With L Dandy, '”The Defeat of the Floating Batteries off Gibraltar” by John Singleton Copley: History and Display', in Sally Woodcock ed., Big Pictures: Problems and Solutions for Treating Outsize Paintings, Archetype Publications in association with ICON, London, pp.131–43.
'Form and Fortune' exhibition examining seventeenth- and eighteenth-century frames at Guildhall Art Gallery, City of London, summer 2004.
Secretary of ICON Gilding and Decorative Surfaces Group.
Member of organising committee for ICON Gilding and Decorative Surfaces Consolidation conference, April 2005, and talk at conference introducing John Anderson Scholarship, established by Tate and London Metropolitan University.
Research into development of the English composition ornament trade in nineteenth- and twentieth-century, with particular regard to the firm of Binning.
With Patricia Smithen, 'New Art; New Challenges: The Conservation of Art in The Twentieth Century', in Janet Marstine, New Museum Theory and Practice: An Introduction, Blackwells, Oxford, August 2005.
With Alison Bracker, 'Relic or Release: Defining and Documenting the Physical and Aesthetic Death of Contemporary Works of Art', Pre–prints for the 14th Triennial Meeting at the ICOM Committee for Conservation, The Hague, 12–16 September 2005, vol.2, pp.1009–15.
With Alison Bracker, 'Beuys is Dead: Long Live Beuys! Characterising Volition, Longevity and Decision-Making in the work of Joseph Beuys', Tate Papers, Autumn 2005.
'Joseph Beuys: Preserving the Unpreservable', Joseph Beuys Study Day at the Royal College of Art for the RCA & V&A Conservation Course Students, May 2005.
'The Rules or Problems of Painting: Gwen John's Later Painting Technique', in David Fraser Jenkins and Chris Stephens eds., Gwen John and Augustus John, exhibition catalogue, Tate Britain, 2004–5, pp.196–202.
Web project with Patricia Favero, 'The Secrets of Augustus John's Woman Smiling',
'Conference Review Modern Art, New Museums, IIC Bilbao Congress, 13–17 September 2004', UKIC Conservation News, issue 94, January 2005.
'Gwen John's Painting Technique', BAPCR Symposium, Tate Britain, May 2004.
'Gwen John's Painting Techniques', Parallel Lives: Gwen and Augustus John Symposium, Tate Britain, November 2004.
External examiner, postgraduate diploma course Conservation of Easel Paintings, Courtauld Institute of Art, University of London.
Accreditation Assessor for the Professional Accreditation of Conservator-Restorers (PACR).
Committee member and web editor for Institute of Conservation (ICON) Paintings Group.
Techniques and materials study of Mark Rothko's Seagram Murals.
'Spare Parts: Dilemmas in Contemporary Painting', Preprints for the 14th Triennial Meeting of the ICOM Committee for Conservation, The Hague, vol.1, September 2005, pp.467–72.
With Stephen Hackney and Roy Perry, 'Breaking Glass: Perception and Risk', Preprints for the 14th Triennial meeting of the ICOM committee for Conservation, The Hague, vol.2, September 2005, pp.632–8.
'Out of Touch (But Accessible in all the Right Ways). Display Considerations at Tate', in to seminar 'How Can a Gallery Integrate the Preventive Conservation of Contemporary Paintings with the Requirements of Public Accessibility and Interaction', Courtauld Institute of Art, University of London, June 2005.
'Painting Methods and Materials', Royal Academy Schools, London, November 2005.
'Art in Transit and Courier Responsibilities', University of Northumbria at Newcastle, conservation training course, January 2006.
With Stephen Hackney, 'Breaking Glass', BAPCR meeting at the Art Worker's Guild January 2006.
'Multifunctional Encoding System for Assessment of Movable Cultural Heritage', Multi-encode project in collaboration with FORTH/IESL, ITO, CSL Optrion and the National Gallery Athens.
'The Nature and Use of Blue Pigments in England during the Tudor-Stuart Period', British Association of Painting Conservator-Restorers, May 2004.
'Techniques of Painting in British Art 1680–1799', Courtauld Institute of Art, University of London, November 2004 and 2005, and Hamilton Kerr Institute, University of Cambridge, November 2004.
Organised one-day conference, Current Research at the Tate, British Association of Painting Conservator-Restorers, May 2004.
Modern Paints Podcast: MP3 talks on Picabia and Picasso.
Technical examination of works by Picabia and other dada and surrealist artists in Tate's Collection.
With Tim Green and Roy Perry, Breaking Glass: Perception and Risk, ICOM-CC, pre-prints 14th Triennial meeting, The Hague, volume II, September 2005, pp.632–8.
Paintings on Canvas: Lining and Alternatives, Tate Papers, Autumn 2004.
With Franciza Toledo, Magali Sehn, Mario Sousa Junior and Sergio Brazolin, Exhibiting Modern Paintings in Glazed Frames in Hot and Humid Museums, contributions to the IIC Bilbao Congress, September 2004, p.242.
'Lining of Canvas Paintings', CESMAR 7, Italy, October 2004.
'Air Pollution', Paintings Conservation and Preventive Conservation course, University of Northumbria, Newcastle, 2004–5.
'Painting Environments', Paintings Conservation course, Courtauld Institute of Art, University of London, 2004.
'Anoxic Framing', lecture to BAPCR, May 2004.
'Anoxic Framing', Conservation Science, 2005.
'Dust in Museums', Dust to Dust conference, Indoor Air Quality Group/British Library, April 2005.
'Breaking Glass', lecture to BAPCR, 2006.
'White', Lowry Centre, March 2006.
'Canvas Paintings', presentation, Multiencode meeting, March, Athens 2006.
Tate Research Development Group, Head of Conservation Research, Tate.
Leading the anoxic framing research project, Tate.
Publications committee for the ICOM-CC Hague conference, 2005.
Member of Board of Studies, Paintings Conservation Course, advisor on Research Degrees Committee, and external examiner of student assessments, Courtauld Institute of Art, University of London.
Committee member, Institute of Conservation Science (ICS).
With Rose Cardiff, Maggie Hills and Hugh Williams, 'Inside Installations: Mapping the Studio II', e-learning package on the preservation and presentation of Bruce Nauman's Mapping the studio ii with color shift, flip, flop, & flip/flop (Fat Chance John Cage), Tate Online.
'The Management of Display Equipment in Time-based Media Installations', in Ashok Roy and Perry Smith eds., Modern Art, New Museums: Contributions to the Bilbao Congress 13–17 September 2004, published by The International Institute for Conservation for Historic and Artistic Works, London 2004.
'Application of Digital Technology in the Accurate Replication and Preservation of Slide-based Works of Art', Haida Liang, Pip Laurenson and David Saunders. IIC Poster. International Institute for Conservation of Historic and Artistic Works. Contributions to the Bilbao Congress, 2004.
'Michael Craig-Martin's “Becoming”: A Conservation Case Study of a Digital Work of Art', American Institute for Conservation Conference Portland June 2004.
'Media Matters: Building Consensus in the Care and Management of Time-based Media Works of Art', EVA: Electronic Imaging and the Visual Arts Interdisciplinary Research Workshop on Advanced R&D in Culture and Technology, July 2004.
'The Management of Display Equipment in Time-based Media Installations', International Institute for Conservation of Historic and Artistic Works, Bilbao Congress, September 2004.
'Media Matters: A Collaborative Project for the Care and Management of Time-based Media Works of Art', European Registrars Group Meeting, Wolfsburg, November 2004.
With Rose Cardiff, 'Mapping the Studio: An E-learning Project', The Documentation of Installation Art, ZKM, Karlsruhe Germany, December 2005.
'Authenticity, Change and Loss in the Conservation of Time-Based Media Installations', (Im)permanence: Cultures In/Out of Time, Carnegie Mellon University, Pittsburgh, October 2005.
Visiting Lecturer for the Moving Image Archiving and Preservation Program, The Tisch School of the Arts, NYU, May 2004.
Conservation consultant for a survey of the time–based media collection of National Gallery Canada, 2004.
SFMOMA Visiting Scholar Program, June 2005.
Member of IMAP (Independent Media Arts and Preservation), New York. Advisory Council, October 2005.
Co–organiser, 'The Preservation and Presentation of Installation Art', EU Culture 2000.
Project leader, 'Media Matters: Collaborating Towards the Care of Time-based Media Works of Art'.
Analysis of Modern Paints, Getty Publishing, Los Angeles 2004.
With Michael Schilling and Joy Keeney, 'Characterisation of Alkyd Paint Media by Gas Chromatography-Mass Spectrometry Films', in Modern Art, New Museums, Proceedings from the IIC Congress, Bilbao 2004, pp.197–201.
With Shawn Digney-Peer, Aviva Burnstock, Herant Khanjian, Frank Hoogland and Jaap Boon, 'The Migration of Surfactants in Acrylic Emulsion Paint Films', in Modern Art, New Museums, Proceedings from the IIC Congress, Bilbao 2004, pp.202–7.
With Jaap Boon, Nicolas Wyplosz, Frank Hoogland, Marc Duursma, Katren Keune, 'Molecular Characterization and Mapping of Twentieth-Century Synthetic Organic Pigments and Additives in Paints', in Modern Art, New Museums, Proceedings from the IIC Congress, Bilbao, 2004, p.219.
With Christina Young, Rebecca Gregg, Roger Hibberd, James Walker, 'The Physical Properties of Modern Commercially Available Primings and their Interaction with Subsequent Paint Layers', in Modern Art, New Museums, Proceedings from the IIC Congress, Bilbao 2004, p.244.
'Modern Paints', in Scientific Examination of Art: Modern Techniques in Conservation and Analysis, The National Academies Press, Washington DC, 2005, pp.137–51.
With Julia Jönsson, 'Separation of Acrylic Paint Components and their Identification with FTIR Spectroscopy', Proceedings of the 6th Infrared and Raman Users Group conference (IRUG6), 2005, pp.58–65.
With Dominique Scalarone and Oscar Chiantore, 'Ageing Studies of Acrylic Emulsion Paints. Part II. Comparing Formulations with Poly(EA-co-MMA) and Poly(n-BA-co-MMA) Bbinders', Preprints of 14th Triennial meeting of the ICOM Committee for Conservation, The Hague, vol.1, 2005, pp.350–7.
With Glenn Gates, Teri Hensick, Carol Mancusi–Ungaro, Tatiana Ausema and Will Shank, 'Reproducing Morris Louis Paintings to Evaluate Conservation Strategies', Preprints of the 14th Triennial meeting of the ICOM Committee for Conservation, The Hague, vol.1, 2005, pp.329–34.
'The Impact of Modern Paints', and 'Research into Modern Paints', Winterthur Museum, Delaware, April 2004.
'Modern Paints', Alive and Well: A Future for Painting Materials symposium, National Academy, New York, May 2004.
'The Impact of Modern Paints', University of Oslo, May 2004.
'Ethical Dilemmas in the Treatment of Contemporary and Modern Art', University of Oslo, May 2004.
'The Impact of Modern Paints', Seattle Art Museum, Seattle, June 2004.
'The Conservation of Modern Paints: Concerns, Difficulties and Much Needed Research', Contemporary Trends in Conservation, AXA Art symposium, UCLA Hammer Museum, Los Angeles, October 2004.
'Alternatives to Oil', Challenges of the Colorfield symposium, Arthur M. Sackler Museum, Harvard University, Cambridge MA, December 2004.
'Conservation Science at Tate', Tate Development meeting, Tate Britain, September 2005.
'The Conservation of Modern Paints: Concerns, Difficulties and Much Needed Research', 6th symposium on the conservation of synthetic materials, Vitra Design Museum, Weil am Rhein, October 2005.
'Modern Paints' and 'The Conservation of Modern Paintings', New Zealand Professional Conservators Group (NZPCG) annual meeting, Christchurch, October 2005.
'The Role of Science in the Conservation of Modern Paintings, Our City O-Tautahi, Christchurch City Council, Christchurch, October 2005.
'The Impact of Modern Paints', National Gallery of Victoria, Melbourne, October 2005.
'Modern Paints', Melbourne University, Melbourne, Australia, November 2005.
'The Conservation of Modern Paintings', Melbourne University, Melbourne, Australia, November 2005.
'Acrylic Emulsion Paints', ARoS Kunstmuseum, Aarhus, January 2006.
'Acrylic Emulsion Paints', Royal Danish Academy of Fine Arts, Copenhagen, January 2006.
'Tate AXA Art Modern Paints project', TEFAF Art Fair, Maastricht, March 2006.
Member of technical committee, Modern Art; New Museums, International Institute for Conservation congress, Bilbao, September 2004.
Coordinator, Contemporary Art Research: Modern Paints project, a collaboration with the Getty Conservation Institute, National Gallery of Art (Washington D.C.) and the University of Torino.
Organiser, Modern Paints Uncovered symposium, Tate Modern, May 2006.
With Tom Learner, Jim Druzik, Herant Khanjian, Michael Schilling, Dave Carson, Gary Foster and Mike Sloan, 'An Evaluation of Cleaning Methods for Acrylic Paintings', American Institute for Conservation of Historic and Artistic Works (AIC), 32nd Annual Meeting, June 2004, Portland, Oregon, p.66.
With Joyce Townsend, Brian Singer and John Dean, 'British Watercolour Cakes from the Eighteenth to the Early Twentieth Century', Studies in Conservation, vol.50, no.1, 2005, pp.45–66.
With Marianne Odlyha, et al., 'Microclimate Indoor Monitoring: Damage Assessment for Cultural Heritage Preservation, 14th Triennial Meeting of the International Council of Museums, The Hague, Preprints, 2005, vol.II, pp.670–76.
With Joyce Townsend, Julia Jönsson, and Mark Evans, 'William Blake's Only Surviving Palette?', Victoria & Albert Museum Conservation Journal, no.49, Spring 2005, pp.20–1, and Blake/An Illustrated Quarterly, vol.39, no.2, Fall 2005, pp.100–3.
'William Blake: The Temperas, Materials, Technique and Appearance', Blake Symposium, Tate Britain, April 2004.
'Cleaning Modern Paint: An Evaluation of Cleaning Methods for Modern and Contemporary Paintings', British Association of Picture Conservator Restorers (BAPCR) conference, Tate Britain, May 2004.
'Modern Paints Research' and 'An Evaluation of Cleaning Methods for Modern and Contemporary Paintings', Courtauld Institute of Art, University of London, June 2004.
'The Cleaning of Acrylic Emulsion Paints', Modern Paints Workshop, Christchurch, New Zealand Professional Conservators Group (NZPCG) Conference, October 2005, and Melbourne University, Melbourne, Australia, November 2005.
'Synthetic Materials and Contemporary Practice', Northumbria University, December 2005.
'The Cleaning of Acrylic Emulsion Paints' Modern Paints Workshop, Copenhagen, Denmark, January 2006.
'The Cleaning of Acrylic Emulsion Paints', Modern Paints Workshop, Aarhus, Denmark, January 2006.
'An Evaluation of the Effects of Surface Cleaning Acrylic Emulsion Paintings', TEFAF Art Fair, Maastricht, The Netherlands, March 2006.
Taught course 'Science for Art Historians', Art History Department, University College, London, 2005, 2006.
Taught course 'Organic and Polymeric Materials in Art and Conservation', Conservation School, University of Oslo, Norway, October 2005.
Currently AXA Art Research Fellow at Tate with the Tate-AXA Art Modern Paints Project.
'Gelatin Molds: Rosso's Open Secret', in Harry Cooper and Sharon Hecker, Medardo Rosso: Second Impressions, Harvard 2004, pp.94–103.
Contributor to Polly Boyd ed., The Custodians Handbook, Public Monuments and Sculpture Association, London 2005.
Review: Bronze Sculpture Casting and Patination: Mud, Fire, Metal by Steve Hurst', The Sculpture Journal, vol.XIV, 2005, pp.166–7.
Report: 'Bronze: Method and Meaning', Henry Moore Institute Newsletter, January–February 2006.
'Variable States: Intention and Interpretation in Modern Sculpture', Altered States conference, Nasher Sculpture Centre, October 2004
'Ephemeral Materials', UCL study day, Tate Modern 2005.
'Conservation Issues', Brancusi/Serra symposium, Pulitzer Foundation for the Arts, St Louis, September 2005.
Member of steering committee, Altered States conference, Nasher Sculpture Centre, Dallas 2004.
Member of Judd Restoration & Conservation Committee, Judd Foundation.
Conservation support for Moore & Mexico exhibition, Mexico City and Monterrey, 2004–6.
Member of steering committee, INCCA (International Network for the Conservation of Contemporary Art) 2004–6.
Europe representative on steering committee, INCCA North America Group 2005–6.
Trustee of the Public Monument and Sculpture Association and general committee member 2004–6.
Advisor to FELSSO (Finite Elements with Laser Scanning for Mechanical Analysis of Sculptural Objects) project, in conjunction with the London University of the Arts, Imperial College, and the Henry Moore Foundation Sculpture replication project.
Researching techniques of early twentieth-century sculptors.
With Joyce H Townsend and Leslie Carlyle, 'Cobalt Blue, Emerald Green and Rose Madder in Copal-based Media used by the Pre-Raphaelites', in M. Clarke, J.H. Townsend and A. Stijnman eds., Art of the Past: Sources and Reconstructions, Archetype Publications, 2005, pp.60–8.
With Dave Jones and Jack Warans, 'Using Aluminium for a Stretcher: A Practical Assessment', in S. Woodcock ed., Big Pictures Problems and Solutions for Treating Outsize Paintings, Archetype Publications, 2005, pp.67–8.
'Pre-Raphaelite Painting Techniques', Pre-Raphaelitism and Science symposium, Tate Britain 2004.
'Pre-Raphaelite Drawings: The Connection between Preparatory Drawings, Pre-Raphaelite Works on Paper and Underdrawing', Tate research seminar, April 2004.
'Pre-Raphaelite Painting Technique', Tate Britain, 2004.
'Retaining the Artist's Intent', first-year Masters conservation course, University of Northumbria at Newcastle, December 2004, 2005.
Joint coordinator, ICOM Committee for Conservation Paintings Working Group, 2004–6, and coordinator of the 14th Triennial Meeting, The Hague, September 2005.
Member of Advisory Council, Hamilton Kerr Institute, Cambridge University.
Fellow of IIC.
'The Materials used by British Oil Painters throughout the Nineteenth Century', Tate Papers, no.2, 2004.
With Mark Clarke and Ad Stijnman eds., Art of the Past: Sources and Reconstructions, Archetype Publications, 2005, including, with Jacqueline Ridge and Leslie Carlyle, 'Cobalt Blue, Emerald Green and Rose Madder in Copal-based Media used by the Pre-Raphaelites', pp.60–8.
Turner's Painting Techniques, 4th edition, Tate Publishing, 2005, 84pp.
With Sarah Hillary, 'A Lively Parrot: Frances Hodgkins's Wings over Water', The Journal of New Zealand Art History, issue 26, 2005, pp.40–54, and Tate Papers, Spring 2006.
'A Reassessment of Hanson's Paper on the Painting Materials of JMW Turner', Studies in Conservation, issue 50, 2005, pp.230–3.
With Bronwyn Ormsby, Julia Jönsson and Mark Evans, 'Blake's Only Surviving Palette?', V&A Conservation Journal, Spring 2005, issue 49, pp.20–1, and Blake: An Illustrated Quarterly, issue 39, Fall 2005, pp.100–3.
With B.A. Ormsby, B.W. Singer and J.R. Dean, 'British Watercolour Cakes from the Eighteenth– to the Early Twentieth–Century', Studies in Conservation, issue 50, 2005, pp.45–66.
With Katrien Keune, 'Microscopical Techniques Applied to Traditional Paintings', In Focus: The Proceedings of the Royal Microscopical Society, issue 1, March 2006, pp.54–65.
'Pre-Raphaelite Paint', Tate research seminar, April 2004.
'Pre-Raphaelite Paint and its Consequences', Pre-Raphaelites: Making, Meaning and Modernity seminar, Tate Britain, April 2004.
'William Blake the Painter at Work', William Blake: The Painter at Work seminar, Tate Britain, April 2004.
'Turner the Painter', Statens Museum for Kunst, Copenhagen, September 2004.
'Conservation and Conservation Science Research at Tate', lecture to the staff of the National Museum of Denmark, September 2004.
'Cobalt Blue, Emerald Green and Rose Madder in Copal-based Media used by the Pre-Raphaelites', presentation at Approaching the Art of the Past: Sources and Reconstructions, Amsterdam, October 2004.
'From Turner to Whistler', Masters conservation course, University of Northumbria at Newcastle, November 2004 and 2005.
'In it for the Long Term: Accelerated Ageing from a Conservation Point of View', Optical Radiation Measurement Club, Bradford, March 2005.
'William Blake: The Painter in Context, BAPCR seminar, Tate Britain, May 2005.
'Protrusions in Sixteenth-century and Seventeenth-century British paintings', MASC, Amsterdam, September 2005.
'What is Conservation Science?', 2nd meeting on Science and Technology for Conservation, Italian Vacuum Association, Catania, October 2005.
'Microscopical Techniques Contribute to the Understanding of 17th- and 20th-century Paint', Art and Microscopy, Royal Microscopical Society, London, November 2005.
'What is Conservation Science?', research seminar, Nottingham Trent University, March 2006.
'Comparisons in Materials Use in Britain and Continental Europe c.1900', ICN picture meeting Paintings c.1900, ICN, Amsterdam, March 2006.
Visiting Professor in Conservation Science, University of the Arts, London, 2005–6.
Co-organiser and chair for Preservation and Conservation of Digital Prints conference, Institute of Physics, April 2006.
Chair of the Institute of Conservation Science 2004–6.
Assistant coordinator, ICOM-Committee for Conservation Paintings Working Group 2004–6.
Analysis and assessment of Tudor and Stuart paintings in Tate's Collection (Tudor–Stuart catalogue).
Analysis of primings for Camden Town catalogue.
Analytical support for studies on Picabia and Dalí (Dada and surrealism catalogue).
Advice and analysis for anoxic frames research.
With Jacqueline Ridge and Dave Jones, 'Using Aluminium Box Section for Stretcher Construction: A Practical Assessment', in S. Woodcock ed., Big Pictures Problems and Solutions for Treating Outsize Paintings, Archetype Publications, 2005, pp.67–8.
