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The Photograph Conservation Department provides preservation, conservation, and research into the history, aesthetics, and technology of images dating from the early history of the medium until the present day.
Miriam Gold, Former Undergraduate Intern, Education Department
Posted: Wednesday, September 9, 2015
So what is it really like behind the scenes of one of the world's largest art museums?
For three weeks in July, I observed some of the daily routines of the summer MuSe interns here at the Met: forty-one college and graduate students hungry to gain insight into what it's really like to work at an encyclopedic art museum. Each intern is assigned a specific project and supervisor within one of the Met's departments, where he or she carries out the majority of their work. From curatorial and conservation departments to Digital Media and Information Systems & Technology, I was fortunate to be set free in the Met to explore these diverse areas of the Museum and interview the interns (while also being spoiled on a daily basis by an abundance of artistic jewels).
Nora Kennedy, Sherman Fairchild Conservator, Department of Photograph Conservation
Posted: Tuesday, March 24, 2015
Ibrahim Mohamed Ali joined the Metropolitan Museum's paid summer intern program from his position as a conservator at the Grand Egyptian Museum via the George Washington University Museum Studies Program, where he is working toward his master's degree. With a background in the conservation and preservation of metal archaeological artifacts but with an immense passion for everything photographic, Ibrahim delved into all aspects of photograph conservation during his nine weeks at the Met this past summer.
Silvia Centeno, Research Scientist, Department of Scientific Research
Posted: Wednesday, March 2, 2011
As a chemist in the Museum's Department of Scientific Research, I work closely with Anna Vila-Espuña, also in the Department of Scientific Research, and Nora Kennedy, in Photograph Conservation, on collaborations with Met curators to increase our understanding of methods and materials used to create paintings, works of art on paper, and photographs. This knowledge not only enlightens us about the artists' techniques, but it also aids in the care and preservation of the works.
Luisa Casella, Research Scholar in Photograph Conservation, Department of Photographs
Posted: Thursday, January 20, 2011
Developed in the early years of the twentieth century, Autochromes were the result of the first commercially viable color photographic process. Yet the dyes used to impart the color in Autochromes are so sensitive to light that typical exhibition conditions cause rapid and irreversible fading, which has led to the Metropolitan Museum's policy of not exhibiting these vulnerable photographs. As the Museum's research scholar in photograph conservation, I spent three years studying the stability of Autochrome dyes. I began my research with a desire to better understand how and under what conditions Autochromes fade and, ideally, to devise a safe way to exhibit these important photographs. The exciting culmination of my work will take place next week, January 25–30, when five original Autochromes by Alfred Stieglitz and Edward Steichen will be displayed in low-oxygen enclosures as part of the special exhibition Stieglitz, Steichen, Strand.
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