KIMBERLY FROST

I frequently act as a liaison for tours and educational programs involving paintings conservation. This spring I facilitated part of the Art Institute's annual Chicago Objects Study Initiative Fellows program, which was recently established to encourage object-based studies for advanced art history students. I served as a mentor to Sarah Dwider, a Northwestern University PhD candidate examining and researching the painting New York, 1956 by American modernist Hedda Sterne. Working together brought to light many details and connections within Sterne’s works from 1950-1960 and her methods and use of materials. 

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I have also taken the opportunity to share our work through the Art Institute's learning and public engagement staff. After seeing a great interest from tour groups in our technical imaging of Rembrandt paintings, I decided to write a blog post about our contribution of images to the publicly available Rembrandt Database.[1] The post was successfully shared on the museum's social media streams and attracted great interest. 

 

Most recently, I participated in “Secrets of the Collection: Materials of the Medieval World,” a public gallery program that gave visitors an opportunity to learn about conservation and science through on-site talks and informal presentations. These were all rewarding and gratifying experiences and I am well prepared to plan and participate in outreach and educational programs for a range of public audiences.