POSITIONS HELD

2013 – present
Clinical Professor, Museum Studies, New York University

2007 – 2013
Time-Based Media Conservator, Museum of Modern Art

2003 – 2013
Research Scholar, Museum Studies, New York University

2006 – 2010
Founding Executive Director, Voice in Contemporary Art
http://www.voca.network/

1991 – 2004
Director of Conservation, Japanese Institute for Anatolian Archaeology

Coordinated courses, symposia, publications, research and field conservation for an archaeological research institute in central Turkey. The facility is located adjacent to the Kaman-Kalehöyük excavation

1986 – Present
Glenn Wharton & Associates

Art Conservation Private Practice. Consulting, technical research, lectures, and other services for museums and art institutions: Brooklyn Museum, California Museum of Science and Industry, California Department of Parks and Recreation, City of San Francisco, Dallas Museum of Art, Dia Art Foundation, Douglas Cramer Foundation, Fowler Museum of Cultural History UCLA, Huntington Library, Los Angeles County Museum of Art, Museum of Contemporary Art Los Angeles, Metropolitan Museum of Art, Museum of Modern Art, Oakland Museum of California, San Francisco Arts Commission, San Francisco Asian Art Museum, Santa Monica Arts Foundation, Stanford University, State Foundation on Culture & the Arts Hawai’i, U.S. Navy, & Walt Disney Imagineering

EDUCATION

Ph.D. Conservation, Archaeology; Institute of Archaeology. 2005.
M.A. Art Conservation;Cooperstown Graduate Programs, State University College of New York. 1981.
B.A. Art History; University of California, Santa Barbara. 1977.
B.A. Combined Social Sciences, Phi Beta Kappa, Dean’s Scholar List. 1977.

AWARDS, HONORS, RECENT GRANTS

Pasold Research Fund, Fashion, 84th Anglo-American Conference of Historians. University College London / Victoria & Albert Museum Conference Participation. 2015.

Humanities Initiative Grant, New York University. Artist Archives Project – David Wojnarowicz. 2015.

College Art Association / Heritage Preservation Award for Distinction in Scholarship and Conservation. 2014.

Historic Hawai’i Foundation Preservation Media Award for The Painted King: Art, Activism & Authenticity in Hawai’i. 2012.

Humanities Initiative Grant, New York University. Conservation of Computer-Based Art. 2010.

Visiting Scholar, New York University, Museum Studies Program. 2002- 2003.

Visiting Scholar, New York University, Metropolitan Studies Program. 2001 – 2002.

Association of Hawaiian Civic Clubs Commendation for honoring the original Statue of King Kamehameha. December 2000.

Visiting Scholar, Stanford University, Department of Cultural and SocialAnthropology. 1999 – 2000.

Samuel H. Kress Conservation Publication Fellowship. 1998.

California Preservation Foundation Design Award in Recognition of Outstanding Achievement in the Field of Historic Preservation. February 1998.

Research Fellow, The Getty Conservation Institute. 1985-1986.

Andrew Mellon Fellow, Los Angeles County Museum of Art. 1982-1986.

Conservation Fellow, Harvard University, Fogg Art Museum, Center for Conservation and Technical Studies.1981-1982.

PROFESSIONAL AFFILIATIONS

American Alliance of Museums (AAM)

American Institute for Conservation (AIC) – Fellow

College Art Association

International Council of Museums – US

International Institute for Conservation (IIC) – Fellow

International Network for the Conservation of Contemporary Art (INCCA)

Former Steering Committee for international organization

Voices in Contemporary Art (VoCA)

Founder of not-for-profit organization

Emeritus Board member

Western Association for Art Conservation (WAAC)

Former President of Board of Directors

SELECTED PUBLICATIONS

BOOKS

The Painted King: Art, Activism, & Authenticity in Hawai’i. Honolulu: University of Hawai’i Press. 2012.

Inside Installations: Theory and Practice in the Care of Complex Artworks. (edited with Tatja Scholte). Amsterdam: University of Amsterdam Press. 2011.

Guide to the Maintenance of Outdoor Sculpture. (with Virginia Naudé). American Institute for Conservation, Washington D.C. 1992.

ARTICLES & BOOK CHAPTERS

Managing Contemporary Art Documentation in Museums and Special Collections. (with Deena Engel). Art Documentation Journal. (forthcoming).

Museum/University Collaboration in Media Conservation Research. (with Deena Engel). The Electronic Media Review. Washington D.C.: American Institute for Conservation (forthcoming).

Pacific Studies. Book Review Forum featuring Wharton, Glenn. The Painted King: Art, Activism, and Authenticity in Hawai’i. Reviews by Stacy L. Kamehiro, University of California, Santa Cruz; Aaron Glass, Bard Graduate Center; Karen Stevenson, University of Canterbury; Author Response by Glenn Wharton. December 2016. 39:3. 375-417.

The Challenge of Installation Art. (with Harvey Molotch). Reprinted for Symposium: Fixing What Isn’t Broken: What is Reconstruction in Contemporary Art? Riga: Latvian Centre for Contemporary Art. 2016. Originally published in (A. Bracker & A. Richmond eds.) Conservation: Principles, Dilemmas, and Uncomfortable Truths. London: Elvsevier. 2009. 210-222. Download PDF.

Artist Intentions and the Conservation of Contemporary Art. Objects Specialty Group Postprints, Volume Twenty-Two. Washington D.C.: American Institute for Conservation. Download PDF.

The Artist Archives Project – David Wojnarowicz. (with Deena Engel & Marvin Taylor). Studies in Conservation. London: International Institute for Conservation. Vol. 61. 2016. S2-241-247. Download PDF.

Reconfiguring Contemporary Art in the Museum. In Erma Hermens (ed.) Authenticity in Transition: Changing Practices in Art Making and Conservation. London: Archetype Publications. 2016. 27-36.

Conserving Computer-Based Art at The Museum of Modern Art. Arte Contemporáneo en (sala de) Guardia. Buenos Aires: Fundación Telefónica. 2016.

Public Access in the Age of Documented Art.  Revista de História da Arte – Série W. Lisbon: Instituto de História da Arte. 2015. 180-191. Download PDF.

Source Code Analysis as Technical Art History. (with Deena Engel). Journal of the American Institute for Conservation. 54:2. 91-101.

An Art of Social Studies. (with Harvey Molotch). In Kataoka Mami (ed.) Lee Mingwei and His Relations: The Art of Participation. Tokyo: Mori Art Museum. 2014. 121-128.

Conserving L’Idea del Cavaliere by Marino Marini at the San Diego Museum of Art. Boletim Seminário Interno de Conservação de Escultura Moderna. São Paulo: MAC USP. September 2014.

Reading Between the Lines: Source Code Documentation as a Conservation Strategy for Software-Based Art. (with Deena Engel). Studies in Conservation. London: International Institute for the Conservation of Historic and Artistic Works. 2014. 59:6. 404-415.

Disrupted Circuits: Managing Nam June Paik Video Sculpture at the Museum of Modern Art. In Nam June Paik Art Center Interviews. Seoul: Nam Jun Paik Art Center. 2013. 150-169.

Nam June Paik Center Interviews: Hanna Holling, Bernhard Serexhe, & Glenn Wharton. Soul: Nam June Paik Art Center. 2013.

A Case for Digital Conservation Repositories. (with Barbra Mack). The Electronic Media Review. American Institute for Conservation. Vol. 1. 2011. 37-58.

Sweetness and Blight: The Conservation of Chocolate Works of Art. (with Sharon Blank & Claire Dean). Proceedings from conference: From Marble to Chocolate: the Conservation of Modern Sculpture. Tate Gallery. London. 1995. Reprinted in C. Caple (ed.) Preventive Conservation in Museums. London and New York: Routledge. 2011. 456-468.

Research and Training in a Field Conservation Laboratory: Kaman-Kalehöyük. In Williams, E & C. Peachey (Eds.) The Conservation of Archaeological Materials: Current Trends and Future Directions. Oxford: Archaeopress. 2010. 33-3.

Collaboration and Community Involvement in Archaeological Conservation. In Williams, E & C. Peachey (Eds.) The Conservation of Archaeological Materials: Current Trends and Future Directions. Oxford: Archaeopress. 2010. 201-204.

The Challenge of Installation Art. (with Harvey Molotch). In (A. Bracker & A. Richmond eds.) Conservation: Principles, Dilemmas, and Uncomfortable Truths. London: Elvsevier. 2009. 210-222.

Dynamics of Participatory Conservation: The Kamehameha Sculpture Project. Journal of the American Institute for Conservation. Vol. 47. 2008. 159-173.

The Challenges of Conserving Contemporary Art. In Altshuler, Bruce (ed.) Collecting the New: Museums and Contemporary Art. Princeton: Princeton University Press. 2006. 164-178.

Indigenous Claims and Heritage Conservation: An Opportunity for Critical Dialog. Journal of Public Archaeology. 4: 2005. 199-204.

Planning Physical and Conceptual Longevity in Public Art Commissions. Public Art Review. 32. Spring 2005. 36-37.

The Role of Conservation in the Design of Conceptual Monuments. In Monuments & the Millennium Proceedings of a joint conference organized by the Stone and Metal Sections of UKIC and English Heritage. 20-22 May 1998. English Heritage. London. 2001.

A Comparative Study of Silver Cleaning Abrasives. Journal of the American Institute for Conservation. Vol. 29, 1990. 13-32.

The Conservation of an Eighteenth Century Medallion Beaker by Johann Joseph Mildner. The Conservator. London: United Kingdom Institute for Conservation. 11:1987. 42-45.

Technical Examination of Renaissance Medals: The Use of Laue Back Reflection X-Ray Diffraction to Identify Electroformed Reproductions. Journal of the American Institute for Conservation. Vol. 23. 1984. 88-100.