DOCSLIB.ORG

TRAINING in PHOTOGRAPH CONSERVATION for the STATE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TRAINING in PHOTOGRAPH CONSERVATION for the STATE TRAINING in PHOTOGRAPH CONSERVATION for the STATE HERMITAGE MUSEUM: Participants, Curriculum, Schedule Conservation Center for Art and Historic Artifacts, Philadelphia, PA June 9 to 17, 2011 Hermitage Participants Natalia Avetyan Tatyana Sayatina Natalia Laytar Evgeniia Glinka CCAHA Instructors Photograph Conservators Mary Schobert, Head of Paper Conservation Barbara Lemmen, Senior Conservator of Photographs Rachel Wetzel, Conservator of Photographs Jessica Keister, Mellon Fellow Photographic Documentation Michelle Dauberman, Manager of Digital Documentation Jessica Silverman, Paper Conservator and Preservation Consultant Housing and Packing Anna Krain, Senior Conservation Assistant CCAHA • Training in Photograph Conservation for the State Hermitage Museum • Funded by the Andrew W. Mellon Foundation • June 2011 Curriculum Further develop the participants’ core treatment, preventive, analytical, connoisseurship, decision making and critical thinking skills, through the following activities: Discussions and presentations o Reinforce conservation terms, vocabulary, key points, and ideas o Review topics with individual participants and as a group o Have participants present their treated project photographs to the photograph conservators and other participants on the last day o Encourage participants to record their observations and add to their dictionary of terms Written documentation o Examination of a project photograph and preparation of a treatment proposal, time estimate, and treatment record . Participants will retain copies of all written documentation Digital photographic documentation o Working with our photographer, create before, during and after‐treatment digital documentation for the project photograph . using incident, raking, ultraviolet, and/or specular lighting, as appropriate o Working with a conservator, create photomicrographs using our stereomicroscope and digital camera . Participants will retain copies of the digital documentation as digital files on CD and inkjet prints Photograph conservation treatment skills o Treat of a “project photograph” (19th and early 20th century) employing any or all of the following procedures, using the stereomicroscope, as needed. Surface cleaning and mold removal . Consolidation . Washing and stain reduction through light bleaching and/or other methods . Mending . Humidification and flattening . Unmounting and mounting . Aesthetic compensation – fills and inpainting o Participants will retain their project photograph. CCAHA • Training in Photograph Conservation for the State Hermitage Museum • Funded by the Andrew W. Mellon Foundation • June 2011 Curriculum – continued Housing o Design and construct simple housing for storage and transport of the project photograph Process identification o Examine photographic, photomechanical, and digital prints from CCAHA’s collection with a photograph conservator using the stereomicroscope and a variety of lighting conditions Evaluation o Record the participants’ progress using “Workshop Evaluation Forms.” Outside Activities These will be offered to the participants but not scheduled for them. PMA show “Unsettled: Photography and Politics in Contemporary Art” (admission $16; free with ICOM card) Film at the PMA “Hockney the Photographer” (tickets $8) 2:00 pm the 12th PMA Art After 5 (10th and 17th) Philly Photo Arts Center – show for 2nd Annual Contemporary Photography Competition Antique markets to purchase photographs for their study collections CCAHA • Training in Photograph Conservation for the State Hermitage Museum • Funded by the Andrew W. Mellon Foundation • June 2011 Date Thursday Friday Weekend Monday Tuesday Wednesday Thursday Friday Weekend Time June 9 June 10 June June 13 June 14 June 15 June 16 June 17 June 11 + 12 18 + 19 Arrive at Begin TR DT Photo Process ID Housing Housing ‐ AT Photo Doc 9:00 – CCAHA and Project Doc Review continued 12:30 settle in Sunday ‐ Sunday – Select TR Consolidation TR Project TR Project TR Project TR Project Complete Project and Review PMA – Written Doc NA and TS Begin Written Hockney travel to Doc Movie GEH for th 19 C. 12:30 – Lunch Lunch Lunch Lunch Lunch Lunch Lunch Negative 1:30 Workshop Complete Photomicro TR Project Review Aesthetic Complete TR Each presents TR and 1:30 – Written Doc scopy CCAHA in‐ compensation Project and Project to the 5:00 house Review Housing group + Photo NL and EG Projects Conservators fly home BT Photo Doc TR Project TR Project TR Project TR Project TR Project Pack TR Projects Clean up CCAHA • Training in Photograph Conservation for the State Hermitage Museum • Funded by the Andrew W. Mellon Foundation • June 2011 .
Load more

Recommended publications
  • January 28, 2021 Introductions Faculty
    Art Conservation Open House January 28, 2021 Introductions Faculty Debra Hess Norris Dr. Jocelyn Alcántara-García Brian Baade Maddie Hagerman Dr. Joyce Hill Stoner Nina Owczarek Photograph Conservator Conservation Scientist Paintings Conservator Objects Conservator Paintings Conservator Objects Conservator Chair and Professor of Photograph Associate Professor Assistant Professor Instructor Edward F. and Elizabeth Goodman Rosenberg Assistant Professor Conservation Professor of Material Culture Unidel Henry Francis du Pont Chair Students Director, Preservation Studies Doctoral Program Annabelle Camp Kelsey Marino Katie Rovito Miriam-Helene Rudd Art conservation major, Class of 2019 Art conservation major, Class of 2020 WUDPAC Class of 2022 Senior art conservation major, WUDPAC Class of 2022 Preprogram conservator Paintings major Class of 2021 Textile major, organic objects minor President of the Art Conservation Club What is art conservation? • Art conservation is the field dedicated to preserving cultural property • Preventive and interventive • Conservation is an interdisciplinary field that relies heavily on chemistry, art history, history, anthropology, ethics, and art Laura Sankary cleans a porcelain plate during an internship at UD Art Conservation at the University of Delaware • Three programs • Undergraduate degree (BA or BS) • Winterthur/University of Delaware Program in Art Conservation or WUDPAC (MS) at Winterthur Museum, Garden & Library near Wilmington, DE • Doctorate in Preservation Studies (PhD) Miriam-Helene Rudd cleans a
    [Show full text]
  • Guidelines for the Field Collection of Archaeological Materials and Standard Operating Procedures for Curating Department of Defense Archaeological Collections
    Guidelines for the Field Collection of Archaeological Materials and Standard Operating Procedures for Curating Department of Defense Archaeological Collections Prepared for the Legacy Resource Management Program Office Legacy Project No. 98-1714 Mandatory Center of Expertise for the Curation and Management of Archaeological Collections Form Approved REPORT DOCUMENTATION PAGE OMB No. 0704-0188 Public reporting burden for this collection of information is estimated to average 1 hour per response, including the time for reviewing instructions, searching existing data sources, gathering and maintaining the data needed, and completing and reviewing the collection of information. Send comments regarding this burden estimate or any other aspect of this collection of information, including suggestions for reducing this burden, to Washington Headquarters Services, Directorate for Information Operations and Reports, 1215 Jefferson Davis Highway, Suite 1204, Arlington, VA 22202-4302, and to the Office of Management and Budget, Paperwork Reduction Project (0704-0188), Washington, DC 20503. 1. AGENCY USE ONLY (Leave blank) 2. REPORT DATE 1999 3. REPORT TYPE AND DATES COVERED 4. TITLE AND SUBTITLE 5. FUNDING NUMBERS Guidelines for the Field Collection of Archaeological Materials and Standard Operating Procedures for Curation Department of Defense Archaeological Collections 6. AUTHORS Suzanne Griset and Marc Kodack 7. PERFORMING ORGANIZATION NAME(S) AND ADDRESS(ES) PERFORMING ORGANIZATION REPORT NUMBER U.S. Army Corps of Engineers, St. Louis District 1222 Spruce Street (CEMVS-ED-Z) St. Louis, Missouri 63103-2833 9. SPONSORING/MONITORING AGENCY NAME(S) AND ADDRESS(ES) 10. SPONSORING/MONITORING AGENCY Legacy Resource Management Program Office REPORT NUMBER Office of Deputy Under Secretary of Defense (Environmental Security) Legacy Project No.
    [Show full text]
  • Winning the Denise Lyall Prize with William Nicholson
    THE MAGAZINE OF THE INSTITUTE OF CONSERVATION • DECEMBER 2018 • ISSUE 79 Winning the Denise Lyall Prize with William Nicholson Also in this issue A magnetic solution • A Tate placement • Digitisation step by step • The year in policy By Appointment to Her Majesty Queen Elizabeth II Suppliers of Conservation Storage, Equipment and Display Products Conservation By Design Limited Bedford DID YOU KNOW? Since 1992, museums, libraries and archives worldwide have turned to CXD for our comprehensive range of high quality conservation storage and display products. We invite you to take a look at www.cxdglobal.com to discover more about CXD. Did you know many of our products are manufactured in-house? Please contact us if you need further information or wish to order samples. Conservation By Design Limited, Timecare Works, 2 Wolseley Road, Bedford, MK42 7AD, United Kingdom T +44 (0) 1234 846300 E [email protected] www.cxdglobal.com cxdconservationbydesign 2 inside DECEMBER 2018 Issue 79 2 NEWS From the Editor From the Chair of the Board; ‘We are not NASA here - trying to get a man Group updates, conference back from the moon!' Thus spoke our news, policy update departing Chief Executive to me on one 11 occasion when I was panicking about a PEOPLE deadline. It is a mantra that I have clung on to 15 on several occasions since. Calming and 12 sensible, those words seem to me to encapsulate Alison A CHANGE OF PLAN Richmond’s wisdom and kindness to me and everyone A parchment charter is connected with Icon. Our Chair of the Board of Trustees has re-housed using magnets more to say about her achievements over nearly a decade.
    [Show full text]
  • Elena Simonova-Bulat Topics in Photographic Preservation, Volume 11
    Article: Photograph Preservation in Russia Author(s): Elena Simonova-Bulat Topics in Photographic Preservation, Volume 11. Pages: 131-140 Compiler: Brenda Bernier © 2005, Photographic Materials Group of the American Institute for Conservation of Historic & Artistic Works. 1156 15th St. NW, Suite 320, Washington, DC 20005. (202) 452-9545, www.aic-faic.org. Under a licensing agreement, individual authors retain copyright to their work and extend publication rights to the American Institute for Conservation. Topics in Photographic Preservation is published biannually by the Photographic Materials Group (PMG) of the American Institute for Conservation of Historic & Artistic Works (AIC). A membership benefit of the Photographic Materials Group, Topics in Photographic Preservation is primarily comprised of papers presented at PMG meetings and is intended to inform and educate conservation-related disciplines. Papers presented in Topics in Photographic Preservation, Vol. 11, have not undergone a formal process of peer review. Responsibility for the methods and materials described herein rests solely with the authors, whose articles should not be considered official statements of the PMG or the AIC. The PMG is an approved division of the AIC but does not necessarily represent the AIC policy or opinions. PHOTOGRAPH PRESERVATION IN RUSSIA ELENA SIMONOVA-BULAT BACKGROUND INFORMATION Russia’s Photographic Heritage The Russian nation possesses an immensely rich photographic heritage little known by those outside the country. The city of Saint Petersburg, in particular, is the center of this photographic legacy. Long the cultural capital of Russia, the city holds the greatest concentration of historic collections particularly from the 19th century. Also, it was the location of three revolutions, which led to the transformation of the society in the 20th century, which is largely documented in the photographic archives of the city.
    [Show full text]
  • Contemporary Analog and Digital Color Photographic Prints: Processes, Practice, and Accelerated Test Methods for Evaluating Print Permanence Date and Time
    The Library of Congress > Preservation > Training > Topics in Preservation Series Topics in Preservation Series (TOPS) Print Subscribe Share/Save Give Feedback « Back to TOPS Schedule Contemporary Analog and Digital Color Photographic Prints: Processes, Practice, and Accelerated Test Methods for Evaluating Print Permanence Date and Time Friday November 20, 2015 1:30 - 3:00 pm Location Library of Congress West Dining Room James Madison Memorial Building, Sixth Floor Washington, DC Webcast Register for the live webcast by November 18. On November 19, you will receive an email with instructions to test your system in advance (recommended) and how to access the webcast. About the Lecture: The first high-quality digital photographic printing processes entered the market in the late 1980s, and today it is believed that more than 99% of the world's photographic prints are being produced with digital color and monochrome processes. Included are modern digital prints made from scans or digital camera captures of original color and black-and-white negatives and transparencies, from glass plate negatives, and scans made from historical and other previously made prints. The twelve major current digital photographic print processes will be discussed, including UV-curable printing and a new inkjet sublimation thermal dye transfer process for printing on large, specially coated aluminum panels. Recent developments in aqueous pigment inkjet printers using newly developed inks with enhanced permanence will be described, including the important continuing role of silver-halide-dye (chromogenic) color prints and their gradual replacement with pigment inkjet, electrophotographic, and dye inkjet systems. Exhibitions by fine art photographers Andreas Gursky, Cindy Sherman, Henry Wilhelm holding a test Jeff Wall, Joel Meyerowitz, Stephen Shore, William Eggleston, Elger Esser, target and others will be used to illustrate various printing processes.
    [Show full text]
  • JIUAN JIUAN CHEN Art Conservation Department, SUNY Buffalo State Email: [email protected] 1300 Elmwood Avenue, Buffalo, NY 14222, USA Tel: 716-878-5034
    JIUAN JIUAN CHEN Art Conservation Department, SUNY Buffalo State email: [email protected] 1300 Elmwood Avenue, Buffalo, NY 14222, USA tel: 716-878-5034 ACADEMIC DEGREES AND CERTIFICATION M.A. and C.A.S, SUNY Buffalo State, September 2001, in Art Conservation M.A., University of Massachusetts at Amherst, Amherst, February 1995, in Art History B.A., National Taiwan Normal University, May 1991, in English Junior College Diploma, National Pingtung Teachers College, Taiwan, May 1986, in Education and Arts PROFESSIONAL EXPERIENCE Assistant Professor, Conservation Imaging, Technical Examination and Documentation, SUNY Buffalo State, Art Conservation Department, July 2012 - present Senior Conservator, Paul Messier LLC, Boston, MA, Sept. 2007 - July 2012 Guest lecturer in Technical Examination and Documentation, SUNY Buffalo State, Art Conservation Department, Spring Semester 2010 Conservator and Assistant Director for Conservation Education, the Advanced Residency Program in Photograph Conservation, George Eastman House, Rochester, NY, Sept. 2003 - Aug. 2007 Andrew W. Mellon Fellow, the Advanced Residency Program in Photograph Conservation, George Eastman House, Rochester, NY, Sept. 2001 - Aug. 2003 Senior Preservation Technician, Northeast Document Conservation Center/F. L. Olmsted National Historic Site, Springfield, MA, Jan. 1997 - July 1998 Preservation Technician, Northeast Document Conservation Center/F. L. Olmsted National Historic Site, Springfield, MA, Jan. - Dec. 1996 Elementary School Teacher, Yong Ping Elementary School,
    [Show full text]
  • A Closer Look: Conservation of Paintings Ebook
    A CLOSER LOOK: CONSERVATION OF PAINTINGS PDF, EPUB, EBOOK David Bomford,Jill Dunkerton,Martin Wyld | 96 pages | 25 Aug 2009 | National Gallery Company Ltd | 9781857094411 | English | London, United Kingdom A Closer Look: Conservation of Paintings PDF Book Surface cleaning on encaustic paintings can typically be done with distilled water and swabs is sufficient. Christina rated it it was amazing Aug 27, Analysis of modern paints. Help Learn to edit Community portal Recent changes Upload file. These pollutants can be physical, chemical, or biological. The National Gallery. Christine rated it really liked it Sep 01, The number of layers may vary, and each can be left in its natural transparent state, or colored with pigments to create Lacquer painting. Graciela S. Washington D. Scroll paintings often are multiple layers of paper and silk attached to wooden bars called a stave and dowel. Collector's Guide. Due to its thin washes and light colors, watercolor paintings are very light sensitive. There are no discussion topics on this book yet. Damage can be mitigated with proper relative humidity levels and storing of textiles in acid-free tissue or clean cotton sheets. Cradling was previously used to correct warping by thinning the original structural support and then adhering the cradle to the reverse side of the support. Korrena added it Mar 27, Also, due to their exposed support they are vulnerable to damage from dirt, dust, and pollutants. The intensity of fluorescent paints can decline quite rapidly, making it difficult for conservators to care for. Avoiding exposure to unfiltered daylight and fluorescent lamps can help to prevent this type of damamge.
    [Show full text]
  • Annual Report 2005
    NATIONAL GALLERY BOARD OF TRUSTEES (as of 30 September 2005) Victoria P. Sant John C. Fontaine Chairman Chair Earl A. Powell III Frederick W. Beinecke Robert F. Erburu Heidi L. Berry John C. Fontaine W. Russell G. Byers, Jr. Sharon P. Rockefeller Melvin S. Cohen John Wilmerding Edwin L. Cox Robert W. Duemling James T. Dyke Victoria P. Sant Barney A. Ebsworth Chairman Mark D. Ein John W. Snow Gregory W. Fazakerley Secretary of the Treasury Doris Fisher Robert F. Erburu Victoria P. Sant Robert F. Erburu Aaron I. Fleischman Chairman President John C. Fontaine Juliet C. Folger Sharon P. Rockefeller John Freidenrich John Wilmerding Marina K. French Morton Funger Lenore Greenberg Robert F. Erburu Rose Ellen Meyerhoff Greene Chairman Richard C. Hedreen John W. Snow Eric H. Holder, Jr. Secretary of the Treasury Victoria P. Sant Robert J. Hurst Alberto Ibarguen John C. Fontaine Betsy K. Karel Sharon P. Rockefeller Linda H. Kaufman John Wilmerding James V. Kimsey Mark J. Kington Robert L. Kirk Ruth Carter Stevenson Leonard A. Lauder Alexander M. Laughlin Alexander M. Laughlin Robert H. Smith LaSalle D. Leffall Julian Ganz, Jr. Joyce Menschel David O. Maxwell Harvey S. Shipley Miller Diane A. Nixon John Wilmerding John G. Roberts, Jr. John G. Pappajohn Chief Justice of the Victoria P. Sant United States President Sally Engelhard Pingree Earl A. Powell III Diana Prince Director Mitchell P. Rales Alan Shestack Catherine B. Reynolds Deputy Director David M. Rubenstein Elizabeth Cropper RogerW. Sant Dean, Center for Advanced Study in the Visual Arts B. Francis Saul II Darrell R. Willson Thomas A.
    [Show full text]
  • Text of Interview with Paul Messier
    Smithsonian Institution Time-Based and Digital Art Working Group: Interview Project Interview with Paul Messier Paul Messier is an independent conservator of photographs. In 1998 he founded the Electronic Media Group of the American Institute for Conservation (AIC). He was elected to the AIC board for two terms, serving from 2004-2010. While on the board his major initiatives included the publication of the AIC Guide to Digital Photography and Conservation Documentation (2008), the transfer of ConservationOnline and the ConservationDislist from Stanford University (2009), and the establishment of the Conservation Catalog Wiki (2009). April 3, 2013 Interviewers: Crystal Sanchez and James Smith Please tell us about your experience with time-based media art conservation. It was around 1997-2000 when I realized that electronic media conservation issues needed a place at the American Institute of Conservation (AIC). At the time, I did a lot of work that contributed to making sure that those issues were brought into the mainstream of the conservation profession. Could you talk about what prompted your interest in that area and what the nature of your work was at that time? I remember going to a meeting with members of the Photographic Materials Group, which is an AIC sub-group that is focused on conservation issues with photographs. At that time, in the mid-late 90s, talks about digital photography were beginning—whether it was digital still photography, moving images, or digital output, like inkjet prints and things like that. There was much discussion among the Group as to whether—or maybe it was just me being sensitive to it, I don’t know how big of an issue it really was—these types [of works] really belonged in the Photographic Materials Group.
    [Show full text]
  • Academic Year 2010/11
    Annual Report, 2010/2011 Authors University of Arizona Library; Stoffle, Carla J. Publisher University of Arizona Library (Tucson, AZ) Download date 03/10/2021 16:43:38 Link to Item http://hdl.handle.net/10150/144285 UNIVERSITY LIBRARIES ANNUAL REPORT Brochure for Desert Willow Ranch, Tucson, Arizona – from the Southwestern & Miscellaneous Collection, Dude Ranches, Arizona Courtesy of University Libraries, Special Collections ACADEMIC YEAR 2010/11 The University Libraries ANNUAL REPORT 2010–2011 ACADEMIC YEAR Dean Carla J. Stoffle 1510 E. University Blvd. Tucson, Arizona 85721 (520) 621-2101 www.library.arizona.edu UNIVERSITY OF ARIZONA National rankings: In the latest Association of Research Libraries rankings, which are for 2009–10, the libraries of the University of Arizona (the University Libraries, Arizona Health Sciences Library, and Law Library) ranked 16 th and 20 th among 68 public U.S. research institutions on the two primary national indices. In addition, through our focus on the University’s teaching and research missions/goals, the University Libraries helped advance all four of the campus Strategic Directions as well as the Libraries’ three Critical Few goals in 2010–11. Major accomplishments for the Libraries during this academic year were a library-wide reorganization, the implementation of on-demand information delivery, and evaluation of our research-skills credit course. These initiatives, along with our many other activities, position the Libraries well for the future. Expanding Access and Enhancing Educational Excellence This strategic direction is a priority for the University Libraries. Our major focus is moving to provide online resources that are available 24/7 and easily discoverable.
    [Show full text]
  • Yale University Conservation Survey of Photograph Collections
    Yale University Conservation Survey of Photograph Collections Final Report Submitted to: The Andrew W. Mellon Foundation May 13, 2010 Final Report Andrew W. Mellon Foundation Conservation Survey of Photograph Collections at Yale University Submitted by: Ian McClure, Chief Conservator, Yale University Art Gallery (YUAG) Roberta Pilette, Director, Preservation Department Yale University Library (YUL) Tim White, Assistant Director, Collections & Operations, Peabody Museum of Natural History Barbara A. Shailor, Deputy Provost for the Arts Elisabeth Fairman, Senior Curator, Rare Books & Manuscripts, Center for British Art (YCBA) Carol DeNatale, Director, Collections & Technological Initiatives, Yale University Art Gallery (YUAG) Joshua Chuang, Assistant Curator, Photographs, Yale University Art Gallery (YUAG) Meg Bellinger, Director, Office of Digital Assets and Infrastructure (ODAI) Paul Messier, Photograph Conservator Melissa Banta, Program Officer for Photographs, Weissman Preservation Center, Harvard University Page 2 Final Report Andrew W. Mellon Foundation Conservation Survey of Photograph Collections at Yale University Table of Contents 1.0 Background 4 1.1 Overview of Photograph Collections at Yale 5 1.2 Significance of Collections for Teaching and Research 6 2.0 Project Activities 7 2.1 Communications 7 2.2 Project Methodology/Survey Instrument 7 2.3 Questionnaire Development 8 2.4 Site Visits 9 2.5 Data Survey 10 3.0 Project Results 10 3.1 Collection Content 10 3.2 Inventory Control & Cataloging 11 3.3 Use & Access 11 3.4 Preservation Planning & General Priorities 12 3.5 Environment 13 3.6 Storage & Housing 14 3.7 Treatment 14 3.8 Education and Training 15 3.9 Results Summary 15 3.10 Conclusion & Next Steps 16 Appendices 17 Appendix A – Project members 17 Appendix B – Agenda for Town Hall Meeting 18 Appendix C – Summary of results for participating collections 19 Appendix D – Compilation of questionnaire results for all collections 25 Page 3 Final Report Andrew W.
    [Show full text]
  • Preservation Services Reflecting on the Past
    Art i facts CELEBRATING 40 YEARS OF CCAHA // Summer 2017 Looking to the Future: Preservation Services Consider the responsibility of caring for irreplaceable items. There are frequently no second chances and the challenges are seemingly endless. The one inescapable reality is that everything is at risk. CCAHA’s preservation services team offers needed assistance—the essential planning work that allocates limited resources in order to best protect our cultural heritage. CCAHA’s preservation services staff largely focus on needs at small and medium-sized museums, archives, and historic sites. To safeguard their collections, they must consider the effects of fluctuating temperature and humidity, light levels, hungry pests, mold outbreak potential, pipe break risk, hurricane or earthquake likelihood, and more. Dyani Feige serves as CCAHA’s Director of Preservation Services, managing a department which reaches out to collecting institutions to help them meet their collections care goals. As this work requires first-hand observation, Feige is frequently on-site at locations all over the world. In spring 2015, Feige was invited to Guatemala City to write a long-range preservation plan for the Museo Ixchel del Traje Indígena (Ixchel Museum of Indigenous and Traditional Clothing). The art of preservation planning requires flexibility, creativity, and a large ABOVE Former CCAHA conservator Lois Olcott Price examines a bank of knowledge drawn from experience. During a site visit, Feige brings millennia-old papyrus belonging to Dropsie College for Hebrew and knowledge honed from more than a hundred site visits conducted over the past Cognate Learning (now the Hebert D. Katz Center for Advanced Judaic Studies of the University of Pennsylvania) in the early 1980s.
    [Show full text]