Conservator-Paintings Specialist – Asian Art Museum

Fixed Term Position through June 3, 2015. Part-Time: 2 days (16 hours) per week
The Asian Art Museum offers an exciting opportunity for an experienced professional paintings conservator to conserve and restore Asian paintings in this world-renowned collection.
This part-time position will assist the Conservator of Paintings in the conservation of Asian paintings on paper and silk, prints and drawings, including stabilizing collections and preparing for upcoming exhibitions. The position requires the ability to perform skilled conservation work in the preservation and restoration of works of art on paper by preparing condition reports, performing treatments, and completing all necessary documentation to the standard of the American Institute for Conservation’s Code of Ethics.  Work may also include assisting other conservators.
The duration of the position will be through June 3, 2015.
The nature of this highly skilled work requires manual dexterity, intense concentration, and aesthetic sensibility in addition to a background in paintings conservation. The Conservator must have the ability to prioritize work and sequence projects in order to meet agreed upon deadlines. Equally important is the ability to take direction, and work well as part of a team.
Minimum Requirements
Master of Arts or Master of Science degree in Art Conservation specializing in Paper Conservation from a recognized college or university, OR:  Master of Arts degree in Art History with a Certificate in Conservation from a recognized Conservation Training Program;  AND
Three (3) years of verifiable conservation experience, beyond the degree or certificate, with the techniques, materials and equipment used in the conservation of Asian paintings on paper and silk, prints and drawings; or an equivalent combination of education, training and experience.
Knowledge of the technology and materials of Asian paintings on paper and of the chemical and physical processes of their deterioration.
Knowledge of the procedures relating to the examination and the preventative and corrective treatment of Asian paintings on paper and silk, prints and drawings.
Knowledge of the environmental requirements and of controls for handling, storage, exhibition and travel of Asian paintings on paper and silk, prints and drawings.
Ability to write technical reports in an understandable, clear and concise manner, utilizing appropriate punctuation and grammar.
Ability to examine works of art and determine their current state of preservation for new acquisitions, loans, and exhibitions.
Ability to maintain ongoing effective working relationships with Museum staff, colleagues in the field and the public; demonstrate good judgment, flexibility and resourcefulness.
Compensation
$ 1,007 biweekly
Note:  Due to the temporary nature of this position, it does not include a benefits package.
 
Application Procedure
 
Apply online at: http://bit.ly/1lYnFcD
 
Or send a letter of interest and resume ASAP to:
 
HUMAN RESOURCES
Asian Art Museum
200 Larkin Street
San Francisco, CA 94102
FAX: 415.861.2359
 
The Asian Art Museum is one of the largest museums in the Western world devoted exclusively to Asian art and culture. Home to more than 18,000 works of art from over 40 Asian countries, we strive to be a catalyst for discovery, dialogue, and inspiration. With Asia as our lens and art as our cornerstone, we spark connections across cultures and through time, igniting curiosity, conversation, and creativity.
 
The Asian Art Museum embraces diversity in its mission, programs, and staff.
 

Conservator-Objects Specialist (Temporary) – Asian Art Museum

The Asian Art Museum offers an exciting opportunity for an experienced professional objects conservator to conserve and restore Asian objects in this world-renowned collection.
This full time, temporary position will provide assistance to the Acting Head of Conservation pending the recruitment and hiring of a new Head of Conservation for the department.  The duration of the position will be through January 18, 2015. 
Responsibilities
The Objects Conservator will perform professional conservation duties related to the examination, preservation, restoration, exhibition, and storage of three-dimensional works of art including sculpture, decorative arts, and arms and armor, as well as materials on loan.  The incumbent prepares a variety of reports to document conservation activities; performs research; keeps abreast of expertise in the conservation community; acts as resource person concerning area of specialty to the museum, collectors, and the public; develops innovative conservation methods as necessary; and performs other duties as required.
The nature of this highly skilled work requires advanced conservation ability and familiarity with radiography, UV, SWIR, and PLM imaging as well as image processing using specialized software.  Manual dexterity and intense concentration are required as well as excellent organizational and writing skills. The incumbent must have the ability to coordinate and consult with curators, preparators, and other museum professionals, prioritize work, and sequence projects in order to meet agreed-upon deadlines. Equally important is the ability to take direction, and work well as part of a team.
Minimum Qualifications
Master of Arts or Master of Science degree in Art Conservation from a recognized college or university, OR:  Master of Arts degree in Art History with a Certificate in Conservation from a recognized conservation training program;
AND
Three (3) years of verifiable conservation experience, beyond the degree or certificate, with the techniques, materials and equipment used in the conservation of Asian three-dimensional art and artifacts; or an equivalent combination of education, training and experience
Knowledge of the technology and materials of three-dimensional art and artifacts, of their chemical and physical processes of deterioration, and of the procedures relating to their examination and preventative and corrective treatment
Knowledge of the environmental requirements and of controls for handling, storage, and exhibition
Ability to write technical reports in an understandable, clear and concise manne
Ability to examine works of art and determine their current state of preservation for new acquisitions, loans, and exhibitions
Ability to maintain ongoing effective working relationships with museum staff, professional colleagues and the public; demonstrate good judgment, flexibility, and resourcefulness
Ability to lift up to fifty (50) pounds
Compensation
$2,518 biweekly
Note:  Due to the temporary nature of this position, it does not include a benefits package.
Application Procedure
Apply online at http://bit.ly/1srwC2R
Or send a letter of interest and resume ASAPto:
HUMAN RESOURCES
Asian Art Museum
200 Larkin Street
San Francisco, CA 94102
FAX: 415.861.2359
The Asian Art Museum is one of the largest museums in the Western world devoted exclusively to Asian art and culture. Home to more than 18,000 works of art from over 40 Asian countries, we strive to be a catalyst for discovery, dialogue, and inspiration. With Asia as our lens and art as our cornerstone, we spark connections across cultures and through time, igniting curiosity, conversation, and creativity.
The Asian Art Museum embraces diversity in its mission, programs, and staff.
 

ECPN Webinar “Get Involved! Conservation Education, Outreach, and Advocacy”: Follow-Up Q&A

ECPN Webinar “Get Involved! Conservation Education, Outreach, and Advocacy”: Follow-Up Q&A

On April 23, 2014, the Emerging Conservation Professionals Network (ECPN) hosted an hour-long webinar titled “Get Involved! Conservation Education, Outreach, and Advocacy.”

The program featured three speakers with experience working in various aspects of conservation education, outreach, and advocacy: Teresa Myers, private practice conservator who participated in the American Alliance of Museum’s Museum Advocacy Day in 2011; Richard McCoy, an arts and cultural consultant with an established history of writing for digital and print publications, teaching in graduate programs, and creating innovative web projects; and Sarah Barack, private practice conservator and co-chair of AIC’s K-12 Educational Outreach subcommittee.

During the program, the speakers shared their experiences as supervisors and pre-program interns, respectively; contributed to guided questions; and answered audience questions.  The recorded webinar can be found on AIC’s YouTube channel (or click here). 

Included below are the questions that could not be addressed during the program with responses from the speakers.

What are some tips you have for emerging conservators who would like to get involved with outreach and advocacy? What can they be doing short and long term to make an impact?

Teresa Myer: As I mentioned during the webinar, I found the Museum Advocacy Day event to be incredibly educational regarding the mechanics of advocacy. It’s a great place to start. It’s well organized, very clear and focused and well worth attending. Looking at longer-term activities, finding ways to foster relationships with Congresspeople and state-level legislators as well will boost your impact. Another way to be involved is simply to talk about your advocacy activities with other conservators and museum professionals. Hopefully, the more people realize how straightforward and achievable this activity can be, the more they will join in. As Ruth mentioned, there is a real strength in numbers; the more voices there are speaking to a common point, the more weight the point carries.

Richard McCoy: I think getting involved in a community is the best way to get involved, however you want define “community.” Your community might be local, national, or international. Working with folks on a common goal in a larger project is a very good way to make an impact in educating others about the need to care for cultural heritage, and therefore advocate for your profession.

Sarah Barack: Getting involved with your local community at first— see where there is a need and/or opportunity. For instance, going to open houses to meet people at local schools; volunteering with local groups that already have ties to the community, etc. I think the first step is really just making connections with people and once that has been established, it is easier and more natural to find ways in which you can promote conservation.

Regarding long term versus short term, hopefully short term smaller projects might lead to a more permanent or deeper activity. If particular conservators enjoy outreach activities, I would encourage them to think big picture, so that they can align their efforts with a larger strategy— whatever that may be. For instance, to be part of a school curriculum, or part of an annual arts fair or weekend, etc.

Besides conducting a wiki search, how else will people know about the articles that are being written through Richard’s class?

RM: A drive goal I’ve been working towards is to change how people find information when caring for cultural heritage. What I mean is that when you search for something on the Internet (Google it), I think you should be able to find excellent information, either about a particular item of cultural heritage or how to care for it. Sure this is a big goal but really we have the tools to solve this, it’s just a matter of getting more people working to the same end. 

SB: Links from other websites are certainly a great way to drive traffic to any particular site.

The more students hear about conservation the more, presumably, applicants we will have for conservation graduate programs. How can we make more jobs and paid opportunities for the people we are recruiting to prevent an overabundance of conservators in a small job market?

TM: At this point there are a fairly consistent number of graduates each year because of the limits the programs put on the number of students they will accept each year. But it could certainly expand in the future. There will never be a shortage of work; entropy is on our side. The limiting factor seems to be funding and the value put on conservation by the people setting the budgets. So how do we increase the available funding? Advocacy! As a conservator in private practice, I believe that it is up to me to improve the job market I’m functioning in. Though I did have an excellent experience with advocacy, I have found that I use outreach more consistently to build my local job market. I’ve done lectures, workshops, visited museums, and been on the board of our state museum association. I’m a CAP assessor as well. People won’t make room in their budget for something that’s not on their radar; it’s up to all of us to stay visible.

RM: I think conservators need to start thinking about how they can be helpful in caring for cultural heritage inside and outside of cultural institutions. Too often we narrowly define our profession to be almost principally about conservation treatment. Well, I don’t think there are that many jobs that will be growing in that kind of work. But if conservators are able to demonstrate that they can do all sorts of other things then they may find themselves able to gain more employment.

SB: I don’t know if greater awareness does really lead to greater practical interest (e.g. applications) — I don’t know if we can make that link in such a clear way. Rather, I think greater awareness among students means that down the road, our future investment bankers, doctors, lawyers, etc., will hopefully appreciate and support our field—hopefully leading to more funding. It is such a niche field at the end of the day, and demands such a wide array of skills and abilities that it naturally filters itself. Still, the question of supply and demand is a good one— and whether the professional market demands the amount of supply we have created is a valid discussion. I don’t know the answer; anecdotal information and personal stories are not the full picture. We really need a better grasp on what all the graduates and mid-career folks are doing to understand.

When advocating by way of Wikipedia articles, for example, is there a concern that it actually devalues what we do since people may use these articles to attempt their own treatments?

RM: To answer your question in a word: no. There is a clear need to have better information out online because people are looking for it. My concern is around getting good information in highly visible places; I’m not worried about what people will do with good information.

And remember, Wikipedia is a freely available online encyclopedia that anyone can edit; it’s not a place to publish how to guides. If the articles published in Wikipedia are of high quality, they can only serve to reduce misunderstandings and point people to good and reliable sources.

On the other hand, I think that the amount of questionable or bad information on the Internet is problematic and dangerous. Take for example the stuff that’s on places like “WikiHow,” which does publish how to guides that will teach you things like How To Clean a Painting in 12 Easy Steps. I think we might see that kind of thing as a call to action.

Conservator of Works of Art on Paper, Whitney Museum of American Art

In 2015 the Whitney Museum of American Art will be moving into a new building that will also house its Conservation Center and a newly formed Works of Art on Paper Study Center.  In response to the developing need and the physical adjacency of these two endeavors, the museum has created a full time position for a paper conservator who will address treatment needs within the collection, assume responsibilities related to the paper and photographic collections, and work in tandem with the curatorial team.
Given the nature of the Whitney’s collection, the candidate should have a demonstrated interest in the preservation of modern and contemporary American art and a familiarity with the theoretical and practical issues associated with that expertise.  The ability to work independently and efficiently, write cogently, communicate effectively, manage a busy schedule, and assume collegial leadership is required as well as an advanced degree in Conservation and at minimum two years of relevant experience. The resultant title and salary will be commensurate with the candidate’s credentials and experience.
Applicants should send a letter of interest stating educational and professional qualifications as well as aspects of relevant work experience and documented research. The application should include the contact information of three references but letters are not required. Candidates who are invited for an interview will be asked for further material at that time.  Applications should be sent to hr@whitney.org and will be accepted until November 1, 2014.
The Whitney Museum of American Art is an Equal Opportunity Employer. The Museum does not discriminate because of age, sex, religion, race, color, creed, national origin, alienage or citizenship, disability, marital status, partnership status, veteran status, gender (including gender identity), sexual orientation, or any other factor prohibited by law.  The Museum hires and promotes individuals solely on the basis of their qualifications for the job to be filled. The Museum encourages all qualified candidates to apply for vacant positions at all levels.  This description shall not be construed as a contract of any sort for a specific period of employment.

42nd Annual Meeting – Joint Session: Objects + Research & Technical Studies, May 30, “Coping with Arsenic-Based Pesticides on Textile Collections” by Jae Anderson and Martina Dawley

TitleSlidePresenters:
Jae Anderson – MS candidate, Materials Science and Engineering, University of Arizona, member of Navajo tribe.
Martina Dawley – PhD candidate, American Indian Studies, and Assistant Curator for American Indian Relations, Arizona State Museum, member Hualapai and Navajo tribes.
Nancy Odegaard – Conservator Professor, Arizona State Museum.
 
Nancy Odegaard began by introducing this project to develop guidelines for the removal of arsenic from textiles utilizing a portable X-ray fluorescence analyzer (pXRF). She explained that a number of different forms of arsenic have historically been used on the collection at the Arizona State Museum (ASM). For this project, the team chose to focus on Navajo textiles due to the consistency in their materials and construction. In addition, they were able to consult with local Navajo (or Diné) weavers. Martina Dawley and Jae Anderson, who both worked in the ASM conservation lab on the project, presented the remainder of the talk.
Martina described her role in carrying out a survey of the Navajo textile collection, which includes blankets, rugs, and looms. She researched provenance information, produced documentation, and performed XRF analysis on each piece. One of the questions raised during the project was whether the rolled textiles could be analyzed with the pXRF while on the roll or if they had to be unrolled flat first. Interestingly, Martina noticed that the first reading on an object was diagnostic of the remaining readings on that object overall. If the first reading for arsenic was below 100ppm, most of the other readings were also below this level, and the corresponding trend was true if the first reading was greater than 100ppm. Therefore, for textiles with a lower initial reading, analysis was continued on the roll, meanwhile textiles were unrolled for more thorough testing if a higher-level initial reading was found. In the end, 17% of the textiles she tested were found to have levels at or above 100ppm, and the majority of these pieces (69%) were from the 1800’s. Forty-seven percent had less than 100ppm of arsenic, and 36% were found to have no arsenic.
Jae explained the experimental portion of the project in which the pXRF was calibrated and textile-washing methods were tested. First he described two inorganic arsenic species – arsenite, As(III), and arsenate, As(V). Arsenite is more toxic and is commonly in the forms arsenic trioxide and sodium arsenite. It can convert to arsenate by oxidation in wet conditions. For calibration and experimental testing, Jae wetted cotton and wool fabric samples with arsenite solutions of varying concentrations. Another variable tested was application method; he applied the arsenic solutions by droplet, dipping, and spraying, of which the latter two are traditional arsenic-pesticide application methods. During this step, he noticed the wool curled because of its hydroscopic nature, so he altered the experiment to utilize Chimayo hand-woven wool. He also added a surfactant to help with wetting properties and food coloring as a visual cue to see that solutions were applied evenly. Each fabric sample was analyzed five times, both wet and dry, with the pXRF in order to create a calibration curve.
Next, the fabric samples were washed in deionized water, and various conditional effects were tested, including temperature, pH, time, and agitation. The samples were again analyzed with pXRF and the results compared. Increasing the temperature and altering the pH of the wash water were found to have no effect on arsenic removal. The greatest arsenic removal overall occurred within the first 10 minutes of washing, and agitation caused a substantial increase in the effectiveness within the first five minutes. Therefore, the preliminary guidelines were washing for 10 minutes, at a neutral pH, with agitation, at room temperature.
After washing the fabric test samples, the team attempted to analyze the post-wash water with a paper indicator, however this test was not sensitive enough, nor did it indicate concentration. Inductively coupled plasma optical emission spectroscopy (ICP-OES) has the potential to quantify the levels of arsenic transferred to the wash water, and Jae noted that they are beginning to utilize this technique. Nevertheless, the post-wash water was found to contain less than 5 ppm arsenic, so it could be disposed of down the drain, according to municipal and federal regulations.
During the next phase of the experiment, three Navajo textiles were washed according to the preliminary guidelines. (Note that prior to washing, the textiles were documented, analyzed using pXRF, and their dyes tested for colorfastness.) After washing the first textile and finding the results did not correlate with their experimental data, the procedure was altered – the volume of wash water was calculated based on the experimental tests. The second textile washed was initially found to have high levels of arsenic (greater than 100ppm). Good results were achieved, with 96% of the arsenic removed and only minor dye bleeding. The third textile initially had low levels of arsenic (less than 100ppm) and less arsenic was removed during washing. Therefore, better results were achieved (i.e. greater arsenic removal was possible) when arsenic was initially present in higher quantities.
Overall the project surveyed 600 Navajo textiles and identified time-period and collector-dependent trends in arsenic concentrations. The team developed a cleaning protocol in which 95% of arsenic could be removed in high-arsenic contaminated textiles but with less effective results in lower arsenic containing textiles. The mass of the textile, the volume of wash water, as well as agitation and wash time (up to a point), were found to have an effect on results.
Several questions were posed in response to the presentation. One audience member wanted to know about the health and safety outcome of washing – could the textiles now be handled safely without gloves? Jae explained that the results would have to be evaluated by a medical toxicologist. Another attendee was interested to know if this technique could be used on a collection of fragile Egyptian textile fragments with a known history of pesticide treatment. Nancy replied that arsenic can be removed with washing, but the stability of the textile and its ability to withstand washing is a separate issue. Finally, someone asked if the arsenic species, arsenite vs. arsenate, could be identified on the textiles? Jae explained that the two forms are too similar to be distinguished here.
I look forward to hearing more results from this team as they continue exploring new experimental procedures and further developing arsenic removal techniques.  Learn more about the ASM’s Preservation Division here.

Conservation Manager, Powerhouse Museum, Australia

Conservation Manager role available at the Museum of Applied Arts and Sciences – Powerhouse Museum.
A catalyst for creative expression and curious minds. We are Australia’s contemporary museum for excellence and innovation in applied arts and sciences. We are uniquely placed to demonstrate how technology, engineering, science and design impact Australia and the world.
With a unique collection, iconic venues, and the ability to engage audiences of all ages, we balance the management of our assets and collections with a public responsibility to build knowledge and engagement. We achieve our goals through four strategic ambitions: Curiosity, Creativity, Collaboration, and Sustainability. These ambitions are interdependent; and we value and foster a whole-of-organisation approach to our work.
Strategic Collections is one of three teams reporting to the Director, Curatorial, Collections and Exhibitions and encompasses Registration, Conservation and Library Services.
The Conservation unit is responsible for the continual care and conservation management of the collection according to standards appropriate to Australian conditions and in accordance with legislative obligations, strategies and actions and in line with accepted National Standards. The unit has major responsibility for ensuring the preservation, maintenance, conservation, storage and protection of the collection through the following programmes – preventive conservation; conservation treatment, storing collections, display and use, moving collections, research and outreach. Conservation develops policy outlining the high-level principles and guidelines that the Museum follows to achieve its aim of caring for and protecting its collections at all times.
The Conservation Manager is responsible for ensuring optimal care of and access to the collection by a wide variety of users across our physical sites, off-site and across digital platforms. You will lead and manage all aspects of the Conservation unit including collection management, developing MAAS conservation policies and standards in accordance with international best practice, improving work practices, and strategic policy and procedure development.
Closes on August 11, 2014.
View full job advertisement and to apply by clicking HERE
The Museum of Applied Arts & Sciences welcomes applications from Indigenous Australians, people from diverse cultural and linguistic backgrounds and people with a disability.  If you have individual requirements that need to be accommodated in order to participate in the selection process and join the Museum, please indicate this in your application.

Welcome 2014-2015 ECPN officers!

The Emerging Conservation Professionals Network recently initiated a new year of activities with our first series of meetings for new and returning officers. The officers of 2014-2015 are very grateful to all the outgoing officers who have worked so hard in their 2013-2014 term: Anisha Gupta, Saira Haqqi, Carrie McNeal, Kendall Trotter, and especially our out-going chair, Eliza Spaulding. We wish you the best and hope to see you involved with future AIC and ECPN activities!

Left to right: Michelle Sullivan, Heather Brown, Fran Ritchie, Laura Neufeld, Megan Salazar-Walsh, Ayesha Fuentes, Amy Hughes, Anne Schaffer and Stephanie Lussier.
Left to right: Michelle Sullivan, Heather Brown, Fran Ritchie, Laura Neufeld, Megan Salazar-Walsh, Ayesha Fuentes, Amy Hughes, Anne Schaffer and Stephanie Lussier.

Meet the 2014-2015 ECPN officers:
Megan Salazar-Walsh (ECPN Chair) is specializing in paintings conservation at Buffalo State (Class of 2014). She is completing her 3rd-year internship at two sites, beginning at the Royal Picture Gallery Mauritshuis in The Hague, Netherlands, and currently at the Walters Art Museum in Baltimore, MD. After completing her masters in September she will be joining The John & Mable Ringling Museum of Art in Sarasota, FL as an assistant conservator. Megan is passionate about helping emerging professionals navigate the field of conservation and she has previously served as an Outreach officer and as Vice-chair for ECPN.
Michelle Sullivan (ECPN Professional Education and Training Co-officer) is a third-year graduate fellow specializing in the conservation of works on paper with a minor concentration in photographic materials at the Winterthur/University of Delaware Program in Art Conservation (WUDPAC). She is currently a graduate intern at the J. Paul Getty Museum in Los Angeles and will spend her third year at the National Gallery of Art in Washington, D.C. Michelle has previously served as ECPN Regional Liaison to Southern California and Graduate Liaison to WUDPAC.
Heather Brown (ECPN Vice Chair) is a graduate fellow in the Winterthur/University of Delaware Program in Art Conservation, majoring in photographic materials and minoring in paper. She is currently completing her third-year internship at the Museum of Fine Arts, Houston, and in the fall will begin as Mellon Fellow in Paper Conservation at the Fine Arts Museums of San Francisco. Heather has previously served as ECPN Outreach Coordinator (2010-2011), ECPN PMG Liaison (2012-2014), and Health and Safety Committee Student Member (2012-2014).
Amy Hughes (ECPN Outreach Co-Officer) graduated from NYU’s Institute of Fine Arts Conservation Center with an MA in Art History and an Advanced Certificate in Art Conservation (Class of 2014). This summer, Amy is a Smithsonian Graduate Fellow at the Freer and Sackler Galleries in Washington, D.C. In September, she will begin an Andrew W. Mellon Conservation Fellowship in paper conservation at The Metropolitan Museum of Art. This is Amy’s first year serving ECPN.
Fran Ritchie (ECPN Professional Education and Training Co-Officer, focusing on Webinars) is an Andrew W. Mellon Fellow in Objects Conservation at the Smithsonian National Museum of the American Indian in Washington, D.C. Fran graduated from Buffalo State College with an MA in Art Conservation in 2013. Specializing in objects with a strong interest in organic materials, she spent her third year graduate internship at the Peabody Museum of Archaeology and Ethnology at Harvard University. Fran previously served as ECPN Communications Co-Officer (2013-2014).
Anne Schaffer (ECPN Outreach Co-Officer) is a graduate fellow at Buffalo State College, majoring in paintings conservation. She is currently completing a summer internship at the ICA –Art Conservation in Cleveland, Ohio, and will return to Buffalo to begin her second year in the fall. This is Anne’s first year serving ECPN, and she looks forward to the opportunity to learn from and assist other emerging conservators.
Laura Neufeld (ECPN Communications Co-Officer) is an assistant paper conservator at the Museum of Modern Art in New York. Before joining the MoMA staff she was an Andrew W. Mellon Fellow in paper conservation. She has worked as a contract conservator at the Albright-Knox Art Gallery in Buffalo, NY and the Field Museum in Chicago, IL. Laura completed internships at the Fine Arts Museums of San Francisco and the Guggenheim Museum. She graduated with an M.A. in Art Conservation from Buffalo State College in 2013. This is Laura’s first year serving ECPN.
Ayesha Fuentes (ECPN Communications Co-Officer) is a recent graduate of the UCLA/Getty MA Program in the Conservation of Archaeological and Ethnographic Materials, specializing in objects from South and Southeast Asia. She has completed internships in China, Sri Lanka, Cambodia, and Bhutan as well as the Natural History Museum of Los Angeles County and Museum of Fine Arts, Boston. She has previously served as ECPN Professional Education and Training Co-Officer and is also a student member of AIC’s Emergency Committee.
 
The 2014-2015 ECPN officers look forward to providing ongoing professional development and educational activities. We also hope to increase our initiatives to connect with and meet the needs of our broad constituency. Please contact ECPN Chair, Megan Salazar-Walsh (salazar.walsh@gmail.com) with any thoughts, questions or comments for ECPN.

42nd Annual Meeting – Joint Architecture and Objects Session, May 29, "The Cultural Production of Tourism at Lake Tahoe: Exploring How Cultural Heritage Preservation Is Impacted By Tourism," by Catherine Magee

This paper was a departure for a specialty group presentation in that it focused not on the conservation or technical study of material culture, but on the creation and consumption of cultural narratives and landscapes. Magee noted that conservation work informs and perpetuates stories about people, places, and things, and made the point that conservators are generally comfortable thinking about our work in the context of education, science, and academic scholarship. But she proposed the idea that we must also consider our role in the broader context of tourism, since the primary products of our work – conserved objects and sites – are most often intended for consumption by the general public, also known as tourists.
Her paper included a brief overview of tourism studies, examining the impact of tourism on different kinds of sustainability: economic, ecological, and cultural. The bulk of the paper was spent illustrating the latter point, looking at the ways tourism influences our perception of history and heritage by creating hybrid tourist/cultural heritage landscapes and influencing cultural memory.
Magee used two examples from her doctoral research, which focuses on the landscapes and material culture of the Washoe people in the Lake Tahoe area. The first example was Cave Rock, a pilgrimage site of major spiritual significance for the Washoe. The site was progressively destroyed by tourism, evolving from a culturally significant tourism site, to a pathway for a road, to a mecca for rock climbers. The second example focused on an iconic Washoe basket form, the degikup, and its most famous creator, Dat-So-La-lee. Magee examined the shared mythos of Dat-So-La-Lee and the degikup in detail, revealing the stories, and the basket form itself, to be products created for tourism.
The role of the conservator in shaping the destiny of a site like Cave Rock or the narrative surrounding iconic artifacts and artists like the degikup and Dat-So-La-Lee was not explicitly discussed. It’s not difficult, however, to imagine the complexity inherent in conservation decision-making for the kinds of tourist-hybridized sites, objects, and narratives explored in this paper. Magee argued that we conservators will discharge our responsibilities best if we develop a better awareness of our role in the cultural production of tourism. With that awareness, we can improve our agency in the process and generate better outcomes for sites, objects, and the communities we serve.

42nd Annual Meeting – Paintings + Wooden Artifacts Session – Window of Opportunity: The Restoration Project of the Ghent Altarpiece

In his presentation Bart Devolder, Painting Conservator at the Royal Institute for Cultural Heritage in Belgium, delved into two major topics: the condition of the Adoration of the Mystic Lamb (?-1432) -also known as The Ghent Altarpiece- prior to conservation in 2010 and issues with showing the ongoing treatment behind a display window. Painted by brothers Jan and Hubert van Eyck, The Ghent Altarpiece is considered one of Belgium’s most important artworks, and as such it has experienced a troubled history. Due to its prominence, the altarpiece has been pillaged on multiple occasions since its creation. In the last century, it was an object of desire for the Nazi regime, who stole it in 1942. This significant event in the art world was recently featured by Hollywood in the film Monuments Men, indicating an enduring fascination with this artwork.
The Flemish polyptych has experienced several modifications. The Nazi regime was not the first German government to be fascinated by the artwork.  In 1894 the German government purchased the wing panels and severed them in half to exhibit both painted sides simultaneously. This intervention required the removal of the hinge mechanisms, therefore the altar could no longer be opened or closed to resemble its original configuration. In 1934, the panels depicting The Just Judges and Saint John the Baptist were stolen from the Saint Bavo Cathedral. Saint John the Baptist was returned to the cathedral by its captors, but the whereabouts of The Just Judges remains a mystery. Fast forward to 1986, when the altarpiece was moved from the Vijd Chapel to the Villa Chapel, which are both within the Saint Bavo Cathedral. The move consequently changed the lighting in which the van Eyck brothers envisioned their masterpiece. After the artwork’s trouble past, it is not hard to conceive that the panels were in need of attention. In 2010, the altarpiece could be found encapsulated in a cobalt colored safety glass in the cathedral. Inside the box, the painting had accumulated a significant amount of dust. Devolder explained that the most alarming conditions were blind cleavage exacerbated by a thick ketone varnish layer, which was shrinking and pulling the paint. As he described the eventful history and the condition of the altarpiece, Devolder included detailed images, which illustrated the condition of the panels further reinstated the need for conservation.
The Royal Institute for Cultural Heritage (IRPA-KIK) along with an international advising committee of conservators and scientists from the University of Ghent are responsible for the treatment. Before work could begin, there were several logistical issues with the project. First, the Ghent altarpiece may never legally leave the city of Ghent. The IRPA-KIK conservation laboratories are established in Brussels, which made the treatment in this location impossible. It was resolved to build a new conservation laboratory with a large viewing window within a gallery of the Museum of Fine Arts Ghent. The treatment of the altarpiece was divided into three phases. In order to provide a holistic experience to visitors of the Saint Bavo Cathedral, the removed panels are temporarily replaced with facsimiles. Treatment of the artwork is conducted through the window with the exception of more delicate tasks, which are done in a space behind a self standing wall not visible to the public. Conservators need high levels of concentration, and in this project there is always the possibility that someone else is watching. Devolder expressed frustration that visitors could leave with erroneous perceptions about the work being done. To mitigate this issue, the Belgian institution uses several didactics and talks are provided with the window to educate the public in the attractive ways.
In Belgium, it is not common to experience conservation treatments in public, yet the conservators are employing public integration strategies that I have not seen used before. I was particularly amazed by the altarpiece reconstruction done by Flemish students from different high schools in Ghent, which hangs next to the viewing window. The reconstruction not only helps to visualize the assembled altarpiece, but it also forges a link between the community and the artwork itself. Programs established for people with vision impairment are also carried out in which swabs and non-toxic cleaning agents are passed around to communicate principles of conservation in a sensorial manner. In addition, a tour is been formulated to include three institutions closely related with the altarpiece: The Museum of Fine Arts Ghent, The Saint Bavo Cathedral, and the Caermersklooster Complex. Bart Devolder concluded his presentation by describing the constant national coverage of the project and his belief that more international press in necessary.

42nd Annual Meeting — Collection Care + HVAC Session, May 31, 2014, “Sustaining Collections: Putting Theory into Practice” with James Reilly, Lois Price, John Castle, Tom Sherwood, Don K. Rowe

I was tweeting up a storm during this session (#AICSF).  Why the fervor? There is nothing like hearing the conversion of smart professionals towards the gospel of collaboration, preservation management and the preservation environment.  A two-year intensive review of the air handling systems at the Winterthur Museum, Garden & Library (Delaware) generated insights into the management of the preservation environment that provided refreshing new data on how to approach mechanical renovation projects.  During the panel, each stakeholder told a part of a story that provided many “Ah Ha” moments. Here’s a sample of the tweets:
On the issue of getting all the stakeholders in the room:
I keep saying this: collaboration between facilities and conservation colleagues is a key for establishing set points.
Collections management and facilities management must be in handshake [pic of hands shaking].
On the implementation of nightly shut downs and seasonable shifts to manage the preservation environment and reduce the use of water and energy:
It’s not so simple to do shut downs and seasonably adjust set points.
Achilles heel of doing shut downs may be antiquated systems including [antiquated] monitoring.  Really, you cannot just shut off the furnace!
On the struggle to adequately understand the way that air handling systems may have evolved over time due to changes in personnel, changes in technology, and changes in the built environment:
Sounds like facilities engineers could take a page out of @conservators documentation strategies and requirements.  #asbuiltsnotdrawn
[A fireplace that had served as an air return decades ago was blocked during renovations wreaking havoc on the HVAC control]: Secret air return: non-working fireplace… blocked.
[Retired engineer returns to review the system and finds out that all of the built-in compensation for Gerry-rigged HVAC has been resolved]: “We always run two boilers!” “Let me tell you what: now we’re only running one.”
On the monitoring tools that are essential for understanding how your systems are running:
eClimate Notebook from IPI is such a great tool. Proud to plug it!
Winterthur reports a decrease in its energy costs, which include the reduction in the use of fresh water, and intends to repurpose energy costs into programming.  Now that’s sustainable!