phd art conservation

• Member Directory
• Jobs  
• About Conservation /
• Become a Conservator /

About Conservation

• Conservation Terminology
• Conservation Specialties
• Ask a Conservator Day
• Frequently Asked Questions
• Related Organizations
• Pre-program
• Post-graduate
• Continued Education
• Our Code of Ethics
• Advocate for Conservation
• Caring for Belongings
• Find a Professional

Graduate Programs

Application process.

Admission to conservation degree programs is highly competitive. In addition to a formal application with a transcript and letters of recommendation, programs typically require an interview. Candidates may be asked to send or present a portfolio of artwork and conservation projects that demonstrates manual dexterity as well as familiarity with techniques and materials. The Emerging Conservation Professionals Network (ECPN) has a  Basic Advice for Conservation Graduate School Applications  for more guidance.

Find an Opportunity

While not a comprehensive list of conservation graduate programs in North America, the members of ANAGPIC (Association of North American Graduate Programs) that grant a master's degree are:

There is currently no organization that maintains a complete and up-to-date directory of conservation graduate programs either in North America or internationally, however, Conservation Online (CoOL) provides a more extensive list of conservation programs across the globe.

Academic Experience

What's next.

After graduation, new conservators may find employment in a collecting institution, regional center, or private practice. Many continue their education by applying for institution-sponsored fellowships. Search our Career Center for opportunities. 

• Board of Directors
• Internal Advisory Group
• Our History
• Held in Trust Report
• Areas of Study
• Held in Trust Project Updates
• Held in Trust Project Groups
• Life Cycle Assessment
• Climate Resilience Resources
• Join Friends of Conservation
• Our Supporters
• Planned Giving
• Diversity, Equity, Inclusion, Accessibility
• Land Acknowledgement
• Logos & Rules for Use
• Press Release Archives
• Post Graduates
• Institutions
• How to Apply
• Fellow Election
• Designation Marks
• Advocacy Award
• Allied Professionals Award
• CAA-AIC Award
• Emerging Leader Award
• Feller Award
• Forbes Medal
• Gettens Award
• Honorary Membership
• Paintings Award
• President's Award
• Publication Award
• Textiles Award
• Distinguished Award for Advancement of the Field
• Ross Merrill Award
• Communications
• Education & Training
• Affinity Groups
• Ethics & Standards
• Financial Advisory
• Health and Safety
• Membership Designations
• Member Engagement
• Sustainability
• Ethics Core Documents Review Task Force
• Archaeological Heritage Network
• Member Community
• Architectural Conservation Wiki
• About the BPG
• BPG Executive Council Responsibilities
• BPG Education & Programs Committee
• BPG Nominating Committee
• BPG Publications Committee
• BPG Discussion Groups
• Get Involved
• BPG Guidelines
• Business Meeting & Program
• Art on Paper Discussion Group
• Library and Archives Conservation Discussion Group
• Author Index
• Title Index
• Grants and Scholarships
• Networks & Allied Groups
• Online Community
• Speaker Stipend
• CAN! Officers
• CAN Reading Group
• CAN Conversations
• Publications
• Optical Media Pen
• Electronic Media Review
• Standing Charge
• Current Officers
• Network Structure & History
• Update from the Chair
• Liaison Program News
• Archived News
• ECPN at the Annual Meeting
• Liaison Program
• Digital Programs
• ECPN-CIPP Mentorship Program
• Pre-Program Internships
• Specialty Groups
• International Education
• Tips Sheets
• Informational Materials
• Compensation Resources
• Relevant AIC Resources
• ECPN on the AIC Blog
• AIC Wiki: Resources for Emerging Conservation Professionals
• AIC News Articles
• Conference Posters
• How to Get Involved
• Articles & Guides
• Historic House Hazards
• Outreach Resources
• Paintings Specialty Group
• Albumen: History, Science,Preservation
• Coatings on Photographs Book
• Photographic Materials Conservation Wiki
• Guide to Digital Photography and Documentation
• JAIC Articles
• Photographic Print Sample Sets
• Photographic Information Record
• Platinum and Palladium Photographs Book
• Topics in Photographic Preservation
• Preventive Care Network
• Imaging Working Group Community
• Achievement Award
• Become a Member
• Rules of Order
• WAG Postprints
• Volunteer Opportunities
• Professional Development Grants & Scholarships
• Publication Fellowships
• Outside Funding Sources
• Emergency Grants
• External Courses
• REALM Project
• Current Response Efforts
• Disaster Response & Recovery Guides
• Plan an Alliance for Response Forum
• Build Relationships with Emergency Responders
• Develop a Local Assistance Network
• Engage Your Network with Education, Training, and Activities
• Find Support for Network Projects
• Leadership Events
• Berks-Lehigh-Northampton
• Central Pennsylvania
• Central Virginia
• Massachusetts
• Mississippi Gulf Coast
• New Orleans
• New York Capital Region
• New York City
• North Carolina
• Northeast Pennsylvania
• Northwest Pennsylvania
• Philadelphia
• Sarasota Manatee
• South Central Pennsylvania
• South Florida
• Suburban Philadelphia
• U.S. Virgin Islands
• Washington D.C.
• Past Responses
• Deployment Procedures
• Risk Evaluation and Planning Program
• Getting Ready in Indian Country
• Emergency Planning Toolkit for Tribal Cultural Institutions
• Connecting to Collections Care
• Eligibility
• Meeting the Match
• Participating Museums
• Funding Resources
• State Grants
• Assessor Resources
• Assessor FAQs
• Emergency CAP
• Outreach Resources for Members
• Language Hub
• Climate and Sustainability
• Registration Policies
• Refund Policy
• How to Register Online
• Green Attendee Pledge
• Speaker Stipends
• 2024 Virtual Access
• Abstract Guidelines
• Exhibitor Packages
• Sponsor and Advertise
• Exhibitor Policies
• Accommodations & Travel
• Future Meetings
• Program and Schedule
• 2023 Posters
• Exhibit Hall
• Support Florida Organizations
• 2022 Posters
• Meet the Exhibitors
• 49th Virtual Annual Meeting (2021)
• 48th Virtual Annual Meeting (2020)
• 47th Annual Meeting in New England (2019)
• 46th Annual Meeting in Houston (2018)
• 45th Annual Meeting in Chicago (2017)
• 44th Annual Meeting in Montreal (2016)
• 43rd Annual Meeting in Miami (2015)
• Earlier Meetings
• Past Events
• Propose a Professional Development Program
• Code of Conduct
• Current Issue
• Style Guide
• Tips for Preparing Articles and Notes
• Special Call for Papers
• Common Misconceptions About Publishing in JAIC
• Past Issues
• Editorial Policy
• Content Schedule
• Lead Article Lineup
• Digital Products
• Shippable Products
• Annual Conference Publications
• Global Conservation Forum
• Social Media
• Survey Reports
• CoOL, Blog, & Wiki
• Advertise with Us

US South Carolina

Recently viewed courses

Recently viewed.

Find Your Dream School

This site uses various technologies, as described in our Privacy Policy, for personalization, measuring website use/performance, and targeted advertising, which may include storing and sharing information about your site visit with third parties. By continuing to use this website you consent to our Privacy Policy and Terms of Use .

   COVID-19 Update: To help students through this crisis, The Princeton Review will continue our "Enroll with Confidence" refund policies. For full details, please click here.

• Grad Programs

Art Conservation

Degree information, questions to ask yourself when choosing a degree program, career overview, career/licensing requirements, salary information, related links.

African Studies

African-American Studies

American History

American Studies

Ancient Studies

Anthropology

Architectural History

Architecture

Art Education

Art History, Criticism and Conservation

Asian-American Studies

Comparative Literature

East Asian Studies

East European Studies

Middle Eastern Studies

Photography

RELATED GRADUATE PROGRAMS

Historic Preservation and Conservation

Museology/Museum Studies

RELATED CAREERS

Anthropologist

Antiques Dealer

Archaeologist

Digital Artist

Photographer

Web Art Director

SAMPLE CURRICULUM

Techniques Of Examination Of Documents

Materials And Methods Of Analysis

Technology And Conservation Of Objects

Technology And Conservation Of Paintings

Technology And Conservation Of Works Of Art On Paper

Featured MBA Programs For You

Connect with business schools around the globe and explore your MBA options.

Best Business Schools

Check out our lists of best on-campus and online MBA programs and find the best program for your career goals.

Explore Graduate Programs For You

Ranked master’s programs around the globe are seeking students like you to join their programs.

Med School Advice

Get medical school application advice, USMLE prep help, learn what to expect in med school and more.

Enrollment Advisor

1-800-2REVIEW (800-273-8439) ext. 1

1-877-LEARN-30

Mon-Fri 9AM-10PM ET

Sat-Sun 9AM-8PM ET

Student Support

1-800-2REVIEW (800-273-8439) ext. 2

Mon-Fri 9AM-9PM ET

Sat-Sun 8:30AM-5PM ET

Partnerships

• Teach or Tutor for Us

College Readiness

International

Advertising

Affiliate/Other

• Enrollment Terms & Conditions
• Accessibility
• Cigna Medical Transparency in Coverage

Register Book

Local Offices: Mon-Fri 9AM-6PM

• SAT Subject Tests

Academic Subjects

• Social Studies

Find the Right College

• College Rankings
• College Advice
• Applying to College
• Financial Aid

School & District Partnerships

• Professional Development
• Advice Articles
• Private Tutoring
• Mobile Apps
• Local Offices
• International Offices
• Work for Us
• Affiliate Program
• Partner with Us
• Advertise with Us
• International Partnerships
• Our Guarantees
• Accessibility – Canada

Privacy Policy | CA Privacy Notice | Do Not Sell or Share My Personal Information | Your Opt-Out Rights | Terms of Use | Site Map

©2024 TPR Education IP Holdings, LLC. All Rights Reserved. The Princeton Review is not affiliated with Princeton University

TPR Education, LLC (doing business as “The Princeton Review”) is controlled by Primavera Holdings Limited, a firm owned by Chinese nationals with a principal place of business in Hong Kong, China.

The Courtauld is an internationally renowned centre for the teaching and research of art history and a major public gallery

Be part of an international community of influential art enthusiasts, thought leaders and change makers

Current students

Information and resources for students currently studying at The Courtauld

Stay in touch

Quick links, suggested searches, phd programme, course overview.

Applications will open in late November.

Vernon Square Kings Cross, London, WC1X 9EP (during The Courtauld Connects project)

Full-time: 3 years, part-time: 6 years

Awarding body

University of London

15 - 20 students per year

Since 1932, The Courtauld has been among the world’s leading institutions for research in Art History and Conservation. Our internationally-renowned PhD programme is one of the largest in the United Kingdom, hosting over 100 doctoral students at any one time on their paths towards a PhD. At The Courtauld, you will join a cohort of the most ambitious and gifted students in your field as you pursue your research goals.

Our diverse cohort of students come from across the United Kingdom, and around the world, to explore an equally wide range of research topics. Our students’ excellence is reflected in the large number of AHRC-funded awards gained over the last decade, one of a number of routes available for supporting your studies. Recent and current doctoral projects include mosaics in Constantinople, Buddhist wall paintings in Bhutan, Cubism in Japan, and post-war Korean avant-gardes, among many others.

A Courtauld Research degree includes scheduled skills and methodology seminars, along with the main element: one-to-one supervision on your chosen project. Your supervisory team will guide your research, help plan, develop and shape your thesis, and support your scholarly and professional development in diverse ways.

A research-intensive institution, The Courtauld consistently achieves outstanding results in the UK Research Excellence Framework (REF) audit. Courtauld teachers publish on a host of topics, with recent important books and articles on Persian Kingship and architecture, Spanish Renaissance sculpture, Netherlandish artists and migration, gardens and empire in China, Victorian art and science, American fashion photography, and many others. Faculty members have extensive experience curating major exhibitions of historic and contemporary art, editing and contributing to academic journals, winning competitive research grants, speaking publicly in a great variety of institutions and events, and working in archives and collections worldwide. All this and more contributes to our mentoring of students as they undertake their doctoral careers at The Courtauld.

Research Forum

The  Research Forum is central to The Courtauld’s intellectual community and to doctoral life here. Presenting a programme of leading professors, curators, conservation scientists, and artists from around the world, the Research Forum invites you to explore a wide range of art historical thinking and consider your research from new perspectives. Research programmes are further supported by a variety of thematic clusters. Groups such as the Sculptural Process Study Group and Painting Pairs: Art History and Technical Study, highlight the Institute’s foundation in object-based research; Connecting Cultures, 1200–1850, Sacred Traditions and the Arts, and the Digital Art History Research Group underline the interdisciplinary nature of our teaching and research. The Courtauld is also home to several major research centres, including the Centre for American Art and the Cambridge Courtauld Russian Art Centre.

These groups bring together postgraduates, faculty and visiting scholars for seminars, study days, site visits, and symposia, all supported by our professional Research Events team.  From all this, doctoral students enjoy unique opportunities to suggest speakers, devise and convene events, chair sessions, and draw together research in published form.  Courtauld Research students edit and produce  immediations , The Courtauld’s annual, peer-reviewed journal of art history, and have opportunities to contribute curatorially in our gallery and print room. Our doctoral students can also gain valuable teaching experience through our Public Programmes, and at BA and MA level.

Find out more about our current PhD students.

Entry requirements

Academic Requirements: PhD applicants are expected to have achieved a Master’s degree in a subject relevant to their proposed research. Those with Masters awarded in the UK normally are expected to have received at least 65% overall, with at least 70% in the dissertation or thesis.

English Language Requirements:  If your first language is not English, we require proof of English language proficiency. Please see the  English Language Requirements page .

Supervisor:  Before starting the application process, applicants must identify a potential supervisor at the Institute who is an expert in the relevant field. A list of current Courtauld staff can be found  on our Faculty pages.

Pre-application: Applicants should complete a pre-application in order to register their interest in studying with a potential supervisor and to confirm the suitability of the research topic. We will be accepting pre-application proposals for the 2025/25 academic year from September 2024 onward.

The pre-application enables important consultation with your prospective supervisor before proceeding to the full application, and also confirms the availability of the supervisor, as there are strict limits on how many PhD students any one supervisor may take in a given year.

Before you can submit a full PhD programme application, you must send a pre-application (including your Research Title and Potential Supervisor) and your CV to [email protected] :

• Research Proposal Summary – 300 words (including Research Proposal Title and which member of faculty you wish to ask to be your supervisor and why)

We will assess your pre-application and discuss your proposal with your preferred supervisor before providing feedback. Your pre-application will provide the foundation for further discussions with your preferred supervisor or, should that individual be unavailable for supervision or deemed not an ideal fit, for introduction to other potential supervisors. Please do not send more than one pre-application proposal.

Once you are invited to submit a full programme application, you will be provided with a link to the main programme application portal.

Pre-application Deadline: November 2024 (TBC)

Following the submission of your application, your proposed supervisor will contact you to schedule an interview with members of Faculty.

Final candidates who are selected to advance to full application stage, please be appraised the due date will be Jan 2025 (TBC).

Please note that students requiring a Tier 4 visa to study in the UK are not permitted to study part-time.

The PhD programme is structured to help you attain the required skills you need to undertake your research and to write your thesis, allowing you to maintain and build momentum in your writing and to complete your PhD thesis within the three, or at maximum four-year time span allotted.

Year One:  You will take part in the skills course, a series of sessions that provide guidance on aspects of the PhD course and training with skills such as referencing programmes, image management and photography, using social media in your research, presenting at conferences, teaching, publishing, and archival research. During the first year you may also take language classes, either at the Courtauld or through neighbouring institutions, including LSE, SOAS, Kings, and the Geothe Institute.

There are also important courses held within the University of London for historical skills and archives, palaeography, public speaking, oral histories etc. Sessions held by ReSkIN, an organisation of the visual arts community across the University of London, is another important component of the first year programme. These sessions provide an opportunity to meet local scholars working on topics in the visual arts, and to attend sessions about writing and research on the visual arts.

Alongside these various training and skills events, you will attend the first year seminars. Over the course of Autumn and Spring terms, your cohort will come together on a weekly basis to explore theoretical and practical methods and approaches to research through readings, presentations, and discussions.

In the third term of the first year you will submit your first year monitoring paper. This consists of a chapter of your research, an outline of your thesis, and plan for the next two years of work; it will be read by your supervisory team and discussed at a formal meeting with them in early June. You have to pass this monitoring exercise to proceed to the following year. It is an important milestone in your PhD research, and the focus for your research and writing in the first year.

Year Two: During the second year of the program, students often take extended research or field work trips abroad. Training in languages or other skills may continue, and students may also be involved with working as teaching assistants and other opportunities for building professional experience. You will continue to meet regularly with your supervisory team. There is a further monitoring event during the second year that may take a variety of forms, but most often involves some sort of presentation of your research to faculty and research students.

Year Three:  In your third year, you will be focusing on completing and revising your chapters: this can be the most intense year for writing. You will meet with your supervisory team regularly and will also be required to take part in the Third Year Postgraduate Symposium, attended by MA and PhD students and faculty from across the Institute.

Fees and funding

Fees are subject to change each academic year. Fee information, including definitions of Home, EU, and overseas fee eligibility, can be found here .

Financial support for your studies

Courtauld Institute of Art Scholarships:  Scholarships are awarded on the basis of academic merits. The average PhD scholarship awarded is £5,000 – £10,000. Applications are welcomed from Home, EU and Overseas applicants and students. Find out more.

Consortium for the Humanities and Arts South-East England (CHASE): The Courtauld is one of nine leading institutions of higher education that form the CHASE Doctoral Training Partnership, funded by the Arts and Humanities Research Council (AHRC). CHASE awards are available to all students on a competitive basis. CHASE Scholarship holders receive tuition, research training, and a maintenance allowance for three years. For further information, visit the  CHASE website .

Further information about grants, and bursaries to support you during your studies at The Courtauld can be found here .

Please note students on this programme are not eligible to apply for Doctoral Loan provided by the UK Government.

Collaborative Doctoral Awards

We are delighted to be able to occasionally offer exciting Collaborative Doctoral Awards. These are specific, one-off projects proposed by a Courtauld-based academic to work in collaboration with an organisation outside of higher education.

We typically offer one Collaborative Doctoral Award each year – details will normally be published in April/May. Please check periodically for new award announcements.

Previous awards have included:

New Media Art Histories in Asia – AHRC Collaborative Doctoral Award 

Global Surrealism: Tracing International Networks – AHRC Collaborative Doctoral Award 

Net Art East: Post-Socialist Artists’ Networks and New Media – AHRC Collaborative Doctoral Award

Careers and employment

Many doctoral students aspire to advanced careers in the arts or academia, including roles in universities, museums, galleries, and non-profit organisations. Your supervisor and advisor will play an important role in counselling you around professionalisation and preparation for your future career. The PhD programme hosts a variety of other forums for career planning, discussions that begin in the first-year skills and methods seminar and continue throughout your time at The Courtauld.

Should you decide to pursue a career in a field outside those traditionally targeted by PhDs, you will find you degree has equipped you with superior skills in research, analysis, project design and management, and writing, among others.

The Courtauld Careers Service offers bespoke, one-on-one advice and support for exploring career options, enhancing employability, understanding and navigating the jobs and self-employment market, and making successful applications. This service is available for all graduates for up to two years after graduation.

To support you during your degree, we offer:

Wellbeing:  We have a dedicated Wellbeing team, including counsellors and advisors, available to provide you support in your health and wellbeing.

Academic skills: In addition to the PhD skills and methods seminar offered to all doctoral students in their first year, the academic skills tutor offers group and one-to-one help further develop your research skills. We also have two Royal Literary Fund fellows who will help you with your writing skills, concentrating on how to structure your writing and improve your written expression.

Supervisor and Advisor:  Your supervision team consists of both your primary supervisor and an advisor selected in consultation with your supervisor to provide complementary advice and support on research and writing. Structured and ad-hoc supervision sessions provide you with ongoing feedback and support as you develop your research.

Meet our students and alumni

Meet our students.

Ambra, Translating Collectivity: Surrealism of the Levant

The Courtauld PhD Programme has given me generous means to develop my professional and personal life. The full programme of Skills and Methodology seminars in Year 1 prepared me for the different stages of PhD life and allowed me to discuss in a collective manner the key theoretical frameworks and objects of my thesis, helping me make important strides in my research. The method is rigorously theoretical, as well as encouraging of an object-based approach through active and critical close looking. Through these seminars I formed meaningful connections with my peers. The PhD Study Room at The Courtauld also allows for a dedicated study space where PhD students can work, discuss ideas or kick back after a long day.

Outside of The Courtauld, the potential for independent study and research within the city is large, and students can choose where to spend their time. Nevertheless, the Institute fosters a dynamic and exciting community, with which I sought to become more involved. I attended the rich programme of lectures and conferences at the Research Forum, as well as the smaller seminars and symposia that take place on a weekly basis. I organised and convened a seminar for two years, Conversations Across Time, with the intention of bringing together research students across periods to discuss and grow their research through informal feedback. I was a PhD Representative for the Student Union for two years: getting involved with the SU is a precious way to get involved with the administrative side of the Institute and engage with the student body in meaningful ways. Finally, I delivered seminars on a Teaching Assistant post; while this is not a compulsory part of the PhD programme, it is a valuable experience which enriched my professional life and my research.

Lan, Connections in the Making and Meaning of the Art of Bhutan and Tibet in the 17 th  and 18 th  Centuries: a Study of the Wall Paintings at Tango Monastery

I joined Courtauld in 2013 as an MA student of the Conservation of Wall Painting Department. The teaching staff were dedicated in their task of training us – the next generation of wall painting conservators. The outlook was fundamentally international with an emphasis on being at the cutting edge of conservation practice. The course was intense; days filled with lectures, site visits, and practical work and evenings for preparation and assignments. Teaching took advantage of the large professional networks associated with the department, allowing us to benefit from the first-hand experience of expert practitioners and researchers.

My cohort had seven women that came from different parts of the world with diverse academic backgrounds. We spent three years together in the lab, studio, and on-site, sharing accommodation during fieldwork and discussing wall paintings all the time. These shared experiences and interests naturally form the basis of friendships as well as a long-lasting network of colleagues.

One of the most precious and unique aspects of being at The Courtauld was the opportunity to do hands-on work during fieldwork campaigns every year. In fieldwork campaigns students function as full-team members rather than interns, sharing responsibility for planning and managing the programme of work. Crucially, we participate in discussion and decision-making with supervisors helping us to develop a critical approach to conservation. Each fieldwork experience was different but importantly they all involved an intimate engagement with the site and an expansion of my understanding of the roles and responsibilities of a conservator.

My primary academic interest has been always in Himalayan wall paintings. It was grateful to find a research topic that I really passionate about during my MA dissertation, and with support from professors and foundation I was able to continue the research as a PhD student. This research was structured to complement and support conservation projects within the department. Since then, I have been fortunate to dedicate my study to this subject that I love. My internal and external supervisors have kindly provided support throughout the time, as well as other senior colleagues in the broader Courtauld network. The environment here in the department was truly like a family where we learned from, and supported, each other.

Natasha, The Masculine Image in Qajar Iran (1789 – 1925)

I guess you could say I have enjoyed my time at The Courtauld, given that I’m still here nearly ten years after starting my BA! When I attended my undergraduate interview all those years ago, the student ambassador was posed with a question by a very eager parent: “what do you do after the undergraduate programme?” “Well,” came the answer, “if you’re lucky, you go on to do an MA, and if you’re even luckier you go on to do a PhD!”. Little did I know that, as luck would have it, that ended up being my trajectory as I waited nervously in a corridor. I can’t say I felt like the ‘typical’ Courtauld candidate – I was from a low income background, was state school educated and with no prior qualification in the subject apart from a love for art – even the grandiosity of the spiral staircase of the Somerset House campus alone made me think twice if this was the place for ‘people like me’, despite having fallen in love with the prospect of studying here. However, my fears were quickly allayed as, a little while later, The Courtauld became my academic home for the foreseeable future.

A Courtauld education, be it undergraduate or postgraduate study, is an exercise in saturation – be prepared to live and breathe art and investigate every foreseeable corner of the discipline. A rigorous and pioneering global approach to is given to both theoretical and material study; something which is highlighted by the component of methodology discussion seminars with the cohort during the first year as part of the PhD programme, which are taken alongside your own independent area of research. As a result, what can often be a lonely road of doctorate study can often result in a close-knit student body. World class supervision is also complimented by regular opportunities to present and publish your research, such as seminar groups for each subject area, yearly conferences and the Immediations journal. My own research was also supported by the ARHC CHASE consortium for the humanities, which as well as providing essential financial support also encouraged inter-disciplinary interaction with peers within other disciplines at participating institutions.

Meet our alumni

Adele Tan (MA 2003, PhD 2009), Senior Curator, National Gallery Singapore

After studying English Literature at the National University of Singapore, Adele completed both her MA and PhD at The Courtauld.

As a curator, Adele’s research focuses on contemporary Southeast Asian and Chinese art, with a special interest in performative practices, photography, and new media. Some of her major exhibitions include  Yayoi Kusama: Life is the Heart of a Rainbow (2017)  and  Awakenings: Art in Society in Asia 1960s-1990s.

Before joining the National Gallery Singapore, she was assistant editor at the British Journal  Third Text  and her articles have appeared in numerous other scholarly publications, exhibition catalogues and journals such as  PAJ, Broadsheet, Yishu  and  Eyeline . Adele was part of the curatorial panel for the 4 th  Singapore International Photography Festival and is a member of the International Association of Art Critics.

In addition to her curatorial role, Adele also lectures at the National University of Singapore.

Jack Hartnell (BA 2008, MA 2009, PhD 2014), Art History Lecturer, University of East Anglia, Norwich

Jack received his PhD in 2014, after which he held fellowships at the Victoria and Albert Museum in London, Columbia University in New York and the Max-Planck-Institut für Wissenschaftsgeschite in Berlin, as well as a position as the Andrew W. Mellon Foundation Postdoctoral Fellow at The Courtauld. He joined the UEA faculty in 2017.

Jack’s research and teaching focuses on the visual culture of late medieval and early renaissance medicine, cartography, and mathematics. His most recent book,  Medieval Bodies: Life, Death and Art in the Middle Ages , was the Sunday Times History Book of the Year in 2018.

Jack was also heavily involved in launching  Courtauld Books Online  – an important academic resource where users can find high-quality, peer-reviewed art history monographs, available to read online for free.

Nancy Ireson (PhD 2005), Deputy Director for Collections and Exhibitions, Barnes Foundation, Philadelphia

Nancy Ireson completed her BA, MA and PhD at The Courtauld, finishing her PhD in 2005 with a thesis on  Making Images: The Work and Early Critical Reception of Henri Rousseau . After her time at The Courtauld she took up positions at some of the world’s leading art institutions, including Tate Modern, The National Gallery, The Courtauld, the Leverhulme Trust and the Victoria and Albert Museum in London, as well as the Art Institute of Chicago and the Morgan Library and Museum in New York.

At Tate Modern, where Nancy was Curator of International Art between 2015 and 2018, she curated several blockbuster exhibitions, including the world-famous  Picasso 1932: Love, Fame, Tragedy exhibition  (2018) and the memorable Modigliani exhibition (2017-2018).

Nicholas Cullinan (BA 2002, MA 2003, PhD 2010), Director, National Portrait Gallery, London

Nicholas Cullinan is an art historian, curator and current Director of the National Portrait Gallery, London. He completed his BA, MA and PhD at The Courtauld and his PhD thesis,  The Archeology of Knowledge: Excavating Arte Povera , was supervised by Professor Sarah Wilson. During his student days Nicholas worked as a visitor services assistant at the National Portrait Gallery, little knowing that he would later become its director, aged just 37. Nicholas has been responsible for leading a £35.5m transformation of the gallery, with the aim of making it “more relevant, more open and more accessible.”

Prior to taking the helm at the National Portrait Gallery, Nicholas worked in some of the most prestigious museums and galleries in the world, including the Guggenheim museums in Bilbao, New York and Venice, and curatorial roles at Tate Modern and The Metropolitan Museum of Art in New York.

During the course of his career Nicholas has curated highly acclaimed exhibitions, including  Henri Matisse: The Cut-Outs  at Tate Modern, which was one of the most successful exhibitions in the gallery’s history.

PhD Virtual Open Day

Studying at The Courtauld 2023/24: an overview

Further information

Current Research Students

Completed PhD Theses

Hit enter to search or ESC to close

Winterthur/UD Program in Art Conservation

Image Caption: Dr. Rosie Grayburn (right) and graduate student Yan Ling Choi examine the elemental composition of the pigments on “Helen’s Scrapbook House” using non-destructive X-ray fluorescence  analysis.

The Winterthur/University of Delaware Program in Art Conservation (WUDPAC) is a graduate-level program jointly sponsored by the University of Delaware and Winterthur. It is a three-year course leading to a master of science in art conservation. The faculty is composed of Winterthur conservators in the Conservation Department and faculty members from the University of Delaware Art Conservation Department.

Faculty and students use fifteen well-equipped conservation studios, laboratories, examination rooms, and workshops in the Louise du Pont Crowninshield Research Building at Winterthur . This includes one of the largest and best-equipped museum analytical laboratories in the country. Winterthur’s comprehensive collection of early American art, architecture, furniture, textiles, silver, pewter, ceramics, glass, paintings, prints, and library and archival materials is world-renowned. The University of Delaware houses art studios for reconstructing historic techniques, science laboratories, a conservation laboratory, and administrative offices.

The WUDPAC curriculum is designed to develop essential skills in critical thinking, leadership, and communication; improve hand skills; introduce a spectrum of techniques and analyses in the assessment, preventive care and ethical treatment of cultural property; and develop an awareness of conservation literature, connoisseurship, and the history of technology of cultural property.

The curriculum is also designed to produce scientifically literate graduates capable of understanding the fundamental chemical and physical properties of art and cultural materials and the technology of their manufacture, deterioration, and preservation, as well as graduates who will be able to draw from and add to the scientific literature in their profession. A graduating student is prepared to work as a successful entry-level conservation professional. As part of their education, students share their work during conservation tours of the Winterthur conservation studios and laboratories and advise members of the public during monthly conservation clinics on the museum grounds. During the summers, students undertake an eight-week project at an institution, conservation laboratory, or historic or archaeological site. The entire third year (or internship year) is spent under the supervision and mentoring of conservation professionals at one or more host institutions or private laboratories, where the student functions as a productive staff member.

On-site Conservation Student Research & Activities

Student Seminars

Seminars featuring current WUDPAC students, faculty, and outside professional speakers provide broader insights into preservation issues and practices. These seminars are presented on Wednesday afternoons during the academic year and are open to the public.

Materials Research Projects

Master’s degree-level students complete their second-year science coursework in Winterthur’s Scientific Research and Analysis Laboratory (SRAL) . A year-long materials research project ensures that students have working familiarity and hands-on experience with instrumental methods of analysis as they relate to the activities of collections, interpretation, and conservation. Late in the spring semester, the students report on their results in a half-day symposium that is open to the public.

WUDPAC students and faculty are committed to meaningful and community-based work that addresses societal challenges, from equity and inclusion to sustainability, climate change, and health and well-being, as well as work that contributes to the growth of conservation research and practice.

As part of the museum’s and the university’s missions of service, WUDPAC students participate in regional and national public service initiatives , conservation tours of the Winterthur laboratories, and on-site conservation clinics , during which faculty and students share their knowledge about the care of cultural heritage, including family treasures, with collectors, curators, caretakers, or scholars. Faculty and students also contribute to local and global engagement projects, and WUDPAC is a long-standing partner in diversity initiatives that bring students from underserved communities to Winterthur Museum, Garden & Library for hands-on introductory courses in conservation and collections care, among other outreach activities.

• Dean’s Letter
• Administration
• Student Work
• Media Archive
• Master of Architecture
• M.S. Advanced Architectural Design
• M.S. Computational Design Practices
• M.S. Critical, Curatorial & Conceptual Practices
• Ph.D. Architecture
• New York/Paris
• Intro to Architecture
• M.S. Architecture and Urban Design
• M.S. Urban Planning
• Ph.D. Urban Planning
• M.S. Historic Preservation
• Ph.D. Historic Preservation
• M.S. Real Estate Development
• Initiatives
• Exhibitions
• Publications
• Academic Calendar
• Hybrid Pedagogy Guide
• Policies & Resources
• Career Services
• COVID-19 Resources
• Student Organizations
• Avery Library
• Arthur Ross Architecture Gallery
• Making Studio
• Output Shop
• Preservation Technology Lab
• Thinking About Applying
• Application Process
• After You’re Admitted
• Tuition & Aid

Ph.D. in Historic Preservation

The PHD in Historic Preservation was launched in 2017 and is oriented toward the training of future historic preservation scholars. The first of its kind in the United States, the program aims to expand the discipline’s range of intellectual entanglements and cultivate new paradigms for scholarly research, experimental practice, global action, and communication.

As a doctoral program, it underscores a historical understanding of the discipline’s evolving challenges and purposes; promotes theoretical speculation on alternative modes of practice suited to deal with the ethical, technical, aesthetic, and social problems of the twenty-first century; and fosters a critical and scholarly culture conducive to preparing the discipline’s next leaders. Candidates are expected to conduct independent research with support from the preservation faculty’s wide range of expertise, the Historic Preservation Laboratory, the Avery Architectural and Fine Arts Library, and the rest of the scholarly community at GSAPP and Columbia University, more broadly.

The curriculum requires two years of coursework, one year to prepare and take general exams, and two years for independent research and writing. The total time to completion is expected to be five years. The Ph.D. in Historic Preservation is a program within the Graduate School of Architecture, Planning and Preservation (GSAPP) while the actual degree is granted by the Graduate School of Arts and Sciences (GSAS).

Admission for 2024

• The application deadline for 2024 admissions was January 4, 2024 and is now closed.
• For additional information about the application process and requirments, please see the GSAS website.

Please visit the Columbia University Graduate School of Arts and Sciences (GSAS) for admissions details.

In addition to the requirements shown on the GSAS website, all students must submit one transcript showing courses and grades per school attended, a statement of academic purpose, and three letters of evaluation from academic sources.

Applicants are encouraged to submit an optional portfolio if it speaks to their research interest in experimental preservation approaches that explore material intersections of the PAAST (Preservation Art Architecture Science and Technology) with urgent contemporary environmental and social issues. For more information on the portfolio format, please review the Admissions FAQ .

All international students whose native language is not English or whose undergraduate degree is from an institution in a country whose official language is not English must submit scores of the Test of English as a Foreign Language (TOEFL) or IELTS .

For more information, refer to the Admissions Information and Frequently Asked Questions pages.

Recent News

ALA User Menu

• Contact ALCTS

Breadcrumb navigation

• Member How-To

ALCTS is now part of Core: Leadership, Infrastructure, Futures! Visit us on our new Core website .

Preservation Education Directory: Programs in Conservation

• Share This Page

Introduction

Part i: continuing education, part ii: graduate courses, part iii: programs in conservation, part iv: additional resources and acknowledgements.

Founded in 1960, the Conservation Center is the oldest degree-granting graduate program in art conservation in the United States. The Conservation Center prepares students for careers in technical study and conservation through a four-year graduate program combining practical training in art conservation with historical, archaeological, curatorial, and scientific studies. Unique at NYU, students receive a dual degree, the MS in Conservation of Historic and Artistic Works and the MA in the History of Art and Archaeology. Besides specializing in paintings, objects, paper, and modern and contemporary conservation, our students can select to focus their studies on library and archives conservation.

The Conservation Center serves as a primary host institution for the Mellon Library and Archive Conservation program and coordinates the many educational resources available in the New York City area. Through collaborative partnerships with Columbia University Libraries (CUL), the Palmer School of Library and Information Science, Long Island University (LIU), and the Morgan Library & Museum (ML&M), options for high-caliber graduate-level training in library and archive conservation are increased. The students follow a targeted degree path that includes general core conservation courses, as well as advanced and specialized training.

Program Website: www.nyu.edu/gsas/dept/fineart/conservation/mellon-library.htm

Link to course guide or list: Conservation Center Library Archive Program, Current Outline PDF

Founded in 1970, Buffalo State’s Art Conservation Department is one of the comprehensive programs in North America. Accepting only 10 students a year, the three-year graduate program educates and trains conservators to treat cultural heritage and fine art including books, prints, drawings, photographs, paintings, textiles, ceramics, glass, metals, ethnographic and archaeological objects, and time-based media. Upon successful completion of the program students are awarded a master’s and a certificate of advanced studies (MA & CAS) in conservation.

Link to course guide or list: http://artconservation.buffalostate.edu/program

The University of Delaware and Winterthur Museum, Garden & Library offer a joint masters-level program. It is a three-year course leading to a Master of Science in Art Conservation, with majors in objects, furniture, paintings, textiles, paper, and library/archival materials. The curriculum is designed to educate and train conservation professionals who can carry out examination, analysis, stabilization and treatment, speak to general principles of collection care, and have a broad academic background in science and the humanities. The University of Delaware also offers an undergraduate major in Art Conservation and a PhD in Preservation Studies.

Course guide: www.artcons.udel.edu/masters/curriculum/coursework

Sample curricula for doctoral studies program: www.artcons.udel.edu/doctorate/curriculum

What do pre-program interns do in Paper Conservation?

A “pre-program” intern, as the term is used in the conservation profession, is someone who is interested in applying to a graduate program in conservation but hasn’t yet begun graduate studies. Internship experience in museums or private conservation practice has become increasingly important and commonplace for applicants to US graduate programs in art conservation over the last decade or so and is required for admission to some programs.

Pre-program intern Adriana Vergara measuring drawings for new housing

I was a pre-program intern in the Paper Conservation lab here for about a year as a senior in college. Now I can pay forward the time and attention my mentors gave me as a supervisor for our pre-program interns today. Although sometimes I feel like I went to graduate school in the dark ages (pre-smartphones!) the experience of being a pre-program intern in our lab hasn’t changed all that much. The only major change is that all interns at The Met are now paid, a most welcome development that will hopefully aid in increasing diversity among conservation and other arts-related graduate programs.

The three major criteria for admission into conservation graduate programs are academic requirements in chemistry, studio art, and art or cultural history. As pre-program interns in the Paper Conservation lab, prospective conservation graduate students can start to experience how each of these areas come into play in the daily work of a conservator.

We expect that interns have begun the chemistry requirements for all conservation graduate programs, including organic chemistry, as it is foundational to an understanding of conservation and many of the basic tasks in a conservation lab. We ask our pre-program interns to prepare solutions that we use for cleaning, adhesives, and other purposes. What can seem abstract in chemistry class becomes concrete as interns use knowledge of pH, solubility, molecular weight, polarity, etc., to produce materials used in conservation treatments. Pre-program interns are also responsible for the preparation of wheat starch paste, our primary adhesive, which skews a little bit closer to cooking—but as any chef will tell you, there’s a good deal of chemistry involved in the kitchen as well

Adriana filling syringes with cooked wheat starch paste

We sometimes conduct mini-experiments with our interns, such as this one involving different formulations for heat-set tissue used for tear repairs. Adriana Vergara, our intern this fall, used three different adhesive recipes and two different types of Japanese tissue to compare the results on mock-ups and determine, along with the lab conservators, the best combination for use in an upcoming project.

Trying out different heat-set tissue recipes for comparison

While conservators are not required to be accomplished artists, manual dexterity (known in the field of conservation as “hand skills”), an eye for color and texture matching, and a deep knowledge of artists’ materials are essential for conservation work. Pre-program conservation interns typically engage in some basic conservation treatments on non-accessioned objects. This allows interns to explore hand skills such as using a microscalpel blade to reduce adhesive, re-aligning torn paper and repairing tears with wheat starch paste and Japanese tissue, and surface cleaning with vinyl erasers. Pre-program conservation interns also design and construct storage housings such as custom boxes.

A tear-repair treatment project

Art history

A strong background in art history is a natural part of a conservator’s skill set, as an understanding of the materials, technique, and artistic intent of a particular object is essential to determine an appropriate course of treatment. The unique expertise of a conservator comes, principally, from looking closely at many objects, and building up a strong base of understanding about how specific artists’ materials change over time and how they will react to conditions or treatment.

The experience of being a pre-program intern in a conservation lab is the first step towards building that knowledge base. Conservators in our lab take time to discuss objects ready for treatment or examination with our interns to point out what we’re looking for and how it relates to the technique or materials of that particular object. We also have pre-program interns accompany us in exhibition installations and condition checks in our central storeroom, giving a sense how conservation functions within the activities of a museum and allowing interns to look at as much art as possible.

While the experience of a pre-program intern in the Paper Conservation lab is somewhat dependent on the ever-changing activities of the moment, we always give our interns a broad view of the skills and knowledge needed for a career in art conservation. For some interns, this experience can lead to a better understanding of themselves and what kind of career or specialty they want to pursue. For myself—someone who thought I would become a paintings conservator—it meant discovering a love for the world of works on paper and their conservation!

PhD Projects

Obtaining a PhD in conservation is a relatively new phenomenon, as the academic discipline is still young. On this page you will find an overview of PhD research conducted at the University of Amsterdam.

Manual Skills

Cleaning Asian lacquer

Imaging Micro-Fading Tester (iMFT)

Picture Frames

Cleaning Modern Oil Paints

Copper in the Dutch Golden Age

Tin-glaze Tile Production

The Impact of Science in Conservation Practice

Catholic Liturgical Textiles in the 18th Century in the Netherlands

Collecting Archives of Objects and Stories

Masterful Mixtures

Reworking recipes.

The Consequences of Wax-Resin Linings

Glass Sickness

The universe between felt and wire

A.-J. Roubo’s L’Art du Menuisier

Between Concept and Material

Historical recipes for preparatory layers for oil paintings.

Technical Art History

Becoming a phd, european network for conservation-restoration education.

According to the 2001 Clarification Paper of the European Network for Conservation-Restoration Education (ENCoRE), doctoral studies in conservation and restoration encompass basic research, applied research, experimental development, or a combination of these. This can be on fundamental research into the artmaking processes, on innovative conservation treatment methods, material deterioration processes, or on theory and history of conservation.

Find examples in the menu at the left, and see for more information about obtaining a PhD at the UvA the link below. In addition see information on a PhD Colloquium and a PhD and Postdoc network both devoted to conservation research.

More about obtaining a PhD at the UvA

The Ulrich Schiessl PhD Colloquium

The Ulrich Schiessl PhD Colloquium presents PhD–projects of graduated conservators and examplifies the wide variety of topics. The purpose of the Colloquium is to provide a platform for PhD students in conservation–restoration and teachers involved in PhD study programs to discuss the state of the art of the discipline and to set up cooperation and exchange between institutions providing PhD programs in conservation.

Website ENCoRE

CoCARe PhD and Postdoc Network

CoCARe is an interdisciplinary PhD and Postdoc Network for Conservation of Contemporary Art Research. The network brings together international researchers in the humanities, social sciences, conservation science, and other related areas. Its main goal is to encourage and facilitate the exchange of knowledge and expertise among early and mid-career researchers in the field of conservation of contemporary art.

Website CoCARe PhD and Postdoc Network

Cookie Consent

The UvA uses cookies to ensure the basic functionality of the site and for statistical and optimisation purposes. Cookies are also placed to display third-party content and for marketing purposes. Click 'Accept all cookies' to consent to the placement of all cookies, or choose 'Decline' to only accept functional and analytical cookies. Also read the UvA Privacy statement .

• People Directory
• Safety at UD

• Graduate Programs

Art Conservation: M.S.

The program offers a three-year interdisciplinary curriculum leading to a degree of master of science in art conservation. Established in the spring of 1974 as a cooperative effort between Winterthur and the University, the program is designed to educate and train conservation professionals who can carry out the examination, stabilization and treatment of art and artifacts, are versed in general principles of collection care, and have a broad academic background in science and the humanities to assure enlightened decision-making. The following subjects are studied: materials science, history of art, archaeology, art and artifact technology, craft skills, cultural context, preventive maintenance, art care treatment techniques and conservation history, and ethics and philosophy. Major conservation specialty areas include textiles, wood, paper, photographs, library materials, paintings, natural science collections, and anthropological, historical, decorative and art objects of all materials.

Application Deadlines

The  2023-2024  UD graduate student tuition rate per credit hour is $1028 .

Return to All Programs

Apply Now >

Contact info, program info.

Graduate College

Prospective Students

• Graduate Admissions
• Recruiting Events and Resources
• Professional & Continuing Education
• One UD Degree Wasn't Enough for Me
• Cost of Attendance
• Graduate Community Portal
• Graduate College Council
• Event Photography and Videography Policy

234 Hullihen Hall, Newark, DE 19716 USA   [email protected] General: (302) 831-6824 Fax: (302) 831-8745

Art Conservation Training

Sources for degrees, seminars, and mid-career training, training in the united states.

Advisory Council on Historic Preservation Old Post Office Building Room 809 1100 Pennsylvania Avenue, NW Washington, DC 20004 Certificate of attendance for seminars.

American Academy of Decorative Finishes PO Box 12253 Scottsdale, AZ 85267 (602) 991-8560 Teaches the fine art of decorative finishes, courses, and videos.

Amigos Library Services 14400 Midway Road Dallas, TX 75244-3509 (972) 851-8000; (800) 843-8482 Courses in paper-based materials and collections.

Campbell Center for Historic Preservation Studies 203 East Seminary Street PO Box 66 Mt. Carroll, IL 61053 (815) 244-1173 Courses in conservation.

Cathedral Stone Products, Inc. 8332 Bristol Court #107 Jessup, MD 20794 (800) 684-0901 FAX (800) 684-0904 Three-day stone patching training course offered.

Colonial Williamsburg Williamsburg Institute PO Box 1776 Williamsburg, VA 23187-1776 (800) 603-0948; (757) 565-8637 FAX (757)565-8630 Forums, symposiums, programs, workshops, and classes.

Columbia University Graduate School of Architecture, Planning and Preservation 400 Avery Hall 1172 Amsterdam Avenue New York, NY 10027 (212) 854-3518 FAX (212) 864-0410 Degree programs in architecture, planning and preservation.

Conservation Center for Art and Historic Artifacts  (CCAHA) Preservation Services Office 264 South 23rd Street Philadelphia, PA 19103 (215) 545-0613 FAX (215) 735-9313 Workshops on conservation.

Conservation Center of the  Institute of Fine Arts New York University 14 East 78th Street New York, NY 10021 (212) 772-5800 FAX (212) 772-5807 Contact: Margaret Holben Ellis, Chairman Graduate degrees in conservation.

Eastfield Village School of Historic Preservation Box 143 RD, 104 Mud Pond Road East Nassau, NY 12062 (518) 766-2422 Workshops in historic preservation, traditional trades and domestic arts.

The Finishing School, Inc. 50 Carnation Avenue, Building 2 Floral Park, NY 11001 (516) 327-4850 Classes in finishing and painting techniques and restoration.

George Washington University Historic Preservation Program American Studies/Urban Planning Washington, DC 20052 Masters, PhD or MURP degrees in historic preservation.

Getty Conservation Institute 1200 Getty Center Drive Los Angeles, CA 90048-1685 (310) 440-7320 FAX (310) 440-7703 Courses in conservation.

International Preservation Trades Workshop PO Box 1815 Rockville, MD 20849-1815 (301) 545-0000 FAX (301) 545-0020 Demonstrations, discussions, meetings, events.

Midwest Art Conservation Center 2400 Third Avenue Aouth Minneapolis, MN 55404 (612) 870-3120 A non-profit regional center providing education and training.

National Preservation Institute National Building Museum Judiciary Square Washington, DC 20001 (202) 393-0038 Introductory and specialized seminars in historic preservation.

National Trust for Historic Preservation Director of Education 1785 Massachusetts Avenue, NW Washington, DC 20036 Seminars and conferences.

North American School of Decorative Art  (NASODA) 334 South Ardmore Avenue Villa Park, IL 60181 (630) 833-5050 Fax (630) 834-1969 NASODA offers decorative painting and faux finish courses based on European traditions.

North Bennet Street School 39 North Bennet Street Boston, MA 02113-1914 (617) 227-0155 9 Full-Time programs in fine craftsmanship, including Bookbinding, Jewelry Making & Repair, Cabinet & Furniture Making, and more. Continuing Education courses offered well in book arts, woodworking, jewelry making, and musical instruments. 

Northern Virginia Community College 6901 Sudley Road Manassas, VA 20109-2399 (703) 257-6610 Stone Carving and Restoration Certificate.

Period Details 16841 Kercheval Place, 2nd Floor Grosse Point, MI 48230 (313) 885-9237 Workshops in decorative-paint techniques are offered.

Preservation Trades Network PO Box 10236 ROckville, MD 20849-0236 (866) 853-9335 FAX (866) 853-9336 Workshops from skilled demonstrators in trade and preservation.

Restoration & Renovation Expo and Conference 129 Park Street North Reading, MA 01864 Annual event with conference, exposition, and workshops.

Restore Restoration Skills Training Program 160 South Street New York, NY 10038 Certificate of training; workshops.

Riverbend Timber Framing, Inc. PO Box 26 Blissfield, MI 49228 (517) 486-4355 Workshops in timber-framing offered.

Rocky Mountain Painting 240 Evergreen Drive Park City, UT 84060 (800) 527-9284 Decorative painting workshops.

San Gemini Preservation Studies Program, Italy International Institute for Restoration and Preservation Studies, New York 203 Seventh Avenue Brooklyn, NY 11215 (718) 768-3508 The San Gemini Preservation Studies program (SGPS) works in collaboration with other institutions to promote studies in the preservation of cultural heritage. The program has existed since 1999 and was originally sponsored by the University of Wisconsin-Milwaukee. It is now a part of the International Institute for Restoration and Preservation Studies. The program’s courses are aimed at architects, planners, art historians, museum curators, historians, engineers, and other individuals who will be involved in the planning, management and study of cultural heritage. Programs in San Gemini, Italy: Historic Building Analysis and Restoration; Analysis and Restoration of Archaeological Ceramics; Traditional Painting Methods and Restoration Techniques; Restoration of Bookbindings; Restoration of Paper in Books and Archival Materials

Smithsonian's  Museum Conservation Institute  (MCI) Smithsonian Institution Museum Support Center 4210 Silver Hill Road Suitland, MD 20746 (301) 238-1240 FAX (301) 238-3709 Fellowships and internships.

State University College at Buffalo Art Conservation Department 1300 Elmwood Avenue 230 Rockwell Hall Buffalo, NY 14222-1095 (716) 878-5025 FAX (716) 878-6914 Contact: Chris Tahk, Program Director Graduate degree in conservation.

Straus Center for Conservation and Technical Studies Harvard University Art Museums 32 Quincy Street Cambridge, MA 02138 (617) 495-2393 FAX (617) 495-9936 Graduate and postgraduate internships.

University of Delaware/Winterthur Museum Art Conservation Program 303 Old College University of Delaware Newark, DE 19716 (302) 831-2479 FAX (302) 831-4330 Contact: Joyce Hill Stoner, Director Undergraduate, graduate, and postgraduate degrees in conservation.

University of Pennsylvania Graduate Program in Historic Preservation 115 Meyerson Hall Philadelphia, PA 19104-6311 (215) 898-3169 FAX (215) 573-6326 Degree program in conservation and historic preservation.

University of Texas at Austin  Graduate School of Library & Information Science Preservation & Conservation Studies SZB 564 Austin, TX 78712 (512) 471-3821 FAX (512) 471-3971 Preservation and conservation studies courses, graduate degree.

US Heritage Group 3516 North Kostner Chicago, IL 60641 (773) 286-2100 Courses in historic buildings conservation.

International Training

Algonquin College of Applied Art & Technology Museum Technology Programme 1385 Woodroofe Avenue Nepean, ON K2G 1V8 Canada (613) 727-9400 Courses in the museum technology program.

Amsterdam-Maastricht Summer University P.O. Box 53066 NL-1007 RB Amsterdam The Netherlands +31 (0)20 620 0225 Summer courses on art history and management intended for post-graduate students, professional art historians and conservation scientists.

Architectural Association School of Architecture 34-36 Bedford Square London WC1B 3ES United Kingdom Architectural Association Graduate Diploma in building conservation or conservation of historic landscapes, parks and gardens.

Association Ouvrière des Compagnons du Devoir 82, Rue de l'Hotel-de-Ville Paris F 75004 France Craft specialization program training at all levels.

Canadian Conservation Institute Training and Information Coordinator 1030 Innes Road Ottawa, ON K1A 0M5 Canada (613) 998-3721 FAX (613) 998-4721 Courses, seminars, and internships.

Canberra College of Advanced Education Conservation of Cultural Materials PO Box 1 Belconnen, ACT 2616 Australia Bachelor or Masters of Applied Science in Conservation of Cultural Materials.

Cathedral Works Organisation Ltd. Terminus Road Chichester West Sussex, PO19 2TX United Kingdom Certificate of attendance in stone carving and crafts.

City & Guilds of London Art School

Collège Montmorency Programme de muséologie 475, boul. de l'Acenir Laval, Québec H7N 5H9 Canada Courses in the museology program.

City & Guilds of London Art Schools 124 Kennington Park Road London SE11 4DJ United Kingdom Tel: +44 (0)20 7735 2306 [email protected] Offers undergraduate and postgraduate courses in conservation of historic objects, wood, stone carving and fine art. MA in Art & Materials Histories

Courtauld Institute of Art University of London 20 Portman Square London W1H 0BE United Kingdom 01-935-9292 Degree programs in conservation.

The Building Conservation Training Centre Architectural Conservation Branch English Heritage 429 Oxford Street London W1R 2HD United Kingdom 01705 580068 Courses and seminars in buildings, monuments, and architectural conservation and preservation.

Haute ecole dmarts appliques du canton de Neuchatel Rue de la Paix 60 CH-2301 La Chaux-de-Fonds Switzerland +41 032 919 26 26 FAX +41 032 919 23 33 Degrees in conservation of industrial heritage and archaeological/ethnographic artifacts.

Heriot-Wyatt University Edinburgh College of Art School of Architecture Lauriston Place Edinburgh EH3 9DF Scotland Masters degree in general architectural conservation.

History of Art with Materials Studies Department of History of Art University College London 43 Gordon Square London WC1H 0PD United Kingdom +44 (0)20 7679 4598

ICCROM Secretary of the Training Section via di San Michele 13 Rome RM-00153 Italy Certificate of attendance: courses in architectural conservation, scientific principles of conservation; wood conservation and stone conservation.

Institut Français de Restauration des Oeuvres d'Art (IFROA) 1, rue Berbier du Mets 75013 Paris France Program in conservation.

Institute of Archæology University College London 3134 Gordon Square London WC1H 0PY United Kingdom 01-387-7050 Degree program in conservation.

International Academic Projects 6 Fitzroy Square London W1P 6DX England (44) 207 380 0800 FAX (44) 207 380 0500 Professional training in conservation of antiquities, archaeology, collections management and museum studies.

International Conservation Center - Old Acre Saving the Stones Program - a 5 month international practical training internship in historical and archaeological conservation.

James Cook University of North Queensland Material Culture Unit Townsville, OLD 4811 Australia Graduate Diploma of Museum Curatorship, Masters or PhD degrees.

Jeunesse et Patrimoine Foundation Europeenne Culture 9 Avenue Franklin Roosevelt Paris F-75008 France Short courses available in the Architectural Heritage Training Workshop.

La Cambre - École Nationale Supérieure d'Architecture des Art Visuels 21, Abb. de la Cambre 1050 Bruxelles Belgique Program in conservation.

Laval University Department of Architecture Quebec, QUE G1K 7P4 Canada Masters degree in architectural conservation.

Leicester Polytechnic School of Architecture PO Box 143 Leicester LE1 9BH United Kingdom Post-graduate diploma in architectural building conservation.

London School of Picture and Frame Conservation 36 Lancaster Park Richmond-upon-Thames Surrey TW10 6AD England Painting conservation and restoration, Frame restoration, and gilding

Maîtrise en Sciences et Techniques de Conservation et Restauration (MST) Université de Paris - 1 - Sorbonne U.E.R. d'art et archéologie 3, rue Michelet 75006 Paris France Program in conservation.

National Centre for Cultural Heritage Science Studies Faculty of Applied Science University of Canberra PO Box 1 Belconnen, ACT 2616 Australia Program in conservation.

National Museum of Belgrade Centre for Conservation Trg Republike 1a 11000 Belgrade Yugoslavia Conservation of ceramics - theoretical lectures and practical training.

Oro e Colore Via della Chiesa, 25 50125 Florence Italy +39 055 22 90 40 Workshops on the restoration of paintings and wooden objects

Queen's University Art Conservation Programme Art Centre Extension Kingston, ONT K7L 3N6 Canada (613) 545-2156 FAX (613) 545-6300 Bachelors and masters degree available in conservation and architectural conservation.

Royal Danish Academy of Fine Arts School of Conservation Esplanaden 34 1263 Copenhagen K Denmark FAX 44-33-74-47-77 Degree program in art conservation.

Scottish Development Agency Conservation Bureau 102 Telford Road Edinburgh EH4 2NP Scotland Short term courses, conferences and seminars.

Sir Stanford Fleming College Collections Conservation and Management Program Sutherland Campus Brealey Drive Peterborough, ON K9J 7M8 Canada (705) 743-5610 FAX (705) 749-5540 Diploma in art conservation techniques.

South African Institute for Objects Conservation P.O. Box 122 Joubertina 6410 South Africa +27 42 273 1567 Certificate courses and mid-career training in ceramics conservation.

Studio Art Centers International - Florence, Italy Institute of International Education SACI Coordinator US Student Programs 809 United Nations Plaza New York, NY 10017-3580 FAX (212) 984-5325 Degree programs and training in conservation.

Technical Education Institute (TEI) of Athens Ag. Spyridonos Str. GR-12210-Egaleo/Athens Greece (+301) 5385100 FAX (+301) 5911590 Degree programs and training in conservation.

The Textile Conservation Centre Apartment 22 Hampton Court Palace East Molesey, Surrey KT8 9AU United Kingdom 0181 977 4943 FAX 0181 977 9081 Training courses in conservation of textiles.

Université de Montreal Faculté de l'aménagement CP 6128, Station A Montréal, QUE H3C 3J7 Canada Masters degree of Applied Science - architectural conservation.

University of Amsterdam Conservation and Restoration oude Turfmarkt 141-147 Room 003b 1012 GC Amsterdam The Netherlands Masterd degrees in eight specializations of conservation and restoration.

University College Dublin Architecture, Townplan Library Richview, Clouskea Dublin 14 Ireland Masters degree in architectural science in conservation studies.

University College London Qatar PO Box 23689 Georgetown Building Education City Doha, Qatar +974 4457 8680 MSc in Conservation Studies Specialist short courses in conservation and heritage

University of Alberta Textiles Analysis Service 301 Printing Service Building Edmonton, Alberta T6G 2N1 Canada (403) 432-3832 Courses in conservation.

University of Calgary Historical Resources Intern Program Urban and Regional Research Lab Faculty of Environmental Design 2500 University Drive, NW Calgary, AB T2N 1N4 Canada (403) 220-7426 FAX (403) 282-7298 Courses in conservation and restoration.

University of Glasgow Humanities Advanced Technology & Information Institute 2 University Gardens Glasgow G12 8QQ United Kingdom Digitisation Summer School.

University of Sydney Department of Museum Studies Sydney, NSW 2003 Australia Diploma in museum studies.

University of Toronto Museum Studies Program Robarts Library Suite 6003 Toronto, ON M5S 1A1 Canada Masters degree of Museum Studies.

University of Victoria Cultural Resource Management Program Continuing Studies PO Box 3030 STN CSC Victoria, BC V8W 3M6 Canada (604) 721-8462 FAX (604) 721-8774 Diploma in cultural conservation.

University of Wales Cardiff College School of History and Archaeology PO Box 909 Cardiff CF1 3XU BSc in Archaeological Conservation.

University of Western Ontario School of Library Science Elborn College London, ON N6G 1H1 Canada (519) 661-3542 Courses in conservation.

University of York Institute of Advanced Architectural Studies King's Manor York Y01 2EP United Kingdom Diploma courses and seminars.

West Dean College West Dean, Chichester West Sussex PO18 0QZ United Kingdom 44 (0) 1243 811301 FAX 44 (0) 1243 811343 Diploma courses and post-graduate diploma courses in conservation.

The following provide information on art conservation-related training:

American Institute for Conservation of Historic and Artistic Works (AIC),  Becoming a Conservator ./ Conservation Training in the United States

Association for Preservation Technology International,  APT Bulletin , annual special section on training.

Canadian Heritage Information Network (CHIN).  Conferences and Training  Listing.

Coleman, Christopher D.G., compiler,  Preservation Education Directory , Seventh Edition, Chicago, IL: American Library Association, Association for Library Collections & Technical Services, 1995.

Conservation Online.  Educational Opportunities in Museum, Library, and Archives Conservation/Preservation .

Global Museum Website.  Museum Studies  section.

International Council of Museums (ICOM) Training of Personnel COmmittee (ICTOP).  Information .

International Institute for Conservation - Canadian Group (IIC-CG),  Directory of Members , annual listing in the back of the directory.

National Trust for Historic Preservation,  Landmark Yellow Pages: All the names, addresses, facts, and figures you need in preservation , Preservation Press Publication, 1993, John Wiley & Sons Publishers.

National Institute for the Conservation of Cultural Property (NIC),  Directory of Members , 1993.

Old-House Journal Restoration Directory , updated annually, Dovetale Publishers.

Smithsonian Institution. National Museum of Natural History.  Museum Training for Anthropology Students .

UKIC & Museums & Galleries Commission, The Conservation Unit,  Training in Conservation: A Guide to Full-Time Courses in the United Kingdom , 1988.

US Department of the Interior, National Park Service, Cultural Resources,  CRM: Cultural Resource Training Director y, annual special edition on training.

US Department of the Interior, National Park Service, Cultural Resources,  Historic Preservation News: Special supplement , annual special edition on training.

You can also try contacting local universities and colleges in: Anthropology/archaeology department - Cultural resource management Architecture department - architecture, historic preservation Art/art history department - metals, ceramics, wood, etc. History department - historic preservation Home Economics/Textile department - textiles Library & Information Science department - paper, photographs, books, audio-visual materials

Other sources of conservation training are your local museum or historical society or a local library.

This list is not all-inclusive.

The Smithsonian Institution, Museum Conservation Institute (MCI), gives no endorsements for any products, materials or services mentioned in this pamphlet and is not responsible for problems from their use or misuse. MCI does not make any warranty, expressed or implied; does not assume any legal liability or responsibility for the accuracy, completeness, or usefulness of any information or process disclosed; nor represents that its use would not infringe privately owned rights. If any organizations or other pertinent information has been inadvertently excluded please contact MCI.

Compiled: Ann N'Gadi Created: June 1996 Updated: September 2006

Apply to the Dual MS/MA Degree in Conservation and Art History

The dual-degree conservation program, the only one of its kind in the nation, is four years of full-time, funded study: three years of coursework and one year of Internship. Our students receive a generous funding package, consisting of a tuition-free education, comprehensive health care coverage, and living stipends to offset expenses while a full-time graduate student. In addition, we provide our students with starter toolkits; membership in AIC ; fully-funded conservation experiences at Villa La Pietra in Florence, Italy, and archaeological excavations in Turkey, Greece, Sicily, and Egypt; as well as a variety of practical skill-building workshops. With a 98% placement rate, our graduates are leaders in the field of conservation with many serving as museum department heads, within government institutions, or proprietors of their own private practice.

Each year, the Institute receives over 60 applications for the conservation dual-degree program. Over twenty applicants are extended an invitation to interview remotely for an entering class of no more than eight students.

To speak to someone about the program or to learn more about the admissions process, contact [email protected] .

Requirements for Admission

The study of art conservation requires a background in studio arts, art history, and laboratory science. Thus, applicants need to provide evidence of having this experience, even if it falls outside their major area of study.

Courses taken in fulfillment of the admission requirements can be taken at any accredited institution, including community college, by enrolling as a non-degree matriculating student. Because we are a dual-degree program, where students earn their MA in the History of Art and Archaeology and MS in the Conservation of Historic and Artistic Works, we look closely at art history coursework and the ability to excel in a rigorous art history master's program. Ideally, upper-level art history courses should contain a strong writing and research component, where outcomes include substantially researched papers with proper citations and footnotes, following Chicago Manual of Style, or similar. The science classes used towards our prerequisites must also contain a laboratory, hands-on component. Generally speaking, these would be science courses for majors or a pre-med track and not the more simplified chemistry for general studies or applied sciences. See below for more detail on these and all other requirements.

All prerequisite courses in art history and laboratory science must be completed at an accredited institution on a grade basis, not pass/fail, with grades of B or higher. Students who enroll in coursework at institutions that only provide pass/fail options, like the School of the Art Institute of Chicago or New College, should request instructor evaluations to be included with their application. The last course in fulfillment of necessary coursework (except Organic Chemistry I, see under “Laboratory Science Requirements" below) may be completed up to and including, but not beyond, the spring semester after the application deadline.

Applicants for the Mellon TBM Art Conservation program must declare their intention to enter this specialization at time of application. It is optional for all other applicants to declare a specialty, or remain undecided, when applying to the program.

International students wishing to enter the conservation program must satisfy the same admission requirements as U.S. applicants.

Candidates wishing to be considered for admission to the Institute for Fall 2025 must submit their applications by Friday, December 1, 2024 .

All applications to the Institute (MA, PhD, and MA/MS) are submitted electronically through GSAS online .

Applications are processed electronically by NYU's Graduate School of Arts and Science (GSAS) Office of Admissions. Technical questions about the application can be directed to [email protected] , 212-998-8050.

General Application Requirements

• Undergraduate B.A., B.F.A., or B.S. degree in any major. Students have come to the program with backgrounds in archaeology, art history, anthropology, classics, language studies, computer science, pre-med studies, studio arts, business, law, philosophy, etc.
• A reading knowledge of any one modern research language, other than English to be tested once the student begins the program. International students focusing on a field of study in which their native language is relevant may be granted an exemption from the language requirement pending submission of an exemption form signed by their advisor and the Director of Masters Studies.
• Submission of a focused, 2-4 page, double-spaced Statement of Academic Purpose, a recent CV, and an optional personal statement.
• The Institute requires at least three letters of recommendation that speak to the applicant's research and writing skills, and appropriateness to the art history and conservation fields.
• One art history writing sample is required.
• The GRE is no longer required for application to the conservation program.
• The Graduate School requires applicants who are not native English speakers to submit official TOEFL or IELTS score results. The TOEFL/IELTS requirement is waived if the baccalaureate or master’s degree was (or will be) completed at an institution where the language of instruction is English.

Art History Requirements

• Minimum of four college-level courses in upper-level art history, not including introductory or survey-level courses. These represent courses where emphasis is placed on research and writing.
• Acceptable coursework could include studies of different time periods, an artist’s studio practice, artistic movements, and studies in archaeology.

Laboratory Science Requirements

• Minimum of four college-level laboratory science courses.
• Organic Chemistry I is required of all applicants.
• Additional acceptable coursework can include: General Chemistry I & II, Organic Chemistry II, Physics, Biochemistry, Biology, or Material Science.
• Applied science courses, such as ecology, geology, environmental science, and astronomy are not permitted. Check with the conservation program should you have questions about your laboratory science coursework.
• Acceptable coursework for the TBM specialization only can include: Physical Computing, Computer Programming, Electronics, A/V Engineering, or Optics.
• Online hybrid coursework and high school advanced placement credits in laboratory science will be accepted on a case-by-case basis. Laboratory sections should be taught in-person.
• Organic Chemistry I must appear on the transcript at time of application, either completed or in progress. Transcripts showing Organic Chemistry I in the spring semester following the application deadline will cause the application to be considered incomplete.

Studio Art Requirements

• Studio experience need not come from graded coursework.
• Studio portfolios may contain examples of traditional artist techniques, e.g. watercolor, acrylics, oil paintings, photography, pen and ink drawings, etchings, screenprints, life drawings, pastels, charcoals, ceramics, etc., or craft-based techniques, e.g. glassblowing, needlepoint, costuming, knitting, furniture making, jewelry making, or papermaking.
• Applicants to the library & archive program should be prepared to show multiple examples of bookbinding as one of their areas of studio experience.
• Applicants to the TBM curriculum can show their experience with video editing, programming, circuit building, animation, app design, 3-D rendering/modeling, etc.

Prior Conservation Experience

• Pre-program conservation internship experience is not required for admission, and we actively discourage applicants from pursuing unpaid internships to gain treatment experience before graduate study at the Conservation Center. Instead, we are interested to learn about an applicant's in-depth engagement with conservation or associated fields such as collections care, registrar, curatorial, exhibition design, gallery management, their work as an artist’s assistant or in a professional framing shop, or materials analysis.

The Interview

Select, qualified applicants are extended an invitation to a virtual interview with the Admissions Committee, composed of full- and part-time conservation faculty in early March. At the interview, applicants must present evidence of their familiarity with, and knowledge of, a wide range of artists’ materials and techniques through a portfolio of relevant studio arts. A well-prepared interviewee should come ready to show five studio pieces to the Admissions Committee—one of which must make use of color. Should an applicant have prior conservation experience, a very brief 10-minute overview can be shared during the interview.

Prospective Students

Apply Online

Frequently Asked Questions Faculty Directory Faculty & Fields of Study Visiting Students

PhD Program

Admission Requirements Degree Requirements

Conservation Program

Special programs.

Institute Opportunities Curatorial Studies Archaeological Excavations Global Study Opportunities

Financing Graduate Study

Tuition and Costs NYU Financial Aid GSAS Dean's Student Travel Grant

Contact the Institute

Building Hours Contact Information

If you wish to receive information on our upcoming events, please subscribe to our mailing list .

Accessibility

We strive to provide excellent digital access to all. Read the University's statement on accessibility .

1 PhD Degrees in Art Conservation 2024

• Art Studies
• Art Conservation

Art Studies (1)

• Applied Arts (2)
• Art Conservation (1)
• Art History (9)
• Art Theory (4)
• Arts Management (1)
• Computer Arts (1)
• Creative Arts (1)
• Fine Arts (8)
• Back to main category
• United Kingdom (0)
• Australia (0)
• Bachelor (0)
• Certificate (0)
• Diploma (0)
• Associate of Applied Science (0)
• Associate Degree (0)
• Graduate Certificate (0)
• Associate of Arts (0)
• Summer Course (0)
• Advanced Diploma (0)
• Graduate Diploma (0)
• Postgraduate Diploma (0)
• Foundation Year (0)
• Postgraduate Certificate (0)
• A-level (0)
• Preparatory Program (0)
• Doctor of Education (0)
• Juris Doctor (0)
• Advanced Certificate (0)
• Undergraduate Pathway (0)
• Undergraduate Certificate (0)
• Graduate Pathway (0)
• 3 years (1)
• 2 years (0)
• Full time (1)
• Part time (0)
• English (1)
• Spanish (0)
• Portuguese (0)
• Italian (0)
• On-Campus (1)
• Distance Learning (0)
• Blended (0)

PhD in Fine Arts- Doctoral School

The eugeniusz geppert academy of art and design in wroclaw.

• Wrocław, Poland

6 semesters

The Doctoral School of the Eugeniusz Geppert Academy of Art and Design in Wrocław is an artistic and research unit, that educates people with significant artistic achievements and high research potential. The doctoral program lasts 6 semesters and enables one to obtain advanced knowledge and skills. It is a preparation for receiving a Ph.D. degree in the field of art in the discipline of fine arts and art conservation.

Popular degree type

Popular study format

Popular education type

Popular locations

PhD Degrees in Art Conservation

Conservation studies looks at different threats to a healthy ecosystem. Students may gain a broad, interdisciplinary knowledge of a wide range of environmental issues. They may also learn about the economic, political and social forces involved in environmental degradation.

Requirements for the PhD program often involve the student having already obtained a Master’s degree. Additionally, a thesis or dissertation primarily consisting of original academic research must be submitted. In some countries, this work may even need to be defended in front of a panel.

Critical Conservation

"Critical Intervention: Alternatives to Preservation in Mexico" by Enrique Aureng Silva (MDes '18).

Critical Conservation applies issues of culture, history, and identity to design and development transcending such outdated dialectics as past-future, traditional-modern, and us-them.

By engaging 21st-century questions of environmental, social, and economic sustainability, Critical Conservation serves an ever-more pluralist and global society. It provides designers, real estate professionals, planners, and others with a foundation to understand the cultural systems that frame conflicts inherent in making progressive places. Unlike preservation programs that presume the permanence of architecture and use top-down regulation to reinforce existing power structures, Critical Conservation extends beyond issues of age, history, and aesthetics to offer a framework of theory and research tools encompassing social, political, and cultural meaning. This enables students to make nuanced decisions about the impact of conservation in complex urban/natural places.

Today when everything has a knowable history and meaning can be ascribed to anything, conflicts over place-making reveal the uses and abuses of history. Similarly interpretations of “nature” legitimate particular cultural values to control places just as gentrification and wars marginalize groups. This program offers students an understanding of embedded and temporal cultural systems, the tensions between progress and tradition, the issues of permanence and obsolescence and underlying forces often masked by the union of ideologies, preservation, and politics. Candidates propose research topics that apply Critical Conservation issues to topics in urbanism and landscape, art and design, real estate, energy, architecture, and related design fields.

Please visit the Critical Conservation website.

Affiliated Faculty and Associates

Anita Berrizbeitia , Professor of Landscape Architecture and Chair of the Department of Landscape Architecture Diane Davis , Charles Dyer Norton Professor of Regional Planning and Urbanism Jerold Kayden , Frank Backus Williams Professor of Urban Planning and Design Rahul Mehrotra , Professor of Urban Design and Planning Toshiko Mori , Robert P. Hubbard Professor in the Practice of Architecture Erika Naginski , Professor of Architectural History and Director of Doctoral Programs Antoine Picon , G. Ware Travelstead Professor of the History of Architecture and Technology Jorge Silvetti , Nelson Robinson Jr. Professor of Architecture Charles Waldheim , John E. Irving Professor of Landscape Architecture Stephanie Yuhl, Associate

2022 Design Studies Thesis Prize: Nicole Piepenbrink’s “HERE LIES DARBY VASSALL: Rendering the obscured and concealed history of slavery at Christ Church Cambridge”

by Nicole Piepenbrink (MDes ’22) — Recipient of the Design Studies Thesis Prize. The material…

Susan Snyder, George Thomas and Krzysztof Wodiczko , Faculty Advisors

Spring 2022

2020 Design Studies Thesis Prize: Karan Saharya’s “In the Name of Heritage: Conservation as an Agent of Differential Development, Spatial Cleansing, and Social Exclusion in Mehrauli, Delhi”

by Karan Saharya (MDes ’20) — Recipient of the Design Studies Thesis Prize I intend…

Susan Snyder and George Thomas, Faculty Advisors

Spring 2020

Architecture for a New World: Louis Kahn and Philadelphia

by Izzy Kornblatt (MDes ’19) — Recipient of the Design Studies Thesis Prize This project…

George Thomas and Susan Snyder, Faculty Advisors

Spring 2019

Student Work

The Overtown Commons Toolkit

by Elena Clarke (MDes ’20), Malika Leiper (MUP ’19), Chandra Rouse (MUP ’19) The Overtown Commons…

Critical Intervention: Alternatives to Preservation in Mexico

by Enrique Aureng Silva (MDes ’18) Historic buildings are the physical signs of the past.

Spring 2018

Critical Conservation of Chinese-American Culture: The story of Los Angeles’s five Chinese neighborhoods

by Hao Ding (MDes, ’17) In this project, I study the differences between Los Angeles’s…

Spring 2017

Gateway of India: An Undesirable Fragment of Colonial Architecture

Javier Ors Ausin (MDes ’17) The extravaganza of the British colonial power in India left…

Towards a New Geography: Rural Tourism in China

by Guan Min (MDes ’17) Urban, widely understood as the elementary unit of human settlement,…

Critical Chinese Copying

by Boya Gua (MDes ’17) The modern influence of the West in changing the concepts…

In Search of Authenticity: A Case Study of San Francisco Chinatown

by Yunjie Li (MDes ’16) A city or neighborhood is attractive because of its unique…

Andres Sevtsuk, Faculty Advisor

Spring 2016

Un-Greening Golden Gate Park

by Josselyn Ivanov (MDes ’16) — Recipient of the 2016 Thesis Prize, awarded by the faculty of…

Power and Place: Seattle

by Arthur Leung (MDes ’17), Boya Guo (MDes ’17), Hao Ding (MDes ’17), Mina Kim…

Charleston: Curating Exclusion

by Javier Ors-Ausin (MDes CC ’17), Dana McKinney (MArch/MUP ’17), Megan Mahala Echols (MUP ’16),…

Reenactment

by Qinqin Wu (MDes ’15) Contemporary types of reenactments challenge the prevalent view that conservation…

Susan Snyder, George Thomas and K. Michael Hays , Faculty Advisors

Spring 2015

Other[ed] City: (Re)presentations of Muslim Identities in Contemporary Urban West

by Somayeh Chitchian (MDes ’13) Working from the broad cultural context implicit in Critical Conservation,…

K. Michael Hays , Susan Snyder, George Thomas and Jana Cephas, Faculty Advisors

Spring 2013

Reimagining Design with Nature: ecological urbanism in Moscow

• Reflective Essay
• Published: 10 September 2019
• Volume 1 , pages 233–247, ( 2019 )

Cite this article

• Brian Mark Evans   ORCID: orcid.org/0000-0003-1420-1682 1  

976 Accesses

2 Citations

Explore all metrics

The twenty-first century is the era when populations of cities will exceed rural communities for the first time in human history. The population growth of cities in many countries, including those in transition from planned to market economies, is putting considerable strain on ecological and natural resources. This paper examines four central issues: (a) the challenges and opportunities presented through working in jurisdictions where there are no official or established methods in place to guide regional, ecological and landscape planning and design; (b) the experience of the author’s practice—Gillespies LLP—in addressing these challenges using techniques and methods inspired by McHarg in Design with Nature in the Russian Federation in the first decade of the twenty-first century; (c) the augmentation of methods derived from Design with Nature in reference to innovations in technology since its publication and the contribution that the art of landscape painters can make to landscape analysis and interpretation; and (d) the application of this experience to the international competition and colloquium for the expansion of Moscow. The text concludes with a comment on how the application of this learning and methodological development to landscape and ecological planning and design was judged to be a central tenant of the winning design. Finally, a concluding section reflects on lessons learned and conclusions drawn.

This is a preview of subscription content, log in via an institution to check access.

Access this article

Price includes VAT (Russian Federation)

Instant access to the full article PDF.

Rent this article via DeepDyve

Institutional subscriptions

Similar content being viewed by others

Principles for public space design, planning to do better

Matthew Carmona

Planning nature-based solutions: Principles, steps, and insights

Christian Albert, Mario Brillinger, … Barbara Schröter

Acknowledgements

The landscape team from Gillespies Glasgow Studio (Steve Nelson, Graeme Pert, Joanne Walker, Rory Wilson and Chris Swan) led by the author and all our collaborators in the Capital Cities Planning Group.

Author information

Authors and affiliations.

Mackintosh School of Architecture, The Glasgow School of Art, 167 Renfrew Street, Glasgow, G3 6BY, UK

Brian Mark Evans

You can also search for this author in PubMed   Google Scholar

Corresponding author

Correspondence to Brian Mark Evans .

Rights and permissions

Reprints and permissions

About this article

Evans, B.M. Reimagining Design with Nature: ecological urbanism in Moscow. Socio Ecol Pract Res 1 , 233–247 (2019). https://doi.org/10.1007/s42532-019-00031-5

Download citation

Received : 17 March 2019

Accepted : 13 August 2019

Published : 10 September 2019

Issue Date : October 2019

DOI : https://doi.org/10.1007/s42532-019-00031-5

Share this article

Anyone you share the following link with will be able to read this content:

Sorry, a shareable link is not currently available for this article.

Provided by the Springer Nature SharedIt content-sharing initiative

• Design With Nature
• Find a journal
• Publish with us
• Track your research

Art Registration Open for “Honest Portrayal” at the Third Street Gallery.

October 26, 2023   (Moscow, Idaho)  — The Moscow Arts Commission and the City of Moscow invite artists to participate in  Honest Portrayal,  an exhibition at the Third Street Gallery with a registration deadline at 5 p.m. on Friday, December 22, 2023.  The exhibition is inclusive of two-dimensional, three-dimensional, or text-based portraits made by artists residing in the Palouse region.  From marble statues of emperors to paintings of pets, portraiture has a long and rich history. Far from being a mechanical replication, a portrait always proclaims the importance of the subject as well as recording elements of its appearance.  Honest Portrayal  at the Third Street Gallery presents portraits with a wide range of fidelity to the visible world. While open to artworks that achieve a likeness of form, the exhibition is also inclusive of artworks that convey a true likeness of spirit.  Registration is available online until 5 p.m. on December 22, 2023 at:  https://moscowarts.submittable.com/submit More information about the Third Street Gallery is available on the City of Moscow website:  https://www.ci.moscow.id.us/230/Third-Street-Gallery Support for City of Moscow Arts Department programming comes from the Idaho Commission on the Arts and the National Endowment for the Arts. 

The Third Street Gallery is a space for art in the heart of downtown Moscow. City of Moscow Arts Staff and members of the Moscow Arts Commission have worked together to create artistic direction for the Third Street Gallery since the gallery’s opening in September 1997. The gallery features artworks in a wide range of media, subject matter, and content while presenting a curatorial vision open to all cultures and art forms. The Third Street Gallery exhibits the work of established and emerging makers from the Palouse and the broader Inland Northwest, celebrating the creative excellence of the region in a well-loved public space.  

The Third Street Gallery features artwork on the second and third floors inside Moscow City Hall. The building was designed by architect James Knox Taylor in 1911, and was formerly the Moscow Federal Building. Entered in the National Register of Historic Places in 1973 as a Second Renaissance Revival brick building, the structure now houses City offices and meeting spaces such as the City Council Chambers. The Third Street Gallery is an essential part of this building, as it brings art into the center of civic life in the City of Moscow. 

Third Street Gallery is located inside Moscow City Hall at 206 E. Third St. Moscow, ID. 

Gallery hours are 8 a.m. to 5 p.m., Monday through Friday, excluding federal holidays.

Story Contact:  Megan Cherry, Arts Manager Phone:  208-883-7036 Email:  [email protected]

Latah Coalition announces project plans

Tristate health welcomes new provider lindsey jolly, fnp-c, to tristate familypractice, clearwater, change location, find awesome listings near you.