Contributors
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Rachel Rivenc
Rachel Rivenc, associate scientist, has been working within the Modern and Contemporary Art Research Initiative at the Getty Conservation Institute since 2006. She studies the diverse materials and techniques used by contemporary artists, and their conservation. She is also coordinator for the Modern Materials and Contemporary Art working group of ICOM–CC. Rivenc holds an MA in paintings conservation from the Université Paris 1 Panthéon-Sorbonne and received a PhD in history from the Université de Versailles Saint-Quentin-en-Yvelines. She recently published the book Made in Los Angeles: Materials, Processes, and the Birth of West Coast Minimalism.Preface
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Reinhard Bek
Reinhard Bek completed his training as an objects conservator in 2002. That same year, he joined the Museum Tinguely in Basel, Switzerland, as its first permanent conservator. Bek was a founding member of the European Union project Inside Installations in 2003, and he was hired in 2008 by the Museum of Modern Art, New York, to spearhead an assessment of their technology-based artwork. In 2012, with his partner Christine Frohnert, he founded Bek & Frohnert LLC, based in New York City. He has lectured internationally and published widely on contemporary art conservation.1. A Question of KinEthics
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Rachel Rivenc
Rachel Rivenc, associate scientist, has been working within the Modern and Contemporary Art Research Initiative at the Getty Conservation Institute since 2006. She studies the diverse materials and techniques used by contemporary artists, and their conservation. She is also coordinator for the Modern Materials and Contemporary Art working group of ICOM–CC. Rivenc holds an MA in paintings conservation from the Université Paris 1 Panthéon-Sorbonne and received a PhD in history from the Université de Versailles Saint-Quentin-en-Yvelines. She recently published the book Made in Los Angeles: Materials, Processes, and the Birth of West Coast Minimalism.Preface
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Reinhard Bek
Reinhard Bek completed his training as an objects conservator in 2002. That same year, he joined the Museum Tinguely in Basel, Switzerland, as its first permanent conservator. Bek was a founding member of the European Union project Inside Installations in 2003, and he was hired in 2008 by the Museum of Modern Art, New York, to spearhead an assessment of their technology-based artwork. In 2012, with his partner Christine Frohnert, he founded Bek & Frohnert LLC, based in New York City. He has lectured internationally and published widely on contemporary art conservation.1. A Question of KinEthics
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Reinhard Bek
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Paul Brobbel
Paul Brobbel studied ancient history and museum studies at the University of Auckland. He previously held curatorial, collection management, and conservation positions throughout New Zealand, and he is now curator of the Len Lye Foundation collection and archive at the Govett-Brewster Art Gallery/Len Lye Centre, New Zealand. In 2016 Brobbel was a research fellow at the Henry Moore Institute, Leeds.
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Tiziana Caianiello
Since 2009 Tiziana Caianiello, PhD, has worked as a research associate at the ZERO Foundation in Düsseldorf. She studied art history at the University of Naples (Italy) and the University of Cologne (Germany). Her research primarily focuses on theoretical issues in the conservation of kinetic art and media art installations, performative elements in the visual arts, exhibition history, and art of the 1960s.
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Marianna Cappellina
Marianna Cappellina studied the conservation and restoration of metal artworks and jewelry at the Opificio delle Pietre Dure in Florence. She also studied at the Istituto Gemmologico Italiano (Milan), gradating as an FEEG (Federation for European Education in Gemmology) gemologist. She worked as a freelance restorer and gemologist until 2012, when she became a restorer in residence at the Museo Nazionale della Scienza e Tecnologia “Leonardo da Vinci,” Milan. Since 2015 Cappellina, with other restorers, has been a partner in Strati s.n.c., a conservation and restoration company; she works on art as well as scientific and technological objects.
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Grazia De Cesare
Paintings conservator Grazia De Cesare studied at the Istituto Superiore per la Conservazione ed il Restauro (ISCR; formerly ICR) in Rome, where she received a postgraduate degree specializing in the conservation of stone artworks. She also received a postgraduate degree in the preventative conservation of cultural heritage from the Sorbonne University, Paris. She has participated in conservation assignments for UNESCO in Algeria, Iraq, Jordan, Israel, and other countries. She also works as a conservator, researcher, and teacher at ISCR, Conservation Department of Contemporary Art Materials, and as a private conservator.
18. Conserving a Kinetic “Rotor”: Light Dynamo by Heinz Mack
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Kari Dodson
Kari Dodson is the assistant objects conservator at the Menil Collection, Houston. She holds a BA in physical anthropology from the University of Missouri, Columbia, and an MA/CAS in art conservation from SUNY Buffalo State College. Dodson interned at the National Museums of Malawi, the Barnes Foundation (Philadelphia), and the Metropolitan Museum of Art, New York, and she completed a Mellon fellowship at the Worcester Art Museum (Massachusetts). She also serves the American Institute for Conservation as coeditor of the Objects Specialty Group Postprints.
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Manon D’haenens
Manon D’haenens is a conservator-restorer of contemporary art. She holds an MA from the École Supérieure des Arts Saint-Luc de Liège (Belgium), and she is a PhD candidate at the Université de Liège (Centre Européen d’Archéométrie). Her research focuses on the conservator-restorer’s role in contemporary art collections.
14. The Collection of Nicolas Schöffer: From the Artist’s Studio to the Museum
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Mine Erhan
Mine Erhan is a conservator of contemporary art and paintings. As project manager for the conservation studio Die Schmiede, she specializes in contemporary art, kinetic art, and outdoor sculptures. She applies two- and three-dimensional image-processing–based digital technologies to improve conservation and restoration treatments. Erhan studied at HfBK Dresden and the Academy of Fine Arts, Vienna.
17. Think Big!: The Conservation of Ballerina Clown, a Kinetic Work of Art by Jonathan Borofsky
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Barbara Ferriani
Barbara Ferriani has headed her conservation studio in Milan since 1983, and she has been head of the conservation laboratory at the Triennale Design Museum (Milan) since 2010. She teaches conservation of contemporary art at the Centro Conservazione e Restauro “La Venaria Reale” (Turin), at the Università degli Studi di Milano, and at the Università Cattolica (Milan). She is assistant coordinator of ICOM–CC Modern Materials and Contemporary Art working group.
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Carla Flack
Carla Flack is a sculpture and installation conservator working for various institutions in the United Kingdom and internationally, including the Science Museum (London) and the Statens Museum for Kunst (Copenhagen). She has been with the Tate, London, since 2012. In 2008, Flack received an MA from the University of Lincoln (UK) in the conservation of historic objects, with a focus on plastics in contemporary art. She collaborates with artists to ensure that the intention and longevity of their works is maintained.
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Julia Giebeler
Julia Giebeler is a freelance conservator of historical, modern, and contemporary art. In 2012 she completed her MA at the Cologne Institute of Conservation Sciences (CICS) with a thesis on the preservation of Heinz Mack’s early light-kinetics as a case study in conservation theory. Since 2013 Giebeler has been a research assistant at CICS, focusing on theoretical conservation issues in contemporary art.
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Mark Gilberg
Mark Gilberg received his BS and MS degrees in inorganic chemistry from Stanford University and his PhD in archaeological conservation from the Institute of Archaeology, University College London. He has been director of the Conservation Center at the Los Angeles County Museum of Art since 2005.
3. Fast and Furious: Operation, Maintenance, and Repair of Chris Burden’s Metropolis II at LACMA
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Jane Gillies
Jane Gillies earned a BSc in architecture from Edinburgh University in 1981, and she received her postgraduate diploma from West Dean College (Sussex, UK) in 1984. She is a professional associate member of the American Institute for Conservation.
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Claudio Giorgione
Claudio Giorgione studied art history at the Università degli Studi di Milano (University of Milan), where he wrote a dissertation on the Milanese Renaissance painter Bernardino Luini. He has worked at the Museo Nazionale della Scienza e della Tecnologia “Leonardo da Vinci,” Milan, since 1997, where he is curator of the museum’s Art and Science Department; he also coordinates conservation projects.
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Gunnar Heydenreich
Gunnar Heydenreich is professor for conservation of modern and contemporary art at Cologne Institute of Conservation Sciences and head of the Cranach Digital Archive (lucascranach.org). He studied paintings conservation at the HfBK Dresden and earned a PhD from the Courtauld Institute of Art, London. From 1995 to 2009 he was head of paintings and contemporary art conservation at the Restaurierungszentrum in Düsseldorf. He was a founding member of the International Network for the Conservation of Contemporary Art (INCCA) and coorganizer of and participant in several European research projects, including Inside Installations, PRACTICs, NeCCAR, and NACCA.
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Paola Iazurlo
Paintings conservator Paola Iazurlo studied at the Istituto Superiore per la Conservazione ed il Restauro (ISCR; formerly ICR) in Rome, where she received a postgraduate degree specializing in the conservation of stone artworks and architectural finishings. She also received an MA in art history and a postdegree specialization in medieval and modern art history from Università degli Studi di Roma “La Sapienza.” She works as a conservator, researcher, and teacher at ISCR, where she is responsible for the Conservation Department of Contemporary Art Materials, and since 2015 she has worked as a teacher and researcher at the University of Applied Sciences and Arts of Southern Switzerland (SUPSI).
18. Conserving a Kinetic “Rotor”: Light Dynamo by Heinz Mack
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Gerda Kaltenbruner
Gerda Kaltenbruner has been professor of conservation of Modern and Contemporary Art at the Academy of Fine Arts, Vienna, since 2005. She held various positions prior to that, including head of conservation at the Kunstmuseum Bonn and conservator at the office for the Preservation of Historical Monuments, North Rhine-Westphalia. She received her MA in Conservation at the Academy of Fine Arts, Vienna.
20. Gianni Colombo’s Strutturazione cinevisuale abitabile: From Flickering
to Light -
Louise Lawson
Louise Lawson, conservation manager at the Tate, London, has worked within conservation for nearly twenty years, and her background spans both sculpture and time-based media conservation. She holds a BA and an MA in conservation, along with an MSc in disaster management. Her areas of research and interest focus on replication and reenactment of artworks in collaboration with artists and artists’ estates.
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Sara Levin
Sara Levin is assistant conservator of objects at the Metropolitan Museum of Art. She earned an MS in art conservation with a focus on archaeological artifacts from the University of Delaware/Winterthur Museum. She has previously held positions at the Brooklyn Museum, where she led the treatment of the monumental Resurrection by Giovanni della Robbia, and at Mack Art Conservation, where she attended to a range of conservation issues related to modern and contemporary sculpture.
19. Considering the Continuum of Care for Outdoor Kinetic Sculpture
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Abigail Mack
Abigail Mack established her art conservation practice, Mack Art Conservation, in 2007 in New York’s Hudson Valley. She focuses on modern and contemporary art, with a specific interest in large-scale and monumental sculpture. Mack holds a BFA and an MA in art conservation from SUNY Buffalo. Mack is a contract conservator for the Getty Conservation Institute’s Outdoor Painted Sculpture Project.
19. Considering the Continuum of Care for Outdoor Kinetic Sculpture
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Mariastella Margozzi
Mariastella Margozzi graduated as an art historian from Università degli Studi di Roma “La Sapienza,” where she also took a postdegree specialization in medieval and modern art history. Since 1988 she has worked with the Italian Ministry of Cultural Heritage, first at the Reggia di Caserta and then at the Galleria Nazionale d’Arte Moderna e Contemporanea (GNAM) in Rome (1993–2016). As director of GNAM’s conservation department, she was responsible for works dating to the first half of twentieth century as well as the collection of kinetic and visual art, coordinating the conservation treatments carried out since 1996. She has planned and executed several exhibitions on Italian contemporary art and has written numerous essays on the subject.
18. Conserving a Kinetic “Rotor”: Light Dynamo by Heinz Mack
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Jack McConchie
Jack McConchie is a time-based media conservator with ten years’ experience in museum and galleries. He has worked for various institutions across the United Kingdom, in Glasgow and London, and he has worked within the Time-Based Media Conservation team at the Tate, London, since 2013. McConchie graduated from the University of Glasgow with a degree in electronics and music. He has a passion for collaborating with artists on bespoke technical solutions for complex installations.
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Esther Meijer
Esther Meijer trained as a metal conservator at the Cultural Heritage Agency of the Netherlands, where she contributed to a number of projects before becoming an independent metal conservator. She is interested in new media and in law and authorship in art, and she obtained a European law degree. Meijer is project conservator for the Tinguely Conservation Project.
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Susanne Meijer
Susanne Meijer studied cultural heritage at the Amsterdam University of the Arts (Reinwardt Academy). She trained at the four-year metal conservation program of the Cultural Heritage Agency of the Netherlands in Amsterdam. After graduating in 1999 she was as a freelance metal conservator for nine years. She worked in various capacities on such projects as the conservation of the bronzes of the tomb of William of Orange, and she coordinated the conservation of the ethnographic and military collection of Museum Bronbeek in Arnhem. Since 2008 she has been a sculpture conservator at the Sculpture Conservation Department of the Stedelijk Museum Amsterdam, responsible for the conservation and restoration of the collection’s metal and stone sculptures. Meijer is coordinator of the current Tinguely project.
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Vesna Meštrić
Vesna Meštrić is a senior curator at the Museum of Contemporary Art, Zagreb, in charge of the Vjenceslav Richter and Nada Kareš Richter Collection. Her research interests include interpretation and presentation of collections, conservation, and avant-garde and postmodern movements. She has curated various solo and problem-oriented exhibitions and participated in several international scientific conferences and workshops.
8. Preserving Performativity: Conserving the Elusive in Aleksandar Srnec’s
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Mirta Pavić
Mirta Pavić is the head of the Conservation Department at the Museum of Contemporary Art, Zagreb. She received her MA in conservation from the University of Ljubljana, Academy of Fine Arts and Design (Slovenia). Pavić teaches modern and contemporary art conservation at the University of Split (Croatia) and is a visiting lecturer at the University of Ljubljana.
8. Preserving Performativity: Conserving the Elusive in Aleksandar Srnec’s
Artwork -
Marlies Peller
Marlies Peller studied conservation-restoration of modern and contemporary art at the Academy of Fine Arts, Vienna, graduating in 2014. She was assistant conservator at documenta 13, Kassel (2012), and research assistant (head of studio, conservation of modern and contemporary art) at the Academy of Fine Arts, Vienna (2014–16). She has also been a freelancer at Museum Moderner Kunst Stiftung Ludwig (mumok), Vienna.
20. Gianni Colombo’s Strutturazione cinevisuale abitabile: From Flickering
to Light -
Martina Pfenninger Lepage
Since 2007 Martina Pfenninger Lepage has been head of the studio for Conservation of Modern and Contemporary Art at the Academy of Fine Arts, Vienna. She holds a diploma in conservation-restoration of modern materials and media from the University of Applied Sciences in Bern.
20. Gianni Colombo’s Strutturazione cinevisuale abitabile: From Flickering
to Light -
Sherry Phillips
Sherry Phillips is conservator of contemporary art at the Art Gallery of Ontario, Toronto. She has a degree in microbiology and zoology from the University of Toronto and is a graduate of the Conservation Program at Queen’s University (Kingston, Ontario). Her work with contemporary objects led to a focus on nontraditional materials, from plastic to electronics to taxidermy specimens to living systems.
6. Moving with the Times: The Refurbishment and Restoration of a Choreographed Robotic Arm
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Isabel Plante
Isabel Plante holds a PhD in art history from the Universidad de Buenos Aires. She is a researcher with the Consejo Nacional de Investigaciones Científicas y Técnicas (National Council of Scientific and Technical Research) at the Universidad Nacional de San Martín, Argentina. Plante’s doctoral thesis, which includes a chapter on kinetic art, was published in Argentina as Argentinos de París. Arte y viajes culturales durante los años sesenta (2013).
13. Kinetic Multiples: Between Industrial Vocation and Handcrafted Solutions
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Francesca Pola
Curator and writer Francesca Pola is an Italian historian of contemporary art, focusing on the 1950s and 1960s. She teaches and conducts research at the Università Cattolica (Milan) and at IES Abroad in Milan, and she was a Fulbright Distinguished Lecturer at Northwestern University in 2016. Pola is Italy’s representative on the International Scientific Advisory Board of the ZERO Foundation, Düsseldorf. She is also a contributor to Artforum magazine.
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Iolanda Ratti
Iolanda Ratti obtained an MA and a postgraduate diploma in contemporary art history at the Università degli Studi di Milano (University of Milan), with a thesis on the conservation of video installations. She was at Museo del Novecento, Milan, from 2004 to 2010, and then joined the Time-Based Media Conservation Department at the Tate, London. In 2013 she was a conservator at Pirelli HangarBicocca, Milan, and in 2014 she became collections curator at the Museo del Novecento.
Opening Remarks: The Kinetic Collection at the Museo del Novecento, Milan
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Simon Rees
Simon Rees is the director of the Govett-Brewster Art Gallery, New Zealand’s museum of contemporary art that houses the Len Lye Centre and the Len Lye Foundation’s collection and archive. Rees has held senior positions at national institutions in Austria, Lithuania, New Zealand, and Australia and has been involved in five national pavilion projects (for three countries) at the Venice Biennale.
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Rachel Rivenc
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Richard Sandomeno
Richard Sandomeno was formerly trained and certified as an industrial diesel mechanic. In 2002 he left that career and transitioned into custom metal, jewelry, and art fabrication, and he worked at CB Studio (Chris Burden’s atelier) as a fabricator on Metropolis II from 2007 to 2012. After working to install Metropolis II at the Los Angeles County Museum of Art, he joined the museum’s conservation department (2012–present) to maintain and repair the sculpture. Since 2001 Sandomeno has owned and operated Spragwerks Inc., his design and fabrication business.
3. Fast and Furious: Operation, Maintenance, and Repair of Chris Burden’s Metropolis II at LACMA
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Ingrid Seyb
Ingrid Seyb received an MA in conservation studies from West Dean College (Sussex, United Kingdom), validated by the University of Sussex in 2008. She is a professional associate member of the American Institute for Conservation.
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Carol Snow
Carol Snow is a graduate of the Winterthur/University of Delaware Program in Art Conservation. While at the Walters Art Museum (Baltimore), she participated in archaeological projects around the Mediterranean and received a Fulbright Scholarship enabling her to work in Turkey. She has been a conservator in private practice for twenty years. She is deputy chief conservator and the Alan J. Dworsky Senior Conservator of Objects at the Yale University Art Gallery (New Haven, Connecticut).
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Eugenia Stamatopoulou
Eugenia Stamatopoulou graduated from the Université Paris 1 Panthéon-Sorbonne with an MA in art history and an MSc in conservation, both focused on contemporary art. She acquired an MPhil in monuments conservation at the National Technical University of Athens, Architecture Department, where she is also a PhD candidate. She has been a conservator and collections manager for museums and galleries in France and Canada. For several years, she has been in charge of the management, installation, and conservation of the Dakis Joannou Collection, Athens.
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Friederike Steckling
Friederike Steckling trained as a paintings conservator at the Conservation Center of New York University, where she received a Certificate of Advanced Study in Conservation and an MA in art history. She has been conservator at the Fondation Beyeler in Basel, Switzerland, since 2001, where she helped establish the conservation department. Steckling is responsible for the care of the Beyeler collection of modern art and for conservation projects on works in various media.
19. Considering the Continuum of Care for Outdoor Kinetic Sculpture
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Erin Stephenson
Erin Stephenson is the William R. Leisher Fellow in Modern and Contemporary Paintings Conservation at the National Gallery of Art, Washington, D.C., where she specializes in modern and contemporary painting conservation. She earned her MA in art conservation from SUNY Buffalo. Stephenson interned with the Fine Arts Museums of San Francisco and held fellowships at the Balboa Art Conservation Center (San Diego) and the Menil Collection (Houston).
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David Strivay
In 2001 David Strivay earned his PhD in physics, in the field of ion-beam analysis techniques. He has been the director of the archaeometry research center of the Université de Liège (Belgium) since 2005. His main fields of research are the development and optimization of mobile noninvasive analytical and imaging techniques, technical art history, atomic and nuclear physics and ion-beam analysis, and modification of materials.
14. The Collection of Nicolas Schöffer: From the Artist’s Studio to the Museum
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Ming-Yi Tsai
Ming-Yi Tsai, PhD, is a scientist researching air pollution, pesticides, and public health. He studied mechanical engineering at the Massachusetts Institute of Technology and environmental health at the University of Washington (Seattle). His passion is developing novel systems that can affordably monitor urban air quality in areas that lack air pollution data. He is on the board of directors of the Tsai Art and Science Foundation.
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Carien van Aubel
Carien van Aubel is trained as a chemist and conservator in modern and contemporary art at the University of Amsterdam. She works as an independent conservator in the Netherlands and London. Currently, she is involved in “Project Plastics,” which was initiated by the Dutch Foundation for the Conservation of Contemporary Art (SBMK) and the Cultural Heritage Agency of the Netherlands (RCE).
22. Future in Motion: Conservation Issues of Seven Kinetic Artworks by Dutch Artist Ray Staakman
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Nikki van Basten
Nikki van Basten, conservator of modern and contemporary art, is on temporary assignment at the Getty Conservation Institute. She has carried out treatments for a broad range of objects and specializes in the conservation of (outdoor) painted sculptures. She holds a professional doctorate in the conservation of modern and contemporary art from the University of Amsterdam.
22. Future in Motion: Conservation Issues of Seven Kinetic Artworks by Dutch Artist Ray Staakman
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Katja van de Braak
Katja van de Braak holds an MA and a professional doctorate in contemporary art conservation from the University of Amsterdam (UvA). She has worked both within the Netherlands and internationally, at various private practices and internships at world-renowned museums. Currently, she is working as an independent conservator in the Netherlands and as a guest lecturer in conservation practice in the contemporary art training program at UvA.
22. Future in Motion: Conservation Issues of Seven Kinetic Artworks by Dutch Artist Ray Staakman
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Sjoukje van der Laan
Sjoukje van der Laan holds both an MA and a professional doctorate in contemporary art conservation. Over the years, she has developed her specialization and practical skills within a broad range of contemporary materials (such as plastics, time-based media, light, and so on), art installations, and conceptual artworks. She is assistant conservator of contemporary art at the Art Gallery of Ontario, Toronto.
22. Future in Motion: Conservation Issues of Seven Kinetic Artworks by Dutch Artist Ray Staakman
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Arthur van Mourik
Arthur van Mourik, who earned his BA in museology in Amsterdam in 2007 at the Reinwardt Academy, is collection manager at the Centraal Museum Utrecht, where he specializes in preserving contemporary artworks. He has worked for several institutions, including the Rijksmuseum Amsterdam and the Van Abbemuseum (Eindhoven, Netherlands). He was selected by the Mondriaan Fund for a research project at Instituto Buena Bista, Curaçao Center for Contemporary Art in 2016. He is interested in artist interviews and new approaches in the conservation of contemporary art.
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Muriel Verbeeck
Muriel Verbeeck holds a PhD from the Université de Liège (Belgium) and an MA in the science of information and communication from the Université Libre de Bruxelles. She is currently a professor at the École Supérieure des Arts Saint-Luc Liège (Belgium) in the department of conservation of fine art and is a scientific attaché to Université de Liège faculty of science. She also worked as a coordination assistant for the ICOM–CC (history and theory of conservation) and is the scientific editor of CeROArt.
14. The Collection of Nicolas Schöffer: From the Artist’s Studio to the Museum
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Anouk Verbeek
Anouk Verbeek holds an MA and a professional doctorate in modern and contemporary art conservation from the University of Amsterdam. She has a strong interest in the conservation of modern materials, mixed-media artworks, and large-scale installations. She is pursuing a fellowship in modern art.
22. Future in Motion: Conservation Issues of Seven Kinetic Artworks by Dutch Artist Ray Staakman
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Marcel Verner
Marcel Verner is a professional engineer (P. Eng, Canada) with degrees in Electrical and Mechanical Engineering. At the National Research Council of Canada, he researched robotics for use in medical and automotive industries. Currently at PV Labs in Burlington, Ontario, he is responsible for the design and development of aerial robotic imaging systems. He loves a good technical challenge.
6. Moving with the Times: The Refurbishment and Restoration of a Choreographed Robotic Arm
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Marleen Wagenaar
Marleen Wagenaar is a private conservator, offering specialized services in the conservation of contemporary art in a wide variety of materials and techniques. Cofounder of the conservation studio RestauLab, she is responsible for the modern and contemporary art department. Wagenaar holds an MA and a professional doctorate in contemporary art conservation from the University of Amsterdam.
22. Future in Motion: Conservation Issues of Seven Kinetic Artworks by Dutch Artist Ray Staakman
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Alison Walker
Alison Walker received her BFA from Otis College of Art and Design (Los Angeles) in 2001 and an MFA from the University of California at Riverside in 2009. She has worked as a fabricator for Carlson & Co. and for CB Studio (Chris Burden’s atelier). Since 2012, she has been responsible for the care, maintenance, and operation of Burden’s Metropolis II at the Los Angeles County Museum of Art. In addition to her professional work, Walker actively maintains her own studio practice.
3. Fast and Furious: Operation, Maintenance, and Repair of Chris Burden’s Metropolis II at LACMA
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Sandra Weerdenburg
Sandra Weerdenburg studied art history in Utrecht and later trained as a conservator in the five-year postgraduate course at the Limburg Conservation Institute, Stichting Restauratie Atelier Limburg (SRAL), in Maastricht (Netherlands). She has been a sculpture conservator at the Stedelijk Museum Amsterdam since 1996; since 2006, she has also been head of the Conservation Department. Weerdenburg is supervisor of the Tinguely Conservation Project.
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Timothy P. Whalen
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Lynda Zycherman
Lynda Zycherman is a graduate of the Conservation Center, Institute of Fine Arts, New York University. She has served as conservator of sculpture at the Museum of Modern Art, New York, for three decades. Previously she worked at the Freer Gallery of Art, Washington, D.C., where she specialized in the technical examination of ancient Chinese bronzes. Zycherman also trained at the Metropolitan Museum of Art, New York, and the Corning Museum of Glass, New York.