Lauren is a paintings conservator and collections manager based in New York City. She graduated magna cum laude as a double major in Art History and Historic Preservation as a Phi Beta Kappa member from Mary Washington College. She then entered the graduate program at New York University's Institute of Fine Arts, where she studied Art History and trained in the Kress Program in Paintings Conservation at the IFA's Conservation Center. She gained additional training at The National Galleries of Scotland and Rustin Levenson in New York City. 

She received a postgraduate certificate from the University of Cambridge and continued at the Hamilton Kerr Institute under a Kress Fellowship focused on French masterworks from the Fitzwilliam Museum. 

Lauren then worked privately in London and Cambridge. In 2008 she worked as a paintings conservator for the Instituut Collectie Nederland, and then at a private studio in the Netherlands.

In 2011, she founded the Fly Arts Initiative, a fine art conservation and collections management practice based in New York, NY. Lauren works with museums, private collectors, galleries, and other stewards of cultural heritage to preserve and protect their objects. She is passionate about promoting and demystifying conservation for the wider public, and loves talking about little things that can make a big difference.

For more information on Fly Arts Initiative, please visit https://www.flyartsinitiative.com/

Time stamps:

(3:14) Intro to art conservation

(4:45) Discovering conservation

(6:27) Pre-program experiences 

(7:14) Applying to graduate school

(8:00) Graduate experience at NYU's Institute of Fine Arts

(10:40) Summer internship at The National Galleries of Scotland

(11:40) Internship and post-graduate training at Hamilton Kerr Institute

(13:59) International visas and transition to Netherlands

(18:26) Freelancing in England

(18:35) Instituut Collectie Nederland

(20:16) Private practice in the Netherlands

(21:15) Dutch American Friendship Treaty

(22:08) What is a business plan? 

(24:07) Fly Arts Initiative business plan

(24:54) Business plan benefits

(26:40) Contents in CIPP Library within the American Institute for Conservation

(27:46) Fly Arts Initiative business plan (cont.)

(29:24) Naming of Fly Arts Initiative 

(30:42) Fly Arts Initiative in Amsterdam

(32:24) Insurance for practice in England, Amsterdam, New York City

(34:25) Setting up a paintings studio space

(36:45) Transition from Amsterdam to Virginia 

(38:27) Business transition from Amsterdam to Virginia

(39:50) Studio equipment and tools transition

(40:54) Building clientele in Virginia 

(41:23) Transition to New York City (NYC)

(42:06) Working at SGS Art Division Services

(45:43) What is collections management?

(47:25) Building client relationships

(50:07) Management skills in private practice

(55:57) Tips for building studio management skills

(55:59) Transition from SGS Art Division to Fly Arts Initiative

(57:14) Studio features and functionality 

(58:22) Charging clients

(1:00:44) When did your business become profitable?

(1:01:49) Retirement plans

(1:03:30) Expansion plan

(1:03:40) Treatment vs collection management hours

(1:04:22) Role as Chair of CIPP within AIC

(1:07:27) Conservation visibility beyond treatment

(1:08:52) Increasing conservation’s visibility via business planning 

(1:11:21) Approach to negotiation 

(1:13:38) Conserving paintings in the 9/11 Memorial Museum collection

(1:15:19) Tips for emerging professionals

(1:15:52) Strategically finding clients and projects; professional development

(1:18:12) Final thoughts on private practice

Disclaimer: The views, thoughts, and opinions expressed in this podcast belong solely to the speaker, and not necessarily to the speaker's employer, organization, committee, or other group or individual. No individual connected with this podcast, in any way whatsoever, can be responsible for your use of the information within this interview.

Rosa Lowinger is a conservator of sculpture and architecture with over 35 years of experience. She is the founder and current co-chief conservator of RLA Conservation of Art + Architecture, a firm with offices in Miami and L.A., a graduate of the NYU Conservation Program, and a Fellowof AIC and the Association for Preservation Technology. Rosa was the 2008-09 Rome PrizeFellow in Conservation at the American Academy in Rome where she researched the history of vandalism and iconoclasm. In addition to practicing conservation, Rosa is a published author whose books include Tropicana Nights: The Life and Times of the Legendary Cuban Nightclub, and the upcoming Dwell Time: A Memoir of Art, Exile and Repair. Rosa’s upcoming memoir about conservation and her Cuban family was the recipient of a Kress Publication Fellow from AIC and is available for pre-order at your favorite local bookstore or wherever you buy your books. 

In this episode, we discuss the three private conservation businesses Rosa co-created or created, the challenges of outdoor sculpture and modern/contemporary art conservation, the process of selling her latest business in order to prioritize writing about conservation, and much more! This interview is packed with advice for those interested in private practice so don’t miss out! 

For more information about Rosa’s books, please visit rosalowinger.com. 

For more information on the RLA Conservation, please visit rlaconservation.com.

Time Markers: 

(01:56) Introduction

(03:09) Conservation discovery

(04:55) Experience at NYU

(06:04) Experience at Penn Museum (previously University Museum)

(07:28) First private practice partnership

(08:29) Post-graduate fellowship at LACMA (Los Angeles County Museum of Art) 

(10:47) Challenges of modern/contemporary art 

(20:04) Challenges of outdoor sculpture conservation

(22:33) Thoughts on certification

(26:01) Second private practice in South Carolina

(31:50) Advice for emerging professionals #1

(34:53) Determining rates

(35:48) Conservation bidding processes

(36:42) Making space for the business

(37:35) Selling a conservation business

(43:31) Gross vs Net income

(44:54) Advice for emerging professionals #2

(48:03) Studio spaces of RLA Conservation

(49:15) Tools and equipment for business

(49:48) Qualities in a conservation hire

(51:31) Management style

(53:06) Challenges of international work

(53:53) Insurance for the business

(54:35) Profitability

(55:45) Advice for emerging professionals #3

(57:39) Legacy

Disclaimer: The views, thoughts, and opinions expressed in this podcast belong solely to the speaker, and not necessarily to the speaker's employer, organization, committee, or other group or individual. No individual connected with this podcast, in any way whatsoever, can be responsible for your use of the information within this interview.

Elizabeth Nunan is the owner and lead conservator at Flux Art Conservation Corp. Working in private practice for over a decade, she has gained experience restoring an incredible variety of damages on increasingly unique media and large-format artworks. As the former President of Alliance for Response New York City, Beth gained additional expertise in the area of disaster planning for collecting institutions and provides disaster response coaching for major art museums across the country. Prior to relocating to Philadelphia, Beth worked with the talented conservators of Luca Bonetti, Corp. preserving and restoring modern and contemporary art collections, and as part of the impressive conservation team at the American Museum of Natural History. Her previous conservation experiences also include internships at the Center for Puppetry Arts, the Bernice Pauahi Bishop Museum, the National Museum of the American Indian, the American Philosophical Society Library, and the Denver Art Museum. Beth is a graduate of the Buffalo State College Art Conservation Program, where she received a Masters in Art Conservation with a Certificate of Advanced Study. 

In this episode, Beth and I discuss her background, how she began taking private work to supplement her museum salary, and how she transitioned to a full-time practice based in Philadelphia. We also discuss the nuances of contemporary art conservation, her thoughts on certification, perfectionism within conservation, and more! Full disclosure, Beth is my current boss and mentor and we have discussed several topics included in this episode previously which leads to a more informal tone at times in this conversation. And now, here is my interview with Beth Nunan.

For more information on Flux Art Conservation, please visit:

https://www.fluxartcon.com/

Time Markers:

(2:17) Introduction

(3:28) Undergraduate studies at the University of Denver

(8:21) Applying for graduate school

(9:07) SUNY Buffalo graduate experience

(11:50) Structuring first private projects

(13:13) Determining early charging rates

(14:46) Employment at the American Museum of Natural History

(16:45) Employment at private practice in New York City

(18:55) Establishing a private practice

(23:04) Creating a studio space

(26:35) Profitability of business

(29:31) Building and maintaining clients

(31:18) Business resources

(33:12) Business insurance

(33:51) Current charging system

(36:51) Types of conservation inquiries

(41:33) Expanding the staff

(43:40) Traits looked for in conservation hire

(44:55) Work-life boundaries

(46:21) Ethics important to studio

(47:34) Imposter syndrome

(48:09) Documentation “black hole”

(50:10) Damage and modern/contemporary paintings

(51:59) Transition from objects to paintings conservation

(54:52) Complex ethics with contemporary art

(56:39) Perfectionism in the field

(1:02:44) Managing emotions

(1:05:00) Complex ethics with private practice

(1:08:46) Branding

(1:11:35) Certification

(1:15:02) Unlikely aspect of running business

Disclaimer: The views, thoughts, and opinions expressed in this podcast belong solely to the speaker, and not necessarily to the speaker's employer, organization, committee, or other group or individual. No individual connected with this podcast, in any way whatsoever, can be responsible for your use of the information within this interview.