Pip Laurenson appointed Professor in Art, Collection and Care

We are delighted to announce that on 15 January 2016 Pip Laurenson took up a part-time appointment as an extraordinary professor for the Maastricht Centre for Arts and Culture, Conservation and Heritage (MACCH) within the Faculty of Arts and Social Sciences (FASoS).

Pip’s research interests are in the conservation and custodianship of contemporary art and their associated practices, and in the museum as a research institution.

Pip’s career has been driven and shaped by changing artistic practice; with its impact on the museum forming the focus of her doctoral thesis. She has published widely on contemporary art conservation, in particular time-based media and performance. At FASoS she will concentrate on research into the networks which underpin the making of artworks, their associated practices and their impact on conservation and the museum.

Pip holds a PhD in Conservation from University College London and currently supervises doctoral students from Leiden University, Kings College London and Maastricht University.

In addition to her position at FASoS, Pip is the Head of Collection Care Research at Tate (the national collection of British art and modern and contemporary art within the UK). At Tate she develops, leads and supports research into the care of Tate’s collections. She is also the lead researcher for Tate on Pericles, a Horizon 2020 research project developing new approaches to digital preservation.

This professorship builds on an existing relationship between Tate and Maastricht University. Tate is a partner in the Maastricht University led Marie Curie Doctoral Training Centre, New Approaches to the Conservation of Contemporary Art (NACCA) and, between 2012 and 2014, Tate and Maastricht University delivered Collecting the Performative: A research network examining emerging practice for collecting and conserving performance-based art.

Pip Laurenson will give her inaugural lecture on Friday 18 March 2016, 16.00. The title is: “Practice as Research: Unfolding the Objects of Contemporary Art Conservation.”

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