2018 Award Recipients

Below are the recipients of awards for 2018. Be sure to congratulate them! Better yet, come see them receive their award at AIC's 46th Annual Meeting in Houston, TX. Register today!

Keck Award

Frank Matero

Matero, FrankFrank G. Matero, Professor of Architecture and Historic Preservation and Director of the Architectural Conservation Laboratory at the University of Pennsylvania.  He is founder and editor-in-chief of Change Over Time, a new international journal on conservation and the built environment published by Penn Press.  He has an M.S. from the Graduate School of Architecture, Planning and Preservation at Columbia University and studied at the Conservation Center of the Institute of Fine Arts at New York University.  He was formerly the Assistant Professor and Director of the Center for Preservation Research at Columbia University 1981-90 and a Lecturer at the International Center for the Study of the Preservation and the Restoration of Cultural Property in Rome (UNESCO-ICCROM) and the Polytechnic University of Puerto Rico. His teaching and research are focused on historic building technology and the conservation of building materials, with an emphasis on masonry and earthen construction, the conservation of archaeological sites, and issues related to preservation and appropriate technology for traditional societies and places. He has consulted on a wide range of conservation projects including the fortifications of Cairo and San Juan (Puerto Rico), Drayton Hall, the Guggenheim Museum and Trinity Church (New York), the Lincoln and Jefferson Memorials, Ellis Island, and the missions of California and Texas. His archaeological site work includes Mesa Verde, Casa Grande, Bandelier, Fort Union and Fort Davis, El Morro, and Indian Key in the United States, Gordion and Catal hoyuk in Turkey, and Chiripa in Bolivia. He is a Professional Associate of the American Institute for Conservation of Historic and Artistic Works and former Co-chair of the Research and Technical Studies Group and on the editorial boards of Conservation and Management of Archaeological Sites, the Journal of Architectural Conservation, and Cultural Resource Management. He has served on numerous professional boards including US/ICOMOS, Heritage Preservation, the Frank Lloyd Wright Building Conservancy, the AIA Historic Resources Committee, and the Fairmount Park Historic Preservation Trust, and The Woodlands.

Consuela "Chela" Metzger 

040513_chela_con_librosChela Metzger has been devoted to libraries and books since she began volunteering for her school library in fourth grade. She has a Master's in Library Science from Simmons College and a Diploma in Hand Bookbinding from the North Bennet Street School. She completed an advanced rare book conservation internship at Library of Congress in 1994, and has worked as a conservator at The Huntington Library in San Marino California, The University of Michigan at Ann Arbor and now the UCLA Library as head of their conservation center. Chela began teaching book conservation while at The Huntington Library, and continued through nine years at the University of Texas Program in Preservation and Conservation Studies, and four years at Winterthur/University of Delaware Program in Art Conservation. She was awarded a three month teaching Fulbright to teach in Argentina in 2000 and continues teaching and consulting in Latin America. She also enjoys teaching workshops on a variety of conservation and book history topics.

Norman Weiss 

downloadNorman R. Weiss is the Director of Scientific Research at Integrated Conservation Resources, Inc. As ICR’s Director of Scientific Research, Norman Weiss draws on more than thirty five years of practical experience in architectural conservation, to provide technical support to our consulting and contracting personnel. Trained as an analytical chemist at New York University and the Massachusetts Institute of Technology, he is a pioneering specialist in the analysis and preservation of traditional building materials. He is a Fellow and life member of the Association for Preservation Technology (and recipient of that organization’s Harley J. McKee Award). Norman has taught at Columbia University since 1977 and frequently lectures for RESTORE, the National Park Service, and for preservation organizations worldwide. He has served as Visiting Conservation Scholar, J. Paul Getty Museum; Visiting Conservation Scientist, Conservation Center/IFA, New York University; Visiting Professor, University of Southern California; and was the conservation specialist on the Architect’s Advisory Group for the U.S. Capitol. Norman is Consultant Editor of the UK-based Journal of Architectural Conservation, and currently serves on the board of the National Center for Preservation Technology & Training.

Gettens Award

Rachael Arenstein 

15d71c0Rachael Perkins Arenstein is a Professional Associate member of the American Institute for Conservation. She is currently the conservator at the Bible Lands Museum Jerusalem but remains an active partner A.M. Art Conservation, LLC the private practice that she co-founded in 2009.  For more on A.M. Art Conservation please visit www.amartconservation.com.  She has worked at the Smithsonian National Museum of the American Indian, the Peabody Museum of Archaeology and Ethnology, the American Museum of Natural History and the Metropolitan Museum of Art.  She completed internships at the British Museum and the Israel Museum as well as other international institutions.  Rachael's degree in art conservation is from the University of London where she studied at the Institute of Archaeology, UCL.  She received her B.A. in Near Eastern Studies and Archaeology from Cornell University where she wrote her honors thesis on Dendrochronology, and excavated at Tel Miqne-Ekron in Israel. She is also active in several professional organizations including positions as the e-Editor for the AIC and the Co-Chair of the Integrated Pest Management Working Group.

Honorary Membership

Dan Kushel

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Dan Kushel served on the faculty of the Buffalo State College Art Conservation Department for 34 years, from 1978, when the department was affiliated with the Cooperstown Graduate Programs and State College at Oneonta, until his retirement in 2012. During this time, he developed the department’s original one-semester technical examination and documentation course into the program’s unique two-year conservation imaging curriculum.  Offered since 1993, it now covers digital and multispectral imaging and examination techniques and digital radiography. In addition to the documentation courses, Dan co-taught the department’s paintings conservation courses through 1993. Between 1997 and 2009, he also served on the faculty of the RIT/George Eastman House Advanced Residency Program in Photograph Conservation. Prior to teaching, Dan was on the conservation staff of the Brooklyn Museum. He earned his BA from Clark University in 1968, and an M.A. (1972) in art history from Columbia University, where he also completed his doctoral course work. He was awarded an M.A. and Certificate of Advanced Studies in conservation from the SUNY College at Oneonta Cooperstown Graduate Programs in 1976. Dan been active in the American Institute for Conservation, most notably as a member and a Chair of the Ethics & Standards Committee during its seven-year revision of the professional Code of Ethics and Guidelines for Practice, and as a member of the Digital Photographic Documentation Task Force which helped guide the profession’s transition to digital technology in documentation.  He is Fellow of AIC and IIC. Dan has published and lectured widely on technical examination and documentation of cultural artifacts and is a co-author of the AIC Guide to Digital Photography and Conservation Documentation.  Since retirement, he has provided training in computed radiography at several museums nationwide. A first recipient of the American Institute for Conservation Caroline and Sheldon Keck Award for conservation education in 1994, he was appointed a SUNY Distinguished Teaching Professor in 1998. He received the SUNY Chancellor’s Award for Exemplary Research and Scholarship in 2005, and the American Institute for Conservation Robert L. Feller Lifetime Achievement Award in 2012.

Feller Award

Alan Phenix 

download (2)Alan Phenix is a paintings conservator, conservation educator and conservation scientist. Recently retired, from November 2006 he was employed as ‘Scientist’ at the Getty Conservation Institute (GCI), Los Angeles. In his first years at GCI he worked partly for the Museum Research Laboratory (MRL) and partly for the Modern & Contemporary Art Research group. That work involved mostly chemical analysis of painting materials and the study of artists’ techniques; also materials analysis and testing. From mid-2014 he led a newly formed ‘Treatment Studies’ research area of GCI Science aimed at evaluation of conservation methods and materials. Alan was educated at Leeds University, UK, receiving a BSc. Honors in Chemistry & Colour Chemistry Combined in 1979. Afterwards he studied Conservation of Easel Paintings for three years at the Courtauld Institute of Art, University of London and was awarded the Institute’s post-graduate diploma in 1984. After an internship at the Tate Gallery London, he worked as a paintings conservator in the public sector in Australia, returning to Britain in 1989 to take up a teaching and research position at the Hamilton Kerr Institute, University of Cambridge. He was Lecturer in the Dept. of Conservation & Technology at the Courtauld Institute of Art from 1991 to 2000, during which time he spent 15 months on secondment to the MOLART project managed by the FOM Institute for Atomic & Molecular Physics, Amsterdam. After short periods as Research Fellow at the Royal College of Art, London, and as Associate Professor in Conservation at the University of Oslo, Norway, from 2002 and 2006 he was Senior Lecturer with the Masters programe in Conservation of Fine Art at Northumbria University, Newcastle-upon-Tyne, UK.  In 2005-6 he took leave from Northumbria to spend nine months as a visiting research scholar at GCI.  In early 2014, together with his wife, Julie Wolfe, he was Judith Praska Distinguished Visiting Professor at the Conservation Center, Institute of Fine Art, New York University. Personal research interests include: the structural conservation of paintings on canvas; the mechanical properties of artists’ paints and conservation materials; the cleaning of paintings using aqueous formulations and organic solvents; the history of organic solvents; painting techniques and history of artists’ materials from the medieval period to the present day. He has published numerous research papers and articles on the science and practice of paintings conservation.  He has been author or co-author of several books and exhibition catalogs, and has edited several series of conference proceedings. In 2017-18 he has been co-curator of the exhibition Frederick Hammersley: To Paint Without Thinking, shown at the Huntington Library, Art Collections, and Botanical Gardens., San Marino, CA, and the New Mexico Museum of Art, Santa Fe. He is a Fellow of the International Institute for Conservation (IIC), and a Fellow of the American Institute for Conservation. In the past he has been Vice Chair of the United Kingdom for Conservation (UKIC) and Coordinator of the ICOM-CC Working Group: Conservation & Restoration of Paintings I (1996-2002). He was an editor of Studies in Conservation for IIC from 2007 to 2010, and Editor-in-Chief of that journal from Jan. 2009 to Aug. 2010.

Bruno Pouliot 

Bruno Pouliot received his Master’s Degree in Art Conservation from Queen’s University in Canada. He then worked as conservator at different museums in Canada, including the Prince of Wales Northern Heritage Centre in the Canadian Arctic, and the McCord Museum at Montreal’s McGill University. He joined in 1997 the staff at Winterthur Museum and as a faculty in the Winterthur/University of Delaware Program in Art Conservation. There he has developed an internationally recognized teaching program on organic materials and on preventive conservation, while overseeing the activities of the objects lab and the conservation of all kinds of decorative art objects. He has published several articles and taught internationally on ethical issues related to the conservation of culturally sensitive material, and on aspects related to the conservation of organic materials, metals, and ceramics. He currently serves as Editor for the Art and Archaeology Technical Abstracts Online. He is the recipient of the American Institute for Conservation 2010 Sheldon and Caroline Keck Award for excellent in education and teaching of conservation professionals.

Conservation Advocacy

Gregory Dale Smith  

4Gregory Dale Smith received a B.S. degree from Centre College of Kentucky in anthropology/sociology and chemistry before pursuing graduate studies at Duke University as an NSF graduate fellow in time-domain vibrational spectroscopy and archaeological fieldwork. His postgraduate training included investigations of pigment degradation processes and palette studies of illuminated manuscripts at the British Library and the V & A Museum, development of synchrotron infrared microscopy facilities at the National Synchrotron Light Source, and researching cleaning issues related to artists’ acrylic emulsion paints at the National Gallery of Art. In 2004, Dr. Smith joined the faculty of the conservation training program at Buffalo State College as the Andrew W. Mellon Assistant Professor of Conservation Science. In 2010 Dr. Smith was hired as the Otto N. Frenzel III Senior Conservation Scientist at the Indianapolis Museum of Art where he constructed and now operates a state-of-the-art research facility to study and preserve the museum’s encyclopedic collection of nearly 50,000 works of art. Dr. Smith’s research interests include undergraduate education at the Arts-Science interface, assessing pollution off-gassing of museum construction materials, and understanding the chemical degradation of artists’ materials. Greg is a Professional Associate of the AIC and has served as an associate editor of JAIC for the past 11 years.

President’s Award

Steve Pine

Pine, Steve (2)Steven Pine is Senior Decorative Arts Conservator at the Museum of Fine Arts, Houston. In 1987 he completed his master’s degree from the University of Delaware / Winterthur Museum with specializations in furniture and metals. Since arriving at the MFAH in 1990 his responsibilities have expanded to caring for the museum’s historic house collections of American and European decorative arts at the Bayou Bend and Rienzi Collections and helping build the museum's conservation department. The tremendous growth of collections in modern and contemporary design, digital art and mixed media of all types challenges the modern museum with balancing the needs for both preservation and use of these collections. Flexibility and creativity are essential. Maximizing the teaching value of the collections yet extending their useful interpretive life span has been a fascinating and rewarding challenge. Each object has a story to tell. Presenting that story clearly and making that accessible to the public marks a successful cultural or heritage steward.An active member of the American Institute of Conservation for 25 years he has served in leadership positions in specialty groups and committees, presented papers, organized conferences and mentored young professionals. He is an active member of AIC-CERT, Co-Chair of the Emergency Committee of AIC, Co-Chair of the TX-Cultural Emergency Response Alliance. He is a first response trainer and sits on state and national committees for disaster response for heritage and cultural resources. Special areas of expertise include: Conservation and management of: modern and contemporary design, period furniture, exhibition management, surveys and storage planning, disaster planning and recovery.


Paul Messier 

download (5)Paul Messier is an independent conservator of photographs working in Boston Massachusetts, USA. Founded in 1994, his studio provides conservation services for private and institutional clients throughout the world. The heart of this practice is unique knowledge and ongoing research into photographic papers. The Messier Reference Collection of Photographic Papers plays a vital role in this work.  Continuing with the private practice, Paul was appointed head of the newly formed Lens Media Lab at Yale University in 2015. He received a Masters of Arts and certificate of advanced study in the conservation of works on paper and photographs from the art conservation program at the State University of New York College at Buffalo (SUNY).

Textile Specialty Group Award 

Margaret Anderson  

MF-Press-PhotoMargaret Anderson (formerly Margaret Fikioris) worked as Textile Conservator from 1967 to 1990 at The Henry Francis du Pont Winterthur Museum, Winterthur, Delaware.  When Florence Montgomery, Curator of Textiles retired, Margaret took on her duties from 1971 to 1980 while remaining as Textile Conservator. Also, Margaret became a conservation educator working as an Adjunct Associate Professor in The Art Conservation Program of the University of Delaware and the Winterthur Museum from 1974 to 1990. She then became an Adjunct Assistant Professor in the Museum Studies Program at the Fashion of Technology, New York City, from 1990 to 1993.  She also served on the faculty of the Collections Care Training Program sponsored by the Mid-Atlantic Association of Museums, the Museum Studies Program and the Art Conservation Program of the University of Delaware from 1991 to 1996.While at Winterthur, Margaret was active in health and safety issues and the museum environment.  Because of health concern for fumigation, she joined the Health and Safety Committee in 1981 with the advice of Monona Rossol. Fumigation was phased out.   Two years later, Margaret worked with others to implement Tom Parker’s 1983 recommendations for an Integrated Pest Management Program for the museum collection and storage. At that time, Margaret also spearheaded the first review of the ventilation system in the Research Building that housed the conservation laboratories and museum library.  This resulted in a study by Thomas J. Cutter, “Research Building, Ventilation Study and Recommendations”  (1983), which eventually lead to the reworking of the entire air-handling system of the Research Building, 1989-1990. Margaret was active in teaching Care and Handling Practices for Textiles and Rugs.   She participated in writing the “Care and Handling Manual”guidelines for staff, students and volunteers.  Margaret worked to acquire 36” wide rug runners for the protection of rugs on display within the museum. This made the collections available to visitors in wheelchairs.  She also worked on John Krill’s Committee on Outside Light (1982) with Bob Feller as an advisor to place Neutral Density Plexiglas behind the storm windows to help reduce the light, for the protection of the displays in the period rooms. In order to address issues impacting museum textile collections, Margaret joined with other conservators to form the Harpers Ferry Regional Textile Group.  She was Co-Chair and Planning Committee Member.  Meetings were held every other year and focused on topics concerning Textile Conservation, such as standard size archival paper supplies for textiles and rugs, storage design, wet cleaning, textile treatments, mounting flat textiles, lighting, textile pests and their control.  Also of concern was the environment, display of textiles, treatments revisited, exhibition successes and disasters. The meetings were held at the Smithsonian, Anderson House Museum, the National Park Service at Harpers Ferry, and Winterthur Museum from 1978 until 1992.  Over the years, the meetings were very well attended with as many as 272 participating. Another area of focus for Margaret was involvement with the United Nations sponsored “Decade of Natural Disaster Reduction” established in 1990.  She worked to help coordinate the formation of a national committee to work on Disaster Preparedness for museum collections.  This was in conjunction with the ICOM Ad Hoc Committee for Natural Hazard Reduction. In 1972, as part of the Winterthur staff, Margaret helped support the response to damage caused by Hurricane Agnes.  From that, she contributed to a bulletin, “First Steps to be Taken for the Emergency Treatment of Textiles”, prepared for the Emergency Clearing Center, Conservation of Historic and Artistic Works, Cooperstown, N.Y. Margaret’s focus was always on giving information to the profession and to the public about care and conservation of historic textiles within museums, small historic societies and private homes.  She did this by lecturing and writing many articles. To name a few, these articles were in Museum News, Historic Preservation, Textile Preservation Symposium, Advances in Chemistry, Textile Conservation Newsletter, Winterthur Newsletter, and the University of Pennsylvania Hospital Antiques Show.   Overseas, she lectured and was published in international conferences in Como, Italy and Glasgow, Scotland. Of special interest to Margaret was to have Winterthur Museum join the newly created Conservation Information Network organized through the Getty Conservation Institute.  This was in 1987 before the Textile Conservation Lab had a computer.   Another project dear to Margaret’s heart, 1988 and beyond, was serving on the Technical Advisory Committee for the Star-Spangled Banner Conservation Project at the National Museum of American History, Smithsonian Institution, Washington, D.C.  Also dear to her heart was participating in the Lancaster County Historical Society’s Quilt Harvest where Lancaster family quilts dated before 1940 were brought to be documented, photographed, and advised for care and handling and storage. After Margaret retired from Winterthur, she continued as a Textile Conservator in Private Practice and as a Consultant in Collections Care, Survey and Archival Storage Design.  Her consulting projects included The Barnes Foundation, Nemours Mansion, The Fabric Workshop and Museum, Fonthill Castle of Mercer Museum, Maryland Historical Society, North Carolina Museum of History, Birmingham Museum of Art, and Camden Historical Society.  Margaret Anderson’s undergraduate studies were at the College of Wooster where she majored in American Social History. After graduating in 1961 with a B.A. degree, she attended George Washington University in Washington, D.C. to take Art History courses. Then she was accepted at Columbia University, Graduate Faculties, Department of Art History.  Her area of study was Renaissance Iconography and Flemish Tapestries, and she received a M.A. in 1964. In 1963, she attended the “Art Conservation Symposium in Brussels” at the Institut Royal du Patriomoine Artistique, sponsored by New York University, directed by Sheldon Keck.  The focus of the program was on painting conservation, but her leaning was toward tapestries.  Sheldon Keck suggested she train at the Textile Museum in Washington, D.C., in a conservation program taught by Joseph Columbus and Col. James W. Rice.   She attended their Apprenticeship Program in 1964 and she became a Curatorial Assistant at the Textile Museum (1964-1966).  Winterthur’s Curator of Textiles, Florence Montgomery, and her husband, Charles Montgomery, invited Margaret to become Winterthur’s first Textile Conservator.  She joined the Winterthur staff in 1967. A new Research Building needed to be opened.  Margaret helped design the interior layout and equipment for the first Textile Conservation Laboratory in the newly built Louise du Pont Crowninshield Research Building housing the conservation labs and museum library.  The Research Building was opened in 1969. Margaret researched major textile labs to design a Winterthur lab with equipment ready to handle large decorative fabrics displayed in period rooms. The museum had 175 period rooms dating from 1640 to 1860.   On permanent display were period rooms of furniture, silver, paintings ceramics, etc. Textiles were changed seasonally.  Large storerooms were necessary to house the changing textiles.  Two curtain storage rooms, one bedspread storage room, and a large textile storage area for upholstery and textiles for future use.  Also, there was a Textile Study Room and Rug Storage room.  The Textile Lab had to service all of this.  The new lab had to be large enough for these textiles and rugs.   This required large equipment that had to be lowered by crane through large skylight windows.   The adjacent Sewing Room had four large padded movable worktables that could be arranged to support any size of textile, curtain or rug.  Beside the Sewing Room, there also was a Textile Conservation office.  Many visitors came to the Textile Conservation lab to gather ideas to help design their own labs.  This laid the groundwork for Margaret to share information through writing, lecturing, and participating in the Harpers Ferry Regional Textile Group and AIC. In 1974, Winterthur Museum and the University of Delaware began an Art Conservation Training Program and Margaret became a faculty member to teach and mentor many students and to serve on the admissions committee.  The world became linked to Winterthur by University of Delaware conservation students doing summer work projects and third-year internships in museums and labs across the United States and abroad.   Everyone shared enthusiasm for conservation and care of world collections. Today, Margaret travels the world and writes books.