Winterthur Museum, Garden & Library

Winterthur/University of Delaware
Program in Art Conservation

Class of 2004
Class of 2005

	Class of 2004

	Mary Catherine Betz Upon graduating from high school, Catherine was awarded a scholarship to attend the Columbus College of Art and Design (CCAD) in Columbus, Ohio. In 1987, Catherine decided to move to San Francisco, where she exhibited her work in local galleries while supporting herself as a bike messenger. In January 1997, while visiting the British Museum, she had a sudden realization about Conservation's role in museums and decided to pursue a future in the field. In 1999, Catherine graduated cum laude from San Francisco State University, receiving a Bachelor of Arts degree in Studio Arts. While attending school, she interned at the California Palace of the Legion of Honor's Paper Conservation Laboratory, working under the supervision of Janice Schopfer and Debra Evans. Her 2-year experience there covered a variety of works on paper, including the treatment and housing of large mural drawings from the estate of William Randolph Hearst. To further her knowledge of Conservation, Catherine also interned in the Paintings Laboratory at the M.H. de Young Museum under the guidance of Carl Grimm and Patricia O'Regan. In her leisure time, Catherine likes off-road biking, watching baseball, and drawing comics.

	Victoria Book A native of Southern California, Victoria found Art Conservation while searching for a way to combine her passion for Art and Art History with her interest in Chemistry. Pursuing a degree in Art History at the University of Tulsa, she conducted research with the Chemistry Department and presented her findings about anthropological sediment analysis at the national meeting of the American Chemical Society. She graduated with Honors upon completion of an original thesis entitled "Some Methods for Determining the Misattribution of Paintings." She received an additional minor in Anthropology, and a Certificate of Museum Studies. After an internship at the Gilcrease Museum in Tulsa, OK, she was hired as Assistant Curator of Anthropology, responsible for the rehousing and care of the anthropology collection. From Tulsa, she went to Washington, D.C., to participate in a "Save America's Treasures" projects with the National Anthropology Archive and Anthropology Department at the National Museum of Natural History. As intern on the six-person paper conservation team, Victoria's work included treatment of a Sioux ledger book and Kwakiutl drawings and conducted treatment of anthropological objects in preparation for exhibition.

	Sara Creange Sara graduated from the University of Arizona in 1993 with Bachelor of Arts degrees in American Literature and Latin. She went to Europe that summer and found a job teaching English in Warsaw, Poland. Using Warsaw as a base for travel, she became fascinated by the conservation and restoration work she saw throughout Europe. In 1997, she returned to the United States to pursue training in Conservation. She started taking Conservation-related courses and began work at the Western Archaeological and Conservation Center in Tucson, Arizona. She also worked in the Research Center Archives at the Center for Creative Photography, volunteered at Fraser-Giffords Art Conservators and interned at the Arizona State Museum under the supervision of Nancy Odegaard. In the summer of 2000, she moved to Los Angeles for a 1-year pre-program internship with John Griswold of Griswold Conservation Associates, LLC. Sara has worked on a variety of materials but is most proud of replicating a missing historic bronze bust for a fountain at City Hall in Los Angeles. Sara enjoys meeting people, traveling, and reading. She especially loves exploring her current hometown in a quest for the ultimate cheeseburgers and pie.

	Susan Dionisio Susan graduated from College of the Holy Cross with a Bachelor of Arts degree in Chemistry. She spent her junior year abroad at the University of Sussex, England, where during breaks, she traveled throughout Europe. Back in the United States for her senior year, she realized that she wanted to apply her chemistry training to the field of art and become an art conservator. After graduation, she worked for three and a half years as a chemist doing polymer research and synthesis while taking night classes in art history, studio art, and languages. In 1999, she began volunteering one day a week at the Peabody Museum in Boston. While there, she worked on various ethnographic objects, including South Pacific tapa cloth. During a trip to Western Samoa, she was able to see first hand how these cloths are made by spending a day with a tapa artist. In 2000, Susan became the Technician of Textiles and Paper at the Isabella Stewart Gardner Museum in Boston. She worked on many projects, including a rare book survey, textile treatments and pest monitoring. In her spare time, Susan enjoys traveling, reading, creating art, and spending time with friends.

	Maggie Kipling Growing up, Maggie moved several times between Los Angeles, California and St. Albans, England. Dragged as a child to museums by her father, a medieval scholar, and to archaeological excavations by her mother, Maggie gained a very deep love for all things ancient. While pursuing her undergraduate degree in Anthropology and Museum Studies at Beloit College, in Wisconsin, she was introduced to Conservation and immediately knew that it was a career she needed to pursue. Although Maggie's first love is for archaeological conservation, she has had a wide range of experience. She has worked with ethnographic and archaeological collections at the Beloit College Logan Museum of Anthropology and at the Southwest Museum, Los Angeles. Her conservation experience has included work in the Conservation Laboratory at the Fowler Museum of Cultural History, UCLA. She has worked more recently with Aneta Zebala, a paintings conservator in Santa Monica, California and with the Los Angeles Mural Assessment and Conservation project, where she has been able not only to work on the conservation of public art, but also to interpret the work they have been doing for the communities they work within.

	Yadin Larochette Yadin was exposed to the arts of different cultures at a young age, traveling with her parents from her native Argentina through the Americas and Europe, and eventually settling in California. Yadin received her undergraduate degree in Art History from the University of California at Berkeley, graduating in 1994 with honors with distinction in general scholarship. During her studies at Berkeley, she was introduced to the field of Art Conservation at the Phoebe A. Hearst Museum of Anthropology, where she conducted several independent study projects. Yadin has been working at the Textile Conservation laboratory of the Fine Arts Museums of San Francisco since 1997. Among many of the exciting projects with which she assisted at the Museums was the treatment of a 16th-century Flemish tapestry, one of the Museums' most valued treasures. She has also assisted various private conservators with the treatments of paper, sculpture, and architectural elements. Yadin has most recently been involved in helping move the Fine Arts Museums' collection of 12,000 textiles off site in preparation for the rebuilding of the current M.H. de Young Museum. When she's not in the conservation laboratories, Yadin is drinking margaritas on a beach.

	Jennifer Jae Mentzer Jae graduated from the University of Delaware in May 2001 with a Bachelor of Arts degree in both Art Conservation and Art History, as well as a minor in Chemistry. She was introduced to Art Conservation as a freshman and was excited to have found a major that incorporated many of her personal interests. During both her sophomore and junior years, she interned during the University's Winter Session at the Commonwealth Conservation Center in Harrisburg, Pennsylvania, working in the Objects Laboratory. She also had a spring internship in Winterthur's Paintings Laboratory her junior year. During the summer of 2000, Jae participated in an outdoor sculpture conservation project supervised by Virginia Naude to clean, repair, and restore ten limestone statues at Gibraltar Gardens in Wilmington, Delaware. During her spare time, Jae enjoys working with children, running, rollerblading, and being with friends.

	Christina Milton Christina graduated cum laude from James Madison University (JMU) in 2000 with a Bachelor of Arts degree in Studio Art. She began interning at Olin Conservation, a private painting conservation studio in Great Falls, Virginia, after her first year at JMU. She continued to intern throughout her undergraduate studies as she focused on courses in Studio Art, Art History and Chemistry. Christina completed an internship at Saw Hill Gallery of JMU, where she assisted in exhibition design, show installations and public relations. She also acted as director of Zirkle House Galleries, a student-operated gallery associated with James Madison University. During her junior year, Christina spent a semester at the British Institute in Florence, Italy, where she studied Art History and the Italian language. After graduating, Christina moved to San Francisco to intern at The Fine Arts Museums of San Francisco. There she worked in both the Painting Conservation Laboratory at the M.H. de Young Memorial Museum and the Paper Conservation Laboratory at the California Palace of the Legion of Honor. In her spare time, Christina enjoys reading, making jewelry and spending time with friends and family.

	Anne Peranteau Anne received her degree in Biochemistry from the University of Wisconsin in 1994 and worked briefly in the pharmaceutical industry in North Carolina. While doing research for a post-baccalaureate Art History class at UNC-Chapel Hill, Anne discovered Art Conservation and decided that it was the perfect career choice as it allowed her to combine her interests in art and science. While in Chapel Hill, she gained her first preprogram experience with Jan Paris and Lyn Koehnline. In 1997, Anne moved to New York City. There she worked for Alan Farancz, a conservator in private practice, and took classes in studio art. Most recently, as a technician at the Philadelphia Museum of Art, Anne worked with several members of the Conservation Department, including Nancy Ash, Faith Zieske, Melissa Meighan, Sally Malenka, Sara Reiter, and Beth Price. She was involved in a wide variety of interesting projects, including the preparation of a group of quilts for exhibit, the rehousing of museum archives, and the editing of the 2000 edition of the Infrared Users Group (IRUG) database of infrared spectra for characterization of artists' materials.

	Laura Allean Wahl Laura received a B.F.A. degree from Ohio University, where she majored in Photo Illustration, and met her husband Mike, a mechanical engineer. For several years, she worked in the framing departments at art galleries, where she learned the methods of conservation framing as a means of preserving works of art. She witnessed the damage caused by improper framing and handling, which piqued her interest in Art Conservation as a career. With the encouragement of her husband, she began her pre-program work at the Cincinnati Art Museum as a volunteer conservation intern, under Chief Conservator Stephen Bonadies, Cecile Mear, and Fred Wallace. At the (CAM), she was part of a wide variety of projects, including conservation of a Daumier print collection and consolidation of paint and gesso on an 18th-century parlor from Damascus, Syria. As a member of the Midwest Regional Conservation Guild, she met members of a group conserving the 1905 Wright Flyer III, at Carillon Park in Dayton, Ohio, and was invited to assist on the project as a technician. This experience was very thrilling, partly because she recalled many visits to the park during her childhood. She hopes to one day undertake the task of conserving her family's own collection of art treasures.

Class of 2005

Christina Bisulca
Christina graduated with High Honors from Rutgers University with a Bachelor of Arts degree in Chemistry and Art History in 1999. Although she had an active interest in conservation, she entered a doctorate program in Chemistry at Columbia University. It was not until visiting the Conservation Laboratories at the Metropolitan Museum of Art with Rutgers Professor Joan Marter that Christina decided to pursue art conservation as a career. She left Columbia, but continued there as a teaching assistant in the Chemistry Department. Within a year, she began a pre-program apprenticeship with Appelbaum and Himmelstein Conservators. Working with Barbara Appelbaum, Christina was introduced to the field of conservation and learned many techniques in the treatment of paintings. In 2001, she began working for the National Museum of the American Indian (NMAI) Move project. At NMAI, Christina worked with the cleaning, packing, mounting, stabilization, and treatment of both ethnographic and archaeological objects under the direction of Leslie Williamson, Rachel Arenstein, and Colleen Brady. Christina's best experiences were working with Northwest Coast basketry and archaeological ceramics from Costa Rica.

Mary Coughlin
Mary graduated from Mary Washington College in 2000 with a magna cum laude Bachelor of Arts degree in Historic Preservation. The undergraduate program focuses on a variety of disciplines, including historic architecture, archaeology, decorative arts, and museum studies. The unifying theme in the program is the need to preserve our heritage, and it was this belief that led Mary to pursue a career in conservation. During the fall of her senior year, Mary worked for Kenmore Plantation researching eighteenth-century deeds and probate inventories in order to restore the interior of the plantation house. That spring, she interned at the archaeological laboratories at George Washington's Ferry Farm, where she treated metal artifacts in an electrolytic tank. After graduation, she began a yearlong internship at the Smithsonian's National Museum of the American Indian (NMAI), where she was able to treat a wide variety of ethnographic objects from North and South America. Following her internship, Mary was hired by NMAI for an additional year as a conservation technician. During that time, she continued to treat objects and created an Access database to catalog the Conservation Department's library. Mary enjoys dancing, visiting her hometown on the Jersey shore, and spending time with her fiancé.

Jo-Fan Huang
After graduating from high school in Switzerland, Jo-Fan arrived in California in 1997, and later received her Bachelor's Degree in Art with a minor in Chemistry from Whittier College. In 1999, Jo-Fan spent a semester at Goldsmiths College, University of London and witnessed the contemporary art movement in England, which became one of the driving forces in creating her first solo art show in her senior year. During her studies at Whittier, she spent her summer vacations interning at Lee's Conservation and Restoration Center in Taiwan, where she dealt primarily with artworks that had survived the Chinese Cultural Revolution. This was the first time that Jo-Fan became aware of the damages to cultural heritage from war or political transformation. Most recently, Jo-Fan interned fulltime in paintings, objects, and textiles at the Conservation Laboratories at the M.H. deYoung Museum, where she was involved in many projects with conservators from different disciplines. This one-year intensive internship allowed her to explore conservation in paintings, glass, ceramics, frames, ethnographical objects, and contemporary materials. It is Jo-Fan's dream that one day she will be able to conserve art in her country, Taiwan, and work in the Palace Museum.

Anne Kingery
As Anne grew up in Denver, Colorado, she developed a passion for preservation, through her parents who relentlessly pursued conservation of open spaces and wildlife refuges. Anne graduated from Yale in 1999 with a Bachelor's degree in the History of Art, where her interest in preservation shifted slightly, influenced by her interests in art and an inspiring conservation class. Following graduation, Anne received the Patricia Kane Fellowship to intern at the Brooklyn Museum of Art, participating in a large re-housing project. In the fall, Anne moved to Washington, D.C.; there she worked as the Yale Research Fellow at Decatur House Museum, a property of the National Trust. Following her fellowship, Anne began working with Arthur Page and Shelley Svoboda in a private practice in Washington, D.C.. For the past two years, Anne has been involved in many projects, including conservation of two Frank Michau murals in the Ariel Rios Building, a Henry Billings' mural, conserved in situ in Columbia, Tennessee, and the condition survey and conservation of the collection of Rudolph Wendelin's Smokey Bear paintings. When Anne isn't working, she has traded in a back-breaking, collegiate rowing career for the "low-impact" pastime of road biking.

Karl Knauer
Karl's exposure to art and art conservation began fairly early, with his father having been a Master Restorer (currently an Armorer) and his mother a fiber artist (currently a visual manager). He independently arrived at an interest in conservation through his archaeological studies at Case Western Reserve University in Cleveland, Ohio, where he majored in German and Anthropology. Following his participation on a Late Woodland period excavation with the Cleveland Museum of Natural History, he continued working in the museum's archaeology laboratory with some of the artifacts and materials recovered from the site and conducted an archaeological experiment involving the reproduction of Early Woodland period vessels and attempts at cooking. Karl later worked in the Cleveland Museum of Art on the re-installation of the "Arts of the Americas" Gallery, under the supervision of Patricia Griffin and curator Susan Bergh. He then worked at the Brooklyn Museum of Art, where he was charged with establishing a housekeeping manual for the Decorative Arts collection. Karl also enjoys baking, modern dance, and hanging out with his grandfather.

Peggy Olley
As an undergraduate majoring in Crafts at Kutztown University in Pennsylvania, Peggy was fulfilling her lifelong dream of becoming an artist. However, it was during her studies that she learned of conservation and decided on a different path. Her first taste of conservation was a summer internship at Johnson Atelier, Technical Institute of Sculpture in Mercerville, New Jersey, in the Paint, Patina and Preservation Department under Joanna Rowntree. This experience was also a wonderful opportunity to experience the making of bronze sculpture. Upon graduating Magna Cum Laude with Honors, Peggy worked in a shop along with a team of craftsmen restoring historic pipe organs. Peggy then volunteered for two years at Twistback Art Conservancy under the supervision of Timothy Jayne. Timothy's training program began with grinding pigments for an egg tempera painting and slaking lime for a fresco. Once a deeper understanding was gained for materials, Peggy began to examine a variety of objects, including paintings, prints, miniatures and daguerreotypes. A homebody at heart, Peggy enjoys curling up on the couch and watching a movie or going on walks with her husband Dan and their chocolate lab Maggie.

Sheila Payaqui
Sheila was first introduced to the field of art conservation during an undergraduate internship at the Museum of Contemporary Art in Chicago. After receiving a degree in studio art from the University of California at Santa Cruz, she moved north and volunteered at the San Francisco Arts Commission and the M.H. deYoung Museum. She left the West Coast for the East Coast when she was awarded the Minority Internship at the National Gallery of Art in Washington, D.C.. The internship lead to a five-year term as the National Gallery of Art object laboratory technician. As a technician, Sheila participated in a wide range of conservation activities involving both the permanent collection and temporary exhibitions. She was primarily responsible for organizing and assisting the conservators in the annual summer maintenance treatments of the Gallery's extensive outdoor sculpture collection. One of her most rewarding projects was the completion of x-radiographs of more than 30 wax sculptures by Edgar Degas, including The Little Dancer Fourteen Years Old. In January 2002, Sheila worked with the Centro Nacional de Conservación (CNRC) based in Santiago, Chile. For one month, she was part of a team that documented and conserved religious sculpture in rural churches throughout northern Chile. She looks forward to exploring conservation as it is practiced worldwide.

Laura Rivers
A college semester in Padua, Italy, marked the beginning of Laura's interest in art. She returned to Connecticut College and changed her major from Modern European Studies to Art History. After graduating, she worked for the Kreeger Museum in Washington, D.C., before moving to Chicago to begin graduate studies in Art History at the University of Chicago, where she received her Master of Arts degree in the spring of 1997. Eager to explore curatorial work, Laura returned to Washington and took an exhibitions assistant position in the Department of Modern and Contemporary Art at the National Gallery of Art, where she worked for more than three years. It was while working on an exhibition of the art of Alexander Calder that she first seriously considered a career in conservation. She began to seek volunteer opportunities in conservation and ultimately spent three years working as an apprentice with Bettina Jessell, a private painting conservator in Washington, D.C.. In the fall of 2000, Laura became the technician in the Department of Painting Conservation at the National Gallery of Art, working under the supervision of Sarah Fisher, Elizabeth Walmsley, and Cathy Metzger. Laura takes every opportunity to indulge her love of travel.

Anya Shutov
Anya was born in Moscow, Russia, and immigrated to the United States when she was 13 years old. In 2002, Anya received her Bachelor of Arts degree from the University of Delaware in Art Conservation and Chemistry. She found out about art conservation during her sophomore year, and this field combined her love for art and her interest in chemistry. Anya's first conservation experience was in the Preservation Department at the University of Delaware Library. During her junior and senior years Anya interned in the paintings conservation laboratory at the Winterthur Museum in Delaware, where she conserved oil paintings, helped graduate students prepare for exhibitions, and assisted with translation. During the summer of 2001, Anya did an internship in the Painting Conservation Laboratory at the Regional Scientific Art Conservation Center in Moscow, where she worked in the examination and treatment of paintings, furniture, and frames. When not working and studying, Anya enjoys traveling, visiting museums and theaters, reading, and watching old Russian movies.

Tina Wasson
Tina graduated from the University of Texas at Austin with a Bachelor of Fine Arts degree in Art History. Shortly after graduation, she decided to pursue studies in art conservation, a career that would combine her desire to utilize her hand skills with her appreciation of art and culture. To this end, Tina enrolled in classes to strengthen her knowledge of chemistry and, in 1997, commenced a volunteer internship in the Conservation Department at UT's Blanton Museum. At the Blanton, she had the opportunity to work with painting conservator Sara McElroy on a wide variety of projects. Some of her favorites include assessing the condition of the newly acquired Suida-Manning Collection and treating works by the "cowboy painters" Russell, Remington, and Schreyvogel. In the summer of 2000, while continuing her chemistry studies and work at the Blanton, Tina accepted a position as a conservation technician for Martha Simpson Grant, an objects conservator in private practice. This position gave her the opportunity to assist in the conservation of statues, historic furniture, and frames. Tina also enjoys growing cacti, traveling, and making pottery.

	Class of 2005
	Christina Bisulca Christina graduated with High Honors from Rutgers University with a Bachelor of Arts degree in Chemistry and Art History in 1999. Although she had an active interest in conservation, she entered a doctorate program in Chemistry at Columbia University. It was not until visiting the Conservation Laboratories at the Metropolitan Museum of Art with Rutgers Professor Joan Marter that Christina decided to pursue art conservation as a career. She left Columbia, but continued there as a teaching assistant in the Chemistry Department. Within a year, she began a pre-program apprenticeship with Appelbaum and Himmelstein Conservators. Working with Barbara Appelbaum, Christina was introduced to the field of conservation and learned many techniques in the treatment of paintings. In 2001, she began working for the National Museum of the American Indian (NMAI) Move project. At NMAI, Christina worked with the cleaning, packing, mounting, stabilization, and treatment of both ethnographic and archaeological objects under the direction of Leslie Williamson, Rachel Arenstein, and Colleen Brady. Christina's best experiences were working with Northwest Coast basketry and archaeological ceramics from Costa Rica.

	Mary Coughlin Mary graduated from Mary Washington College in 2000 with a magna cum laude Bachelor of Arts degree in Historic Preservation. The undergraduate program focuses on a variety of disciplines, including historic architecture, archaeology, decorative arts, and museum studies. The unifying theme in the program is the need to preserve our heritage, and it was this belief that led Mary to pursue a career in conservation. During the fall of her senior year, Mary worked for Kenmore Plantation researching eighteenth-century deeds and probate inventories in order to restore the interior of the plantation house. That spring, she interned at the archaeological laboratories at George Washington's Ferry Farm, where she treated metal artifacts in an electrolytic tank. After graduation, she began a yearlong internship at the Smithsonian's National Museum of the American Indian (NMAI), where she was able to treat a wide variety of ethnographic objects from North and South America. Following her internship, Mary was hired by NMAI for an additional year as a conservation technician. During that time, she continued to treat objects and created an Access database to catalog the Conservation Department's library. Mary enjoys dancing, visiting her hometown on the Jersey shore, and spending time with her fiancé.

	Jo-Fan Huang After graduating from high school in Switzerland, Jo-Fan arrived in California in 1997, and later received her Bachelor's Degree in Art with a minor in Chemistry from Whittier College. In 1999, Jo-Fan spent a semester at Goldsmiths College, University of London and witnessed the contemporary art movement in England, which became one of the driving forces in creating her first solo art show in her senior year. During her studies at Whittier, she spent her summer vacations interning at Lee's Conservation and Restoration Center in Taiwan, where she dealt primarily with artworks that had survived the Chinese Cultural Revolution. This was the first time that Jo-Fan became aware of the damages to cultural heritage from war or political transformation. Most recently, Jo-Fan interned fulltime in paintings, objects, and textiles at the Conservation Laboratories at the M.H. deYoung Museum, where she was involved in many projects with conservators from different disciplines. This one-year intensive internship allowed her to explore conservation in paintings, glass, ceramics, frames, ethnographical objects, and contemporary materials. It is Jo-Fan's dream that one day she will be able to conserve art in her country, Taiwan, and work in the Palace Museum.

	Anne Kingery As Anne grew up in Denver, Colorado, she developed a passion for preservation, through her parents who relentlessly pursued conservation of open spaces and wildlife refuges. Anne graduated from Yale in 1999 with a Bachelor's degree in the History of Art, where her interest in preservation shifted slightly, influenced by her interests in art and an inspiring conservation class. Following graduation, Anne received the Patricia Kane Fellowship to intern at the Brooklyn Museum of Art, participating in a large re-housing project. In the fall, Anne moved to Washington, D.C.; there she worked as the Yale Research Fellow at Decatur House Museum, a property of the National Trust. Following her fellowship, Anne began working with Arthur Page and Shelley Svoboda in a private practice in Washington, D.C.. For the past two years, Anne has been involved in many projects, including conservation of two Frank Michau murals in the Ariel Rios Building, a Henry Billings' mural, conserved in situ in Columbia, Tennessee, and the condition survey and conservation of the collection of Rudolph Wendelin's Smokey Bear paintings. When Anne isn't working, she has traded in a back-breaking, collegiate rowing career for the "low-impact" pastime of road biking.

	Karl Knauer Karl's exposure to art and art conservation began fairly early, with his father having been a Master Restorer (currently an Armorer) and his mother a fiber artist (currently a visual manager). He independently arrived at an interest in conservation through his archaeological studies at Case Western Reserve University in Cleveland, Ohio, where he majored in German and Anthropology. Following his participation on a Late Woodland period excavation with the Cleveland Museum of Natural History, he continued working in the museum's archaeology laboratory with some of the artifacts and materials recovered from the site and conducted an archaeological experiment involving the reproduction of Early Woodland period vessels and attempts at cooking. Karl later worked in the Cleveland Museum of Art on the re-installation of the "Arts of the Americas" Gallery, under the supervision of Patricia Griffin and curator Susan Bergh. He then worked at the Brooklyn Museum of Art, where he was charged with establishing a housekeeping manual for the Decorative Arts collection. Karl also enjoys baking, modern dance, and hanging out with his grandfather.

	Peggy Olley As an undergraduate majoring in Crafts at Kutztown University in Pennsylvania, Peggy was fulfilling her lifelong dream of becoming an artist. However, it was during her studies that she learned of conservation and decided on a different path. Her first taste of conservation was a summer internship at Johnson Atelier, Technical Institute of Sculpture in Mercerville, New Jersey, in the Paint, Patina and Preservation Department under Joanna Rowntree. This experience was also a wonderful opportunity to experience the making of bronze sculpture. Upon graduating Magna Cum Laude with Honors, Peggy worked in a shop along with a team of craftsmen restoring historic pipe organs. Peggy then volunteered for two years at Twistback Art Conservancy under the supervision of Timothy Jayne. Timothy's training program began with grinding pigments for an egg tempera painting and slaking lime for a fresco. Once a deeper understanding was gained for materials, Peggy began to examine a variety of objects, including paintings, prints, miniatures and daguerreotypes. A homebody at heart, Peggy enjoys curling up on the couch and watching a movie or going on walks with her husband Dan and their chocolate lab Maggie.

	Sheila Payaqui Sheila was first introduced to the field of art conservation during an undergraduate internship at the Museum of Contemporary Art in Chicago. After receiving a degree in studio art from the University of California at Santa Cruz, she moved north and volunteered at the San Francisco Arts Commission and the M.H. deYoung Museum. She left the West Coast for the East Coast when she was awarded the Minority Internship at the National Gallery of Art in Washington, D.C.. The internship lead to a five-year term as the National Gallery of Art object laboratory technician. As a technician, Sheila participated in a wide range of conservation activities involving both the permanent collection and temporary exhibitions. She was primarily responsible for organizing and assisting the conservators in the annual summer maintenance treatments of the Gallery's extensive outdoor sculpture collection. One of her most rewarding projects was the completion of x-radiographs of more than 30 wax sculptures by Edgar Degas, including The Little Dancer Fourteen Years Old. In January 2002, Sheila worked with the Centro Nacional de Conservación (CNRC) based in Santiago, Chile. For one month, she was part of a team that documented and conserved religious sculpture in rural churches throughout northern Chile. She looks forward to exploring conservation as it is practiced worldwide.

	Laura Rivers A college semester in Padua, Italy, marked the beginning of Laura's interest in art. She returned to Connecticut College and changed her major from Modern European Studies to Art History. After graduating, she worked for the Kreeger Museum in Washington, D.C., before moving to Chicago to begin graduate studies in Art History at the University of Chicago, where she received her Master of Arts degree in the spring of 1997. Eager to explore curatorial work, Laura returned to Washington and took an exhibitions assistant position in the Department of Modern and Contemporary Art at the National Gallery of Art, where she worked for more than three years. It was while working on an exhibition of the art of Alexander Calder that she first seriously considered a career in conservation. She began to seek volunteer opportunities in conservation and ultimately spent three years working as an apprentice with Bettina Jessell, a private painting conservator in Washington, D.C.. In the fall of 2000, Laura became the technician in the Department of Painting Conservation at the National Gallery of Art, working under the supervision of Sarah Fisher, Elizabeth Walmsley, and Cathy Metzger. Laura takes every opportunity to indulge her love of travel.

	Anya Shutov Anya was born in Moscow, Russia, and immigrated to the United States when she was 13 years old. In 2002, Anya received her Bachelor of Arts degree from the University of Delaware in Art Conservation and Chemistry. She found out about art conservation during her sophomore year, and this field combined her love for art and her interest in chemistry. Anya's first conservation experience was in the Preservation Department at the University of Delaware Library. During her junior and senior years Anya interned in the paintings conservation laboratory at the Winterthur Museum in Delaware, where she conserved oil paintings, helped graduate students prepare for exhibitions, and assisted with translation. During the summer of 2001, Anya did an internship in the Painting Conservation Laboratory at the Regional Scientific Art Conservation Center in Moscow, where she worked in the examination and treatment of paintings, furniture, and frames. When not working and studying, Anya enjoys traveling, visiting museums and theaters, reading, and watching old Russian movies.

	Tina Wasson Tina graduated from the University of Texas at Austin with a Bachelor of Fine Arts degree in Art History. Shortly after graduation, she decided to pursue studies in art conservation, a career that would combine her desire to utilize her hand skills with her appreciation of art and culture. To this end, Tina enrolled in classes to strengthen her knowledge of chemistry and, in 1997, commenced a volunteer internship in the Conservation Department at UT's Blanton Museum. At the Blanton, she had the opportunity to work with painting conservator Sara McElroy on a wide variety of projects. Some of her favorites include assessing the condition of the newly acquired Suida-Manning Collection and treating works by the "cowboy painters" Russell, Remington, and Schreyvogel. In the summer of 2000, while continuing her chemistry studies and work at the Blanton, Tina accepted a position as a conservation technician for Martha Simpson Grant, an objects conservator in private practice. This position gave her the opportunity to assist in the conservation of statues, historic furniture, and frames. Tina also enjoys growing cacti, traveling, and making pottery.