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.
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.
Amy Griffin, Paintings Conservator, Tate
After training as a paintings conservator at the Courtauld Institute of Art, Amy worked as a freelance conservator in both public and private sectors, specialising in the conservation of Modern and Contemporary artworks. She is currently working as a paintings conservator at Tate Britain. Amy has a particular interest in the work of Anselm Kiefer and has published research into his materials and techniques.
Alice Watkins, Assistant Sculpture Conservator, Tate
Alice Watkins is an Assistant Sculpture Conservator at Tate. She holds a MSc in Contemporary Art Conservation and has also completed a Professional Doctorate in the Conservation and Restoration of Contemporary Art (PdRes), both from the University of Amsterdam. Her master's thesis focused on the ethics of replacing components in technological artworks. Additionally, she conducted research into the use of photogrammetry for documenting large outdoor sculpture.
Hero Image: Memory vessel 44, 2016; Early 17th century Italian earthen ware Majolica (Rome) drugjar and glass / Bouke de Vries