.
  • Examine objects concerning material identification and technology, including use of analytical instrumentation such as x-radiography and microscopy.
  • Prepare samples for analysis by the Department of Scientific Research, and communicate with scientists regarding goals and results.
  • Liaise with conservators, curators, technicians, riggers, Buildings staff, Exhibitions staff, and Registrar.
  • Prepare visual and written documentation of treatments and research, and file according to department protocols.
  • Travel domestically and internationally as needed to examine, treat, and courier artworks in connection with loans.
  • Supervise contract conservators, fellows, and students.
  • Assist senior staff in time-sensitive projects as assigned by Conservator in Charge.
  • Participate in departmental fundraising activities.
  • Broaden knowledge of the conservation field by taking advantage of the department’s expertise and resources, and the Museum’s opportunities for professional development.
  • Disseminate activities and findings in a range of platforms including public and professional lectures, and print and digital publications.
  • Other related duties

Requirements and Qualifications:

Experience and Skills:

  • Minimum of five years of professional experience working in a museum required.
  • Experience in the examination and treatment of a wide range of objects required.
  • Expertise in the examination and treatment of metals, including archaeological metals, preferred.
  • Excellent written, verbal, and interpersonal skills required.
  • Skill using state-of-the-art conservation documentation tools, including digital photogaphy, multi-spectral imaging, and Reflectance Transformation Imaging preferred.
  • Ability to lift up to 50 pounds and work on a ladder or rig required.

Knowledge and Education:

  • Master’s degree from an internationally recognized graduate conservation program required.
  • FDNY C-14 Laboratory Certificate of Fitness or willingness and ability to attain certification within six months of hire required.

Please send cover letter, resume, and salary history to careers@metmuseum.org with “Assistant/Associate Conservator” in the subject line.

The Metropolitan Museum of Art provides equal opportunity to all employees and applicants for employment without regard to race, color, religion, creed, sex, sexual orientation, national origin, ancestry, age, mental or physical disability, pregnancy, alienage or citizenship status, marital status or domestic partner status, genetic information, genetic predisposition or carrier status, gender identity, HIV status, military status and any other category protected by law in all employment decisions, including but not limited to recruitment, hiring, compensation, training and apprenticeship, promotion, upgrading, demotion, downgrading, transfer, lay-off and termination, and all other terms and conditions of employment.  AmeriCorps, Peace Corps, and national service alumni encouraged to apply.

Job Posting: Assistant Conservator at the Metropolitan Museum of Art (New York, NY)

THE METROPOLITAN MUSEUM OF ART EMPLOYMENT OPPORTUNITIES

Assistant Conservator

The Objects Conservation Department at The Metropolitan Museum of Art upholds the highest professional standards in the conservation of the Museum’s three-dimensional works of art. The Assistant Conservator will work under the supervision of senior staff on the conservation of objects from the Museum’s encyclopedic collection, spanning 5,000 years and made using a wide range of materials, methods of manufacture. The Assistant Conservator’s assignments will be based on the priority projects of the department as determined by the Conservator in Charge.

This is a full-time permanent position.

Primary Responsibilities and Duties:

  • Undertake conservation of objects, including examination, treatment, and oversight of environmental conditions in storerooms and galleries.
  • Examine objects for acquisition, incoming or outgoing loans and gifts.
  • Examine objects concerning material identification and technology, including use of analytical instrumentation such as x-radiography and microscopy.
  • Prepare samples for analysis by the Department of Scientific Research, and communicate with scientists regarding goals and results.
  • Liaise with conservators, curators, technicians, riggers, Buildings staff, Exhibitions staff, and Registrar.
  • Prepare visual and written documentation of treatments and research, and file according to department protocols.
  • Travel domestically and internationally as needed to examine, treat, and courier artworks in connection with loans.
  • Supervise contract conservators, fellows, and students.
  • Assist senior staff in time-sensitive projects as assigned by Conservator in Charge.
  • Participate in departmental fundraising activities.
  • Broaden knowledge of the conservation field by taking advantage of the department’s expertise and resources, and the Museum’s opportunities for professional development.
  • Disseminate activities and findings in a range of platforms including public and professional lectures, and print and digital publications.
  • Other related duties

 Requirements and Qualifications:

Experience and Skills:

  • Minimum of three years of professional experience working in a museum required.
  • Experience in the examination and treatment of objects made using a wide range of materials, methods of manufacture.
  • Excellent written, verbal, and interpersonal skills required.
  • Skill using state-of-the-art conservation documentation tools, including digital photogaphy, multi-spectral imaging, and Reflectance Transformation Imaging preferred.
  • Ability to lift up to 50 pounds and work on a ladder or rig required.

Knowledge and Education:

  • Master’s degree from an internationally recognized graduate conservation program required.
  • FDNY C-14 Laboratory Certificate of Fitness or willingness and ability to attain certification within six months of hire required.

Please send cover letter, resume, and salary history to careers@metmuseum.org with “Assistant Conservator” in the subject line.

The Metropolitan Museum of Art provides equal opportunity to all employees and applicants for employment without regard to race, color, religion, creed, sex, sexual orientation, national origin, ancestry, age, mental or physical disability, pregnancy, alienage or citizenship status, marital status or domestic partner status, genetic information, genetic predisposition or carrier status, gender identity, HIV status, military status and any other category protected by law in all employment decisions, including but not limited to recruitment, hiring, compensation, training and apprenticeship, promotion, upgrading, demotion, downgrading, transfer, lay-off and termination, and all other terms and conditions of employment.  AmeriCorps, Peace Corps, and national service alumni encouraged to apply.

 

ECPN's Follow-Up to the Fall 2016 Webinar on Leadership – Q&A and Further Resources

The importance of leadership in conservation and developing leadership skills throughout one’s career is a rich topic that ECPN explored in the Fall 2016 webinar, Emerging Leaders in Conservation: Developing Leadership Skills as an Early-Career Professional. EPCN received a number of questions in response to the webinar, and speakers Michelle Facini and Molly Gleeson have generously taken the time to answer these questions. This post also provides a bibliography on leadership, including a number of insightful Ted Talks, for those wishing to delve further into this topic. At the end is a list of links to leadership training programs for future reference.
Q&A
Do the speakers have suggestions for how to balance the roles of colleague, friend, and leader in the workplace? Do they have tips for how conservators can step up to a leadership positions while maintaining other facets of their relationships with others?
Molly Gleeson: For the benefit of all work relationships, making space for personal connection is important. No matter what position you are in, you can demonstrate leadership qualities by speaking up with opinions and ideas, but also by making sure to ask others for their input, and being open to different viewpoints. If you are asked to lead a project and to supervise a peer or friend, I believe that taking a collaborative approach is the best course of action – you will need to take responsibility for the decision-making, planning, etc. but much of the work to get there can be collaborative, and recognition of your colleague(s) when presenting decisions and ideas is just as critical. This acknowledgment will help to empower them and make them feel included, respected, and an important part of your team.
How has your leadership style changed/evolved over the years?
Michelle Facini: My ability to recognize project priorities and maximize my time spent on tasks has become more efficient over time. Having good working relationships with colleagues also helps to streamline expectations and makes collaborations effective. As I become more senior in my organization, I am expected to bring clarity and good solutions to tasks because I understand how the organization works. As a result, it is important for me to actively listen, so I can offer good recommendations and ensure success for everyone involved in a project.
How, would you continue to inspire engagement of all colleagues, interns, volunteers, members etc. if the community or team you lead is growing? This question is aligned with making everyone feel included, and the difficulties in generating an intimate collaboration if member size increases.
Michelle Facini: Good colleagues are ones that you trust and respect. Finding a way to build those relationships with your peers is key, and doing so differs greatly from person to person. Leaders who regularly engage with their workforce and recognize their staff for their accomplishments and commitment are generally the most respected. Emotional intelligence is a skill that should continue to be honed throughout our careers so that our work relationships are rooted in kindness and empathy, while still maintaining a supportive and productive work environment.
What can conservation learn from other fields in which management and leadership skills are more explicitly praised, e.g. Business, public policy? Did you look to leadership role models in different disciplines?
Molly Gleeson: There is so much we can learn from other fields about leadership – in fact, most of the recommended reading and resources come from the business world. We can and should look at global trends in leadership, such as the concept of collaborative leadership, which focuses less on top-down management and more on teamwork, transparency, and networks. But we can also look to the museum field for examples of inspirational leaders, even if these leaders are using leadership styles that we may not gravitate toward ourselves. Check out the Leadership Matters book and blog, and forthcoming book, Women & Museums.
With the changing museum field, do you anticipate any changes to your leadership style?
Molly Gleeson: While it is important to think about our “default” leadership styles, it is just as important, as Sarah emphasized in the webinar, to remember that leadership responds to the situations and positions we find ourselves in. Being aware of how the field is changing, current institutional operations and goals, and our individual roles within an organization, will help us all expand and adapt our leadership styles as we grow as professionals.
How did our panelists develop their leadership skills and what resources/opportunities did they find helpful?
Molly Gleeson: Most of my leadership skills were developed by putting myself in positions to lead – by volunteering to organize a conference session, to teach a workshop, run for a committee position, or to take on a new project or role at work. Many of these situations are uncomfortable at first, but I have learned a lot from them and they only empower me to continue to step up into leadership roles. I am currently taking a leadership course offered through my job, and as a part of this we took the Gallup Strengths Assessment, which identified our top 5 strengths. Anyone can take this online for only $15 (there are more expensive options but our course instructor said that they are not worth it and that Gallup actually prices them higher to discourage people from doing them).
What kind of leadership do we need in the field now? What directions should we, as a field, encourage?
Michelle Facini: The availability of digital products to use for outreach is staggering— as information is instantaneously shared and consumed by vast numbers of folks, the preservation field needs to find its voice. This voice should speak humbly of our past while addressing a future that is diverse and inclusive of many skill sets. Inclusiveness allows our community to extend support to those colleagues who yearn for funding, recognition and opportunities for professional growth. Sharing our knowledge via presentations, publications and teaching elevates our standing as a profession and attracts the jobs and financial support necessary for our continued growth.
Is there a way to ask a conservator to be your mentor in a polite way, or should you let the relationship develop naturally?
Molly Gleeson: Either approach works – there are great mentor-mentee relationships that have grown out of the ECPN mentoring program where people are matched often without knowing each other beforehand – but some of the best relationships may end up developing naturally. Most importantly, mentoring works best when expectations and questions are clearly defined – so before approaching someone sit down and think about what you’d like guidance on, and what you’re hoping to get out of that relationship, and prepare to communicate these goals with your potential mentor. It is also important to be respectful of time, availability, and communication styles. Some people prefer emailing while others work better on the phone, and some people may prefer to meet in person – be open to different types of communication.
Do you have any tips for someone transitioning into a promotion and facing changes in one’s role and leadership responsibilities?
Michelle Facini: Make an appointment with yourself to determine your strengths and weaknesses in your new position. Identify ways you can acquire the necessary skills needed for your new responsibilities. Seek out mentors and peers that can assess your progress and help you find ways to rise to all your new challenges. Make sure you set goals for yourself that are attainable to keep your momentum going, but also in the distance so you always know where you are headed.
Bibliography:
This comprehensive bibliography, including both published literature and Ted Talks, was compiled by Courtney Murray for the April 2016 workshop, “Learning to Lead: Training for Heritage Preservation Professionals,” held at the Winterthur Museum. Thank you to Courtney for her willingness to share her work.
The following are addendums to this bibliography:
The Art of Relevance, by Nina Simon
Quiet: The Power of Introverts in a World that Can’t Stop Talking, by Susan Cain
Blog – Leadership Matters: Thoughts on 21st Century Museum Leadership by Anne Ackerson and Joan Baldwin
Opportunities for Formal Leadership Training or Networking:
Applicants for a number of these programs must have previous museum experience or currently hold a leadership position, so they do not apply to emerging conservators; however, you may wish to keep them in mind for the future.
The Getty Leadership Institute’s NextGen Program: Executive Education for the Next Generation of Museum Leaders – designed for mid-level staff with 3-5 years of museum management experience
The Clore Leadership Programme (UK-based, but with International Fellowships available for select countries) – applicants must have worked in the cultural sector for at least five years
The American Alliance of Museums Leadership and Management Network – professional network and repository of articles on leadership and management
Association of Academic Museums and Galleries (AAMG) Leadership Seminar – applications are open to those currently holding leadership positions in academic museums and galleries
 
Thank you to all of the individuals who submitted questions, and thank you once again to our speakers Sarah Staniforth, Michelle Facini, and Molly Gleeson. We are also grateful to Courtney Murray for the bibliography and Debbie Hess Norris for her input on leadership training. If you have additional suggestions for resources to add, or further questions on this topic, please email ECPN.aic.webinar@gmail.com.

ECPN Fall Webinar Announcement – Emerging Leaders in Conservation: Developing Leadership Skills as an Early-Career Professional

The Emerging Conservation Professionals Network (ECPN) is pleased to introduce our next webinar, “Emerging Leaders in Conservation: Developing Leadership Skills as an Early-Career Professional,” which will take place on Thursday, October 27th from 12-1 pm (EST).
We are delighted to welcome three guest speakers to explore this topic. Our presenters have varied backgrounds and represent different career stages, but each has displayed great leadership aptitude: International Institute for Conservation (IIC) President Sarah Staniforth, who recently co-taught the workshop at the Winterthur Museum, “Learning to Lead: Training for Heritage Preservation Professionals,” in April 2016; Paper Conservator Michelle Facini from the National Gallery of Art, Washington, a Fellow of AIC who has formerly chaired the Book and Paper Specialty Group; and Molly Gleeson, a Project Conservator in Objects Conservation at the Penn Museum, Professional Associate of AIC, and former chair of ECPN.
The presenters will briefly introduce theoretical information pertaining to leadership styles, discuss why it can be important to cultivate leadership skills, and consider what it means to be a leader at any stage of your profession. The speakers will also draw from their experiences to discuss specific instances in their careers that have required leadership skills. Finally, we will be discussing strategies for early-career professionals to cultivate leadership skills and provide information on additional resources for individuals who would like to learn more.
Attendance is free and open to all AIC members. To register to watch the webinar, please visit our registration website. If you are unable to view the program on October 27th, or are not a member of AIC, the full video will be recorded and uploaded onto the AIC YouTube Channel.
We would like to hear from you with any questions up until the morning of the webinar. Please feel free to email ecpn.aic.webinar@gmail.com or submit questions as comments to this post. These questions will either be answered during a Q&A session or follow-up blog post or session.
Please read on to learn more about the speakers:
SARAH STANIFORTH was elected President of the International Institute for Conservation (IIC) in January 2013. Sarah is a Fellow of IIC, the Society of Antiquaries and the Royal Society of Arts. From January 2011 – June 2014, Sarah was Museums and Collections Director at the National Trust. She was Historic Properties Director from 2005-2010 and Head Conservator from 2002-2004, and she joined the National Trust in 1985 as Adviser on Paintings Conservation and Environmental Control.  Sarah studied easel paintings conservation at the Courtauld Institute of Art. She has also written and lectured extensively on preventive conservation for collections in museums and historic houses; some of this work is recorded in the National Trust Manual of Housekeeping and Historical Perspectives on Preventive Conservation. Sarah was awarded a CBE (Commander of the Order of the British Empire) in the New Year’s Honours 2015.
MICHELLE FACINI is an American Institute of Conservation Fellow, the former Chair of the Book and Paper Specialty Group, and a paper conservator at the National Gallery of Art in Washington, D.C. She has a forthcoming publication describing Degas pastels on tracing paper and has presented research in the past on the preservation of oversized artworks and the materials and techniques in illuminated manuscripts. Michelle regularly collaborates with curators and conservation scientists, as well as conservation colleagues, globally. She received her Masters of Science in art conservation from the Winterthur/University of Delaware Program and has worked at the National Archives and Records Administration. She participated in fellowships and internships with the British Museum, the California Palace of the Legion of Honor and The Metropolitan Museum of Art.
MOLLY GLEESON is the Schwartz Project Conservator at the Penn Museum. Since 2012, Molly has worked in the museum’s open conservation lab, “In the Artifact Lab: Conserving Egyptian Mummies.” She has worked as conservator for the University of Pennsylvania’s excavations in South Abydos, Egypt since 2015. Prior to joining the Penn Museum Conservation Department, she worked on contract in Southern California and as a Research Associate on the UCLA and Getty Conservation Institute feather research project. She completed her M.A. in 2008 at the UCLA/Getty Master’s Program in the Conservation of Archaeological and Ethnographic Materials. She is an American Institute for Conservation (AIC) Professional Associate and is a co-chair of AIC’s Archaeological Discussion Group (ADG).