BEGIN:VCALENDAR VERSION:2.0 PRODID:-//UCLA / Getty Conservation - ECPv6.15.15//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH 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:20190310T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20191103T090000 END:STANDARD 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 END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20230210T110000 DTEND;TZID=America/Los_Angeles:20230210T120000 DTSTAMP:20260606T223417 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:20260606T223417 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:20260606T223417 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:20260606T223417 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:20221014T110000 DTEND;TZID=America/Los_Angeles:20221014T120000 DTSTAMP:20260606T223417 CREATED:20220923T151250Z LAST-MODIFIED:20231108T222052Z UID:10000108-1665745200-1665748800@conservation.ucla.edu SUMMARY:Phidias Unbound: How Robot-Generated Replicas Could Solve the Parthenon Marbles Quandary DESCRIPTION:Phidias Unbound: How Robot-Generated Replicas Could Solve the Parthenon Marbles Quandary\nRoger Michel\nExecutive Director\, The Institute for Digital Archaeology.\nAbout the program:   \nThe Parthenon Marbles\, commonly known as the Elgin Marbles\, were removed from the ancient Acropolis of Athens in 1801 by Lord Elgin\, British ambassador to the Ottoman Empire. Carved by the sculptor Phidias\, they were eventually sold to the British government in 1817 and are housed in the British Museum. Public debate about repatriating the marbles is heated and ongoing.Can the creation of exact copies of the originals resolve the repatriation quandary? Roger Michel\, executive director of the Institute of Digital Archaeology\, at the University of Oxford\, believes the repatriation issue can be resolved with the help of 3-D machining. His research team has developed a robot with the ability to create faithful copies of large historical objects. Michel will explore humanity’s connection to culturally significant objects and the emphasis we place on physical possession. Is possession an inherently colonial concept? Are heritage assets particularly susceptible to being exploited for the purposes of historical revisionism? Under what circumstances can copies provide satisfactory substitutes for original material? These questions will be examined against the backdrop of the IDA’s ongoing Elgin repatriation efforts. \nAbout the speaker: \nRoger Michel is the founder and Executive Director of the Institute for Digital Archaeology (IDA). The IDA operates globally\, undertaking a huge variety of heritage projects\, many of which are aimed at advancing social justice goals.  Its principal partners are the UN\, UNESCO and local and national governments.  Mr Michel has published and lectured frequently on various heritage conservation topics.  He was a member of the faculty at BU Law School for 25 years\, is an Honorary Fellow of Trinity College (Oxford)\, and is co-publisher of Arion Magazine.  Mr Michel is a graduate of Harvard and Oxford Universities. \nWatch the Recording Here URL:https://conservation.ucla.edu/event/phidias-unbound-how-robot-generated-replicas-could-solve-the-parthenon-marbles-quandary/ LOCATION:To Watch the Recording Please Click The Lecture Title Above CATEGORIES:UCLA/Getty Program’s Distinguished Speaker Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2022/09/YRslh1hoKrjsiDtoyEJ4reLUYA2MHLhKaI7Yo5p2oulCCL8XKzOg-68Srm2D5vl8vXDPMy6qVD2A5UW62v9Ji-IrQ9Vf1bQLaA6eHJ-1wKk10JMQRdr7qHJ4VRSDY6uZxbFMz-N_t8d722a00xv6tuTERl3Pjgs0-d-e1-ft-e1663702818371.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20220520T110000 DTEND;TZID=America/Los_Angeles:20220520T120000 DTSTAMP:20260606T223417 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:20220429T110000 DTEND;TZID=America/Los_Angeles:20220429T120000 DTSTAMP:20260606T223417 CREATED:20220329T231046Z LAST-MODIFIED:20231108T222221Z UID:10000095-1651230000-1651233600@conservation.ucla.edu SUMMARY:The Great Wall of Los Angeles by Judith F. Baca: Looking to the Past and Building the Future DESCRIPTION:A Conversation with Dr. Judith F. Baca on the creation\, impact and conservation of the Great Wall of Los Angeles.  \n“Standing at the river’s edge\, I saw the concreted arroyos as scars in the land. I dreamed of a “tattoo on the scar where the river once ran\,” and an endless narrative that would recover the stories of those who were disappeared along with the river. How could we recover the memory recorded in the land? This began my years of working with more than 400 youth and hundreds of descendants of the original peoples in the Los Angeles River\, recovering\, through the creation of visual histories\, all that had disappeared. Through our ongoing narrative work\,The Great Wall of Los Angeles\, we are attempting to heal both the river and the people. Currently measuring one half-mile\, [and expanding to a full mile] The Great Wall is an evolving chronology of memory from the land recorded with our hands and paint\, and now flowing along the river where it all began.”- Judith F. Baca. \nOne of America’s leading visual artists\, Dr. Judith F. Baca\, has created public art for four decades. Powerful in size and subject matter\, Baca’s murals bring art to where people live and work. In 1974\, Baca founded the City of Los Angeles’ first mural program\, which produced over 400 murals\, employed thousands of local participants\, and evolved into an arts organization – the Social and Public Art Resource Center (SPARC). She continues to serve as SPARC’s artistic director while also employing digital technology in SPARC’s digital mural lab to promote social justice and participatory public arts projects. \nBeginning with the awareness that the land has memory\, Baca creates art shaped by an interactive relationship of history\, people\, and place. Her public artworks focus on revealing and reconciling diverse peoples’ struggles for their rights and affirming the community’s connections to place. Together with the people who live there\, they co-create monumental public art places that become “sites of public memory.” \nIn 2012\, the Los Angeles Unified School District named a school the Judith F. Baca Arts Academy\, located in Watts\, her birthplace. She is a recipient of the Guggenheim Fellowship\, the United States Artist Rockefeller Fellowship\, and the Andrew W. Mellon Foundation Grant awarded for the expansion of the Great Wall. \n  \nWatch the Recording Here URL:https://conservation.ucla.edu/event/the-great-wall-of-los-angeles-by-judith-f-baca-looking-to-the-past-and-building-the-future/ LOCATION:To Watch the Recording Please Click The Lecture Title Above CATEGORIES:UCLA/Getty Program’s Distinguished Speaker Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2022/03/Judy-Baca-by-Todd-Gray-for-Metro-High-Rez-79912-1.jpeg ORGANIZER;CN="Michelle Jacobson":MAILTO:mjacobson@ioa.ucla.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20220422T110000 DTEND;TZID=America/Los_Angeles:20220422T120000 DTSTAMP:20260606T223417 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:20260606T223417 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:20220307T160000 DTEND;TZID=America/Los_Angeles:20220307T170000 DTSTAMP:20260606T223417 CREATED:20220202T182603Z LAST-MODIFIED:20231108T222538Z UID:10000106-1646668800-1646672400@conservation.ucla.edu SUMMARY:Patricia McCarron McGinn Lecture by Professor Glenn Wharton DESCRIPTION:Join the UCLA Art History Department for the annual Patricia McCarron McGinn Lecture featuring Professor Glenn Wharton with his lecture Why Conserve Cultural Heritage? Reframing a Discipline. \nThis year’s lecture will take place virtually on Monday\, March 7 from 4 to 5:30 pm.  Please RSVP in advance to receive a Zoom link. \nPlease CLICK HERE TO RSVP  \n\nAbout Dr. Wharton\n \nGlenn Wharton is Professor of Art History and Professor of the Conservation of Material Culture\, as well as Chair of the UCLA/Getty Interdepartmental Program in the Conservation of Cultural Heritage.  Professor Wharton most recently taught at New York University as Clinical Professor in Museum Studies; in addition to his academic positions\, Wharton is an experienced art conservator with an extensive background in archaeological\, sculpture\, and time-based media conservation\, who has worked and consulted at such museums as the Museum of Modern Art in New York and the Metropolitan Museum of Art. \nWharton received his Ph.D. in Conservation and Archaeology from the Institute of Archaeology\, University College London in 2005. He has received\, amongst others\, a Digital Pedagogy Grant from New York University (2018)\, a Getty Conservation Institute Guest Scholar Fellowship (2017)\, a College Art Association (CAA) / Heritage Preservation Award for Distinction in Scholarship and Conservation (2015)\, and the Historic Hawai’i Foundation Preservation Media Award for The Painted King: Art\, Activism\, & Authenticity in Hawai’i (2012).  His research areas of interest include archaeological conservation\, illicit trade\, cultural heritage management\, contemporary art conservation with specialization in time-based media\, and addressing social justice\, inclusion\, and climate change in conservation. \n\n\n\nAbout the Patricia McCarron McGinn Lectureship\n\nThe annual Patricia McCarron McGinn Lectureship was inaugurated in 1992 to showcase the scholarship of a faculty member in the Department.  It was established in honor of Patricia McCarron McGinn (1927 – 1991)\, who was an outstanding student in the UCLA Department of Art History. Her enthusiasm\, depth of commitment\, and dedication to the challenges of graduate study as a returning student enlivened and expanded the scholarly perspective of the program. To honor her memory\, her family\, with the generous support of many friends\, established the Patricia McCarron McGinn Fund to aid students engaged in the study of art history at UCLA and to sponsor the McGinn Lectureship. \n\n\n  URL:https://conservation.ucla.edu/event/patricia-mccarron-mcginn-lecture-by-professor-glenn-wharton/ ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2022/02/2022-McGinn-flyer-2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20220218T110000 DTEND;TZID=America/Los_Angeles:20220218T120000 DTSTAMP:20260606T223417 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:20220204T110000 DTEND;TZID=America/Los_Angeles:20220204T120000 DTSTAMP:20260606T223417 CREATED:20220118T190739Z LAST-MODIFIED:20231108T222808Z UID:10000105-1643972400-1643976000@conservation.ucla.edu SUMMARY:UCLA/Getty Program's Distinguished Speaker Series featuring Sarah Sutton: Cultural Heritage and Climate Change DESCRIPTION:Speaker: Sarah Sutton \nDate: February 4\, 2022. 11:00am \nTitle: Cultural Heritage and Climate Change: D(d)iplomacy for Neighbors and Nations \nCultural heritage has been undervalued as a community and national resource in addressing climate change. Historic landscapes are critical waterline buffers and biodiversity habitats. Structures are refuges and examples of resilient construction. Human-made objects and art hold our identities and the collective knowledge we depend upon for well-being. And our traditions have lessons for sustainability and resilience. These are valuable resources for neighbor-to-neighbor and nation-to-nation relationships that underlay the cooperative action necessary for creating a world where everyone and everything may some day thrive. \nPresenter Sarah Sutton will share how those who care about cultural heritage have been taking important steps to protect it and to embed it in climate change response as a core component\, not an add on. Historic structures and retrofitted modern buildings are increasingly efficient\, low-carbon solutions that double as safe spaces for community resilience planning in stable times\, and refuges in disturbed times – if left standing. The Mississippi River Cities and Towns Initiative is a coalition protecting astonishing amounts of land as habitat and a buffer against riverine flooding. The Intergovernmental Panel on Climate Change (IPCC) will now include cultural heritage in its reports to the UN. And when President Biden rejoined the Paris Agreement\, he named cultural institutions as valuable partners in tackling climate change. Across the US and now as part of United Nations-level discussions\, cultural heritage is critical to domestic and national practices and agreements that create shared solutions. \nBio: \nSarah Sutton is CEO of Environment & Culture Partners (ECP)\, a non-profit accelerating cultural institutions’ leadership in climate action. ECP manages the Frankenthaler Climate Initiative\, a grant program supporting museums’ energy efficiency and clean energy projects\, and an IMLS National Leadership Grant creating energy efficiency tools for museums. Sutton is the Cultural Sector Lead for America is All In supporting the Paris Agreement. She is co-author of The Green Museum and author of Environmental Sustainability at Historic Sites & Museums. \nSutton is a Steering Committee member and Climate Change co-chair\, for Held in Trust\, a special program of the National Endowment for the Humanities and the American Institute for Conservation that is shaping the future of the preventive conservation profession. Sutton is a member of the American Psychological Association’s Climate Change Task Force\, and was a selected participant in the International Co-Sponsored Meeting on Climate Change with the IPCC\, UNESCO\, and International Council on Monuments and Sites (ICOMOS). \n  \nWatch the Recording Here \n  \nPlease submit your questions in advance of the webinar via email to:\nhnadworny@support.ucla.edu by Wednesday\, February 2 at 12:00 p.m. URL:https://conservation.ucla.edu/event/ucla-getty-programs-distinguished-speaker-series-featuring-sarah-sutton-cultural-heritage-and-climate-change/ LOCATION:To Watch the Recording Please Click The Lecture Title Above CATEGORIES:UCLA/Getty Program’s Distinguished Speaker Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2022/01/unnamed-6-scaled-e1642532733325.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20220121T110000 DTEND;TZID=America/Los_Angeles:20220121T120000 DTSTAMP:20260606T223417 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:20260606T223417 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:20260606T223417 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:20211112T110000 DTEND;TZID=America/Los_Angeles:20211112T120000 DTSTAMP:20260606T223417 CREATED:20211020T212946Z LAST-MODIFIED:20231116T173331Z UID:10000094-1636714800-1636718400@conservation.ucla.edu SUMMARY:Benin Royal Art and Questions of Restitution DESCRIPTION:Dr. Ndubuisi Ezeluomba\nFrançoise Billion Richardson Curator of African Art\nNew Orleans Museum of Art \nFriday\, November 12\, 2021  at 11:00 a.m. PDT \nAbout the program: Dr. Ezeluoma will discuss the restitution of Benin cultural patrimony. In 1897\, the British government acted on a request from the Royal Niger Company to remove the Benin Oba (king)\, who was seen as an obstacle to trade. A British force of about twelve hundred men supported by several hundred African auxiliaries besieged Benin City. The raid (British Punitive Expedition)\, as the colonial force was called\, bombarded the city and looted five hundred years’ worth of bronze\, brass and ivory sculptures. This was a national treasure that constituted the royal archive of Benin’s history. Oba Ovonramwen (ruled 1888-1914) was deposed and sent to die in exile and the Benin kingdom was incorporated into the colonial nation of Nigeria. Conversation on the repatriation of this cultural patrimony rages on today. Dr. Ezeluona will point to current progress and speak to the important role American cultural institutions are playing in the process. \n  \nView a Recording of the Event Here \n  URL:https://conservation.ucla.edu/event/benin-royal-art-and-questions-of-restitution/ LOCATION:To Watch the Recording Please Click The Lecture Title Above CATEGORIES:UCLA/Getty Program’s Distinguished Speaker Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/10/Ndubuisi_Ezeluombda-scaled-e1634765513973.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20211022T110000 DTEND;TZID=America/Los_Angeles:20211022T120000 DTSTAMP:20260606T223417 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:20210604T110000 DTEND;TZID=America/Los_Angeles:20210604T120000 DTSTAMP:20260606T223417 CREATED:20210525T221843Z LAST-MODIFIED:20231108T223121Z UID:10000086-1622804400-1622808000@conservation.ucla.edu SUMMARY:A Sankofa Moment: Heritage Conservation and Racial Justice at the George Floyd Global Memorial DESCRIPTION:UCLA/Getty Program’s Distinguished Speaker Series \nJeanelle Austin is co-founder and lead caretaker of the George Floyd Global Memorial\, where she guides a team of volunteers to stand in the unique space of preservation and protest.  She is also the creator of Racial Agency Initiative\, a racial justice leadership coaching company. She began tending to George Floyd’s memorial during the first week of the Minneapolis Uprising as a form of social resistance and self-care. Every day\, the memorial looked different\, and every day\, she and others would tend to both the new and old offerings so that the story could be preserved. \nJeanelle earned a BA in Christian Ministries from Messiah College and an MDiv in Ethics and an MA in Intercultural Studies from Fuller Theological Seminary. She consults and speaks nation-wide on various topics as they intersect with race in America. A native resident of Minneapolis\, Jeanelle continues to serve and be supported by the people in her community. \nWith opening remarks by \nDr. Darnell Hunt\nDean\, UCLA Division of Social Sciences\nProfessor of Sociology and African American Studies \nFriday\, June 4\, 2021\n11:00 a.m. – Noon PDT \n  \nWatch the Recording Here \n  URL:https://conservation.ucla.edu/event/a-sankofa-moment-heritage-conservation-and-racial-justice-at-the-george-floyd-global-memorial/ LOCATION:To Watch the Recording Please Click The Lecture Title Above CATEGORIES:UCLA/Getty Program’s Distinguished Speaker Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/05/IMG_7657_2-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20210602T120000 DTEND;TZID=America/Los_Angeles:20210602T130000 DTSTAMP:20260606T223417 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:20260606T223417 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:20260606T223417 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:20260606T223417 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:20260606T223417 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:20260606T223417 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:20210305T110000 DTEND;TZID=America/Los_Angeles:20210305T120000 DTSTAMP:20260606T223417 CREATED:20210212T003305Z LAST-MODIFIED:20231108T223943Z UID:10000102-1614942000-1614945600@conservation.ucla.edu SUMMARY:Ancestors Speaking: Objects and Cultural Sovereignty in Native America DESCRIPTION:Gabrielle Tayac\nAssociate Professor of Public History\, George Mason University Former Curator at the Smithsonian National Museum of American Indian with opening remarks by \nDr. Darnell Hunt Dean\, UCLA Division of Social Sciences \nProfessor of Sociology and African American Studies \n  \nAbout the lecture: A family of baskets. A library in a shell. A vow breathing through stone. For diverse indigenous communities across the Americas\, material objects connect to a wider web of cultural relationships. These pieces are part of peoples’ lives\, with essences that may be considered kin through time and space. They merge humans together with each other\, spirit\, and the seen natural world over generations.  Colonialism purposefully and relentlessly unleashed actions to repress and even eradicate indigenous peoples for centuries – along with their beloved objects. Late 20th  century policies shifted to open conditions for Native communities to innovate culture in multiple ways\, including reconnections to ancestral material culture. In this lecture\, Dr. Gabrielle Tayac will share learnings that she’s experienced across the continent with knowledge keepers who know how to amplify their ancestors speaking. \n \nDr. Gabrielle Tayac\, a member of the Piscataway Indian Nation\, is an activist scholar committed to empowering Indigenous perspectives. Gabi earned her Ph.D. and M.A. in Sociology from Harvard University\, and her B.S. in Social Work and American Indian Studies from Cornell University. Her scholarly research focuses on hemispheric American Indian identity\, multiracialism\, indigenous religions\, and social movements\, maintaining a regional specialization in the Chesapeake Bay. Gabi served on the Smithsonian’s National Museum of the American Indian’s staff for 18 years as the museum’s first education director and then as a historian and curator. She engages deeply in community relationships and public discourse with audiences from kindergarten classes to the (Obama) White House. She recently returned from a two year journey to uplift the voices of indigenous elder women leaders and help them preserve their treasured cultural legacies\, sponsored by Rockefeller Philanthropy Advisors. Gabi is now an Associate Professor of Public History at George Mason University. \n  \n  \n\n  \n  \n  URL:https://conservation.ucla.edu/event/ancestors-speaking-objects-and-cultural-sovereignty-in-native-america/ LOCATION:To Watch the Recording Please Click The Lecture Title Above CATEGORIES:UCLA/Getty Program’s Distinguished Speaker Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/02/tayac_0-1-scaled-e1614796861277.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20210226T110000 DTEND;TZID=America/Los_Angeles:20210226T123000 DTSTAMP:20260606T223417 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 BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20210129T110000 DTEND;TZID=America/Los_Angeles:20210129T120000 DTSTAMP:20260606T223417 CREATED:20210212T003250Z LAST-MODIFIED:20231108T224253Z UID:10000098-1611918000-1611921600@conservation.ucla.edu SUMMARY:Colleagues\, Communities\, and Conservators: Partnerships towards repatriation and ethical stewardship DESCRIPTION:Lylliam Posadas\nFriday January 29th\, 11:00am – 12:00pm (PT) \n \nConservators can play a significant role in the repatriation process and in addressing concerns in the care of sensitive collections. Conservators and repatriation staff can work together with tribal and community representatives to address some of the unjust histories of museum acquisitions and develop new approaches for collections stewardship. Professional ethics in the conservation field\, as well as technical knowledge and skill sets\, can be a source of support for repatriation and ethical stewardship. Diversity\, equity and inclusion (DEAI) policies and programs are critical in building systems that encourage considerate and conscientious professional practices that can support tribal and community ownership and control of collections.This program will discuss how conservators\, both students and professionals\, can support the repatriation of Indigenous belongings under the Native American Graves Protection and Repatriation Act (NAGPRA). It will also explore how conservators can address concerns beyond NAGPRA that are relevant to the repatriation process and experience and to the training of future generations of conservators. \nLylliam Posadas has experience with repatriation and collaborative and community-driven research within museums\, universities\, and community organizations. She is interested in how institutional policies support the development and sustainability of collaborative research and collections care practices. Lylliam focuses on systemic institutional change in support of repatriation\, collections care and access\, representation and diversity initiatives\, and the use of non-destructive and non-invasive methods of investigating community-driven research questions. She received an MSc in the Technology and Analysis of Archaeological Materials from University College London and a double BA in Anthropology and Psychology from the University of California\, Los Angeles. Lylliam has participated in field research\, including preservation efforts in Ghana\, Peru\, Louisiana\, and California and also serves on several boards and committees\, including the Mellon Opportunity for Diversity in Conservation. Lylliam is also involved in community-driven research\, policy development\, and advocacy in public health which informs her approach to heritage work. \n  URL:https://conservation.ucla.edu/event/colleagues-communities-and-conservators-partnerships-towards-repatriation-and-ethical-stewardship/ 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/LPosadas_Image2.jpg ORGANIZER;CN="Jennifer McGough":MAILTO:jenmcgough@g.ucla.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20201218T110000 DTEND;TZID=America/Los_Angeles:20201218T120000 DTSTAMP:20260606T223417 CREATED:20210212T003236Z LAST-MODIFIED:20231108T224105Z UID:10000082-1608289200-1608292800@conservation.ucla.edu SUMMARY:Conservation of Functional Objects: Horological Conservation DESCRIPTION:Brittany Cox\nHorological Conservator\, Memoria Technica\nFriday December 18th\, 11:00am – 12:00pm (PT)\nRegister here \nIn conservation there is always the question of tangible versus intangible qualities. Is one more important than the other? Should form follow function\, or function follow form? If a functional object is beautifully presented and preserved\, but doesn’t actually work\, is it successful? The conservation of dynamic objects\, especially in the case of automata and mechanical magic\, confront these questions head-on. We will examine these questions by looking at a number of objects and their treatments. \nBrittany Nicole Cox founded her private conservation practice and studio Memoria Technica in 2015. Her lifelong passion for horology has seen her through nine years in higher education where she earned her WOSTEP\, CW21\, and SAWTA watchmaking certifications\, two clockmaking certifications\, and a Masters in the Conservation of Clocks and Related Dynamic Objects from West Dean College\, UK. Her original work has been exhibited at the Museum of Arts and Design in New York and she is currently working on a series of bestiary automata inspired by illuminated texts and a manuscript to be published by Penguin Press. \n  URL:https://conservation.ucla.edu/event/conservation-of-functional-objects-horological-conservation/ CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/02/BrittanyCox_BenLindbloom_2018__BLI9754-1-e1614808469385.jpg ORGANIZER;CN="Jennifer McGough":MAILTO:jenmcgough@g.ucla.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20201120T110000 DTEND;TZID=America/Los_Angeles:20201120T120000 DTSTAMP:20260606T223417 CREATED:20210212T003236Z LAST-MODIFIED:20231108T224128Z UID:10000081-1605870000-1605873600@conservation.ucla.edu SUMMARY:Getty Conservation Institute Field Projects: 3 cases: Tutankhamun\, Mosaikon\, Peru DESCRIPTION:Jeanne Marie Teutonico\nAssociate Director\, Strategy and Special Initiatives\nGetty Conservation InstituteFriday November 20th\, 11:00am – 12:00pm (PT)\nPlease note\, this talk will not be recorded. \nRegister here \nThe Getty Conservation Institute (GCI) is best described as a private\, international research organization that is part of a larger philanthropic enterprise dedicated to the understanding\, conservation and enjoyment of the visual arts. In this\, the GCI is somewhat unique in the constellation of not-for-profit organizations operating in the heritage sector. \nThe presentation will provide an introduction to the Getty Conservation Institute – its mission\, strategic priorities and methodological approach to heritage conservation. Select examples of GCI field work (in Egypt\, Peru and the Mediterranean) will be used to illustrate diverse conservation contexts and challenges\, and to reflect on the evolution of conservation practice over the last twenty years. \nThe presentation will conclude with some consideration of future challenges –both global concerns and specific issues facing the heritage conservation field. \n Jeanne Marie Teutonico is currently Associate Director\, Strategy and Special Initiatives\, at the Getty Conservation Institute (GCI) in Los Angeles where her responsibilities include the development of strategic priorities for the Institute and oversight of GCI publications. An architectural conservator with over thirty years of experience in the conservation of buildings and sites\, she holds an A.B. (Hons) in art history from Princeton University and an M.Sc. in historic preservation from Columbia University\, Graduate School of Architecture\, Planning and Preservation. Prior to joining the GCI in 1999\, Jeanne Marie was a conservator and educator on the staff of the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM) in Rome and\, later\, of English Heritage in London where she led a large technical research and publications program. She is published widely and maintains research interests in the conservation and sustainable use of traditional building materials. She was an invited Resident at the American Academy in Rome in 2008 and is a Fellow of the Association for Preservation Technology\, the Society of Antiquaries\, and the International Institute for Conservation. \n  \nFigure 1. Conservation of the wall paintings in the burial chamber of the Tomb of Tutankhamen in the Valley of the Kings\, Egypt. The Getty Conservation Institute\, in collaboration with Egypt’s Ministry of Antiquities\, has recently completed a multi-year project that included study and conservation of the tomb’s wall paintings\, environmental and infrastructure improvements\, and training for future care of the site. \nFigure 2. Training regarding the conservation and management of archaeological sites and mosaics at the ancient site of Paphos in Cyprus. Over the last ten years\, the Getty Conservation Institute has collaborated with the Getty Foundation\, ICCROM and the International Committee for the Conservation of Mosaics(ICCM) in an initiative known as MOSAIKON with the aim of improving the conservation\, presentation and maintenance of archaeological mosaics in the Mediterranean region. Activities have included education and capacity building\, the development of locally sustainable conservation practices\, model field projects\, and the dissemination of information in a variety of forms. \nFigure 3. The church of Santiago Apóstolin Kuño Tambo\, Peru. This seventeenth century earthen building\, located in a remote village high in the Andes\, is richly decorated with wall paintings and has been in continuous use as a place of worship since its original construction. As part of its Earthen Architecture Initiative\, the Getty ConservationInstitute\, in collaboration with the School of Science and Engineering at the Catholic University in Lima and the Peruvian Ministry of Culture\, has developed and implemented seismic retrofit techniques that will enhance the building’s performance without negatively impacting the significant decorative finishes. URL:https://conservation.ucla.edu/event/getty-conservation-institute-field-projects-3-cases-tutankhamun-mosaikon-peru/ CATEGORIES:Conservation Conversation Series ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/02/Jeanne-Marie.jpg ORGANIZER;CN="Jennifer McGough":MAILTO:jenmcgough@g.ucla.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20201030T110000 DTEND;TZID=America/Los_Angeles:20201030T120000 DTSTAMP:20260606T223417 CREATED:20210212T003236Z LAST-MODIFIED:20231108T224209Z UID:10000097-1604055600-1604059200@conservation.ucla.edu SUMMARY:Conservation of the Stone Monuments of Petra: An Ongoing Research Project of the Faculty of Archaeology and Anthropology at Yarmouk University DESCRIPTION:Dr. Ziad Al-Saad\nPhD\, Professor of cultural heritage conservation and management at the Faculty of Archaeology and Anthropology Yarmouk University\nFriday October 30th\, 11:00am – 12:00pm (PT)\nRegister here \n \nPetra has been classified as being of World Heritage standards and is included on the world heritage list.The entire site of Petra\, with its 2000 listed rock-carved monuments of outstanding cultural and historical importance\, is in real danger. Over the last decade the process of deterioration of the Petra monuments has dramatically increased. The destruction of the monuments is induced by a combination of natural and human factors. Weathering and erosion caused by environmental agents have caused a lot of severe damage to the monuments. The impact of weathering and eroding factors on the monuments have been exacerbated by natural faults in the rock; infiltration of water and growth of plants in rock fissures. In addition to natural damage\, cultural and socio-economic factors represent a principle threat to the integrity of the site. It is quite obvious that the monuments of Petra need an urgent care. If the deterioration processes are allowed to continue\, this irreplaceable heritage will disappear and tourism\, which centers on these monuments\, will diminish. It is of no doubt that the conservation and preservation of Petra monuments is a very challenging and difficult task. The complexity of the situation is apparent and the efforts needed are tremendous. Different types of preventive and remedial measures are needed to be adopted and executed in order to control the fast growing threats faced by the monuments. Although preventive measures to arrest the principal causes of weathering by adopting certain actions such as repairing the ancient Nabateans hydrological system\, certain remedial steps seem to be inevitable. The fragile monuments are in bad need for consolidation to be able to resist the threat of the natural weathering. This task is the main aim of a research project that has been conducted by the Faculty of Archaeology and Anthropology at Yarmouk University in cooperation with the Bavarian State Conservation Laboratories. \n  \nProf. Ziad Al-Saad\, Professor of cultural heritage conservation and management at the Faculty of Archaeology and Anthropology Yarmouk University; Obtained Ph.D. in conservation and archaeometry from University of London in 1992. He served as Chair of Department of Archaeology in the period 1994-1999 then became the Director of the Insitutue of Archaeology and Anthropology at Yarmouk University which he managed to transform into a full-fledged faculty in 1999 and became its first Dean for two terms until 2007. He then moved to the newly established German-Jordanian University as Vice President for Academic affairs for two years and led the university strategic planning and quality assurance programs for two years. In 2010 he returned to Yarmouk University as Vice President for Research and International Affairs. He was then appointed by the Cabinet as Director General of the Department of Antiquities of Jordan until the end of 2011 when he returned to Yarmouk University.Prof. Al-Saad’s research interest generally is in the areas of conservation and scientific analysis of archaeological materials with a particular interest in the conservation and stabilization of archaeological finds especially metallic artifacts and stone monuments. Has been actively involved in the preservation and conservation of spectacular stone-carved monuments of the Nabatean city of Petra. \n  URL:https://conservation.ucla.edu/event/conservation-of-the-stone-monuments-of-petra-an-ongoing-research-project-of-the-faculty-of-archaeology-and-anthropology-at-yarmouk-university/ 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/Conservation-of-monument-825_0.jpg ORGANIZER;CN="Jennifer McGough":MAILTO:jenmcgough@g.ucla.edu END:VEVENT END:VCALENDAR