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6. Specialty Session [clear filter]
Thursday, May 31

2:00pm MDT

(Electronic Media) Rewind, Pause, Playback: Addressing a Media Conservation Backlog at the Denver Art Museum
While the field of electronic media conservation continues to grow in sophistication, museum acquisitions of electronic media artworks have historically outpaced the development of the field and museum professionals’ understanding of the fragility of analog audiovisual materials, software-based artworks, media installation, and other forms of electronic media art. As awareness of electronic media preservation has spread, a need to address the backlog of works already in museum collections has also come into focus. Over the course of the past seven years, the Denver Art Museum (DAM) has worked to establish institutional practice and policy directed at preserving the electronic media in the museum's collection and to deepen institutional knowledge of the complexities associated with this “new” form. However, the DAM began collecting and exhibiting electronic media artwork far before this institutional priority was in place. While developing museum-wide processes for the exhibition and preservation of new acquisitions, the museum has also taken steps to safeguard the electronic media already in the collection. The effort aimed at addressing the backlog of pressing preservation actions necessary to ensure the sustainability of these electronic media works has resulted in two survey-based projects. In 2015, a pilot project, to survey 70 electronic media objects from the AIGA Design Collection of the AD&G Department, resulted in an initial framework for preserving born-digital content. Building on the success of this survey, a broader electronic media conservation project, funded by the IMLS, began in December of 2016, and will continue through September of 2018. The goals of the DAM’s ongoing grant-funded conservation project affect every media artwork in the collection. Any material from the museum’s collection which had previously been stored on videotapes, optical discs, and external hard drives will be migrated to the museum’s digital repository, and cataloged in the museum's collection management system. In the process of performing these tasks, video playback equipment, digital storage, and physical storage needs for the institution have been assessed and improved. Much of electronic media conservation literature emphasizes the significance of a particular work’s history, promoting an approach of compiling “significant properties” through research, in order to determine the work’s “identity” and basing any treatments on this knowledge. This current project addresses the highest risk factors of the DAM’s backlog of materials in an efficient and timely manner. Therefore, the “survey style” of this project does not include complete scrutiny of each object before taking certain actions. This presentation will examine the benefits of the DAM’s approach, while also acknowledging the constraints of this pragmatic methodology.

avatar for Eddy Colloton

Eddy Colloton

Time-based media conservator, Hirshhorn Museum and Sculpture Garden
Eddy Colloton received his MA degree from the Moving Image Archiving and Preservation program at New York University. Eddy has performed a collection assessment of pioneering video artist Paul Ryan's archive, developed a digital preservation workflow for the conservation department... Read More →
avatar for Kate Moomaw

Kate Moomaw

Conservator, Denver Art Museum
Kate Moomaw trained in objects and modern materials at the Conservation Center of the Institute of Fine Arts at New York University, graduating in 2007. She has completed a graduate internship at the Stedelijk Museum in Amsterdam and postgraduate fellowships at the Tate in London... Read More →

Thursday May 31, 2018 2:00pm - 2:30pm MDT
Briargrove Meeting Room Marriott Marquis Houston

2:30pm MDT

(Electronic Media) Archiving Computer-based Artworks
Art museums throughout the world have been acquiring computer-based artworks with increasing confidence. As artist-created hardware and software enters museum collections, it presents unique challenges for long-term preservation. Conservation staff at these institutions face urgent questions about appropriate materials to collect related to these works and how to define their technical, functional, and conceptual constituents.

The Guggenheim acquired its first computer-based artwork in 1989, Jenny Holzer’s Untitled, a colossal LED sign installed in the museum’s rotunda. Since that time, the collection has expanded to include examples of artist-created websites, custom-made microcontroller units, artist-modified computers, and installations involving video games. As a part of the museum’s initiative to “Conserve Computer-based Art” (CCBA) in its collection, this paper takes a critical look at the physical and digital elements that museums retain or generate in order to archive and preserve their computer-based artworks.

Drawing from the Guggenheim’s own CCBA collection survey and back-up project, which encompasses artworks from a range of ages and employing a variety of technologies, the paper provides an overview of collected digital assets and documentation, investigates crucial archival elements that are missing in hindsight, and proposes elements that museums should consider obtaining or creating now in order to sustain the collection life of their software- and computer-based artworks.

The paper will devote particular attention to: disk imaging of artist-provided computers, web servers, and removable media (such as floppy disks and CDs); measures that can be taken to enable future access to these disk images; capturing metadata about the hardware and software that an artwork depends upon to function; exploring instances where obtaining source code alone proves insufficient to sustain the life of an artwork; and the importance of technical and descriptive metadata for future migration or emulation of a work. Where relevant, the research draws from the knowledge and experience of the allied fields of computer science, library science, archival studies, and digital preservation. The paper highlights how understanding the practices of these fields as well as engaging in interdisciplinary collaboration becomes essential for conservators to fulfill their mandate as stewards of computer-based art.

avatar for Jonathan Farbowitz

Jonathan Farbowitz

Fellow in the Conservation of Computer-based Art, Solomon R. Guggenheim Museum
Jonathan Farbowitz, Fellow in the Conservation of Computer-based Art, assists the Guggenheim’s Conservation department in addressing the preservation needs of computer-based works in the Guggenheim’s collection. He also supports the development of best practices for collecting... Read More →

Thursday May 31, 2018 2:30pm - 3:00pm MDT
Briargrove Meeting Room Marriott Marquis Houston

3:00pm MDT

(Electronic Media) Conservation Surveys for Time-based Media Art Collections
Collection surveys provide data to enable conservators to mitigate risks to art collections and to set priorities for item-level conservation going forward. Collection surveys are an essential tool to identify works with urgent needs, but assessing an entire collection of time-based media artworks can be daunting. These collections can exhibit great variations: obsolescent analog and digital videos; a multiplicity of film types, file-based works on optical media or hard drives; multi-channel projections/installations; software-based works; and works relying upon networks or databases, to name a few. Collection surveys typically focus primarily on environmental factors and item condition. However, with time-based media an depth-in examination of each individual artwork may not be feasible within the parameters of a survey. Common risks to time-based media art are material characteristics (such as inherent tape deterioration or the fragility of emulsion or substrates), and internal/external dependencies (such as obsolescence of critical equipment, software or communication protocols). While works in a collection may seem very disparate, a majority of works will fall into general categories that share at least some of the same risks. For example, multi-channel video works of a certain era likely use the same synchronizing devices. This session will propose categories that support the identification of works with shared risks and needs, drawing on an understanding of material characteristics, processes within a work, and artists’ working methods. Also, another historical emphasis of surveys – on environmental conditions and traditional storage practices – is not sufficient to identify risks. Time-based media artworks are increasingly created digitally, and digital holdings grow as older analog media are migrated to files for preservation. These artworks have not meshed easily with collection management and art handling practices, and in many cases are not given the same care as other art objects. New and reshaped museum systems are needed, and an examination of existing systems can be equally as important as the examination of the artworks themselves. Thus a survey should include information-gathering in areas such as descriptive systems and metadata management, the management of hardware and software, and the adequacy of digital storage systems. Taken together, the individual and systemic risks can then be weighed to develop a plan of action for the collection as a whole.

avatar for Mona Jimenez

Mona Jimenez

Conservator, Materia Media
Mona Jimenez is the principal at Materia Media She previously was a co-Associate Director and Associate Arts Professor at NYU's Moving Image Archiving and Preservation program (MIAP), serving as an expert on the preservation of video, digital media and multimedia. She has worked extensively... Read More →

Thursday May 31, 2018 3:00pm - 3:30pm MDT
Briargrove Meeting Room Marriott Marquis Houston

4:00pm MDT

(Electronic Media) Sounds Challenging: Documenting the Identity and Iterations of Ragnar Kjartansson's "The Visitors"
This talk demonstrates the application of a documentation framework for the aural elements in media installation art that the speaker presented at the 2017 Annual Meeting. The focus of this case study is "The Visitors" by Ragnar Kjartansson, a work jointly owned by the San Francisco Museum of Modern Art (SFMOMA) and the Museum of Modern Art (MoMA) in New York. It was recently installed for the "Soundtracks" exhibition at SFMOMA. This large-scale, nine-channel video performance piece has been exhibited worldwide to great acclaim. The setting of the work is a stately, aged mansion in rural upstate New York. The artist gathered fellow musicians there in 2012 to perform an original composition with lyrics inspired by the writings of the poet and performance artist Ásdís Sif Gunnarsdóttir, his ex-wife. One of the themes in the work is the break-up of their marriage, giving the piece tremendous emotional range which has a corresponding broad dynamic range in terms of sound. The piece involves vocals and numerous musical instruments including two pianos, drums, electric and acoustic guitars, bass, banjo, accordion, and cello, as well as the sounds of the natural landscape, punctuated by two cannon blasts. Life-sized video projections of the individual musicians encircle the audience, whose experience ranges from contemplation of the solo performers to immersion in the music of the entire ensemble. This case study highlights the importance of collaboration between conservators and sound engineers, both within the institution and, where applicable, in the artist's studio. Central to the conservation documentation of the aural aspects of "The Visitors" was an in-depth interview with the artist's director of sound, Christopher W. McDonald. This talk will cover the identity of the work, including both its aural and visual aspects, characterization and assessment of the digital files, significant properties of audiovisual equipment and the acoustic environment, and documentation of the iteration at SFMOMA. Various methods, challenges, and limitations of documenting sound will be discussed, along with future directions for this research, including the further development of the framework and terminology for sound art documentation.

avatar for Amy Brost

Amy Brost

Assistant Media Conservator, The Museum of Modern Art
Amy Brost is an art conservator living in Brooklyn. She is currently Assistant Media Conservator at the Museum of Modern Art (MoMA), New York. She was Andrew W. Mellon Fellow in Media Conservation at MoMA from 2016-2017. In 2016, she earned an M.A. in the History of Art and Archaeology... Read More →

Thursday May 31, 2018 4:00pm - 4:30pm MDT
Briargrove Meeting Room Marriott Marquis Houston

4:30pm MDT

(Electronic Media) VR tools as spatial documentation
As a Time-based media conservator at Tate, recent experience installing complex multi-channel sound pieces led me to think more deeply about how we install and document these types of artworks.

Our aim as conservators is to understand the display parameters of a work, defining whether visual and technical properties of equipment or space are conceptual or incidental. This influences our options for the preservation of an artwork. Acoustic aspects of a work have mostly related to specific equipment, or appropriate spaces for installation, but we do not currently capture information regarding the acoustic properties of a space, leading us to consider the questions we want to ask regarding the environment in which an artwork is installed.

In looking at the relationship between the aesthetics and the acoustics of space holistically, we can easily see how the design of a space becomes an intervention into a work: lessening the acoustic reflection of a space becomes a treatment. In comparison to video and visual works, where, as a community we have a rich and nuanced vocabulary to describe the work within a space and the treatments we might apply, the corresponding vocabulary and shared understanding of audio treatment feels frozen in a more primitive state. This is reflected by our documentation, which historically has been limited to text and pictorial representation. What if our documentation closer resembled the artwork medium?

In this presentation I would like to share our experimentation in practically applying current recording technologies to documentation, our exploration of it’s uses, limitations and dissemination. Starting with the technique of binaural recording, we are able to accurately capture the spatiality of sound within a space, and provide greater context by a point of view video recording, for viewing on a monitor or a VR headset for a more immersive experience. This can expand into spherical photos and videos, in which the wearer of a headset is able to freely look around a space.

Once virtual reality is introduced as a tool, it raises many questions about where accurate documentation ends and synthetic reconstruction begins, and for what purposes should the resulting documentation be used for? Given how easy it is to embed 360 files in a web browser to be viewed on a phone, should we be rethinking the idea of the viewing copy, or the thumbnail image?

In sharing this, I hope to raise questions around a potential new documentation framework, and also highlight a new and exciting area of ethics.

avatar for Jack McConchie

Jack McConchie

Time-based media Conservator, Tate
Jack McConchie is a Time-based media conservator at Tate, responsible for installing works across all four Tate sites, as well as developing collection care and acquisition strategies. He graduated from the University of Glasgow in 2004 with a degree in Electronics and Music, before... Read More →

Thursday May 31, 2018 4:30pm - 5:00pm MDT
Briargrove Meeting Room Marriott Marquis Houston

5:00pm MDT

(Electronic Media) Time-based Media Art Conservation Education Program at NYU: Concept and Perspectives
In recognition of the emerging field of contemporary art, New York University’s Institute of Fine Arts Conservation Center will expand its course offerings by establishing a specialization explicitly for the conservation of TBM artworks—the first of its kind in this country. This innovative course of studies will require students to cross the disciplinary boundaries of computer science, material science, media technology, engineering, art history, and conservation. The Conservation Center prepares students for careers in technical study and conservation through a four-year graduate program leading to a dual degree – an MA in the History of Art and Archaeology and an MS in the Conservation of Historic and Artistic Works. The program is committed to maintaining its traditional strengths in paper, books, paintings, and objects conservation, while adding TBM as a new specialization. During the curriculum planning phase from 2016-2017, the core competencies and skill sets for future TBM conservators were identified based on meetings with experts from European programs and potential employers and practitioners in the U.S. The learning objectives have been organized to fit into the most suitable teaching formats and built around the best possible time line for acquiring specific skills. As with other specialties within conservation, the core competencies of future TBM conservators are grounded in conservation ethics, conservation methodologies, and conservation science. The conceptual framework of modern and contemporary art conservation alongside modern and contemporary art history and media theory will provide the basis early in the student’s education. Building on that foundation, specifically designed courses will cover topics such as electrics / electronics, computer science / programming, audio / video technology, digital preservation, and photo-chemical processes to develop a solid knowledge of each TBM media category, such as film, slide, video, audio, software, performance, light, kinetic, or internet art. Furthermore, the equipment associated with each media, the signal processing and characteristics of different display and playback devices, needs to be understood in context to assess the visual and aural integrity of a TBM artwork. In addition to the technical competencies, communication skills and the ability to create a network of experts are equally important. To gain physical and intellectual ownership of an artwork, future TBM conservation students will learn and practice how to identify the work-defining properties of an artwork and to understand and document all components in context, which requires close communication with all stakeholders involved. Students will learn how to draw a preservation plan for a TBM collection, which will translate into the general skills needed to promote advocacy for TBM works in an institution, to build and grow a lab, and to establish workflows. This presentation will outline the major steps planned for the education of future TBM art conservators and how this program will augment the body of knowledge in response to the needs of a rapidly growing art conservation discipline. The inaugural class will be launched in the fall of 2018. The development of the TBM art conservation curriculum has been generously supported by the Andrew W. Mellon Foundation.

avatar for Christine Frohnert

Christine Frohnert

Conservator, Bek & Frohnert LLC
Christine Frohnert completed her training as painting and sculpture conservator in 1993, joined the Museum Ludwig, Cologne, Germany, and held the position of Chief Conservator from 2000 – 2005. She holds a graduate degree in the Conservation of Modern Materials and Media from the... Read More →
avatar for Hannelore Roemich

Hannelore Roemich

Scientist/Researcher, NYU Institute of Fine Arts, Conservation Center
Dr. Hannelore Roemich (PhD in Chemistry 1987, University in Heidelberg, Germany; Diploma in Chemistry 1984, University Dortmund, Germany) is Professor of Conservation Science to the Institute of Fine Arts, New York University (NYU) since January 2007. Dr. Roemich offers instruction... Read More →

Thursday May 31, 2018 5:00pm - 5:30pm MDT
Briargrove Meeting Room Marriott Marquis Houston
Friday, June 1

9:00am MDT

(Electronic Media) Collaboration in the Aesthetic Zone: Trisha Brown and Robert Rauschenberg
Set and Reset is a masterpiece of American postmodern dance, establishing Trisha Brown's role as a seminal choreographer working within abstraction. The performance, a collaborative project between Trisha Brown (choreography), Laurie Anderson (music), and Robert Rauschenberg (set and costumes), made its U.S. debut in 1983 at the Brooklyn Academy of Music, New York. To assure the longevity of Set and Reset, preserving the set’s film elements has become a collaborative effort between two of the artists’ estates, demonstrating a new preservation strategy for the exchange of information, histories, funding, storage, and clarification of rights. Since it's inception, the Trisha Brown Dance Company has frequently toured Set and Reset domestically and internationally, including a major performance this past spring 2017 as part of the Rauschenberg’s exhibition at Tate Modern, London. Prior to London, the performance continually used Rauschenberg’s original set, which Rauschenberg entitled Elastic Carrier (Shiner) despite the entire performance being named Set and Reset. The set consisted of a freestanding multi-pyramid structure on which montaged archival footage from 6 reels of films is projected, and the film elements were deteriorating from years of continued use. Recognizing this, TBDC applied without success for several grants to preserve the films. The project was "set and reset" a few times until fall 2016 when TBDC joined with the Rauschenberg Foundation and work proceeded with BB Optics and independent media conservator, Shu-Wen Lin. The result of this project debuted at the performance in London. Throughout the preservation project, we endeavored to track and document the reasoning behind the unavoidable changes between the 1983 and 2017 presentations. Given the collaborative nature, we carefully address the following issues - who is responsible to preserve a moving image work that is part of a performance? Is Elastic Carrier (Shiner) an independent work, or may it only exist as an element of the dance? What is the implications of migrating a moving image work in performance from film to digital projection? This panel aims to share the continuing conversation among estates and foundations, and to shed light on issues and principles surrounding the preservation of moving images in performative artworks.

avatar for Shu-Wen Lin

Shu-Wen Lin

Lunder Conservation Fellow in Time-based Media, Smithsonian American Art Museum
Shu-Wen Lin received her MA from the Moving Image Archiving and Preservation program at New York University in 2016. For the past five years, she has been working with physical and digital collections to cultivate her interests and passion for preserving the landscape of twentieth... Read More →
avatar for Cori Olinghouse

Cori Olinghouse

Archive Director, Trisha Brown Dance Company
Cori Olinghouse is an interdisciplinary artist, archivist, and curator. Since 2009, she has served as Archive Director for the Trisha Brown Dance Company, a company she danced for from 2002-2006. Olinghouse is currently developing a series of artist archivist projects that explore... Read More →
avatar for Francine Snyder

Francine Snyder

Director of Archives and Scholarship, Robert Rauschenberg Foundation
Francine Snyder is the Director of Archives and Scholarship at the Robert Rauschenberg Foundation. Prior to the Rauschenberg Foundation, Ms. Snyder spent nearly a decade as Director of the Library and Archives at the Solomon R. Guggenheim Museum and, before that, she was a Project... Read More →

Friday June 1, 2018 9:00am - 9:30am MDT
Briargrove Meeting Room Marriott Marquis Houston

9:30am MDT

(Electronic Media) Lighting Round - Emulating Horizons (2008) by Geert Mul: the challenges of intensive graphics rendering
Similar to a conservator going into the details of a certain paint or plastic used in an artwork, I will concentrate on the graphics pipeline of Horizons (2008), a software-based artwork by Dutch media artist Geert Mul. The graphics pipeline is a chain of software and hardware tools a computer needs to render graphics. It can be very specific for video games or software-based artworks that make use of intensive, real-time graphics rendering and it has an impact on the preservation strategy. This research is based on the publications (Falcao et al. 2014)1 and (Rechert et al. 2016)2. Computer rendered graphics are quite common in software-based art. Artists may use video game software to produce video games for their simulations or interactive animations as for instance for Sow Farm (2009) by John Gerrard or Olympia (2016) by David Claerbout. Other artists and their collaborators produce the software themselves as for instance Geert Mul and his programmer Carlo Prelz did for Horizons (2008). Horizons (2008) has a classical setup for a computer-based artwork: it receives user input from a sensor, the computer generates a video by combining image sources and the sensor input and outputs the video on video projectors. Thus, it should be possible to generalize the findings of this research for artworks with a corresponding setup. While preparing for his retrospective, Geert Mul realised, that many of his artworks did not function anymore and needed updating or transfer to newer hardware. Consequently, he initiated a project with LIMA, a platform for research and archiving of media artworks in Amsterdam, in order to make his artworks “future proof” 3. Horizons (2008) did not have an immediate problem. However, when evaluating its long-term preservation options, it turned out that its graphics rendering was video card dependent. The model of the video card was hard-coded into the software, which means that changing the video card makes the work dysfunctional. As emulators of personal computers usually do not emulate specific video cards, I also feared, that Horizons could not be emulated. The hard-coding of the video card could be remedied by adapting the reference from the old to the new video card. However, it would still not make the work suitable for emulation. Furthermore, it appeared that certain intermediary software libraries are necessary in order to make the work independent from the hardware and therefore enable software rendering or virtualization. By analysing the graphics pipeline, it is thus possible to assess with a high probability whether the work can be emulated or virtualized. Other factors that might impede an emulation such as peripheral equipment are not discussed here. Yet, I will show, what has to be considered when “building” such an emulation or virtualization for graphics intensive artworks. 1 Falcao, Patricia; Ashe, Alistair; Jones, Brian (2014): Virtualisation as a Tool for the Conservation of Software-Based Artworks. Tate. London. 2 Rechert, Klaus; Ensom, Tom; Falcao, Patricia (2016): Introduction to an emulation-based preservation strategy for software-based artworks. Pericles / Tate. 3 http://www.li-ma.nl/site/news/future-proof-transformation-digital-art-2017

avatar for Claudia Roeck

Claudia Roeck

PhD candidate, University of Amsterdam
Claudia started her professional career as an environmental engineer. Inspired by art, she later added studies in conservation of contemporary art in Berne, Switzerland with focus on media art, that she completed in 2016. From 2013 to 2016, she worked on the acquisition of video... Read More →

Friday June 1, 2018 9:30am - 9:45am MDT
Briargrove Meeting Room Marriott Marquis Houston

9:45am MDT

(Electronic Media) Lighting Round - Preserving Stephan von Huene’s electronic artworks by means of bit-stream documentation
The ZKM | Center for Art and Media Karlsruhe, Germany is well-known for its media art collection. Recently the ZKM inherited two artworks by German-Californian artist Stephan von Huene, which have been undergoing a comprehensive acquisition process by means of audio, video and bit-stream documentation during a one and a half year fellowship. Von Huene’s computer-based sound installation "What’s wrong with Art?" (1997) shall be core theme and case study of the given talk. Stephan von Huene is a particular case, when it comes to systematic documentation of his electronic artworks by the artist himself. The artists estate, a meticulous archive of photographic and technical documents, is demonstrating this systematic way of working, and thus is a outstanding source for researchers. "What’s wrong with Art?" (1997) consists of three computer controlled organ towers in the colors red, yellow and blue, a complex electronic circuit, custom-made computer hardware as well as executable and compiled files written by the artist. Assessing the risks, future access and preservation it became apparent that the computer, with its individual plug-in cards and compiled code once failing could not be reactivated, reproduced or emulated and would therefore be lost. To cope with this issue, the electronics technicians, information scientists and conservators of ZKM worked closely together to tackle the risk of loss by designing an individual “Logic Analyzer”, recording and documenting the output and bit-stream of the computer and conducting comprehensive documentation of the logic system.

avatar for Sophie Magdalena Bunz

Sophie Magdalena Bunz

Conservator, Studio for Video Conservation Bern
Sophie Bunz completed a Masters program in Conservation-Restoration of Modern Materials and Media at the University of Arts Bern, Switzerland. After her studies she held an fellowship at the ZKM | Center for Art and Media Karlsruhe. Subsequently working as an assistant for her home... Read More →

Friday June 1, 2018 9:45am - 10:00am MDT
Briargrove Meeting Room Marriott Marquis Houston

10:30am MDT

(Electronic Media) Introducing ‘Code Resituation’: Applying the Concept of Minimal Intervention to the Conservation Treatment of Software-based Art
This joint paper proposes a new treatment method for the conservation of software-based art that was developed as part of the ongoing research collaboration between the Guggenheim Conservation Department and the Department of Computer Science at New York University. The new treatment technique, termed “code resituation” by the authors, is tailored to serve artworks where code intervention is necessary to restore the artwork’s functionality. Traditional code migration, as practiced by computer programmers, includes the deletion and replacement of non-functional, original code. Intended behaviors and discernable output of an artwork would be recreated by means of contemporary programming languages, aiming for the most elegant and efficient programming solutions currently available. This traditional migration approach, the authors argue, has the potential to strip an artwork of some or all traces of the artist’s hand. His or her choice of programming language, artistic expression as seen through nuances in the source code and algorithmic detail, code annotations and unrealized drafts can all be lost in code migration. Code resituation, instead, aims to preserve the original artist’s code while adding conservation code to reanimate the original to full functionality. With the development of this new treatment approach, the authors apply the conservation principle of minimal intervention to the conservation of software-based art. The new method of code resituation was successfully tested on three artworks from the Guggenheim collection, which were treated in the course of the Guggenheim’s initiative “Conserving Computer-based Art”.

avatar for Deena Engel

Deena Engel

Clinical Professor and Director, Program in Digital Humanities and Social Science, Department of Computer Science, New York University, Courant Institute of Mathematical Sciences
Deena Engel is a Clinical Professor in the Department of Computer Science at the Courant Institute of Mathematical Sciences of New York University as well as the Director of the Program in Digital Humanities and Social Science. She teaches undergraduate computer science courses on... Read More →
avatar for Joanna Phillips

Joanna Phillips

Senior Conservator of Time-based Media, Solomon R. Guggenheim Museum
Joanna Phillips is the Senior Conservator of Time-based Media at the Solomon R. Guggenheim Museum in New York, where she founded the media art conservation lab in 2008. At the Guggenheim, Phillips has developed and implemented new strategies for the preservation, reinstallation, and... Read More →

Friday June 1, 2018 10:30am - 11:00am MDT
Briargrove Meeting Room Marriott Marquis Houston

11:00am MDT

(Electronic Media) Revealing Hidden Processes: Instrumentation and Reverse Engineering in the Conservation of Software-based Art
Software-based artworks possess a curious material status. While rooted in bits stored on a physical medium, they can also be considered performative and ephemeral in that the tangible elements of such works are created on-the-fly when the software is executed. When realised, the artwork is experienced primarily in relation to the experiential elements of the performance (i.e. its inputs and outputs). However, the conservator must also understand the underlying mechanism of code being processed in a technical environment: a challenge which has required the development of new analytical approaches. Source code analysis provides one means of addressing this layer, and has been demonstrated to be a powerful approach to understanding software programs through the close study of the code they were written in. However, this approach might not be suitable in all scenarios. While source code relates closely to the compiled software, the process of transformation involved means that equivalence between the two is not always direct or clear. Where source code presents high levels of complexity, it may not be possible (or even necessary) to find the resources to carry out in-depth source code analysis. In a worst case scenario, source code is simply missing or inaccessible. Furthermore, elements of performance linked to the software's interaction with its technical environment can often not be completely understood or measured through source code alone. In this paper, I explore methods that intercept the software performance and directly address the compiled software in order to derive useful conservation information. In these cases analytical and interrogative approaches from software engineering may be repurposed to reveal hidden computational processes, profile performance, log events and decompile code. Careful analysis of information gathered can yield important insights for conservation, including elucidating complex dependencies, revealing unclear program behaviours and ensuring that significant characteristics of the software performance can be maintained. This paper will report on the application of these approaches to software-based artworks from the Tate collection. In doing so I reach some overarching conclusions regarding the potential and limitations of these novel methods in relation to existing approaches, and argue for their place in the toolbox of the time-based media conservator.

avatar for Tom Ensom

Tom Ensom

Digital Conservator, Tate / King's College London
Tom Ensom is a London-based digital conservator, and is currently in the final stages of his PhD at King's College London, which has been undertaken in collaboration with Tate. His PhD research has developed approaches to the analysis, description and representation of software-based... Read More →

Friday June 1, 2018 11:00am - 11:30am MDT
Briargrove Meeting Room Marriott Marquis Houston

11:30am MDT

(Electronic Media) Establishing Preservation Practices for Net Art and App-Based Works
Over the years, efforts by libraries, archives, and museums to incorporate digital media artworks into their collections has grown increasingly complex. The vast amount of born-digital art output is changing traditional approaches to archiving, collection building, and preservation. The National Digital Stewardship Residency for Art Information (NDSR Art) is an IMLS-funded initiative created to address the challenges of digital preservation while fostering career development for new professionals. Coral Salomón is the NDSR Art resident at the University of Pennsylvania’s Fisher Fine Arts Library where she is focusing on the preservation of arts-related apps and websites, as well as providing repository recommendations for born-digital artworks. During this presentation, Coral will highlight some of the outcomes of her residency, focusing specifically on app and website preservation. She will discuss tools, strategies, and resources needed to capture web- and app- based art. The presentation will include challenges encountered, lessons learned, and “real world” applications of the recommended processes. It will also cover strategies for communicating the importance of preserving and providing access to this content to potential collaborators such as curators, gallery owners, and artists. This session is intended for individuals beginning to establish a web archiving program at their institutions, who are currently preserving this type of dynamic and ephemeral content, or that are interested in a walk-through to this subject matter.

avatar for Coral Salomón

Coral Salomón

National Digital Stewardship Resident in Art Information, University of Pennsylvania
Coral is the NDSR Art Resident at the University of Pennsylvania. She is exploring preservation issues surrounding born-digital art and art resources. Coral is a MLIS grad from Mayagüez, PR. Previously, she worked at the Frick Art Reference Library and at the Center for Puerto Rican... Read More →

Friday June 1, 2018 11:30am - 12:00pm MDT
Briargrove Meeting Room Marriott Marquis Houston
Saturday, June 2

10:00am MDT

10:00am MDT

(Electronic Media) Looking Forwards and Backwards: Practical Approaches to the Stewardship of Time-Based Media Art
While time-based media art (TBMA) is defined by how it unfolds to the viewer over time, this increasingly popular artistic medium is uniquely complex in its physical, technical, and conceptual structures. In many cases, artists are explicit about the media they choose, the way in which their work is installed, and the technology used to display it. Museums need to adapt their installation and preservation practices in equally complex ways as a result, pushing the boundaries of traditional museum practice. Nevertheless, many institutions have been acquiring ever-increasing numbers of TBMA without proper documentation or systems in place to ensure that the integrity of these works is preserved over time. Leaders in the field have laid much of the groundwork for the stewardship of TBMA. However, these large institutions number their collections of TBMA in the hundreds to thousands, and what might be a good solution for them might not be appropriate for museums with more modest collections and resources.

This  presentation introduces two projects currently underway from the National Digital Stewardship Residency for Art Information (NDSR Art) at the Philadelphia Museum of Art and the Minneapolis Institute of Art which are building on the existing work related to the care and preservation of TBMA The NDSR Art residents at these institutions will detail their efforts towards creating frameworks for the acquisition, documentation, installation, display, and preservation of TBMA. They will highlight how they are tackling the challenge of simultaneously developing best practices for future loans and acquisitions while retroactively applying these standards to their existing TBMA collections. By juxtaposing these two projects and opening the conversation in a panel discussion, the residents aim for these cases to serve as a practical model for art institutions of varying sizes, backgrounds, and needs on how to begin taking steps to ensure the viability of these complex media artworks now and into the future.

avatar for Erin Barsan

Erin Barsan

NDSR Art Resident, Minneapolis Institute of Art
Erin is part of the inaugural cohort of the National Digital Stewardship Residency for Art Information (NDSR Art) at the Minneapolis Institute of Art (Mia), where she is taking a lead role in developing a framework for the stewardship of the museum’s rapidly-growing time-based media... Read More →
avatar for Elise Tanner

Elise Tanner

NDSR Art Resident, Philadelphia Museum of Art
Elise Tanner is part of the inaugural 2017-2018 cohort of the National Digital Stewardship Residency for Art Information (NDSR Art) at the Philadelphia Museum of Art (PMA). In collaboration with various stakeholders across the Museum, Elise is building the foundation for the preservation... Read More →

Saturday June 2, 2018 10:00am - 10:30am MDT
Briargrove Meeting Room Marriott Marquis Houston

10:30am MDT

(Electronic Media) A steep learning curve: developments in the field of time-based art conservation in Australia
In recognition of the significant historical, cultural and financial value of Australian time-based art collections, conservation, registration and curatorial departments have been working independently to develop policies, procedures and programs for time-based art. These efforts are not moving quickly enough, however, to meaningfully reduce the risk of losing important twentieth and twenty-first century time-based artworks. The past efforts of individuals working in an ad-hoc fashion, while adequate to resolve minor issues at hand, does not adequately address the ongoing challenges of time-based art conservation as a discipline. Consequently, many Australian institutions have fallen behind in the development and specialisation of time-based art conservation; this lack of participation can be attributed to geographical isolation, a lack of financial investment and resourcing within Australian institutions, very little expertise, a lack of training programs for specialists in the field, and an absence of upper level advocacy within the sector.
Australian institutions are approaching the precipice of a breakthrough regarding the way we embrace and manage our time-based art collections. To achieve a broader vision for the future of Australian time-based art collections, national institutions need to focus on the following goals:
·       The implementation of comprehensive new policies and procedures for time-based collections in Australian institutions
·       Education and advocacy for the management of time-based art collections in Australia
·       A shift in institutional culture and the traditional demarcation of roles when seizing opportunities to create new streams of museum practice   
and collaboration
·       Contribution to the greater dialogue surrounding the end of life strategies applied to time-based artworks
·       The development of training programs in the field of time-based art conservation
While the efforts of institutions such as The Art Gallery of NSW (AGNSW) have begun to facilitate a shift in thinking, combined with tangible momentum from conservation professionals working towards addressing the needs of Australian time-based art collections, much remains to be done to ensure this progress can be both consolidated and built upon to bring about lasting, comprehensive change at a national level.

avatar for Asti Sherring

Asti Sherring

Time-based art conservator/ PhD canidate, Art Gallery of New South Wales/ University of Canberra
Asti Sherring is currently employed as the first time-based art conservator at The Art Gallery of New South Wales, a position which began in 2015. Asti completed a Bachelor of Media Arts with honours from Sydney University in 2005. She completed a Post-Graduate Certificate in photographs... Read More →

Saturday June 2, 2018 10:30am - 10:45am MDT
Briargrove Meeting Room Marriott Marquis Houston

11:00am MDT

(Electronic Media) The preservation and conservation of digital technology heritage - A case study of new media art collection of National Taiwan Museum of Fine Arts
The rapid evolution of modern digital technologies has made tremendous impact on human culture, and has fundamentally changed our ways of life and perceiving the world. Advanced sciences and technologies have been more than ever innovated so that preserving the cultural heritage of digital technology has become a trend for museums worldwide. In Taiwan, new media art works starting to gain population from 2006. Up to now, all domestic representative museums do preserve new media art works. Among them, the National Taiwan Museum of Fine Art (NTMoFA) collects the largest amount of collections. The work regarding acquiring, cataloging, preserving, conserving and restoring of the collections is the key function that a museum maintains the originality and authenticity of its collections. However, new media art works constantly challenge the past concept of minimal intervention when maintaining and restoring art works to their original forms which more emphasizes on the physical maintenance and restoration. The challenge is due to re-producibility property, form of multiple presentations, cooperative exchange, and fast technology evolving form of modern society, as a result of numerical representation of new media arts. This research’s main objective is to understand the actual impact made and its associated reasons when Taiwan public art museums are executing the affair of preserving, conserving and restoring the new media art works. By reviewing the related literature, we first investigate the characteristics of new media art, how it has been developed in our country, principles of preserving and restoring the art collections, and its necessary professional museum expertise and ethnics. Next, we will further study the discussion in the related domestic literature on the subjects of new media art works’ preservation and re-exhibition. Furthermore, we summarize the obtained experience from both inside and outside our country, and the associated challenge and opportunity in preserving new media art works. Finally, we specifically investigate the new media art collections of NTMoFA as a case study. This research adopts the method of semi-structured in-depth interviewing. The professionals to be interviewed include those who are practitioners in preserving and repairing art works. We particularly take three NTMoFA's new media art collections as the main subjects for the interview, and reconstruct on-site real scene of preservation and restoration. Lastly, from both aspects of new media's cultural and computer layer, we analyze the transformation of meaning in the museum’s reservation and conservation principles, followed by summarizing the research and proposing conclusion. We suggest that based on current administrative system, it is necessary to build up new methodology and strategy for conserving new media art works in full scale.Hopefully, this research can provide a useful reference and different vision to related practitioners of art museums and other interdisciplinary people who are interested in conservation of new media art works.

avatar for Yu-Hsien Chen

Yu-Hsien Chen

Associate Conservator (Former Project Director, Taiwan Digital Art Foundation, M Plus Museum Limited (Former Save Media Art Project)
Yu-hsien Chen is the former director of “Save Media Art” project established by Taiwan Digital Art Foundation since Nov, 2017. Currently working in M+, Hong Kong, as a associate conservator of digital and media art since February, 2019. And she has been working full-time as a... Read More →

avatar for Dr Shin chieh Tzeng

Dr Shin chieh Tzeng

Assistant Professor, Graduate Institute of Conservation of Cultural Relics and Museology
Dr. Shin-Chieh Tzeng has awarded his Ph.D. in Museum and Gallery Studies from the University of St Andrews, Scotland, UK in 2009 and since has been a faculty member of the Graduate Institute of Conservation of Cultural Relics and Museology.  He worked for several museums in Taiwan... Read More →

Saturday June 2, 2018 11:00am - 11:15am MDT
Briargrove Meeting Room Marriott Marquis Houston

11:30am MDT

(Electronic Media) Unsustainable digital collections
This paper analyzes how in the context of Mexican museums, the lack of policies, frameworks and strategic planning has led to the creation of unsustainable cultural digital collections. It focuses on the challenges in rescuing the digital collection “Bienal Internacional de Poesía Visual y Experimental” [Biennale of Visual and Experimental Poetry], held at the Mediateque of the Museo Universitario del Chopo. The Mexican artists Araceli Zúñiga y César Espinosa organized the International Biennales of Visual and Experimental Poetry between 1985 and 2009. These events brought together practitioners from all over the world whose work is placed at the intersections of the fields of contemporary visual writing, copy art, concrete music, mail art and performance. Throughout the years, Zúñiga and Espinosa became interested in creating a “memory” of these events. Therefore, they started to gather videos, mail art works, photography, artistic electrography, from each event. The collection was stored at their house and classified and organized by the artists themselves. Through the years, the collection became a key source for researching and tracing the development of alternative and experimental art practices in Mexico. Given the significance of this collection and with the aim of preserving and providing greater access to its contents, Zúñiga and Espinosa agreed with the Museo Universitario del Chopo in digitizing the materials and donating a digital version to be included in the collection of the museum. Over 2,000 artworks were digitized. In 2015 the museum received a grant to put these contents online. However, during the development of the project we realized that most of the digital objects were unstable. Given this situation, the project focused on rescuing this digital collection from the oblivion. The project brought to light several concerns, such as the lack of a digital preservation planning, the deficient use of metadata standards, the shortage of expertise, and more importantly, the lack of institutional policies to create sustainable digital collections. The museum´s team did not follow clear guidelines, standards and best practices for the creation of digital objects and their subsequence management. Thus affecting the ability to read, access and understand the digital materials. Furthermore, we became aware that several cultural institutions in Mexico shared this scenario. The project’s findings show, that numerous museums undertake digitalization-driven projects without following a strategic plan thus resulting in unsustainable digital cultural collections. Fortunately, in 2016 three major initiatives aimed at overseeing the creation and management of cultural digital collections emerged. Working in close collaboration with these platforms, “Metadata for the Mexican Cultural Heritage”, “Cultural National Agenda for Digital Projects” and “Digital Preservation Group”, we developed a plan for rescue and long-term access to the collection of Bienal Internacional de Poesía Visual Experimental.

avatar for Jo Ana Morfin

Jo Ana Morfin

Coordinator, Memoria Histórica de la Presidencia de la República (México)
Jo Ana holds a degree in Cultural Heritage Restoration from the National School of Conservation (ENCRyM) in Mexico City. In 2008 she obtained her Master’s degree in Curating from Sunderland University in U.K.; her research focuses on curatorial strategies for documenting and archiving... Read More →

Saturday June 2, 2018 11:30am - 11:45am MDT
Briargrove Meeting Room Marriott Marquis Houston

11:30am MDT

(Electronic Media) What Happened When? Creating Retroactive Iteration Reports for Time-based Media Artworks
Since 1999, the Metropolitan Museum of Art (The Met) has been building their collection of time-based media art. In recent years The Met has increasingly acquired time-based media, and the Museum currently holds 250 artworks in its collection. The Met established a Time-Based Media Working Group in 2001, which now comprises conservators, collection managers, curators, archivists, registrars, technology experts, and other allied museum professionals. In the past few years the Museum has spearheaded initiatives, collaborations, programs and activities surrounding the unique preservation needs of the collection, including engaging the Museum’s first Fellow in the conservation of time-based media art.

A current best practice in the documentation of time-based media artworks is to create iteration reports, which document the way that a variable artwork is displayed in a specific exhibition. Although this is best conducted at the time of exhibition, the author, the incoming Fellow, was challenged to create retroactive iteration reports for past exhibitions of works in the collection. This project provides the Museum with an opportunity to create a complete history of exhibiting time-based media art at the Museum and in some cases also prior.

In this paper the author presents the research involved in creating iteration reports for past exhibitions. Cross-departmental collaboration is key, as conservation relies on conversations and interviews with a wide range of staff members involved in the installation of the works. In addition, this project requires creative methods for external research to provide photographic and video documentation of the artworks in the Museum’s collection. Creating these reports proved challenging, as the author was not present for the installation, and was relying on secondary sources and prior documentation.

Unique information was gained through research into other fields. The author investigated scientific research related to the formation and recall of human memories, in an effort to overcome challenges posed by eyewitness accounts. This included researching publications related to the improvement of a subject’s recall of past events.The results of this research will be demonstrated in case studies from artworks in The Met’s collection, as well as a discussion of lessons learned and practical advice gained throughout the project. This paper will be of particular interest to museums and professionals who are starting to address the conservation needs of time-based media artworks in their collections.

avatar for Alexandra Nichols

Alexandra Nichols

Sherman Fairchild Foundation Fellow, Photograph Conservation Department, The Metropolitan Museum of Art
Alexandra Nichols is a Sherman Fairchild Foundation Fellow at the Metropolitan Museum of Art focusing on the conservation of time-based media art. Prior to The Met she completed a Samuel H. Kress Foundation Fellowship in Time-based Media at the Solomon R. Guggenheim Museum. In 2016... Read More →

Saturday June 2, 2018 11:30am - 11:45am MDT
Briargrove Meeting Room Marriott Marquis Houston

12:00pm MDT

(Electronic Media) Getting It On Record: Stabilization, Enhanced Imaging, and Documentation of Archival Instantaneous Audio Discs
This case study presents some of the new ways conservation documentation images can serve multiple functions outside of direct treatment. For example, the enhanced images can provide data for archival description and cataloging, create an augmented research experience when paired with digitized content, and serve as a visual lexicon for material deficiencies and condition issues prevalent among instantaneous discs. In 1987, the Center for Folklife and Cultural Heritage at the Smithsonian Institution acquired over 4,000 unique audio discs as part of its acquisition of the New York-based label Folkways Records & Service Corporation. These archival recordings represent a sizable cross section of the early- to mid-20th-century recordable discs distributed and used throughout the United States.
Nearly 70 years after their creation, many of the recordings display a range of condition issues not uncommon to the medium including physical damage, delamination, plasticizer leakage, warping, crazing, and evidence of biological growth. In 2017, media conservators and technicians conducted conservation documentation and rehousing to assess, stabilize, and identify treatment priorities for each disc. Their documentation provided archivists with a framework for establishing holistic treatment plans and preservation digitization priorities. As part of this project, high-resolution digital images were created using efficient workflows to provide enhanced views of each disc to highlight their condition and document unique surface features such as etched-in song titles, performer names, matrix numbers, and intentional groove destruction. In addition, it will explore practical housing and storage strategies, including custom solutions for severely deteriorated and broken instantaneous discs. This presentation will be of particular interest to time-based media conservators, preservation specialists, archivists, and other cultural heritage professionals working with legacy recorded sound media.

avatar for Dave Walker

Dave Walker

Audiovisual Archivist, Smithsonian Center for Folklife and Cultural Heritage
Dave Walker serves as Audiovisual Archivist at the Smithsonian Center for Folklife and Cultural Heritage, Ralph Rinzler Folklife Archives and Collections and specializes in the conservation, preservation, and access to analog AV media.

Saturday June 2, 2018 12:00pm - 12:15pm MDT
Briargrove Meeting Room Marriott Marquis Houston

2:00pm MDT

(Book and Paper + Electronic Media) Caring for Electrophotographic Art: A Case Study of the Pati Hill Archives at Arcadia University
This paper details a preservation strategy for the long-term care of electrophotographic art in museum and archival collections, using the Pati Hill Archives at Arcadia University as a case study. In 2016, Arcadia University was gifted copy artist Pati Hill’s archives and original prints - and along with them an interesting preservation challenge. Hill was one of the most prolific electrophotographic artists of the late 20th century, and her prints were almost exclusively produced using the black and white photocopiers manufactured for office use from the 1970s through the 1990s. Her working process pushed the mechanical capabilities of the copier; she overfed the machine with black powdered toner to produce what she called “stars,” areas where a very dense black toner layer was broken up by spots in which the toner particles did not fully adhere. Hill’s manipulation of the amount of toner applied to her prints is a trait which separates her from many other copy artists, and is also key to identifying the order in which multiple prints of the same object were produced. This makes it especially crucial that the toner layers of her prints are prevented from deteriorating over time. Electrophotographic prints (also known as photocopies, Xeroxes, and xerographs) are extremely common in archival document collections, where they are often considered secondary resources or copies of primary source material. However, there is a dearth of preservation literature providing a protocol for their care and preventive conservation as art objects. This paper will discuss the history and technology of the electrophotographic process, as well as risks and potential agents of deterioration to both the paper support and toner layer(s). Hill’s materials, working methods, presentation choices, and curatorial decisions are analyzed in the context of potential preservation challenges, including issues impacting future conservation treatment. The paper concludes with recommendations for practical steps toward the preservation of electrophotographic prints, including guidelines for housing and storage, environment, light exposure, conservation treatment, and exhibition.

avatar for Gillian Marcus

Gillian Marcus

Preservation Specialist, Documentary Heritage and Preservation Services for New York (CCAHA)
Gillian received her MA in Conservation of Art on Paper from Camberwell College of Arts in London, UK. Prior to joining the staff of DHPSNY, she was the National Endowment for the Humanities Preventive Conservation Fellow at CCAHA. She has worked in several private conservation workshops... Read More →

Saturday June 2, 2018 2:00pm - 2:30pm MDT
Texas Ballroom E Marriott Marquis Houston

2:30pm MDT

(Book and Paper + Electronic Media) Preserving the Protest: Collection and Care of Social Movement Archives [Archives Conservation Discussion Group]
The Archives Conservation Discussion Group (ACDG) and the Electronic Media Group (EMG) will host a panel presentation and discussion session addressing the preservation of physical and digital objects used in political demonstrations and social movements.

Materials produced and used during protest marches, vigils, and political actions tend to be ephemeral - made and used on-the-fly with available, inexpensive materials - and are often exposed to a range of environmental hazards prior to entering collections. Digital media - from live video streaming to social media posts to smartphone photos - have become integral to contemporary protest movements and require innovative approaches to preservation and access.

Presentations and Panelists:

  • Preserving Artifacts of Free Speech: Simple Solutions for Buttons, T-shirts, and Bumper Stickers
    Whitney Baker, Head, Conservation Services, University of Kansas Libraries
  • The History, Evolution, and Growth of Digital Printing Technologies and Materials Correlated with Major Political and Social Movements and Events over the Last Three Decades
    Daniel Burge, Senior Research Scientist, Image Permanence Institute
  • Moldy Oldies: Saving Historic Audiotapes with Digitization & Organic Particle Masks
    Kim R. Du Boise, President & Senior Photograph Conservator of PhotoArts Imaging Professionals, LLC., and Roy Canizaro, VP and Electronic and Time-based Media Conservator forPhotoArts Imaging Professionals, LLC
  • Making Social Movements Accessible at Media Burn Archive
    Dan Erdman, Video Archivist, Media Burn Archive
  • Caught Up in the Current: Documenting, Preserving,and Digitizing Political Protest Ephemera
    Cher Schneider, Juanita J. and Robert E. Simpson Senior Conservator, University of Illinois at Urbana-Champaign 

Discussion topics will include:

  • Documenting and collecting in "real time" as events unfold
  • Preserving and making accessible materials which are being used as part of direct political action
  • Correlations between social movements and the use of contemporary materials
  • Storage and treatment of ephemeral materials
  • Creative housing solutions for oversized and 3-dimensional objects
  • Navigating issues of provenance, copyright and metadata
  • Collaborating with activists and community organizations
  • Addressing condition issues resulting from environmental exposure

avatar for Kim R. Du Boise-[PA]

Kim R. Du Boise-[PA]

President; Senior Photograph Conservator, PhotoArts Imaging Professionals, LLC
Kim R. Du Boise has over 40 years’ experience with art, photography, and photographic materials as a photographer, university/college instructor, printmaker & conservator. Kim developed the art department at Pearl River Community College in 1987-1994 and a BFA curriculum in Photography... Read More →
avatar for Stephanie I. Gowler

Stephanie I. Gowler

Conservator, Indiana Historical Society
Stephanie Gowler is Paper Conservator at the Indiana Historical Society. She holds a BA in English Literature from Earlham College, an MLIS and a Certificate in Book Arts from the University of Iowa, and a Certificate of Advanced Study in Conservation from the University of Texas... Read More →
avatar for Dawn Mankowski

Dawn Mankowski

Conservator, NYU Libraries
Dawn Mankowski is a 2013 graduate of the Buffalo State College program in Art Conservation. She is currently a Special Collections Conservator at NYU Libraries. She was previously the Book and Paper Conservator for the New York State Archives, Library, and Museum. Dawn also served... Read More →
avatar for Flavia Perugini

Flavia Perugini

Conservator, Museum of Fine Arts, Boston
Flavia Perugini was born and raised in Italy where she trained and worked as an architect after graduating with Laurea in Architecture (equivalent of MS), from the University of Florence, Italy, in 1986. She enrolled in the three-year graduate conservation program at London Guildhall... Read More →
avatar for Crystal Sanchez

Crystal Sanchez

Conservator, Smithsonian Institution
Crystal Sanchez is a media archivist at the Smithsonian Institution on the Digital Asset Management System (DAMS), working with digital collections from across the Smithsonian’s diverse Museums, Archives, Libraries, Research Centers, and the Zoo. She has Masters degrees from New... Read More →

avatar for Whitney Baker-[PA]

Whitney Baker-[PA]

Head of Conservation, University of Kansas Libraries
Whitney Baker is Head of Conservation Services at the University of Kansas Libraries, where she has worked since 2002. Since 2004 she has taught the preventive conservation class in the graduate program in Museum Studies at the University of Kansas. She holds an MLIS and Advanced... Read More →
avatar for Daniel Burge

Daniel Burge

Senior Research Scientist, Rochester Institute of Technology
Daniel M. Burge, Senior Research Scientist, has been a full-time member of the Image Permanence Institute (IPI) staff for the last 25 years. He received his B.S. degree in Imaging and Photographic Technology from the Rochester Institute of Technology in 1991. He managed IPI's enclosure... Read More →
avatar for Roy T. Canizaro

Roy T. Canizaro

Vice President, Electronic & Time-based Media Conservator, PhotoArts Imaging Professionals, LLC
Roy T. Canizaro has worked with and tested photography, movie films and photographic materials for over four decades as a photographer, videographer, electronics technician, and conservator. He is a partner and senior Electronic Media conservator at PhotoArts Imaging Professionals... Read More →
avatar for Dan Erdman

Dan Erdman

Librarian/Archivist, Media Burn
avatar for Cher Schneider-[PA]

Cher Schneider-[PA]

Head of Paper Conservation, ICA-Art Conservation
Cher Schneider works at ICA in Cleveland as Head of Paper Conservation. She previously was Juanita J. and robert E. Simpson Senior Conservator at The University of Illinois. Prior to that she worked as the Andrew W. Mellon Fellow in Paper Conservation at The Art Institute of Chicago... Read More →

Saturday June 2, 2018 2:30pm - 4:30pm MDT
Texas Ballroom E Marriott Marquis Houston