Instructors
| Gary Albright | Photographic Conservator, Private Practice, Honeoye, NY |
| Helen Alten | Objects Conservator, Northern States Conservation Center, St. Paul, MN |
| Jon Appell | Gravestone Conservator, Private Practice, West Hartford, CT |
| Hubert Baija | Senior Conservator, Rijksmuseum Paintings Department, Amsterdam, The Netherlands |
| Barbara Becker | Exhibit Development and Research, Becker Exhibit Planning, Chicago, IL |
| K. Sharon Bennett | Archivist, Charleston Museum, Charleston, SC |
| Jim Bernstein | Painting Conservator, Private Practice, San Francisco, CA |
| Terry Birkett | Collections Manager, Detroit Institute of Arts, Detroit, MI |
| Scott Carrlee | Objects Conservator, Alaska State Museum, Juneau, AK |
| Christine Conniff-O’Shea | Paper Conservation Technician, The Art Institute of Chicago, Chicago, IL |
| Jay Crawford | Photographer, Chicago History Museum, Chicago, IL |
| Craig Deller | Objects & Wooden Artifacts Conservator, Deller Conservation Group, Geneva, IL |
| Betsy Palmer Eldridge | Book Conservator, Toronto, Ontario, Canada |
| Linda Eppich | Archivist/Grant Writer of The Preservation Society of Newport County, Newport, RI |
| Hal Erickson | Biophysical Chemist, University of Texas Center for the Cultural Record, Austin, TX |
| Debra Evans | Book and Paper, Photographic Materials Conservator, San Francisco, CA |
| Julia Fenn | Objects Conservator, Royal Ontario Museum, Toronto, Ontario, Canada |
| David Flaharty | Architectural Conservator, Private Practice, Green Lane, PA |
| Mary-Lou Florian | Consultant, Research Associate-Emerita, Royal British Columbia Museum, Victoria, B. C. Canada |
| Pam Gaible | Mount Shop Supervisor, Field Museum, Chicago, IL |
| Mary Todd Glaser | Book & Paper Conservator, Salem, MA |
| Garry Harrison | Head, Circulating Collections Conservation, E. Lingle Craig Preservation Lab, Indiana Univ., Bloomington, IN |
| Mary Jablonski | Architectural Conservator, Jablonski Conservation, Inc. New York, NY |
| Hilary A. Kaplan | Senior Conservator, National Archives and Records Administration, Washington, D.C. |
| Cynthia Kuniej Berry | Painting Conservator, Private Practice, Chicago, IL |
| Andrew Ladygo | Architectural Conservator, Manchester by the Sea, MA |
| 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 | Principal of Layman Design, Chicago, IL |
| Earl Lock | Exhibits Fabricator/Mountmaker, Chicago, IL |
| Harold Mailand | Textile Conservation Services, Indianapolis, IN |
| Susan Maltby | Objects Conservator, Private Practice, Toronto, Ontario, Canada |
| Roger Machin | Director, Methods and Materials, Chicago, IL |
| Margo McFarland | Book & Paper Conservator, Private Practice, Chicago, IL |
| John Molini | Chief, Packing & Shipping, Art Institute of Chicago, Chicago, IL |
| Dennis Montagna | Director of Monuments Research & Preservation Program, National Park Service, Philadelphia, PA |
| Alfonso Narvaez | Senior Project Manager/Architectural Conservator, John Milner Associates, Inc. Alexandria, VA |
| Nancy Odegaard | Objects Conservator, Arizona State Museum, Tucson, AZ |
| Diane Robert Rousseau | Conservator of Stained and Leaded Glass, Cummings Studios, North Adams, MA |
| Steven Rosengard | Textile Preparator, Assistant Curator, Museum of Science & Industry Chicago; Fashion Designer, Cast member of Project Runway, Season 4 |
| John Russick | Curator, Chicago History Museum, Chicago, IL |
| Susan Russick | Book and Paper Conservator, Private Practice, Chicago, IL |
| 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 |
| Mary Turner | Director, Illinois Association of Museums, Illinois Historic Preservation Agency, Springfield, IL |
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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Helen Alten is the Director of Northern States Conservation Center and its chief Objects Conservator. For over 20 years she has been involved in objects conservation, starting as a pre-program intern at the Oriental Institute and the University Museum of the University of Pennsylvania. She completed a degree in Archaeological Conservation and Materials Science from the Institute of Archaeology at the University of London in England. She has built and run conservation laboratories in Bulgaria, Montana, Greece, Alaska and Minnesota. She has a broad understanding of three-dimensional materials and their deterioration, writes for and edits the quarterly Collections Caretaker, maintains the popular www.collectioncare.org web site, lectures throughout the United States on collection care topics, was instrumental in developing a state-wide protocol for disaster response in small Minnesota museums, has written, received and reviewed grants for NEH and IMLS, worked with local foundations funding one of her pilot programs, and is always in search of the perfect museum mannequin. She has published chapters on conservation and deterioration of archeological glass with the Materials Research Society and the York Archaeological Trust, four chapters on different mannequin construction techniques in Museum Mannequins: A Guide for Creating the Perfect Fit (2002), preservation planning, policies, forms and procedures needed for a small museum in The Minnesota Alliance of Local History Museums' Collection Initiative Manual, and is co-editor of the penultimate book on numbering museum collections (still in process) by the Gilcrease Museum in Oklahoma.
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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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Hubert Baija is the Senior Conservator of Frames at the Rijksmuseum in Amsterdam, The Netherlands. He is responsible for the conservation of a collection of 7000 antique picture frames. After training in chemistry, mineralogy and biology, he studied educational sciences at the University of Amsterdam and completed his MFA at the State Academy of Fine Art in Amsterdam. He fulfilled internships at the Dutch Cultural Institutes in Rome and Florence, Italy, at the National Gallery in London, England, and at the National Museum of Bayern in Munich, Germany. Mr. Baija teaches at the University of Amsterdam, The Netherlands, and at Campbell Center for Historic Preservation Studies, Mount Carroll, IL, USA. He acted as an external examiner for MA and PhD students in conservation at the Academy of Fine Arts in Antwerp, Belgium and at the Royal College of Art, London, England. He gave presentations on picture frames at the Rijksmuseum, New York University, AIC, IIC, ICOM-CC, the Smithsonian Institute, EVTEK University, and the Netherlands Institute for Culture. He published on the reframing of medieval panel paintings, on the use of gloves for handling art collections, on the restoration of frames, and on historic gilding techniques. Mr. Baija participated in the translation into English of Framing in the Golden Age by P. van Thiel and C. de Bruijn Kops. Hubert Baija is a Professional Associate of AIC and acted as co-chair of the Wood, Furniture and Lacquer group of ICOM-CC. During more than three decades of professional dedication to fine art he also illustrated school books in Central America, and taught drawing and painting in Europe and the U.S.
www.rijksmuseum.nl/organisatie/sectorcollecties/hubertbaija?lang=nl
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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 Archivist at The Charleston Museum since 1977 where in addition to her curatorial and preservation duties, she is 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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Scott Carrlee is an Objects Conservator for the Alaska State Museum in Juneau, Alaska. His previous positions in conservation include Objects Conservator at the National Museum of the American Indian in Washington, DC., Senior Field Conservator at the Kaman-Kalehoyuk Excavation in Turkey, and Assistant Conservator at the Carnegie Museum of Natural History in Pittsburgh. He studied conservation at the State University of New York, College at Buffalo where he earned an MA and a Certificate of Advanced Study in Conservation. His experience in conservation is drawn from projects at the Pracher Restoration Studio in Germany, the Cincinnati Art Museum, the Kinsey Institute at Indiana University, the Maine State Museum, the Bishop Museum in Hawaii, the Arizona State Museum, and the Peabody Museum, Harvard University. He has several publications in the field of conservation, most notably co-authoring the laboratory manual, "Material Characterization Tests for Objects of Art and Archaeology," with Nancy Odegaard and Werner Zimmit.
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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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Craig 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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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 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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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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David Flaharty, Sculptor at the Philadelphia based ornamental plastering studio, undertakes architectural conservation and restoration in addition to period design, manufacture and installation for new construction. Trained at Rhode Island School of Design and Cranbrook Academy of Art, Flaharty specializes in Eighteenth through Twentieth Century decorative enrichments and concentrates on ceiling medallions, cornices, and ornamental metals. With 25 years experience in the field, Flaharty conducts illustrated lectures, hands-on demonstrations and consultation services. Together with restorations at historic houses, significant projects include ornamental plasterwork in the American Wing period rooms at the Metropolitan Museum of Art, the Diplomatic Reception Suites at the J.S. Department of State and the White House.
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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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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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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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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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Andrew Ladygo, Architectural Conservation Consultant, began his conservation career in 1970 at the Society for the Preservation of New England Antiquities, one of the oldest and most respected preservation organizations in the United States. In 1971, he established their Building Conservation Workshop to address the large-scale conservation problems facing the SPNEA house museums. Presently Mr. Ladygo is President of Architectural Conservation Services and is a consultant in architectural conservation, specializing in historic plaster, masonry and wooden objects, and decorative finishes thereon.
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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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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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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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Roger Machin came to the U.S. from his native England as a graduate student at the School of the Art Institute of Chicago. As a, 'struggling' young artist he worked as an ironworker. Combining his sculpting and rigging skills, he
co-founded Methods & Materials in 1990.
Installing oversized artwork and artifacts is a natural fit for the company, as they have brought their expertise to museums around the U.S. from their Chicago base. Many of the company’s achievements are highlighted in Mr.
Langworty’s biography. For Mr. Machin the quintessential Methods & Materials project was the complete disassembly of the Albany Roller Mills (antique flour milling machinery) for the Minnesota Historical Society. Supervisingthe repatriation of Tlingit artifacts to Alaska is a close second.
Mr. Machin occasionally teaches sculpture at the School of the Art Institute of Chicago and he and Mr. Langworthy have taught "Don't Sweat the Big Stuff" at the Smithsonian National Museum of Natural History regularly since 1997.
Apart from running Methods & Materials, Mr. Machin is forever building his house much to the chagrin of his lovely but long suffering wife, Carmella.His daughter Doriana thinks he really is, "Bob the Builder." His real goal
in life is to finish restoring any one of the antique Land Rovers started back when he had hair.
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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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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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Dennis Montagna directs the National Park Service's Monument Research & Preservation Program. Based at the Park Service's Philadelphia office, the program provides comprehensive assistance in the interpretation and care of historic cemeteries, outdoor sculpture and monuments to parks and other constituents outside the Service. At Gettysburg National Military Park, he conducted a condition assessment and established a treatment protocol for the park's 400 monuments. He organized on-site training workshops in the care of outdoor bronze for park staff at Gettysburg and George Washington Memorial Parkway. He has assisted parks and historic cemeteries with a wide range of monument conservation projects. Among them are Fort McHenry, Saint Paul's Chapel burial ground in Mount Vernon, New York, and Philadelphia's Laurel Hill Cemetery. He has also designed a new monument for Booker T. Washington's birthplace near Roanoke, Virginia. Ongoing projects include week-long bronze conservation training projects at Gettysburg for Winterthur/University of Deleware objects conservation students. Led by a practicing conservator, students treat bronzes that had been cleaned to bare metal more than 20 years ago and have gone unmaintained since. He is also planning a conference on the documentation and preservation of Caribbean cemeteries and burial sites. Dr. Montagna holds a Master's degree in Art History from the University of Wisconsin and a Ph.D from the University of Delaware (1987). He participated in the 1989 ICCROM Architectural Conservation Course in Rome, Italy, with a grant from the Getty Foundation, and in subsequent years has returned to Rome as a course instructor. Dr. Montagna is former chair of the American Institute for Conservation's Architecture Specialty Group and serves as an advisor to the Save Outdoor Sculpture! Project.
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Alfonso A. Narvaez is an architectural conservator and senior project manager for John Miner Associates. His responsibilities involve survey and analysis of existing building conditions, materials and componants, preparation of construction documents and developement of conservation treatments. He is experienced in project design, developement and execution of all phases of architecural preservation. Mr. Narvaez has seerved a leading role in expanding JMA's capabilities in computer-aided design, graphics, and facilities management as well as having principal responsibility for purchasing and supporting the firm's hardware and software. Prior to this position he served four years as an Historical Architect with the National Park Service's North Atlantic Historic Preservation Center.
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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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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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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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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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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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