IPSC Instructor Biographies
Gary Albright (Care of Photographic Collections I, II, III and Recovery of Wet Photographs) is a conservator of paper and photographs in private practice. He graduated from the Winterthur Museum/University of Delaware Program in Art Conservation in 1978. From 1980 to 1999 he was senior paper and photograph conservator at the Northeast Document Conservation Center, Andover, MA. In 1999 he became conservator at the George Eastman House, Rochester, NY, where he taught treatment of photographs to the fellows in the Advanced Residency Program for Photograph Conservators. Since starting his own practice in 2003, Albright has been a visiting professor for the Art Conservation Departments at the State University of Buffalo and the University of Delaware. During his career he has treated a diverse array of objects, including the Emancipation Proclamation, a Honus Wagner baseball card, Ansel Adams’ photographs, and working drafts of the Constitution of the United States. Albright lives and works in Honeoye Falls, New York.
David Arbogast (Preservation Maintenance Planning, Writing Historic Structure Reports, and Architectural Paint Analysis) is an architectural conservator with a private practice in Davenport, Iowa. After receiving his graduate degree in 1974 from Columbia University in architectural restoration he worked as an historical architect for the National Park Service in the Midwest Regional Office in Omaha, the Northeast Regional Office in Boston, and the Denver Service Center over a span of eight years. He was then employed by an architectural firm in Iowa City, Iowa, following which he has maintained a private practice first in Iowa City and now in Davenport. His specialties are paint and mortar analysis, although his practice encompasses the full spectrum of architectural conservation with projects ranging from state capitol buildings to log cabins and from Alaska to Florida.
Hubert Baija (Traditional Gilding and Gilding Conservation) is a Senior Conservator-Restorer at the Conservation Department of the Rijksmuseum, Amsterdam, The Netherlands where he is responsible for the conservation of 7000 antique picture frames. After training in chemistry, mineralogy and biology, he studied educational sciences at the University of Amsterdam and completed his studies at the State Academy of Fine Arts in Amsterdam, The Netherlands, with internships at the Dutch Cultural Institute, Rome, Italy, at the National Gallery, London, England, and at the National Museum of Bayern, Munich, Germany. Mr. Baija has consulted to museums and collectors on the conservation of gilded and polychrome objects. He teaches frame history and conservation at the University of Amsterdam, The Netherlands, and at the Metropolia University in Helsinki, Finland. He acted as an External Examiner for MA and Ph.D. students in conservation at the Academy of Fine Arts in Antwerp, Belgium and at the Royal College of Art, London, England. He is a Professional Associate of the American Institute for Conservation (AIC) and has served as co-chair of the International Council of Museums, Conservation Committee (ICOM-CC) Wood, Furniture and Lacquer Working Group. He participated in the translation of Framing in the Golden Age by P.J.J. van Thiel and C.J. de Bruijn Kops into English. Hubert Baija has presented and published on historic gilding techniques, on the conservation of picture frames, on the framing of medieval panel paintings, and on the history of picture frames. During thirty five years of dedication to the arts he also illustrated school books and taught drawing and painting.
Barbara A. Becker (Effective Label Writing for a Better Visitor Experience) is an exhibit planner, label-writer, and evaluator who has worked in Chicago for nearly 30 years. She has been on staff at both the Field Museum and the John G. Shedd Aquarium, where she planned and wrote labels for many exhibitions both small and large, including the award-winning Amazon Rising. For the last four years, she has been independent, working with museums, parks, colleges, botanic gardens, and other nonprofit organizations on signage, displays, and evaluation. As a frequent associate of Serrell & Associates she has carried out summative evaluation studies at various local museums. Recently, she participated in the Excellent Judges program developing a framework to assess excellence in museum exhibitions. For three years, she has been a guest lecturer on exhibit development, label writing, and evaluation at the School of the Art Institute of Chicago. www.cmegchicago.org
Sharon Bennett (Emergency Preparedness, Response, and Recovery) has been the project archivist for the College of Charleston since 2007. Prior to her current position she served as Archivist at The Charleston Museum where in addition to her curatorial and preservation duties, she was responsible for disaster planning and response for the Museum collections. Sharon received her B.A. from the College of Charleston and her M.L.S. from the University of South Carolina, Columbia. She has been a consultant for the Palmetto Archives, Libraries, and Museums Council (PALMCOP) and for the S.C. State Historical Records Advisory Board (SHRAB). A veteran of hurricane Hugo, she has taught and participated in numerous disaster preparedness and response workshops throughout the Southeast. On behalf of the Southeastern Museums Conference, Sharon taught the 1999 IMLS-funded two-day workshop "Hope for the Best, Prepare for the Worst," in South Carolina, Virginia, and Alabama and edited the 2000 SEMC Disaster Response Handbook. In 1999, she was the recipient of SEMC's Museum Leadership Award. Most recently she co-taught the NEH sponsored FAIC workshop "Safeguarding Our Cultural Heritage in Emergency Response," with Hilary A. Kaplan at Ft. Bragg, NC.
Terry Birkett (Principles of Collections Management) is Assistant Director of Collections Strategies and Information Division at The Detroit Institute of Arts, an encyclopedic collection of art and artifacts from prehistory to contemporary art. He has over 20 years experience with working with collections in various capacities, including design, planning, and implementing storage plans, managing storage facilities, storage equipment design, computerized tracking and documentation, digital imaging, supervision of art handling teams, and coordination of construction and renovation of buildings and systems that affect art storage. He has presented at numerous conferences on collection care and storage design, including American Institute for Conservation, Association of Midwest Museums, and the American Association of Museums, and was a recipient of the Midwest Registrars Committee Travel Stipend Award. He is a trainer for the Michigan Museum Associations Collections Care Workshops, and is a consultant to other museums, private businesses and collections on art storage facility design and equipment, collection management and documentation. In addition, he is the Collection Manager for a major private collection, responsible for the care, display, cataloging, and documentation of the collection.
Kimberleigh Collins-Peynaud (Care of Sculptures) is an independent sculpture conservator currently working in Utah. After earning her B.A. in Visual Arts from Rutgers University in 2001, she moved to France where she obtained a second B.A. in Art History from the Université François Rabelais and her specialized degree (DNSEP) in the conservation of sculpture (Diplôme national supérieur d’expression plastique, option art, mention conservation-restauration des oeuvres sculptées) from the Ecole supérieure de beaux-arts de Tours in 2007. Since then, she has worked in France and America on a wide variety of sculptures and objects from museum collections, churches, historical monuments, and private clients. Notable internships she completed in America took place at the Cloisters (Metropolitan Museum of Art, New York City), the Western Archeological and Conservation Center (Tucson), and the Museum of Fine Arts, Houston. In France, she has worked on monuments such as the basilica of St. Denis and the Thermes de Cluny du Musée du Moyen Age Thermes, and for many churches and museums, such as the Musée Rodin, the Musée de la Marine and the Musée d’art et d’histoire de haumont. Back in the USA since last year, she is enjoying conservation work for local museums and private clients, eager to share her experience and knowledge with others.
Anna Cannizzo (Constructing Affordable Storage Mounts and Supports and Museum Environmental Monitoring and Management) is the Durow Curator of Collections and Decorative Arts at the Oshkosh Public Museum (OPM) in Oshkosh, WI. At OPM, Anna is responsible for a broad spectrum of collections activities as they relate to the management, preservation and scholarship for a large diverse collection of cultural heritage in the areas of art, history, anthropology, and natural history. Formerly, she served for seven years in Ohio at Denison University’s Denison Museum as the Curator of Collections where she was responsible for the care and use of their collection. At Denison, Anna directed an IMLS Conservation Project Support Grant to stabilize works on paper, assisted in obtaining grants for the Conservation Assessment Program in addition to an IMLS Museums for America grant in the area of Collections Stewardship and served as the state representative for the Midwest Registrar’s Committee. Anna earned her B.A and M.S. in Anthropology with a certificate in Museum Studies from the University of Wisconsin-Milwaukee. Previous museum experience also includes collections based work at the Pabst Mansion, the University of Wisconsin-Milwaukee Archaeology Lab, and in the departments of Anthropology, Conservation, and Education at the Milwaukee Public Museum. She was a participant in the Sicilian-Scandinavian Archaeological Project during the Summer 2000 in Salemi, Sicily.
Christine Conniff-O'Shea (Specialized Matting Techniques for Paper Artifacts) studied drawing and printmaking at the University of New Mexico where she received her B. A. in Fine Arts. She found a job in a related field as an Assistant Conservator at the Art Institute of Chicago, a position she has held for over 20 years. Chris has worked on many of the museum's major exhibitions, the most recent being "Himalayas: An Aesthetic Adventure" and "Windows on the West: Chicago and the Art of the New Frontier." Chris specializes in historic and period mounting and framing of works of art on paper from the 14th through the 19th century.
Christa Deacy-Quinn (Integrated Pest Management and Introduction to Methods and Materials for Collections Care) holds a M.A. in Anthropology from the University of Illinois and a B.A. in Anthropology and Museum Studies from SUNY-Oswego. She has been in the museum field for twenty years, and has served as the Collections Manager at the Spurlock Museum at the University of Illinois at Urbana Champaign since 1991. When the new Spurlock facility was constructed, she designed storage spaces and directed the packing and transport of the collection. She has designed and installed more than a dozen permanent exhibits and over thirty temporary museum exhibits. She has developed and implemented an Integrated Pest Management (IPM) system for the Spurlock. She is a strong advocate for low-chemical, low-cost IPM solutions. She has run preservation-focused workshops that address IPM and has consulted with numerous other institutions regarding developing or expanding IPM programs. She designed a number of databases in use at the Spurlock, including databases to track the condition of artifacts and museum pests. She is a Certified Technician for General Use Pesticides in Illinois. She is active in the field of preservation, serving as a Peer Reviewer for the Museum Assessment Program for the American Alliance of Museums and is a member of the Preservation Working Group at the University of Illinois.
Markus Dohner (Exhibit Design and Planning) After 10 years designing exhibitions for the Art Institute of Chicago and University of Chicago's Oriental Institute, Markus Dohner opened his own exhibit design business serving museums and libraries. He works closely with curatorial clients to develop exhibit ideas into exciting, buildable plans. His new business focuses on both the 3-D and 2-D aspects of exhibition design and production. Recent projects include "Voices of Early Wilmette" at the Wilmette Historical Museum. Upcoming projects include a reinstallation of the Native American collection for the Brinton Museum in northern Wyoming and an exhibit on the history of the Chicago Board of Trade for the UIC library. Markus holds an MFA from the School of the Art Institute of Chicago, an MA in art and design from Purdue University, and a BFA from the University of North Texas. His design site is at www.markusdohner.com.