About the article
Marie-Louise Frank received her diploma in 2012 in paper conservation, specializing in photo conservation from the graduate program Conservation of Works of Art on Paper, Archives- and Library Materials at the State Academy of Art and Design in Stuttgart. She studied photo conservation for one semester with Anne Cartier-Bresson at the Institute national du patrimoine (INP). Currently, she is employed at the historical city archive in Cologne in the conservation and digitization centre.
Ernst Becker has a degree in process engineering from the Universitat Stuttgart. After his studies, he founded and established development and production companies (at both a national and international level) in the field of product development, plant engineering, environmental metrology, and conservation. Currently, he is the managing partner of Becker Systems GmbH, which focuses on renewable energy, as well as on technologies and processes for conservation.
Julia Schultz was trained as a conservator, specializing in furniture and wooden objects. She received a Diploma from the University of Applied Sciences and Arts Hildesheim (HAWK), Germany in 2003, with a focus on historical woodworking tools and microbially contaminated objects. After a postgraduate internship in the Department of Decorative Arts and Sculpture Conservation at the J. Paul Getty Museum in California (2003–2004), she obtained an MA in Conservation from HAWK, researching antibody-based techniques for the identification of proteinaceous binding media in works of art (2006). She is currently a PhD student at the State Academy of Art and Design in Stuttgart, Germany and, after 2 years as an Andrew W. Mellon Fellow at the Department of Scientific Research at The Metropolitan Museum of Art in New York, she is a research assistant at HAWK since 2009, where she is involved in third-party funded projects relating to microbiological questions, and continues her work on the application of immunological techniques to the study of works of art.
Ulrike Hähner is professor at the Hochschule fur angewandte Wissenschaft und Kunst (HAWK) Hildesheim/Holzminden/Gottingen. She leads the Schriftgut, Buch und Graphik group in the Faculty of Engineering and Conservation, with a teaching and research interests in the field of conserving modern collections and large-scale projects in archives, libraries and graphic collections. Until her appointment in 2009, she led the unit on collection conservation management at the Universitatsbibliothek Marburg. Since 1991, she also teaches at the Hochschule fur Archivwissenschaft Marburg.
Irene Brückle is professor and director of the graduate programme Conservation of Conservation of Works of Art on Paper, Archives- and Library Materials at the State Academy of Art and Design in Stuttgart since 2008, which is focused on the treatment of artworks on paper and associated collections in archives and libraries. Between 1992 and 2004, she taught paper conservation at the Art Conservation Department, Buffalo State College. She holds an MA in art history from the University at Buffalo and a PhD in art technology/art history from the State Academy Stuttgart. From 2005 to 2008, she was head of conservation at the Kupferstichkabinett, Staatliche Museen zu Berlin, Preusischer Kulturbesitz. She focuses on methods of preservation and conservation, concerning art on paper in particular.
Karin Petersen studied Biology, Chemistry and Limnology at the Christian-Albrechts-Universitat in Kiel, graduating in 1984. From 1985-2005 she worked at the Carl-von-Ossietzky-Universitat in Oldenburg in the geomicrobiology working group. In the context of her work there, she co-directed a BMFT project on natural stone deterioration and the preservation of murals. Since 1989, she teaches regularly at the Fachhochschulen in Hildesheim and Koln, and, since 1991, at the HFBK Dresden and the Fachhochschule Potsdam. Since 1999, she is a professor at the FH Hildesheim for microbiology in conservation. Her teaching and research focuses on microbial deterioration of materials, especially art and cultural objects as well as the possible health dangers associated with dealing with contaminated art objects.
Published Online: 2013-08-22
Published in Print: 2013-08-01