b25be158-bdc8-4518-8913-52662c4e0e1d John Stuart Gordon Benjamin Attmore Hewitt Curator of American Decorative Arts Yale University Art Gallery Previous Next All members MEMBER INFORMATION ABM CONFERENCES ABM 2023 Team Presenter New Thoughts on Old Wood: Differentiation of Mahogany and Its Look-alikes Using Laser-induced Breakdown Spectroscopy Co-authored with Richard Hark. Read the Abstract. Explore Full Abstract ABM MEMBER EVENTS PUBLICATIONS + PROJECTS

07b77c3e-5908-48f1-83b0-28114bb0d93e John Wilson Founder and CEO ProtiFi Melville, NY, USA Previous Next All members MEMBER INFORMATION Dr. John P. Wilson, Ph.D., is Founder and CEO of ProtiFi, an omics-solutions innovator with the goal to bring precision omics to life™ originally spun out of Cold Spring Harbor Laboratory (CSHL). Dr. Wilson has dedicated his career to developing new transformative technologies to increase the speed, robustness and reproducibility of omics analyses. Technologies include the S-Trap sample preparation system and SimpliFi, ProtiFi's cloud-based, intuitive omics analysis platform. He received his PhD from the Rockefeller University and postdoced at CSHL. ABM CONFERENCES ABM 2021 Participant Art Bio Matters 2021 Virtual Conference Explore Full Abstract ABM MEMBER EVENTS PUBLICATIONS + PROJECTS

067a59da-5162-4c9e-be3a-6f20bc7c10d9 Glennis Rayermann Visiting Assistant Professor, Conservation Science Institute of Fine Arts, New York University New York, NY, USA Previous Next All members MEMBER INFORMATION Glennis Rayermann is a cultural heritage scientist. Currently, she the Visiting Assistant Professor of Conservation Science in the Conservation Center at the Institute of Fine Arts, New York University. She earned her Ph.D. in physical/materials chemistry at the University of Washington in Seattle. Her research is multidisciplinary, spanning materials degradation, development of a novel instrumental technique, biophysical chemistry, and cultural heritage conservation. During the 2020–2021 academic year, she taught the Conservation Science: Inorganic Materials in Art & Conservation lecture and laboratory courses and conducted research in the Patricia H. and Richard E. Garman Art Conservation Department at SUNY Buffalo State. Previously, she was a Research Associate with the Netherlands Institute for Conservation+Art+Science+ (NICAS) project ‘A Global Infrastructure for Heritage Science’, made possible by The Andrew W. Mellon Foundation. ABM CONFERENCES ABM 2023 Steering Committee Art Bio Matters 2023 Conference Explore Full Abstract ABM 2023 Organizer Art Bio Matters 2023 Conference Explore Full Abstract ABM MEMBER EVENTS PUBLICATIONS + PROJECTS

33ab88e7-e25c-4038-9067-f77d2a35a7ac Ophélie Ranquet PhD Student Karlsruhe Institute of Technology (KIT) Institute of Mechanical Process Engineering and Mechanics Applied Mechanics Group Karlsruhe, Germany Previous Next All members MEMBER INFORMATION Ophélie Ranquet is a PhD Student at the KIT in Germany, at the Institute of Mechanical Process Engineering and Mechanics. She completed her studies in Chemistry and Chemical Engineering in France at the ENSCL (École Nationale Supérieure de Chimie de Lille) and at the ECPM (University of Strasbourg). Her PhD project, focused on a multi-analytical approach, is held in collaboration with Ilaria Bonaduce and Celia Duce (University of Pisa), Norbert Willenbacher (KIT) and Patrick Dietemann (Doerner Institute). She investigates the role of addition of egg yolk in linseed oil-based paints and tempera paints by using tools and technologies from different fields: rheology, physical and analytical chemistry. ABM CONFERENCES ABM 2021 Team Presenter From egg tempera to oil painting – case studies of Domenico Ghirlandaio and Sandro Botticelli and the chemistry and microstructure of paints Explore Full Abstract ABM MEMBER EVENTS PUBLICATIONS + PROJECTS

7aaeee50-2a59-4a34-a208-10fc44bf9434 Laurence Douny Research Associate Humboldt University, Berlin Previous Next All members MEMBER INFORMATION Laurence Douny is a social anthropologist and research associate at the Excellence cluster ‘Matters of Activity. Image Space Material’ at Humboldt University, Berlin. She specializes in the anthropology and history of materials and techniques with a focus on West African wild silks and natural dyes. She is the principal investigator of the project ‘West African wild silks techniques: Preserving Marka-Dafing’s heritage of knowledge’ awarded by the Endangered Material Knowledge Program (EMKP) at The British Museum and funded by Arcadia. ABM CONFERENCES ABM 2023 Steering Committee Art Bio Matters 2023 Conference Explore Full Abstract ABM MEMBER EVENTS ABM Member Conversations - June 2024 Member Conversations Host An interdisciplinary conversation: Chemistry and anthropology insights on wild silk materials Explore PUBLICATIONS + PROJECTS

d86031bd-b787-4731-8218-54cd3d3e7fd5 Halina Piasecki New York University - Institute of Fine Arts New York, NY, USA Previous Next All members MEMBER INFORMATION Halina Piasecki (she/her) is a third-year objects conservation graduate student at the Conservation Center at NYU's Institute of Fine Arts. Halina's background is in classical languages, art, and archaeology. Her special interests within objects conservation include Greek and Roman archaeological artifacts, composite decorative arts objects, and 15th - 18th century objects displayed in northern European kunstkammern. Halina has worked in conservation roles at institutions such as the Brooklyn Museum, the American Museum of Natural History, the Museum of Chinese in America, the National September 11 Memorial & Museum, and the Central Park Conservancy. Halina has participated in three different archaeological excavations, and is especially interested in the ethical considerations at play in the extraction and preservation of archaeological cultural heritage from its burial context. She is also an artist working with diverse media, and in her free time she enjoys wheel throwing ceramics, drawing, printmaking, and classical goldsmithing. Halina has limited technical analytical experience and is excited to gain insight from the Art Bio Matters community. ABM CONFERENCES ABM MEMBER EVENTS ABM Round Table - July 2024 Round Table Presenter ABM Round Table - July 2024 How to identify organic residues preserved within the pipe bowls to investigate the object’s history and material evidence of modern opium smoking practices. Explore PUBLICATIONS + PROJECTS

313e3686-19dc-4569-81a2-452bb0b0f8b5 Oi Yan Michelle Chan Conservation Research Assistant M+ Museum for Visual Culture, Hong Kong Previous Next All members MEMBER INFORMATION ABM CONFERENCES ABM 2023 Team Presenter A multimodal approach to the study of human-derived materials in contemporary artwork Co-authored with Lynn Lee, Alessandra Guarascio and Marc Walton. Read the Abstract. Explore Full Abstract ABM MEMBER EVENTS PUBLICATIONS + PROJECTS

3e72bd04-dd1d-4605-9181-0321906b8abe RESOURCES Glossaries + Databases Glossaries + Databases Reference Materials Reference Materials Scientific Resources Scientific Resources Videos + Lectures Videos + Lectures Journals + Publications Journals + Publications Coming Soon Explore instructional videos and presentations created by our ABM members. If you have a video or slide deck to share, please email info@artbiomatters.org . VIDEOS + LECTURES (Bio)art and ecologies of the non/living University of Birmingham Visual artist Emanuela Cusin (Wysing Arts Centre, Cambridge (UK)) and philosopher Dr Marietta Radomska (Research Fellow in Environmental Humanities, Linköping University (SE)) present their artistic and philosophical engagements with the matter(s) - and materialisation - of (bio)art and ecologies of the non/living. They do so against the backdrop of these more-than-human crisis times that are afflicted by political and pandemic violence, (counter)terrorist acts and events, and processes of mourning, trauma, and commemoration. Explore Videos + Lectures Arsenic in collections American Institute for Conservation: Connecting to Collections Care If you have suspicions that arsenic may be present in your collection, this webinar will review methods for detection, personal protective equipment, and how to work with these collections safely and effectively. Examples of the types of objects that contain arsenic, either through application of residual pesticides or by manufacture, include medicinal kits, geological specimens, dyed textiles, Indigenous materials with a museum history, and natural history specimens. This webinar builds from the Connecting to Collections, 2016’s “Arsenic and Old Lace: Controlling Hazardous Collection Materials” and will include and expand pertinent information. Explore Videos + Lectures Conserving contemporary art Harvard Art Museums Narayan Khandekar, director of the Straus Center for Conservation and Technical Studies and senior conservation scientist, and Angela Chang, assistant director and conservator of objects and sculpture, discuss the various issues that arise in conserving contemporary art . In particular, they focus on how Doris Salcedo, as evidenced in her works in the current special exhibition "Doris Salcedo: The Materiality of Mourning," takes a seemingly impossible idea and makes it a reality... Explore Videos + Lectures Everywhen: The Eternal Present in Indigenous Art Harvard Art Museums With works drawn from public and private collections in Australia and the United States, Everywhen: The Eternal Present in Indigenous Art from Australia explores the ways in which time is folded into Indigenous, artistic, social, historical, and philosophical life. The exhibition features many works never seen outside Australia... Explore Videos + Lectures Icon Heritage Science Group and the National Heritage Science Forum The Institute of Conservation (ICON) The Icon Heritage Science Group and the National Heritage Science Forum ran a series of four informal, virtual short seminars to showcase the research of emerging heritage science researchers and students as well as provide career insights from established specialists in this field... Explore Videos + Lectures Investigating Ancient Textiles - Where do you even start? How do you start investigating ancient textiles, when you are not even sure where to start? This is recording of the Art Bio Matters Member Conversations Event recorded in October 2024, with the participation of members Ilaria Serafini and Juliet Graver Istrabadi. Explore Videos + Lectures Leather Use in Treatment American Institute for Conservation The 2022 Annual Meeting session on Leather Use in Treatment was held October 7, 2022. Panelists include Holly Herro, Kristi Wright, William Minter, and Katie Wagner. This video covers leather making and use from a craft, conservation, and curatorial perspective. Explore Videos + Lectures The ISAAC Mobile Lab The Institute of Conservation (ICON) This talk gives an overview and highlights of the latest developments through example ISAAC Mobile Lab activities, from participation in providing access through IPERION HS MOLAB around Europe to UK based activities, and from in situ investigation of wall painting to manuscripts... Recorded on 23 November 2022 Explore Videos + Lectures The Poison Book project American Institute for Conservation: Connecting to Collections Care The Poison Book Project investigates potentially toxic heavy metals used in 19th-century, mass-produced Euro-American bookbindings, a common object type found across small and mid-sized institutions. This webinar will share practical advice on how to identify these potentially toxic books, as well as health and safety recommendations institutions large and small can use when they have identified poison books in their collections. Explore Videos + Lectures The application of scientific research on works of art The Metropolitan Museum of Art Part of the World Science Festival held in New York City from May 28--June 1, 2008, the afternoon program explores the fascinating relationship between science and art. World-renowned scientists, including researchers from the Met and from Harvard University, a Nobel Laureate chemist, and a physicist, give talks concerning the application of scientific research on works of art. Marco Leona, David H. Koch Scientist in Charge, Department of Scientific Research, The Metropolitan Museum of Art, introduces the program. Explore Videos + Lectures The best explanation of radiocarbon (C14) dating A small clip from Laura Hendrik's ABM Seminar Series event "Compound Specific Radiocarbon (14C) Dating of Our Colorful Past: from Theory to Practice" recorded in April 2023 and widely praised by our members as "the best explanation of radiocarbon dating they have heard." Explore Videos + Lectures The daguerreotype Library of Congress Tracing the history of the daguerreotype from Paris to Philadelphia, this lecture explores the various improvements made to Daguerre's process and the ways in which it was used, examines the importance of Robert Cornelius as an American photographer, explains the history and ethics of conservation treatment and expands upon why conservation science-based research is necessary for the long-term preservation of our earliest national photographic treasures. Explore Videos + Lectures The nature of color in Japanese painting and prints Japanese Art Society This two-part series explores the nature of color in Japanese painting and prints. Renowned scientist and head of the Scientific Laboratory of The Metropolitan Museum of Art, Marco Leona, shares the studies of his department and collaborations with art historians and curators... Explore Videos + Lectures The sol-gel method The Institute of Conservation (ICON) This talk looks at the sol-gel method. This is a chemical process for the synthesis of inorganic or hybrid ceramic materials. Thanks to this technology it is possible to create several oxides with different structures (nanoparticles, micro and nano-coatings, dense layers, fibres, etc). The talk is being given by Michelle Cecchin of SILTEA. They are an Italian company specialized in sol-gel materials applied to Cultural Heritage... Explore Videos + Lectures

A binder is a substance that adheres the paint's pigment particles to the surface of the support (canvas, wood). Historically, proteins such as milk, egg, and animal glue served as the original binder. Composition Conservation Historical Use Case Studies Paint Binders A binder is a substance that adheres the paint's pigment particles to the surface of the support (canvas, wood). Historically, proteins such as milk, egg, and animal glue served as the original binder. Previous Next Back to Materials Coming Soon We need you to develop new content for the ABM website. Please email info@artbiomatters.org or message in Slack if you are interested in building the ABM website.

A non-exhaustive list of publications from ABM members related to their research and collaborations. If you have a publication to post, please email info@artbiomatters.org. COMMUNITY Projects Projects Publications Member Events Members Publications PUBLICATIONS A non-exhaustive list of publications from ABM members related to their research and collaborations. If you have a publication to post, please email info@artbiomatters.org . Blues from Tikuna/Magüta Masks and a Still Unknown Blue Colorant in Technical Art History and Conservation Science Thiago Sevilhano Puglieri [1,2] , Laura Maccarelli [3] Literature from the Tikuna/Magüta culture, from the Amazon Forest, suggests the use of chemical reactions between the juice of the naīcü fruit and iron to produce a blue colorant still unknown among technical art historians and conservation scientists. Explore Paleoproteomic identificationof the species used in fourteenthcentury gut‑skin garmentsfrom the archaeological siteof Nuulliit, Greenland Annamaria Cucina 1,2*, Anne Lisbeth Schmidt 3*, Fabiana Di Gianvincenzo 4,5*,Meaghan Mackie 4,6 , Carla Dove 7 , Aviâja Rosing Jakobsen 8 , Bjarne Grønnow 9 ,Martin Appelt 9 & Enrico Cappellini 4 Until recently, the identification of the species of origin for skin and fur materials used in theproduction of archaeological clothing has been based on the analysis of macro‑ and microscopicmorphological features and on the traditional knowledge of Indigenous groups. This approach,however, is not always applicable due to the deterioration of the archaeological objects.Paleoproteomics was used as an alternative approach to identify the species of origin of fifteensamples of various tissues from approximately 600‑year‑old garments found in Nuulliit, northernGreenland. Proteomics revealed that a limited group of marine and terrestrial mammals were usedfor clothing production. The results obtained from the analysis of multiple types of clothing andelements, such as sinew thread and gut skin, suggest that their applications were based on theirproperties. When conclusive assignment of a sample to a species via proteomics was not possible, theobservation by transmitted light microscopy of feather and hair micromorphology, if not affected bydiagenesis, was used to improve the identification. The proteomic characterization of animal materialsused for clothing production in the Nuulliit archaeological context provides an insight into thepractical knowledge and the strategies adopted by the local Indigenous community to exploit naturalresources Explore Unraveling a Historical Mystery: Identification of a Lichen Dye Source in a Fifteenth Century Medieval Tapestry Rachel M. Lackner [1], Solenn Ferron [2], Joël Boustie [2], Françoise Le Devehat [2], H. Thorsten Lumbsch [3], and Nobuko Shibayama [1] As part of a long-term campaign to document, study, and conserve the Heroes tapestries from The Cloisters collection at The Metropolitan Museum of Art, organic colorant analysis of Julius Caesar (accession number 47.101.3) was performed. Analysis with liquid chromatography–quadrupole time-of-flight mass spectrometry (LC-qToF-MS) revealed the presence of several multiply chlorinated xanthones produced only by certain species of lichen. Various lichen dye sources have been documented in the literature for centuries and are classified as either ammonia fermentation method (AFM) or boiling water method (BWM) dyes based on their method of production. However, none of these known sources produce the distinctive metabolites present in the tapestry. LC-qToF-MS was also used to compare the chemical composition of the dyes in the tapestry with that of several species of crustose lichen. Lichen metabolites, including thiophanic acid and arthothelin, were definitively identified in the tapestry based on comparison with lichen xanthone standards and a reference of Lecanora sulphurata, confirming the presence of a lichen source. This finding marks the first time that lichen xanthones have been identified in a historic object and the first evidence that BWM lichen dyes may have been used prior to the eighteenth century. Explore Species identification of ivory and bone museum objects using minimally invasive proteomics Catherine Gilbert, Vaclav Krupicka, Francesca Galluzi, Aleksandra Popowich, Stéphane Claverol, Julie Arslanoglu, Caroline Tokarski Ivory is a highly prized material in many cultures since it can be carved into intricate designs and have a highly polished surface. Due to its popularity, the animals from which ivory can be sourced are under threat of extinction. Identification of ivory species is not only important for CITES compliance, it can also provide information about the context in which a work was created. Here, we have developed a minimally invasive workflow to remove minimal amounts of material from precious objects and, using high-resolution mass spectrometry–based proteomics, identified the taxonomy of ivory and bone objects from The Metropolitan Museum of Art collection dating from as early as 4000 B.C. We built a proteomic database of underrepresented species based on exemplars from the American Museum of Natural History, and proposed alternative data analysis workflows for samples containing inconsistently preserved organic material. This application demonstrates extensive ivory species identification using proteomics to unlock sequence uncertainties, e.g., Leu/Ile discrimination. Explore Microbial fingerprints reveal interaction between museum objects, curators, and visitors Lukas M Simon [1], Cecilia Flocco [2], Franziska Burkart [2], Anika Methner [2], David Henke [3], Luise Rauer [4, 5 6], Christian L Müller [6], Johannes Vogel [7], Christiane Quaisser [7], Jörg Overmann 2, Stefan Simon [8] Microbial communities reside at the interface between humans and their environment. Whether the microbiome can be leveraged to gain information on human interaction with museum objects is unclear. To investigate this, we selected objects from the Museum für Naturkunde and the Pergamonmuseum in Berlin, Germany, varying in material and size. Using swabs, we collected 126 samples from natural and cultural heritage objects, which were analyzed through 16S rRNA sequencing. By comparing the microbial composition of touched and untouched objects, we identified a microbial signature associated with human skin microbes. Applying this signature to cultural heritage objects, we identified areas with varying degrees of exposure to human contact on the Ishtar gate and Sam'al gate lions. Furthermore, we differentiated objects touched by two different individuals. Our findings demonstrate that the microbiome of museum objects provides insights into the level of human contact, crucial for conservation, heritage science, and potentially provenance research. Explore The Inside (and Outside) Scoop: Scientific Analysis of Food Residues Inside the Jars from Old Edgefield, South Carolina Adriana Rizzo The exceptional and exciting occurrence of organic food residues inside large nineteenth century alkaline-glazed stoneware vessels from the Old Edgefield district, some also signed by enslaved potter and poet David Drake, has offered a unique opportunity to study those residues as anthropological evidence of the jars’ contents (e.g., preserved meat, fat, eggs, etc.), potentially offering information on the use of the jars and the lifestyle of the people that used them. Residues scraped from the jars’ surfaces were analyzed in the Department of Scientific Research of The Met to evaluate their composition, assess contaminations and clues to their condition (e.g., presence and extent of degradation products), all informing of the next process to further characterize the residue. Explore Cutting Through the Fat: Animal Species and Food Processing Techniques of Residues Found in Nineteenth-Century Edgefield Pottery Julie Arslanoglu As part of the exhibition, Hear Me Now: The Black Potters of Old Edgefield, South Carolina, The Met’s Department of Scientific Research (DSR) investigated organic food residues found inside large nineteenth-century alkaline-glazed stoneware vessels from the Old Edgefield District, South Carolina. “Examining Storage Jars from the American South” describes the driving questions about the jars’ use and the users’ lifestyle. Investigations reported in “The Inside (and Outside) Scoop: Scientific Analysis of Food Residues Inside the Jars from Old Edgefield, South Carolina” established that the heterogeneous residues are mostly oily materials with solid materials of various unknown origins. We hoped to gain more information about the jars’ contents from these residues, but to do so we need the sophisticated tools and expertise of our collaborators through ARCHE. Explore Hydrogen‑deuterium exchange mass spectrometry to study interactions and conformational changes of proteins in paints Francesca Galluzzi, Stéphane Chaignepain, Julie Arslanoglu, Caroline Tokarski Little is known about structural alterations of proteins within the polymeric films of paints. For the first time, hydrogen‑deuterium exchange mass spectrometry (HDX-MS) was implemented to explore the conformational alterations of proteins resulting from their interaction with inorganic pigments within the early stages of the paint film formation. Intact protein analysis and bottom-up electrospray-ionisation mass spectrometry strategies combined with progressively increasing deuterium incubation times were used to compare the protein structures of the model protein hen egg-white lysozyme (HEWL) extracted from newly dried non-pigmented films and newly dried films made from a freshly made mixture of HEWL with lead white pigment (2PbCO3 Pb(OH)2). The action of other pigments was also investigated, expanding the HDX study with a global approach to paint models of HEWL mixed with zinc white (ZnO), cinnabar (HgS) and red lead (Pb3O4) pigments. The results show structural modifications of HEWL induced by the interaction with the pigment metal ions during the paint formulation after drying and prior to ageing. Both the charge distribution of HEWL proteoforms, its oxidation rate and its deuterium absorption rate, were influenced by the pigment type, providing the first insights into the correlation of pigment type/metal cation to specific chemistries related to protein stability. Explore So you want to do biocodicology? A field guide to the biological analysis of parchment Sarah Fiddyment, Matthew D. Teasdale, Jiří Vnouček, Élodie Lévêque, Annelise Binois & Matthew J. Collins Biocodicology, the study of the biological information stored in manuscripts, ofers the possibility of interrogating manuscripts in novel ways. Exploring the biological data associated to parchment documents will add a deeper level of understanding and interpretation to these invaluable objects, revealing information about book production, livestock economies, handling, conservation and the historic use of the object. As biotechnological methods continue to improve we hope that biocodicology will become a highly relevant discipline in manuscript studies, contributing an additional perspective to the current scholarship. We hope that this review will act as a catalyst enabling further interactions between the heritage science community, manuscript scholars, curators and conservators. Explore