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DTSTART;TZID=America/Los_Angeles:20210521T110000
DTEND;TZID=America/Los_Angeles:20210521T123000
DTSTAMP:20260525T032046
CREATED:20210212T003251Z
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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:20210423T110000
DTEND;TZID=America/Los_Angeles:20210423T120000
DTSTAMP:20260525T032046
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:20210312T110000
DTEND;TZID=America/Los_Angeles:20210312T120000
DTSTAMP:20260525T032046
CREATED:20210212T003251Z
LAST-MODIFIED:20231108T223804Z
UID:10000100-1615546800-1615550400@conservation.ucla.edu
SUMMARY:Conservation of In-Situ and Post-Excavation Glass
DESCRIPTION:Stephen Koob\nChief Conservator Emeritus of The Corning Museum of Glass\nFriday March 12th\, 11:00am – 12:00pm (PT) \n \nWatch the Recording Here \nArchaeological glass encompasses glass that has been buried\, either in the ground or in fresh or salt water. In some cases glass was intentionally buried as grave gifts and can be found in archaeological cemeteries or tombs. Most glasses in museum and private collections do not have provenances and their place of manufacture or origin is unknown\, or only known by comparison with actual excavated sources. Archaeological glasses can be preserved in many various states. In some cases the glass has not changed at all\, or very little since manufacture\, in other cases the glass may be heavily deteriorated and extremely fragile. Archaeologists\, excavation personnel\, volunteers and conservators who will be responsible for handling glass should be familiar with the proper procedures\, materials and techniques that are used in the lifting\, handling\, packing\, transportation and storage of glass vessels and fragments.Severely deteriorated or “weathered” layers on archaeological glasses are extremely sensitive to touch\, and should be handled as little as possible.In general\, excavated archaeological glasses should be kept dry if found dry;wet\, if found wet (underwater retrieval);or damp\, if found damp;until careful examination is possible and time is available for treatment.Safe retrieval is a priority.Treatment can involve simple cleaning\, or not; consolidation of fragile or lifting surfaces\, and possible reassembly using the adhesive Paraloid B-72. The eventual disposition of an object\, or group of objects\, should be considered before any intervention is carried out whether the object is to be housed in storage\, studied\, published\, or placed on display. Assembled objects also often require a significantly larger storage space (shelving or cabinets) than individual fragments\, which can be bagged or placed in drawers. Restoration beyond this is rarely done in the field\,but may be done in a museum. \nStephen Koob is Chief Conservator Emeritus of The Corning Museum of Glass\, having recently retired from the Museum. Koob holds an MA in Classical Archaeology from Indiana University\, and a B.Sc. in Archaeological Conservation and Materials Science from the Institute of Archaeology\, University of London. Before joining the Corning Museum staff in 1998\, Koob worked for 11 years as conservator\, specializing in ceramics and glass\, at the Freer Gallery of Art and Arthur M. Sackler Gallery\, Smithsonian Institution. A member of numerous professional organizations\, including the Archaeological Institute of America\, Koob is also a Fellow of the International Institute of Conservation and the American Institute for Conservation. He recently replaced Dr. Robert Brill as Chairman of Technical Committee 17\, which studies the Archaeometry and Conservation of Glass\, as part of the International Commission on Glass. He is the author of the book\, Conservation and Care of Glass Objects (2006). He is an expert in dealing with “crizzling\,” a condition that affects unstable glass. In 2014 Koob received the Sheldon and Caroline Keck Award from the American Institute for Conservation of Historic and Artistic Works (AIC). The award is given to an individual who has “a sustained record of excellence in the education and training of conservation professionals.” For decades he has devoted time to training conservation interns at The Corning Museum of Glass\, and he has taught conservation courses around the world. He has worked\, taught and supervised on numerous archaeological sites\, including the Agora in Athens\, Gordion\, Turkey\, and Samothrace\, Greece. \n 
URL:https://conservation.ucla.edu/event/conservation-of-in-situ-and-post-excavation-glass/
LOCATION:To Watch the Recording Please Click The Lecture Title Above
CATEGORIES:Conservation Conversation Series
ATTACH;FMTTYPE=image/png:https://conservation.ucla.edu/wp-content/uploads/2021/02/Stephen-Koob-e1614806646337.png
ORGANIZER;CN="Jennifer McGough":MAILTO:jenmcgough@g.ucla.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20210226T110000
DTEND;TZID=America/Los_Angeles:20210226T123000
DTSTAMP:20260525T032046
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:20260525T032046
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:20260525T032046
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:20260525T032047
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:20260525T032047
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
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