Instructors
| Gary Albright | Photographic Conservator, Private Practice, Honeoye, NY |
| Jon Appell | Gravestone Conservator, Private Practice, West Hartford, CT |
| David Arbogast | Architectural Conservator, Davenport, IA |
| Hubert Baija | Senior Conservator, Rijksmuseum Paintings Department, Amsterdam, The Netherlands |
| Stephen Bauer | President and Artistic Director of Bradbury and Bradbury Art Wallpapers in Benicia, CA |
| Barbara Becker | Exhibit Development and Research, Becker Exhibit Planning, Chicago, IL |
| Sharon Bennett | Project Archivist,College of Charleston, Charleston, SC |
| Jim Bernstein | Painting Conservator, Private Practice, San Francisco, CA |
| Cynthia Kuniej Berry | Painting Conservator, Private Practice, Chicago, IL |
| Julie Biggs | Assistant Head of Conservation, Folger Shakespeare Library, Washington, DC |
| Terry Birkett | Director of Collections, Detroit Institute of Arts, Detroit, MI |
| Luke Boehnke | Part time instructor in the Sculpture department at the School of the Art Institute of Chicago; full time art rigger at Methods and Materials |
| Dan Brinkmeier | Director of International CommunityOutreach, Field Museum, Chicago, IL |
| William Budde | Project Archivist, Bennington Museum, Bennington, VT |
| Christine Conniff-O’Shea | Paper Conservation Technician, The Art Institute of Chicago, Chicago, IL |
| Jay Crawford | Photographer, Chicago History Museum, Chicago, IL |
| Ron Cundiff | CPP Instructor, Lewis University, Romeoville, IL; Justice, Law, and Public Safety Studies Department |
| Christa Deacy-Quinn | Collections Manager, Spurlock Museum, Urbana, IL |
| Craig Deller | Objects & Wooden Artifacts Conservator, Deller Conservation Group, Geneva, IL |
| Gary Dulock | Master Craftsman of Decorative Finishes; Owner of Touches of Illusion, Oak Park, IL |
| Patricia Eckhardt | PhD, Architectural Historian, Iowa City, IA |
| Betsy Palmer Eldridge | Book Conservator, Toronto, Ontario, Canada |
| Linda Eppich | Archivist/Grant Writer of The Preservation Society of Newport County, Newport, RI |
| Hal Erickson | Bioinformaticist, University of Utah Health Sciences Center, Salt Lake City, UT; and consulting conservation scientist/materials chemist, private practice, Cora, WY |
| Debra Evans | Book and Paper, Photographic Materials Conservator, San Francisco, CA |
| Joycelyn Falsken | Assistant Professor, Apparel, Textiles, and Interior Design Dept., Kansas State University |
| Julia Fenn | Objects Conservator, Royal Ontario Museum, Toronto, Ontario, Canada |
| Mary-Lou Florian | Consultant, Research Associate-Emerita, Royal British Columbia Museum, Victoria, B. C. Canada |
| Pam Gaible | Mount Shop Supervisor, Field Museum, Chicago, IL |
| Joe Gallagher | Owner, Heritage Preservation Resources, Inc., Ogden UT |
| Mary Todd Glaser | Book & Paper Conservator, Salem, MA |
| Garry Harrison | Head, Circulating Collections Conservation, E. Lingle Craig Preservation Lab, Indiana Univ., Bloomington, IN |
| Jimi Lee Jones | Project Coordinator, Self-Assessment Program, UICC Library, Urbana, IL |
| Mary Jablonski | Architectural Conservator, Jablonski Conservation, Inc. New York, NY |
| Hilary A. Kaplan | Training Specialist, National Archives and Records Administration, Washington, D.C. |
| Dan Keding | Adjunct Lecturer, University of IL Graduate School of Library and Information Sciences; Author; Master Storyteller |
| John Lambert | Masonry Restoration Consultant, Salt Lake City, UT |
| Dean Langworthy | Foreman and Rigging Specialist, Methods and Materials, Chicago, IL |
| Gary J. Laughlin | President, Senior Researcher and Instructor, McCrone Research Institute, Chicago, IL |
| David Layman | IDSA, Principal, Layman Designs, Glenview, IL |
| John Leeke | Historic Building Specialist, Owner of Historic HomeWorks |
| Debbie Linn | Paper Conservator. Anthropology Dept., The Field Museum, Chicago, IL |
| Earl Lock | Exhibits Fabricator/Mountmaker, Chicago, IL |
| William Maher | University Archivist and Professor of Library Administration at the University of Illinois at Urbana-Champaign |
| Harold Mailand | Textile Conservation Services, Indianapolis, IN |
| Susan Maltby | Objects Conservator, Private Practice, Toronto, Ontario, Canada |
| Margo McFarland | Book & Paper Conservator, Private Practice, Chicago, IL |
| Jim Meeks | Chief Preparator/Photographer, Oklahoma City Museum of Art |
| Nicolette Meister | Curator of Collections, Logan Museum of Anthropology, Beloit, WI |
| Renate Mesmer | Senior Paper Conservator at the Library of Congress, Washington, DC. |
| John Molini | Chief, Packing & Shipping, Art Institute of Chicago, Chicago, IL |
| Ruth E. Norton | Chief Conservator, Field Museum, Chicago, IL |
| Nancy Odegaard | Objects Conservator, Arizona State Museum, Tucson, AZ |
| Susan Phillips | Exhibit Production Manager, Field Museum, Chicago, IL |
| Cheryl Podsiki | Objects Conservator, Private Practice, Rochester, NY |
| Brent Powell | Head of Preparation, Asian Art Museum, San Francisco |
| Tony Rajer | Art Conservator and Instructor, University of Wisconsin-Madison and Beloit College, Madison, WI |
| Steven Rosengard | Textile Preparator, Assistant Curator, Museum of Science & Industry Chicago; Fashion Designer, Cast member of Project Runway, Season 4 |
| James Roth | Head of the Archival Processing Unit at the John F. Kennedy Presidential Library and Museum |
| Diane Robert Rousseau | Conservator of Stained and Leaded Glass, Private Practice, North Adams, MA |
| John Russick | Curator, Chicago History Museum, Chicago, IL |
| Susan Russick | Book and Paper Conservator, Private Practice, Chicago, IL |
| Ernesto Sanchez | Head of Exhibitions/Exhibition Designer, Oklahoma City Museum of Art |
| Lyndsie S. Selwyn | Senior Conservation Scientist, Canadian Conservation Institute |
| Sara Shpargel | Photographic Conservator, National Archives and Records Administration, Washington, D.C. |
| Dr. Sheila Fairbrass Siegler | Private Conservator, Omaha, NE, Summer Faculty, Conservation Science, University of Texas, Austin TX |
| Dave Smith | Conservation Scientist, Arizona State Museum; Analytical Chemist, University of Arizona, Tucson, AR |
| Wayne Smith | Architect; Brooks, Borg, Skiles Architectural Engineering, LLP, DesMoines, IA |
| Tim Stohl | Owner of Quality Plastering, Colona, IL |
| Jennifer Hain Teper | Conservation Librarian and Head of the Conservation Unit for the University Library at the U of I, Urbana-Champaign |
| Mary Turner | Independent Museum Consultant,Decatur, IL |
| Robert Weiglein | Exhibit Designer, The Field Museum, Chicago, IL |
| Pamela White | J.D., PhD, Director, Pentacrest Museums: Natural History and Old Capitol; Director, Museum Studies Program, University of IA |
| Bob Yapp | President, Preservation Resources, Inc., Hannibal, MO |
Biographies
Gary Albright is a conservator of paper and photographs in private practice. He graduated from the Winterthur Museum/University of Delaware Program in Art Conservation in 1978. From 1980 to 1999 he was senior paper and photograph conservator at the Northeast Document Conservation Center, Andover, MA. In 1999 he became conservator at the George Eastman House, Rochester, NY, where he taught treatment of photographs to the fellows in the Advanced Residency Program for Photograph Conservators. Since starting his own practice in 2003, Albright has been a visiting professor for the Art Conservation Departments at the State University of Buffalo and the University of Delaware. During his career he has treated a diverse array of objects, including the Emancipation Proclamation, a Honus Wagner baseball card, Ansel Adams’ photographs, and working drafts of the Constitution of the United States. Albright lives and works in Honeoye Falls, New York.
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Jonathan Appell is a gravestone conservator who performs projects throughout the United States including gravestone and cemetery monument conservation; historic cemetery preservation planning; and gravestone and monument conservation workshops. Jon has studied sculpture, mold making, and stone carving; and is a trustee of the Association for Gravestone Studies.
www.gravestoneconservation.com
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David Arbogast is an architectural conservator with a private practice in Davenport, Iowa. After receiving his graduate degree in 1974 from Columbia University in architectural restoration he worked as an historical architect for the National Park Service in the Midwest Regional Office in Omaha, the Northeast Regional Office in Boston, and the Denver Service Center over a span of eight years. He then was employed by an architectural firm in Iowa City, Iowa, following which he has maintained a private practice first in Iowa City and now in Davenport. His specialties are paint and mortar analysis, although his practice encompasses the full spectrum of architectural conservation with projects ranging from state capitol buildings to log cabins and from Alaska to Florida.
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Hubert Baija is a Senior Conservator-Restorer at the Conservation Department of the Rijksmuseum, Amsterdam, The Netherlands where he is responsible for the conservation of 7000 antique picture frames. After training in chemistry, mineralogy and biology, he studied educational sciences at the University of Amsterdam and completed his studies at the State Academy of Fine Arts in Amsterdam, The Netherlands, with internships at the Dutch Cultural Institute, Rome, Italy, at the National Gallery, London, England, and at the National Museum of Bayern, Munich, Germany.
Mr. Baija has consulted to museums and collectors on the conservation of gilded and polychrome objects. He teaches frame history and conservation at the University of Amsterdam, The Netherlands, and at the Metropolia University in Helsinki, Finland. He acted as an External Examiner for MA and Ph.D. students in conservation at the Academy of Fine Arts in Antwerp, Belgium and at the Royal College of Art, London, England. He is a Professional Associate of the American Institute for Conservation (AIC) and has served as co-chair of the International Council of Museums, Conservation Committee (ICOM-CC) Wood, Furniture and Lacquer Working Group. He participated in the translation of Framing in the Golden Age by P.J.J. van Thiel and C.J. de Bruijn Kops into English. Hubert Baija has presented and published on historic gilding techniques, on the conservation of picture frames, on the framing of medieval panel paintings, and on the history of picture frames.
During thirty five years of dedication to the arts he also illustrated school books and taught drawing and painting.
http://www.rijksmuseum.nl/organisatie/sectorcollecties/hubertbaija?lang=nl
Stephen Bauer is President and Artistic Director of Bradbury & Bradbury Art Wallpapers in Benicia, California. His apprenticeship under wallpaper historian Bruce Bradbury began in 1982 with instruction on historic pattern design and color palettes. During his association with the company for the last 30 years he has been a lead designer and colorist for several of the collections the company has issued over that time, which now totals some 800 individual patterns. His work has included investigation, color analysis and the reproduction of historic document papers, the interpretive adaptations of period patterns as well as the creation of new and original patterns in many of the diverse historic styles of the past 150 years.
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Julie Biggs is the Assistant Head of Conservation, Folger Shakespeare Library, Washington, DC
Julie L. Biggs is a Senior Paper Conservator/Preservation Specialist at the Library of Congress. Previously, she was Senior Paper Conservator at the Folger Shakespeare Library and worked in private practice in the Washington DC area and in Italy. Ms. Biggs has a BSc Hons in Biology from the University of Aberdeen and a Diploma in Paper and Book Conservation from the Istituto per l’Arte e il Restauro in Florence, Italy.
Ms. Biggs has spent several years researching iron-gall ink and was awarded a FAIC Samuel H. Kress Conservation Publication Fellowship. She has taught numerous workshops on iron-gall ink and, together with Renate Mesmer, paper bleaching
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Barbara A. Becker is an exhibit planner, label-writer, and evaluator who has worked in Chicago for nearly 30 years. She has been on staff at both the Field Museum and the John G. Shedd Aquarium, where she planned and wrote labels for many exhibitions both small and large, including the award-winning Amazon Rising. For the last four years, she has been independent, working with museums, parks, colleges, botanic gardens, and other nonprofit organizations on signage, displays, and evaluation. As a frequent associate of Serrell & Associates she has carried out summative evaluation studies at various local museums. Recently, she participated in the Excellent Judges program developing a framework to assess excellence in museum exhibitions. For three years, she has been a guest lecturer on exhibit development, label writing, and evaluation at the School of the Art Institute of Chicago.
www.cmegchicago.org
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K. Sharon Bennett has been the
project archivist for the College of Charleston since 2007. Prior to her current position she served as Archivist at The Charleston Museum where in addition to her curatorial and preservation duties, she was responsible for disaster planning and response for the Museum collections. Sharon received her B.A. from the College of Charleston and her M.L.S. from the University of South Carolina, Columbia. She has been a consultant for the Palmetto Archives, Libraries, and Museums Council (PALMCOP) and for the S.C. State Historical Records Advisory Board (SHRAB). A veteran of hurricane Hugo, she has taught and participated in numerous disaster preparedness and response workshops throughout the Southeast. On behalf of the Southeastern Museums Conference, Sharon taught the 1999 IMLS-funded two-day workshop "Hope for the Best, Prepare for the Worst," in South Carolina, Virginia, and Alabama and edited the 2000 SEMC Disaster Response Handbook. In 1999, she was the recipient of SEMC's Museum Leadership Award. Most recently she co-taught the NEH sponsored FAIC workshop "Safeguarding Our Cultural Heritage in Emergency Response," with Hilary A. Kaplan at Ft. Bragg, NC.
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James Bernstein, Conservator of Paintings & Mixed Media, is in private practice in San Francisco, California. He is a graduate of the High School of Music & Art (NYC), Brandeis University, and the Cooperstown Graduate Program in Conservation (now at Buffalo). Jim was Conservator and Co-Director of Conservation for the San Francisco Museum of Modern Art for 15 years, instrumental in the training of interns and the design of the museum's conservation programs. Known for his knowledge of artist materials, his inventive problem-solving, and his skillful treatment of hybrid modern art works, Jim is dedicated to conservation education and loves to share his knowledge with others. Regularly called upon to teach color and compensation techniques to conservators at advanced seminars [hosted by institutions such as the Getty Museum, Museum of Modern Art (NY), New York University's Conservation Center, the Campbell Center for Historic Preservation Studies and now the AIC], Jim has lectured on inpainting, picture varnishes, dilemmas in the conservation of contemporary art, and "Studio Tips."
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Terry Birkett is Director of Collections at The Detroit Institute of Arts, an encyclopedic collection of art and artifacts from prehistory to contemporary art. He has over 20 years experience with working with collections in various capacities, including design, planning, and implementing storage plans, managing storage facilities, storage equipment design, computerized tracking and documentation, digital imaging, supervision of art handling teams, and coordination of construction and renovation of buildings and systems that affect art storage. He has presented at numerous conferences on collection care and storage design, including American Institute for Conservation, Association of Midwest Museums, and the American Association of Museums, and was a recipient of the Midwest Registrars Committee Travel Stipend Award. He is a trainer for the Michigan Museum Associations Collections Care Workshops, and is a consultant to other museums, private businesses and collections on art storage facility design and equipment, collection management and documentation. In addition, he is the Collection Manager for a major private collection, responsible for the care, display, cataloging, and documentation of the collection.
www.dia.org
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Luke Boehnke is a part time instructor in the Sculpture department at the School of the Art Institute of Chicago and a full time employee of Methods and Materials—a Chicago based fine art rigging company specializing in both national and international large-scale problem solving for museums, private entities, and public organizations.
Luke Boehnke brings a hands-on knowledge of several construction practices applicable to rigging and installation. He specializes in welding and metal fabrication for large-scale mounts and rigging apparatus. In addition, he is a certified operator of several heavy machines including forklifts, articulated booms, and carry deck cranes.
Luke received his MFA from School of the Art Institute of Chicago in 2006 ; his BFA in 2003 from Montana State University, Bozeman, MT
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Dan Brinkmeier Through nearly 28 years of involvement at Chicago’s Field Museum, Dan Brinkmeier has worked in the fields of communication for rural development, museum exhibit design and production, and public outreach. An artist, educator, and instructional materials designer, Dan has served as a media trainer and advisor for numerous environmental conservation organizations, museums, and academic institutions in South America and Africa. Dan has a BFA in painting from the University of Illinois and an Ms.c (emphasis on development communication) from Iowa State University.
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William Budde is Project Archivist, Bennington Museum, Bennington, VT
detailed bio to come
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bio to come
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Christine Conniff-O'Shea studied drawing and printmaking at the University of New Mexico where she received her B. A. in Fine Arts. Luckily, she was able to find a job in a related field as a Paper Conservation Technician at the Art Institute of Chicago, a position she has held for over 20 years. Chris has worked on many of the museum's major exhibitions, the most recent being "Himalayas: An Aesthetic Adventure" and "Windows on the West: Chicago and the Art of the New Frontier." Chris specializes in historic and period mounting and framing of works of art on paper from the 14th through the 19th century.
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Jay Crawford holds a Master of Fine Arts degree in photography from Indiana University, Bloomington. For more than ten years, Mr. Crawford has been a Staff Photographer for the Chicago Historical Society where he photographs and reproduces a wide variety of collection objects, ranging from stained glass windows to textiles, and from oil paintings to furniture. As Staff Photographer, Mr. Crawford works with all departments of the institution and is familiar with the many aspects of museum photography use, including collections & research, rights & reproductions, publications, and exhibitions. Mr. Crawford has a strong background in traditional silver-based photography, both studio camera work and darkroom, and over the past five years has worked extensively with digital processes, including cameras, scanners, and software. In addition to his museum photography background, Mr. Crawford has experience in archaeological field photography and commercial photography. Mr. Crawford has taught photography courses at the Campbell Center since 1996.
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Ron Cundiff is currently an adjunct faculty member in the Justice, Law and Public Safety Studies Department at Lewis University in Romeoville, Il. He received his B.S. degree from Southern Illinois University, and his M.S. from Governors State university.
A former security executive, Ron has over 37 years progressive experience in Security Management, implementation of Security and Safety programs, Seminar Development and Implementation, Security Education, Security Consulting and Training. after graduating from SIU, he entered the Air Force, where he served as a special agent with the Air Force Office of Special Investigations. After leaving active duty, he entered the private security field. Ron spent his security career in Healthcare where he served in Security, Safety and Emergency Management, in Museums, serving as the Manager of Security Services at the Field Museum, and in private security, as the Vice President of a Regional security Company where he performed consulting and training programs for museums in Chicago and Indianapolis. While at the Field Museum, Ron was responsible for all security functions for the museum, including security of the collections, special exhibits and special events security, and security surveys. Among his accomplishments were the development of a security plan for special exhibit halls including closed- circuit television, alarm and access control systems; Coordination and management of security for the Disney World 25th Anniversary show and program held on the Museum Campus – which includes the Field Museum, Shedd Aquarium, and Adler Planetarium; Museum Security Liaison with State Department Security, Scotland yard and the Chicago Police Department for Princess Diana’s Dinner and reception at the Museum; and, with State Department Security, development of a Security Plan for the Dalai Lama’s Visit to the Museum.
Ron is active in several professional associations, including ASIS International, the Midwest Security Conference where he is a past president, and the Illinois
Association of Chiefs of Police, where he serves on the Public/Private Liaison Committee. He has also been a guest speaker at several association programs, as well as instructor at several International Foundation for Cultural Property Protection certification programs.
Christa Deacy-Quinn holds a M.A. in Anthropology from the University of Illinois and a B.A. in Anthropology and Museum Studies from SUNY-Oswego. She has been in the museum field for twenty years, and has served as the Collections Manager at the Spurlock Museum at the University of Illinois at Urbana Champaign since 1991. When the new Spurlock facility was constructed, she designed storage spaces and directed the packing and transport of the collection. She has designed and installed more than a dozen permanent exhibits and over thirty temporary museum exhibits.
She has developed and implemented an Integrated Pest Management (IPM) system for the Spurlock. She is a strong advocate for low-chemical, low-cost IPM solutions. She has run preservation-focused workshops that address IPM and has consulted with numerous other institutions regarding developing or expanding IPM programs. She designed a number of databases in use at the Spurlock, including databases to track the condition of artifacts and museum pests. She is a Certified Technician for General Use Pesticides in Illinois.
She is active in the field of preservation, serving as a Peer Reviewer for the Museum Assessment Program for the American Association of Museums and is a member of the Preservation Working Group at the University of Illinois.
^back to topCraig Deller has been in private practice since 1982. He received his B.S. degree from Southern Illinois University in 1976. Since then he has studied furniture conservation at the Smithsonian and furthered his studies with Wolbers, McCrone, and others. Craig is currently on the faculty of the School of the Art Institute of Chicago and teaches in the Masters Program in Historic Preservation. A member of the American Institute for Conservation since 1982, he was granted Professional Associate status in 1993. Craig is currently in his second term as director of communications for the AIC and recently retired as president of the Chicago Area Conservation Group after serving for seven years. He co-authored the current AIC brochure "Caring for Your Furniture."
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Gary Dulock is a Master Craftsman of Decorative Finishes; Owner of Touches of Illusion, Oak Park, IL
detailed bio to come
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Pat Eckhardt holds a PhD and is an Architectural Historian, Iowa City, IA
deailed bio to come
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Betsy Palmer Eldridge has over forty years of experience as a Book Conservator. In the '60's, she apprenticed as a bookbinder in Germany, studied book decoration in France, and worked in the conservation of book, manuscript and archival material in New York. She has had her own studio in Toronto since 1975 and has taught courses in bookbinding and conservation since 1984. She has been active in professional organizations both nationally and internationally.
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Linda Eppich is Archivist/Grant Writer of The Preservation Society of Newport County, Newport, RI. She raises funds for special projects – historic preservation, object conservation, educational programs, landscape and tree maintenance, and strategic planning. She is a grant reviewer for NEH and IMLS. As the Society’s first Archivist, she has established policies needed for the department and is collecting archival material that is vital to the history of the organization. She has 30 years experience in the museum field and is currently Chair of the AAM Curators Committee. Her experience with small museums has been in writing policies, accessioning and cataloging collections, textile conservation, archival storage problems, and assisting with grant projects - both the writing of proposals and implementation of the projects. Mrs. Eppich has a Masters’ degree in Clothing and Textiles from Eastern Michigan University and has completed post graduate work in American History, Textile History, Textile Conservation, and Archival Administration. She has private textile conservation clients and writes grants for several organizations.
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Hal Erickson is
Bioinformaticist, University of Utah Health Sciences Center, Salt Lake City, UT; and Consulting conservation scientist/materials chemist, Private practice, Cora, WY. Previously, Hal was a biophysical chemist specializing in conservation science at the University of Texas' Center for the Cultural Record, an “umbrella” center that includes the Preservation and Conservation Studies Program, where he has taught the conservation science curriculum for the last ten years. He has been working with enzymes for 17 years, including his first research in conservation science 12 years ago, which was summarized in the paper "Usage Recommendations for alpha-Amylases: Maximizing Enzyme Activity while Minimizing Enzyme-Artifact Binding Residues," (Book and Paper Group Annual 11: 24-33). He recently finished a survey that reduced the substantially more complex subject of protease usage to the same level of distillation as his earlier work with amylases. The results of this work will be presented in these lectures and workshops. Erickson's special conservation science interests are in the areas of enzymes, mass de-acidification, novel solvent techniques, and the relationship between fiber morphology and lignocelluloses chemistry in the aging of paper. In his free time, Hal is also a full-time investigator at the Huntsman Cancer Institute, University of Utah, where he specializes in cDNA micro array investigations of the origins of cancer.
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Debra Evans is a conservator of prints and drawings at the Fine Arts Museums of San Francisco, where she has worked since 1983. Prior to that she was paper conservator at Pacific Regional Conservation Center at Bishop Museum in Honolulu. An undergraduate philosophy major, she received her graduate education at the Winterthur/University of Delaware Art Conservation Program. Debra is a past president of the Western Association for Art Conservation and a Fellow of the American Institute for Conservation. She has supervised numerous conservation program interns, and since 1986, has taught preventive conservation in the graduate program in Museum Studies at J.F.K. University. She has spoken on the subject of loss compensation at WAAC and is co-author of the BPG catalog section on "Filling of Losses." Since 1994, Debra has been co-instructor of the above-mentioned inpainting workshops with Jim Bernstein.
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Joycelyn FalskenJoycelyn Falsken’s passion is “How and why did they make it that way?” She was the Collections Manager of The Historic Costume & Textiles Collection at The Ohio State University while earning a doctorate degree focused on historic dress and clothing construction. Having operated a custom historic clothing reproduction business in the San Francisco Bay Area, Joycelyn’s research interests include customs, context and construction of historic apparel. She is currently an Assistant Professor in the Apparel, Textiles and Interior Design Department at Kansas State University where she teaches fashion design students pattern making (manual and computer-aided) and apparel construction.
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Julia Fenn was born in South Africa and took her BA degree in Archaeology at the University of Cape Town before going to England to specialize in the conservation of anthropological material at London University. Since then she has worked for museums on three continents, including the British Museum, the South African Museum of Natural History, and the Royal Ontario Museum. She has experience in the identification and conservation of a wide range of materials, including modern plastics, which she has studied since 1985.
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Mary-Lou Florian is a Biologist working as a Conservation Scientist specializing in museum objects of organic material: their deterioration, treatment requirements and insect and fungal pest protection. She has a BA from UBC, a MA from the Univ. of Texas and postgraduate work at both Carleton Univ. and UBC. For her undergraduate honours research project at the University of British Columbia, she specialized in mycology. Besides mycology, she took general entomology courses and economic entomology. For her Masters degree, she specialized in plant anatomy. She worked one and a half years as a microbiologist at B.C. Research Institute and published a paper on, of all things, rotten egg organisms. She worked as a Senior Conservation Scientist in biology at the Canadian Conservation Institute in Ottawa from 1975-1978. In 1978 she went to the Royal British Columbia Museum and worked as Conservation Scientist and retired as Head of Conservation Services in 1991. She presently has a consulting business and does volunteer work for the Museum. In her capacity of Research Associate - Emerita at the Royal British Columbia Museum, she is doing research on fungal stains and writing teaching manuals on organic materials on a Kress Fellowship. She has published articles on many aspects of organic materials in museum objects. She has published several review articles on the biology of conidial fungi and the assessment of fungal monitoring methods used in museum and archival collections recovery. Recently she has published three papers on aspects of the fungal fox spots on archival materials, nomenclature, causes, chemicals present and effects on paper in old books. She has published two books, Heritage Eaters; Insects and Fungi in Heritage Collections and Fungal Facts; Solving Fungal Problems in Heritage Collections. These papers and books are interdisciplinary in their approach and relevant to the specific problems in the museum. She has taught mycology courses for conservators at the Campbell Center, University of Victoria, Northeast Conservation Document Center, and at an international symposium on fungi in Munich. She has received many awards for her contributions in conservation. She has been awarded the 125th Commorative medal from the Governor Generals of Canada for helping to save her community's heritage, besides other professional excellence awards and is a Honorary member of the American Institute of Conservation. She was a member of the Science Council of Canada 1980-1982 and has worked on the curriculum studies for natural history collections conservation and historic object conservation in the NIC projects. The strength of her work is the interdisciplinary approach and selection of relevant information. She has always taken the trouble to publish the reviews and introduce new information in her many workshops, lectures and papers at professional meetings.
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Pam Gaible is the Mount Shop Supervisor at the Field Museum of Natural History in Chicago. She has a Master of Fine Arts degree in Sculpture from the University of Nebraska at Lincoln, and has over 14 years experience designing and fabricating archival mounts at the Field Museum. She has worked closely with conservators, curators, exhibit developers, and designers to make mounts for a large variety of objects including: dinosaur fossils, Egyptian mummies, Pacific Island ceremonial objects, African textiles, Native American clothing, animal skeletons, and meteorites. Major exhibits at the Field Museum which Pam has worked on include "Kremlin Gold: 1000 Years of Russian Gems and Jewels," "Cleopatra of Egypt," "Cartier - 1900 to 1939," "Scrolls from the Dead Sea," "Sue" (the dinosaur), "Inside Ancient Egypt," "Traveling the Pacific," "Africa," "Life Over Time," and "What Is an Animal?"
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Joseph Gallagher Mr. Gallagher was born in Philadelphia but has lived all of his adult life in the west. His undergraduate degree was obtained at Temple University, while his graduate degrees were awarded at Idaho State University and Southern Methodist University. Mr. Gallagher was employed by the USDA-Forest Service until his recent retirement. During that time Mr. Gallagher worked with leading architectural conservationists in the restoration of numerous early 20th century cabins, barns, homes and offices.
Since 1983, Mr. Gallagher has be the principal in Heritage Preservation Resources and has restored, repaired or assessed over 400 log and timber structures, most eligible for the National Register, many listed on the National Register and some listed as National Landmarks. Mr. Gallagher was a member of the National Trust’s Mississippi Valley flood assessment team; a Master Performer for the US Forest Service; an Instructor at Snow College in central Utah, and the recipient of numerous awards related to his conservation work. He has lead numerous field classes in historic building restoration and condition assessment through out the country. He is currently working with building owners in Colorado, New Mexico, Utah and Idaho. He remains a rabid Phillies fan.
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Mary Todd Glaser has been in the conservation field for over 45 years. She graduated from Wellesley College in 1957 and received a master’s degree in art history from Columbia University in 1960. In 1964 she was the first graduate of the New York University graduate program in art conservation. From 1965 to 1979 Ms. Glaser was in private practice in the New York City area, where her clients included the Whitney, Brooklyn, and Newark Museums as well as numerous smaller institutions and private collectors. From 1979 to 2004 Ms. Glaser was the head of paper conservation at the Northeast Document Conservation Center in Andover, Massachusetts. Since her retirement in 2004, Ms. Glaser has done consulting and teaching both in the U.S. and abroad. She is a Fellow both of the American Institute for Conservation (AIC) and the International Institute for Conservation (IIC).
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Garry Harrison began work with the Circulating Collections Conservation Unit at Indiana University in 1998 and has served as unit head since 2001. He created and currently teaches Circulating Collections Conservation, a 1.5 credit workshop, for Indiana University School of Library and Information Science. He has attended several workshops, including some at Campbell Center, among those being Hilary Kaplan and Sharon Bennett's Emergency Preparedness, Response, and Recovery, Mary-Lou Florian's Mycology for Conservators, and Susan Hansen's Book Collections Maintenance & Repair. He attended David Dorning's Chemistry for Conservators at Johns Hopkins University in 2002. He has also attended numerous field-related gatherings such as Bookbinding 2000 at Rochester Institute of Technology in May 2000 and Guild of Bookworkers' Standards of Excellence conferences. Prior to taking his present position, he worked for a number of years in the HVAC and commercial disaster restoration trades. He holds current IICRC Certifications in Water Damage Restoration, Applied Structural Drying, and Microbial Remediation.
http://iub.edu/~libpres/manual/mantoc.html
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Mary Jablonski is an Architectural Conservator and President of the firm of Jablonski Building Conservation, Inc. and has more than 19 years experience in the field. She established the firm in 1995 to provide a full range of conservation services to a varied client base including architects and engineers, governmental agencies, institutions, religious properties, contractors, and homeowners. The type of work her firm performs includes masonry conservation; field testing and laboratory testing; construction supervision, as well as building and probe investigations and analysis.
Some of the varied masonry conservation projects have included, PS1 - The Contemporary Art Center in New York City, a dozen buildings at Yale University, numerous buildings at Columbia University, historic New York City Subway stations, Alster Tower on Heart Island in the St. Lawrence River, Franklin Hall in Philadelphia, as well as train stations, courthouses, and municipal buildings.
Mary is a graduate of the Columbia University Historic Preservation Program with an emphasis in Architectural Conservation and is an Adjunct Professor at Columbia University in the Historic Preservation Program. She is also a Professional Associate of AIC.
www.jbconservation.com
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Jimi Jones is Project Coordinator for the University of Illinois at Urbana-
Champaign Library's Audiovisual Self-Assessment Program. He is a 2007
graduate of the University of Illinois' Graduate School of Library Science. Prior to
his master's work, he worked as an audiovisual archivist at the University of
Utah's J. Willard Marriott Library. He spent two years developing the Marriott
Library's Utah Independent Film Archive, a collection of film and video art made
by Utah artists. In addition to his work on the Utah Independent Film Archive, he
worked for three years with the Marriott Library's Book Arts Program and Red
Butte Press. Jimi has worked professionally as videographer, cinematographer,
and editor and, in 2003, received his bachelor¹s degree in Film Studies at the
University of Utah.
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Hilary A. Kaplan is Senior Conservator, National Archives and Records Administration in Washington, D.C. From 1989 - 2002 she was the Conservator at the Georgia Department of Archives and History. She is a Professional Associate of the American Institute for Conservation, serves as Secretary of the AIC Board, and advises the AIC Archives Project. Hilary holds a B.A. in music from Hunter College, an A.M. in musicology from The University of Chicago. She received her M.S. and Certificate in Library and Archives Conservation from Columbia University School of Library Service Conservation Education Program in 1987. Her interest in archives preservation has resulted in numerous publications, presentations, and assessments. She is Preservation Instructor for the Georgia Archives Institute (since 1988), and for the Archives Institute for Historically Black College and Universities (since 2000). Hilary has conducted workshops sponsored by the Society of American Archivists, the National Center for Preservation Technology and Training, the National Endowment for the Humanities, SOLINET, and AIC. This past October, she co-taught "Safeguarding Our Cultural Heritage in Emergency Response," with Sharon Bennett at Ft. Bragg, NC.
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Dan Keding is an Adjunct Lecturer, University of IL Graduate School of Library and Information Sciences; Author; Master Storyteller
detailed bio to come
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Cynthia Kuniej Berry is a painting conservator in private practice,
Kuniej Berry Associates, Fine Art Conservation and Consulting in Chicago.
Prior to going into private practice full-time, she was Associate Painting Conservator for Special Projects at the Art Institute of Chicago 2003- 2005 and Assistant Painting Conservator from 1998 to 2002 assigned to carry out technical examinations and treatments for the catalogue, 'European and Spanish Paintings Before 1600 in the Art Institute of Chicago.' Previously, she started a conservation studio at the Union League Club of Chicago, where she was their Painting Conservator from 1997 -1998. Cynthia founded a private practice, Fine Art Associates in 1994, which she ran until 1997. She worked as a Special Projects Conservator at the Art Institute on the catalogues, 'French and British Paintings from 1600-1800 in The Art Institute of Chicago' and 'Surrealist Art: the Lindy and Edwin Bergman Collection at the Art Institute of Chicago' from 1993-94. Cynthia was Associate Painting Conservator at the Rocky Mountain Regional Conservation Center in Denver from 1991-93. She held an Andrew Mellon Foundation Fellowship and a Graduate Internship in the Painting Conservation Department at the Art Institute of Chicago from 1987-1991. She did her graduate studies in Cooperstown and received a Master of Arts with a Certificate of Advanced Study in Conservation from the State University of New York, College at Buffalo in 1988. Cynthia has held internships at the National Gallery of Art in Washington, DC, the Shelburne Museum in Vermont, the Indiana University Art Museum in Bloomington, Indiana, and the Indianapolis Museum of Art. She is a Professional Associate in the American Institute for Conservation of Historic and Artistic Works, and also a member of the International Institute for Conservation, the Western Association for Art Conservators, the Midwest Regional Conservation Guild, and the Chicago Area Conservation Group. Cynthia has presented papers at professional conferences nationally and internationally; including The Conservation of Ancient Sites on the Silk Route in Dunhuang, China, sponsored by the Getty Conservation Institute.
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John Lambert is President and CEO of Abstract Masonry Restoration, a 19-year-old historic masonry restoration contracting and consulting company located in both Boston, Massachusetts and Salt Lake City, Utah. He has provided the historic masonry consulting and/or contracting services for several of America's most notable masonry buildings. John is actively involved in providing hands-on training to those interested in learning how to properly care for historic masonry structures. He is the instructor for the 3- to 4-day, hands-on workshops held at both Campbell Center for Historic Preservation Studies in Mt Carroll, Illinois, as well as the Traditional Building Skills Institute at Snow College in Utah. Several of John's students join him each year in traveling to England and Wales to further study historic masonry and work on historic masonry buildings abroad. In addition to serving on many preservation-related boards, his preservation leadership includes serving as the past Chairman of the Board of the Traditional Skills Institute. He has traveled and trained in England, Scotland, Ireland, Wales and France. He also serves on ASTM Subcommittee C12.03.03, the task group charged with developing standards for restoration mortars. John is a passionate collector of rare and historic books, art, and documents written on masonry during the 1700's to early 1900's. As an avid student of these valuable resources, he has gained unique insight into the minds of the architects, engineers, and craftsmen of the time.
www.masonry-restoration.com
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David Layman IDSA, Principal, Layman Designs, Glenview, IL
detailed bio to come
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Dean Langworthy has been a rigging specialist and foreman for Methods andMaterials since it’s beginning in 1990, specializing in the rigging and installation of fine art and artifacts throughout the Midwest and around the
country.
Projects for M&M include: the installation of the Maori House and the signature dinosaur for the Field Museum in Chicago; installation of the Fernando Botero sculpture Exhibit in Grant Park, Chicago (by helicopter!); traveled with and installed the British Museum’s "Eternal Egypt" exhibition throughout the United States; and supervised the installation of 125 individual sculptures in three days-- a world record-- for the 1999 "Pierwalk" exhibition.
His rigging work has taken him California to New York, Florida to Hawaii, Minneapolis to Dallas, working for such venerable institutions as the Knox/Albright, The Fine Arts Museum of San Francisco, the Nelson/Atkins in
Kansas City, and the Field Museum and Oriental Institute of Chicago. He's done work for the National Geographic Channel and taught in-house rigging classes for The Smithsonian Institution with Mr. Machin.
In addition has been a locally and nationally recognized sculptor for more than 20 Years. He has constructed large-scale works for exhibitions at Artpark in New York, at the Houston Festival, and the University of
Wisconsin, Green Bay. Regionally shows include Pierwalk, Sculpture Chicago, and the Chicago Show.
Mr. Langworthy has also worked 18 years as a journeyman finish and renovation carpenter and was trained, certified for, and taught in the public and private school systems in his home state of Arizona and in Chicago.
www.methodsandmaterials.com
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Gary J. Laughlin, PhD is currently Senior Research Microscopist and Instructor at McCrone Research Institute (McRI) in Chicago where, since 1987, he has taught over 250 one-week courses in various kinds of microscopy to over 3500 students. In addition, he is Adjunct Professor at the University of Illinois in the Forensic Science Program and is Visiting Professor at Cornell University where he teaches chemical microscopy for the Departments of Chemistry and Chemical Biology, Human Ecology, Textiles and Apparel, and the Cornell Architectural Conservation Group. He currently serves as President and Executive Director on the Board of McCrone Research Institute, is a Life Member and former President of the State Microscopical Society of Illinois, is a Fellow in the Royal Microscopical Society, and is a Member of the American Chemical Society and the American Institute for Conservation. Dr. Laughlin received degrees in Criminalistics (Forensic Science) and Chemistry from the University of Illinois at Chicago and a Ph.D. in Metallurgical and Materials Engineering from the Illinois Institute of Technology (IIT). His doctoral thesis used microscopy and microanalysis to explore archaeological evidence for Early Bronze Age tin-ore processing in ancient Anatolia.
www.mcri.org
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John Leeke is an historic building specialist who helps owners,tradespeople, contractors and architects understand and maintain historic buildings. He has been restoring historic
buildings for over 40 years and still spends a good part of his time "with hammer in hand." A
well-recognized preservation craftsman, John has emerged in the past quarter-century as a popularizer of building conservation principles writing for national preservation journals and consumer publications and through a series of technical publications of his own. John has gained a substantial reputation as an advocate of conservation planning and maintenance programming consulting on preservation projects nationally. He has lead and taught more than 100 workshops and training sessions demonstrating leadership skills, craft knowledge, and practical management abilities.
John's motto:
by hammer and hand great works do stand
by mind and heart we share the art
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Debbie Linn is a Paper Conservator. Anthropology Dept., The Field Museum, Chicago, IL
detailed bio to come
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Earl Lock is an Exhibit Designer and Fabricator in private practice in Chicago with over 15 years experience designing and fabricating exhibit components for natural history museums, art galleries, and children's museums. He holds a Master of Fine Arts degree from the University of Nebraska at Lincoln. He has worked on major exhibits at the Field Museum of Natural History, The Art Institute of Chicago, The Adler Planetarium, The DuPage Children's Museum, The Lincoln Museum in Fort Wayne, Indiana, and The Speed Art Museum in Louisville, Kentucky. One of his most recently completed projects is the design and fabrication of archival mounts for the reinstallation of the Asian, African, and European collections in the recently renovated Milwaukee Art Museum.
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William Maher is University Archivist and Professor of Library Administration at the University of Illinois at Urbana-Champaign (UIUC). He was Assistant University Archivist at UIUC (1977-85 & 1985-95), and Program Officer at the U.S. National Endowment for the Humanities (1985-86). He was President (1997-88) and Treasurer (1991-94) of the Society of American Archivists; and President (1987-89) and Secretary-Treasurer (1981-85) of the Midwest Archives Conference.
He holds degrees from Case Western Reserve University (1972), Washington University (1975), and UIUC (1991). As the author of one book and over 20 articles, he is a regular speaker on archival administration and copyright law.
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Harold F. Mailand holds a Master's degree in Textile Design and Education from Indiana University. His training in textile conservation includes internships at The Textile Museum, Smithsonian Institution, Museum of Fine Arts in Boston, and The Costume Institute/Metropolitan Museum of Art with grants from National Endowment for the Arts, National Museum Act, and others. Mr. Mailand was Associate Textile Conservator for the Indianapolis Museum of Art, and in 1986, he founded Textile Conservation Services, a textile conservation facility in Indianapolis, Indiana. He is a Fellow in American Institute for Conservation (AIC). His most recent publication is a 1999, co-authored, 92-page text entitled "Preserving Textiles: A Guide for the Nonspecialist."
www.textileconservation.com
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Susan Maltby received a Masters in Art Conservatin from Queen's University. After graduation, she worked in the Ethnology Laboratory at the Canadian Conservation Institute for four years. In 1989, she established her own conservation consulting firm. As a consultant, she provides both private and public sector clients with training seminars; collection surveys; advice on collections care and management; and conservation guidelines for exhibits, museums, and heritage structures. In addition to teaching at the Campbell Center, she teaches a graduate seminar in the Museum Studies Program at the University of Toronto and has taught in the Art Conservation Program at Queen's University. Susan writes a monthly numismatic conservation column - "Preserving Collectibles" - for Coin World, is a regular contributor to Scott's Stamp Monthly, and has written for Old House Journal.
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Margo McFarland is a conservator of works of art on paper and the Principal of Fine Art Conservation and Consulting Services, Chicago, Illinois. She has worked in paper labs at the Saint Louis Art Museum, the Art Institute of Chicago, the Metropolitan Museum of Art, the Smithsonian Institution, the Phillips Collection, and the Los Angeles County Museum of Art. Margo is a grant reviewer for the IMLS, the NEH, and the Fulbright Foundation. She has presented lectures for the American Institute for Conservation, the International Institute for Conservation, the Centro de Formacion, Produccion e Investigacion Grafica, the American Academy of Forensic Science, and the Illinois State Police, Department of Forensic Sciences. Margo’s teaching experience includes a 2001 Fulbright Lecturing Fellowship in Buenos Aires, Argentina.
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Jim Meeks is the Chief Preparator/Photographer, Oklahoma City Museum of Art, Oklahoma City, OK.
detailed bio to come
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Nicolette Meister is the Curator of Collections of the Logan Museum of Anthropology at Beloit College. She also serves as Adjunct Assistant Professor in Beloit College’s Museum Studies Program and has taught Introduction to Collections Management and Introduction to Museum Studies. Prior to her arrival at Beloit in 1999 she worked at the Denver Art Museum and University of Colorado Museum of Natural History while she completed her M.S. in Museum and Field Studies at the University of Colorado at Boulder. Previous museum experience also includes the Milwaukee Public Museum and the Pitt Rivers Museum at Oxford University, Oxford, England. She holds a B.A. in anthropology from the University of Wisconsin-Milwaukee. Nicolette has written and received grants from NEH and IMLS and has served as a grants reviewer for NEH.
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Renate Mesmer is the Assistant Head of Conservation at the Folger Shakespeare Library and the former Director of the Book and Paper Conservation Program at the Centro del bel Libro in Ascona, Switzerland. She has a Masters in bookbinding from the Chamber of Crafts of Palatinate in Germany and gained experience in conservation during ten
years of work as head of the conservation department at the Speyer's State Archives in Germany.
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John Molini, a recognized leader in the field of packing and transport, and a lively teacher and lecturer to boot, has been at the Art Institute since 1984. Originally hired as an art installer, after spending the late Seventies and early Eighties playing and touring in various Rock and R&B outfits, John set up and started the Art Packing Department in 1986 as the Art Institute became more active in lending, borrowing, and mounting exhibitions. Working with Museum Registration, John has been involved with the transport, packing, crating, and in some cases where rigging is a necessity, the installation of exhibitions whether at the "Tute" or on the road. Some of John's proudest accomplishments are: the design and construction of a safe packing system for the transport of pastels; the "hybrid": a design that incorporates corrugated plastic and cardboard with wood, producing a crate that though lighter than the standard all wooden crate, does not sacrifice or compromise protection; his tenure as Program Director and then Chairman of Pacin; the establishment of an Intern Program with the School of the Art Institute; and last, but certainly not least, teaching at the Campbell Center: where the accommodations can't be beat (hello, third floor), the meals are always a treat (thank you, Nancy) and the students, bless them, keep him on his feet.
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Ruth E. Norton, FIIC FAIC earned her MS Art Conservation from the Winterthur Museum/University of Delaware in 1978. For four years she practiced and provided conservation training at the Bishop Museum, Honolulu, and at the National Museum of the Philippines, Manila. From 1982 to 1988 she taught Objects Conservation at the University of Canberra, Australia. Her work with Pacific and Asian material continued under UNESCO and Australian government consultancies and workshops addressing practical approaches to conservation problems in the tropics. Following a year of field conservation in Pella, Jordan, she returned to Sydney, Australia, as Senior Conservator of the Museum of Applied Arts and Sciences (Powerhouse Museum). Between 1997 and 2001, she divided her time between New York State, as Assistant Professor in the Art Conservation Department, State University College at Buffalo and the Netherlands, as Deltaplan Project Manager, National Museum of Ethnology, Leiden. She is now Chief Conservator, The Field Museum, Chicago. She continues teaching as adjunct faculty at Buffalo, and has conducted consultancies in Malaysia and Cambodia. Her published books include: Practical Manual for the Storage and Display of Textiles for Museums in Southeast Asia, Bibliography of Works on the Conservation of Ethnographic Materials (with S. Walston), and The Conservation of Artifacts Made From Plant Materials (with M.L. Florian and D.P. Kronkright).
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Nancy Odegaard is the Conservator at the Arizona State Museum and Associate Research Professor in the Department of Anthropology at the University of Arizona, Tucson. She is a Fellow of the AIC and IIC. She holds a PHD in Applied Science through the Conservation and Cultural Heritage Science Studies Department of the University of Canberra, Australia. She studied conservation and earned a MA degree in Museum Studies/Anthropology at the George Washington University with a Certificate in Ethnographic and Archaeological Conservation from the Smithsonian Institution. Her B.A. degree included major study in Art History, Fine Arts, Biology, and French Language. Her experience in conservation has been shaped by opportunities at the Los Angeles County Museum of Art, the Museo Ixchel-Guatemala, the National Museum of Natural History, Mario's Conservation Services, the Peabody Museum-Harvard University, the Canadian Conservation Institute, and archaeological field work in Cyprus, Italy, Brazil, and Arizona. She was recently awarded a Kress Publication Fellowship to prepare the Materials Characterization directory for publication.
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Susan Phillips is an Exhibit Production Manager at the Field Museum of Natural History in Chicago, where she has worked since 1988. As a Replication Specialist and Shop Supervisor she built diorama elements, including landforms for specimens, and replicas of flora, fauna, and artifacts for exhibits such as "Traveling the Pacific", "Africa", and "Animal Kingdom". She also supervised the preparation and molding of dinosaur fossils, in conjunction with the Geology department, and the construction of a mammoth bone hut made of fiberglass casts for "Life Over Time". As Production Manager since 1998, she participates in exhibit planning with Design and Development teams, creates production schedules and budgets, and manages crews of Preparators in the construction of exhibits. In 2006 she completed the production of "Ancient Americas", featuring over 2000 artifacts, and replications of all sizes and shapes made both in-house and contracted out of house.
Susan received an MFA in Sculpture from the School of the Art Institute of Chicago in 1984, and is the author of "Museums of Chicago: A Guide For Residents and Visitors". She continues to work as a free-lance artist.
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Cheryl Podsiki is an objects conservator in private practice, Rochester, NY
detailed bio to come
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Brent Powell is the Head of Preparation at the Asian Museum of Art in SanFrancisco, CA.
detailed bio to come
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Dave Smith is a Conservation Scientist, Arizona State Museum; Analytical Chemist, University of Arizona, Tucson, AR
detailed bio to come
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Wayne Smith currently works for Brooks Borg Skiles, Architecture Engineering LLP, Des Moines, Iowa, where he currently focuses on Specification Writing and also performs a wide range of architectural functions within in Brooks Borg Skiles. He has over 25 years of experience in architecture firms in Des Moines, Chicago and Mexico City. He has been licensed since 1980 and is currently licensed in Illinois and Iowa.
He is a member the American Institute of Architects and the Construction Specification Institute, where he is a Certified Contract Specialist. He is also a member of the National Council of Architectural Registration Boards.
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Tony Rajer is a professional art conservator and instructor at
University of Wisconsin-Madison and Beloit College. Author of the
book "Public Sculpture in Wisconsin" and former state director of
SOS! Save outdoor Sculpture-Wisconsin.
Rajer was educated at the University of Wisconsin, Harvard University
and ICCROM-Rome.
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Steven Rosengard works as the Museum of Science and Industry’s assistant curator and textile preparator. Steven has been working with mannequins for a number of years, mastering the technique of custom mannequin making. His job includes carving and propping out the museum’s exhibits. Steven has been featured in several fashion news segments and is part of the season four cast of Bravo’s show, Project Runway. Also a successful fashion designer, Steven designs everything from day dresses to wedding gowns for his clients.
www.stevenrosengard.com
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Diane Roberts Rousseau began working professionally with stained glass in 1987, shortly after taking her Bachelor of Arts from Washington University and the University of East Anglia, Norwich, UK. She returned to England to take up a postgraduate course in Stained Glass Studies at the Vauxhall College of Applied Arts. Her training there, under Sally Botha, included seminar trips to the cathedral studios at Canterbury and York. Her decision to combine formal study with a traditional apprenticeship brought her from England to the Botti Studio of Architectural Arts in Chicago. In 1993, she joined Cummings Studios, North Adams, MA, in order to focus on conservation. She is now the senior member of the group. Recent training includes Steven Koob’s course in conservation of three-dimensional glass objects and C.V. Horie’s “Chemistry for Conservators” via International Academic Projects. Her published work can be found in Stained Glass Quarterly and Glass Artist magazine. She has spoken on L.C. Tiffany at the Rensselaer County Historical Society endowed lecture series, as well as other venues. Her current research is concentrated on French medieval glass in the museum environment.
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James Roth is Head of the Archival Processing Unit at the John F. Kennedy Presidential Library and Museum. Part of his duties include overseeing the arrangement and description of collections, including the reduction of the backlog of unprocessed collections; the editing and conversion of oral history transcripts; and managing the scanning and creation of metadata for digital collections. He received a BA in History from Johnson State College in 1995, completed a MA in American History from the University of New Hampshire in 1999, and an MSLS, specializing in Archives, from the University of North Carolina at Chapel Hill in 2000.
He has published articles, given presentations, and taught classes and workshops. He is a past recipient of the Theodore Calvin Pease Award (2001), and has published articles in American Archivist, Prologue, and The Hemingway Review. James has covered the fundamentals of a wide range of archival activities including appraisal, acquisitions, arrangement, description, reference, and access. As an Adjunct Faculty member at Simmons College (2007), he taught LIS 438-Introduction to Archival Methods and Services. He has taught basic archives workshops for New England Archivists (2006) and the New Hampshire Archives Group (2005). James has served SAA in a variety of capacities as member, then chair (2005), of the Colonial Dames of America and Donna Cutts Scholarship Committee (2003-2005); Key Contact for Eastern Massachusetts (2003-2005) and District 1 Representative for the Membership Committee (2005-2007); Vice Chair/Chair of the Membership Committee (2007-2009); Vice Chair/Chair of the Description Section (2007-2008); and has served on the Dues Increase Communications Plan Task Force (2007-2008). He also is involved with the New England Archivists, and is currently a member of the Education Committee (2001-2007).
When he is not singing and dancing on tables to amuse his colleagues and interns at work, James loves spending all his free time with his two daughters and wife, going to the park, singing lullabies, hoping against hope that the kids will go down at a reasonable hour.
John Russick has twenty years of exhibition experience in a variety of museums including the Field Museum of Natural History and the National Museum of American History. Since coming to the Chicago History Museum in 1998, he has led the development of eight major exhibitions. Most recently, he served as the lead curator for Mapping Chicago: The Past and the Possible (2007). He was also lead curator for Sensing Chicago (2006), which received an honorable mention at the 19th Annual Excellence in Exhibition national competition. John has won awards for both his preservation work and his exhibit label writing and he serves on the board of the Curators’ Committee of the American Association of Museums.
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Susan Russick is a conservator in private practice in Chicago. She is a Professional Associate member of the American Institute for Conservation of Historic and Artistic Works and holds a MLIS with a Certificate of Advanced Study in Conservation from the University of Texas at Austin. Her 18 years of conservation experience include positions at the Newberry Library, the Library of Congress, the National Museum of American History, the National Museum of Natural History, and Nishio Conservation
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Ernesto Sanchez is the Head of Exhibitions/Exhibition Designer, Oklahoma City Museum of Art, Oklahoma City, OK.
detailed bio to come
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Lyndsie S. Selwyn Ms. Selwyn graduated in 1985 from the University of California at
San Diego with a PhD in physical chemistry, followed by post-doctoral
research at the National Research Council of Canada in Ottawa. In 1987 she
joined the Canadian Conservation Institute and is presently a senior
conservation scientist. Her research focuses on corrosion and conservation
problems associated with metals.
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Sara Shpargel joined the staff of the National Archives and Records Administration as Senior Photographic Conservator in 2006. From 2003 to 2006 she was a photograph conservator at the Library of Congress. Prior to that, she completed the Advanced Residency Program in photograph conservation as an Andrew W. Mellon Fellow at the George Eastman House International Museum of Photography and Film. Sara received a M.A. and Certificate of Advanced Study in art conservation with specialization in photographic materials and paper from the State University of New York College at Buffalo and a B.A. in art conservation from the University of Delaware. She has presented and published on the topics of environmental management and treatment of photographic buttons, and contributed to the AIC Photographic Materials Group publication, Coatings on Photographs.
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Dr. Sheila Fairbrass Siegler has a first degree in Chemistry and a Ph.D in Chemical Engineering from Imperial College London. She is a Member Royal Society of Chemistry, a Chartered Scientist, a Fellow of the IIC, and a Professional Associate of the AIC. She trained as a paper conservator at Camberwell College, London, graduating in 1972.
Sheila is an Accredited Paper Conservator in Europe. Before moving to America, she worked for 10 years in the conservation department at the Tate Gallery, London and subsequently worked as a free-lance paper conservator for several major museums and government institutions.
She was the Head of Paper Conservation at the Nebraska State Historical Society Gerald R. Ford Conservation Center from 2005-2007 and is now a free-lance conservator, lecturer and writer, living in Omaha Nebraska.
She is summer faculty at the University of Texas at Austin where she teaches Conservation Science to the students on the conservation course at The Kilgarlin Center for Preservation of the Cultural Record.
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Tim Stohl is Owner of Quality Plastering, Colona, IL
detailed bio to come
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Jennifer Hain Teper has served since 2001 as the Conservation Librarian and Head of the Conservation Unit for the University Library at the University of Illinois at Urbana-Champaign, where she oversees general and special collections conservation. A 2000 graduate of the University of Texas at Austin program, she has worked extensively with scrapbook
collections at the University of Illinois, overseeing a conservation need survey of over 500 historic scrapbooks and the treatment or stabilization of 169 of those items. She has written and presented multiple times on scrapbooks and their preservation.
Mary Turner has recently retired from serving as the Director of the Illinois Association of Museums (IAM) and was a staff member of the Illinois Historic Preservation Agency with whom she had been employed by from 1992 to 2007 and headed the Local History Services Office. Mary has 22 years of experience in museum work. She has spent time assisting museums of all disciplines, sizes, and styles of governance from all across the state. The primary audience, however, was local historical societies, historic house museums, and historic sites. Mary has worked with the Illinois General Assembly to write and pass the Museum Disposition of Property Act and has represented Illinois museums on advocacy issues. Prior to working in museums and museum service organizations she was a teacher and librarian.
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Robert Weiglein is an Exhibit Designer at The Field Museum in Chicago, IL
detailed bio to come
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Pamela White Trimpe is Director of the UI Pentacrest Museums: The Natural History Museum and Old Capitol. She is also the Director of the Museum Studies Program at the UI. She teaches “Introduction to Museums” during the fall semester and co-teaches “Art, Law, and Ethics” in the spring. Her Intro course is enlivened by 20 hours of Service Learning, giving students a real-life experience.
She was the guest editor for the May 2006 edition of Collections: A Journal for Museum and Archival Professionals focused on Legal issues and has served as general editor for this publication since fall 2006.
In July 2007, Trimpe was chosen to attend the Getty Museum Leadership Institute comprised of 32 museum leaders from the U.S., Canada and Europe. While there the group spent three weeks studying finance, personnel, and leadership.
Prior to assuming the directorship of the museums, she was curator of Painting and Sculpture at the University of Iowa Museum of Art. Among numerous exhibitions and catalogues, in 1997 she curated "Victorian Fairy Painting," the first international exhibition to review this genre and is the author of an essay on fairy illustration for the accompanying publication. In 2001, her book "George John Pinwell: A Victorian Artist and Illustrator, 1842-1975" was published by Peter Lang Publishing, Inc., New York, as part of their American University Studies series.
She received her J.D. from the University of Missouri at Kansas City and her Ph.D. in art history from the University of Kansas.
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Bob Yapp has dedicated his career to community planning, historic preservation and central city revitalization. He's been involved in the restoration or renovation of over 150 historic properties. In 1996 Bob produced and hosted the national, PBS series, About Your House with Bob Yapp. The 52 show series was co-underwritten by the National Trust for Historic Preservation. He wrote his first book, About Your House in 1997 and is working on his second. Bob was raised in Des Moines, Iowa where he was a furniture maker, old house rehabber, Des Moines Register columnist and syndicated radio talk show host. Today, Bob is President of Preservation Resources, Inc. based in Hannibal, Missouri where he recently founded a new school for teaching hands-on preservation skills called the Belvedere School for Hands-On Preservation.
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