Network Member List
Louise Lawson, Conservation Manager, Tate
Louise Lawson is the Conservation Manager for Time Based Media Conservation at Tate. Her areas of interest and research are focused on the replication, re-enactment and activation of artworks and working in collaboration with artists and artist estates, leading to a range of publications. Her current area of research is on performance-based artworks considering issues of institutional memory, iterations and the challenge of evolving practice.
Deborah Cane, Conservation Manager, Tate
Deborah has 29 years of conservation experience within National Museums Scotland, National Museums Liverpool, Birmingham Museums Trust and now at Tate. She has a wide breadth of experience of collections and material types, with a keen interest in modern materials and their use and constructs with contemporary art. She currently manages the Sculpture and Installations Conservation team where her focus is on the Hepworth studio, garden and summer house, managing hazardous materials within collections and storage of artworks with a plastic component.
Bouke de Vries, Conservator and Artist, London
Dutch born but living in the Uk for 35 years. Bouke has worked as a ceramics conservator in the private sector for 25 years but over the past 7 years have developed a practice as a contemporary artist along side my conservation practice. The works created have the grounding in conservation and he uses damaged ceramics as a starting point and give them a new narrative and bring their story forward
Richard Rogers, Conservator and Business Owner, Surrey
Richard has 38 years experience in conservation of all types of metalwork and contemporary artwork installations. His company was founded 12 years ago with the aim of providing a conservation and installation service maintaining the highest of standards. Over recent years they have had a large increase in the type of contemporary art objects coming into our studios. These works, in a variety of different materials, challenge and focus the mind in the conservation techniques required. For example conserving and reconstructing the original aluminium pattern for Barbara Hepworth's ‘Winged Figure’, displayed at the The Hepworth Wakefield, or the installation of a Jan Hendrix artwork made from ‘Corian’ installed cascading down 10 floors in the atrium at Africa House, London.
Ann French, Collections Care Manager/Conservator (Textiles) The Whitworth, University of Manchester
A textile conservator by training, Ann co-ordinates the conservation & technical team at the Whitworth. The gallery has an active collecting policy for many forms of contemporary art from installations to art textiles, and maintains an active exhibition programme for modern & contemporary art. The work carried out at the Whitworth represents the challenges faced by non-national smaller, and regional galleries.
Brian Castriota, Conservator and undertaking PhD, Glasgow University
Brian is a conservator specialising in the conservation of time-based media and contemporary art. He holds a Master's degree in Art History and a Certificate in Conservation from the Institute of Fine Arts at NYU where he graduated in 2014. He has worked as a contract conservator for time-based media artworks at the Smithsonian American Art Museum, and was a Samuel H. Kress Fellow in Time-Based Media Conservation at the Solomon R. Guggenheim Museum. He is currently pursuing a doctoral degree at the University of Glasgow within the research program "New Approaches in the Conservation of Contemporary Art" (NACCA), a Marie Skłodowska-Curie Innovative Training Network. His doctoral research examines notions of artwork identity, authenticity, persistence, and change through a lens of ontological and poststructuralist discourse.
Hanna Holling, Lecturer in the History of Art and Material Studies, UCL, London, and Getty Conservation Guest Scholar 2016/17
Her work focuses on the intersection of art history and theory, material culture studies, and conservation. She works in the Department of History of Art and Material Studies at the University College London. Prior to this, as Andrew W. Mellon Visiting Professor in the curricular initiative Cultures of Conservation, she taught graduate seminars on conservation, art history, and museology at the Bard Graduate Center in New York. Her primary research and teaching interests lie, among others, in ethics, aesthetics, and philosophy in and of conservation, contemporary and post-war art, film and media art, and the concepts of time, change, identity, and archive both in artworks and in objects of material culture. In conservation, she focuses specifically on the notions of authenticity, intentionality, and conservations’ epistemic dimensions.
Hero Image: Memory vessel 44, 2016; Early 17th century Italian earthen ware Majolica (Rome) drugjar and glass / Bouke de Vries