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.
James Bernstein, (Mastering Inpainting) Conservator of Paintings & Mixed Media, is in private practice in San Francisco, California. He is a graduate of the High School of Music & Art (NYC), Brandeis University, and the Cooperstown Graduate Program in Conservation (now at Buffalo). Jim was Conservator and Co-Director of Conservation for the San Francisco Museum of Modern Art for 15 years, instrumental in the training of interns and the design of the museum's conservation programs. Known for his knowledge of artist materials, his inventive problem-solving, and his skillful treatment of hybrid modern art works, Jim is dedicated to conservation education and loves to share his knowledge with others. Regularly called upon to teach color and compensation techniques to conservators at advanced seminars [hosted by institutions such as the Getty Museum, Museum of Modern Art (NY), New York University's Conservation Center, the International Preservation Studies Center (née Campbell Center for Historic Preservation Studies), and now the AIC], Jim has lectured on inpainting, picture varnishes, dilemmas in the conservation of contemporary art, and "Studio Tips."
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.
Pam Gaible (Design and Construction of Mounts for Exhibits) is the Mount Shop Supervisor at the Field Museum of Natural History in Chicago. She has a Master of Fine Arts degree in Sculpture from the University of Nebraska at Lincoln, and has over 14 years experience designing and fabricating archival mounts at the Field Museum. She has worked closely with conservators, curators, exhibit developers, and designers to make mounts for a large variety of objects including: dinosaur fossils, Egyptian mummies, Pacific Island ceremonial objects, African textiles, Native American clothing, animal skeletons, and meteorites. Major exhibits at the Field Museum which Pam has worked on include "Kremlin Gold: 1000 Years of Russian Gems and Jewels," "Cleopatra of Egypt," "Cartier - 1900 to 1939," "Scrolls from the Dead Sea," "Sue" (the dinosaur), "Inside Ancient Egypt," "Traveling the Pacific," "Africa," "Life Over Time," and "What Is an Animal?"
Barbara Geiger (Historic Landscape Restoration) is a landscape historian and preservation specialist who believes that historic properties need appropriate outdoor settings. She has consulted on such diverse restoration projects as the Baha’i Temple grounds in Wilmette, the historic 1870 lagoons in Jackson Park, and the Glen View Club’s 1897 prairie-style golf course. Currently she is developing a landscape master plan for the Frances Willard House (1867) National Historic Landmark in Evanston, IL with a grant from the National Trust. Barbara has taught for over a decade in the College of Architecture at the Illinois Institute of Technology, the Chicago Botanic Garden, and the School of the Art Institute. She lectures widely at many Chicago-area institutions, and published Low-Key Genius: The Life and Work of Landscape-Gardener O.C. Simonds in 2011. Barbara has served on the Fund and Easement Committee of Landmarks Illinois, and the Wilmette Historic Preservation Commission. Her graduate degree is from the University of Wisconsin-Madison, one of the few schools to offer a cultural landscape preservation specialization.
Barbara Geiger – Stories Rooted in the Land -
Nicole Grabow (Care of Metals) is an Objects Conservator with the Midwest Art Conservation Center (MACC), a non-profit regional center for the preservation and conservation of art and artifacts. Nicole works with three-dimensional objects, ancient and modern, of all material types and has significant experience with outdoor sculpture and historic metals. As part of her work for MACC, Nicole has taught a variety of workshops for museum professionals and Native culture keepers on a range of topics from arsenic testing and cleaning beadwork to polishing silver and caring for outdoor sculpture. Nicole holds a Master of Science degree from the Winterthur/University of Delaware Program in Art Conservation and has completed post-graduate training at the Smithsonian’s Freer and Sackler Galleries, the National Museum of the American Indian, and the Smithsonian’s Museum Conservation Institute. She has published research on coatings for silver and she is a Fellow of AIC.
Jennifer Hain Teper (Care of Historic Scrapbooks and Introduction to Rare Book Care and Structure) has served since 2001 as the Conservation Librarian and Head of the Conservation Unit for the University Library at the University of Illinois at Urbana-Champaign, where she oversees general and special collections conservation. A 2000 graduate of the University of Texas at Austin program, she has worked extensively with scrapbook collections at the University of Illinois, overseeing a conservation need survey of over 500 historic scrapbooks and the treatment or stabilization of 169 of those items. She has written and presented multiple times on scrapbooks and their preservation.
Josh Hickman (Digitizing Museum Collections) is the Digital Resources Librarian at Beloit College, where he oversees the creation and curatorship of digital collections consisting of holdings from the College archives and museums. Prior to his current position, Josh worked on digital projects at the Milwaukee Art Museum. He holds a B.A. from Marquette University and received his Master of Library and Information Science degree from the University of Wisconsin—Milwaukee. In addition, Josh has served on the planning committee for the Upper Midwest CONTENTdm User Group Annual Meeting since the group’s inception in 2008. Josh’s professional interests include the evolution of standards and best practices with regard to digitization and metadata for digital objects as well as the use of social media as a means of outreach and information exchange for cultural organizations.
Andrew Huot (Care and Repair of Book Collections) is a conservator and bookbinder in Davenport, Iowa where he treats materials for individuals and institutions at Big River Bindery. Previously he was the Conservator for Illinois State University and has taught conservation, preservation, and bookbinding for the Graduate School of Library and Information Science at the University of Illinois. He also teaches workshops and classes across the country. Andrew is a member of the American Institute of Conservation and is a past President of the Guild of Book Workers.
Nathan Keay (Photographing Museum Collections) is the staff Photographer for the Museum of Contemporary Art in Chicago, IL. He is also a professional photographer and artist. He is a graduate of the University of Illinois, Champaign-Urbana, IL. www.nathankeay.com
David Kennedy (Care of Historic Firearms) is the Curator of Collections and Exhibits at the US Marshals Museum in Fort Smith, Arkansas. His responsibilities have included developing collections storage plans, policies, and procedures; establishing environmental standards and related policies; planning and installation of temporary exhibits; and installing and creating various elements of thepermanent exhibit. Prior to his move to Arkansas, Kennedy was the Curator of Collections at the Cherokee Strip Regional Heritage (2009-2015) , and the Curator of the Cody Firearms Museum of the Buffalo Bill Historical Center (2003-2009). Having received a Bachelor of Arts in History from the University of Texas at El Paso in 1998, Kennedy received his Master of Arts in History from Montana State University (MSU) in 2000. While at MSU, Kennedy served as Student Curator with the Museum of the Rockies exhibit, Weapons that Changed the West: From Flint to Fusion. He is the author of Guns of the Wild West: A Photographic Tour of the Guns that Shaped our Country’s History and the content adviser for Katherine Brevard's The Story of Guns: How They Changed the World, a book on firearms for a middle school audience.Mr. Kennedy believes that museums are a great educational equalizer and that the strength of museums lies in the collections they hold and protect. Kennedy was recently re-elected as a Board Member-at-Large for the Mountain-Plains Museums Association (MPMA) and serves on several committees within MPMA.
John Lambert (Understanding Historic Masonry Mortars, Historic Masonry Restoration, and Architectural Stone Repair and Restoration) is the Founder and President of Abstract Masonry Restoration, a 24-year-old historic masonry restoration contracting and consulting company located in Boston, Massachusetts, and Salt Lake City, Utah. He has provided the historic masonry consulting and/or contracting services for several of America’s most notable masonry buildings and estimated/supervised over 1300 successful masonry restoration projects. Additionally, he provides historic masonry expert witness and litigation support services. Heavily involved in hands-on training for those interested in learning how to properly care for historic brick, stone, terra cotta and adobe structures, John has conducted hands-on historic masonry workshops at the International Preservation Studies Center (née Campbell Center for Historic Preservation Studies) for over a decade. He strongly advocates broadening his students’ appreciation for historic masonry by organizing and leading annual trips to such locations as England/Wales, the Caribbean, and various lighthouses. He has studied and trained in England, Scotland, Ireland, Wales, France, Italy and Mexico. John is a frequent speaker/trainer at historic preservation conferences and workshops sponsored by the Association for Preservation Technology (APT), Traditional Building, and other national and local historic preservation organizations. In addition to serving on several historic preservation-related boards, his historic preservation leadership includes chairing the Board of the Traditional Building Skills Institute at Snow College in Ephraim, Utah, as well as serving on ASTM Subcommittee C12.03.03, the task group charged with developing new standards for restoration mortars, and the ASTM task group charged with updating and reinstating the ASTM standard for Natural Cement. He was chosen as the historic masonry expert for the television production THIS OLD HOUSE for a project in East Boston, MA. In 2007, John was honored with the Lucybeth Rampton Award, presented to individuals who have demonstrated a lifetime commitment to historic preservation and whose vision and activities have significantly impacted the preservation movement. John is a passionate collector of rare and historic books, art and documents written about masonry materials and practices during the 1700’s to early 1900’s. An avid student of these valuable resources, he has gained unique insight into the minds of the architects, engineers and craftsmen of the time. He is an expert on the evolution of early American unit masonry mortars. In his spare time, John enjoys raising prime organic beef cows, enjoying his twin grandsons, and playing competitive basketball. www.masonry-restoration.com
Gary J. Laughlin, PhD (Microscopy for Pigment and Fiber Identification in Art and Artifacts) is currently Senior Research Microscopist and Instructor at McCrone Research Institute (McRI) in Chicago where, since 1987, he has taught over 250 one-week courses in various kinds of microscopy to over 3500 students. In addition, he is Adjunct Professor at the University of Illinois in the Forensic Science Program and is Visiting Professor at Cornell University where he teaches chemical microscopy for the Departments of Chemistry and Chemical Biology, Human Ecology, Textiles and Apparel, and the Cornell Architectural Conservation Group. He currently serves as President and Executive Director on the Board of McCrone Research Institute, is a Life Member and former President of the State Microscopical Society of Illinois, is a Fellow in the Royal Microscopical Society, and is a Member of the American Chemical Society and the American Institute for Conservation. Dr. Laughlin received degrees in Criminalistics (Forensic Science) and Chemistry from the University of Illinois at Chicago and a Ph.D. in Metallurgical and Materials Engineering from the Illinois Institute of Technology (IIT). His doctoral thesis used microscopy and microanalysis to explore archaeological evidence for Early Bronze Age tin-ore processing in ancient Anatolia. www.mcri.org
John Leeke (Methods and Materials for Historic Preservation) is an historic building specialist who helps owners,tradespeople, contractors and architects understand and maintain historic buildings. He has been restoring historic buildings for over 40 years and still spends a good part of his time "with hammer in hand." A well-recognized preservation craftsman, John has emerged in the past quarter-century as a popularizer of building conservation principles writing for national preservation journals and consumer publications and through a series of technical publications of his own. John has gained a substantial reputation as an advocate of conservation planning and maintenance programming consulting on preservation projects nationally. He has lead and taught more than 100 workshops and training sessions demonstrating leadership skills, craft knowledge, and practical management abilities. John's motto: by hammer and hand great works do stand, by mind and heart we share the art.
Earl Lock (Design and Construction of Mounts for Exhibits) is an Exhibit Designer and Fabricator in private practice in Chicago with over 15 years experience designing and fabricating exhibit components for natural history museums, art galleries, and children's museums. He holds a Master of Fine Arts degree from the University of Nebraska at Lincoln. He has worked on major exhibits at the Field Museum of Natural History, The Art Institute of Chicago, The Adler Planetarium, The DuPage Children's Museum, The Lincoln Museum in Fort Wayne, Indiana, The Speed Art Museum in Louisville, Kentucky, and the Milwaukee Art Museum.
William Maher (Copyright: The Archivist and the Law) is University Archivist and Professor of Library Administration at the University of Illinois at Urbana-Champaign (UIUC). He was Assistant University Archivist at UIUC (1977-85 & 1985-95), and Program Officer at the U.S. National Endowment for the Humanities (1985-86). He was President (1997-88) and Treasurer (1991-94) of the Society of American Archivists; and President (1987-89) and Secretary-Treasurer (1981-85) of the Midwest Archives Conference.He holds degrees from Case Western Reserve University (1972), Washington University (1975), and UIUC (1991). As the author of one book and over 20 articles, he is a regular speaker on archival administration and copyright law.
Harold F. Mailand (Introduction to Textile Preservation, Advanced Textile Preservation, Textiles Preservation: Guided Practice and Technique) holds a Master's degree in Textile Design and Education from Indiana University. His training in textile conservation includes internships at The Textile Museum, Smithsonian Institution, Museum of Fine Arts in Boston, and The Costume Institute/Metropolitan Museum of Art with grants from National Endowment for the Arts, National Museum Act, and others. Mr. Mailand was Associate Textile Conservator for the Indianapolis Museum of Art, and in 1986, he founded Textile Conservation Services, a textile conservation facility in Indianapolis, Indiana. He is a Fellow in American Institute for Conservation (AIC). His most recent publication is a 1999, co-authored, 92-page text entitled "Preserving Textiles: A Guide for the Nonspecialist."www.textileconservation.com
Nicolette Meister (Grant Writing for Collections Care: NEH & IMLS and Care of Ethnographic Colelctions) is the Curator of Collections of the Logan Museum of Anthropology at Beloit College. She also serves as Adjunct Assistant Professor in Beloit College’s Museum Studies Program and has taught Introduction to Collections Management and Introduction to Museum Studies. Prior to her arrival at Beloit in 1999 she worked at the Denver Art Museum and University of Colorado Museum of Natural History while she completed her M.S. in Museum and Field Studies at the University of Colorado at Boulder. Previous museum experience also includes the Milwaukee Public Museum and the Pitt Rivers Museum at Oxford University, Oxford, England. She holds a B.A. in anthropology from the University of Wisconsin-Milwaukee. Nicolette has written and received grants from NEH and IMLS and has served as a grants reviewer for NEH.
Melissa Mohr (Introduction to Museum Education) is the director of education at the Figge Art Museum and instructs a graduate-level course on museum education through Western Illinois University. Mohr earned her BA in Classics from Knox College and an MA in Art History from the University of Iowa, after which she worked as a curatorial assistant for the University of Iowa Museum of Art. She transitioned to the Figge Art Museum in 2009, joining the education department as its outreach coordinator. In 2013, Mohr was promoted to current position and since that time has overseen all educational programs, both in the museum and also throughout the community. She has presented conference sessions on education at NAEA and AMM, and recently completed the Community Arts Education Leadership Institute, offered through the National Guild for Community Arts Education.
John Molini (Packing and Shipping Workshop), a recognized leader in the field of packing and transport, and a lively teacher and lecturer to boot, has been at the Art Institute since 1984. Originally hired as an art installer, after spending the late Seventies and early Eighties playing and touring in various Rock and R&B outfits, John set up and started the Art Packing Department in 1986 as the Art Institute became more active in lending, borrowing, and mounting exhibitions. Working with Museum Registration, John has been involved with the transport, packing, crating, and in some cases where rigging is a necessity, the installation of exhibitions whether at the "Tute" or on the road. Some of John's proudest accomplishments are: the design and construction of a safe packing system for the transport of pastels; the "hybrid": a design that incorporates corrugated plastic and cardboard with wood, producing a crate that though lighter than the standard all wooden crate, does not sacrifice or compromise protection; his tenure as Program Director and then Chairman of Pacin; the establishment of an Intern Program with the School of the Art Institute; and last, but certainly not least, teaching at the Campbell Center: where the accommodations can't be beat (hello, third floor), the meals are always a treat (thank you, Barbie) and the students, bless them, keep him on his feet.
Camille Myers Breeze (Displaying Historic Textiles and Textile Stabilization Using Sheer Overlays) began her textile conservation career in 1989 at the Textile Conservation Workshop in South Salem, New York. After earning a BA in Art History from Oberlin College, she received an MA in Museum Studies: Costume and Textiles Conservation from the Fashion Institute of Technology. She spent five years in the Textile Conservation Laboratory at the Cathedral of St. John the Divine in New York City before moving to the Textile Conservation Center at the American Textile History Museum, in Lowell, Massachusetts. Camille founded Museum Textile Services in 1999 as a full-service textile conservation studio serving museums, historical societies, and private collectors. She is the author of numerous articles, a book on American tapestry conservation techniques, and has taught in the United States, the Dominican Republic, and Peru. www.museumtextiles.com
Glenna Nielsen (Care of Archaeological Artifacts) is the Collections Manager at the Natural History Museum of Utah at the University of Utah in Salt Lake City. She received her BA in Archaeology and Anthropology, her MA in Prehistoric Archaeology at Brigham Young University, and her Ph.D from University of Utah in Anthropology. Her fieldwork experience includes Montezuma Canyon, Utah; Palmyra, Syria; Petra, Jordan; El Mirador, Peten, Guatemala; Tel Mical, Israel; La Libertad, Chiapas, Mexico; Salama Valley, Alta Verapaz, Guatemala; ancient DNA project that included ancient inhabitants of the coast and highlands of Chile and Peru; textile conservation project, Al Azim Palace collection, Syria.
Peter N. Peregrine (Archaeology and Field Laboratory I & II, Archaeology and Historic Preservation, and Archaeological Site Identification) came to anthropology after completing an undergraduate degree in English. He found anthropology's social scientific approach to understanding humans more appealing than the humanistic approach he had learned as an English major. He undertook an ethnohistorical study of the relationship between Jesuit missionaries and Native American peoples for his master's degree and realized that he needed to study archaeology to understand the cultural interactions experienced by Native Americans prior to contact with the Jesuits. While working on his Ph.D. at Purdue University, Peter Peregrine did research on the prehistoric Mississippian cultures of the eastern United States. He found that interactions between groups were common and had been shaping Native American cultures for centuries. Native Americans approached contact with the Jesuits simply as another in a long string of intercultural exchanges. He also found that relatively little research had been done on Native American interactions and decided that comparative research was a good place to begin examining the topic. He has since done fieldwork in England and Syria, and museum work in Kenya, China, and Japan exploring the impact cross-cultural interactions have on the peoples involved. He has also conducted numerous cross-cultural studies using ethnographic materials. Peter Peregrine is currently professor of the anthropology at Lawrence University in Appleton, Wisconsin. He serves as research associate for the Human Relations Area Files at Yale University, and is president of the Society for Anthropological Sciences. He continues to do archaeological research, and to teach anthropology and archaeology to undergraduate students.
Rebecca Pollak (Mastering Inpainting) is currently the Andrew W. Mellon Fellow in Paper Conservation at the Philadelphia Museum of Art. She developed a comprehensive knowledge of artists’ materials during her years as manager and technical advisor for Kremer Pigments Inc. in New York, and has given various workshops on manufacturing historical and contemporary paint materials to artists and conservators. Rebecca has gained experience in paper and photograph conservation in both private and institutional labs including The Art Institute of Chicago and the Museum of Modern Art. Rebecca received an MA and Certificate of Advanced Study in Art Conservation from Buffalo State College and has a degree in printmaking and art history from the School of The Art Institute of Chicago.