Heather White, Owner and Principal Objects Conservator

As an artist and an ongoing student of history and science, I’ve had the rare pleasure of entering the field of art conservation, and have enjoyed a career in the recovery and long-term care of cultural material for ten years. Whether I’m working in the field as artifacts come out of the ground, at a museum preparing art for exhibit, or simply at a client’s house caring for a precious heirloom that’s been damaged, my purpose is to ensure our world’s treasures last for generations to come. This is both an honor and a responsibility, and I proudly hold myself to the ethical standards established by the American Institute for Conservation of Historic and Artistic Works.

My purpose is to ensure our world's treasures last for generations to come.

EARLY CAREER

Born and raised in St. Louis, MO, my early career was steeped in rewarding experiences at beloved cultural institutions just west of the Mississippi. I earned my Bachelor’s in 2009 from the University of Missouri-Columbia, focusing on the study of art history, classical archaeology and studio art. My love of archaeology lead to work as an archaeological field technician in the states and abroad. After college I spent several years gaining first-hand experience in the curation, preparation and conservation of art and artifacts at the Saint Louis Art Museum, the Eugene Field House, and the Mildred Lane Kemper Art Museum at Washington University.

A highlight of my pre-program experience was being part of the 2011/2012 conservation team that restored The Panorama of the Monumental Grandeur of the Mississippi Valley in public at the Saint Louis Art Museum. Here I discovered my passion for advocacy and outreach in the preservation of cultural heritage.

TRAINING

In 2016, I had the privilege of earning my Master’s from the UCLA/Getty MA Program in the Conservation of Archaeological and Ethnographic Materials. This exclusive program accepts six individuals every other year to participate in an intensive three-year curriculum. My training benefits from the interdisciplinary collaboration between UCLA’s Cotsen Institute of Archaeology and the Getty Conservation Institute—leaders at the forefront of archaeological research and conservation science. I was afforded the opportunity of learning hands-on from internationally respected experts in the field, and established invaluable professional relationships world-wide.

ARCHAEOLOGICAL CONSERVATION

Though I’ve spent a majority of my career at museums treating a range of materials and art, my affinity for archaeological conservation has been undeniable. Ever since I could dig in the dirt, I knew one of my greatest loves in life would involve taking part in the discovery of our past through the remains our ancestors left behind. By entering the field of conservation, I found my particular role and contribution to these such endeavors, and value every opportunity to be in the field alongside my colleagues across disciplines as we collectively work to uncover and interpret the past.

PROFESSIONAL CONTRIBUTIONS

Conservation of a Karajá skirt/belt. White, H. In The Conservation of Featherwork from Central and South America, Pearlstein, E. (ed), pages 95-106, London: Archetype Publications, 2017.

The Baker: Conservation and Interpretation of an Old Kingdom Serving Statue. White, H. In The 68th Annual Meeting of the American Research Center in Egypt, April 31-23, 2017, Kansas City, MO, USA, 2017.

An Analysis of Unidentified Dark Materials between Inlaid Motifs on Andean Wooden Qeros. White, H. Master's Thesis, University of California-Los Angeles, USA, September 2016.

A Comparative Study of TEOS-based Formulations for the Consolidation of Adobe. Burr, B.; White, H.; and Fischer, C. In Engaging Conservation: Collaboration Across Disciplines, Symposium, Penn Museum, Oct. 6-8, 2016, Philadelphia, PA, USA, 2016.

Applications for Reflectance Transformation Imaging for the Documentation and Study of Etruscan Material Culture at Poggio Colla. Lewis, A. and White, H. In The 116th Joint Annual Meeting of the Archaeological Institute of America and the Society for Classical Studies, Poster Session, New Orleans, LA, USA, 2015.

Restoring an American Treasure: The Exhibition and Public Conservation of The Panorama of the Monumental Grandeur of the Mississippi Valley. Pizzini, N.; White, H.; Keck, J.; Bockrath, M.; and Walker, C. In The 41st Annual Meeting of the American Institute for Conservation of Historic and Artistic Works, May 29 - June 1, 2013, Indianapolis, IN, USA, 2013.

The use of CopyFlex food-grade, silicone rubber for making impressions of archaeological objects. Muros, V.; White, H.; and Gençay-Üstün, Ö. In The 43rd Annual Meeting of the American Institute for Conservation of Historic and Artistic Works, May 13-16, 2015, Miami, FL, USA, 2015.

Insured by

The_Hartford_Financial_Services_Group_lo
LYLC Sudio logo - all white text and imag of columns fallen over

St. Louis, Missouri 63110  

P: 314 477 4900

E: conservation@lylcstudio.com

Monday to Friday 10am - 5pm

Saturday to Sunday 12pm - 5pm

© 2020 Copyright LYLC Studio, LLC, All rights reserved.

Terms of Service / Acceptable Use Policy / Privacy Policy

  • Black LinkedIn Icon
  • Black Instagram Icon