BEGIN:VCALENDAR VERSION:2.0 PRODID:-//UCLA / Getty Conservation - ECPv6.15.15//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:UCLA / Getty Conservation X-ORIGINAL-URL:https://conservation.ucla.edu X-WR-CALDESC:Events for UCLA / Getty Conservation REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/Los_Angeles BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20200308T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20201101T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20210314T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20211107T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20220313T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20221106T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20230312T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20231105T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20240310T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20241103T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20250309T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20251102T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20260308T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20261101T090000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20250516T110000 DTEND;TZID=America/Los_Angeles:20250516T120000 DTSTAMP:20260606T202936 CREATED:20250428T204223Z LAST-MODIFIED:20250428T204223Z UID:10000068-1747393200-1747396800@conservation.ucla.edu SUMMARY:A handmade present: Weaving opportunities at the Museo Textil de Oaxaca DESCRIPTION:Title: A handmade present: Weaving opportunities at the Museo Textil de Oaxaca\nEvent Date: Friday\, May 16\, 2025 at 11 a.m. (PT)\nEvent Location: Wherever your zoom-compatible device is located\nPresenter: Hector Manuel Meneses Lozano\nRSVP HERE\n\n\nDescription: Please join us for our Spring quarter Conservation Conversation “A handmade present – Weaving opportunities at the Museo Textil de Oaxaca with Hector Manuel Meneses Lozano”\n\n\n\nAbstract: \nThe Museo Textil de Oaxaca (MTO) is a space that houses memories\, success stories and challenges. An initiative encouraged and supported by the Alfredo Harp Helú Oaxaca Foundation since 2007\, the MTO is committed to research\, conservation and exhibition of the textile collections it safeguards. With the same level of commitment\, the Museum encourages an open dialogue with the communities that have given rise to the textiles in these collections. The social force of the MTO springs forth from empathy and it has grown by weaving together an intimate network with weavers\, embroiderers\, dyers\, spinners and producers of raw materials\, such as fibres and dyestuffs. Modern industry has made us seek disposable clothing and mass consumption\, but in response\, the Museo Textil de Oaxaca is focused on appreciating and promoting the manual and intellectual effort involved in handmade textiles. This conversation will showcase a series of cases in which the MTO has been able to link its collections with contemporary creative communities\, not only to better understand our past\, but also to reimagine our present and reformulate our future. \n\n  \n\n\n\n\n\n\n\n\n\n\nAbout the Presenter: Hector Manuel Meneses Lozano\n\n\nHector Manuel Meneses Lozano graduated from the Escuela Nacional de Conservación\, Restauración y Museografía “Manuel del Castillo Negrete” in Mexico City\, his hometown. After studying a textile fragment from the late 17 th century\, he was invited to join the team of the soon-to-be Museo Textil de Oaxaca. Starting in 2008\, he worked as Conservator and Collections Manager and since 2012\, he has been Director of the Museum. His interests cover the design of exhibitions\, the creation of textiles\, intangible and material heritage\, as well as the involvement of spinners\, weavers\, embroiderers\, and dyers with institutions -such as museums- at a local\, national\, and international level. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n  \n For questions regarding the talk \nContact us at pilarbrooks@g.ucla.edu \nTo view recordings of previous talks\, please visit the Cotsen Youtube page \nAs a land grant institution\, the faculty and administration at UCLA acknowledge the Gabrielino/Tongva peoples as the traditional land caretakers of Tovaangar (Los Angeles basin\, South Channel Islands). \n  \n\nFor more information about the The UCLA/Getty Interdepartmental Program in the Conservation of Cultural Heritage\, visit conservation.ucla.edu.\n  URL:https://conservation.ucla.edu/event/a-handmade-present-weaving-opportunities-at-the-museo-textil-de-oaxaca/ LOCATION:Live Streaming via Zoom CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/gif:https://conservation.ucla.edu/wp-content/uploads/2025/03/unnamed-3.gif END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20250321T110000 DTEND;TZID=America/Los_Angeles:20250321T120000 DTSTAMP:20260606T202936 CREATED:20250310T024114Z LAST-MODIFIED:20250310T024114Z UID:10000067-1742554800-1742558400@conservation.ucla.edu SUMMARY:Off the Mount: A Discussion on Activating Objects and Belongings DESCRIPTION:Title: Off the Mount: A Discussion on Activating Objects and Belongings\nEvent Date: Friday\, March 21\, 2025 at 11 a.m. (PT)\nEvent Location: Wherever your zoom-compatible device is located\nPresenters: Heidi Swierenga and Karen Duffek\nRSVP HERE \n\nAbstract\n\n\nThe Calls to Action issued by Canada’s Truth and Reconciliation Commission have challenged museums to address the United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP) directive that Indigenous peoples have the right to maintain\, control\, protect and develop their cultural heritage. This talk will look at how First Nations regalia housed at MOA continues to express family-owned rights\, how community members are choosing to activate their ancestral belongings at the site of the museum and outside its walls\, and how museums and conservation are changing as a result. The experiences presented will also show how the conservation and curatorial disciples intersect to promote and support Indigenous-led initiatives and research at MOA. \n\n\n  \nAbout the Presenters: Heidi Swierenga and Karen Duffek\n\n\nHeidi Swierenga is Senior Conservator and Head of the Collections Care\, Management and Access Department at MOA. She is also an associate in the Department of Anthropology where she teaches conservation. Her practice and research focus on the use and activation of Indigenous belongings that are held in collections and the role that the conservation profession plays in facilitating these activities. She is also one of the instigators and Steering Committee member of the British Columbia Emergency Heritage Emergency Response Network (BCHERN)\, an organization that provides salvage training and resources to the galleries\, museums and archives sector in BC. \n\n  \n  \nKaren Duffek is the Curator of Contemporary Visual Arts and Pacific Northwest at MOA. Committed to supporting the activation of Northwest Coast Indigenous collections inside and outside the museum\, she focuses her research\, exhibitions\, and publications on the relationships between historical and contemporary art practices\, museum collections\, communities\, and art markets. \n  \n  \n  \n\n\n\nFor questions regarding the talk\nContact us at pilarbrooks@g.ucla.edu\n\n\nTo view recordings of previous talks\, please visit the Cotsen Youtube page \nAs a land grant institution\, the faculty and administration at UCLA acknowledge the Gabrielino/Tongva peoples as the traditional land caretakers of Tovaangar (Los Angeles basin\, South Channel Islands).\n\n\n\n\nFor more information about the The UCLA/Getty Interdepartmental Program in the Conservation of Cultural Heritage\, visit conservation.ucla.edu. URL:https://conservation.ucla.edu/event/off-the-mount-a-discussion-on-activating-objects-and-belongings/ LOCATION:Live Streaming via Zoom CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/gif:https://conservation.ucla.edu/wp-content/uploads/2025/03/unnamed-3.gif END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20241122T160000 DTEND;TZID=America/Los_Angeles:20241122T170000 DTSTAMP:20260606T202936 CREATED:20241113T173825Z LAST-MODIFIED:20241113T191011Z UID:10000065-1732291200-1732294800@conservation.ucla.edu SUMMARY:Ancient Chinese lime-based building materials: Its archaeometric studies and conservation materials development DESCRIPTION:  \nTitle: Ancient Chinese lime-based building materials: Its archaeometric studies and conservation materials development \nPresenter: Xiao Ma \nEvent Date: Friday\, November 22\, 2024 at 4 p.m. (PT) \nEvent Location: Wherever your zoom-compatible device is located \nRSVP HERE \n\n\n\n\n\n Abstract: From a material perspective\, there were two types of materials involved in the studies of cultural heritage artifacts: The first type is the ancient materials themselves\, on which the value of the cultural heritage artifacts depends\, and the other type is the modern materials (conservation materials) used to help ancient materials retain some of the original properties\, such as structure\, shape\, color\, and mechanical performance. While conservation materials aim to preserve ancient materials\, the characterization of ancient materials plays a key role in informing the development of conservation materials. In this talk\, Xiao will use ancient Chinese lime-based building materials as an example to illustrate how the two types of materials are studied/developed simultaneously for Dazu Rock Carvings\, a World Heritage Site located in Chongqing\, China. Xiao will dive deep into the characterization of Dazu Rock Art’s lime mortar material and the development of lime-based grouting materials for long-term preservation.\nSpeaker Bio: Xiao Ma \nXiao Ma is a Full Professor at The School of History of Science and Scientific Archaeology at the University of Science and Technology of China. He holds a Ph.D. in Materials Science and Engineering from the University of California\, Los Angeles (UCLA)\, an M.S. in Materials Engineering from Purdue University\, and a B.S. from Huazhong University of Science and Technology. His research mainly focuses on cultural heritage conservation science\, including technological history studies of ancient building materials\, the development of conservation materials for ancient building materials\, as well as degradation mechanisms of cultural heritage materials. Xiao has worked in esteemed conservation and scientific research institutions such as Getty Conservation Institute\, the Smithsonian Institution’s Museum Conservation Institute\, National Gallery of Art\, and the National Institute of Standards and Technology. He has been honored with awards such as the Ralph C. Altman Award\, R.E. Taylor Best Poster Award\, Martin J. Aitken Best Poster Award\, and Sidney S. Williston Memorial Fund Award\, etc. His work in cultural heritage conservation science has been published in top journals including Angewandte Chemie International Edition\, Analytical Chemistry\, Construction and Building Materials\, etc. He has been sponsored by various funding agencies\, such as Ministry of Science and Technology\, National Cultural Heritage Administration\, National Natural Science Foundation of China\, etc.\n\n  \n\nFor questions regarding the talk\nContact us at cwliu98@g.ucla.edu\n\n\nTo view recordings of previous talks\, please visit the Cotsen Youtube page \n\nAs a land grant institution\, the faculty and administration at UCLA acknowledge the Gabrielino/Tongva peoples as the traditional land caretakers of Tovaangar (Los Angeles basin\, South Channel Islands).\n\n\n\n\nFor more information about the The UCLA/Getty Interdepartmental Program in the Conservation of Cultural Heritage\, visit conservation.ucla.edu. URL:https://conservation.ucla.edu/event/ancient-chinese-lime-based-building-materials-its-archaeometric-studies-and-conservation-materials-development/ LOCATION:Live Streaming via Zoom CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/png:https://conservation.ucla.edu/wp-content/uploads/2024/11/unnamed-1.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240531T110000 DTEND;TZID=America/Los_Angeles:20240531T120000 DTSTAMP:20260606T202936 CREATED:20240510T024226Z LAST-MODIFIED:20240510T024226Z UID:10000121-1717153200-1717156800@conservation.ucla.edu SUMMARY:Exploring Sustainable Conservation Practices: Insights from the Museum of Archaeology and Ethnology (MAE-USP). DESCRIPTION:Title: Exploring Sustainable Conservation Practices: Insights from the Museum of Archaeology and Ethnology (MAE-USP). \nPresenter: Ana Carolina Delgado Vieira \n\n\nEvent Date \nFriday\, May 31st\, 2024 at 11 a.m. (PT) \nEvent Location \nWherever your zoom-compatible device is located \n\nRSVP HERE \n\n\nAbstract: For decades\, ethnographic museums have treated their collections with pesticides. To preserve organic objects\, these institutions used DDT\, pentachlorophenol\, hexachlorobenzene\, and paradichlorobenzene\, among other common chemicals.\n\nDue to environmental and health concerns\, the use of pesticides in museums became less appropriate in the late 20th century. \nCurrently\, the Museum of Archaeology and Ethnology (MAE-USP) is using ionizing radiation to treat objects affected by insects. \nAs well as discussing the factors that influenced the selection of this technique\, this presentation highlights the importance of a partnership with the Institute of Energy and Nuclear Research (IPEN) as one of the major contributors to the renewal of traditional gears in ethnographic museums such as MAE-USP. \n\nSpeaker Bio: Ana Carolina Delgado Vieira \nAna Carolina Delgado Vieira holds a bachelor’s and master’s degree in history from the University of São Paulo (USP) in Brazil.  She holds a certificate in conservation from the Templo da Arte in São Paulo\, Brazil and the Yachaywasi Institute of Conservation in Lima\, Peru\, specializing in archaeological and ethnographic materials.Since 2008\, she has been a conservator at the Museu de Arqueologia e Etnologia (MAE-USP). Her responsibilities include conducting condition surveys of collections and items\, performing conservation treatments\, and preparing items for exhibition\, loan\, move\, and research. Since 2013\, she has been the head of the conservation laboratory.Her research interests include interdisciplinary collaboration\, indigenous participation\, and how conservators can work collaboratively with indigenous collection originators and descendants to reframe ethnographic traditional museums.Currently\, she is a PhD candidate at the Nuclear and Energy Research Institute (IPEN-CNEN/SP) of the University of São Paulo\, where she is researching the use of ionizing radiation to preserve cultural heritage.\n\n  \nFor questions regarding the talk\nContact us at mmrawlins@g.ucla.edu or ckcaraway229@g.ucla.edu\n\n\nTo view recordings of previous talks\, please visit the Cotsen Youtube page \n\nAs a land grant institution\, the faculty and administration at UCLA acknowledge the Gabrielino/Tongva peoples as the traditional land caretakers of Tovaangar (Los Angeles basin\, South Channel Islands). URL:https://conservation.ucla.edu/event/exploring-sustainable-conservation-practices-insights-from-the-museum-of-archaeology-and-ethnology-mae-usp/ LOCATION:Live Streaming via Zoom CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2024/05/Ana-Carolina-Fotografia-1-e1715307775436.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20240308T110000 DTEND;TZID=America/Los_Angeles:20240308T120000 DTSTAMP:20260606T202936 CREATED:20240222T044951Z LAST-MODIFIED:20240222T050021Z UID:10000120-1709895600-1709899200@conservation.ucla.edu SUMMARY:Lessons from La Frontera: Conserving Earthen Architecture in the U.S./Mexico Borderland DESCRIPTION:Title: Lessons from La Frontera: Conserving Earthen Architecture in the U.S./Mexico Borderland \nPresenter: Alex B. Lim \nEvent Date \nFriday\, March 8th\, 2024 at 11 a.m. (PT) \nEvent Location \nWherever your zoom-compatible device is located \nRSVP Link \n\nDescription: The Sonoran Desert has been home to diverse cultures. Many tangible remains of the interactions between the landscape and the peoples undergo various stages of decay. In this talk\, the author will share his thoughts on conserving the fragile heritage as a newcomer to the region. He will then elaborate on how his border experience has shaped his understanding of American culture and his role as an architectural conservator. \n\n  \n  \n\n\nPRESENTER: Alex B. Lim\n\n\n\nAlex B. Lim specializes in the conservation of architecture and archaeological sites and is based in Arizona. Through close working relationships with indigenous people\, he has insights into and appreciation for sustainable and intangible conservation practice that is particularly needed in times of climate change as traditional societies experience pressure for continuity as well as adaptation. Since 2012\, he has worked on conserving earthen buildings and their remains in the border region of the U.S.- Mexico\, focusing on Hispanic and Native American heritage on both sides of the border. He is particularly engaged with Tohono O’odhams\, Pascua Yaquis and Comcaacs (Seris)\, who all call the Sonoran Desert their home. In 2009\, he won an outstanding thesis award for his study on the use of soil and vegetation to protect the exposed masonry wall tops at archaeological sites as a sustainable alternative to crack-prone cementitious hard caps. His method\, developed during his time at the Center for Architectural Conservation at the University of Pennsylvania\, was applied at the archaeological site of Gordion\, Turkey with the help from the local community. He regularly initiates public outreach through hands-on workshops\, tours\, and internship programs to advocate for heritage stewardship. Prior to Arizona\, he has worked on archeological sites of the arid climate in the U.S. Southwest and in the Mediterranean/Middle East. He holds MS in historic preservation from the University of Pennsylvania and BA in natural sciences from the Johns Hopkins University. \n\n  \nFor questions regarding the talk\nContact us at mmrawlins@g.ucla.edu or ckcaraway229@g.ucla.edu\n\n\nTo view recordings of previous talks\, please visit the Cotsen Youtube page \n\nAs a land grant institution\, the faculty and administration at UCLA acknowledge the Gabrielino/Tongva peoples as the traditional land caretakers of Tovaangar (Los Angeles basin\, South Channel Islands). URL:https://conservation.ucla.edu/event/lessons-from-la-frontera-conserving-earthen-architecture-in-the-u-s-mexico-borderland-2/ LOCATION:Live Streaming via Zoom CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2024/02/20190831_190341-scaled-e1663705822984-845x321-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20231201T110000 DTEND;TZID=America/Los_Angeles:20231201T110000 DTSTAMP:20260606T202936 CREATED:20231116T174147Z LAST-MODIFIED:20231116T175506Z UID:10000119-1701428400-1701428400@conservation.ucla.edu SUMMARY:Toxic Heritage in Museum Collections – History\, Impact and Mitigation of Pesticides DESCRIPTION:Toxic Heritage in Museum Collections – History\, Impact and Mitigation of Pesticides\n\n\nEvent Date: Friday\, December 1\, 2023 at 11 a.m. (PT)\n\n\nPresenter: Helene Tello\n\nRSVP Link\n\nThe use of pesticides in museum collections at the end of the 19th and the beginning of the 20th century will be discussed in the socio-political context of Germans history. Embedded in the formation of nation states\, the First World War\, industrialization\, and the subsequent hygiene movement\, museums fought with various active ingredients and agents against the decay of their objects by harmful insects. Appearing as small self-contained institutions\, they relied heavily on outside support. The Ethnological Museum in Berlin (EM)\, with its cultural-political significance\, and geographical location\, is ideally suited as a case study. There\, an extensive collection policy led to completely overcrowded storages and exhibition halls\, where harmful insects found plenty of food at the objects made of organic materials. As a consequence\, individuals\, scientific institutions\, and a booming industry were feverishly searching for active ingredients and agents for combating harmful pests. The former staff at the EM began networking nationally and internationally to stop the infestation in the collections. But the most innovative and revolutionary technological aid came from Sweden\, where a plant for mass fumigation of insect pests\, specially constructed for museum facilities\, was invented. It was spread to Germany and throughout Europe in the further course. This presentation on the history of conserving cultural assets against harmful pests complements our knowledge on the preservation of museum objects as well as on the assessment of human-toxic hazards that emanate from the formerly introduced active ingredients and agents in the collection’s objects. The presentation also refers to the various efforts to develop methods and technologies to remove or mitigate toxic substances from objects with organic materials.\n  \nPRESENTER \nHelene Tello \nHelene Tello is working since 2020 as a freelance senior conservator. Starting her career in 1980\, she opened her own conservation studio in 1983. Then she moved on to the Vonderau Museum in Fulda\, Germany. Subsequently\, she looked after the Indian collections at the Ethnologisches Museum of the Staatliche Museen zu Berlin (Ethnological Museum of the National Museums in Berlin)\, Germany\, from 1998 to mid-2020. There\, she encountered the topic of pesticides formerly used on objects. She conducts research on decontamination methods of such treated cultural assets as well as safe handling of them for everyone who has to deal with it. Due to the opening of museum collections to indigenous people\, who started collaborating with the museums as well as repatriating their own cultural assets\, her many years of expertise are extremely important in our time. Her knowledge is spread out through numerous journal contributions\, teaching activities and lectures at home and abroad. Helene Tello will be researching on the Native American Grave Protection and Repatriation Act (NAGPRA) from May to October 2024 as part of her Fulbright scholarship at the University of California in Los Angeles (UCLA). This takes place against the background of the debates on neocolonialism that have arisen in Germany and Europe and the demands of indigenous people on museums for collaboration and restitution of their cultural assets. \nRSVP Link \n  \nFor questions regarding the talk\nContact us at mmrawlins@ucla.edu\nor ckcaraway229@g.ucla.edu \n  URL:https://conservation.ucla.edu/event/toxic-heritage-in-museum-collections-history-impact-and-mitigation-of-pesticides/ LOCATION:Live Streaming via Zoom CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/png:https://conservation.ucla.edu/wp-content/uploads/2023/11/Petra.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20231116T110000 DTEND;TZID=America/Los_Angeles:20231116T120000 DTSTAMP:20260606T202936 CREATED:20231108T203900Z LAST-MODIFIED:20231108T203900Z UID:10000118-1700132400-1700136000@conservation.ucla.edu SUMMARY:Replicas As Tools For Feather Preservation DESCRIPTION:Dra. María Olvido Moreno Guzmán\, Independent Researcher \nRenée Riedler\, Weltmuseum Wien \nCarlos Barrera Reyes\, Na Bolom Museum \nNovember 16th 11:00-12:00 PDT \nRSVP Here \nIn the National Museum of Anthropology of Mexico\, valuable 20th century replicas of unique feather objects are permanently exhibited in the Mexica Hall. This conservation-education strategy of creating replicas dates to 1938\, originally serving educational purposes and has developed into a vital support for conservation efforts. \nWe are pleased to invite you to this webinar hosted by Ellen Pearlstein\, Professor at UCLA\, as she discusses the preservation and conservation of these feathers with Dr. Maria Olvido Moreno Guzman\, Renée Riedler\, and Carlos Barrera Reyes. \nPlease RSVP by Wednesday\, November 15th. \nInvitation PDF \n  \nImage Credit: Olvido Moreno Guzmán \nImage Credit: Enrique Pérez \n  URL:https://conservation.ucla.edu/event/replicas-as-tools-for-feather-preservation/ LOCATION:Live Streaming via Zoom CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2023/11/Maria-Olvido-Guzman.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20230526T110000 DTEND;TZID=America/Los_Angeles:20230526T123000 DTSTAMP:20260606T202936 CREATED:20220923T152913Z LAST-MODIFIED:20231108T220932Z UID:10000115-1685098800-1685104200@conservation.ucla.edu SUMMARY:Research\, policy\, and practice by conservators with Indigenous communities in North America. DESCRIPTION:Research\, policy\, and practice by conservators with Indigenous communities in North America.\nSAMANTHA ALDERSON\, ELLEN CARRLEE\, AND KELLY McHUGH \nRegister for the Panel \n“Conservation support of institutional advances in community collaboration: The loan of a Haida chest and the renovation of the Northwest Coast Hall at the American Museum of Natural History” \nAbstract \nOver the last five years\, the conservation staff in the Anthropology Division of the American Museum of Natural History has participated in two projects that represented advances in community collaboration for the institution. The loan of a chief’s chest to the Haida Gwaii Museum in 2017 was the first from AMNH to an originating community for ceremonial use. The renovation of the museum’s historic Northwest Coast Hall was completed in 2022 and was the first permanent cultural exhibit hall to be redesigned working with a team of consulting curators from represented indigenous groups. This presentation will summarize conservation participation and support for these projects and outline specific efforts conservation staff made to facilitate and expand community involvement. \nBiography \nSamantha Alderson received an advanced certificate in the Conservation of Historic and Artistic Works and a MA in the History of Art and Archaeology from the Conservation Center of the Institute of Fine Arts\, New York University in 1994\, where she has been teaching advanced courses in objects conservation since 2005. She has held a variety of positions at AMNH since starting as an intern in the Anthropology Conservation lab in 1993\, becoming the Assistant Director of Conservation in 2021. She has researched\, presented\, and published on a wide variety of topics including the conservation of material culture from the Pacific Northwest and Siberia\, archaeological ceramics from Mesoamerica\, adhesives for conservation\, and climate monitoring for museums. \n  \n“Collaborative Conservation in a Small Place” \nEllen Carrlee \nAbstract \nA “networks of care” approach focused around a technology such as Chilkat weaving or a cultural material like gut can facilitate impactful collaboration with limited resources. Objects are important because objects are important to people. If we extend the possibility of agency or even personhood to objects\, animals\, plants\, people and beyond\, a web of relationships can come together for the benefit of all these participants. One case study illustrates relationships surrounding the dye analysis\, treatment\, exhibition\, and sharing of knowledge about woven wool textiles of the Tlingit\, Haida\, and Tsimshian people. Another case study explores relationships in the harvesting and processing of gut\, why the material is obsolete\, and why it is still important to people today through collaborations with Yup’ik\, Alutiiq/Sugpiaq\, Iñupiaq\, and other Alaska Native artists and cultural experts. \nBiography \nEllen Carrlee has been the objects conservator at the Alaska State Museum since 2006. She was trained in ethnographic and archaeological objects conservation at New York University (MA 2000) and in cultural anthropology at the University of Alaska Fairbanks (PhD 2020). Her work has included community collaborations\, moving a museum\, treatment of waterlogged and shipwrecked materials\, emergency preparedness\, collection surveys\, collections policy development\, preventive conservation\, and general object treatment. Her research interest focuses on analysis\, treatment\, and community access to collections made from plant and animal materials\, incorporating indigenous collaboration and networks of care through frameworks borrowed from social science theories and methods. \n  \n  URL:https://conservation.ucla.edu/event/research-policy-and-practice-by-conservators-with-indigenous-communities-in-north-america/ CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2022/09/Alderson_Haida_chest_working.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20230512T110000 DTEND;TZID=America/Los_Angeles:20230512T120000 DTSTAMP:20260606T202936 CREATED:20220923T152825Z LAST-MODIFIED:20231108T221117Z UID:10000114-1683889200-1683892800@conservation.ucla.edu SUMMARY:Community Archaeology and Conservation in Sudan: The Community Heritage Center at El-Kurru DESCRIPTION:Community Archaeology and Conservation in Sudan: The Community Heritage Center at El-Kurru \nGeoff Emberling and Suzanne Davis \nRegister for the Talk \nCommunity engagement is now essential to ethical field practice in archaeology and conservation. Although it represents a significant change from traditional fieldwork\, working more closely with host communities leads to significantly better and more sustainable outcomes. This talk will discuss our collaborative efforts to build and operate a Community Heritage Center at El-Kurru\, a thriving village that is also the site of a royal pyramid cemetery of kings and queens of ancient Kush (ca. 850-350 BCE). In developing exhibits and programs for the center\, conservation and site protection have remained priorities both for the international team and for the local community. \nBiographies \nGeoff Emberling is Associate Research Scientist at the Kelsey Museum of Archaeology\, University of Michigan and has been co-director of the International Kurru Archaeological Project since 2014. He has also held positions as curator and museum director. \n  \n  \n  \nSuzanne Davis is Curator of Conservation at the Kelsey Museum of Archaeology\, University of Michigan and current president of the American Institute for Conservation. She is the director of conservation for the Kelsey’s field projects in Sudan and also on projects in Egypt and Turkey. \n  \n  \n  \n  \n  \n  \n  \n  URL:https://conservation.ucla.edu/event/community-archaeology-and-conservation-in-sudan-the-community-heritage-center-at-el-kurru/ CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2022/09/House-before-construction-with-Mansour-2-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20230310T110000 DTEND;TZID=America/Los_Angeles:20230310T120000 DTSTAMP:20260606T202936 CREATED:20220923T152724Z LAST-MODIFIED:20231108T221352Z UID:10000113-1678446000-1678449600@conservation.ucla.edu SUMMARY:Alternative Paths for Preserving Material Culture and Bio Culture Heritage DESCRIPTION:Alternative Paths for Preserving Material Culture and Bio Culture Heritage\nJulia M Brennan and Lilian García-Alonso\nWatch the Recording Here \nAbstract \nAs textile conservators from different backgrounds\, we were drawn together by a common interest and respect for traditional technologies\, materials\, and practices used around the world to care for textile collections. These methods grounded in tangible and intangible knowledge systems have protected textiles for generations. They offer an alternative to the use of toxic chemicals for treating\, cleaning\, and fumigating collections. Our goal is to chronicle\, adapt and share the stories\, methods\, and plant materials\, and help create accessible and safe collection care practices. \nCollaboration is the backbone of the project; we work with students\, colleagues\, and communities in North America and Southeast Asia. The model focuses on people-to-people interaction\, and the exchange of skills and knowledge\, with simple guidelines for research and data gathering. To preserve the bio-cultural heritage\, the plant data is quantified; such as the cleaning of silk and cotton with plant-derived saponins\, extracting and testing the effectiveness of aromatic compounds and hydrolates from endemic plants for pest control. Based on the cultivation and study of some plant specimens\, a self-sustaining production system is being developed through ecological reintegration\, as biocultural heritage.  The findings\, plant data\, recipes\, and methods are shared in workshops and open access publications so that this knowledge can be put into practice. \nThe goal is to build affordable\, safe alternatives for the treatment of cultural heritage in general while nurturing the intangible heritage of traditional practices. This holistic and community-based approach to conservation helps to preserve rapidly disappearing traditional technologies\, and build mutual respect for one another and our biocultural heritage. \n  \nBiographies \nJulia M. Brennan Caring for Textiles has worked in the field of textile conservation since 1985 and is committed to the protection of cultural property. Since 2000\, she has led collections care and conservation initiatives in Bhutan\, Madagascar\, Algeria\, Indonesia\, Laos\, and Thailand\, including the preservation of victims’ clothing in Cambodia and Rwanda. Providing colleagues with sustainable skills is demonstrated in her 2019 project and publication “Our Ancestors Knew Best” quantifying traditional textile preservation methods and materials in Asia. She has a BA from Barnard College and an MA in art crime from The Association for Research in Crimes Against Art. \n  \n  \nLilian García-Alonso\, professor and co-founder of the Traditional Technologies and Sustainability laboratory (ENCRyM)\, tries to generate interest in the rescue and appreciation of biocultural heritage and traditional technologies as sustainable\, ecological\, and necessary options in contemporary restoration. Clinical laboratory technician\, Bachelor in conservation\, master’s in studies of the relationship between artistic productions and society\, and Ph.D. in Mesoamerican Studies. Firmly believes that the exchange of knowledge is an act of generosity. \n  \n  \n  \n  URL:https://conservation.ucla.edu/event/alternative-paths-for-preserving-material-culture-and-bio-culture-heritage/ LOCATION:To Watch the Recording Please Click The Lecture Title Above CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2022/09/Path-e1663708542172.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20230224T110000 DTEND;TZID=America/Los_Angeles:20230224T120000 DTSTAMP:20260606T202936 CREATED:20220923T152632Z LAST-MODIFIED:20231108T221249Z UID:10000112-1677236400-1677240000@conservation.ucla.edu SUMMARY:The Loong Conservation Project - conserving the oldest known imperial processional dragon DESCRIPTION:The Loong Conservation Project—conserving the oldest known imperial processional dragon \nDr Holly Jones-Amin \nWatch the Recording Here \nLoong 龍 is recognised as the oldest imperial processional dragon in the world. Made c. 1890\, Loong 龍 is a widely respected living part of the Bendigo community in Australia. His survival is due to over 100 years of consistent care by the Bendigo Chinese community. This talk charts Loong’s 龍 performing life\, his impact on the Bendigo and wider community\, his contribution to cultural sustainability\, his past repairs and recent conservation treatment. The Loong Conservation Project is the first Australian heritage conservation project to capture detailed carbon emissions measurements. The talk details the steps Grimwade conservators took to engage with the Chinese community and other stakeholders to conserve Loong 龍. Conservators and Masters of Cultural Materials Conservation Students utilised methods that actively reduced the carbon emissions of treatment practices and materials during over 1500 hours of treatment. \nBiography \nHolly has worked as a conservator for over 25 years. She is the Principal Conservator and Team Leader of the objects\, textiles and archaeological conservation consultancy program at Grimwade Conservation Services at the University of Melbourne (UoM). In this role\, she straddles research\, teaching\, engagement and commercialisation. \nShe is a foundation lecturer for the University of Melbourne Masters of Cultural Materials Conservation. From 2004 to 2014\, she managed postgraduate coursework programs and lectured and tutored students. From 2015 to the present\, she has taught as an expert in practice\, delivering sessional lectures\, tutoring\, supervising\, and marking minor theses. \nShe holds degrees in Archaeology and Conservation and a PhD in conserving low-fired archaeological ceramics. Holly has worked as a Conservator in the museum setting and archaeological sites in Australia\, Syria\, Singapore\, Papua New Guinea\, Turkey\, Italy and Georgia. She has specialist skills in treating archaeological\, Indigenous and world culture objects. Her research interests include the degradation and stabilisation of porous archaeological ceramics\, how conservation interventions impact future research and how cultural belief systems can be respected in museum settings. \nShe is a CABAH (Australian Research Council Centre of Excellence for Australian Biodiversity and Heritage) associate investigator. CABAH is undertaking research to safeguard Australia’s national heritage\, transform research culture\, connect with communities and inform policy. The team of academics are from eight Australian universities and several museums in Australia and overseas. As part of the CABAH team\, Holly aims for materials conservation to take a more active role within archaeological projects in Australia and beyond. She is an assistant coordinator for the International Council of Museums Committee for Conservation (ICOM-CC) working group for archaeological materials and sites. \nThrough CABAH\, Holly is working with the University of Wollongong to develop conservation workshops for the Warddeken Indigenous Protected Area in the Northern Territory. URL:https://conservation.ucla.edu/event/the-loong-conservation-project-conserving-the-oldest-known-imperial-processional-dragon/ LOCATION:To Watch the Recording Please Click The Lecture Title Above CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2022/09/Holly-conserving-Loong-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20230210T110000 DTEND;TZID=America/Los_Angeles:20230210T120000 DTSTAMP:20260606T202936 CREATED:20220923T152542Z LAST-MODIFIED:20231108T221504Z UID:10000111-1676026800-1676030400@conservation.ucla.edu SUMMARY:Study of 16th and 17th century lacquered Luso-Asian artifacts - Uncovering complex dynamics of cross-cultrual exchange reflected in their heterogeneous composition. DESCRIPTION:Study of 16thand 17thcentury lacquered Luso-Asian artifacts –Uncovering complex dynamics of cross-cultural exchange reflected in their heterogeneous composition\n  \nWatch the Recording Here \n  \nAbstract \nCatholic European presence in 16thand 17thcentury Asia\,under the patronage of the Portuguese Crown\,linked varied ports of South\, Southeast and East Asia via the Luso-Asian networks of maritime trading routes\, commercial ventures\, diplomatic relations\, and missionary work. On various levels resulted manifold circulations that promoted exchange and mutual influences in the scope of European-Asian and inter-regional encounters. Indigenous crafts adapted to foreign tastes and needs\, heterogeneous artifacts and new artistic styles emerged that well illustrate cultural\, religious\, and artistic intermingling promoted by cross-cultural interaction. \nOne result are lacquered Luso-Asian artifacts\, including parade shields\, portable furniture\, as well as religious items.Though variously classified in the past\, their inconsistent characteristics called for deeper examination and inspired multi-disciplinary research. The striking results revise our understanding of the commission and circulation of these artifacts—heterogeneous creations\, combining craft contributions and stylistic influences of multiple cultural spheres. \nSeveral examples of lacquered Luso-Asian religious items ordered and employed all above by the Society of Jesus in their mission in China and elsewhere manifest present craft contributions and stylistic influences from India\, China\,and Japan. Notable are articles that mimic Japanese nanban ornamental schemes but employ Chinese traditional techniques and motifs. To equip their various missions\, the Jesuits\, promoter of various circulations\,commissioned liturgical implements to evangelize local populations\, often taking advantage of the already existing production of devotional items settled around Goa and local lacquer arts of Japan or China\, using the maritime trading routes that linked Lisbon\, Goa\, Macao\,and Nagasaki. Indicating a stylistic confluence within the framework of the Jesuit missions in Asia\, these religious pieces point to the Portuguese base of Macau—the strategic center of Jesuit activities and refuge of many Christians after their expulsion from Japan in the early 17th century. \nIn depth material analysis uncovered not only hints to early modern circulation of people\, raw materials\, spiritual beliefs\, and esthetic conventions that are not decipherable on first sight.By identifying employed materials and layer structures\, it further revealed causes of present states of conservation and degradation patterns standard to simplified lacquer formulations\, reduced layer sequences and hasty production. This information is crucial for appropriate choices of materials and methods to be employed in conservation projects to preserve them. \n  \nBiography \nUlrike Körber\, conservator and integrated researcher at IHA – NOVA FCSH Lisbon\, combines advanced study in art history with previous training as a journeyman cabinetmaker (2002\, Handelskammer Potsdam\, Germany)\, and as a conservator of wooden artifacts and furniture (2008\, FH-Potsdam\, Germany). \nSince her first contacts with Asian lacquer at the José de Figueiredo Laboratory (JFL) in Lisbon in 2006\, she is fascinated by this complex material. Artifacts she encountered during various projects in Lisbon led her to focus on 16th and 17th century Luso-Asian lacquered items manufactured for Catholic European commission\, which feature the transfer and transformation of motifs\, iconography\, materials\, and techniques. Variously classified as Indo-Portuguese\, Nanban\, Singalo-Portuguese\, Chinese or Ryūkyūan (today’s Okinawa)\, the inconsistency with which they fit their assigned categories\, mixed materials and techniques\, exposed pathologies\, and the question of attribution raised curiosity and led to the first collaborative material investigation at the JFL and to her in-depth multidisciplinary PhD research. This received analytical support at the Getty Conservation Institute as part of the RAdICAL international Asian lacquer project. \nHer thesis: The Journey of Artifacts: The Study and Characterization of a Nucleus of Lacquered Luso-Asian Objects from the 16th and 17th Centuries (University of Evora\, 2019) examined a broader group of diverse parade shields\, portable furniture and religious items embellished with East Asian lacquer. By identifying the craft traditions mingled on individual pieces\, it revealed unexpected patterns of circulation. \nA conservator in private practice in Lisbon\, she collaborates with various international institutions. From November 2022 to March 2023\, she is conducting research at the Asian Civilizations Museum in Singapore as a post-doc research fellow. URL:https://conservation.ucla.edu/event/study-of-16th-and-17th-century-lacquered-luso-asian-artifacts-uncovering-complex-dynamics-of-cross-cultrual-exchange-reflected-in-their-heterogeneous-composition/ LOCATION:To Watch the Recording Please Click The Lecture Title Above CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2022/09/work-image.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20230127T110000 DTEND;TZID=America/Los_Angeles:20230127T120000 DTSTAMP:20260606T202936 CREATED:20220923T152349Z LAST-MODIFIED:20260202T182517Z UID:10000110-1674817200-1674820800@conservation.ucla.edu SUMMARY:The Conservation and Curation of African Sacred Objects. A Case study: Dinkho tsa Badimo (Ancestral ceramic vessels of the Basotho-Batswana of Southern Africa) DESCRIPTION:The Conservation and Curation of African Sacred Objects: Case study: Dinkho tsa Badimo (Ancestral ceramic vessels of the Basotho-Batswana of Southern Africa)\nMabafokeng Hoeane(She/They)\nPhD candidate\, Heritage Museums Studies\, University of Pretoria\, South Africa \nWatch the Recording Here \nAbstract \nCeramic vessels for centuries have been used across the world by different cultures and groups for various uses. The focus of this talk will be on ceramics created by the Basotho-Batswana group of Southern Africa. Ceramics as cultural heritage objects have been extensively studied by archaeologists and anthropologists with the focus of the literature being on their functions as vessels used for the transportation\, storage\, processing and serving of food\, and through this study of foodstuffs an exploration of past lifeways\, social exchanges and processes. This emphasis however is limited as few studies have engaged with the spiritual use of ceramic vessels in presenting ritual offerings and ceremonial practices. This could be a result of past museum collection practices which misclassified and misidentified these sacred vessels and incorporated them into collections as common household wares. The focus of this talk\, based on published literature\, museum records and interviews with traditional healers seeks to highlight the importance of the use of ancestral ceramic vessels in spiritual practices of Southern African Basotho-Batswana cultural groups. The focal point of the research has been to highlight the significance and importance of recognizing Dinkho tsa Badimoas a separate class of ceramics which in turn requires consideration in curatorial practice which the presenter believes forms part of decolonising African histories and artefacts. \nBiography \nMabafokeng Hoeane is a Healer\, Historian\, Cultural and Heritage Curator and Conservator\, and Alumni University of Pretoria Masters in Tangible Heritage Conservation.Currently\, based in Pretoria\, South Africa.Her work and research interests focus on decolonizing methods used to conserve and curate African sacred/spiritual objects in Museum collections.Her talk will speak on how Museums can care for and steward sacred objects\, and how to build a deeper relationship with originating communities of these objects.She is a researcher at the Centre for the Advancement of Scholarship\, University of Pretoria and part of the Andrew W. Mellon funded project tittle Entanglement\, Mobility and improvisation: Culture and Arts in Contemporary African Urbanism and its Hinterlands.She is currently pursuing a PHD in Heritage Museum studies at the University of Pretoria. URL:https://conservation.ucla.edu/event/the-conservation-and-curation-of-african-sacred-objects-a-case-study-dinkho-tsa-badimo-ancestral-ceramic-vessels-of-the-basotho-batswana-of-southern-africa/ LOCATION:To Watch the Recording Please Click The Lecture Title Above CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2022/09/IMG-20200730-WA0028.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20221118T110000 DTEND;TZID=America/Los_Angeles:20221118T120000 DTSTAMP:20260606T202936 CREATED:20220923T152219Z LAST-MODIFIED:20231108T221823Z UID:10000109-1668769200-1668772800@conservation.ucla.edu SUMMARY:The Conservation and Restoration of the Church of Kunotambo by its Community DESCRIPTION:The Conservation and Restoration of the Church of Kuñotambo by its Community\nRegister for the Talk \nClaudia Cancino\n\n  \nClaudia Cancino \nArchitect | Architectural Conservator | MBA | MS \nSenior Project Specialist\, Building and Sites department \nThe Getty Conservation Institute \n  \n  \nThe community of Kuñotambo\, a small village near Cusco\, Peru has been a crucial and significant stakeholder for the conservation of its church of Santiago Apóstol. Thanks to them\, their church was seismically retrofitted and is now maintained as a case study for similar sites in the region. \nThe church is one of the four case studies of the Seismic Retrofitting Project\, a collaborative project between the Getty Conservation Institute and the Ministry of Culture of Peru. The SRP aims to design\, test and model seismic retrofitting techniques suitable to earthen buildings using low-tech materials and local expertise. \nThe construction documents for the seismic retrofitting of the church were developed by the GCI and the Ministry of Culture of Cusco; where the SRP designed retrofitting techniques were implemented. The construction phase started in 2016 and the church was inaugurated in 2019. \nThis contribution will explain the importance of the involvement of local communities for the conservation and maintenance of their heritage. \nClaudia Cancino is a licensed architect from Peru and manages the Getty Conservation Institute Earthen Architecture Initiative which has three components: The Seismic Retrofitting Project in Peru\, the Earthen Architecture Course in Al-Ain\, Abu Dhabi and the Terra 2021 Congress in Santa Fe\, New Mexico. She also manages the Retrofitting and Repair Component of the Bagan Conservation Project. She earned a certificate in conservation at ICCROM in Rome\, followed by graduate diploma in business administration at ESAN in Lima. She practiced preservation architecture and has taught Earthen Conservation at several universities. She earned a Master of Science in Historic Preservation and an advanced certificate in conservation from the University of Pennsylvania. \n  URL:https://conservation.ucla.edu/event/the-conservation-and-restoration-of-the-church-of-kunotambo-by-its-community/ CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2022/09/CC.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20221028T110000 DTEND;TZID=America/Los_Angeles:20221028T120000 DTSTAMP:20260606T202936 CREATED:20220923T151909Z LAST-MODIFIED:20231108T221959Z UID:10000107-1666954800-1666958400@conservation.ucla.edu SUMMARY:Yup'ik masks at the Vatican; Indigenous American Heritage in European Museums DESCRIPTION:Yup’ik masks at the Vatican; Indigenous American Heritage in European Museums\nChuna McIntyre and Ellen Pearlstein\nRegister for the Talk \nCollaborative practices that are increasingly expanding in the U.S.\, Canada\, Australia and New Zealand are important to extend toEuropean museums holding these collections\, i e.\, to create more global paradigms for collaborative conservation practice. As a direct outcome of Ellen Pearlstein’sRome Prize Fellowship at the American Academy in Rome for six months in 2022\, shewas ableto work with two museums in Rome with major American Indigenous holdings\, and with significant investments in redefining colonial museum practices. These are the Anima Mundi\, the renamed ethnological museum of the Vatican Museums in Vatican City\, and the “Luigi Pigorini” National Prehistoric Ethnographic Museum\, now part of the Museo delle Civiltá in Rome. The opportunity to facilitate a meeting and reconnectYup’ik elder Chuna McIntyreto masterful Yup’ikmasks collected in 1924 for the Vatican Missionary Exposition in 1925led to profound linguistic\, spiritual\, and technical lessons\, permitting the museum to revise their understanding and their exhibition label. Chuna will further share about the Yup’ik worldview for his heritage. \n  \nBiography \nEllen Pearlstein was the Senior Objects Conservator at the Brooklyn Museum in NewYork\, where she also served as an advisor on Native American Graves Protection and Repatriation Act. In 2005\, Ellen assumed a faculty position in the UCLA/Getty Program in the Conservation of Cultural Heritage and in 2008 Ellen joined UCLA’s Department of Information Studies\, and invited students interested in library and archive materials into her preservation and management classes. Her research engages with how technology and care of Indigenous materials are strengthened through working with source communities\, which she has recently extended to Europe. Her upcoming book in the Getty Readings in Conservation series\, “Conservation and Stewardship of Indigenous Collections: Changes and Transformations” is in production. Ellen’s technical research includes conservation of featherwork and basketry\, effects of environmental agents; pre-and post-Hispanic qeros from the Andes; and curriculum development within conservation education.She directs the Mellon Opportunity for Diversity in Conservation\, part of her career-long work on increasing underrepresented engagement with the field. Ellen is a Fellow in the American Institute for Conservation and the International Institute for Conservation\, winner of the Keck award\, and President of the Association of North American Gradate Programs in Conservation.Her presentation reflects work conducted as a 2021 Rome Prize Fellow at the American Academy in Rome. epearl@ucla.edu URL:https://conservation.ucla.edu/event/yupik-masks-at-the-vatican-indigenous-american-heritage-in-european-museums/ CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2022/09/Masterpiece.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20220520T110000 DTEND;TZID=America/Los_Angeles:20220520T120000 DTSTAMP:20260606T202936 CREATED:20210929T221300Z LAST-MODIFIED:20220406T194815Z UID:10000092-1653044400-1653048000@conservation.ucla.edu SUMMARY:The conservation and restoration of the church of Kuñotambo by its community DESCRIPTION:Claudio Cancino\nSenior Project Specialist\, Getty Conservation Institute \nRegister here \nThe conservation and restoration of the church of Kuñotambo by its community \nClaudia Cancino \nArchitect | Architectural Conservator | MBA | MS \nSenior Project Specialist\, Building and Sites department \nThe Getty Conservation Institute \nThe community of Kuñotambo\, a small village near Cusco\, Peru has been a crucial and significant stakeholder for the conservation of its church of Santiago Apóstol. Thanks to them\, their church was seismically retrofitted and is now maintained as a case study for similar sites in the region. \nThe church is one of the four case studies of the Seismic Retrofitting Project\, a collaborative project between the Getty Conservation Institute and the Ministry of Culture of Peru. The SRP aims to design\, test and model seismic retrofitting techniques suitable to earthen buildings using low-tech materials and local expertise. \nThe construction documents for the seismic retrofitting of the church were developed by the GCI and the Ministry of Culture of Cusco; where the SRP designed retrofitting techniques were implemented. The construction phase started in 2016 and the church was inaugurated in 2019. \nThis contribution will explain the importance of the involvement of local communities for the conservation and maintenance of their heritage. \n  \nClaudia Cancino is a licensed architect from Peru and manages the Getty Conservation Institute Earthen Architecture Initiative which has three components: The Seismic Retrofitting Project in Peru\, the Earthen Architecture Course in Al-Ain\, Abu Dhabi and the Terra 2021 Congress in Santa Fe\, New Mexico. She also manages the Retrofitting and Repair Component of the Bagan Conservation Project. She earned a certificate in conservation at ICCROM in Rome\, followed by graduate diploma in business administration at ESAN in Lima. She practiced preservation architecture and has taught Earthen Conservation at several universities. She earned a Master of Science in Historic Preservation and an advanced certificate in conservation from the University of Pennsylvania. URL:https://conservation.ucla.edu/event/title-tbd/ CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/09/CC_Peru.jpg ORGANIZER;CN="C%C3%A9line Wachsmuth":MAILTO:wachsmuthc@g.ucla.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20220422T110000 DTEND;TZID=America/Los_Angeles:20220422T120000 DTSTAMP:20260606T202936 CREATED:20210929T221116Z LAST-MODIFIED:20210930T154054Z UID:10000091-1650625200-1650628800@conservation.ucla.edu SUMMARY:Teatime\, What Every Conservator Needs to Know About the Complexity of Asian Lacquer? DESCRIPTION:Marianne Webb\nWebb Conservation Services \nRegister here \nAsian lacquer is one of those materials that most furniture and object conservators encounter occasionally during their career. Unfortunately\, conservation efforts can go dramatically wrong when a sensitive lacquer surface is treated inappropriately. A lustrous black surface can instantaneously turn to a milky brown color. During the active history of an Asian lacquer object this can occur when serving warm sushi or a hot cup of tea. For conservators it can occur during cleaning or consolidation. \nFortunately\, our understanding of Asian lacquer surfaces has dramatically improved over the last few years. The Getty Conservation Institute is leading the research that demonstrates Asian lacquer is a complex mixture of one or more anacard lacquers with additives such as oil\, pigments and resins. Now that we are learning more about the complex nature of the surface\, we are beginning to understand how the ingredients affect the behavior. \nMarianne Webb is an independent conservator and researcher on the west coast of Canada. For 29 years she was the Decorative Arts Conservator at the Royal Ontario Museum in Toronto where she developed her keen interest inAsian and western lacquer. Currently she is collaborating with the Getty Conservation Institute on their research into the characterization of Asian lacquer and developing cleaning techniques for these complicated surfaces. \nMarianne earned an honor’s degree in Fine Art from the University of Toronto and a diploma in Art Conservation Techniques from Sir Sanford Fleming College. A founding member of the ICOM-Committee for Conservation -Working Group on Lacquer\, she served as its coordinator for 12 years. She received the Samuel H. Kress Publication Fellowship in 1997 from the American Institute for Conservation. The resulting manuscript was published in 2000 as Lacquer: Technology and Conservation.In 2020 she received the Charles Mervin Ruggles Award from the Canadian Association for Conservation of Cultural Property. URL:https://conservation.ucla.edu/event/teatime-what-every-conservator-needs-to-know-about-the-complexity-of-asian-lacquer/ CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/09/Teatime-Discoloration-of-a-tea-tray-scaled.jpeg ORGANIZER;CN="C%C3%A9line Wachsmuth":MAILTO:wachsmuthc@g.ucla.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20220318T110000 DTEND;TZID=America/Los_Angeles:20220318T120000 DTSTAMP:20260606T202936 CREATED:20210929T220956Z LAST-MODIFIED:20231108T222425Z UID:10000104-1647601200-1647604800@conservation.ucla.edu SUMMARY:Conservation and Restoration Approaches at the Musical Instrument Museum DESCRIPTION:Rodrigo Correa-Salas\nConservator \nWatch the Recording Here \nThe structure\, materials and acoustic properties of musical instruments are diverse and delicate. These characteristics will determine whether the instrument can be played (on special occasions) or just be displayed in the gallery. \nThe basic knowledge of the different materials (and their combinations) with which they were built\, how they were made\, how they were played and on what occasions they were played offers us a good basis and help to evaluate each instrument and know how to proceed to maintain\, stabilize\, adjust\, restore\, or fix these sound machines. \nBorn in Santiago\, Chile\, Rodrigo Correa Salas comes from a family of artists.Prior to MIM\, Correa worked as a luthier and instrument conservator for nearly two decades in the United States\, Caribbean\,Panama\, and Chile. He was the official luthier of the annual Casals Festival in San Juan\, Puerto Rico\, and custodian of Maestro Casals’s violoncello in the Pablo Casals Museum. \nCorrea graduated from Puerto Rico’s Conservatory of Music\, with a bachelor’s degree in music education and a minor in violoncello. He later obtained an associate of science degree in string instrument technology from Indiana University\, while doing parallel studies in cello. He has played in various baroque\, classical\, and popular music groups in the United States and the Caribbean. \nCorrea’s role as conservator is to examine\, document\, restore\,repair\, and maintain musical instruments and other objects in MIM’s collection\, while coordinating closely with the curatorial teamand collaborates in installing gallery exhibitions. URL:https://conservation.ucla.edu/event/conservation-and-restoration-approaches-at-the-musical-instrument-museum/ LOCATION:To Watch the Recording Please Click The Lecture Title Above CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/09/musical_instrument-e1633016378526.jpg ORGANIZER;CN="C%C3%A9line Wachsmuth":MAILTO:wachsmuthc@g.ucla.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20220218T110000 DTEND;TZID=America/Los_Angeles:20220218T120000 DTSTAMP:20260606T202936 CREATED:20210929T220841Z LAST-MODIFIED:20231108T222650Z UID:10000090-1645182000-1645185600@conservation.ucla.edu SUMMARY:Preserving the Wreck of an Intact 17th-century warship – the Challenging and Rewarding Conservation Work at the Vasa Museum DESCRIPTION:Malin Sahlstedt\nConservator\, Vasa Museum\, Swedish National Maritime and Transport Museums \nWatch the Recording Here \nSince the raising of 17th-century warship Vasa in 1961 after333 years on the seabed of Stockholm harbour\, two generations of preservation staff have had the task to safeguard this mighty piece of maritime cultural heritage for the future\, a task perhaps as monumental as the ship itself. Contrary to what was thought when the Vasa Museum opened in 1990\, namely that the conservation project was finalised and there would be little further need for lab facilities and specialised staff\, the gradual development of acidic precipitates on the surface of the ship over the coming decade signalled on-going degradation processes\,which called for action and wide expertise. Through a number of interdisciplinary research projects\, new knowledge has been built and implemented in museum practice. I will present some of the experiences made and lessons learned over the years\, where the securing and maintaining of broad preservation competence have become increasingly important and likewise challening. \nMalin Sahlstedt studied Conservation of Cultural Property at Gothenburg University and has aMSc in Archaeological Science from Stockholm University (2000). After working in archaeological conservation with the focus on the treatment of waterlogged wood and a research projecton alum-treated archaeological wood at the Swedish National Heritage Board (2002-2009)\,she is currently conservator at the Vasa Museum in Stockholm\, Sweden (2009-present). Here\, in the continuous effort to improve the long-term preservation conditions for 17th-centurywarship Vasa and associated wooden artefacts\, her work is concentrated on testing methods and implementing research results in the museum context. She also worked as a conservator in the research project Saving Oseberg at the Cultural History Museum in Oslo\, Norway (2017-2018)\, investigating the preservation status of and re-treatment options for the alum-treated wooden objects of the Viking Ship Museum collection. URL:https://conservation.ucla.edu/event/preserving-the-wreck-of-an-intact-17th-century-warship-the-challenging-and-rewarding-conservation-work-at-the-vasa-museum/ LOCATION:To Watch the Recording Please Click The Lecture Title Above CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/09/17th-c-warship-Vasa-photo-Karolina-Kristensson-the-Vasa-Museum.jpg ORGANIZER;CN="C%C3%A9line Wachsmuth":MAILTO:wachsmuthc@g.ucla.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20220121T110000 DTEND;TZID=America/Los_Angeles:20220121T120000 DTSTAMP:20260606T202936 CREATED:20210929T220711Z LAST-MODIFIED:20210930T153528Z UID:10000089-1642762800-1642766400@conservation.ucla.edu SUMMARY:Regional Distinctions of Traditional Palestinian Embroidered Dress\, 1850-1948 DESCRIPTION:Wafa Ghnaim \nRegister here \nEmbroidery in the Holy Land has existed for centuries\, showcased in the decorated garments created andworn by Palestinian women for generations\, as well as documented by the many international visitors who travelled to Palestine for pilgrimage or tourism. By the mid-nineteenth century\, each region of historic Palestine had developed their own distinct styles\, through variation of fabric\, thread color\, motif\, and ensemble. Some cities\, such as Bethlehem\, Ramallah\, Yaffa and Gaza\, became famous for their unique ensembles\, however there are dozens of villager and bedouin styles that exist across historic Palestine. Each style and regional variation speak a language of their own\, transformed by the political\, economic and social events that occurred at the turn of the century and continue to be cherished by Palestinians today. \nWafa Ghnaim is a Palestinian-American artist\, researcher\, writer\, educator\, and businesswoman who began learning Palestinian embroidery from her mother\, award-winning artist Feryal Abbasi-Ghnaim\, when she was two years old. Her first book\, “Tatreez & Tea: Embroidery and Storytelling in the Palestinian Diaspora” (2018)\, documents the traditional patterns passed to her by her mother. Wafa has since become a leading educator in the field as the first-ever Palestinian embroidery instructor at the Smithsonian Museum\, and an artist-in-residence at the Museum of the Palestinian People in Washington\, D.C. In addition to her extensive scholarship\, Wafa continues her mother’s educational legacy through Tatreez & Tea\, a global arts education initiative she began in 2016. Wafa has been featured in major media outlets\, most recently in Vogue Magazine\, naming her and her mother “the world’s leading guardians of tatreez”. Wafa currently resides in Washington\, D.C. To learn more about the Tatreez & Tea project\, go to www.tatreezandtea.com or follow on Instagram @tatreezandtea. \nPhotograph/Headshot Credit: Carlos Khalil Guzman\, 2020 URL:https://conservation.ucla.edu/event/regional-distinctions-of-traditional-palestinian-embroidered-dress-1850-1948/ CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/09/AF5DAF24-429D-47AC-808F-711D35CAD5ED.jpg ORGANIZER;CN="C%C3%A9line Wachsmuth":MAILTO:wachsmuthc@g.ucla.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20211210T110000 DTEND;TZID=America/Los_Angeles:20211210T120000 DTSTAMP:20260606T202936 CREATED:20210929T220602Z LAST-MODIFIED:20210930T153400Z UID:10000088-1639134000-1639137600@conservation.ucla.edu SUMMARY:Embodied Knowledges within Cultural Collections DESCRIPTION:Sven Haakanson\nPh.D.\, Curator\, Burke Museum\nAssociate Professor in Anthropology at the University of Washington \nRegister here \nOver the past three decades\, in collaboration with my community from Kodiak\, Alaska\, I have researched \nmuseum collections from around the world to learn about and return the embodied knowledge of our cultural history. From masks\, clothing\, baskets to boats we have systematically taken knowledge that was taken out and brought it back to our communities to use once again. The angyaaq (open boat) from our region was set aside in the 1800’s after contact with Europeans\, but thanks to collections we were able to learn about this vessel and reverse engineer the models in order to build a full size angyaaq at the Akhiok Kids Camp in 2016. \n  \n  \nSven Haakanson is Sugpiaq from Old Harbor\, Alaska. He is a recipient of a MacArthur Fellowship (2007)\, the Museums Alaska Award for Excellence (2008)\, the ATALM Guardians of Culture and Lifeways Leadership Award (2012)\, and his work on the Angyaaq led it to be inducted into the Alaska Innovators Hall of Fame (2020). He joined the University of Washington in 2013. He engages communities in cultural revitalization using material reconstruction as a form of scholarship and teaching. His projects have included the reconstruction of full-sized angyaaq boats from archaeological models\, as well as halibut hooks\, masks\, paddles\, and traditional processing of bear gut into waterproof material for clothing. He has and continues to collaborate with the community of Akhiok at their Akhiok Kids camp since 2000. URL:https://conservation.ucla.edu/event/embodied-knowledges-within-cultural-collections/ CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/09/Angyaaq-paddling.jpg ORGANIZER;CN="C%C3%A9line Wachsmuth":MAILTO:wachsmuthc@g.ucla.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20211119T110000 DTEND;TZID=America/Los_Angeles:20211119T120000 DTSTAMP:20260606T202936 CREATED:20210929T220344Z LAST-MODIFIED:20210930T153247Z UID:10000093-1637319600-1637323200@conservation.ucla.edu SUMMARY:Buddhist Wall Paintings in Ladakh – Painting Technique\, Conservation and Ethical Considerations DESCRIPTION:Sreekumar Menon\nPaintings Conservator\, (Partner) Art Conservation Solutions \nRegister here \nWall paintings in Ladakh\, the earliest specimens of which date from the eleventh century\, mirror the development of Buddhism and Buddhist Art in the region.The materials and technique of these paintings\,and their iconographic schemes\, are complex and have transformed overtime. Many of these paintings have undergone damages due to various intrinsic and or extrinsic factors. Their conservation is a challenge\, especially when they are housed in structures that are still being used by the religious community. A wholistic study of these paintings is vital to better-understand their original technologies\, and prevent the inadvertent loss of original materials during conservation interventions. \nThis talk intends to discuss the painting technique of the early period wall paintings of Ladakh\, their significance\, and ethical issues involved while dealing with their conservation. \nSreekumar Menon is a paintings conservator based in India. He did his Master’s in art conservation from the National Museum Institute\, New Delhi before undertaking internships in paintings conservation at the Indian National Trust for Art and Cultural Heritage(INTACH)\, New Delhi\, Hamilton Kerr Institute\, Cambridge and Stichting Restauratie Atelier Limburg(SRAL)\, The Netherlands. He is currently his completing PhD at the Courtauld Institute of Art\, London. \nAs a partner inthe firm Art Conservation Solutions\, Sreekumar has managed and executed various conservation projects in India. He also worked with the Courtauld Institute of Art in wall painting conservation projects in India and Bhutanand has been a programme manager of the Leon Levy Foundation Centre for Conservation Studies at Nagaur\, India from 2015-2019. \nSreekumar is a fellow of the International Institute for Conservation of Historic and Artistic Works (IIC)and a guest lecturer to leading conservation programmes in India. URL:https://conservation.ucla.edu/event/buddhist-wall-paintings-in-ladakh-painting-technique-conservation-and-ethical-considerations/ CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/09/Menon_work.jpg ORGANIZER;CN="C%C3%A9line Wachsmuth":MAILTO:wachsmuthc@g.ucla.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20211022T110000 DTEND;TZID=America/Los_Angeles:20211022T120000 DTSTAMP:20260606T202936 CREATED:20210929T220200Z LAST-MODIFIED:20231108T223028Z UID:10000087-1634900400-1634904000@conservation.ucla.edu SUMMARY:Conservation & Revitalisation of Rajbagh Silk Factory\, Srinagar\, India – Connecting Memory & Material Culture Towards Building a Future. DESCRIPTION:Gurmeet S Rai\nMs. Director\, CRCI (India) Pvt Ltd \nWatch the Recording Here \nThe Rajbagh Silk factory is a strand of the cultural legacy of Kashmir. Silk from Kashmir finds references in ancient\, medieval and modern period narratives. In the 19th-20thC the bivoltine silk and crafts such as pashmina shawls from the valley were much in demand across the globe. \nEmbedded in the legacy of silk are also memories of pain. Kashmir has been embroiled in geo politics for decades which has caused much suffering in the valley. Further it was in 2014 that a massive flood hit the valley that devastated many lives and properties. The Rajbagh Silk factory was inundated with flood waters for over four weeks. Not losing hope\, the workers managed to repair about 10 of 150 looms and several preloom machines and work at the factory resumed. \nThe Government is supporting conservation and revitalisation of the factory under a flood recovery program. The conservation plan seeks to use this opportunity as a trigger to conserve the built heritage\, revitalise silk and handicraft based economy using innovation and creativity to enhance lines of communication between artisans and entrepreneurs across the nation and abroad\, thus ushering in opportunities and hope for the artisans in the valley. \nGurmeet S Rai is an architect with specialisation in heritage conservation and management. She is among the first generation conservation architects in India and has undertaken projects across India related to architectural conservation\, management plans for world heritage sites\, urban conservation and development strategies for historic settlements\, sustainable cultural heritage tourism plans\, preparation of advisory and policy documents. Gurmeet was awarded ‘Award of Distinction’ by UNESCO under the Asia Pacific Architectural Heritage Awards in 2002 and 2004 following which she has been on their jury for over 15 years. In 2011\, UNESCO appointed her as the lead consultant for preparation of ‘Cultural Heritage policy for Punjab’. She has also undertaken international assignments in Nepal and Myanmar and has been an advisor to UNESCO in heritage sector in several countries in South East Asia. She is currently a member of the Steering committee of TERRA2022\, World Congress on Earthen Architectural Heritage (Getty Conservation Institute). URL:https://conservation.ucla.edu/event/conservation-revitalisation-of-rajbagh-silk-factory-srinagar-india-connecting-memory-material-culture-towards-building-a-future/ LOCATION:To Watch the Recording Please Click The Lecture Title Above CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/09/1-Gurmeet-Rai-e1633015872762.jpg ORGANIZER;CN="C%C3%A9line Wachsmuth":MAILTO:wachsmuthc@g.ucla.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20210602T120000 DTEND;TZID=America/Los_Angeles:20210602T130000 DTSTAMP:20260606T202936 CREATED:20210514T182028Z LAST-MODIFIED:20231108T224743Z UID:10000103-1622635200-1622638800@conservation.ucla.edu SUMMARY:Virtual Pizza Talk: Human Remains in Tibetan Material Religion: Conservation as Research Methodology DESCRIPTION:Ayesha Fuentes\nStride Lecturer in Arts Conservation\nNorthumbria University \nWatch the Recording Here \nAyesha Fuentes will discuss Tibetan and Himalayan religious use of ritual objects made with human skulls and femurs. Fuentes incorporates conservation methods\, documentation\, and interpretation of the material knowledge and techniques used to select\, prepare\, activate\, maintain and exchange these objects. This project combines the technical examination of objects in museum collections with interviews and observations made across the Himalayan region and investigations of historical sources and cultural narratives. Her research highlights the longevity\, function and value of these ritual instruments within diverse communities. \nAyesha Fuentes\, Stride Lecturer in Arts Conservation at Northumbria University\, is an objects conservator and technical art historian specializing in Asian material heritage. She is a graduate of the UCLA/Getty MA program in Conservation of Ethnographic Materials (2014) and a former employee at the Fowler Museum at UCLA. She recently submitted her doctoral dissertation on the use of human remains in Tibetan ritual objects at School of Oriental and African Studies (SOAS)\, University of London\, where she was a Neil Kreitman and Overseas Research Scholar. URL:https://conservation.ucla.edu/event/virtual-pizza-talk-human-remains-in-tibetan-material-religion-conservation-as-research-methodology/ LOCATION:To Watch the Recording Please Click The Lecture Title Above CATEGORIES:Conservation Conversation Series,Cotsen Pizza Talk ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/05/IMG-20180330-WA0030-copy-1-e1632523360958.jpeg ORGANIZER;CN="Michelle Jacobson":MAILTO:mjacobson@ioa.ucla.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20210521T110000 DTEND;TZID=America/Los_Angeles:20210521T123000 DTSTAMP:20260606T202936 CREATED:20210212T003251Z LAST-MODIFIED:20231108T223338Z UID:10000083-1621594800-1621600200@conservation.ucla.edu SUMMARY:Comparing Conservation Between Countries DESCRIPTION:Tessa de Alarcon\, Grace Jan\, Almoatz-bellah Elshahawi\nFriday May 21st\, 11:00am – 12:30pm (PT)\nRegister here \n\nTessa de Alarcon\nHow working in the US and Guatemala has Influenced the Way I Think About Conservation \nI will briefly discuss my experiences working in Guatemala as compared to working in the United States and reflect on how those experiences have impacted the way I work as a conservator. I am a Guatemalan American\, I was born and raised in the US but have lived and worked in both the US and Guatemala. My introduction to conservation occurred in Guatemala and my first pre-program internship was there\, as well. As a result\, my introduction to best practices\, ethics\, and material evaluation all occurred in Guatemala. I then returned to the US for graduate school. Since obtaining my degree\, I have worked on site in Guatemala and taught workshops there\, in addition to working at the Penn Museum in Philadelphia as a project conservator. My exposure to different approaches\, challenges\, and issues in cultural heritage preservation has shaped me as a conservator. It has given me a unique perspective on decision making. In particular\, I think it has helped me challenge assumptions and reflect on the way that a single problem can have many different possible solutions.This is not intended to be a formal presentation and will be very much based on my personal experiences and perspective. \nTessa de Alarcon has been a project conservator at the Penn Museum in Philadelphia since 2012. She was born and raised in the US but has lived and worked both in the US and Guatemala. Her introduction to conservation occurred while working as an intern at Casa Santo Domingo in Antigua\,Guatemala. During her time at the Penn Museum she has worked on a variety of different projects including condition assessments\, and gallery renovation projects. She has also worked as an archaeological field conservator.The bulk of her field work has been in Guatemala\,but most recently she had the opportunity to work in Azerbaijan. She has also taught workshops on documentation and archaeological conservation at the Museo Nacional de Arqueología y Etnologíain Guatemala City.She received her MA from the UCLA/Getty Program in the Conservation of Archaeological and Ethnographic Materials in 2012. \n \n\nGrace Jan\nThe Cross-cultural Evolution of Chinese Painting Conservation \nFreer Gallery of Art and Arthur M. Sackler Gallery\, the Smithsonian’s National Museum of Asian Art \nMy ten-year career in Chinese painting conservation has provided cross-cultural experiences and insights into this evolving field. This talk will discuss this evolution in Chinese painting conservation education and training\, cultural initiatives\, and techniques. \nChinese painting conservation requires specialized skills that were traditionally passed down through apprenticeship training. But over the last twenty years\, significant changes to access and knowledge of Chinese painting conservation haveled to progress and challenges in the field\, impacting its practice domestically and within China. \nThis evolution is reflected in U.S. initiatives by the Freer Gallery of Art and Arthur M. Sackler Gallery\, the Smithsonian’s National Museum of Asian Art\, and theAndrew W. Mellon Foundation. In 2000\, the Freer and Sackler established the Chinese Painting Conservation Program\, an initiative to train young professionals and develop cooperative projects promoting the care of Chinese paintings. In 2012\, the Mellon Foundation furthered support of training and exchanges among conservators\, and helped to endow a Chinese painting conservation position and fellowship program. These efforts helped establish a training pipeline of conservators. \nConcurrently in China\, I have observed a shift in training\, from a traditional apprenticeship model to formalized degree programs. This has occurred alongside a nationwide prioritization of Chinese culture and heritage resulting in new museums and state-of-the-art conservation facilities. In addition\, conservators have increased exposure to the diversity of conservation approaches across different regions of China. \n \nMy cross-cultural career has provided perspective on how the field could integrate Western and Chinese methods. Shortened formalized training could be integrated with the apprenticeship model\, ensuring the sustainability of Chinese traditional conservation. Implicit in all this is the merging of these cultures. In response\, domestic and international collaboration and networks are crucial to advancing the field and leveraging knowledge and resources across the field. \nGrace Jan is the Yao Wenqing Chinese Painting Conservator at the Freer Gallery of Art and Arthur M. Sackler Gallery\, the Smithsonian’s National Museum of Asian Art. Since 2009\, she has worked on the museum’s Chinese painting and calligraphy collection and supported the museum’s Chinese Painting Conservation Program to promote domestic and international exchange and collaboration. She is active in facilitating the Andrew W. Mellon supported initiative to develop and promote this specialization across the U.S. Ms. Jan received anMAin Art History and Advanced Certificate in Conservation from the Institute of Fine Arts Conservation Center\, New York University. She trained at the Shanghai Museum\, Beijing Palace Museum\, Metropolitan Museum of Art and the Museum of Fine Arts\, Boston. \n\nAlmoatz-bellah Elshahawi\nAn Ancient Egyptian Ptolemaic Coinage: History and Preservation Methods \nAncient coins are one of the most important sources of information from which archaeologists and historians can interpret the past. Through the study of coins\, we can obtain valuable information about the culture of that time since most coins can be easily dated. This is partly because\, unlike most other ancient artifacts\, they are often stamped with text and images of rulers from a specific period in time. Coins also shed light on which countries were trading partners. Additionally\, the materials used for minting coins\, such as bronze\, silver\, gold\, has further helped historians date the coins and reveal the affluence of that culture. My presentation will focus on the study a group of Ptolemaic coins in the antiquities collection of the Grand Egyptian Museum and Karnak temple. I will discuss the history of the coins\, their documentation process and conclude with treatment\, cataloguing and storage recommendations. \nAlmoatz-bellah Elshahawi a PhD candidate in the conservation at Cairo University\, specializing in ancient Egyptian works on Metals and Coins. He is a graduated intern at the J. Paul Getty Museum for one year(2019-2020). For the dissertation\, he is researching on the evaluation of the efficiency of environmental inhibitors with Nano-reinforcement for the protection of archaeological bronze. He received a Master’s degree in Conservation\, Cairo University\, 2017. Almoatz-bellah Elshahawi was a 2013-2017 Cairo university Fellow. A 2005-2009 Abou-Qir high conservation institute Fellow and most recently\, an object conservator at the Grand Egyptian Museum-Conservation Center (GEM-CC). URL:https://conservation.ucla.edu/event/comparing-conservation-between-countries/ CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/02/GraceJan4-e1632523645202.jpg ORGANIZER;CN="Jennifer McGough":MAILTO:jenmcgough@g.ucla.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20210518T100000 DTEND;TZID=America/Los_Angeles:20210518T110000 DTSTAMP:20260606T202936 CREATED:20210421T220123Z LAST-MODIFIED:20231108T223401Z UID:10000085-1621332000-1621335600@conservation.ucla.edu SUMMARY:Spirituality and Diaspora: Considering Yoruba and Kongo Objects in Museums DESCRIPTION:A conversation between Bárbaro Martínez-Ruiz and José Bedia\,\nModerated by Manuel Jordán \nMay 18th\, 10am – 11am PST \nRegister here \nThis program follows an exciting interdisciplinary seminar on African Objects in Museums\, where students examined a series of objects including painted Yoruba drums and Kongo minkisi. To continue discussions\, the Fowler Museum\, the Cotsen Institute of Archaeology\, the UCLA/Getty Conservation Program\, UCLA Information Studies\, and the UCLA Africa Studies Center are hosting a program where we will engage three specialists who are artists\, scholars\, and/or practitioners. The two speakers are members of the Afro-Cuban and Cuban diaspora\, respectively. \nImage credit: Fowler Museum\, X65.5837 \n  URL:https://conservation.ucla.edu/event/spirituality-and-diaspora-considering-yoruba-and-kongo-objects-in-museums/ CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/04/X65.5837-1-e1619042411477.jpg ORGANIZER;CN="Ellen Pearlstein":MAILTO:epearl@ucla.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20210423T110000 DTEND;TZID=America/Los_Angeles:20210423T120000 DTSTAMP:20260606T202936 CREATED:20210212T003251Z LAST-MODIFIED:20231108T223528Z UID:10000101-1619175600-1619179200@conservation.ucla.edu SUMMARY:Authorship and Ownership\, a Conversation Between Glenn Wharton and Artist Andrea Geyer DESCRIPTION:Glenn Wharton\, Andrea Geyer\nFriday April 23rd\, 11:00am – 12:00pm (PT) \n  \nUCLA/Getty Conservation Program Chair Glenn Wharton will interview artist Andrea Geyer about the conservation and display of 9 Scripts for a Nation at War\, a work that was acquired by MoMA when Wharton served as the museum’s Media Conservator. Geyer is a German-born multi-disciplinary artist who lives in New York City. Her work focuses on themes of gender\, class\, and national identity. 9 Scripts is a ten-channel\, co-authored video installation that includes interviews about the U.S. invasion of Iraq\, and touches on themes of identity in times of conflict. \n  \nUCLA/Getty Conservation Program Chair Glenn Wharton will interview artist Andrea Geyer about the conservation and display of 9 Scripts for a Nation at War\, a work that was acquired by MoMA when Wharton served as the museum’s Media Conservator. Geyer is a German born multi-disciplinary artist who lives in New York City. Her work focuses on themes of gender\, class\, and national identity. 9 Scriptsis a ten-channel\, co-authored video installation that includes interviews about the U.S. invasion of Iraq\, and touches on themes of identity in times of conflict. \n  \n  \n  \nAndrea Geyer is a multi-disciplinary artist un-sensing the construction and politics of time. Her works use performance and video to activate the lingering potential of specific events\, places\, or biographies as lived in woman identified bodies. She materializes the entanglement of presence and absence of such bodies due to ideologically motivated omissions in archives and memories. Exhibitions include: Museum of Modern Art\, the Whitney Museum of American Art\, in New York; IMMA in Dublin; TATE Modern in London; Generali Foundation\, Secession in Vienna; Witte De White in Rotterdam; Sao Paulo Biennal and documenta12/ Kassel. She is represented by Hales Gallery in London/New York\, Galerie Thomas Zander in Cologne. She lives and works in New York. www.andreageyer.info \n  \n  URL:https://conservation.ucla.edu/event/authorship-and-ownership-a-conversation-between-glenn-wharton-and-artist-andrea-geyer/ LOCATION:To Watch the Recording Please Click The Lecture Title Above CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/02/9Scripts_Intro-Wall.jpg ORGANIZER;CN="Jennifer McGough":MAILTO:jenmcgough@g.ucla.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20210323T110000 DTEND;TZID=America/Los_Angeles:20210323T120000 DTSTAMP:20260606T202936 CREATED:20210302T161827Z LAST-MODIFIED:20231108T223628Z UID:10000084-1616497200-1616500800@conservation.ucla.edu SUMMARY:Share the Mic: Decolonizing an African Museum DESCRIPTION:Join museum professionals for a conversation about how conservation practices can serve as one of many strategies for decolonizing museums.\n\n\n\n\n\n\n\nRSVP on Eventbrite to receive the link. \nThe Ethnographic Museum of Rwanda\, financed by Belgium in the late 1980s as a symbol of cooperation with Rwanda\, houses one of Africa’s most significant ethnographic collections. The selection of material and its display\, however\, have been products of colonial perspectives\, rather than those reflecting the knowledge\, values\, and priorities of African countries and communities from which the objects originated. As part of decolonizing and renovating the museum\, staff from the Royal Museum for Central Africa (RMCA) in Belgium are currently working with Rwandese colleagues to reevaluate conservation practices. Join Fowler staff and museum professionals from the RMCA and Rwanda Cultural Heritage Academy for a conversation about how conservation practices can serve as one of many strategies for decolonizing museums in different countries with unequal resources. \nThe panelists will include Marci Burton\, the Fowler’s Mellon Conservation Fellow; Siska Genbrugge\, Objects Conservator at Royal Museum for Central Africa in Belgium; André Ntagwabira\, Archaeology Researcher at Rwanda Cultural Heritage Academy; and Chantal Umuhoza\, Curator at Rwanda Cultural Heritage Academy. The program will be moderated by Ellen Pearlstein\, Professor\, UCLA/Getty Conservation Program. \n\n  \nThis program is co-presented by the Fowler Museum and the UCLA/Getty Program in the Conservation of Archaeological and Ethnographic Materials. \nShare the Mic: The Fowler believes in the civic duty of museums to give forum to different points of view. This series shares our platform with thought leaders—artists\, activists\, and allies—who are guiding us along the arc of justice. \nImage: Nanguburundi drum captured in Burundi by the army of King Cyirima II Rujugira in the 17th century. In Burundi it was called “Nangurwanda / I hate Rwanda;” it was renamed “Nanguburundi / I hate Burundi” after its captivity. URL:https://conservation.ucla.edu/event/share-the-mic-decolonizing-an-african-museum/ CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/03/https-_cdn.evbuc_.com_images_127364885_197104960719_1_original.20210226-184101.jpg ORGANIZER;CN="Fowler Museum":MAILTO:fowlerinfo@arts.ucla.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20210312T110000 DTEND;TZID=America/Los_Angeles:20210312T120000 DTSTAMP:20260606T202936 CREATED:20210212T003251Z LAST-MODIFIED:20231108T223804Z UID:10000100-1615546800-1615550400@conservation.ucla.edu SUMMARY:Conservation of In-Situ and Post-Excavation Glass DESCRIPTION:Stephen Koob\nChief Conservator Emeritus of The Corning Museum of Glass\nFriday March 12th\, 11:00am – 12:00pm (PT) \n \nWatch the Recording Here \nArchaeological glass encompasses glass that has been buried\, either in the ground or in fresh or salt water. In some cases glass was intentionally buried as grave gifts and can be found in archaeological cemeteries or tombs. Most glasses in museum and private collections do not have provenances and their place of manufacture or origin is unknown\, or only known by comparison with actual excavated sources. Archaeological glasses can be preserved in many various states. In some cases the glass has not changed at all\, or very little since manufacture\, in other cases the glass may be heavily deteriorated and extremely fragile. Archaeologists\, excavation personnel\, volunteers and conservators who will be responsible for handling glass should be familiar with the proper procedures\, materials and techniques that are used in the lifting\, handling\, packing\, transportation and storage of glass vessels and fragments.Severely deteriorated or “weathered” layers on archaeological glasses are extremely sensitive to touch\, and should be handled as little as possible.In general\, excavated archaeological glasses should be kept dry if found dry;wet\, if found wet (underwater retrieval);or damp\, if found damp;until careful examination is possible and time is available for treatment.Safe retrieval is a priority.Treatment can involve simple cleaning\, or not; consolidation of fragile or lifting surfaces\, and possible reassembly using the adhesive Paraloid B-72. The eventual disposition of an object\, or group of objects\, should be considered before any intervention is carried out whether the object is to be housed in storage\, studied\, published\, or placed on display. Assembled objects also often require a significantly larger storage space (shelving or cabinets) than individual fragments\, which can be bagged or placed in drawers. Restoration beyond this is rarely done in the field\,but may be done in a museum. \nStephen Koob is Chief Conservator Emeritus of The Corning Museum of Glass\, having recently retired from the Museum. Koob holds an MA in Classical Archaeology from Indiana University\, and a B.Sc. in Archaeological Conservation and Materials Science from the Institute of Archaeology\, University of London. Before joining the Corning Museum staff in 1998\, Koob worked for 11 years as conservator\, specializing in ceramics and glass\, at the Freer Gallery of Art and Arthur M. Sackler Gallery\, Smithsonian Institution. A member of numerous professional organizations\, including the Archaeological Institute of America\, Koob is also a Fellow of the International Institute of Conservation and the American Institute for Conservation. He recently replaced Dr. Robert Brill as Chairman of Technical Committee 17\, which studies the Archaeometry and Conservation of Glass\, as part of the International Commission on Glass. He is the author of the book\, Conservation and Care of Glass Objects (2006). He is an expert in dealing with “crizzling\,” a condition that affects unstable glass. In 2014 Koob received the Sheldon and Caroline Keck Award from the American Institute for Conservation of Historic and Artistic Works (AIC). The award is given to an individual who has “a sustained record of excellence in the education and training of conservation professionals.” For decades he has devoted time to training conservation interns at The Corning Museum of Glass\, and he has taught conservation courses around the world. He has worked\, taught and supervised on numerous archaeological sites\, including the Agora in Athens\, Gordion\, Turkey\, and Samothrace\, Greece. \n  URL:https://conservation.ucla.edu/event/conservation-of-in-situ-and-post-excavation-glass/ LOCATION:To Watch the Recording Please Click The Lecture Title Above CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/png:https://conservation.ucla.edu/wp-content/uploads/2021/02/Stephen-Koob-e1614806646337.png ORGANIZER;CN="Jennifer McGough":MAILTO:jenmcgough@g.ucla.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20210226T110000 DTEND;TZID=America/Los_Angeles:20210226T123000 DTSTAMP:20260606T202936 CREATED:20210212T003251Z LAST-MODIFIED:20231108T224020Z UID:10000099-1614337200-1614342600@conservation.ucla.edu SUMMARY:A conservator\, architectural historian\, and architect discuss the fate of confederate monuments DESCRIPTION:Katherine Ridgeway\, Dr. Dell Upton\, Burt Pinnock\nFriday February 26th\, 11:00am – 12:30pm (PT) \nConservation and Confederate Monuments preserve and protect what and how \n\nThe question of how Americans should address public monuments to the Confederacy\, problematic symbols of white supremacy\, received significant re-examination in the summer of 2020\, sparking fresh discourse on how these monuments contribute to our understanding of history\, cultural values\, and identity and what actions can and should be taken in response. \nThis panel will explore how professionals in the fields of architecture\, conservation\, and history are currently addressing these topics and their visions for the fate of these works. \n  \nKatherine Ridgeway \n\n \n\nKatherine Ridgway has been the State Archaeological Conservator for the Virginia Department of Historic Resources (DHR) for eight years. In this position\, she has recently provided advice on the conservation and preservation considerations involved when communities and agencies in the Commonwealth are working with Confederate and other contested monuments. She helped to write the DHR Guidance Regarding Confederate Monuments document and participated in the AIC Contested Monument Working Group. \nKatherine is a William and Mary graduate and received her Master’s degree from Durham University in Northern England in the Conservation of Historic Objects. She has over 20 years of conservation experience\, including working as an Assistant Conservator at the Field Museum in Chicago and as the Fine and Decorative Arts Conservator for George Washington’s Mount Vernon. She is also a Fellow in the AIC and the President of the Virginia Conservation Association. \n  \n\nDr. Dell Upton \n \nArchitectural historian Dell Upton is Distinguished Research Professor in the Art History Department at UCLA where he taught for twelve years before retiring in 2020. He previously taught at Berkeley and the University of Virginia. Upton is the author of What Can and Can’t Be Said: Race\, Uplift and Monument Building in the Contemporary South (Yale\, 2015)\, as well as numerous articles about contemporary monument debates in the United States and Italy. Among his other books are American Architecture: A Thematic History (Oxford\, 2019) and Another City: Urban Life and Urban Spaces in the New American Republic (Yale\, 2008). During the current academic year\, he is serving as Kress-Beinecke Professor at the Center for Advanced Studying the Visual Arts at the National Gallery of Art\, Washington\, D.C. \n  \nBurt Pinnock \n \nFAIA is a principal and chairman of the board at Baskervill\, a 123-year-old design firm. For Burt\, architecture and design isn’t a job; it’s his personal contribution to the wellbeing and vitality of our communities. Over his 30-year career Burt’s commitment and passion has created impactful work for neighborhoods\, cultural institutions and forward-thinking companies\, including the Black History Museum and Cultural Center of Virginia\, Civil Rights Memorial Plaza at the Virginia Capitol\, Colbrook Affordable Housing masterplan and more. A founder and board member of the nonprofit Storefront for Community Design\, Burt currently serves as Chairman of the Commonwealth of Virginia’s Art and Architectural Review Board and is a board member of the Legal Aid Justice Center\, amongst numerous other board and committee engagements. Burt is a graduate of Virginia Tech and calls Richmond\, Virginia home. \n  URL:https://conservation.ucla.edu/event/a-conservator-architectural-historian-and-architect-discuss-the-fate-of-confederate-monuments/ LOCATION:To Watch the Recording Please Click The Lecture Title Above CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/02/conservator-event.jpg ORGANIZER;CN="Jennifer McGough":MAILTO:jenmcgough@g.ucla.edu END:VEVENT END:VCALENDAR