About Scott Haskins
Scott M. Haskins, author of “How To Save Your Stuff From A Disaster,” has worked in the US and Europe as a professional art conservator since 1975. He works with the general public, historical societies, museums, corporations, private collectors, art galleries, city, state and federal governments.
He is also an expert witness in the Los Angeles Supreme Court system and on the part of the federal government regarding public art issues. He routinely provides consultation services, surveys and assessments and provides expert written content. He has done consultation work for a long list of notable organizations including the General Services Administration of the US Government, Pope Paul III’s family, the Shroud of Turin project, the Historical Dept of the Church of Jesus Christ of Latter-day Saints and the Getty Conservation Institute among many others. His firm routinely collaborates with insurance companies in responding to accidents.
Besides authoring “How To Save Your Stuff From A Disaster,” he has written dozens of articles on what to do to take care of valuable (financial, historical or emotional) personal items in the workplace that have been published in corporate newsletters, art magazines, and other specialty publications and websites. He also wrote a pamphlet entitled “How To Respond After An Earthquake” of which over 500,000 were distributed in Los Angeles, through the human resource departments of the Bank of America after the Northridge Earthquake.
He has been personally involved in nine “major” California disasters: three earthquakes (Silomar ‘71, Whittier ‘89 and Northridge ‘94), four fires (Santa Barbara ’90, 2 in 2008 and Oakland ‘93) and one flood (Santa Barbara ’95) and has consulted with people on innumerable other accidents nationwide.
He is the expert (www.preservationcoach.com), providing important (essential!) information to assist businesses protect and save: intellectual and creative property, collections and collectibles, important letters/certificates/awards, memorabilia, photos, books and other company assets that reflect the corporate culture, most of which are not insurable. He addresses in his writings and assessments managing the risks of damage or loss due to water damage, mold, vandalism, fires, earthquakes, floods, hurricanes, tornadoes, leaking water heaters… and Father Time!
Scott is currently consulting with cities, counties (parishes) and companies within the Gulf States on Hurricane Preparedness. He is also working with contacts in Mexico to take the message of preparation and saving important personal items to their Gulf States.
For a feature article in the Life Section of the Santa Barbara News-Press go to http://www.fineartconservationlab.com/media-room/art-restorerconservator-scott-m-haskins-featured-in-life-section-of-newspaper/
Also, you will find us on Facebook: “Fine Art Conservation” Mural Art Conservation” “Save Your Stuff”
See YouTube videos under “Preservationcoach” and “bestartdoc”
Conservator of Fine Art
January 1986 to Present: FACL, Inc. (Fine Art Conservation Laboratories) in Santa Barbara, California. Director, Chief Conservator of facility which specializes in the conservation of easel paintings (panel, fabric), murals (affresco, tempera, oil), works of art on paper and period frames. FACL, Inc. performs services for clients throughout the United States. The moveable artwork is treated in the 2400 sq. ft. Santa Barbara laboratory. On-location projects (murals, surveys) are performed each year. The laboratory is equipped with an 8′ x 12′ hot table, suction tabletop, polarizing microscope and an infrared reflectometer. An extensive amount of consultation work is performed including collection surveys, authentication studies, exhibition and acquisition needs.
February 1984 – January 1986: Chief Paintings Conservator for Art Conservation Laboratories of Santa Barbara, Inc. a privately funded regional conservation lab servicing collections throughout California. Director of all conservation procedures for paintings and paper including treatments, documentation, research.
September 1978 – February 1984: Conservator of Fine Arts at Brigham Young University, Provo, Utah. The facility primarily serviced the Permanent Art Collection of BYU and the Museum of Church History and Art of the Church of Jesus Christ of Latter-Day Saints in Salt Lake City, Utah. Responsibilities included the organization of the new 3500 sq. ft. lab in 1978, administration of the program, Chief Conservator, head of Conservation Committee, participant on the Acquisitions Committee.
October 1977 – October 1978: Internship at Ex Monastero della Trinitá Museum. Worked on affrescos, panels and canvases under Mr. Paolo Bacchin, Conservator (ICCROM, UNESCO).
October 1975 – October 1978: Three year art conservation program at Lombardy regional conservation center, Ente Nazionale A.C.L.I. Istruzione Professionale, in Botticino (Brescia), Italy. Program recognized and supported by the Istituto Centrale del Restauro (ICR) in Rome. Instruction emphasis on easel paintings, affrescos (murals) and polychromed sculpture. Degree awarded with honors. Master’s Degree Equivalent in US
Special Studies and Professional Activities
2007: Advanced cold lining updates workshop with Vishwa Mehra and Matteo Rossi Doria. One week workshop with senior conservators in Skaneatelous, NY
1997 – 2000: Conservator for the General Services Administration, US Government, Indefinite Quantity Contract for artwork on paper in all federal buildings in the US.
1997 – 2000: Conservator for the General Services Administration, US Government, Indefinite Quantity Contract for paintings in federal buildings in 25 Western states. 3 year contract
1996: Author of book: How To Save Your Stuff From A Disaster, Preservation Help Publications, 220 pgs, 100 illustrations and photos, 8 1/2″ x 11″ www.preservationhelp.com
1994: Author of pamphlet: How to Respond to an Earthquake, Conservation Materials Ltd., almost 500,000 copies distributed in LA area. Printed and distributed in response to Northridge Earthquake.
1991: Conference on suction table technology and use. One week seminar at the Conservation Analytical Laboratory at the Smithsonian Institution in Washington, D.C.
1987: Ongoing : Reviewer of grant /requests proposals for the Institute of Museum and Library Services, US Government.
1986: Ongoing: Teaching of seminars, workshops and professional exchanges with Italian Conservation Centersin Venice and Brescia (Botticino) sponsored by respective government programs of the provinces.
1984: In addition to the experience of gilding while in Italy (frames and polychromed sculpture), advanced experience in gilding with Mr. William Adair of Gold Leaf Studios, Washington D.C. have taken place many times since 1984 in the form of workshops and actual conservation/gilding projects.
1979 and 1981: Microscopy for Art Conservators, McCrone Research Institute. Week of studies centered on the use of the polarizing microscope for the identification of pigments, fibers and other materials.
1978 – 1984: While at Brigham Young University, began studies on the preservation of works of art on paper.Worked on pastels, watercolors, engravings and sketches from the Mahonri M. Young Collection at BYU. Periodic collaboration was given by the Paper (Book) Conservation Laboratory at the Harold B. Lee Library and by extended visits by Mr. Joe Nkruma, Paper Conservator of the Kunstmuseum, Bern, Switzerland.
(AIC) American Institute for Conservation of Historic and Artistic Works
Since 1978 Professional Associate Member,
1993 – 94 Conservators in Private Practice, Chairperson
1990 – 93 CIPP, Vice Chairperson, Program Chairperson
Since 1978 Associate Member, International Institute for Conservation
Since 1978 Member, Western Association for Art Conservation:
1984 – 85 Board of Directors
1983 – 84 President
1982 – 83 Vice President
Shroud of Turin Research Project, Consultant and Participant
Institute of Museum Services (U.S. Gov’t) grant proposal reviewer
Collection Surveys Conducted – Short List
A collection survey is a documented review of all or a specialized part of a collection, often requiring written reports, computer database set up and usage, designing of custom survey and other documentation forms, photography. Often times, surveys can be required after disasters as part of emergency response to assess damage.
Texas Southern University (TSU), Houston, Texas
The General Service Administration, US Government
Department of Transportation
City of Dallas, Fair Park
The Historic Mission Corporation, Riverside, CA
The Mission Inn Foundation, Riverside, CA
Art Museum, University of California at Santa Barbara, CA (IMS and GCI funding)
Santa Barbara Museum of Art, Santa Barbara, CA
Bain Investments International, Los Angeles, New York, London, Tokyo
Eicholtz Estate Collection, Santa Ynez, CA
Leigh B. Block Collection, Santa Barbara, CA
Brigham Young University, Provo, UT, Permanent Art Collection
State of Utah Art Collection, Utah Arts Council, SLC, UT
Historical Division, Church of Jesus Christ of Latter Day Saints, SLC, UT
Daughters of the Utah Pioneers Museum, SLC, UT
Brigham City Museum, Brigham City, UT
Cavriana Archaeological Museum, Cavriana, Italy
Montini Family Collection Pope Paul III, Lumezzane, Italy
Invite me to speak at your conference, put on a workshop or help you fundraise!