Dr Wu Chieh‐Hsiang – is an associate professor of National Changhua University of Education, Department of Art in Taiwan, her Ph.D. degree is granted by Carl von Ossietzky University of Oldenburg in Germany. Wu has been the research head of Taipei Art Economy Research Center (TAERC) and the chairwoman of the Association of the Visual Arts in Taiwan (AVAT). Since 2015 she is the board member of Taiwan Association of Cultural Policy Studies (TACPS)
Dr Margaret Dalivalle – is James M. Osborn Fellow in English Literature and History, 2013-14, at Yale University. She studied Art History at Oxford University, where her doctorate, completed in 2011, concerned the cultural value of copies and the emergence of the idea of artistic originality in seventeenth-century England. She is currently preparing a monograph: The Invention of Originality, which examines early modern theories of authenticity in art and traces the evolution of the ‘original’ as a category of object. In 2008 she was invited to join the team of scholars led by Dr. Robert Simon investigating the newly discovered painting by Leonardo da Vinci, Christ, as Salvator Mundi. Her research demonstrated for the first time the presence of such a painting in the collection of King Charles I, and tracked the provenance of the painting during the seventeenth and eighteenth century in England. She consults for private clients and art dealers, undertaking and project managing research into Renaissance and early modern paintings and drawings
Dr Anna Dempster – is Head of Academic Programmes at the Royal Academy of Arts in London where she is responsible for commercial courses and classes, institutional academic partnerships and academic education outside of the RA Schools. She also currently holds a College Research Associate post at Wolfson College, University Cambridge where she sits on the Arts Committee. Anna was previously Associate Professor (Senior Lecturer) in Art Business at Sotheby’s Institute of Art responsible for the Art Business, Finance and Management Unit as well as teaching strategy, entrepreneurship and research methods, all specially tailored for the art world. Prior to that she was Director of Research at the Creative Industries Observatory, University of the Arts London and Founding Director of the MSc/MA in Creative Industries at Birkbeck College, University of London. She has research and teaching experience in leading academic institutions including the University of Cambridge, London Business School and Rotterdam School of Management and she regularly consults for practitioners and policy-makers. She holds a BA and M.Phil in History from the University of Cambridge, and a PhD in Management Studies from the Judge Business School in Cambridge, UK. Her current research interests focus on the creative industries and visual arts and specifically Risk and Uncertainty in the Art World – with a book of this title published in 2014
Kristin de Ghetaldi – is a painting conservator who graduated in 2008 with a Master of Science degree from the Winterthur/University of Delaware program in Conservation. After completing a three-year Andrew W. Mellon Fellowship in Painting Conservation at the National Gallery of Art, she enrolled in the Preservation Studies Program at the University of Delaware where she is currently focusing on employing novel analytical techniques to explore 15th-century Italian painting techniques. Working together alongside scientists, Kristin has been given the opportunity to use a variety of analytical techniques focusing on questions specifically relating to media analysis. She has also participated in internships and conservation positions at the J. Paul Getty Museum, the Rijksmuseum in Amsterdam, and the RISD Museum. Kristin earned a post-baccalaureate certificate in conservation (2004) at the Studio Art Centers International in Florence, Italy and a BA (2003) in Chemistry from Grinnell College. Most recently she has participated in the development of University of Delaware’s Technical Art History Website, a two-year project sponsored by the Samuel H. Kress Foundation.
Kristin passed her exams in December 2012 and her proposal presentation in May 2013, and is now working on her dissertation. Her dissertation committee members are: Perry Chapman (ARTH) and Joyce Hill Stoner (ARTC) [co-chairs], Murray Johnston (CHEM), Chris Petersen (ARTC), and Meredith Gill (ARTH, University of Maryland)
Prof Dr Pascal Griener – is professor of Art History and Museal Studies at the University of Neuchâtel (Switzerland). He studied in Oxford under the supervision of Francis Haskell, and has held several visiting positions, among them in the USA and at the Collège de France, Paris, the Ecole des Hautes Etudes, Paris, and was Lipsius Visiting Professor at Leiden University in 2014. Guillaume Budé Medal, Collège de France (2004 and 2015). He has published several books and essays in the following fields: historiography of art, the history of artistic contemplation, the history of connoisseurship, and the German Renaissance (Pascal Griener, La République de l’œil. L’expérience de l’art au siècle des Lumières, Paris, Odile Jacob, 2010 [The Republic of the Gaze. The Experience of Art during the Enlightenment]. Prepares an exhibition on connoisseur and Berlin curator Wilhelm von Bode, with Joelle Pijaudier Cabot and Roland Recht)
Madeleine Roberts – Madeleine graduated in 2008 with First Class Honours in Law and Economics, studying at the University of Tasmania, and Cornell University, New York. Following this, she worked as a corporate litigation solicitor at leading international firm Ashurst LLP, where she developed an interest in the litigation of art fraud and international cultural property law. In 2014, she returned to study a Masters in Cultural Material Conservation at the University of Melbourne in 2014. Her thesis (completed under the supervision of Robyn Sloggett) examined the adoption of a legal-evidentiary framework in the collection and presentation of technical evidence in the authentication process
Dr Jane Sharp – is Associate Professor of Art History at Rutgers University where she teaches art of the 20th and 21st centuries, Russian avant-garde and Soviet unofficial art, and acts as Research Curator of the Norton and Nancy Dodge Collection of Nonconformist Art from the Soviet Union at the Zimmerli Art Museum at Rutgers. Though recent publications have focused on Soviet unofficial art, she has authored numerous articles on the prerevolutionary Russian avant-garde. In 2007 her book, RUSSIAN MODERNISM BETWEEN EAST AND WEST: NATAL’IA GONCHAROVA AND THE MOSCOW AVANT-GARDE, 1905-14 (Cambridge University Press, 2006) won the Robert Motherwell Prize from the Dedalus Art Foundation. Before coming to Rutgers, Dr. Sharp was Assistant Professor in the Department of Art History and Archaeology at the University of Maryland, College Park, and Associate Project Curator at the Solomon R. Guggenheim Museum where she managed and co-curated The Great Utopia: Art of the Russian and Soviet Avant-Gardes, 1915-32. At the Zimmerli she has curated over 10 exhibitions, and appeared on public television and radio programs devoted to Russian and Soviet art
Samantha Skelton – is a Ph.D. candidate in the research and training program New Approaches to the Conservation of Contemporary Art (NACCA), coordinated by Maastricht University. She is based at Technische Hochschule Köln, where she seeks to define the role of conservation and conservation science in the authentication of modern and contemporary art. She graduated from the Winterthur/University of Delaware Program in Art Conservation (WUDPAC) with a Master of Science in Art Conservation (paintings) in 2014. Most recently she was a Kress Foundation fellow at the Museum of Fine Arts, Houston, and has previously completed internships at the Library of Congress in the Preservation Science department, the San Francisco Maritime Museum, the Doris Duke Foundation for Islamic Art, and the Statens Museum for Kunst
Prof Dr Robyn Sloggett – is Director of the Centre for Cultural Materials Conservation (CCMC). She has qualifications in Art History, Philosophy and Cultural Materials Conservation. As Director of the CCMC she manages the diverse conservation, teaching and research programs of the Centre. These programs include responsibility for the conservation of the cultural collections of the University of Melbourne (with over 32 separate collections owned or managed by the University) and the provision of a large program for external clients with specialist expertise in painting, frame, paper, objects and textiles conservation. The CCMC also delivers the only comprehensive post-graduate conservation professional programme in the Australasia-Pacific region, as well as courses in Art Authentication and Photographic Preservation.
Her contribution to research and teaching has developed in both an academic and professional framework. In her previous role as Deputy Director and Grimwade Chief Conservator in the Ian Potter Museum of Art she managed both Conservation and Collections Management, developing research programs which linked the scientific analysis of art and archival material (in partnership with researchers in the Faculty of Science) with art historical analysis (in partnership with researchers in the Faculty of Arts) and collection management (in partnership with staff in the Ian Potter Museum of Art and Information Services). These collaborations resulted in over 23 competitive research grants and 17 successful ARC projects.
Robyn is currently a member of the University’s Cultural Collections Committee; founded and is Production Manager for the Melbourne Journal of Technical Studies in Art; is a member of the Collections Committee of the Library Board, State Library of Victoria; and is currently Chair of the Indemnification Committee Arts Victoria. In the past she has been a member of a number of editorial boards (including Museums National Museum Australia Magazine and Open Museum Journal) and a number of organising committees (including the IIC’s 50th Congress Tradition and Innovation). She was a Board Member of the Ian Potter Museum of Art from 2000 to 2005, a Foundation Director of AusHeritage, a member of the Federal Government’s Conservation and Collection Management Working Party of the Heritage Collections Council, and both a State and National President of the Australian Institute for the Conservation of Cultural Material (AICCM Inc). She has been a member of course advisory committees for both the University of Canberra and Deakin University. She is an associate of the School of Enterprise and the Centre for Free Radical Chemistry and Biochemistry at the University of Melbourne.
Her research interests include programs in cultural materials conservation that focus on the materials and techniques of artists (particularly in Australia and South East Asia), ethical and philosophical issues in cultural materials conservation, and the development of scientific techniques for conservation.
In 2004 she was awarded the Australian Institute for Cultural Materials Conservation’s Conservator of the Year Award for service to the profession