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DTSTART;TZID=America/Los_Angeles:20220520T110000
DTEND;TZID=America/Los_Angeles:20220520T120000
DTSTAMP:20260525T051600
CREATED:20210929T221300Z
LAST-MODIFIED:20220406T194815Z
UID:10000092-1653044400-1653048000@conservation.ucla.edu
SUMMARY:The conservation and restoration of the church of Kuñotambo by its community
DESCRIPTION:Claudio Cancino\nSenior Project Specialist\, Getty Conservation Institute \nRegister here \nThe conservation and restoration of the church of Kuñotambo by its community \nClaudia Cancino \nArchitect | Architectural Conservator | MBA | MS \nSenior Project Specialist\, Building and Sites department \nThe Getty Conservation Institute \nThe community of Kuñotambo\, a small village near Cusco\, Peru has been a crucial and significant stakeholder for the conservation of its church of Santiago Apóstol. Thanks to them\, their church was seismically retrofitted and is now maintained as a case study for similar sites in the region. \nThe church is one of the four case studies of the Seismic Retrofitting Project\, a collaborative project between the Getty Conservation Institute and the Ministry of Culture of Peru. The SRP aims to design\, test and model seismic retrofitting techniques suitable to earthen buildings using low-tech materials and local expertise. \nThe construction documents for the seismic retrofitting of the church were developed by the GCI and the Ministry of Culture of Cusco; where the SRP designed retrofitting techniques were implemented. The construction phase started in 2016 and the church was inaugurated in 2019. \nThis contribution will explain the importance of the involvement of local communities for the conservation and maintenance of their heritage. \n  \nClaudia Cancino is a licensed architect from Peru and manages the Getty Conservation Institute Earthen Architecture Initiative which has three components: The Seismic Retrofitting Project in Peru\, the Earthen Architecture Course in Al-Ain\, Abu Dhabi and the Terra 2021 Congress in Santa Fe\, New Mexico. She also manages the Retrofitting and Repair Component of the Bagan Conservation Project. She earned a certificate in conservation at ICCROM in Rome\, followed by graduate diploma in business administration at ESAN in Lima. She practiced preservation architecture and has taught Earthen Conservation at several universities. She earned a Master of Science in Historic Preservation and an advanced certificate in conservation from the University of Pennsylvania.
URL:https://conservation.ucla.edu/event/title-tbd/
CATEGORIES:Conservation Conversation Series
ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/09/CC_Peru.jpg
ORGANIZER;CN="C%C3%A9line Wachsmuth":MAILTO:wachsmuthc@g.ucla.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220422T110000
DTEND;TZID=America/Los_Angeles:20220422T120000
DTSTAMP:20260525T051600
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:20260525T051600
CREATED:20210929T220956Z
LAST-MODIFIED:20231108T222425Z
UID:10000104-1647601200-1647604800@conservation.ucla.edu
SUMMARY:Conservation and Restoration Approaches at the Musical Instrument Museum
DESCRIPTION:Rodrigo Correa-Salas\nConservator \nWatch the Recording Here \nThe structure\, materials and acoustic properties of musical instruments are diverse and delicate. These characteristics will determine whether the instrument can be played (on special occasions) or just be displayed in the gallery. \nThe basic knowledge of the different materials (and their combinations) with which they were built\, how they were made\, how they were played and on what occasions they were played offers us a good basis and help to evaluate each instrument and know how to proceed to maintain\, stabilize\, adjust\, restore\, or fix these sound machines. \nBorn in Santiago\, Chile\, Rodrigo Correa Salas comes from a family of artists.Prior to MIM\, Correa worked as a luthier and instrument conservator for nearly two decades in the United States\, Caribbean\,Panama\, and Chile. He was the official luthier of the annual Casals Festival in San Juan\, Puerto Rico\, and custodian of Maestro Casals’s violoncello in the Pablo Casals Museum. \nCorrea graduated from Puerto Rico’s Conservatory of Music\, with a bachelor’s degree in music education and a minor in violoncello. He later obtained an associate of science degree in string instrument technology from Indiana University\, while doing parallel studies in cello. He has played in various baroque\, classical\, and popular music groups in the United States and the Caribbean. \nCorrea’s role as conservator is to examine\, document\, restore\,repair\, and maintain musical instruments and other objects in MIM’s collection\, while coordinating closely with the curatorial teamand collaborates in installing gallery exhibitions.
URL:https://conservation.ucla.edu/event/conservation-and-restoration-approaches-at-the-musical-instrument-museum/
LOCATION:To Watch the Recording Please Click The Lecture Title Above
CATEGORIES:Conservation Conversation Series
ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/09/musical_instrument-e1633016378526.jpg
ORGANIZER;CN="C%C3%A9line Wachsmuth":MAILTO:wachsmuthc@g.ucla.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220218T110000
DTEND;TZID=America/Los_Angeles:20220218T120000
DTSTAMP:20260525T051600
CREATED:20210929T220841Z
LAST-MODIFIED:20231108T222650Z
UID:10000090-1645182000-1645185600@conservation.ucla.edu
SUMMARY:Preserving the Wreck of an Intact 17th-century warship – the Challenging and Rewarding Conservation Work at the Vasa Museum
DESCRIPTION:Malin Sahlstedt\nConservator\, Vasa Museum\, Swedish National Maritime and Transport Museums \nWatch the Recording Here \nSince the raising of 17th-century warship Vasa in 1961 after333 years on the seabed of Stockholm harbour\, two generations of preservation staff have had the task to safeguard this mighty piece of maritime cultural heritage for the future\, a task perhaps as monumental as the ship itself. Contrary to what was thought when the Vasa Museum opened in 1990\, namely that the conservation project was finalised and there would be little further need for lab facilities and specialised staff\, the gradual development of acidic precipitates on the surface of the ship over the coming decade signalled on-going degradation processes\,which called for action and wide expertise. Through a number of interdisciplinary research projects\, new knowledge has been built and implemented in museum practice. I will present some of the experiences made and lessons learned over the years\, where the securing and maintaining of broad preservation competence have become increasingly important and likewise challening. \nMalin Sahlstedt studied Conservation of Cultural Property at Gothenburg University and has aMSc in Archaeological Science from Stockholm University (2000). After working in archaeological conservation with the focus on the treatment of waterlogged wood and a research projecton alum-treated archaeological wood at the Swedish National Heritage Board (2002-2009)\,she is currently conservator at the Vasa Museum in Stockholm\, Sweden (2009-present). Here\, in the continuous effort to improve the long-term preservation conditions for 17th-centurywarship Vasa and associated wooden artefacts\, her work is concentrated on testing methods and implementing research results in the museum context. She also worked as a conservator in the research project Saving Oseberg at the Cultural History Museum in Oslo\, Norway (2017-2018)\, investigating the preservation status of and re-treatment options for the alum-treated wooden objects of the Viking Ship Museum collection.
URL:https://conservation.ucla.edu/event/preserving-the-wreck-of-an-intact-17th-century-warship-the-challenging-and-rewarding-conservation-work-at-the-vasa-museum/
LOCATION:To Watch the Recording Please Click The Lecture Title Above
CATEGORIES:Conservation Conversation Series
ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/09/17th-c-warship-Vasa-photo-Karolina-Kristensson-the-Vasa-Museum.jpg
ORGANIZER;CN="C%C3%A9line Wachsmuth":MAILTO:wachsmuthc@g.ucla.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220121T110000
DTEND;TZID=America/Los_Angeles:20220121T120000
DTSTAMP:20260525T051600
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:20260525T051600
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:20260525T051600
CREATED:20210929T220344Z
LAST-MODIFIED:20210930T153247Z
UID:10000093-1637319600-1637323200@conservation.ucla.edu
SUMMARY:Buddhist Wall Paintings in Ladakh – Painting Technique\, Conservation and Ethical Considerations
DESCRIPTION:Sreekumar Menon\nPaintings Conservator\, (Partner) Art Conservation Solutions \nRegister here \nWall paintings in Ladakh\, the earliest specimens of which date from the eleventh century\, mirror the development of Buddhism and Buddhist Art in the region.The materials and technique of these paintings\,and their iconographic schemes\, are complex and have transformed overtime. Many of these paintings have undergone damages due to various intrinsic and or extrinsic factors. Their conservation is a challenge\, especially when they are housed in structures that are still being used by the religious community. A wholistic study of these paintings is vital to better-understand their original technologies\, and prevent the inadvertent loss of original materials during conservation interventions. \nThis talk intends to discuss the painting technique of the early period wall paintings of Ladakh\, their significance\, and ethical issues involved while dealing with their conservation. \nSreekumar Menon is a paintings conservator based in India. He did his Master’s in art conservation from the National Museum Institute\, New Delhi before undertaking internships in paintings conservation at the Indian National Trust for Art and Cultural Heritage(INTACH)\, New Delhi\, Hamilton Kerr Institute\, Cambridge and Stichting Restauratie Atelier Limburg(SRAL)\, The Netherlands. He is currently his completing PhD at the Courtauld Institute of Art\, London. \nAs a partner inthe firm Art Conservation Solutions\, Sreekumar has managed and executed various conservation projects in India. He also worked with the Courtauld Institute of Art in wall painting conservation projects in India and Bhutanand has been a programme manager of the Leon Levy Foundation Centre for Conservation Studies at Nagaur\, India from 2015-2019. \nSreekumar is a fellow of the International Institute for Conservation of Historic and Artistic Works (IIC)and a guest lecturer to leading conservation programmes in India.
URL:https://conservation.ucla.edu/event/buddhist-wall-paintings-in-ladakh-painting-technique-conservation-and-ethical-considerations/
CATEGORIES:Conservation Conversation Series
ATTACH;FMTTYPE=image/jpeg:https://conservation.ucla.edu/wp-content/uploads/2021/09/Menon_work.jpg
ORGANIZER;CN="C%C3%A9line Wachsmuth":MAILTO:wachsmuthc@g.ucla.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20211022T110000
DTEND;TZID=America/Los_Angeles:20211022T120000
DTSTAMP:20260525T051600
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
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