{"id":16595,"date":"2017-03-09T13:59:17","date_gmt":"2017-03-09T18:59:17","guid":{"rendered":"http:\/\/www.conservators-converse.org\/?p=16595"},"modified":"2017-03-09T13:59:17","modified_gmt":"2017-03-09T18:59:17","slug":"ecpn-spring-2017-webinar-announcement-picking-up-the-pieces-accepting-preventing-and-learning-from-mistakes-as-an-emerging-conservation-professional","status":"publish","type":"post","link":"https:\/\/resources.culturalheritage.org\/conservators-converse\/2017\/03\/09\/ecpn-spring-2017-webinar-announcement-picking-up-the-pieces-accepting-preventing-and-learning-from-mistakes-as-an-emerging-conservation-professional\/","title":{"rendered":"ECPN Spring 2017 Webinar Announcement — Picking Up the Pieces: Accepting, Preventing, and Learning from Mistakes as an Emerging Conservation Professional"},"content":{"rendered":"

On behalf of the Emerging Conservation Professionals Network (ECPN), I\u2019m pleased to introduce our upcoming webinar, <\/span>\u201c<\/b>Picking up the Pieces: Accepting, Preventing, and Learning from Mistakes as an Emerging Conservation Professional,\u201d<\/i><\/b> taking place on <\/span>Friday, April 7<\/b>th<\/b> from 12-1 pm EST. <\/b><\/p>\n

Pressure to avoid mistakes, particularly during treatment, can hamper discussion within the field of conservation regarding how to actively prevent and recover from setbacks. Although it is unfortunate when they occur, acknowledging that mistakes are fundamental to learning can be especially crucial to the development of early-career professionals. This webinar aims to provide a greater understanding of the most common causes of errors, tips for minimizing the probability of mistakes, and strategies for dealing with setbacks.<\/span><\/p>\n

ECPN has invited a panel of four speakers to explore this topic: Michele Marincola, Sherman Fairchild Distinguished Professor of Conservation of the Conservation Center at the Institute of Fine Arts, New York University; Tony Sigel, Senior Conservator of Objects and Sculpture at the Straus Center for Conservation, Harvard Art Museums; \u00a0Ayesha Fuentes, PhD candidate at the School of Oriental and African Studies, University of London; and Geneva Griswold, Associate Objects Conservator at the Seattle Art Museum.<\/p>\n

Attendance is\u00a0<\/span>free\u00a0<\/b>and\u00a0<\/span>open to all AIC members<\/b>. Please register here<\/a> to watch the webinar.<\/span>\u00a0If you are unable to view the program on April 7th, or are not a member of AIC, the full video will be recorded and uploaded onto the\u00a0<\/span>AIC YouTube Channel<\/span><\/a>.<\/span><\/p>\n

ECPN would like to increase transparency regarding mistakes and inspire a broader dialogue on this subject in the field. <\/span>\u00a0We want to hear from YOU with your stories of mistakes and setbacks!<\/b> Please take this short survey<\/a> describing your experiences<\/b>. You can be a conservation professional from any career stage, and you may opt to remain anonymous. \u00a0With your permission, we will be sharing select experiences during the webinar and in a follow up discussion on AIC\u2019s Blog \u00a0<\/span>Conservators Converse<\/span><\/i>. <\/span><\/p>\n

We hope you will join us for the webinar on April 7th and that our viewers will gain a new appreciation of mistakes as fundamental to learning, an increased awareness of the sources of error, and practical strategies for avoiding mistakes.<\/b><\/p>\n

 <\/p>\n

Please see the below biographies to learn more about our speakers:<\/span><\/p>\n

MICHELE D\u2019ARCY MARINCOLA \u00a0is Sherman Fairchild Distinguished Professor of Conservation of the Conservation Center at the Institute of Fine Arts, New York University, and managing conservator for NYU\u2019s Acton Collection at Villa La Pietra in Florence, Italy. Before joining the university\u2019s faculty as department chairman and professor of conservation in 2002, she was Conservator for The Cloisters, Metropolitan Museum of Art. Professor Marincola\u2019s research interests include the conservation and technical art history of sculpture, as well as the history and ethics of art conservation. She designed and led a series of summer programs in technical art history for art historians, including the Summer Teachers Institute in Technical Art History for college and university faculty (funded by the Samuel H. Kress Foundation), now co-organized with the Yale University Art Gallery, and the Summer Institute in Technical Art History for graduate students in art history (funded by the Andrew W. Mellon Foundation), which ran from 2011 \u2013 2016. Professor Marincola is the editor of a recent edition and translation of Johannes Taubert\u2019s Polychrome Sculpture, Meaning, Form, Conservation (Getty Publications, 2015) and is the author of numerous articles on the conservation and technical study of medieval wood sculpture and the history of its conservation in the United States. She is currently completing a book with co-author Lucretia Karg\u00e8re on the conservation history and treatment of medieval polychrome wood sculpture, to be published by Getty Publications. This book project was awarded the 2015 FAIC-Samuel H. Kress Publication Award.<\/span><\/p>\n

TONY SIGEL senior conservator of objects and sculpture at the Straus Center for Conservation, Harvard Art Museums. Apprentice-trained as a conservator at the Art Institute of Chicago, he has worked at Sardis, Turkey, most recently as supervising conservator. He has published and taught widely on conservation practice and technical art history. He received the Rome Prize in 2004, and co-curated the 20012-13 exhibition <\/span>Bernini- Sculpting in Clay<\/span><\/i>, at the Metropolitan and Kimbell Museum of Art. In September, 2016, he was appointed Robert Lehman visiting professor at Villa I Tatti, Florence, studying the techniques of Renaissance sculptural models.<\/span><\/p>\n

AYESHA FUENTES <\/span>is a research scholar and first-year MPhil\/PhD in the Department of History of Art and Archaeology at the School of Oriental and African Studies, University of London where she is documenting the history and use of human remains in Himalayan ritual objects. She is a graduate of the UCLA\/Getty MA Program in the Conservation of Archaeological and Ethnographic Materials and has worked in objects conservation in the US, China, Sri Lanka, Bhutan, Cambodia and Sudan.<\/span><\/p>\n

GENEVA GRISWOLD <\/span>is an Associate Objects Conservator at the Seattle Art Museum, focusing on the preservation of\u00a0SAM\u2019s pre-modern collections.\u00a0Prior to SAM, Geneva was the Andrew W. Mellon Fellow at the Fine Arts Museums of San Francisco and held positions at the Walters Art Museum and the Getty Conservation Institute. Her archaeological fieldwork includes seasons at Herculaneum and Abydos, Egypt.\u00a0Geneva is a graduate of the Courtauld Institute of Art and the UCLA\/Getty Program in the Conservation of Archaeological and Ethnographic Materials.<\/span><\/p>\n

Please see the following links for publications on the topic of mistakes by our speakers: <\/span><\/p>\n

Marincola, Michele and Sarah Maisey. \u201cTo Err is Human: Understanding and Sharing Mistakes in Conservation Practice.\u201d 2011.\u00a0<\/a><\/span><\/p>\n

Fuentes, Ayesha and Geneva Griswold. \u201cThe \u2018Dead-Bucket\u2019: An Inexperienced Conservators Guide for Evaluating Setbacks.\u201d 2012.<\/a>\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

On behalf of the Emerging Conservation Professionals Network (ECPN), I\u2019m pleased to introduce our upcoming webinar, \u201cPicking up the Pieces: Accepting, Preventing, and Learning from Mistakes as an Emerging Conservation Professional,\u201d taking place on Friday, April 7th from 12-1 pm EST. Pressure to avoid mistakes, particularly during treatment, can hamper discussion within the field of … Continue reading “ECPN Spring 2017 Webinar Announcement — Picking Up the Pieces: Accepting, Preventing, and Learning from Mistakes as an Emerging Conservation Professional”<\/span><\/a><\/p>\n","protected":false},"author":252,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[29],"tags":[378,394],"class_list":["post-16595","post","type-post","status-publish","format-standard","hentry","category-ecpn","tag-ecpn-2","tag-emerging-conservation-professionals-network"],"_links":{"self":[{"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/posts\/16595","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/users\/252"}],"replies":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/comments?post=16595"}],"version-history":[{"count":0,"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/posts\/16595\/revisions"}],"wp:attachment":[{"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/media?parent=16595"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/categories?post=16595"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/conservators-converse\/wp-json\/wp\/v2\/tags?post=16595"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}