Elizabeth Kaiser Schulte is the winner of the Booth Family Rome Prize in Historic Preservation and Conservation and the Owner/Chief Conservator of Elizabeth Kaiser Schulte Conservation of Art and Historic Artifacts on Paper in Atlanta, GA.
What part of the United States did you come from?
Atlanta
Why did you apply for the Rome Prize?
To have time to research topics related to but not part of my daily work as a conservator.
Describe a particularly inspiring moment or location you've experienced in Rome thus far.
This has been a year of inspiring moments so it is hard to choose one moment. I can say that looking at the original plates for the Nolli map at the Istituto Nazionale per la Grafica was a particularly powerful experience.
To what extent, if any, has your proposed project changed since your arrival?
My primary focus has remained the same, but I realized once I started to work, and through conversations with other Fellows, that I needed to expand my research to include topics such as the history of guidebooks, travelogues, personal travel diaries, literary works based on or inspired by Rome, and the re-purposing and moving of monuments.
Have you had any "eureka!" moments or unanticipated breakthroughs in the course of your work here?
Some of the most remarkable moments came at times when I was able to see connections between seemingly disparate elements of my project. One completely unanticipated opportunity was working with a Roman paper maker/ paper artist on a large installation.
What aspect of your project are you most looking forward to?
Continuing to look at the magnificent collections of maps and vedute in Rome and engaging in dialogue with people about the project.
What part of your project has been or do you anticipate will be the most challenging?
Navigating my way through institutional protocol at some of the collections I am interested in studying and then being able to study the works in the way that I initially anticipated. I have had to revise my approach to my work and in the process have had many “Eureka” moments.
What's surprised you most about living in Rome?
How difficult it has been to learn Italian.
How have you managed the balance between your work (time in the studio/study) and engagement with Rome and Italy (travel, sightseeing, interactions with locals)?
I am lucky that my project requires that I walk around and explore Rome. Essentially, when I leave the Academy I walk around with open eyes and ears and I am working. I never know where my next inspiration will come from or from whom. There is little disconnection between my work in the studio and walks, travel and interaction with people that I meet.
How do you anticipate your Rome Prize Fellowship will influence future work?
Everyone told me that this year would be transformative, and it has been. The increased knowledge about maps and vedute will influence among other things treatment and exhibition decisions. I shall continue with the research that I started here and will focus on more technical aspects of printmaking and papermaking.
What is your favorite spot at the Academy? or in Rome?
I would agree with many who, throughout time, have said that the Pantheon is the most perfect building in Rome. But I would also have to add Fontana Acqua Paola, a spot from where I continually marvel at the views of Rome and the mountains. It is even more amazing that this spot is around the corner from where I live at the Academy.
As for the Academy, I favor the second floor kitchen in the MMW building. This is definitely not for its beauty or history, but because it is a place for impromptu discussions with Fellows at all hours of the day and night. In that regard, it is a warm and comfortable place.