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Jill Sterrett, President

Jill Sterrett has been the Director of Collections and Conservation at the San Francisco Museum of Modern Art (SFMOMA) since 2001. In this role, she oversees the activities of five allied departments in a museum structure that is designed to foster working sites of collaboration serving the museum’s programs and its collection. Jill has actually been on staff at SFMOMA for the last 22 years, first as Paper Conservator (1990-2000) and then as Head of Conservation (2000-2001). She has also worked at the Fine Arts Museums of San Francisco, the Library of Congress, the Philadelphia Museum of Art, the National Library of Australia and the National Gallery of Victoria.

Jill is a graduate of Denison University with a B.S. in Chemistry and a B.A. in Art History, and she has earned her M.A. in Art Conservation from the Cooperstown Graduate Program. She has published and taught on the subject of museums, conservation and contemporary art, including as a Fulbright scholar in Portugal.


Tom Learner headshotTom Learner, Vice President

Tom is the Senior Scientist & Head of the Modern and Contemporary Art Research Initiative, Getty Conservation Institute. He has a PhD in chemistry (University of London, 1997), and a Diploma in conservation of easel paintings (Courtauld Institute of Art, London, 1991).  At the GCI, he oversees a number of research projects on modern art materials, including how modern paints, plastics and outdoor painted surfaces can be analyzed, how they will alter with time, and how to best conserve them. Before joining the Getty in 2007, he was Senior Conservation Scientist at the Tate in London.  Learner sits on the advisory committees for INCCA (the International Network for the Conservation of Contemporary Art), RPM (Rescue Public Murals), and the Guggenheim’s Panza Collection Initiative. He is also serving his second term as coordinator for the Modern Materials and Contemporary Art working group of ICOM-CC.


Jay Krueger, Secretary

Jay Krueger received a BFA in Printmaking and a BA in Art History from Washington University in St Louis, and an MA with a certificate of advanced study in painting conservation from the State University of New York, Cooperstown Graduate Program. In 1992, Mr. Krueger was appointed senior conservator of modern paintings at the National Gallery of Art. He is a Fellow of the American Institute for Conservation (AIC.)

Mr. Krueger has served on governing boards and advisory panels for numerous arts and conservation organizations and government arts agencies, including Heritage Preservation, the AIC, the Morris Louis Conservation Fund, and the Hand Print Workshop.

He also served as President of the AIC. Mr. Krueger has studied and lectured on the painting materials and techniques of many modern and contemporary artists and regularly advises artists on the selection and use of materials.


Julie Heath crop

Julie Heath, Treasurer

Julie has been the Museum & Conservation Liaison for Tru Vue, Inc. since 2009, where she provides advice and support to museums on the technical properties and uses of glazing. Heath received a B.A. in Studio Art and a minor in Managerial Economics at the University of California at Davis, where she studied with Professor Wayne Thiebaud.  After completing her M.F.A. in Painting from the University of New Hampshire, she taught painting and drawing courses in the Washington DC metro area.  Her museum career began at the Smithsonian, where she served various roles in the Education, Curatorial, and Permanent Collection Database departments of the Smithsonian American Art Museum.  When the National Portrait Gallery and Smithsonian American Art Museum reopened after a six year renovation, Heath spearheaded programs, interpretation, and outreach for the newly created Lunder Conservation Center—a center focused on raising public awareness of conservation and preservation, which was conferred the Keck Award by the International Institute for Conservation of Historic and Artistic Works in 2008.  During and since her time at the Lunder Center, she has advocated for art conservation through talks and education efforts, and has acted as an emissary for collections care concerns.  She serves on the board of the Foundation of the American Institute for Conservation of Historic and Artistic Works and focuses on corporate development and individual giving strategies.


Robin ClarkRobin Clark, Program Committee Chair

Robin Clark is Director of the Artist Initiative at the San Francisco Museum of Modern Art. In this role she leads interdisciplinary collection research projects that involve deep collaboration with living artists. She is an art historian and curator whose work has long encompassed intersections of contemporary art and architecture. Prior to joining SFMOMA she worked as an independent curator contributing essays to comprehensive catalogues on artists including John McCracken (David Zwirner Gallery, 2014) and Robert Overby (Mousse Publishing, 2014). She was assistant curator and a contributing author to the Eva Hesse retrospective exhibition and catalogue produced by the San Francisco Museum of Modern Art (SFMOMA and Yale University Press, 2002) and was curator of the Currents exhibition series at the Saint Louis Art Museum (2002-2007). Her more recent exhibitions and publications include Automatic Cities: The Architectural Imaginary in Contemporary Art (Museum of Contemporary Art San Diego, 2009) and Phenomenal: California Light, Space, Surface, part of the Getty’s Pacific Standard Time initiative (University of California Press, 2011). Clark earned degrees in Art History from Smith College (BA), Boston University (MA) and the Graduate Center of the City University of New York (PhD).


Gwynne Ryan

Gwynne Ryan is the Sculpture Conservator at the Hirshhorn Museum and Sculpture Garden in Washington DC, where her responsibilities span the conservation of the outdoor sculpture garden, contemporary sculpture and installations, and time-based media.  She received her Masters of Science Degree in Art Conservation from the Winterthur/University of Delaware Program in Art Conservation in 2001.  Prior to working at the Hirshhorn, Gwynne has served in the conservation laboratories at the Brooklyn Museum of Art, the Philadelphia Museum of Art, San Francisco Museum of Modern Art, and the Museum of Fine Arts, Boston. She is also currently a co-Principal Investigator for the Smithsonian Pan-Institutional Time-Based Media Working Group.


Jeffrey Weiss

Jeffrey Weiss joined the Guggenheim Museum in 2010 as Curator of the Panza Collection. There he is co-running a Mellon Foundation study project devoted to Minimal and Post-Minimal art. Weiss holds a PhD from the Institute of Fine Arts, New York. From 2000 to 2007, he was Curator and Head of Modern and Contemporary Art at the National Gallery of Art in Washington, D.C. In 2007-08, he served as Director of the Dia Art Foundation, but left to return to academic and curatorial work. Since that time he has also been Adjunct Professor of Fine Art at the Institute of Fine Arts, a position he currently retains.

At the National Gallery, Weiss organized exhibitions concerning the work of Jasper Johns, Pablo Picasso, and Mark Rothko. He also greatly expanded the museum’s holdings in art of the 1960s and 1970s. Widely published in various periodicals on modern and postwar art, Weiss’s writings are regularly featured in Artforum. In 2006, he edited Dan Flavin: New Light, an anthology of essays from Yale University Press. He is currently at work on a complete catalogue of the early object sculptures of Robert Morris (1960-65). He is also preparing an exhibition of the work of On Kawara, which will go on view in the rotunda of the Guggenheim Museum in New York in 2014.


Inge-Lise Eckmann Lane, Emeritus Board Member

Inge-Lise Eckmann Lane, Fellow of the American Institute for Conservation and the International Institute for Conservation, served as Chief Conservator and Deputy Director at the San Francisco Museum of Modern Art over more than twenty years supervising the exhibition, collection, conservation and education programs of the Museum. She has held a private practice in conservation of Contemporary Art since 1996 serving museums and private collections. Ms. Eckmann served as Chairman of Heritage Preservation, the National Conservation Institute, President of the Western Association of Art Conservators, and Chair of the Membership Committee (fellowship review committee) of the American Institute for Conservation. She holds a MA and certificate of advanced study in Art Conservation from the State University of New York, Cooperstown Graduate Program, and a BA from Bennington College.

In 2001 she received the Lifetime Achievement Award for Conservation Advocacy from the American Institute for Conservation and Artistic Works and University Products in recognition of sustained public outreach and advocacy to advance the field of conservation. She acted as INCCA-North America board president from 2007-2014.


Glenn Wharton, Emeritus Board Member

Glenn Wharton is a Clinical Associate Professor in Museum Studies at New York University. From 2007-2013 he served as Conservator at the Museum of Modern Art in New York, where he established the time-based media conservation program for video, performance, and software-based collections. He founded INCCA-NA in 2006 and served as its first executive director until 2010.  His current research is on the legacy of contemporary artists and the life of complex artworks in museums, in which he engages contemporary debates around object biographies, intentionality, authorship, and authenticity.   Dr. Wharton received his Ph.D. in Conservation from the Institute of Archaeology, University College London, and his M.A. in Conservation from the Cooperstown Graduate Program in New York.



Kendra Roth is Sculpture Conservator of Modern and Contemporary Art at the Metropolitan Museum of Art, where she has worked since 1997. She received her bachelor’s degree in fine arts from Tufts University and her master’s degree in art conservation from the State University of New York at Buffalo, followed by a postgraduate Certificate in Advanced Training from the Straus Center for Conservation at Harvard University. She serves as part of the Conservation Advisory Group for the Public Design Commission of the City of New York, and regularly instructs students of museum studies and studio art programs on the topic of conservation and modern materials. She is a Professional Associate of the American Institute for Conservation (AIC).



Rosanna Flouty is an education professional with a commitment to building site-specific technology to support museum and arts-based programming. She teaches graduate-level courses on Museums and Interactive Technologies at New York University. She holds over nineteen years of museum experience, including at The Institute of Contemporary Art/Boston and the Solomon R. Guggenheim Museum in New York. Ms. Flouty holds an MA in Art Education, Museum Strand from the Rhode Island School of Design, with an emphasis on the impact of technology on contemporary art museum education. She has been awarded a five-year Enhanced Chancellor’s Fellowship at City University of New York (CUNY) Graduate Center in New York City to pursue a doctoral degree in Urban Education, with a focus on Interactive Technology + Pedagogy. She has presented regionally, nationally and internationally on the subjects of technology, education, contemporary art and museums.


JH_headshotJennifer Hickey is a 2011 graduate of the Conservation Center of The Institute of Fine Arts, New York University, where she received her MA in the History of Art and Archaeology with an Advanced Certificate in Art Conservation.  As a student specializing in the examination and treatment of modern and contemporary paintings, Jennifer worked under mentors at a number of leading New York conservation studios, among them Cranmer Art Group, Modern Art Conservation, The Solomon R. Guggenheim Museum, and The Museum of Modern Art. She also interned at the Getty Conservation Institute, where she assisted with ongoing research into aqueous cleaning systems for acrylic paints.  After completing her studies, Jennifer worked as a project conservator on The Museum of Modern Art’s  Jackson Pollock Conservation Project, studying and treating three Pollock paintings in the Museum’s collection.  She is currently the William R. Leisher Fellow at The National Gallery of Art.


Steven O'BanionSteven O’Banion is the Director of Conservation at Glenstone, responsible for comprehensively addressing the conservernation needs of Glenstone’s collection.  Steven graduated from Middlebury College with a major in Biochemistry and a minor in the History of Art and Architecture.  After completing pre-program internships at the Museum of Modern Art, the New York City Department of Parks & Recreation Citywide Monuments Conservation Program, and Wilson Conservation, Steven joined the Winterthur/University of Delaware Program in Art Conservation.  At Winterthur, he majored in objects conservation with an additional focus in preventive conservation.  Steven has completed graduate-level internships with the Smithsonian American Art Museum, the Tate, and the Museum of Modern Art.  As a Smithsonian Conservation Fellow at the Hirshhorn Museum and Sculpture Garden, Steven established an artist interview program for the institution.


Gwen Webber bw for websiteGwendoline Webber is the US Correspondent for Blueprint magazine, design and architecture publication based in London. Working as an architectural journalist for more than 7 years, Ms. Webber covers a wide range of subjects, but her primary focus is on the intersections between design, public space and art. Her work has been published in Yale Constructs, The Architect’s Newspaper, New York, and Architectural Review, London, among other journals. She has also edited several design books and journals and she has initiated an oral arts project to create an archive of interviews with women in design and architecture as a legacy and ongoing resource for younger generations of designers. Ms. Webber holds a BA in Architecture from Nottingham University, UK, and is a Master’s candidate in Architectural History and Theory at the Bartlett School of Architecture, London. In 2011, Ms. Webber joined INCCA-NA as Program Manager.



ShadfordLauren Shadford Breismeister, Executive Director

Ms. Shadford joined INCCA-North America as Executive Director in September 2010. In this role, she works with the Board of Directors and Program Committee to create methods of collaborative research and dialogue to support the long-term preservation of contemporary art.  INCCA-North America works with museums, artist foundations, and many independent conservators and colleagues to achieve this goal through public programs, workshops, and research initiatives.  Ms. Shadford concurrently runs a consulting practice serving museums, art collectors and non-profit arts organizations including Phillips Auction House, Storm King Art Center, Association of Art Museum Curators, and Bank of America. Before starting her independent consulting work, she was the Senior Manager in the Museum Services department at Sotheby’s working with institutions across the United States on projects ranging from deaccessioning, appraisals, and exhibition sponsorships. Lauren holds an M.A. in Visual Arts Administration with a focus on Non-for-Profit management from the Steinhardt School at New York University and a B.A. in Art History from Connecticut College.


Margaret Graham headshot cropMargaret Graham, Program Coordinator

Margaret has her Master’s degree in Art Criticism and Writing from the School of Visual Arts and her Bachelor’s degree in Art History and Creative Writing from Bucknell University. In addition to her position at INCCA-NA, Ms. Graham is a contributing writer and associate art editor for The Brooklyn Rail as well as a freelance collections manager and project consultant, helping mount ventures including the 2013 pop-up exhibition “Come Together: Surviving Sandy, Year 1″ and the Naava Piatka Project.  She has also published with ArtCritical and contributed an essay to the forthcoming exhibition catalogue for “Alex Katz: This is Now” (2015) at the High Museum of Art.