Course Faculty

Course Faculty Biographies

Morgan Adams is the Pine Tree Foundation Post-Graduate Fellow in Book Conservation in the Thaw Conservation Center at the Morgan Library & Museum. She holds a M.A. in Art History with an Advanced Certificate in Conservation from the Conservation Center, Institute of Fine Arts, New York University, and a B.A. from the University of Texas at Austin. She has worked in the libraries of the University of Michigan, New York University, and Columbia University, as well as the Harry Ransom Humanities Research Center and the New York Academy of Medicine. She has written on such diverse topics as the measurement of ultraviolet filtration in glazing products, heraldic manuscripts, and the presence of textile curtains in medieval manuscripts.

Stephen Bury is Andrew W. Mellon Chief Librarian of the Frick Art Reference Library. Formerly, he was Librarian and Head of Learning Resources at Chelsea School of Art, London, where he also taught a workshop on artists’ books, and, then, Head of European and American Collections at the British Library (2000-10). He also chaired the boards of Bookworks and Matt’s Gallery, London. Currently he is on the board of the Center for Book Arts, New York, and on the Committee for the New York Art Book Fair Conference. Publications include: ‘Artists’ Books’ (1995, 2015), ‘Artists’ Multiples’ (2001) and ‘Breaking the Rules: The Printed Face of the European Avant Garde, 1900-1937’ (2007). He contributed a chapter on ‘Veshch’ and ‘G’ magazines to the ‘Oxford Critical and Cultural History of Modernist Magazines’. He is a regular contributor to ‘Art Monthly’ and ‘Cassone’. He is also an artist and most recently took part in ‘The Nabokov Paper’ project exhibited at Shandy Hall, Coxwold, Yorkshire, 2013.

Soyeon Choi leads the Paper Conservation Laboratory at Yale Center for British Art, develops preservation policies, and undertakes conservation treatments for the YCBA’s rich collections of works on paper, rare books, manuscripts, photographs, and miniatures. Prior to the appointment at YCBA, she worked at the Conservation Center for Art and Historic Artifacts in Philadelphia for 13 years. She holds a B.S. in chemistry from Pohang University of Science and Technology in Korea and a M.A. in art conservation from Buffalo State College, New York.

Elisabeth Fairman is Senior Curator of Rare Books and Manuscripts at the Yale Center for British Art, itself the largest and most comprehensive collection of British art outside the United Kingdom. She manages a collection of 35,000 rare books and manuscripts focused on British life, society, and culture, including artists’ books, maps and atlases, games, optical instruments, and ephemera. She is responsible for acquisitions, budget, staff, and overall planning for the Department. She has curated many exhibitions on a wide range of subjects, including Bloomsbury, the First World War, Charles Darwin, early photography, and artists’ books.

Maria Fredericks is Drue Heinz Book Conservator in the Thaw Conservation Center, Morgan Library & Museum, and a teaching partner in the Mellon Library & Archive Conservation Program at the IFA. Her career has included positions at Columbia University Libraries, the Huntington Library, the Newberry Library, the Library of Congress and the Winterthur Library, where she was also adjunct faculty in the Winterthur/University of Delaware Program in Art Conservation. From 1985-2010 she was a co-director of the Paper and Book Intensive (PBI), an annual book arts gathering.

Alexis Hagadorn is the Head of Conservation for the Columbia University Libraries, where she has worked as a rare books and special collections conservator since 1997. After receiving a Master of Science in Library Service and an Advanced Certificate in Conservation from Columbia in 1993, she also worked in rare book conservation in Yale University Library and Trinity College Library, Dublin. She is a past Co-Chair of the New York Chapter of the Guild of Book Workers, and has taught bookbinding at the Creative Arts Workshop in New Haven and the Columbia School of the Arts. She is currently on the visiting faculty of the Pratt School of Information and Library Science and the Conservation Center of the Institute of Fine Arts, New York University.

Nora Kennedy is the Sherman Fairchild Conservator of Photographs at The Metropolitan Museum of Art in New York City where she established a lab devoted to the conservation of photographs. During her tenure at the Met she has worked on nearly one hundred photography exhibitions and continues to expand the Museum’s initiatives in education, research and advocacy. Kennedy serves on the adjunct faculty of the New York University Institute of Fine Arts Conservation Center guiding both young conservators and art historians in the technical history of photography and preservation. With her partner, Peter Mustardo, Kennedy established the private conservation firm, The Better Image, in 1990, and continues with the business in an advisory capacity. Ms. Kennedy received her BFA from York University in Toronto, and her Master of Science degree in conservation from the University of Delaware / Winterthur Museum art conservation program in 1986. In 2003 the University awarded her a Presidential Citation for Outstanding Achievement and in 2006 she was awarded the American Institute for Conservation’s Sheldon and Carolyn Keck Award recognizing a sustained record of excellence in the education and training of conservation professionals. She is the 2011 recipient of  the HP Image Permanence Award for her work with the Mellon Collaborative Workshops in Photograph Conservation, the development of the Digital Sample Sets, as well as her contributions to the establishment of the Photograph Information Record.

Russell Maret is a type designer and private press printer working in New York City. He began printing in San Francisco as a teenager before apprenticing with Peter Koch in Berkeley and Firefly Press in Somerville, Massachusetts. He set up his own press at the Center for Book Arts, New York in 1993 and has been printing and publishing ever since. In 1996 Russell began teaching himself to design typefaces, leading to a twelve year study of letter forms before he completed his first typeface in 2008. In 2011, he began working with to convert some of his designs into new metal typefaces. In 2009 Russell was awarded the Rome Prize in Design from the American Academy in Rome. He has been the printer in residence of the Press in Tuscany Alley, San Francisco (1990); Artist in Residence at the Center for Book Arts, NYC (1996); he is the current North American Vice Chair of the Fine Press Book Association, and a past trustee of the American Printing History Association. Russell’s books and manuscripts are in public and private collections throughout the world.

Michele Marincola is the Sherman Fairchild Chairman and Professor of Conservation at the Conservation Center of the Institute of Fine Arts, New York University. She is also a part-time conservator at the The Cloisters, a division of the The Metropolitan Museum of Art, and conservation consultant to New York University’s Villa La Pietra in Florence, Italy. Professor Marincola received her M.A. and Certificate in Conservation from NYU and her B.A. from Brown University. She offers instruction on the conservation of stone sculpture, polychrome and monochrome wooden sculpture, and other core courses in the objects curriculum. Her research interests include the conservation and technical art history of medieval sculpture; decoration of late medieval German sculpture, in particular the works of Tilman Riemschneider; and the conservation of modern sculpture.

Lois Morrison was born in the Belgian Congo of missionary parents. She received her B.A. from Mary Baldwin College for Women, Staunton, VA. After pursuing graduate work at Indiana University, she received her MFA, from Virginia Commonwealth University, Richmond, VA. This was followed by four years of teaching art at Mary Baldwin College for Women. Since 1970 she has been living and working in Leonia, N.J. Ms. Morrison began making books in the 80’s and has been obsessed with them ever since, finally to the exclusion of any other kind of work.

Kate Phillips recently finished dual masters in Art History and Library Science from the Institute of Fine Arts and the Palmer School of Library and Information Science. She received her B.A. from Haverford College and has worked at Magnum Photos, Aperture Foundation, the Documentary Photography Project at the Open Society Foundations, and the conservation laboratory at Bobst Library, New York University. In fall 2014, she will begin her doctoral studies in Art History at Yale University.

David Senior is the Bibliographer at The Museum of Modern Art Library, where he manages collection development, including the library’s artists’ books collection. He has lectured widely on the history of artists’ publications and contemporary art and design publishing. He also curates exhibitions of MoMA Library materials  – most recently ‘Please Come to the Show’, (2013) a survey of special artists’ invitation cards, ‘Millenium Magazines’ (2012), a survey of artists’ magazines published since 2000, ‘Access to Tools: Publications from the Whole Earth Catalog, 1968–74′ (2011) and ‘Scenes from Zagreb: Artists’ Publications of the New Art Practice’ (2011) – and the annual program of events for the New York and Los Angeles Art Book Fairs. His writing has recently appeared in Frieze, Bulletins of the Serving Library, A Prior, Art Papers, the Art Libraries Journal and C Magazine, and since 2008 he has published an artist’s book series through the New York Art Book Fair and the Contemporary Artists’ Book Conference, with titles by Dexter Sinister, David Horvitz, Emily Roysdon and Eve Fowler, among others. He is a member of the advisory boards of Printed Matter, Art Metropole, and the Serving Library. He is on the board of directors of Primary Information and Yale Union.

Jane Siegel is the Rare Book Librarian at the Rare Book and Manuscript Library, Columbia University. One of the RBML’s specialties is the history of books and printing, and Jane has been working with and learning from the collection for nearly thirty years. She has a BA from Yale, an MS from Columbia’s School of Library Service, and has taken a baker’s dozen of classes at Rare Book School. Jane has been heavily involved with the American Printing History Association and the Fine Press Book Association.

Robbin Ami Silverberg is an artist and founding director of Dobbin Mill, a hand-papermaking studio, and Dobbin Books, a collaborative artist book studio. Her artwork is divided between artist books and installations. The work conceptually focuses on word cognition and interlinearity, with an emphasis on process and paper as activated substrate. Her artist books can be found in collections throughout the US, Europe & South Africa. Silverberg is an associate professor at Pratt Institute and on the boards of the Center for Book Arts, Ampersand Foundation, Booklyn, and Alma on Dobbin.

Georgia Southworth is a rare book conservator and a Professional Associate of the American Institute for Conservation. She divides her time between the Department of Photographs (DOP) at The Metropolitan Museum of Art, and her work as an independent conservator. Southworth joined the photograph conservation team at the Met in 2007, to work on a Getty-funded grant surveying and establishing treatment plans for the photograph albums that were acquired by the museum as part of the extensive Gilman Collection in 2005. Her work at the Met continues, where she cares for the preservation, conservation, and exhibition needs of the bound volumes and objects within the DOP’s collections.

As an independent conservator, Southworth works on grants, exhibitions and conservation contracts at numerous cultural institutions in the New York City region. She has worked on the collections at The New York Botanical Garden, The New York Academy of Medicine, Columbia University, The Frick Art Reference Library, Yale Center for British Art, the Morgan Library & Museum, New York University, and the Cooper-Hewitt National Design Museum. Southworth taught the 2014 conservation section for the Arts Intensive offered by the University of Denver’s Art History Department, and she works with graduate students, volunteers, and preservation staff at the institutions in which she contracts.

Tamar Stone is from New York City and received a BFA from Pratt Institute in 1985, and a MFA from NYU in 1991. Her career spans three decades exploring the form of book art with a feminist voice, often in historical context. She has been awarded a fellowship from the NY Foundation for the Arts as well as being a guest speaker at Vassar and Duke Universities, PM Gallery & House in London and the Museum Art & Design in NYC.

Her work has appeared in collections and museums worldwide including the Sallie Bingham Center, Duke University; the Franklin Furnace Book Collection, Museum of Modern Art; the Artist Book Collection, Tate Britain Library; the Victoria and Albert Museum; and the Walker Art Center. Her work has been discussed and reviewed in Ampersand, Fiber Arts Magazine, American Craft, Somerset Studio Magazine and The College Book Arts Association, and most recently online at Transatlantica.

Lindsey Tyne is an Assistant Paper Conservator in the Thaw Conservation Center at The Morgan Library & Museum. She holds a M.A. in Art History and an Advanced Certificate in Conservation from the Conservation Center, Institute of Fine Arts, New York University and a B.F.A. from Pratt Institute. Prior to her current position, she worked in conservation departments at The Metropolitan Museum of Art, The Whitney Museum of American Art and the Elmer Holmes Bobst Library at New York University. She has researched and published on the materials and techniques of modern and contemporary artists, including Roy Lichtenstein, Jim Dine and Lucas Samaras.

Constance Woo received her doctorate from the University of California, Los Angeles; she received her Masters of Library Science from Long Island University, as well as a Masters in Archives Management. Her areas of research include British and European Literature, 17th-century poetry, Milon studies, and book arts and the artist’s book. Dr. Woo is currently a Professor, Department of English and Palmer School of Library and Information Science, Long Island University, as well as Professor, library faculty, Long Island University, Brooklyn Campus. She has served as both Dean of the Library, Long Island University, and Director of Libraries, New York Institute of Technology. Publications and artwork include 40 artist’s books and bindings, and 30 tapestries, collage paintings, monoprints and sculptural works. In addition, Dr. Woo has curated exhibitions in the New York City area; exhibited works in New York, Massachusetts, Connecticut, United Kingdom. She enjoys guest lecturing on artists’ books, book arts, and collecting strategies and policies.

 

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