Up Close With Conservators Archives

The art of protecting time-based media with Liz Brown

Sara Butler on Oct 11 2025

“The intricate nature of the work provides so many rich opportunities to connect the artworks in our care with audiences young and old, a pursuit so core to why we are here in museums.”

There are many elements Liz Brown, Director of Objects Conservation at SAM, loves about working in conservation. Each day presents new challenges—including the complexities of preserving artworks involving technology, media, and interactive elements. Among these artworks are Paranoid Mirror (1995), a mixed media video installation by Lynn Hershman Leeson and the subject of Brown’s upcoming talk “Inside and Outside Gallery Walls.”

On October 16, Brown continues the 2025 season of Up Close with Conservators, our member-exclusive lecture series, with an inside look into SAM’s collaborative strategies for preserving time-based media. Before she takes the stage, we talked with Brown about the complicated artwork—its background, preservation, and impact. Plus, Brown shares her favorite aspects of working in conservation (spoiler: there are a lot).

Could you provide a brief description of Paranoid Mirror and how visitors can interact with it?

Paranoid Mirror is an interactive video artwork where the visitor is both the observer and the performer. As the visitor approaches the gilt mirror on the wall, they see themselves reflected in a video that changes as they trigger hidden sensors. The installation then switches between clips, challenging them to question what they are seeing and “looking at.” At the same time, the viewer is captured by a video camera; the live footage is sometimes played back to the viewer in the mirror and simultaneously streamed to a surveillance monitor watched by other visitors. In her 1995 book, Lynn Hershman Leeson shares that the piece is “inspired by the paintings of Jan Van Eyck and in particular the Arnolfini Wedding (1434) … and engages ideas of reflection, tracking, surveillance and voyeurism and uses the viewer as a direct interface.”

This mixed media piece uses older technology, including laserdiscs. What are some of the contemporary tools you use for conserving the original components?

One of the first steps was to learn from Lynn Hershman Leeson which components of the original installation are important to preserve and what could be replaced. to understand the essential performances and aspects of the artwork. We learned, for example, that although video on the 1995 CAV laser disc could be migrated and the laser disc could be replaced, she believed that the current artifacts of age in the video should not be removed because the work’s place and time should not be erased. Once we had a better understanding of her approach, we employed a variety of tools, often drawn from related fields. For example, we use a write blocker developed in forensics to safely examine drives without inadvertently altering any of the information. We also made use of disc imaging tools from software preservation and migration apps from archivists. Additionally, tools such as current video editing software and applications to examine metadata and other aspects under the hood are incredibly helpful.

Preserving this work ensures it can reach future audiences. Why is this piece important in our current moment?

In our current world dominated by screens, selfies, online identities and avatars, and images and information manipulated and real, Paranoid Mirror’s reflections on illusion, identity, seeing and being seen, and youth and age resonate both forward and backward in time.

According to MoMA’s 2024 retrospective of the Hershman work, “One of the world’s most prolific media artists, over five decades Lynn Hershman Leeson has produced an innovative body of work that probes and plays with the complex relationship between humans, technology, and social structures. Her videos navigate the fluid space between perception and truth, constantly exposing our collective and individual biases.”

In preserving this work—though I struggle with word “preserve” in regard to new media artworks—we are not just attempting to maintain a particular piece of hardware or electronics. We also want to ensure the performances of the work continue with its questions and challenges, that the refrain “You are not real” echoes into the future.

What do you like most about working in conservation?

The nature of the work is so multifaceted that it’s difficult to choose one thing—can I choose several and a few more tomorrow? One of the truly magical and inspiring aspects of working with contemporary artworks is the opportunity to work with and hear directly from creators. To be able to learn from the artist how they work, select materials, and would like the work preserved (or not) is a great privilege. Additionally, I love the investigative nature of the work in conservation. Due to the breadth of materials and artworks in the collection, no one day is the same; each day presents new challenges and opportunities to learn, uncover, and discover. And the intricate nature of the work—which draws on so many fields such as chemistry, archeology, art history, imaging, and programming—provides so many rich opportunities to connect the artwork in our care with audiences young and old, a pursuit so core to why we are here in museums.

Preserving outdoor art at Olympic Sculpture Park with Erin Fitterer

Sara Butler on Sep 16 2025

Ever wondered how we keep the outdoor art at Olympic Sculpture Park looking beautiful? It’s all thanks to the hard work and expertise of SAM’s talented conservation team members.

Among them is Erin Fitterer, Assistant Objects Conservator at the Olympic Sculpture Park. She is the newest member of SAM’s conservation team, joining us from a prestigious Andrew W. Mellon Fellowship at the National Gallery of Art.

A graduate of Seattle University, Fitterer left the Pacific Northwest for the East Coast to pursue studies in art history and criticism and conservation at New York University and Rutgers University. Her experience includes internships at the Hirshhorn Museum, the National Gallery of Art, and the Brooklyn Museum.

Staff portrait of Erin Fitterer on July 2, 2025. (Photo by Chloe Collyer)

Fitterer returned to Seattle earlier this year to care for the Olympic Sculpture Park’s 22 monumental sculptures by modern artists. On September 18, Fitterer kicks off this season of Up Close with Conservators, our member-exclusive lecture series, to discuss the process of preserving and presenting the outdoor art at the Olympic Sculpture Park.

Ahead of her talk, we chatted with Fitterer about the maintenance behind the magic, as well as her experience at SAM so far.

What is one of the major challenges of outdoor art conservation at the Olympic Sculpture Park?
One of the consistent challenges of working with outdoor sculpture is simply their scale. When working on objects in the museum, you are able to pick them up and maneuver them to help facilitate treatment. When working on outdoor sculpture, their scale is such that not only can they never be moved, but they generally require equipment such as ladders and lifts to be able to reach all of the areas to assess and treat them.

Prior to accepting this job, you were working on the East Coast. How does the Northwest environment impact the conservation process?
The environment here offers a lot of interesting challenges. While conservators are always keeping an eye out for corrosion on our metal surfaces, it’s especially important here to monitor for changes as this is the kind of the environment that really encourages metals to corrode.

Eye Benches II, 1996-97, Louise Bourgeois (American, born French, 1911-2010), black Zimbabwe granite, 48 x 76 15/16 x 46 1/2 in. each, Gift of the artist, in honor of the 75th Anniversary of the Seattle Art Museum, 2005.114.1-2, © Louise Bourgeois, photo: Paul Macapia. Currently on view in the Olympic Sculpture Park.

Do you have a favorite sculpture at the park? Is it one of the easier—or harder—pieces to take care of?
My favorite sculpture is often the one that I am working on at the moment. Treating sculptures allows us to look closely at their surfaces and really appreciate the details and care each artist took when creating their works. However, overall, I’d have to say my favorite are the three sets of eye benches by the artist Louise Bourgeois. I have always liked working on stone, ever since I worked on archeological material as a preprogram conservator. I particularly like the contrast between the highly polished surfaces with the surfaces she allowed to remain matte.

As the newest member of SAM’s conservation team, what are you most looking forward to in your role as assistant objects conservator?
I am excited to be working at SAM and am especially looking forward to learning from the more experienced conservators in SAM’s conservation department. While I had experience as a student and fellow working on outdoor sculpture, in this position, I am now able to learn more about their long-term care and major treatments such as repainting projects from SAM’s experienced conservation team.

Featured image credit: Wake, 2002-03, Richard Serra, American, 1938-2024, 10 plates, 5 sets of locked toroid forms, weatherproof steel, each set, overall: 14 ft. 1 1/4 in. x 48 ft. 4 in. x 6 ft. 4 3/8 in.; overall installation: 14 ft. 1 1/4 in. x 125 ft. x 46 ft.; plate thickness 2 in.; weight: 30 tons (each plate), Purchased with funds from Jeffrey and Susan Brotman, Virginia and Bagley Wright, Ann Wyckoff, and the Modern Art Acquisition Fund, in honor of the 75th Anniversary of the Seattle Art Museum, 2004.94, photo: Benjamin Benschneider.

Making History: Meet Tanya Uyeda, SAM’s Inaugural Senior East Asian Paintings Conservator

Lily Hansen on Aug 14 2023

This spring, Tanya Uyeda joined SAM as the museum’s inaugural Senior East Asian Paintings Conservator. A leader in conservation practice, education, and research, Tanya assumes responsibility for the care of SAM’s East Asian painting collection, focusing on conservation treatments and sourcing the necessary specialized materials and tools.

Her appointment also marked the start of regular activity in the landmark Atsuhiko and Ina Goodwin Tateuchi Conservation Center, which opened as part of the renovated and expanded Seattle Asian Art Museum in February 2020. The center is one of only a handful of museum studios nationwide dedicated to the comprehensive treatment of East Asian paintings, and the only studio of this type in the western US.

Tanya comes to SAM with over 28 years of experience in art conservation, including over 20 years as a conservator of Japanese paintings at the Museum of Fine Arts, Boston. Born in Eugene, Oregon, Tanya received a Bachelor of Arts in East Asian Studies: Japanese Language and History from Oberlin College and earned a Master’s Degree in Preservation of Cultural Properties from Tokyo University of the Arts. She also trained at an elite painting conservation studio in Tokyo. She is one of only four American conservators of a similar background working in a US institution, as there are no conservation training programs for East Asian paintings outside of Asia.

Just a few months into her tenure at SAM, Marketing Content Creator Lily Hansen spoke with Tanya about her short- and long-term goals, what members can expect in her upcoming Up Close With Conservators talk this fall, how she’s adjusting to Seattle, and more.

LILY HANSEN: Welcome to SAM! After spending more than 20 years in Boston, how are you adjusting to Seattle?

TANYA UYEDA: It seems I arrived in Seattle at the best time of year—I’ve really been enjoying this spectacular summer weather! I’ve settled into a home in the Ballard neighborhood and have been getting it ready in anticipation of my family relocating from Boston later this fall. It’s been so nice to explore the Ballard Farmers Market every Sunday and recently took a weekend jaunt over to Bainbridge Island. I also have extended family in the area, and it has been lovely to be able to reconnect with many of them.

LH: How does it feel to be named SAM’s inaugural Senior East Asian Paintings Conservator?

TU: I feel very honored to be chosen for this important new position. Before arriving at SAM, I worked at the Museum of Fine Arts, Boston, which houses one of the most important and comprehensive collections of Japanese art in the US. Most of my work on the Japanese painting collection supported large-scale touring exhibitions that were shown primarily in Japan.

I am looking forward to continuing this work at the Seattle Asian Art Museum and contributing to the preservation of, and scholarship on, the museum’s East Asian painting collection. I can’t wait to share my insights with members and visitors alike, and to support the care and appreciation of these important artworks throughout the entire Western Pacific region.

LH: What are a few of the goals you set for yourself in taking on this position?

TU: Since assuming my role, my immediate focus has been setting up the Tateuchi Conservation Center as a fully functioning conservation studio. The renovation of the Seattle Asian Art Museum included the creation of this beautiful new workspace, necessary infrastructure such as work tables, sinks, light tables, and fume hoods. The tatami mat flooring and low work tables are what you would see in a traditional Japanese scroll mounting studio, and is what I am accustomed to from my training.

In addition to the basic conservation equipment, East Asian paintings require highly specialized (and expensive!) materials and tools, such as handmade paper, woven textiles, decorative fittings, and various types of brushes, adhesives, pigments, and dyestuffs. Many of these necessary items are imported directly from Japan and China, and are becoming increasingly difficult to source due to the aging out of the artisans that produce them and a lack of younger craftsmen to replace them.

For example, there is a type of paper called “misu-gami” that is produced in the Yoshino region of Japan and provides the flexible inner structure of Japanese hanging scrolls. However, there is now only one papermaker producing it. I will be relying on the generous cooperation of conservation colleagues in Japan and the US, as well as suppliers and craftspeople, to support me as I work to outfit the Tateuchi Conservation Center and carry out the treatments we intend to complete.

LH: The Emerging Arts Leader Internship Program is an integral part of SAM’s mission to connect art to life. This summer, you welcomed Alexa Machnik as your first Emerging Arts Leader Intern in Conservation. What has it been like working with Alexa? Do you intend to take on more interns in the future?

TU: I was very fortunate to meet Alexa and convince her to spend the summer with me in Seattle before she begins a fellowship with the Los Angeles County Museum of Art this fall. As a Mellon Foundation Fellow at the Institute of Fine Arts, New York University and a fourth-year student in the university’s MA/MS program in art history and conservation, she also has extensive working experience at institutions such as the Yale University library and Metropolitan Museum in New York.

The primary focus of Alexa’s internship has been to work alongside me in building eight new karibari, or drying boards, for the studio. These boards are an essential component of every East Asian painting conservation and mounting studio. They consist of a wooden lattice undercore and feature up to 11 layers of handmade paper pasted in specific configurations on either side to provide a sturdy and breathable, yet lightweight surface for stretch drying and flattening artworks during treatment. It is a time consuming and physically demanding task, and I am grateful to have Alexa’s assistance! Building the boards is also excellent training in the use of brushes and knives, different thicknesses of paste, and the preparation of various types of handmade paper. She is also helping me process an important series of artworks gifted to SAM at the bequest of longtime benefactor, the late Frank Bayley III, as well as designing new display apparatus for upcoming gallery rotations at the museum.

My hope is that the Tateuchi Conservation Center will serve as a training resource for future conservators of Asian art, as coursework in East Asian painting conservation is not an area of study offered in North American or European graduate conservation programs. Training in this field is still largely apprenticeship-based, taking place in private studios across Japan, China, Taiwan, and Korea. As a result of their unusual formats, Asian paintings require dexterity, specialized tools, refined aesthetic sensibilities, and linguistic, cultural, and historical knowledge. In the US, the field tends to attract students with a background or interest in paper conservation. These include so-called pre-program students (those seeking admittance to North American conservation programs) or recent graduates from these same programs. Occasionally, students with academic or practical training from Asia are considered as well.

LH: This fall, SAM will launch Up Close with Conservators, a members-only lecture series offering an in-depth look at the conservation work taking place at the museum. For the inaugural lecture, you’ll be in conversation with SAM’s Jane Lang Davis Chief Conservator Nick Dorman. What can SAM members expect to hear in your discussion with Nick?

TU: Up Close with Conservators is an exciting opportunity to highlight the individuals who make up SAM’s conservation team and to share the details of our work with the public. We chose to title the series “Up Close” because much of our work begins with a close examination of the objects. We look forward to educating members on the works of art in our care, sharing our discoveries, explaining how we assist the museum’s curators in interpreting the artistic intent of each artwork’s creator, and articulating how best to handle, store, and preserve art for future generations.

In our lecture, Nick and I will discuss the museum’s long journey to establish the Tateuchi Conservation Center at the Seattle Asian Art Museum, and what the role of this new resource will be for the understanding and preservation of the important East Asian collections in the West Coast region. I will also be giving a brief overview of the kind of work that will take place in the studio, and what conservation of East Asian paintings looks like. It will be my first opportunity to speak to SAM’s members and is sure to be a engaging conversation.

– Lily Hansen, SAM Marketing Content Creator

Photos: Alborz Kamalizad.