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ICOM-CC Working Group Coordinators for the 2020-2023 triennium


Archaeological Materials and Sites

Emma Hocker


The Archaeological Materials and Sites Working Group is one of the newest groups operating under ICOM-CC. Launched provisionally in 2018, it received full status in March 2020. Strong interest has already been shown in the Working Group, our Facebook page has proved popular and our membership has steadily grown. Having served as Coordinator during this provisional period, I would like to submit my candidacy for the next full Triennial period.

Originally from England, I have lived and worked overseas for most of my professional career. I currently work at Uppsala University Museum, Sweden, where I am responsible for managing a broad range of collections, including material recovered from archaeological excavations in Sweden and abroad. Prior to this, I was at the Vasa Museum in Stockholm for 14 years, where I worked closely with research, collections management and exhibition of the 17th c. warship, Vasa. During my early career, I worked on excavations in Bermuda, Turkey, and USA, and spent a period in Denmark conserving medieval wall paintings. Although my onsite experience is mainly with underwater sites, thanks to a strong team of Assistant Coordinators who are prominent in the field and active in teaching, we have identified a range of topics that should resonate with conservators and others working on or managing archaeological collections and sites.

While I am encouraged by the following we are receiving, there is still work to be done. Our mission states that we are an international forum for the discussion of technical and ethical issues relating to the preservation and conservation of archaeological objects, the collections that they comprise, and the sites from which they come. My goal is that we can generate more active discussion and debate in these issues, and I hope that the next Triennium will provide an opportunity to achieve that.


Art Technological Source Research

Doris Oltrogge


Since the beginning of my academic career, one main focus of my studies is on art technological sources. I have been one of the members of the small group who initiated in Amsterdam the Art Technological Source Research study group which later became an ICOM-CC working group. 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 for questions of conservation, too. Art technological sources of different media (texts, images, objects) are not just tools to interpret analytical results but they reflect artistic, artisanal and social practices of their period and thus help to contextualise the material objects of the past.
The ICOM-CC interim meetings of the working group have always been inspiring fora for professional and interdisciplinary exchange. As Working Group Coordinator I would like to keep this tradition alive, to organise the next interim meeting and its publication and to encourage contributions for a session at the next ICOM-CC Triennial Conference.
Another issue is membership. I was and still am researching and teaching at the Cologne Institute of Conservation Sciences (CICS), at the Technische Hochschule Köln. 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


Presently I am working as Coordinator of Documentation Working Group. Before taking the responsibility of Coordinator, I served as an Assistant Coordinator (2014-2017) of same Working Group. I am seeking your support again for the coming triennium for the position of Coordinator of Documentation Working Group. During the current triennium I organized a round table meeting at Indira Gandhi National Centre for the Arts (IGNCA) on Digital Innovation in Conservation Documentation. I grew the network of Documentation Working Group and its reach was made possible on Facebook in my leadership.

Documentation is an integral part of conservation;which helps to decide the further plan of action for remedial conservation. There are various methods being used for documenting art works. In recent times, Documentation Working Group is trying use of imaging techniques and other digital medium for documentation purpose. These methods are cost effective, easy to use and give satisfactory results.

If elected my concentration would be to increase the Working Group membership especially in Africa, Asia and South America. In this triennium my focus would be to strengthen outreach of the group through regular newsletters, Facebook page etc. I would also make efforts for collaboration with ICOM’s International Committee such as CIDOC, etc.

Professionally, Iam engaged with Indira Gandhi National Centre for the Arts (IGNCA), New Delhi as Project Associate (Conservation). My job responsibilities entail conservation of canvas painting, preventive conservation and research activity. Apart from this I am teaching the students of the Post Graduate Diploma Course in Preventive Conservation at IGNCA. I am an active member of ICOM since 2010 and involved in various ICOM-CC related activities in India.

I have gained formal education in Art Conservation from National Museum Institute, New Delhi. In 2014, I received Andrew W. Mellon Foundation Fellowship in painting conservation. This Fellowship was completed at Stichting Restauratie Atelier Limburg (SRAL), The Netherlands. Apart from this I have had various opportunities to visit conservation laboratories and institutions in Europe, Asia and USA.


Education and Training in Conservation 

Tanushree Gupta


I am an Art Conservator with M.A. and Ph.D. from the Department of Conservation, National Museum Institute of History of Art, Conservation and Museology, New Delhi, obtained in the years 2010 and 2016 respectively. During my Ph.D. I was intern at the Institute of Conservation, University of Applied Arts Vienna three times, wherein I received practical training in conservation of acrylic paintings as well as formulated and performed experiments in material research and concluded my doctoral work on ‘Scientific Studies on Conservation Issues of Acrylic Paintings’. I am now staff member at the Institute of Conservation, University of Applied Arts Vienna, focusing on preventive conservation and collection care, as well as developing a research project on these lines. In addition, I work on the India-Austria collaboration projects in the field of conservation of cultural heritage, and organize workshops and conferences on different subjects. I am member of ICOM-CC since 2011, and I have participated in various national and international meetings and conferences. I was a recipient of Indian Travel Grants for attending the 2014 ICOM-CC conference in Melbourne.

As Coordinator of the Education and Training in Conservation Working Group, I would like to put emphasis at the following four levels:
– connecting people with art conservation through awareness programs,
– connecting artists and craftsmen with art conservation through mutual exchange of traditional knowledge and conservation techniques,
– enabling transfer and sharing of knowledge among practicing art conservators,
– associating conservation scientists to identify areas requiring research.

This is to ensure that the conservation of cultural heritage can grow as a multidisciplinary field, which can be best achieved by involvement of all stakeholders.

I would develop an online platform or popularize an already existing platform where this network could be brought together for regular meetings and webinars, as well as where all related list of activities and publications could be put together. As well as I would encourage ICOM members to join the Education and Training in Conservation Working Group to widespread its reach. I would try to bring under-represented countries to this platform, and encourage all conservation institutions to help ICOM work on its mission.


Glass and Ceramics 

Lauren Fair

United States of America

I am delighted to be submitting my candidacy for a second term as Coordinator of the Glass and Ceramics Working Group. The past three years have been dynamic, instructive, and rewarding, and I hope to build on our initiatives in the coming triennium.

Together with the ICOM-CC Board, we are working to make all Working Group publications more readily available and accessible online, both to members and non-members alike. Our group’s Facebook page currently has 885 followers and has shown to be a platform that broadens our reach; we will continue to use this outlet – and others, as the ability arises – to share important announcements and opportunities. And, we have exciting plans for the 2022 Interim Meeting!

With the support of a terrific group of Assistant Coordinators, I hope to continue as Coordinator of this Working Group – to promote the latest research in the glass and ceramics field, to foster networking opportunities, and to increase access to the important work our members and allies produce.


Graphic Documents

Andrea Pataki-Hundt


Being a graduated book and paper conservator, I have been a member of ICOM-CC for many years. I was always fascinated from the Triennial Conference. The great diversity during the meetings, the huge number of topics and the multiple exchange between colleagues were always very inspiring. As mid-career colleague I would like to continue the high quality work in our scientific community and particularly give space and ground for the younger generation. The exchange between senior researchers, young professionals and students in the connecting disciplines is a challenging key element and worth to support it. Interaction between the conservation scientists, the scientific conservators and the museum professionals is another highly important level of exchange. There is great potential to further development of a networking platform for all these professionals and acting disciplines. Because of the international approach of ICOM-CC this is a great chance to support recent research topics and to exchange and share new knowledge.

I graduated in book and paper conservation at the State Academy of Art and Design Stuttgart, Germany, and have been at the Walters Art Museum, Baltimore, as research fellow founded by German academic exchange programme. From 1998 to 2017 I have acted as tutor in the Stuttgart Program, during this time I also performed my PhD thesis about aerosols and pigment consolidation. Since 2017 I am acting professor at the TH Köln, Cologne Institute of Conservation Sciences, CICS, at the book and paper conservation programme. My special research interests are the development of conservation techniques in the field of iron and copper corrosion and material science for adhesives, parchment and leather. The artificial aging of conservation materials needs to be reviewed and to be further developed, and I am highly interested in that topic. With this scientific model the conservation community is able to develop and apply safe and qualified materials for conservation and restoration.


Leather and Related Materials

Laurianne Robinet


 I joined ICOM-CC in 2001 at the start of my professional career as a conservation scientist and always greatly benefited from this unique professional community. It provided a very valuable exchange place that allowed me to develop a research linked to current conservation issues and establish an international professional network. In return, I decided to be involved in this organization activities, thus I became Assistant Coordinator of the Glass and Ceramics Working Group from 2005 to 2011 where I created a sub-group on glass deterioration.

In 2011, I joined the Research Center for Conservation in Paris, where I develop research to improve the characterization and the conservation of skin-based artefact in collaboration with scientists, conservators and curators. In April 2013, I was invited to take an active role in the ICOM-CC Leather and Related Materials Working Group as an Assistant Coordinator and, for the 2017-2020 period, as Coordinator.

These past three years as Working Group Coordinator have been extremely rich from different perspectives. I learned a lot by working within a team, in particular with the dynamic Assistant Coordinators of the Working Group and in direct interaction with the ICOM-CC Directory Board and other Working Groups. The organization of the Working Group interim meeting in 2019 was an amazing experience, revealing the importance of this event for this small community and the real contribution of the Working Group.

Today I wish to present my candidacy for a second term as Coordinator of the Leather and Related Materials Working Group for the 2020-2023 period. As a Coordinator, I will promote the dynamism of the group members and their activities, through regular electronic communication and newsletters publication, as well as the organisation of events. 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. I would seek for greater exchange with ICOM-CC Working Groups dealing with skin-based artefacts, such as Graphic Document, Natural History Collections or Objects from Indigenous and World Cultures…and other international leather groups.


Paul Mardikian

 United States of America

I am a passionate practicing objects conservator with 30 years of international experience in cultural heritage preservation in various contexts including cultural institutions, academia and private practice. I have an undergraduate and a graduate degree in art history and archaeology from the School of the Louvre and a graduate degree in objects conservation from the Sorbonne University.

I have a keen interest for conservation projects requiring a multidisciplinary and collaborative approach, applied conservation research, and a commitment to education, conference development and conservation outreach. My area of expertise includes the conservation of archaeological materials from terrestrial and maritime contexts, composite artifacts, public art, sculpture, large-scale technological, industrial and military heritage artifacts, particularly those containing modern materials.

I have been a long-standing member of the Metals Working Group and served as an Assistant Coordinator for 9 years. While I have had a strong involvement with the Metals Group, I am also genuinely interested in, and follow as closely as possible, the activities of other Working Groups, particularly the Wet Organic and Archaeological Materials, the Modern Materials and Contemporary Art and the newly formed Archaeological Materials and Sites.

During my tenure as an Assistant Coordinator I have been actively involved with the organization and delivery of four interim meetings, Metal 2010, 2013, 2016 and 2019 where I variously served as program chair, co-organizer, editor, and as a member of the program committee.

I acknowledge the significant work done by the current and previous coordinators and I am fully aware of the commitment needed to lead the group and organize, every three years, in a different country and with a different host, a world-class conference, and deliver high quality preprints, which are part of the tradition of our group.

With strong member involvement and motivation, I feel confident I can promote the core values of the group and help adapt to a rapidly changing world.


Modern Materials and Contemporary Art

Anna Laganà

 United States of America

I would like to submit my candidacy as Coordinator for the Modern Materials and Contemporary Art Working Group. In the current triennium, I served as Assistant Coordinator to this dynamic group, and would be thrilled to take on the role of Coordinator for 2020-2023. I am a modern and contemporary art conservator and researcher, specializing in the conservation of plastics. Professionally, I always seek to combine research and practice, and share the acquired knowledge through teaching.

During my career, I had the opportunity to manage my own company and work within larger institutions in varied roles, including as Coordinator of the Contemporary Art Conservation Laboratory at the Centro Conservazione Restauro la Venaria Reale in Turin, as a conservator/researcher of modern materials at the Cultural Heritage Agency of the Netherlands, and as a lecturer at the University of Amsterdam coordinating the Postgraduate program 1 (PI1) in Conservation of Modern and Contemporary Art.
Since 2016, I work as a Research Specialist at the Getty Conservation Institute within the Modern and Contemporary Art Initiative. Here I lead projects including investigation of treatment strategies for plastics in collections, and develop workshops for their conservation.

Over the years, I learned the value of advancing knowledge through sharing and networking. Therefore, I would be delighted to coordinate an important sharing platform as the Modern Materials and Contemporary Art Working Group. As Coordinator, I would maintain an active network encouraging members to exchange their practical experiences, research findings, and more. To promote these exchanges and group activities, I will continue producing the newsletter, improving our website, and providing our Facebook page as a dynamic platform.
I aim to expand the use of social media to increase awareness of our group, intensify the involvement of students and young professionals, and grow membership. Due to the complexity of materials and overlapping disciplines in the conservation of contemporary art, I would like to intensify interactions with other Working Groups to create exchange through collaborative activities and joint interim meetings.
I look forward to the opportunity to work closely with membership to develop an inspiring program for the next triennial!


Murals, Stone, and Rock Art

Terry Little


As Coordinator of the Murals, Stone, and Rock Art working Group, I will continue the good outreach efforts of our current coordinator to expand our reach and strengthen our impact and support the Working Group and its members to navigate the unforeseen challenges we will encounter in our ever-changing pandemic and post-pandemic landscape. I bring a broad range of relevant experience to the Working Group. For the past 13 years I have been based in Nairobi and serve as Advisor to TARA, the Trust for African Rock Art. In that capacity I have been responsible for the development of community projects, museum exhibitions, and other outreach activities in Chad, Djibouti, Ethiopia, Kenya, Niger, Nigeria, Tanzania, and Uganda. Previously, I worked for over ten years as a program officer in the museums/moveable heritage department at ICCROM and as a consultant to a variety of arts, cultural, and educational organizations including as interim cultural specialist at the UNESCO Bureau for East Africa and the Indian Ocean Islands and founding member of the Rock Art Network, spearheaded by the Getty Conservation Institute. In all of my work I have been responsible for building and managing technical and funding partnerships with embassies, government ministries and departments, foundations, and other heritage organizations and professional bodies worldwide. I currently serve as Senior Adjunct Lecturer, Ahmadu Bello University, Zaria, Nigeria, Department of Archaeology and Heritage Studies.


Natural History Collections

to be announced


Objects from Indigenous and World Cultures

Catherine Smith

 New Zealand

I am a Senior Lecturer in the Archaeology Programme, an Associate Investigator in the Dodd-Walls Centre for Photonic and Quantum Technologies, and a member of the Indigenous Science Research Theme at the University of Otago, New Zealand. I trained as an objects conservator at the University of Canberra, Australia, and prior to becoming an academic worked in cultural institutions in Australia (National Gallery of Victoria, Museum Victoria, Australian Museum) and New Zealand (Otago Museum).

I have been a member of ICOM-CC since 2008, and Committee Member of the Objects from Indigenous and Worlds Cultures Working Group, and Co-Editor of our Newsletter (with Dr Sabine Cotte) since 2014. Prior to that I served as the Pacific representative of the Name Change Committee, Ethnographic Conservation Special Interest Group (SIG) in 2010.

I am also a Full Member of The New Zealand Conservators of Cultural Material (NZZCM; since 2000), and served as President 2011-13, Vice-President 2007-2008, and on the Membership Committee Member 2009-2013. I have worked on the Editorial Board of the AICCM Bulletin (Australian Institute for the Conservation of Cultural Material) since 2014.

My academic work centres on the analysis of pre-contact Māori textiles and developing innovation in provenancing and materials investigation. I also undertake conservation science research relating to the specific preservation needs of Māori textiles, and New Zealand cultural institutions.

I am interested in becoming the Coordinator of the Objects from Indigenous and World Cultures Working Group for a number of reasons. As an Australia and New Zealand citizen, my principle focus since joining ICOM-CC has been to represent the views of non-European conservation and arts practitioners and institutions. I am also interested in promoting access, inclusivity and diversity in both ICOM-CC voices and membership. This is of particular importance in the Indigenous and World Cultures Working Group. Additionally, my work in conservation science and academia means I have a strong focus on encouraging and supporting rigorous and robust research and publication in our field. Aside from these goals I profoundly enjoy the opportunity to engage with like-minded professionals from all around the world that involvement in ICOM-CC provides.



Jae Youn Chung


I am the Robert Gavron Conservation Fellow at the National Gallery, London. Originally from Seoul, South Korea, I obtained my BFA/BA in painting, art history, ceramic arts and professional English at Ewha Womans University. I moved to London seven years ago to train as an easel paintings conservator at The Courtauld Institute of Art, and completed my Postgraduate Diploma in 2016. I have since interned at Westminster Abbey and at the Hamilton Kerr Institute, University of Cambridge. I have been a member of ICOM since 2013. I had the pleasure of presenting at the triennial conference held in Copenhagen back in 2017, which led to the opportunity of joining the Paintings Working Group as an Assistant Coordinator for 2017-2020.

My aim as a Coordinator will be to build a stronger network for painting conservators globally, by establishing social media accounts and maximizing the potential of online platforms. I plan to work with an international group of Assistant Coordinators, who will aspire towards hosting fruitful online joint interim meetings and publish newsletters for members to keep up to date with the latest research being carried out across the world. I trust in making ICOM-CC a more active organization for painting conservators, where they can share experiences and disseminate knowledge online, will help us innovate through the times of crisis. I hope this expansion will lead to recruiting diverse new members, especially the emerging conservators who have been hit hard by the Pandemic than any other generations. I look forward to dedicating my time for the next triennium in successfully delivering interim meetings as well as the conference in 2023.


Photographic Materials

Diana L. Diaz-Cañas 

 United States of America

Participating in ICOM- CC as Coordinator of the Photographic Materials Working Group during the last triennium (2017-2020) has been an enriching experience. My efforts have centered on increasing the group’s membership which has increased nearly 30%, and with the help of Assistant Coordinators we keep engaging with colleagues through conferences such as the very successful joint interim meeting in 2019, in collaboration with the Photographic Materials Group of the American Institute for Conservation, and more recently selecting papers and posters for the next ICOM-CC Triennial Meeting in Beijing. Our efforts of engaging and sharing information through the group’s social media channels where we’ve been able to engage 1911 people and reached nearly 8750 visitors. We’ve been also working on compiling information for the Newsletter coming in June 2020.

I believe my participation in the group has been positive and would like to continue expanding the group’s networking possibilities and facilitating exchange of information. I look in the next triennium to cement those collaborations, organize a successful interim meeting and leave an organized and diverse structure for the next coordinator.


Preventive Conservation

Anna Bülow

 United Kingdom

Originally trained as a paper conservator at the University of Applied Arts in Berne (Switzerland) and Queens University Kingston (Canada), I have worked in the field of preventive conservation since 1999, starting with my doctorate at De Montfort University in Leicester (UK), and continuing on at The National Archives (UK) as Head of Preservation. It was there that I developed my expertise in collection risk management, an approach that has guided my practice ever since. I have worked at the British Museum as Head of Conservation between 2013 and 2019, before taking up a role as Head of Collection Management at Stedelijk Museum in Amsterdam (Netherlands).
During my professional career, I have been involved with the profession voluntarily for many years, first for IADA (International Association of Book and Paper Conservators) as secretary and editor, and since 2014 within the Preventive Working Group of ICOM-CC. Since 2017, I have taken the role as Coordinator for the Preventive Conservation Working Group with much interest. During this time, I have aimed to engage more with other international working groups of ICOM, and to improve our communication channels through social media. Together with the current team of Assistant Coordinators, we have made much headway in both areas.
I would like to apply for another term as Working Group Coordinator for the Preventive Conservation Group, where I hope to put more emphasis on communicating the aims and benefits of a collection wide approach to caring for a collection both internally within museums, libraries and archives, as well as to external stakeholders.


Scientific Research

Lynn Lee

 United States of America

I am the incumbent Coordinator and it’s been my pleasure to work with the members of this Working Group. With this experience, I am able to navigate the different channels to carry out the direction and activities of the Working Group in the next three years. Advocacy for the Working Group will still be a priority for me - to make the group more visible and to increase membership. We have established a Facebook page for the Working Group - this has been an essential communication tool and the page has over 1500 followers, expanding our reach to outside the Working Group membership. Dissemination and communication are high priorities, and I will continue to focus on finding new ways to engage and interact with group members. In addition, having an interim meeting will help sustain membership engagement and active participation. I will 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.

My background as a scientist in the cultural heritage field encompasses over 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 for Conservation and Technical Studies, Harvard Art Museums, 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.


Sculpture, Polychromy, and Architectural Decorations

Ana Bidarra

I’ve been involved in ICOM-CC since 2011, when I joined the Sculpture, Polychromy, and Architectural Decoration Working Group as an Assistant Coordinator (ACO), after the Lisbon Triennial Conference. As an ACO of this Working Group I took an active part in the organization of two Interim Meetings, in 2013 and 2019, as well as other activities promoted by the group.
A sculpture and painting conservator by training, I have been a conservator in private practice since 1999, initially working with several public and private institutions. In 2013 I co-founded a private company which carries out conservation treatment for the cultural heritage sector. I have, for the past few years also taught Sculpture Conservation at Academic level.
I have a degree in Conservation and Restoration from the Polytechnic Institute of Tomar (Portugal), a Master in Geosciences from the University of Aveiro (Portugal) and a PhD from the same University. My research project was on the compositional and technological features of gold leaf from Portuguese baroque altarpieces.
Over the past years I helped organize a number of conferences, including contributing as a member of the scientific selection committees, focused on sharing knowledge and dissemination of the Conservation and Restoration field. These conferences aimed at blending scientific and practical approaches to furthering an understanding of our complex professional field. I have published several papers on conservation treatments and on the technical study of art works.
I believe that the sum of both academic and practical expertise, the knowledge gained from the people that I have been working with, as well as my years as an ACO, will provide a good foundation for this new challenge.
I would be honored to become Coordinator of this Working Group, and to work with the ICOM-CC community in order to promote joint activities and also to foster new relations, so that the ICOM-CC can reach a wider audience.
I would welcome any suggestions that can increase the potential of the Sculpture, Polychromy and Architectural Decoration Group for this triennium and the opportunity to expand its message.



Sarah J. Benson


I have been a member of ICOM-CC since 2013 before attending and presenting at the triennial in Melbourne. I found it a most inspiring event that brought together so many different cultures and backgrounds into one common interest and goal of bettering cultural heritage and the profession of conservation.
Before turning to conservation I worked in fashion in the United States and was assistant to an author of ‘how-to-sew’ books and articles, working many hours on editing and perfecting an easy and clear language. I always hoped to use this knowledge again in the future.
I completed the textile conservation masters at the University of Glasgow, did an internship in Paris and have since worked as a textile conservator in Southeast Asia, the Gulf and now in Norway. Having been quite literally around the world in conservation has given such an interesting perspective and a desire to bring the community together more.
I hope to bring something new to the Coordinator position within the Textiles Working Group and to get more involvement from all regions. Through recent travel restrictions or the thought of sustainability and environmental improvements, there are great opportunities for us to be closer through online platforms that maintain our profession development and promotion of the profession. After attending the recent Working Group interim meeting at the Abegg- Stiftung, I truly believe we are a very interactive, creative and positive group with plenty of energy to promote our conservation profession forwards. I would be humbled to work with such an important organisation as ICOM and am committed to giving my time and energy to ICOM-CC. If elected I would look forward to being able to give back to a community full of amazing talent and intelligence.


Theory, History, and Ethics of Conservation

Hélia Marçal

 United Kingdom

I am a conservator, art researcher, and theorist, specialised in the conservation of contemporary art. I have been awarded a European Doctorate in Conservation and Restoration of Cultural Heritage from NOVA University in 2018, the year I also moved to London to take on the position as the Fellow in Contemporary Art Conservation and Research of the Andrew W. Mellon-funded research project “Reshaping the Collectible: When Artworks Live in the Museum” at Tate. Cumulatively to this position, I am currently a Fractional Teaching Fellow at the University College London, teaching the course 'Methodologies of Making' in the Department of History of Art. I will join the Department on a permanent basis in July 2020, as a full-time Lecturer in Art, Materials, and Technology.
Today, I am standing for election for the role of Coordinator of the Working Group on Theory, History, and Ethics of Conservation, a position I’ve had the privilege of holding for the last three years.
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. During the last triennium, this Working Groups has planned an interim meeting, having also been engaged with the membership through periodical newsletters, and ongoing communication through various channels. I am particularly proud of the interim meeting we have planned, which was both the first joint interim meeting of this group, and the first being dedicated to the theory, history, and ethics in the conservation of paintings. The collaboration with the Paintings Conservation Working Group highlighted the potential that emerges through collaboration, the possibilities that come to the fore by thinking about ethics in practice. This is something I wish to continue to explore in the next triennium, fostering new relationships, and undertaking projects of interest for members of the group and of ICOM-CC in general.


Wet Organic Archaeological Materials

Ida Hovmand


I trained as an archaeological conservator in Cardiff, UK, and have since 1998 been the conservation manager at the conservation unit (Bevaringscenter Fyn) at Langelands Museum, Denmark, where I am responsible for conserving waterlogged organics from terrestrial and marine sites. The conservation unit serves, among others, 4 museums with archeological units and collections. I therefore work closely with archaeologists, collection managers, curators and exhibition designers as I also advise on storage and display. Our conservation unit has for a number of years been host to conservation students from the Durham program, who during their time with us treat waterlogged organics. I think it is important to look to the future and help the next generation under way.
I have attended all but two of the Wet Organic Archaeological Materials interim conferences, since I went to my first meeting in York in 1996. Here I was met by a welcoming and open-minded community, to which I have sought to contribute since. I was an associate editor of the ICOM-CC interim meeting proceeding held in Stockholm, 2001. I have served as an Assistant Coordinator over the last triennium (2017-2020). To me, it is important that we maintain and develop the diversity of the group and facilitate the exchange of ideas and needs of practical conservators and conservation scientists. That we not only continuously listen to and learn from each other, but also communicate our field of expertise to our collaborators within the museum world as well as the general public.
If the community feels that I can contribute to it by acting as Coordinator for the ICOM-CC Working Group for Wet Organic Archeological Materials it would be a privilege to do so, as it has given me so much during the years. In it, I find conservators and conservation scientists, who in many respects are my closest colleagues, even though most live far away.


Wood, Furniture, and Lacquer

Stephanie Auffret

 United States of America

I am the current Coordinator of the ICOM-CC Wood, Furniture, and Lacquer Working Group, and would welcome the opportunity to continue serving our conservation community in this role for a second term.

I have worked in the field of conservation for over 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. For 8 years, I was 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. Currently, projects I am involved with focus on Asian lacquer, gilded wooden surfaces and cleaning of sensitive surfaces. I work closely with conservators and conservation scientists to develop courses, colloquiums or conferences as well as publications translating research into conservation practice.

I hold a master degree in Art History from the Sorbonne University (Paris IV), another one in Art Conservation from the Pantheon-Sorbonne University (Paris I), as well as 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 valued 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 (2011-12) and Chair (2013-15) of the Wooden Artifacts Group of the American Institute for Conservation, I was Assistant Coordinator of the Wood, Furniture, and Lacquer Working Group of ICOM-CC (2014-17) before serving as Coordinator for that group since 2017.

I would be honored to continue as Coordinator of this Working Group and work with the membership to develop exchanges and programs of interest to our international community, as well as to explore new avenues for all of us to connect, even if only virtually for now, as we are entering this uncertain time where many of us suffer job losses, financial hardship and travel restrictions.



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