SPEAKERS
Christopher Cameron
Christopher Cameron joined IPI in 2013 and serves as a frequent consultant to collecting institutions working to become more sustainable. Chris provides expert guidance on managing and operating mechanical systems to achieve the best possible preservation of collections at the least possible consumption of energy. An experienced facility manager, Chris received his MS in Communication & Media Technologies from Rochester Institute of Technology (RIT), Project Management Certification from the International Facility Management Association (IFMA), and HVAC Systems Certification through Energy Service Company (ESCO). Christopher is also a 2021 recipient of RIT’s Champion of Sustainability Award.
Luisa Casella
Luisa trained in conservation at the Instituto Politécnico de Tomar, in Portugal. She worked for eight years at Luis Pavão Limitada, a private Photograph Conservation Company serving museums, archives, and cultural institutions. In 2005 Luisa was awarded the Andrew W. Mellon Fellowship of the Advanced Residency Program in Photograph Conservation at George Eastman House and the Image Permanence Institute in Rochester, New York. In 2007 Luisa was awarded the inaugural Andrew W. Mellon Research Scholarship in Photograph Conservation at The Metropolitan Museum of Art in New York City. Following this post, Luisa worked as Photograph Conservator at Harry Ransom Center in the University of Texas at Austin. She joined West Lake Conservators in 2013.
Dorothy Cheng
Dorothy Cheng is currently an Objects Conservator on the Transformation team at the Smithsonian National Air and Space Museum. She was previously a conservator in private practice in Washington state and the 2017-2018 Lunder Fellow in Objects Conservation at Smithsonian American Art Museum, where she conducted a technical study of casting and patination methods used for the bronze sculptures of Paul Manship. Her interest in metal objects and sculpture began with a B.F.A. in metalsmithing and jewelry design from the University of Washington. She received her M.A. at West Dean College of Arts and Conservation in England, where she focused on the conservation of metalwork. After completing her M.A., Dorothy pursued her conservation interests while working in private practice for clients in the Seattle area, including Seattle Art Museum and National Nordic Museum. Previous experience include internships at the British Museum, the National Center for Preservation Technology and Training, and the Art and Antiquities department of New York City Parks and Recreation.
Lynn Chua
Lynn Chua is Conservation Scientist at the Heritage Conservation Centre (HCC) in Singapore. From 2009- 2013, she was trained on the job as Assistant Conservator (Paintings) at HCC. She completed her MSc (research) in 2016 focusing on micro-characterisation of painted artworks at the University of Technology Sydney (UTS) in collaboration with Art Gallery of New South Wales. Previously, she had interned at the conservation science department, Victoria and Albert Museum and was a scholar in residence at the Conservation Science lab, Indianapolis Museum of Art.
Jim Coddington
Jim Coddington is an independent conservator who recently retired from the Museum of Modern Art as the Agnes Gund Chief Conservator. He has written and taught on the theory of conservation, restoration of modern and contemporary art, technical imaging, and the structural restoration of paintings. He has also written and taught on the materials and techniques of artists including Willem de Kooning, Jackson Pollock, Helen Frankenthaler, Joan Miro and others.
Malcolm Collum
Malcolm Collum in the Engen Conservation Chair and has been the Chief Conservator at the Smithsonian's National Air and Space Museum since 2008. Trained as a conservator of fine art, Collum applies the same preservation philosophies and methodologies utilized in the art world towards the conservation of historic technological artifacts. He has a BA from the University of Minnesota and an MA and Certificate of Advanced Study in Art Conservation from SUNY, Buffalo, New York. Collum also studied at the National Museum of Science and Industry (London, England), The Denver Art Museum, and the Philadelphia Museum of Art. In 1996, Collum took a position at the Henry Ford Museum and Greenfield Village where he became senior conservator and was responsible for the automotive, aviation, horological, paintings, and scientific instrument collections. In his current position at the National Air and Space Museum, he works with conservators, curators, and restoration specialists to devise appropriate preservation methodologies for aerospace artifacts in the national collection. His goal is to highlight the benefits of technical analysis and conservation research and to merge this work into the more traditional realms of restoration. Collum has conducted numerous seminars, written several articles, and frequently lectures on ethical concerns and other unique issues related to preserving historic technology.
Julia Commander
Julia Commander (she/her) is the Alice and Herbert Sachs Conservator of Egyptian Collections at the Penn Museum. She joined the Ancient Egypt and Nubia Galleries reinstallation project in 2019, focusing on monumental stone architecture. Julia earned her M.S. from the Winterthur/University of Delaware Program in Art Conservation in 2017 and completed post-graduate training at the J. Paul Getty Museum and the Metropolitan Museum of Art, as well as field work at the Gordion Archaeological Project.
Katey Corda
Katey Corda is an art conservator specializing in the preservation of murals and decorated architectural surfaces. Katey attended the Courtauld Institute of Art in London, UK, where she graduated with an MA degree in the in the Conservation of Wall Painting in 2007. She subsequently built a career as an independent, practical art conservator at the international level until joining EverGreene Architectural Arts in 2019 as a Senior Conservator. Her work has included the preservation of all paint media on a vast range of architectural substrates, and has included projects such as the conservation of King Tut’s Tomb in Luxor, Egypt, and the Houses of Parliament in London, UK.
Damon Crockett
Damon is the author of the Collection-scale representation of the visual properties of black and white paper
Ellen Cunningham-Kruppa
Ellen Cunningham-Kruppa is Associate Director for Preservation and Conservation at the Harry Ransom Center. She has been a practitioner and educator in the preservation field for 35 years. Cunningham-Kruppa was the founding director of the William and Margaret Kilgarlin Center for Preservation of the Cultural Record, a position she held from 2004 to 2009 in The University of Texas at Austin School of Information. She served as president of the Association of North American Graduate Programs in Conservation (2005-2009). Since 2010, she has been an affiliated assistant professor in the University of Delaware/Winterthur Program in Art Conservation. In 2016, Ellen was awarded the American Library Association’s Paul Banks and Carolyn Harris Preservation Award for her contributions to the field. She holds the PhD in American studies and an MLIS from The University of Texas at Austin, and received an Endorsement of Specialization in Administration of Preservation Programs from Columbia University’s School of Library Service. She is the author of Mooring a Field: Paul N. Banks and the Education of Library Conservators (Ann Arbor: The Legacy Press), 2019.
Shanna Diederichs
Shanna Diederichs is a Heritage Management Specialist with 26 years of experience in cultural resource management and 15 years of architectural conservation experience. With an undergraduate degree in Anthropology from the University of Colorado and an Master of Arts in Heritage Conservation from Northern Arizona University, she specializes in architectural preservation and regularly conducts condition assessments, detailed (Level II/ HABS/ HAER) architectural documentation, and architectural preservation of both historic and prehistoric buildings. She has worked for the National Park Service and in consulting positions on BLM lands, Bears Ears National Monument, Mesa Verde National Park, and Aztec National Monument.
Jack DiSciacca
Jack is the author of the Collection-scale representation of the visual properties of black and white paper
Laure Dussubieux
Dr. Laure Dussubieux is a chemist specialized in the determination of the compositions of ancient artifacts made from synthesized or natural glass, metals and stones. Her research directly informs hypotheses about ancient and modern trade and exchange, technology, and their relationship to the development of social complexity around the world. Since 2004, she has managed the Elemental Analysis Facility (EAF) at the Field Museum and her current title is Senior Research Scientist.
Matthew Eckelman
Matthew Eckelman is an associate professor of civil and environmental engineering at Northeastern and a visiting professor at ICTA-UAB in Barcelona. His research focuses on process simulation and life cycle assessment of chemicals and consumer products, including air quality and human health concerns. Dr. Eckelman worked previously for the Massachusetts Executive Office of Environmental Affairs and consults regularly on sustainability-related projects for industrial companies, public agencies, and non-profit institutions. He holds a PhD in Chemical and Environmental Engineering from Yale University.
Thomas Edmondson
Thomas is affiliated with Heugh-Edmondson Conservation Services, LLC.
Tom Ensom
Tom Ensom is a London-based Digital Conservator specialising in the conservation of software-based art. He works with those caring for software-based art to research, develop and implement strategies for its long-term preservation. His PhD, an AHRC-funded Collaborative Doctoral Partnership between King's College London and Tate, explored approaches to conservation documentation for software-based art, addressing a number of gaps in existing theory and practice. Tom continues to work with Tate’s Time-based Media Conservation team, where he has helped develop their conservation strategy for software-based art and worked on the acquisition of a wide range of time-based media artworks. His current research focus is the preservation of real-time 3D software and immersive media (XR) technologies.
Mariana Escamilla-Martínez
Mariana Escamilla is a paintings conservator at Studio Redivivus, based in The Hague. In her current position, she has focused on the in-depth technical investigation of artworks. She graduated in 2019 with an MA in Conservation of Paintings, Polychrome Sculpture and Modern Art from the Cologne Institute of Conservation Sciences in Germany. Her research project there dealt with the assessment of five organic “green” solvents and their effects on artificially and naturally aged oil-based paints. During her studies, she held various internship positions around Europe including Studio Redivivus, Brakebusch Restaurierungswerkstatt, and State Museum Auschwitz Birkenau. Mariana has recently earned a UNESCO fellowship at the Beirut Museum of Art, where she aided in the structural conservation of paintings on textile support damaged during the 2020 explosion.
Sigrid Eyb-Green
Sigrid Eyb-Green (*1974, Vienna) received her Diploma degree in 1999 from the Conservation Program at the Academy of Fine Arts, Vienna where she has been member of the scientific staff and teaching paper conservation since 2002. In 2009, she finished her PhD on cartoons for a fresco cycle (1846 - 50) by Leopold Kupelwieser. From 2009 – 2016 she was board member of the Austrian Restorer`s Association (ÖRV) and delegate to the European Confederation of Conservators-Restorers (ECCO). She was also ICOM-CC Working Group Coordinator of Art Technological Source Research ATSR from 2012 – 2018 and together with Ute Henniges, she is editor in chief of Restaurator - International Journal for the Preservation of Library and Archival Material. Her main research areas are 19th century cartoons and the history and theory of conservation. She is also interested in the didactics of teaching conservation and in public preservation education projects.
