Health and Safety Network

Stephanie Black is a Conservator at the Anchorage Museum in Anchorage, Alaska. She previously worked as an Assistant Conservator at the Field Museum on the Native North American Hall Renovation Project (https://www.fieldmuseum.org/exhibitions/native-truths-our-voices-our-stories), the Oriental Institute Museum on their Gallery Enhancement Project, and as an objects conservator and laboratory technician for the MSc Conservation Studies program offered at University College London Qatar in Doha, Qatar. Stephanie holds an MSc in Conservation for Archaeology and Museums and an MA in Principles of Conservation from University College London in the United Kingdom, as well as a BA in Art Conservation from the University of Delaware. 

Lorna (she/her) went to Bard College in Annandale-On-Hudson, NY where she earned a BA in Studio Arts. She completed pre-program positions at Monumenta Art Conservation and Finishing, LLC, the Adirondack Museum (now the Adirondack Experience) and at Peebles Island Resource Center which services New York State Parks. Lorna held graduate summer internships at the Midwest Art Conservation Center, the Cleveland Museum of Art, the National Park Service (NPS) HACE (Historic Architecture Conservation and Engineering) and completed a 20-day option in the stained glass conservation lab at the Metropolitan Museum of Art. She completed a post-graduate position as Preventive Conservator for Linden Preservation Services, Inc. She currently has her own private practice, Studio Brundrett LLC, in Rochester, NY focusing on the conservation of stained glass and mosaic works as well as related materials. 

Paulette Reading is a textile conservator in Denver, CO. She has been in private practice since 2006 and has completed projects for many area museums, cultural institutions, and private clients. Paulette offers all aspects of conservation treatment including repair, cleaning, storage, mounting, and documentation of textiles. Additional services include completing condition surveys, heading workshops and lectures about the care of textiles, and exhibit preparation. Paulette belongs to Mountain States Art Conservation, an association of conservators in the Denver area. She is a Professional Associate member of the American Institute for Conservation (AIC) and a member of AIC’s Health and Safety Committee. She holds a MA and C.A.S Art Conservation, Buffalo State College, (SUNY), and BA Art History, Washington University in St. Louis.

Courtney Murray joined MACC in 2017, coming from the Denver Art Museum where she worked from 2013-2017. Prior, she held fellowships and internships at the Royal British Columbia Museum, Toledo Museum of Art, Michael C. Carlos Museum, National Museum of the American Indian, and Indianapolis Museum of Art. Murray has extensive experience with a wide range of structures and materials. She particularly enjoys working on large-scale public art, community-led preservation projects, and science and technology collections. Courtney holds a Master of Science in Conservation from the Winterthur/University of Delaware Program in Art Conservation and a Bachelor of Arts in Chemistry from Emory University. She is a Professional Associate of the American Institute for Conservation and is a member of the International Council of Museums-Committee for Conservation and the Association for Preservation Technology: Western Great Lakes Chapter. She is OSHA-30 certified for the construction industry. 

Adrienne Gendron (she/her) is an objects conservator with interests in organic materials as well as ethics, decision-making, and health and safety. She is currently Assistant Objects Conservator at the Museum of Fine Arts Boston specializing in European and American decorative arts. Prior to her work at the MFA, Adrienne completed a two-year post-graduate fellowship at the Straus Center for Conservation and Technical Studies at the Harvard Art Museums, where her research focused on technical analysis and treatment of 17th-century wax. Adrienne holds an M.S. in the Conservation of Historic and Artistic Works and an M.A. in the History of Art and Archaeology from the Institute of Fine Arts at New York University (awarded 2022) and an H.B.A. with distinction in Art Conservation and Anthropology with minors in Chemistry and Art History from the University of Delaware (awarded 2016). Her graduate thesis explored the application of collective memory theory as a theoretical framework for facilitating the interpretation, presentation, and conservation of objects of trauma housed in the collections of the National September 11 Memorial & Museum. Adrienne has worked with a wide range of collections at institutions such as the Cleveland Museum of Art, Alaska State Museum, University of Pennsylvania Museum of Archaeology and Anthropology, American Museum of Natural History, and the National Park Service. Her years working with Indigenous communities on the conservation of their ancestral cultural heritage continue to inform her practice with a firm foundation in broadening traditional definitions of conservation and welcoming community voices to the decision-making table. A staunch advocate of safety education in the museum sector, she currently serves as Publications Officer of the AIC Health & Safety Network. 

Katy Kaspari is an Objects Conservator at the Denver Museum of Nature and Science. She was the IMLS conservator on the IMLS-funded Building Bridges grant working with Indigenous communities from the Northwest Coast. She is interested in people-centered approaches to conservation and collaboration with communities to preserve heritage in culturally appropriate ways. Katy received her MA and MSc in Conservation for Archaeology and Museums from University College London in 2020. 

I am a graduate fellow at the Winterthur/University of Delaware Program in Art Conservation studying Objects with a minor in Paper. 

Marie Desrochers currently serves as the Outreach Conservator for the Utah Division of Arts & Museums. In this role, she has launched the Utah Collections Preservation Program, which provides training for small collecting institutions across the state. This work is funded by the National Endowment for the Humanities, and it strives to increase preventive conservation knowledge for all heritage stewards. Marie graduated in 2021 from the Winterthur/University of Delaware Program in Art Conservation, where she was a National Endowment for the Humanities Graduate Fellow with a major in preventive conservation. She spent her third-year internship working at the Colonial Williamsburg Foundation.