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ICOM-CC Working Group Coordinators 2017-2020 


Archaeological Materials and Sites

Emma Hocker


Welcome to ICOM-CC’s newest Working Group for Archaeological Materials and Sites! Although currently under provisional status, we hope to be officially inaugurated during the Beijing Triennial Conference in 2020. I have been asked by the Board to take on the role of Coordinator for this provisional period, since I have served as an Assistant Coordinator with the Wet Organics Archaeological Materials group for a number of years. Most recently, I have worked with the current Coordinator, Emily Williams, to publish the proceedings from the interim meeting in Florence 2016.
My background is both broad and international. I studied archaeological conservation at the Institute of Archaeology, University College London in the late 1980s, and subsequently worked on a number of land and shipwreck excavations, in Bermuda, South Carolina and Turkey. Having met my maritime archaeologist husband on one such project, I moved to Texas A&M University, where I earned a masters degree in Historic Buildings preservation. In 1999, we relocated to Denmark, where I worked on a number of medieval church wall paintings with the National Museum of Denmark before another move brought us to Sweden. From 2003 to 2017, I was Conservator at the Vasa Museum in Stockholm, where I worked closely with research, collections management and exhibition of the 17th c. warship, Vasa. In 2017, however, I became the Senior Conservator at Gustavianum, Uppsala University Museum, where I am responsible for managing a broad range of collections, including archaeological material recovered from excavations within Sweden and abroad, as well as organizing a travelling exhibition of pre-Viking objects within the USA.
Together with the Assistant Coordinators, we have identified a number of topics that should resonate with conservators and others working on or managing archaeological collections and sites. We encourage you to join our group and look forward to hearing your comments.

Art Technological Source Research

Doris Oltrogge


Since the beginning of my academic career, one main focus of my studies is on art technological sources. Therefore, I was also member of the small group that met years ago at the Instituut Centraal Nederland (ICN), now Dutch Cultural Heritage Organisation (Rijksdienst voor Culturaal Erfgoed –RCE) in Amsterdam to think about ways how art technological source research could be encouraged. Most of us at this meeting worked in the field of conservation. I was and still am researching and teaching at the Cologne Institute of Conservation Sciences (CICS), at the Technische Hochschule Köln (former Fachhochschule Köln). Art technological research is important for our understanding of art works and historical objects as an essential complement to technical analysis, and it is thus of importance also for questions of conservation. Therefore the “Amsterdam” group soon decided that a proper Working Group of ICOM-CC would be a perfect “home” for promoting art technological research inside museums and the training of conservators. The first ICOM-CC interim meeting of this Working Group took place in 2004 in Amsterdam, and since then I have attended and contributed to most of the meetings. To my experience, ICOM-CC meetings have always been inspiring fora for professional exchange.
As Working Group Coordinator I would like to keep this tradition alive, to organise the next interim meeting and to encourage contributions for a session at the ICOM-CC Triennial Conference in Beijing, September 2020. Another issue is membership; in my current position at the CICS and through my contacts to other universities, I wish to encourage students and conservators at the beginning of their career to join the Working Group (via ICOM and ICOM-CC). I look very much forward to the Triennial Conference in Beijing, which will be an excellent opportunity to intensify contacts with researchers specialised in non-European art and culture.


Anil Dwivedi


I work with Indira Gandhi National Centre for the Arts (IGNCA) New Delhi as Project Associate (Conservation). My job responsibilities entail conservation of canvas painting, conservation of books and manuscripts and preventive conservation. I obtained an MA in Conservation from National Museum Institute, New Delhi, in 2008. In 2014, I was  recipient of Indian Conservation Program Fellowship supported by the Andrew W. Mellon Foundation and the Ministry of Culture of the Government of India in the field of painting conservation. I also attended ICOM-ITC training workshop in Beijing, China in November 2016. The theme of workshop was “Collecting Objects, Telling Stories”. Since 2010 I am an active member of ICOM and involved in ICOM-CC activities. I coordinated Metal Working Group conference 2016 and Education & Training Working Group meeting in India. I am also recipient of Andrew Mellon Foundation Fellowship in the field of painting conservation. In last triennium period (2014-2017) I contributed as Assistant Coordinator of the Documentation Working Group. This is a good platform in which I can contribute the profession in a substantial way with the contribution of group members and other working groups, National and International committees.
Documentation is an integral part of conservation and this helps to decide the further plan of action for remedial conservation. Examination of art works come up with material, techniques and their transformation since its conception. This method derives much useful information which helps to prepare a good treatment plan for the objects and its future preservation. Hence, it is important to document the art work in detailed and appropriate way in order to preserve it for coming generations.
During the present triennial period (2017-2020) I will contribute as Coordinator of this Working Group and aim to increase the Working Group membership, develop a manual on imaging technique, produce an annual newsletter, provide updates on the website and Working Group Facebook page, communicate with Working Group members, and collaborate with CIDOC (ICOM International Committee on Documentation) in organizing an interim meeting.


Education and Training in Conservation


Satish Pandey


I am an Associate Professor of Art Conservation at the National Museum Institute in New Delhi. I have gained formal education in Art Conservation (MA - National Museum Institute, New Delhi) and in Archaeological Science (MSc and DPhil - University of Oxford). I have also been ‘Science and Heritage’ Postdoctoral Fellow at the Courtauld Institute of Art, London. I am a member of ICOM since 2013 and have been actively involved in the activities of Education and Training in Conservation Working Group for the last couple of years.
Cultural heritage being a low priority sector in the developing countries, particularly in the South and Southeast Asian regions and given the current economic conditions, the status of conservation training is not at its best. There are several issues and challenges related to training in conservation of cultural heritage in such regions, however, insufficient resources, lack of opportunities, isolated efforts in training and absence of regular communication among organisations, institutions and individuals are some of the major factors. Through Education and Training in Conservation Working Group, I intend to network, interact and contribute effectively not only in assessing, designing and implementing educational and training activities and innovative teaching skills in conservation but also in providing a platform to organisations and professionals to exchange ideas, share resources and collaborate to strengthen and sustain the conservation profession. I would also aim to facilitate strategic partnerships between ICOM-CC Education and Training Working Group and various organisations/institutions to identify and support the needs of inclusive art conservation training and education.
As an art conservation educator, I have been involved in designing and delivering training programmes at various levels, not only in my institution but also with a few other institutions, including the ‘Indian Conservation Fellowship Programme’ in collaboration with the A.W. Mellon Foundation.

Glass and Ceramics

Lauren Fair

United States of America

My experience working for six years as faculty for an American art conservation graduate program has shown me the importance of collaboration, and the need for professionals dedicated to research and advancement of this profession. The Glass and Ceramics Working Group of ICOM-CC, in particular, is a wonderful international network of conservators and professionals committed to advancing the ceramics and glass conservation field, and members of our group have a rich passion for their work and true appreciation for the collaboration and kinship that comes out of the interim meetings. The meeting pre-print volumes serve as tremendous resources for those working in this field, and I was honored to be co-editor for our last publication, the pre-prints from the successful meeting in Wrocław, Poland.
Having served as one of the Assistant Coordinators to previous Coordinator, Hannelore Roemich, I know I can say with certainty that I am learning from the very best. If selected as the next Coordinator, I will continue our excellent record of pre-print publications, as well as making possible the attendance of conservation students to our interim meetings. I am also dedicated to seeking out funding sources to enable meeting attendance of those from countries who may otherwise not have the financial support. In this way, we shall try to broaden our network and strengthen international connections.
I would be honored to serve as the next Coordinator of this Working Group.

Graphic Documents

Ute Henniges


In 2004, I actively started to contribute to and to attend ICOM-CC meetings. Of course, before, when I was still a student in the paper conservation program at the State Academy of Art and Design in Stuttgart, Germany, I learned about ICOM-CC as the major international conservation community. I read publications of the triennial meetings religiously and I was very proud when my first contribution to an interim meeting was accepted. Continuously, my activities with the Graphic Documents Working Group in the framework of ICOM-CC increased. In 2012, I was involved in organizing the Viennese interim meeting, peer reviewing in the context of the selection of the contributions. However, my experience is not only limited to ICOM-CC, but I am also active with other conferences and workshops. Since 2015, I am a voting member of ICOM-CC and in the Graphic Documents Working Group.
Based on my personal experience, I think that it is important to involve the future members of the Working Group right from the beginning of their career in conservation and to encourage them to join and to contribute, with their novel findings, but also in the organisation of the group. As a result of my close contact to previous Working Group coordinators, I am willing to continue the tradition of networking between practical conservation and conservation research and an exchange between these two groups to the occasion of regular interim and triennial meetings. Currently, I hold a position as assistant professor at the University of Natural Resources and Life Sciences in Vienna, Austria, actively researching concepts and ways how to implement novel conservation approaches in practice. I see myself as a suitable person to transport the image of research based conservation and in the past years, I have acquired a broad network in the paper conservation community that I can put to good use for dissemination of ICOM-CC activities.

Leather and Related Materials

Laurianne Robinet


Since my first encounter with ICOM-CC in 2001, I remained attached to this active organization dedicated to conservation that provided information on the latest research in the field, facilitated collaboration and exchanges between professionals. As a conservation scientist, my research greatly beneficiated from being a member of ICOM-CC and from the participation at triennial conferences. I wished to get more involved, as a result I became Assistant Coordinator of the Glass and Ceramics Working Group from 2005 to 2011 and created a sub-group on glass deterioration.

Since 2011, I am in charge of the leather and parchment department at the Research Center for Conservation (CRC) based at the Natural history museum in Paris (known in the past as CRCDG). I develop research to improve the characterization and the conservation of skin-based artefacts in collaboration with scientists from different fields, conservators and curators. In April 2013, I was invited to take an active role in the Leather and Related Materials Working Group as an assistant coordinator and since February 2017, I am acting as interim Coordinator of the group.
Today I wish to present my candidacy to be Coordinator of the Leather and Related Materials Working Group for the triennial period 2017-2020. As a coordinator, I will promote the dynamism of the group members and their activities, through regular electronic communication and newsletters publication. Together with the assistant coordinators, I would support strong collaboration and discussion between scientists, conservators and curators involved in the study and conservation of leather and related materials. Additionally, I would seek for greater exchange between all the ICOM-CC Working Groups dealing with skin-based artefacts, such as Graphic Documents, Natural History Collections or Objects from Indigenous and World Cultures…and other international leather groups.

Legal Issues in Conservation 

William Wei

The Netherlands

 I would like to ask for your confidence and vote to become the new coordinator for the Legal Issues in Conservation Working Group. I served as Coordinator in the period from 2012 to 2014, when I was asked by the Directory Board to fill the coordinator vacancy and refocus the working group as a network for conservators to exchange experience and information concerning the various legal issues, which they may confront in their daily practice. Since that time, the group has been active and had contributions in a broad range of areas including cultural heritage law in different countries, conservator liability, copyrights, the rights of living artist’s with respect to the conservation of their works, and dealing with human remains. I personally have worked for a number of years in the areas of artist’s rights, and illegal trafficking. Under the capable hands of the current coordinator, who cannot run again, the group has continued to be active and grow in membership. It will have several interesting papers at the Triennial Conference in Copenhagen.
In the current triennium 2014-2017 I served on the ICOM-CC Directory Board as well as continuing to support the group. With this experience, I hope to be able to count on your support and continue to help the Legal Issues Conservation Working Group to grow and serve more members. Besides encouraging more active participation from you, the member, we are planning to conduct more activities, among others, with the Theory and History of Conservation on public participation in conservation, and Modern Materials and Contemporary Art Working Groups. I thank you in advance for your support.


Claudia Chemello

United States of America

As current Coordinator of the Metals Working Group for the past triennium (2014-2017), and prior to that as Assistant Coordinator (2012-2014), I would bring insights gained from already having served members of the Metals Working Group and ICOM-CC in a successful triennium. I have been heavily involved in the organization of several Metals Working Group interim meetings, Metal 2010 (Charleston), 2013 (Edinburgh) and 2016 (New Delhi), as well as Aluminum: History, Technology and Conservation (Washington DC), and will be pleased to lead the next team for Metal 2019.
I welcome the opportunity to help ICOM-CC build an inclusive organization where each Working Group fulfills their service missions in many different ways. We all need and can learn from each other as we promote the value of our discipline. I have a collaborative, inclusive approach, combined with a vision and interest in encouraging greater diversity and participation in the Metals Working Group.
In my professional life, I am a co-founder and senior conservator of Terra Mare Conservation, LLC, a private practice specializing in the conservation of archaeological, architectural, fine art and industrial cultural heritage, particularly metals. Notable projects include the conservation of modern super-alloys, monumental public art, and military heritage. I have extensive archaeological field experience in the Middle East, Asia, the Mediterranean and Central America. I am also a Fellow of the American Institute for the Conservation of Historic and Artistic Works and am currently involved in efforts to support certification for conservators in the United States.


Modern Materials and Contemporary Art

Rachel Rivenc

United States of America

I have been Coordinator of the Modern Materials and Contemporary Art Working Group since 2014 - and Assistant Coordinator for the 6 years before that! As Coordinator, I have strived to maintain regular communication with members, solicit feedback, and circulate information relevant to our members in a timely fashion. With the help of my great team of assistant coordinators, I have issued yearly newsletters, and organized an interim meeting focusing on the conservation of kinetic art in the beautiful city of Milan, in collaboration with the Museo del Novecento. The meeting was very well attended and great discussions took place. The proceedings will be published early 2018.
Since 2006, I have been working at the Getty Conservation Institute within the Modern and Contemporary Art Research Initiative, researching the diverse materials and processes used by contemporary artists and some of the conservation issues related to modern and contemporary art.
In recent years, I have been heading two projects; the Outdoor Painted Sculpture Project, looking at paints and coatings for sculpture exposed outdoor, and Art in LA, a project engaging the LA art community on questions of conservation. My book Made in LA: Materials, processes and the birth of West Coast Minimalism was published in 2016. I have recently embarked on an exciting new project, a study of artist Cai Guo-Qiang materials and processes.
I would love to have the opportunity to be the coordinator of Modern Materials and Contemporary Art Working Group for the next three years. This is for me a unique opportunity to be in touch with colleagues around the world. I have learnt much from the past three years, and hope to continue to be of service to our membership, circulating information, taking advantage of social media platforms, and hopefully more interim meetings. I will strive to make the working group a vibrant, lively and relevant platform for professionals involved in the conservation of contemporary art around the globe.

Murals, Stone, and Rock Art

Lori Wong

United States of America

Hi everyone:

I am the Working Group Coordinator for Murals, Stone, and Rock Art (2014-2017) and I’m seeking re-election to serve a second term.
For those of you who don’t already know me, I’m a project specialist at the Getty Conservation Institute in Los Angeles. My background is in wall painting conservation and I studied at the Courtauld Institute of Art in London. Through my work, I seek to improve the approaches and strategies to protecting and conserving cultural heritage sites. This Working Group – which has a wide mandate focusing on murals, stone, rock art and mosaics – represents those of us who work to conserve, protect, manage, analyze, study, and advocate for these object types be it in the field (in situ) or in museum collections.
My goals for our working group over the next three years are to grow membership, especially in less represented geographic regions; to encourage greater inclusivity within all of the topic areas that this group encompasses; and, to create an open and active network of conservation professionals.
Over the past three years we (this includes myself with the incredible support of our four assistant coordinators) have created a Facebook page to bring awareness to our working group and increase communication, have helped to organize and support a number of regional events, and, worked to assemble an exciting program for the 2017 Triennial Conference in Copenhagen. I welcome your feedback on how we can improve moving forward and with your support, I think we can accomplish a lot in the coming three years!

Many thanks for your consideration.


Natural History Collections

Mariana Di Giacomo

United States of America

Natural History Collections have been increasingly getting attention in the conservation field. From preventive conservation to discussions about treatment ethics, best practices have been developing quickly in order to ensure the long-term preservation of the specimens, not only for exhibit purposes, but also due to their scientific and historical importance.
As a coordinator for the group, I want to continue the work of my predecessors in advocating for the conservation of these important collections. I am interested in promoting the group internationally, especially in the areas that may not have any members yet. As a native of Uruguay, I know ICOM is present in my country but none of the natural history collections have any members. In addition to promoting the group, I want to encourage the members to communicate with each other
to share their issues, practices and expertise. I will also encourage publication of findings in peer-reviewed journals, making our field more accessible to other professionals from different disciplines, and more inviting for them to do research as well. Natural History collections need the interaction with chemists, industrial hygienists and material science scientists that can help us determine which practices
are safe for our specimens and for those working with them. Finally, I would like to advocate collaborations between institutions and departments within those
institutions. Large data pools that have statistical significance are not possible without this, and many of the issues natural history museums face could be solved if more professionals were aware of the resources and issues their colleagues face. My personal experience working with microscope slides at the Smithsonian National Museum of Natural History showed me the importance of building bridges between the different departments, and how the traditional “silos” many institutions have do not work when conservation is the main goal.


Objects from Indigenous and World Cultures

Farideh Fekrsanati

The Netherlands

I graduated in conservation (MA) from the State Academy of Art and Design, Stuttgart Germany. For the majority of my professional life, I have worked at museums holding collections from indigenous and world cultures in The Netherlands (since 2004 at National Museum of World Cultures, Museum Volkenkunde Leiden), the United States and Germany.
I have been Assistant Coordinator to the Objects from Indigenous and World Cultures Working Group for a number of years and have appreciated the engagement and excellent contributions through the membership. I would welcome the opportunity to stand as the Working Group Coordinator for the coming 2017-2020 triennial period.
My aim for the coming period would be to further intensify the international and multidisciplinary membership of this forum where we can share information and formulate ideas and questions. Over the past years conservators have increasingly engaged in interdisciplinary collaboration and have recognized the importance of cultural approaches and intangible aspects of collections care alongside the tangible preservation of cultural material. The great diversity and the specific aspects involved in caring for objects from indigenous and world cultures is what brings this Working Group together in order to connect and share knowledge, adding to the development of the field.
I look forward to the opportunity to formulate the next triennial program together with the membership and to contribute in an active way to ICOM-CC.


Elisabeth Ravaud


I would like to re-stand as coordinator for the Paintings Working Group for the next triennial period 2017–2020.
Short biography
Medical doctor, specialized in medical imaging, Elisabeth Ravaud joined the “Centre de Recherche et de Restauration des Musées de France” in 1993. She was first in charge of scientific imaging for easel paintings and then involved in their technical study. She defended a PhD in art history in 2011. Since 2014, she is head of easel paintings study and research at the Research department of the “Centre de Recherche et de Restauration des Musées de France” (C2RMF), working strongly with the Conservation Department to bring scientific support to restoration. She is involved in the pictorial techniques research on Old Masters (Leonardo da Vinci, Nicolas Poussin) as well as 19th century painters (Van Gogh), through non-invasive scientific techniques and first by new imaging techniques. Her research covers also the painting support field, (wood technology, pre-primed canvases in the 19th century, transfer). She is involved in the European Iperion project for the cleaning of paintings.
I was for the first time asked to become coordinator of the Paintings Working Group during the last triennial 2014–2017.
During these three years, I supervise the work to the next triennial conference in Copenhagen September 2017: this was the selection of the abstracts of papers, the selection of the abstracts of posters and the following of the process of selection in collaboration with the Directory Board, the peer review as with the Managing Editor. This offered a very interesting overview about the preoccupations of all the people involving in the conservation of paintings.

Photographic Materials

Diana L. Diaz-Cañas

United States of America

Since 2012, Diana Diaz is Conservator of Photographs at the Harry Ransom Center, University of Texas at Austin. She has more than 7 years of experience in conservation of photographs and works of art on paper, in museums, archives, and private practice studios, in the United States, Mexico and Colombia. In 2011 Diana was awarded with a grant from ICOM-CC and the Getty Foundation, to attend ICOM-CC's 16th Triennial Conference in Lisbon, Portugal. Since then, she has served as an Assistant Coordinator of the Photographic Materials Working Group. As Assistant Coordinator for the Working Group, Diana has assumed responsibility for maintaining it social media sites. She is also a member of the American Institute for Conservation, and newsletter coordinator for APOYOnline, organization devoted to promote communication, exchange and professional development in the field of heritage preservation in the Americas and in Portuguese and Spanish speaking countries. Diana is committed to maintaining a strong social media presence for the group, increasing membership in the group and developing strong programs for both the next interim meeting and Triennial Conference.


Preventive Conservation

Anna Buelow

United Kingdom

A paper conservator by training, I have specialized in preventive conservation starting in 1999 with a PhD, and continuing my career as Head of Preservation at The National Archives, UK, between 2002 and 2012. I have worked as Head of Conservation at the British Museum since 2013, which includes the management of both interventive and preventive conservators.
My personal interests have developed from risk assessment to questions of digitization, and lately broader collection management issues; subjects which I have taught on a regular basis over the years. I am keen to work interdisciplinary, not only within the museum, but also exploring fields beyond the heritage sector. I believe strongly that we can further our profession by learning from other disciplines. Professionally, I believe we are at a turning point, where questions of sustainability, globalization and new technologies will force us to find new answers to old challenges. This is where I would like to make an impact as Working Group Coordinator of Preventive Conservation.
I am an accredited member of the Institute for Conservation (ICON), and a member of the International Association of Book and Paper Conservators (IADA), where I served as secretary and editor on the board between 2003 and 2011. I have acted as external examiner for the MA Principles in Conservation (University College London) between 2015 and 2017, and worked as assistant coordinator on the Preventive Conservation group of ICOM-CC since 2014.
With some previous voluntary engagements coming to a natural end, I would be delighted to bring my knowledge and experience of preventive conservation as well as management to the profession as Working Group Coordinator for Preventive Conservation.

Scientific Research

Lynn Lee

United States of America

My background as a scientist in the cultural heritage field encompasses 10 years of museum experience. Since 2011, I am an Assistant Scientist at the Getty Conservation Institute. I received a Ph.D. in Physical Chemistry from University of California, Berkeley, and was the Andrew W. Mellon Postdoctoral Fellow in Conservation Science at the Straus Center, Harvard Art Museum from 2007–2010.
My areas of research include the study of traditional and modern artist materials and techniques using non- or minimally invasive analytical methodologies. In addition to my interest in technical studies and conservation issues, outreach, education and dissemination are areas of importance to me. I have developed and implemented a training course on the application of XRF spectroscopy in cultural heritage for conservators (XRF Boot camp) in collaboration with Yale Institute for the Preservation of Cultural Heritage.
I am standing for Coordinator for the Scientific Research Working Group because of the opportunities afforded to leading a dynamic, cross-disciplinary group of cultural heritage professionals. As Coordinator, I will be an advocate for the Working Group – to make the group more visible and to increase membership. Dissemination and communication are high priorities, and I would focus on finding new ways to engage and interact with group members, including exploring different social media outlets. In addition, having an interim meeting will help sustain membership engagement and active participation. I would identify ways to facilitate interactions with other Working Groups, such as having joint interim meetings – these meaningful conversations and interactions can spark new ideas and collaborations on both sides.

Sculpture, Polychromy, and Architectural Decorations

Stephanie de Roemer

United Kingdom

As group Coordinator for the outgoing triennial (2014–2017) I have collaborated in the organisation of two interim meetings on 'Painting the Flesh' in Madrid (2015) and with the Working Group for Wood, Furniture, and Lacquer on 'Historic and Modern assemblages/ Interiors’ in Potsdam (2016).
Standing for a second triennial period (2017–2020) I would like to build on and continue the enquiry of what emerged from these two events.
I would like to develop a practical workshop on preventive conservation as an opportunity for exchange and experience with the assessment, resourcing and application of pest treatments for polychromed and surface decorated objects with and for members of this Working Group.
In addition I would also like to organize a workshop to re-visit and re-establish the methodology of stratigraphic and chronological investigation, and documentation for informed decision making in the conservation and restoration of polychromed three-dimensional images as proposed by the founder of this Working Group Paul Philippot in 1967.
As a broader subject for further enquiry I would like to focus on the role and function of ‘light’ to the overall effect of the physical artwork and how this aspect informed, influenced and developed artist practices and extent and type of media employed in the creation of polychrome three dimensional art works and interiors as spaces of experience.
I would also continue to improve opportunities for wider communication within this working group wither through the ICOM-CC on line forum, existing social media discussion groups (Linkedin/ Facebook) and newsletters.



Deborah Lee Trupin

United States of America

I am currently a conservator in private practice, working for museums and other collecting institutions. In addition, I am an adjunct professor in the Master’s program at FIT in New York City. From 1986 – 2015 I worked as textile and upholstery conservator for New York State Office of Parks, Recreation and Historic Preservation, Bureau of Historic Sites, where I was responsible for the care and conservation of textiles and upholstery for 36 New York State historic sites. Since 2004, I have been the consulting American textile conservator for New York University’s Villa La Pietra in Florence, Italy.
I have been a member of ICOM-CC since the Triennial Meeting in Copenhagen in 1984. From that first meeting, I have been a firm supporter of and believer in ICOM-CC’s goals of building an international conservation community and strengthening conservation worldwide. I became Coordinator of the Textiles Working Group in 2014 and am willing to serve a second term. If elected for a second term, I will work towards increasing communication between ICOM-CC Textiles Working Group members and with other Working Groups.
I understand that ICOM and ICOM-CC do not provide financial support to coordinators and am prepared to take responsibility for this. If elected, I will be honored to work the ICOM-CC Directory Board, Secretariat and other coordinators to further the goals for ICOM-CC.


Theory, History, and Ethics of Conservation

Hélia Marçal


I’ve been involved in ICOM-CC since I’ve become a member in 2010. I work as a Contemporary Art conservator, I’m finishing my PhD in Conservation Theory, and I work as an instructor occasionally. For this reason, there are many disciplinary fields that come across in my practice, from conservation science to theory, from museology to art history, anthropology or other interdisciplinary practices within social sciences. After Melbourne’s ICOM-CC Conference (2014) I was appointed Assistant Coordinator of the Theory and History Working Group and I started working with the previous coordinator, Rose Cull, on the triennial programme. In the end of 2016, however, the Working Group’s Coordinator resigned. ICOM-CC’s Directory Board then appointed me Coordinator. Although this has been a challenging task, especially because I’ve started this new responsibility in the end of the triennium, I consider it another great opportunity provided by my involvement with ICOM-CC.
Having been Coordinator just for the last year, it was impossible for me to organize events or invest in new research lines. However, this candidacy for Coordination of the ICOM-CC’s Theory and History of Conservation Working Group for the triennium 2017–2020 is a chance to continue this work, fostering new relationships, and undertaking projects of interest for members of the group and of ICOM-CC in general. If given this opportunity, I will propose a programmatic line for the group focused on collaborations with other Working Groups and other disciplinary fields (such as anthropology). For that purpose, I would explore the possibility of planning joint interim meetings, while continuing to produce newsletters and other publications.
For the next triennium I am also very interested in investigating the connection between the practice and the theory of conservation. In other words, I’ll plan activities that explore the ways practice meets theory and vice-versa. This, I believe, will be essential to rethink the ways of conservation without losing sight of the practices of this profession.


Wet Organic Archaeological Materials

Emily Williams

United States of America

I have an MA in archaeological conservation from Durham University in England and have been the archaeological conservator at the Colonial Williamsburg Foundation since 1995. In this capacity, I often treat small, waterlogged organic materials from terrestrial contexts. I have also had experience working with organic materials during internships at the Museum of London, the Institute of Nautical Archaeology and the Western Australian Maritime Museum.
The first professional conference I ever attended was the 1996 Wet Organic Archaeological Materials interim in York, England. I was struck by the depth of the content and by the collegiality of the attendees. Everyone was so welcoming and supportive and shared ideas and knowledge so openly that I was quickly drawn to the group and have looked for ways to contribute since. I helped with local organization for the 2010 Wet Organic Archaeological Materials interim conference in Greenville, North Carolina, USA, and co-edited the proceedings from that conference. I served as an assistant coordinator for the group for the 2011–2014.
I have served as the Working Group’s Coordinator for the 2014–2017 triennium and I would welcome the opportunity to continue to serve for the upcoming 2017–2020 triennium. The next triennial period will be a busy one for the group: there are the Florence proceedings to complete, the 2019 Interim meeting to plan and the selection of papers for the 2020 ICOM-CC meeting. I look forward to working with the Wet Organic Archaeological Materials membership on these projects and continuing to foster the collegiality for which the group is known.


Wood, Furniture, and Lacquer

Stephanie Auffret

United States of America

Through this statement I’d like to present myself as a candidate for the position of Coordinator of the ICOM-CC Wood, Furniture, and Lacquer Working Group.
I have worked in the field of furniture conservation for the past twenty years, both in private practice in France and in various institutions in the US: Historic New England, the Metropolitan Museum of Art in New York, the Museum of Fine Arts Boston and the Winterthur Museum in Delaware. As part of this last position, I was also an instructor in furniture conservation within the Winterthur/University of Delaware Program in Art Conservation. Since April 2016, I joined the Getty Conservation Institute as a Project Specialist, where I develop education initiatives for conservators internationally and within a wide range of topics: from Asian lacquer and gilded wooden surfaces to modern materials such as acrylic painted surfaces, painted outdoor sculpture and plastic materials. In that role, I work closely with conservators and conservation scientists to develop courses translating research into conservation practice.
On the academic side, I hold two master degrees, one in Art History from the Sorbonne University (Paris IV) and one in Art Conservation from the Pantheon-Sorbonne University (Paris I). I also hold a Ph.D. in Art History from the Sorbonne University (Paris IV), entitled: “Authenticity of French Furniture: Interpretation, Evaluation and Preservation”.
Through my career I have always enjoyed being involved in conservation professional organizations. I co-organized an FAIC (Foundation of the American Institute for Conservation of Historic and Artistic Works) exchange project called the French-American Partnership in 2006, I was Program Chair (2011–2012) and Chair (2013–2015) of the Wooden Artifacts Group of the American Institute for Conservation, and I am currently Assistant Coordinator of the Wood, Furniture and Lacquer Working Group of ICOM-CC (2014–2017).
Following this path, I would be honoured to become Coordinator of this Working Group and work with the membership to develop exchanges and programs of interest to our international community, potentially in collaboration with other working groups. I would welcome your many suggestions to inspire a rich and broad program for the next triennial period.


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