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


(Photographic Materials) Comparison of LED, L-37 Filtered Xenon Arc, and Glass-Filtered Cool White Fluorescent Illumination in the Light Fading and Light-Induced Staining of Color Photographs
During the past several years, there has been a large-scale shift from UV-filtered tungsten halogen illumination to high Color Rendering Index (CRI) LED illumination in museums, galleries, archives, and libraries, along with widespread adoption of generally lower CRI lamps in public buildings, commercial establishments, and homes. The majority of light stability information on the indoor fading and staining of analog and digitally-printed color photographs published in the past 30 years has been based on accelerated tests conducted with glass-filtered and UV-filtered Cool White fluorescent illumination. At the present time, for a number of important reasons, Wilhelm Imaging Research, HP, Epson, and Kodak Alaris, among others, continue to conduct accelerated light fading tests using this illumination source.  However, "ISO International Standard 18937:2014, Imaging materials – Photographic reflection prints – Methods for measuring indoor light stability," specifies L-37 filtered xenon arc illumination for “simulated display in indoor indirect daylight through window glass.” JEITA Standard CP3901A also specifies L-37 filtered xenon arc illumination. Work is currently in progress on "ISO 18937-4, Imaging materials – Photographic reflection prints – Methods for measuring indoor light stability – Part 4: LED Illumination." Working together with Shigeo Suga of Suga Test Instruments of Tokyo, Japan, Henry Wilhelm is serving as Co-Project Leader in the development of this new ISO standard. Wilhelm Imaging Research, Inc. has designed and constructed new temperature and humidity-controlled accelerated light stability test equipment for LED lamps. This paper will present comparative fading and staining data for a representative group of color photographic print materials, including silver-halide color (chromogenic) prints made with Kodak Alaris Endura Premier Professional Paper and Fujicolor Crystal Archive PDN Professional Paper (also to be discussed is the newly-developed "Improved Light-Stability" Fujicolor Crystal Archive Professional Paper that was publicly announced at the IS&T Digital Printing Technologies Conference in Denver, Colorado on November 8, 2017, and will be commercially introduced in September 2018 at the Photokina trade show in Cologne, Germany); Epson UltraChrome HDR pigment inkjet prints; Epson EcoTank (Epson 664 dye inks) dye inkjet prints; ChromaLuxe dye-sublimation photographs printed on an intermediate transfer paper with Epson UltraChrome DS (dye sublimation) inks and then thermally transferred under high heat at 190–205°C (375–400°F) and pressure (60–80 PSI) for 2–4 minutes onto a rigid, specially coated ChromaLuxe aluminum support; and ChromaLuxe dye-sublimation photographs printed in the same manner with Sawgrass 8-color Sublijet HD Pro Photo XF dye-sublimation inks. The prints have been subjected to accelerated tests using high-intensity 25 klux LED illumination from SORAA Vivid PAR 38 violet (purple) pump emitter LED lamps with a CRI of 95 and CCT of 3000K (1000 lumen output, 60°FL, 18.5-watt SORAA SP38-18-60D-930-03) with glass-filtered, UV-filtered, and non-filtered (bare-bulb) exposure conditions.  For comparison purposes, prints have been exposed to illumination from single-phosphor OSRAM Sylvania High Output (HO) 4200K Cool White (JIS F-6) fluorescent lamps (made in Canada) with glass-filtered, UV-filtered, and non-filtered bare-bulb exposure conditions.  In addition, in ongoing tests, prints have been exposed to xenon arc illumination (equipped with water-cooled Hoya L-37 glass filters and dual IR filters) in a Suga SX75F temperature- and humidity-controlled xenon arc test unit equipped with dual refrigerated chamber air and water-jacketed xenon lamp cooling systems that simulate indoor indirect daylight through window glass, both with and without a UV filter.  Illumination levels, sample surface temperature, test chamber temperature, and relative humidity conditions have been maintained as close as possible to the same aim-points. Identical methods of test target measurement and analysis for reporting fading and staining data are employed. Tungsten-halogen and L-37 filtered xenon illumination, however, present a number of difficult technical issues in terms of maintaining uniform sample surface temperatures, moisture levels, uniform illumination levels, and mitigating other factors that can result in poor inter-laboratory agreement between different testing organizations, and this will be discussed in the presentation.  The spectral power distributions in the UV, Visible, and IR regions for all of the illumination sources will be given, including the spectral properties of LED lamps based on blue pump emitters and LED lamps based on violet (purple) pump emitters.  Related topics that will briefly be discussed include:  Lux (a measure of light intensity as perceived by the human eye – and its generally not straightforward relationship to rates of fading and light-induced staining), Color Rendering Index (CIE CRI), IES TM-30-15, Television Lighting Consistency Index (TLCI), Color Quality Scale (CQS), and Correlated Color Temperature (CCT) for LED lamps will be described.  Potential differences between blue pump emitter LED illumination and violet (purple) pump emitter LED illumination in terms of their potential impacts on the fading rates of color photographs – and, likely, paintings, watercolors, other works of art, fabrics, books, and historically important documents – will also be discussed.

avatar for Henry Wilhelm

Henry Wilhelm

Director of Research, Wilhelm Imaging Research, Inc.
Henry Wilhelm is Director of Research at Wilhelm Imaging Research, Inc. in Grinnell, Iowa, USA. Wilhelm has authored or co-authored more than 30 technical papers presented at conferences sponsored by the Society for Imaging Science and Technology (IS&T), the Imaging Society of Japan... Read More →

avatar for Richard Adams

Richard Adams

Associate Professor, School of Graphic Communications Management, Ryerson University
Richard M. Adams II, Ph.D., is Associate Professor in the School of Graphic Communications Management at Ryerson University, Toronto, Canada. He teaches courses in document design, web design, and material science for print. His research interests include color management, electronic... Read More →

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


(Photographic Materials) Evaluation of Hydrolytic Accelerated Aging Protocols on Cellulose Acetate
A collaborative research project between the Getty Conservation Institute (GCI) and the Walt Disney Animation Research Library (ARL) is investigating the effects of storage environment on stability of animation cels. One aspect includes an evaluation of accelerated aging methods to create aged mockups in parallel condition to naturally-aged cels. For cellulose diacetate (CDA) animation cels created between 1940s-1980s, the support material is particularly prone to degradation by hydrolysis and chain scission, while reviewing archival records reveal a variety of storage environments prior to 1996. To date there has yet to be a comprehensive study of CDA reaction kinetics and mechanism of degradation of the problematic art material, nor are there established projections of risk based on specific storage conditions and containment. As part of the evaluation, cellulose triacetate (CTA) and CDA from the Disney ARL collection were compared to thermally-aged set of prepared mock-ups without plasticizers, in order to calculate the rate constant through Arrhenius methods. In some cases CA materials were pre-incubated to ascertain the physical effects of the reaction from within a cel before aging in the CTA industry standard of aluminum/polypropylene (Al/PP) and vapor barrier polyvinyl-fluoride (PVF) heat-sealed bags. This was compared with other cases where CA degradation reaction may be promoted by an environment, by aging within Teflon crimp-lid glass vials with the reactant of water or the catalyst of acid, which is the byproduct of hydrolysis reaction. The depth of penetration of degradation in CA will be assessed by utilizing the rate constant in conjunction with depth-profiling FTIR. Initial results after one month of accelerated aging revealed the Al/PP packaging method resulted in the highest degradation, followed by the glass vials, with the smallest effects seen in the PVF bags. The changes were confirmed by several analytical methods of detecting % acetyl content, including ion chromatography and FTIR. Other key findings of this research indicated plasticizers enhanced the degradation rates in the cels. Moreover, incubation pre-aging enhanced hydrolysis of all these CA plastic films from worst to least: one Molar acetic acid environment, ~85 %RH, and ~55 %RH across all samples analyzed. Initial observations show liquid is trapped between cels when stacked together and aged, but further research will be required to determine the influence of separating each cel in storage. Disney CTA and CDA, and CDA mock-ups aged alongside interleaving, buffered, and box materials aid in assessing the impact of storage materials on CA stability used in the Disney ARL collection. Long term impact of this research is contributing to the understanding of degradation kinetics to assist in predicting CA longevity, as well as providing guidelines for storage conditions and packaging containers.

avatar for Carolyn Carta

Carolyn Carta

Research Lab Assistant, Getty Conservation Institute
Carolyn Carta joined the GCI in 2016 as a research lab assistant to lead scientific studies as part of the GCI's collaborative research project with the Disney Animation Research Library. She graduated in 2011 with a BA in art history, studio art, and chemistry from Trinity College... Read More →

avatar for Katharina Hoeyng

Katharina Hoeyng

Katharina Höyng
Katharina Hoeyng recently moved to Amsterdam where she works as a freelance conservator. Prior to that Kathariana joined the Getty Conservation Institute from 2015-2018. As part of the Preservation of Plastics project, she researches and evaluates treatment methods for reattaching... Read More →
avatar for Herant Khanjian

Herant Khanjian

Assistant Scientist, Getty Conservation Institute
Herant Khanjian received his undergraduate degree in chemistry from California State University, Northridge and has been a member in the Science department of the Getty Conservation Institute since 1988. His research interests involve the detection and identification of organic media... Read More →
avatar for Joy Mazurek

Joy Mazurek

Assistant Scientist, Getty Conservation Institute
Joy Mazurek specializes in the identification and characterization of natural and synthetic organic materials by a number of analytical techniques including gas chromatography/mass spectrometry and ion chromatography. She also works on the classification of biomarkers produced by... Read More →
avatar for Kristen McCormick

Kristen McCormick

Art Exhibitions and Conservation Manager, Walt Disney Animation Research Library
Kristen McCormick has been at the Walt Disney Company for over a decade and a half where she has been responsible for the safe keeping, care and transport of a broad range of artworks from African Art to Animation. In her current role she oversees the conservation care of the Walt... Read More →
avatar for Michael R. Schilling

Michael R. Schilling

Senior Scientist, Yale Institute for the Preservation of Cultural Heritage
Michael Schilling is head of Materials Characterization research at the Getty Conservation Institute, which focuses on development of analytical methods for studying classes of materials used by artists and conservators. He specializes in gas chromatography, mass spectrometry and... Read More →

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


(Photographic Materials) Platinum and Palladium Photographs - Rediscoveries
avatar for Constance McCabe

Constance McCabe

Conservator, National Gallery of Art
Constance McCabe is head of photograph conservation at the National Gallery of Art. She earned her M.F.A. in 1982 at Rochester Institute of Technology in the School of Photographic Arts and Sciences. She has served as conservation intern with the International Museum of Photography... Read More →

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


(Photographic Materials) Finding a Balance: Conservation of the Dolley Madison Cased Image from the Greensboro History Museum
Cased images differ significantly from conventional forms of paper-based photography. The daguerreotype is distinguished by its metallic composition: a thin copper plate with a highly polished silver surface was vulnerable to marring, abrasion, scratches, tarnish, rust, and corrosion. As a result, cases were constructed from decoratively covered wood or ornamentally molded thermoplastic to protect these fragile images. Conservation of these cased images is complicated. Not only is one dealing with a photographic image but also with leather, velvet, wood, plastic, cloth, metal, glass, and varnish. As a conservator it is important that the conservation and preservation approaches find a balance between the photographic image and its traditional housing. Using the Dolley Madison cased image from The Greensboro History Museum, as an example, this talk will discuss the conservation of the daguerreotype plate and its severely compromised gold stamped blue velvet case that was created in the semblance of a book. Adopting techniques and materials from book conservation as well as objects conservation, the cover was reattached, the spine was repaired and modified to create a safer opening of the case, and missing tray components were recreated using traditional water gilding techniques on wood.

avatar for Monique C. Fischer-[Fellow]

Monique C. Fischer-[Fellow]

Senior Photograph Conservator, Northeast Document Conservation Center
Monique C. Fischer is the senior photograph conservator at the Northeast Document Conservation Center (NEDCC) in Andover, MA.  She holds a master’s degree in art conservation from the University of Delaware/Winterthur Museum, and a bachelor’s degree in chemistry from Smith College... Read More →
avatar for Terra Huber-[PA]

Terra Huber-[PA]

Assistant Paper Conservator, NEDCC
Terra Huber has studied and worked in the field of conservation since 2009. They are currently an Assistant Paper Conservator at the Northeast Document Conservation Center and have completed internships at The Newberry Library, the Walters Art Museum, the Boston Athenaeum, the Historical... Read More →

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


(Photographic Materials) Investigation of Portrait with Applied Oil Color
A small painted portrait of Carl Maria Von Weber on a wood support was treated at West Lake Conservators. Analysis confirmed the presence of a silver-based underlying image, bringing particular challenges to the treatment approach. The proposed presentation focuses on the analysis and investigation that was performed in the attempt to positively identify a photographic base and how it was ultimately inconclusive. The decision making process for the treatment that was carried out was informed by the possibility of the presence of a photographic print. High Energy Synchrotron Source XRF analysis confirmed and mapped the presence of silver which could signify either an underlying photographic print or a silver point drawing. Additional microscopy was carried out as well as cross-section analysis but the presence of a protein (gelatin or albumen) that would hone in on determining the presence of a photographic process could not be positively determined. As a private conservation practice, West Lake Conservators has limited access to analytical tools and data processing. After taking the analysis as far as possible through the generous collaboration of local institutions and colleagues, it was prescient to offer the private owner of the object an expedite and practical treatment proposal. Cleaning and consolidation treatment were carried out taking into consideration the possibility of an underlying photographic print with a water-sensitive binder. Although the investigation was ultimately inconclusive in positively establishing the presence of a photographic print and although the treatment that was carried out is not innovative, the process of attempting to characterize an object within the constraints of a private practice has value in itself and may add to the knowledge for further research into the this type of composite structure.

avatar for Abbott Nixon

Abbott Nixon

Painting Conservation Assistant & Operations Manager, West Lake Conservators
Abbott received her B.A. in Arts Administration from SUNY Fredonia, where she studied the ephemeral performance art. She received her M.A. in Critical Museum Studies in May 2018, where she focused on the museum management and wrote her Master's thesis on the ethics of material degradation... Read More →

avatar for Luisa Casella

Luisa Casella

Photograph Conservator, West Lake Conservators
Luisa has a Masters in conservation from the Instituto Politénico de Tomar, in Portugal. She worked for eight years at Luis Pavão Limitada, serving museums, archives, and cultural institutions. In 2005 Luisa was awarded the Andrew W. Mellon Fellowship of the Advanced Residency Program... Read More →

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


(Photographic Materials) How to Receive and Organize a Collection of 1 Million Photographs at Once? Material and Metadata Discussions
All over the world for decades, newspapers and journalist groups have formed huge collections of photographs and clippings. This presentation aims to analyze the strategies used and projected to describe the photographic collection of the Jornal do Commercio (Comercy newspaper). When this newspaper was closed in 2016 it has been the longest paper in activity in South America; in the same year, Instituto Moreira Salles, a cultural institute that stores documental collections, bought the collection of photographs that was gathered by this newspaper. Over 70 years the newspaper collected around 1 million photographs, 700,000 photos, and 300,000 negatives, most of them about Brazil. These pictures were stored in file folders that received a thematic title in order to organize the photos in series. Much information about the pictures was registered on the back part; it’s possible to identify information such as date, place, photographer, newspaper where it was published and sometimes the full article. In order to catalog this collection, from the hugest series to each photograph, it was necessary to identify ways to transcript all the available data. The 1 million photographs were kept in around 1900 boxes; each of them contained 2 to 120 cardboard files; in the top of these files there is a title that informs which kind of pictures are in the files. In the original organization the collection was divided in two huge series, subjects and personalities; those series were divided into thousands of smaller series. The first tool used was a penscanner that can scan digitized texts and apply OCR, but this scanner wasn’t useful and precise in the old cardboard files, because there was no contrast. This pen only has good results in white paper. Then the team started to use a voice recognition software available in any Macintosh operational system. This software, used in Portuguese, reached high levels of precision and helped to make the process of description of the series very quickly. This software couldn’t be used in the personality series, because it only works in one kind of idiom, so the team is taking pictures of the cardboard files in order to apply OCR. The digital capture of useful informations for cataloguing and to describe this collection is a strategy to register the documents of the collection in a fast and accurate way. It’s also a conservation initiative, because it avoids information and documents disassociation. This set of actions have an important role to insert the cataloguing data in international standard like Dublin Core, Lido and ISAD(G). In addition discussions related to thesaurus, folksonomy and automatic indexing are equally relevant for this works and strategical group of actions. 

avatar for Rodrigo Bozzetti

Rodrigo Bozzetti

Registrar / Historian, Instituto Moreira Salles
Graduated in Library Science in 2012, by the Federal University of Rio de Janeiro state. Master degree in Information Science in 2016 by the Brazilian Institute of Information in science and Technology, where I developed an epistemological study about the concept of document. Since... Read More →

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


(Photographic Materials) Revealing History with Moisture and Megabytes: Curled Panorama Prints from WWI and WWII
This case study presents an ongoing project in collaboration with a military history museum and their archives for the conservation and digital preservation of 150 - 200 silver gelatin panorama prints from World War I (1917 -1918) and World War II (1940 - 1944). This project began in 2011 and work continues as funds are available. Along the way, other work has been requested and some replica digital prints have been made for the Adjutant General's office, the HQ offices, and VIP Officers' temporary housing.

Using example prints of the project, I will explain and illustrate the steps taken from the receipt and documentation of the original photographs, through the humidifying and flattening of the prints, to the repair and/or lining for stabilization. The next steps for the digital reformatting and any digital repair to the photographs will explain the level of capture and files that were requested by the museum's archivist. Finally, the reprinting of the photographs as digital prints in oversized formats will be adiscussed. To date, approximately 30 individual images that were in the original collection have been conserved.

Over the past six years, there have been new donations to the museum and donors have requested copies of the donated prints.  The museum has agreed, using some of their funds for this purpose. There have been approximately 7-9 unaccessioned prints that were requested to be reformatted instead of the original group.  One of the most interesting of the new prints is believed to be a photograph of the first Airborne Company formed in the U.S. Army.  

Sizes of prints ranged from 3"x 12", to 10"x 38", to 8"x 48", and the reformatted digital image files run into the gigabyte sizes. The prints are on neutral tone B&W papers, warm tone B&W papers, sepia and brown toned B&W papers. Some are semi-matte, though most are matte finished papers and all have a baryta coating. A few have the soldier's handwriting on them, showing where the "saloon", mess hall, "my tent", and various companies of a brigade. This presentation will show not only the details of the original materials used in these prints and steps used to conserve them, but will also allow us to put into perspective of the human element that was, and is, a part of war and the preparations. It reveals some of the naïveté that men and societies had when soldiers reported to training for combat during those eras.

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 →

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


(Photographic Materials) From Here On and Beyond: Researching Objects, History and Collection at The Museum of Modern Art
The Museum of Modern Art's 4-year Thomas Walther Collection project culminated in December 2014 with a symposium, Object: Photo print publication, website and exhibition.  This material-based study of the Walter Collection is symptomatic of a larger institutional interest in materials characterization that is not confined to a single collection, medium or even institution, but part of an ongoing effort to promote materials-based scholarship at large. Three years hence, assimilation of conservation material content continues at MoMA as well as in related arts fields, as can be seen in curatorial, technical art history and academic initiatives focused on material culture.
In 2005 with the Plane Image: A Brice Marden Retrospective, 2006 with Dada in the Collection, and on a yearly basis since, the department of conservation at MoMA has published formative work on individual artists, or artistic movements, in conjunction with curatorial initiatives.  Subjects include work of Pablo Picasso, Bill Brandt, Henri Matisse, Bruce Conner, Francis Picabia and Frank Lloyd Wright, among many others. In 2012, there was a considerable uptick in these studies which now include online publications.  Raisonné-style format to artistic studies is increasingly seen as a model. 
This presentation will outline the development of MoMA’s conservation scholarship, consider how this trend is reflected in and parallel to, sister institution's programming, posit views on the causes of this trend and review resources for these critical investigations.

avatar for Lee Ann Daffner

Lee Ann Daffner

Andrew W. Mellon Foundation Conservator of Photographs, The Museum of Modern Art
Lee Ann Daffner is the Andrew W. Mellon Foundation Conservator of Photographs at The Museum of Modern Art in New York City since 1998 and is responsible for all aspects of the preservation, conservation and materials research for photographs in all the Museum’s collections... Read More →

Friday June 1, 2018 9:30am - 10:00am
Hunters Creek Meeting Room Marriott Marquis Houston


(Photographic Materials) Color Records: Wood’s Diffraction Process of Color Photography
In 1899 American physicist Robert W. Wood invented a new three-color photographic process utilizing diffraction gratings of different grove spacing. While the process’s drawbacks, including the need for a special viewer, relegated it to the laboratory, the finished plates had the interesting property of displaying natural color without the use of pigments or dyes. The George Eastman Museum collection contains several plates from the inception of Wood’s process and more than a dozen from the brief period of commercialization in the first decade of the 20th century. For this project the history of the process was documented and variations within were recorded using photomicrography. A lens system based on original viewing apparatus was then constructed to enable the viewing and photo-documentation of all the images. As the plates rely solely on the diffraction of white light to produce color, the images captured appear essentially as they did when produced over 100 years ago.

avatar for Zach Long

Zach Long

Conservator, George Eastman Museum
Zach Long is Assistant Conservator at the Kay R. Whitmore Conservation Center at the George Eastman Museum. He holds a Master of Arts and Certificate of Advanced Study in Art Conservation from SUNY Buffalo State and a Bachelor of Fine Arts in Photographic Illustration from the Rochester... Read More →

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


(Photographic Materials) The Chemistry of Digital Fine Art Paper Yellowing: A Comparative Case Study of Moab Entrada Rag Natural 300gsm and Harman Inkjet Glossy Art Fibre Warmtone by Hahnemühle
The yellowing of inkjet papers is a documented problem for cultural institutions and the conservation community. This study investigated two commercially available inkjet papers that had yellowed naturally under different conditions. A double-coated fine art paper Moab Entrada Natural 300gsm, developed a yellow stain within one year of printing, after unprotected exposure to light and atmospheric pollutants in a home environment. A roll of Harman Inkjet glossy fine art fibre warmtone paper by Hahnemühle yellowed when the packaging material, a polyethylene bag, was in contact with the paper during shipping. Scanning electron microscopy (SEM), X-Ray Photoelectron Spectroscopy (XPS), Fourier Transform Infrared Spectroscopy (FTIR), and UV-VIS reflection measurements were used to characterize the naturally yellowed papers. Attempts were also made to purposefully drive the yellowing reactions in fresh samples of these papers. Fresh paper samples were exposed separately to short wave UV light, long wave UV light, and NO₂ gas (to simulate atmospheric pollution). The SEM of the cross sectioned papers revealed complex microstructure in the coatings of the papers. Chemical analyses suggest that neither UV nor NO₂ exposure alone were the sole reason of the naturally yellowed paper. The pattern of chemical changes from XPS line scans of cross sections of the naturally yellowed paper suggested that the cause of the yellowing was diffusing into the paper making atmospheric pollutants a more likely cause. We suggest that the increased porosity of inkjet papers may have made them more susceptible to oxidizing gases in atmospheric pollution or outgassing from packaging materials as compared to more traditional paper formulations.

avatar for Monique C. Fischer-[Fellow]

Monique C. Fischer-[Fellow]

Senior Photograph Conservator, Northeast Document Conservation Center
Monique C. Fischer is the senior photograph conservator at the Northeast Document Conservation Center (NEDCC) in Andover, MA.  She holds a master’s degree in art conservation from the University of Delaware/Winterthur Museum, and a bachelor’s degree in chemistry from Smith College... Read More →


Savannah Butler

Student, Harvard University Department of Chemistry and Chemical Biology
avatar for Carew Giberson Chen

Carew Giberson Chen

Student, Harvard University Department of Chemistry and Chemical Biology
Student at Harvard University Department of Chemistry and Chemical Biology.
avatar for Arthur McClelland

Arthur McClelland

Principal Scientist, Harvard University - Center for Nanoscale Systems
Arthur McClelland received his PhD in applied physics from the University of Michigan in 2009. He has worked at the Center for Nanoscale Systems at Harvard University since 2011 running the optical spectroscopy laboratory.
avatar for Nina Shevzov Zebrun

Nina Shevzov Zebrun

Student, Harvard University, Department of Chemistry and Chemical Biology

Vanya Zvonar

Student, Harvard University Department of Chemistry and Chemical Biology

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