SPEAKERS
Laura Maccarelli
Laura is the author of "Pressing Politics:" A Technical Study of German Expresisonist and Mexican Prints from the Los Angeles County Museum of Art.
Abigail Mack
Abigail Mack holds a Masters Degree in Art Conservation from the State University College of New York at Buffalo. Half of her professional career has been in private practice and the other half as a conservator in museums, notably the Brooklyn Museum of Art and the National Gallery of Art. In addition to her private practice, Ms. Mack is also part owner of Monumenta Art Conservation & Finishing, LLC which focuses on the conservation and maintenance of large-scale and monumental artworks. Currently Ms. Mack is a Contract Conservator for the Outdoor Painted Sculpture Project and co-teaches a workshop on the same at the Getty Conservation Institute. She also serves as an advisor for the Calder Foundation, Louise Nevelson Foundation, Tony Smith Estate, and Morgan Art Foundation for Robert Indiana.
Casey Mallinckrodt
Casey Mallinckrodt is the objects conservator at the Wadsworth Atheneum Museum in Hartford CT. Prior to joining the Wadsworth staff in 2019 she was the Andrew W. Mellon conservator on the Conservation Initiative in African Art at the Virginia Museum of Fine Arts. She received a master’s degree from the UCLA/Getty Program in the Conservation of Archaeological and Ethnographic Materials and previously received a master’s degree in fine arts (sculpture) from Yale University. Among other projects she has work on archaeological Pueblo ceramics at the Museums of New Mexico, Egyptian coffins at the Rijksmuseum van Oudheden in Leiden, NL., and Amarna, Egypt, and Renaissance ceramics as a Kress Fellow at the MFA Boston.
Maddalena Magnani
Maddalena Magnani was born in Florence in 1996. She graduated at Liceo Classico Dante high school, where she also attended an Etruscan archaeology extra-curricular course with an excavation summer camp organized at the end of every school year in Radda in Chianti. She attended the Conservazione e Restauro dei Beni Culturali course at the University of Turin, choosing the specialization sector for the conservation of paintings, wooden artifacts and contemporary art. She chose contemporary art for the thesis project and had the chance to study and restore a complex collage by Giulio Turcato. She led a complete research, testing and using new materials and technologies, such as IMAT. She completed in 2021 the five-years master’s degree program in the planned time with first class honors. She is currently employed in a post-graduate internship at a restoration enterprise in Novara. She also completed an internship at Open Care in Milan during her studies. A short abstract of the thesis was published in ICOM-CC Modern Materials and Contemporary Art Working Group Newsletter, Issue 12/July 2021. Tireless, accurate, and motivated, she loves studying, especially for challenging restoration treatments that imply research. She would love to be able to continue her studies with a PhD program, preferably focusing on contemporary art.
Barbara Mangum
Barbara Mangum is the President of Sculpture & Decorative Arts Conservation Services LLC, a company she founded in 2000 after working as objects conservator, then Chief Conservator at the Isabella Stewart Gardner Museum for 14 years. She is a Professional Associate of the American Institute for Conservation (AIC), and is a graduate of the Cooperstown Graduate Program in the Conservation of Historic and Artistic Works. She received her Bachelor’s degree in chemistry and art history from Vanderbilt University graduating with honors and her Masters in Fine Arts from the New York State University College at Oneonta. She interned in objects conservation at the Center for Technical Studies in the Field of Fine Arts at Harvard University and after graduation held fellowships at the Museum of Fine Arts, Boston, the Fitzwilliam Museum, Cambridge University, England, and the Metropolitan Museum of Art. New York. Mangum has received preservation awards from the town of Brookline, the Boston Society of Landscape Architects and from the Boston Preservation Alliance. As a conservator in private practice her clients include many well-known cultural organizations, universities, museums, historical societies, municipalities and towns, as well as collectors and individuals. Her practice is located in Somerville, Massachusetts.
Tomas Markevičuis
Tomas is the author of Study and restoration treatment of a collage by Giulio Turcato: from precision mild heat transfer using IMAT nanotechnology to novel sustainable methods and strategies for consolidation and reintegration.
Skye Marshall
Skye Marshall is an emerging conservator, currently working as an Assistant Conservation Technician at Ingenium – Canada’s Museums of Science and Innovation. She has an Advanced Diploma in Applied Museum Studies from Algonquin College in Ottawa, for which she completed an internship in conservation at Ingenium in 2019, and a Bachelor of Humanities with combined honours in Humanities and Religion from Carleton University, Ottawa in 2016.
Jorge Martinez-Garcia
Jorge is the author of The effect of conservation agents on non-destructive dendrochronology.
Catherine Matsen
Catherine received an A.B. in chemistry in 1997 from Bryn Mawr College. She worked for three years as a laboratory technician at the Du Pont Company performing research on heterogeneous catalysis and drug synthesis. She then held a one-year position as a laboratory analyst in the Conservation Department at Winterthur Museum before entering the University of Pennsylvania’s Graduate Program in Historic Preservation where she received her M.S. degree in 2003. The subject of her master’s thesis was a materials analysis and interpretation of interior finishes of the Corbit-Sharp House at Odessa, Delaware. She has completed internships with the Architectural Paint Conservation Project at Drayton Hall, a National Trust Site in Charleston, South Carolina, and also with the Architectural Research Department at Colonial Williamsburg.
Evelyn (Eve) Mayberger
Eve Mayberger is an Assistant Conservator at the Museum of Fine Arts, Boston. She graduated with a M.A. and M.S. degrees in art history and conservation at the Institute of Fine Arts, New York University where she specialized in objects conservation. In addition to museum work, Eve has participated in excavations at Sardis (Turkey), Selinunte (Sicily), Abydos (Egypt), and el Kurru (Sudan). Eve is currently a member of the Education and Training Committee (ETC) of the American Institute for Conservation (AIC).
Joy Mazurek
Joy is the co-author of Microscopic Examination of Asian Lacquer Surfaces Prior to Treatment.
Christine McCarthy
Christine is author for Professional Identity in Library and Archives Conservation.
TK McClintock
TK McClintock retired from directing studio conservation practice in 2016 after nearly 30 years as Studio Director. TK is now Consulting Conservator at StudioTKM Associates, Inc. He received a Master of Arts, Conservation of Historic and Artistic Work from Cooperstown Graduate Program, and is a Fellow of the American Institute for Conservation and a Fellow of the International Institute for Conservation (UK).
Jack McConchie
Jack McConchie is a time-based media conservator at Tate. He has worked across loan, acquisitions and exhibition program areas including major retrospectives at Tate Modern such as Nam June Paik and Bruce Nauman. More recently, he has undertaken research into the lives of complex artworks in the museum as part of the “Reshaping the Collectible” research project at Tate. He has written on the shift away from knowing, fixing and the museums authoritative voice, and toward supporting the life of a work through caring and multiplicity of voice. Building on software-based artwork and video preservation strategies, he has recently co-authored a white paper that reports on Tate’s “Preserving Immersive Media” research project. Responding to the accelerated pattern of obsolescence seen in contemporary immersive technologies, the project team is creating an agile online resource space that invites collaboration and publishes outputs from a series of community workshops. Previously, Jack studied music and electronics at Glasgow university, worked as a musician and audio engineer, and collaborated on the design and fabrication of bespoke systems and components for artists working with time-based media.
Steve Mellor
Steve Mellor serves as Associate Director for Collections and Facilities at the National Museum of African Art where he is provides oversight for the management, care, and use of the museum’s collections. As a member of the museum’s senior management team, Steve participates in the development and implementation of museum policies and procedures. Previously, as Head Conservator, he renovated the museum’s storage facilities and has worked at the DeYoung Museum in San Francisco, with the Katherine White collection of African art at the Seattle Art Museum, and interned at the Metropolitan Museum for the AOA department. He has an undergraduate degree from George Washington University and a MS degree from the Winterthur University of Delaware Art Conservation program.
Paul Messier
Paul Messier is the Chair of the Yale Institute for the Preservation of Cultural Heritage and the Pritzker Director of its Lens Media Lab. He has published widely, holds patents for cultural materials characterization, and directed an initiative to establish a department of photograph conservation at the State Hermitage Museum in Saint Petersburg, Russia. Founded in 1994, his Boston-based private conservation practice serves institutions and private clients worldwide. With Martina Droth, he is co-editor of Bill Brandt | Henry Moore (Yale Center for British Art, 2020). He is the 2018 recipient of the Award for Distinction in Scholarship and Conservation jointly presented by the College Art Association and the American Institute for Conservation.
Sebastian Million
Sebastian is the co-author of The effect of conservation agents on non-destructive dendrochronology.
Kappy Mintie
Kappy is the author of the Collection-scale representation of the visual properties of black and white paper.
Anna Mladentseva
Anna Mladentseva is a MSc Digital Humanities student at University College London (UCL). Having completed her undergraduate degree at UCL’s History of Art Department, Anna’s research interests operate in the intersections between time-based media and digital preservation. She is a member of UCL’s Multimedia Anthropology Lab research network, where she has employed three-dimensional modeling, virtual reality and machine learning for ethnographic research. More recently, Anna has been working on a digital preservation project together with UCL Medical Sciences to rescript the department’s Flash-based learning resources.
Dana Moffett
Dana Moffett has been working in various capacities at the National Museum of African Art lab for a span of twenty-five years, beginning as a post-graduate fellow and then in conservation staff positions. Between 2005-2011, Dana was in private practice and worked on the African collections at the University of Iowa (the Stanley Collection), the Virginia Museum of Fine Arts (the Nooter Collection), and North Carolina Museum of Art. Dana has a BSc (Hons) in Archaeological Conservation from University College, London and a MA in Anthropology from the University of Denver.
Maria Mohammed SE
A graduate of USC with both a BS and MS in structural engineering, Maria is a CA-licensed structural engineer with extensive experience of working on the retrofit and renovation of historic structures. She is a winner of the SEAOC Young Engineer of the Year award and currently chairs the Association's communications committee. She has been an ACE Mentor and has keen interests in youth development in the profession.
Bernice Morris
Bernice is affiliated with the Philadelphia Museum of Art.
Ivan Myjer
Ivan is the author of Restoration of the memorial to Col. Robert Gould Shaw and the 54th Massachusetts Volunteer Infantry Regiment.
Morgan Nau
Morgan Nau is an Associate Conservator at the Peabody Museum of Archaeology and Ethnology at Harvard University. Prior to joining the Peabody she had worked at the Indianapolis Museum of Art, The Field Museum, and was a Samuel H. Kress fellow at the Smithsonian American Art Museum. She received her conservation training at the Institute of Archaeology, University College London. Her current work is focused on archaeological and ethnographic conservation, as well as overseeing the museum’s preventive conservation.
Oliver Nelle
Oliver is the co-author of The effect of conservation agents on non-destructive dendrochronology.
James Nikkel
James is the co-author of Pushing the Limits – The Portable Laser Ablation Micro-Sampling Technique and its Application in Cultural Heritage.
Petria Noble
Petria Noble is senior paintings conservator and Head of Paintings Conservation at the Rijksmuseum, Amsterdam, a position she has held since 2014. Prior to this she worked for 18 years as a paintings conservator at the Mauritshuis in The Hague where she was involved in/ initiated several important collaborative research projects including the ‘Open-laboratory’ collaboration with FOM-AMOLF (1998-2006), ‘The Rembrandt Database’, a collaboration with the Netherlands Institute for Art History (RKD) that aimed at making conservation and art-historical material more accessible and interpretable across institutions and by the scholarly public, and the development and application of novel digital imaging techniques as part of a Netherlands Organization for Scientific Research Dutch (NWO)-sponsored research project with Delft University of Technology, University Antwerp and the National Gallery of Art in Washington DC (2012-2018). From 2016-2020 she was co-principal investigator of the NICAS-funded research project: ‘Multi-isotopic analysis of early modern art: Linking origin, trade and production of raw materials with provenance research’, a collaboration led by the department of Earth Sciences at the Vrij University of Amsterdam. Currently she is part of a multi-disciplinary team involved in ‘Operation Night Watch’, the largest research and conservation project that Rembrandt’s masterpiece, The Night Watch (1642, oil on canvas, h 378.4 x w 453 cm) has ever undergone.
Sarah Norris
Sarah Norris is Assistant Professor of Practice in Library and Archives Conservation and Preservation at the University of Texas School of Information. Previously, she was conservator at the Texas State Library and Archives Commission. She is a Fellow in the American Institute for Conservation, and a member of the International Institute for Conservation, the Institute of Conservation, and the American Library Association. Highlights of AIC service include board service with the Book and Paper Group and the Electronic Media Group, and Webinar Chair of the Connecting to Collections Care program. Sarah earned her MSIS and CAS in conservation from the University of Texas Kilgarlin Center, and completed her graduate internship at the Newberry Library in Chicago. Her research has been published in the Journal of the American Institute for Conservation and the Association of Recorded Sound Collections Journal. She’s also online at
conservation.ischool.utexas.edu.
Alison Norton
Alison Norton is a paper conservator the same age as AIC at Moderna Museet, Stockholm, Sweden for the past twenty years after previous employment in London and the US. Central interests include the use of facsimiles, philosophy of conservation, mounting and presentation solutions for modern and contemporary art, Duchamp, the use of gels and nanomaterials, and how conservation and activism can coexist.
Alexis North
Alexis North is a Project Conservator at the Penn Museum, currently working on the Museum's renovation of their Ancient Egypt and Nubia galleries. She is a graduate of the UCLA/Getty Conservation Program, and has worked at the Brooklyn Museum, the Michael C. Carlos Museum, and The Smithsonian National Museum of African Art. She has also worked as both an archaeologist and conservator at archaeological sites in Kenya, Greece, and Turkey. She enjoys sewing, Crossfit, and sci-fi, though not necessarily all at once.
Virginia Nouwen
Virginia Nouwen received a BA in History of Art, Materials and Technology at University College London, before going on to read Conservation of Easel Paintings at the Courtauld Institute of Art, London. Her thesis was an in-depth study of the painting methods and materials of the nineteenth-century plein-air artist, Eugène Boudin. Since graduating in 2018 she has worked as a freelance conservator at various sites around the U.K., including the Houses of Parliament. She took part in the conservation of the Painted Hall in Greenwich as an intern for Paine & Stewart, before going on to earn a fellowship position at Stichting Restauratie Atelier Limburg (SRAL). Virginia also held the role of paintings conservator for loans and displays at the Royal Collection Trust. She joined the team at Studio Redivivus in 2020, where she has been enjoying opportunities to conduct research into artists’ techniques and broadening her professional knowledge.
Moritz Numrich
Moritz is the co-author of Pushing the Limits – The Portable Laser Ablation Micro-Sampling Technique and its Application in Cultural Heritage.
Sarah Nunberg
Sarah Nunberg has been in private practice as an objects conservator in Brooklyn NY since 2006. Sarah has become a leading expert in Life Cycle Assesment (LCA) for sustainable practices in cultural heritage through her work as a Principal Investigator for a Tier I and Tier II National Endowment of Humanities Grant to create STiCH, Sustainablity Tools in Cultural Heritage, including an LCA library and carbon calculator supported by FAIC. Along with continuing her private practice, Sarah teaches materials properties at Pratt Institute. Sarah was awarded the 2021-22 Adele Chatfield-Taylor Rome Prize in Historic Preservation and Conservation for continuing her work with LCA. Sarah received her advanced certificate in conservation and her MA in Art History from the Institute of Fine Arts Conservation Center at New York University in 1994 and her MA in Archaeology from Yale University in 1990.
Steve O'Banion
Steve is affiliated with Glenstone.
Caitlin O'Grady
Trained as a conservator and conservation scientist, Caitlin teaches in the postgraduate conservation programmes at University College London-Institute of Archaeology. She received her MA in Art History and Advanced Certificate in Conservation (Objects) from New York University and her PhD in Materials Science and Engineering from the University of Arizona. At UCL, Caitlin is a Lecturer in Conservation and Affiliate Tutor. She has extensive experience working as conservator and conservation scientist on archaeological projects in Albania, Belize, Guatemala, Peru, and Turkey. Currently, Caitlin directs conservation of artefacts and immovable heritage for the Kaymakçı Archaeological Project in western Turkey. She has published widely on the disciplinary histories of conservation/conservation science and their intersection with that of archaeology in the late 19th and early 20th centuries, as well as the development and codification of conservation expertise. Her other research interests include the preservation and technological analysis of ceramics, lime-plaster wall paintings, and mudbrick, as well as materials used for historic conservation repair (adhesives, bulking agents, inpainting media, etc.).
Colleen O'Shea
Colleen O’Shea is the Andrew W. Mellon Assistant Objects Conservator at the Fine Arts Museums of San Francisco (FAMSF). She received her MA in Art Conservation from SUNY Buffalo State, specializing in objects conservation. Prior to working at FAMSF, Colleen was the Andrew W. Mellon Fellow in Conservation at Historic New England. She has also held positions at the Asian Art Museum in San Francisco, the Isabella Stewart Gardner Museum in Boston, and the Yale University Art Gallery. Her conservation interests are related to organic and archaeological materials generally, and collaborating on projects exploring these materials with scholars and communities.
Dominic Oldman
Dominic Oldman is Head and Principal Investigator of the ResearchSpace project at the British Museum, and a Senior Curator in the Department of Ancient Egypt and Sudan. He is an interdisciplinary researcher with a focus on digital research methods and digital historiography. His research has been converted into the practical open source ResearchSpace system - a new type of contextualizing knowledge base system promoting collaborative interdisciplinary research and allowing people to grow and synthesize knowledge that relates to and reveals different aspects of history and society. He is deputy co-chair of the CIDOC CRM (Conceptual Reference Model) Special Interest Group and is currently a DPhil student at the University of Oxford, History Department.
Devi Ormond
Devi Ormond received her Master’s degree in Paintings Conservation in 1999 from the University of Northumbria at Newcastle. She then spent two years at the Hamilton Kerr Institute Cambridge, UK and completed several internships both in Museums and private studios in Europe and the US. She worked at the Victoria & Albert Museum and the Kröller-Müller Museum developing a specialism in the conservation and technical examination of 19th Century paintings. At the Van Gogh Museum for seven years, Devi conserved and researched paintings by both Van Gogh as well as his Dutch and French contemporaries. She currently works as an Associate Conservator of Paintings at the J. Paul Getty Museum.
Mark Ormsby
Mark Ormsby is a Heritage Scientist at the National Archives and Records Administration. His research interests include sustainable environmental storage management, preservation of documents on long-term display, and applications of Bayesian modeling to heritage collections. He has published and presented research on chemometric analysis of handmade paper with gelatin sizing, applications of solid-phase microextraction, and energy conservation in archival storage.
Nina Owczarek
In 2019, Nina Owczarek (she/her) became Assistant Professor at the University of Delaware in the Art Conservation Department. Prior to her current appointment, she was Associate Conservator at the University of Pennsylvania Museum of Archaeology and Anthropology (Penn Museum), where she worked for nine years. She is a graduate of the Conservation Center, Institute of Fine Arts, New York University. Owczarek served as Secretary/Treasurer for the Object Specialty Group (2016-2020) and was on the Education and Training Committee (member 2014-2020, Vice Chair 2018, Chair 2019) for the American Institute for Conservation where she is a Fellow member.
Samantha Owens
Samantha is the Assistant Conservator at Glenstone Museum in Maryland. She holds an M.S. in Art Conservation from the Winterthur/University of Delaware Program in Art Conservation (WUDPAC) with a specialization in objects conservation and a B.A. in Art History from Emory University. Samantha held graduate internships at the Metropolitan Museum of Art, the Cleveland Museum of Art, and the Hamburger Kunsthalle.
