Job Posting: NYSA, Historic Conservation Technician

New York State Archives, Office of Cultural Education, State Education Department

Historic Conservation Technician 2, SG-12 (CSEA-OPERATIONAL)

LOCATION: Albany

SALARY: $40,172

APPLICATION CLOSING DATE: July 6, 2016

The New York State Archives is seeking to fill a Historic Conservation Technician (HCT) 2 position in the Office of Cultural Education.  The focus of the position is the digitization of selected records in the Archives holdings for online delivery and in response to research requests.  Under the direction of an Archives and Records Management Specialist (ARMS) 2 in the Collections Management Unit, duties of this position will include, but are not limited to, the following:

  • Participate in the digitization of selected collections;
  • Conduct review processes to ensure the quality of resulting digital images and corresponding metadata;
  • Participate in preservation reformatting activities such as original microfilming and microforms duplication;
  • Participate in collections management activities such as stacks maintenance, monitoring environmental conditions in the Cultural Education Center, and disaster preparedness and response; and
  • Carry out other tasks as assigned.

MINIMUM QUALIFICATIONS: For provisional appointment candidates must have three years of conservation or preservation or historic collections-related experience in the discipline to which assigned.  A bachelor’s or master’s degree in history, public history, art history, museum studies, photographic preservation, collections management, conservation, or fine arts may be substituted for two years of experience.

For full job announcement, qualifications, and application process please see:

http://www.oms.nysed.gov/hr/flyers/OCE_952_26365.htm

C2CC Webinar 7/7: Seeding Engagement and Cultivating Volunteers through Crowdsourcing

Crowdsourcing is a method of gathering information and data generated by audiences as a collaborative, distributed problem-solving exercise to address tasks that might otherwise be overwhelming. At our next C2CC webinar, learn about using crowdsourcing to engage with and invite audiences to help improve your collections.  Join us July 7, 2:00 EDT. It’s free!
http://www.connectingtocollections.org/seeding-engagement-and-cultivating-volunteers-through-crowdsourcing/
Connecting to Collections Care (www.connectingtocollections.org), a program of the Foundation of the American Institute for Conservation, provides free training and resources to help smaller cultural institutions take better care of their collections.

44th Annual Meeting – Research and Technical Studies, May 17, "Binders and pigments used in traditional Aboriginal bark paintings” by Narayan Khandekar

This was the last talk I saw at the meeting and was a perfect way to wrap things up, with a travelogue-slash-fascinating research project on the materials and techniques of Aboriginal paintings from the northern part of Australia. Narayan traveled to various art centers and museums to look at and sample pre-1960s paintings, talk to artists and gather local materials. He took about 200 samples from 50 paintings (including some from Harvard’s collection), the oldest from circa 1878. He also obtained materials from artists working today, some of whom took him around to gather materials from local sources, including the beaches of Bathurst Island (part of the Tiwi Islands off the coast of the Northern Territories – thanks Google Maps!). Back at Harvard, he and his colleagues (co authors were Katherine Eremin, Daniel P. Kirby & Georgina Rayner) gathered information on pigments, binders and other materials present that may indicate previous treatments. Narayan pointed out that only two samples of similar paintings had been analyzed and published before, such that this study presents entirely new information.

Australia map

Of particular interest was the investigation into possible binders. Oral histories and documentary evidence recorded various possible binders, including turtle eggs and orchid mucilage, but it was generally thought that paintings made before the arrival of missionaries in the 1920s didn’t have binders at all (a similar question has been on my mind regarding the paintings made in the Sepik River region of Papua New Guinea). Binders were present in 77% of the samples analyzed. No proteins, waxes, fats or blood were detected. The analysis of the oldest paintings did reveal the presence of orchid juice, confirming that binders were in use that early. The techniques of using orchid mucilage could vary; the sticky juice could be mixed with the pigment, or laid down first before applying the pigments mixed in water.
As expected the pigments were largely ochres, and Narayan noted that the trace elements present in the samples provide a fingerprint that can in theory be used to begin to trace the occurrence of different ochres in different areas, but that more study and sampling is necessary to pursue this.

Colorful ochres on the beach

Other interesting findings included the use of dry cell batteries as a source for black manganese and zinc pigments on paintings from Groote Eylandt (yes a very great big island off the east coast of the Northern Territories); this area also shows the use of natural manganese-rich ores and charcoal for black pigments. A curious silver oil-resin paint on two paintings from the 1920s turned out to correlate with the roof repainting of a nearby lighthouse at the same time. The presence of DMP (dimethyl phthalate) in some paintings prior to 1957 resulted from the liberal use of insect repellent (FYI this is the main ingredient in Avon’s Skin-so-Soft; it fell out of use when DEET was invented). The presence of nitrocellulose on Groote Eylandt paintings was connected to records from the 1948 expedition suggesting that they had been consolidated with Duco.
As always, research continues, and Narayan mentioned that they would be looking further into the use of gums and of bloodwood, though I didn’t get down any details on that (I hadn’t actually planned to blog the talk, so apologies for any lacunae!). Also, I’m pretty sure there was a crocodile sighting mentioned, but that too didn’t make it into my notes, so here’s one of my favorites for good measure…

44th Annual Meeting & 42nd Annual Conference—General Session, 15 May 2016: "Visions of Disaster: Bringing the Blur into Focus," by Polly Christie and Sarah MacKinnon

Polly Christie and Sarah MacKinnon took us through the history of the 2014 Glasgow School of Art fire, beginning with how the building’s construction directly affected the scope of the disaster, taking us through the extent of the damage, and detailing the ongoing rescue process. Each component of this complex recovery project intersects with the others, demonstrating the interconnected nature of cultural heritage properties and the collections residing within.
Designed by Charles Rennie Mackintosh and built in phases, the Glasgow School of Art building is widely considered Mackintosh’s masterpiece, and is an early example of both total architecture and industrial design. The first phase, completed in 1899, saw the completion of the east wing, while the second phase, modified from the original plan, included the west wing and additions to the east wing, and showcases Mackintosh’s work at the height of his powers. The library tower, located in the west wing, borrows elements from Japanese architecture and was built to best accommodate the needs of the school. In addition, Mackintosh’s work includes an early air conditioning system of branched ventilation ducts running in straight lines through the entirety of the building.
These ventilation ducts, while certainly appreciated by the building’s occupants, were critically involved in the 2014 disaster. The blaze began in a basement studio and spread quickly throughout the building via the ducts, reaching the library tower and raging through the collections stored both in the stacks and in storage above the main library space. These collections were irreplaceable, including school archives, art created by alumni, historic furniture, and 11,000 special collections volumes.
The fire required 11 teams of firefighters and 24 hours to fight. Once the danger had passed, the mass of destroyed building and collections in the library tower was “excavated” or sorted through in one-meter-square areas, leading to the salvage of 81 volumes as well as important information about the underlying structure that would be used in the reconstruction effort. Triage systems and decision trees were established for sorting through the wreckage and recovering collections items.
A few collections merited particular mention in light of the recovery efforts. A large textile collection held in storage survived, but the packaging was destroyed; this was not covered by insurance claims, as the staff learned, and the collection is currently inaccessible while a new housing is designed and made. The school also has a substantial collection of plaster casts of famous sculpture, including three copies of the Venus de Milo. Insurance funds were diverted to treatment of certain casts, leaving the remainder to the care of volunteers, and one of the burnt Venuses was deemed not worth the effort. However, the blackened cast has captured the media’s imagination and public support for its treatment is high. In addition, the library was furnished with brass light fixtures, which became an intersection of the building fabric and the collections; many were dissociated in the disaster, and salvaged pieces will be reunited when possible. The school archives provided the original sketches of the lamps’ design and construction, and these will be used to restore the lights to functionality.
Lessons learned? Perhaps one of the biggest takeaways is that archival collections and other records can be valuable resources in recovering from a disaster. The better the records of a heritage building and its collections, the better the disaster response will be. Knowing the extent of one’s insurance cover is also important, as the Glasgow School of Art learned with regard to the textile collections. And as Christie and MacKinnon demonstrated with their remarks, in cultural heritage disaster response, everything is connected—from the fabric of the building to the collections housed within. In the end, Christie and MacKinnon advised attendees that choices made in disaster response will always be limited by the circumstances of the disaster; the best decisions to make are the best decisions you can make.

44th Annual Meeting – Collection Care Session, May 15, "Spoiler alert! Planning around the pitfalls of construction projects" by Jeffrey Hirsch and Angela Matchica

Construction projects have been on my mind lately and I thought this would be a good complement to Angela Chang’s presentation about her experiences during two major construction projects at the Straus Center (she spoke at the Conservation & Exhibition Planning: Material Testing for Design, Display, and Packing conference in DC in November 2015). Jeffrey Hirsch and Angela Matchica from Ewing Cole (an architect-design-engineering-planning firm) put together a clear and useful review of how conservators and collections care professionals can be active participants in a construction planning process. They took turns speaking, with Jeffrey giving an overview of each issue or area of collaboration, and Angela providing the in-practice examples from her experience as a lighting designer. The concrete examples were helpful in illuminating how collaboration goals can be translated into actual practice and decision making.
Jeffrey emphasized the complexity of the team on both sides of a museum construction project, with a wide variety of interests being represented. He noted that while those from Facilities departments are probably used to talking to architects and designers, the rest of the museum representatives may not initially be as comfortable, but need to make the time to stay at the table and speak up whenever they have questions. The slide below started out as just two dots – Design Team and Museum – and then grew and grew to encompass all the different roles that are part of the discussions around planning a new space or changes to an existing space.
Hirsch Matchica people at the table
In this diverse group, achieving consensus can be difficult, and knowing everyone’s individual needs is important. Angela discussed one instance in which repaired dinosaur skeletons were going on view, and light levels were initially assessed for the bones themselves, though it turned out that the most sensitive material present was the adhesive in the repairs. She also mentioned that they built a standalone mockup so that lighting levels could be experienced by all stakeholders, to get a real sense of what the space would feel like with different lighting, to achieve consensus. I thought this slide was helpful in illustrating all the sub-questions from different stakeholders that are a part of one major design decision.
Hirsch Matchica problem statement
Jeffrey noted that what looks like one construction project is really a number of simultaneous and interdependent projects – structural, exhibit design, conservation, and so on – all coming out of basically one pot of money. Scheduling all of this was likened to a symphony, in which it’s very difficult to get the multiple instruments to finish the piece at the same time.
Hirsch Matchica multiple projects at once
As always, communication was underscored as the most essential element. Each group should be aware of how the other groups are progressing, and know if someone’s end date is shifting, and what that means for all the others. On this point, he stressed how important it was to have a contingency amount of funds specified in the budget very early on. Changes cost a lot more at the end then they do at the beginning, so it’s also important to assess all your options early on and make choices then, with full information about the long-term costs of each option. Here, Angela presented the choices between various types of light bulbs, some of which are low cost but require frequent replacement, while spending a bit more at the beginning can lead to major savings in time and materials later in the life of the building – value engineering.
Hirsch Matchica bulb choices
The end message for all involved parties was to stay at the table, attend all meetings, read and familiarize yourself with all the minutes and notes, and keep track of what decisions are made. No sweat! I still feel like the only way to really know how to predict and prepare for all the things that can go wrong in a construction project is to go through one and learn from your own mistakes – but it was great to hear from the other side of the table, especially from a team that has a real sense of the wide-ranging and diverse concerns of working in a museum setting and the energy to work towards collaboration.

Job Posting: Book and Paper Conservation Internship – Trinity College (Dublin, Ireland)

The Heritage Council and The Library of Trinity College Dublin are pleased to offer a nine-month internship in book and paper conservation. The internship will be based at Trinity Colege Library and will begin in October 2016.
The successful candidate will work under the supervision of the Library’s Keeper of Preservation and Conservation and will be involved in many aspects of the work carried out by the Department. The internship will be based around the conservation of manuscripts and books held in the Library’s special collections, as well as exhibition preparation, and housing projects. The intern will be encouraged to carry out a short research project, which will be determined once the internship has begun.
Candidates should be recent graduates (within two years) of a
recognised book or paper conservation training program or have equivalent experience. The applicant must be eligible to work in Ireland, and should demonstrate an interest in conservation in Ireland.
Stipend: Euro20,000 (subject to normal PRSI and PAYE deductions)
The deadline for applications is Friday 15 July 2016 and interviews are expected to be held during the week commencing 29 August 2016. Candidates should send a letter of interest addressed to the Keeper of Preservation and Conservation, describing their conservation training and practical experience and why they wish to take up this
internship. They should also confirm their eligibility to work in Ireland, and describe their interest in conservation in Ireland and Trinity College Library in particular. A curriculum vitae and two references must be included in the application, which is to be emailed to: neliganc<-at->tcd<.>ie
Clodagh Neligan ACR
Senior Paper Conservator
Glucksman Conservation Department
The Library of Trinity College Dublin
the University of Dublin
Dublin 2, Ireland.
+353 1 896 1137
+1 896 1149
neliganc<-at->tcd<.>ie

Job Posting: Kress Paper Fellowship – Trinity College (Dublin, Ireland)

Samuel H. Kress Conservation Fellowship 2016-2017
The Library
Trinity College Dublin
 
The Preservation and Conservation Department at the Library of Trinity College Dublin is accepting applications for a Samuel H. Kress Conservation Fellowship.  The Fellowship will focus on the treatment of a papyrus Book of the Dead.  This position will suit either a Paper or Papyrus Conservator and will involve carrying out the conservation treatment and materials analysis of the selected Book, as well as developing a template for the treatment, imaging, storage and display of the collection of Books of the Dead held in the Library.
The Kress Fellow will be encouraged to research the imagery, hieroglyphic text and named original owner of the Book of the Dead, as well as the history of the current 19th century mounting and framing system.  The project will be led by the Preservation and Conservation Department with collaboration from the Manuscripts Department and the Department of Classical Studies.
The Kress Fellow will participate in advocacy and public engagement associated with the project, and other outreach activities of the Preservation and Conservation Department.  They will join a dynamic department with 6 conservators, 2 preservation assistants, 1 technician, and 1 intern, and will participate in the responsibilities of the team in delivering the stewardship strategy for the library.
The Fellowship is funded by Samuel H. Kress Foundation, and awarded by the Foundation of the American Institute for Conservation (FAIC), to the value of $32,000 US.  The placement will run from October 2016 – September 2017.
The Fellowship is open to Canadian or US graduates of Conservation programmes.
Applicants should send a letter of interest and Curriculum Vitae, along with two references to
Susie Bioletti
Keeper of Preservation and Conservation
The Library
Trinity College Dublin
Dublin 2, Ireland
bioletts@tcd
The closing date for receipt of applications is 29 July 2016. Interviews will be conducted via Skype in August 2016.  The selection of the Fellow will be approved by FAIC.
Clodagh Neligan ACR
Senior Paper Conservator
Glucksman Conservation Department
The Library of Trinity College Dublin
University of Dublin
Dublin 2, Ireland.
+353 1 896 1137
+353 1 896 1149
 

Job Posting: Lecturer, Historical Interiors (Amsterdam)

Lecturer – Historical Interiors
Conservation and Restoration of Cultural Heritage Programme
University of Amsterdam
0.4 FTE
Deadline for application: 5 July 2916
The University of Amsterdam is seeking a  onservator/restorer of historical interiors with experience in teaching and coordinating educational programmes.  The lecturer will form a team with others within the discipline of historical interiors.  Together they will coordinate and facilitate the students in their master’s and post master’s programme.
<URL:http://www.uva.nl/over-de-uva/werken-bij-de-uva/vacatures/item/16-305-docent-conservering-en-restauratie-in-de-discipline-historische-binnenruimten.html>
For further information about the programme please consult the websites:
<URL:http://www.uva.nl>
<URL:http://www.conservation-restoration-training.nl>
For further information about the vacancy please contact Drs. Inge Tinbergen, coordinator of the programme I.L.Tinbergen<-at->uva<.>nl
Drs. Angele Goossens
Coordinator, Continuing Professional Development Programme
Conservation and Restoration of Cultural Heritage
University of Amsterdam
Johannes Vermeerplein 1
1071 DV Amsterdam

Job Posting: Book and Paper Conservator – Washington University (St. Louis, MO)

Book and Paper Conservator
John M. Olin Library
Washington University in St. Louis
Missouri
The hiring range for this position is $44,441 – $57,759 annually.
The Book and Paper Conservator will be responsible for a wide range of conservation treatments on unique and rare paper-based collections under the direction of the Head of Collection Management and Outreach for Special Collections and in collaboration with Missouri History Museum.  Materials to be worked on include books, art on paper, archival documents, oversize materials manuscripts, albums, maps, and other flat work.  The Conservator evaluates damaged collections; makes treatment decisions; provides exhibition production support; prepares material needing treatment for digitization; undertakes conservation assessments and surveys; and participates in emergency preparedness and response operations.
Among its responsibilities, the Book and Paper Conservator
Plans, documents, and executes conservation treatments for books and paper-based materials in accordance with accepted standards and the American Institute for Conservation (AIC) Code of Ethics and Guidelines for Practice
Designs and makes custom-fit enclosures for fragile objects; and examines and creates full written and photographic treatment documentation
Assists in preparation of library materials for exhibition
Participates in disaster response, recovery, and salvaging operations and environmental monitoring assistance as needed
Stays current with conservation issues and practices through research, professional conferences, workshops, or similar activities
The Conservator will initially be in the West Campus Library and may eventually be located at the Missouri History Museum’s existing conservation lab (1.5 miles or 6 minutes from the Danforth Campus).
Application information:  Applications must be submitted online at   <URL:https://jobs.wustl.edu>
Reference job #33736
For full consideration, attach a letter of application, resume, and the names of three references (including e-mail and phone number).
Review of applications will begin immediately and continue until the position is filled.
Employment eligibility verification required upon hire.  Washington University is an equal opportunity/affirmative action employer.
Joy Novak
Head of Collection Management and Outreach for Special Collections
Washington University in St. Louis
Campus Box 1061
One Brookings Drive
St. Louis MO 63130
314-935-9820

Job Posting: Asst. Paper Conservator – Courtauld Institute (London, UK)

Assistant Conservator of Works on Paper
The Courtauld Gallery
The Courtauld Institute of Art
Two-year fixed term, 0.4FTE
UKP25,494-UKP29,119 pa pro rata dependent on knowledge and skills
The Courtauld Gallery is one of the world’s finest small museums with outstanding collections and an acclaimed programme of temporary exhibitions.  Set in historic Somerset House in central London, the Gallery is an integral part of The Courtauld Institute of Art, an international centre for the teaching and study of the history of art and conservation.
The Courtauld Gallery is seeking to recruit an Assistant Conservator of Works on Paper.  The role will focus on the assessment, treatment, documentation and re-mounting of drawings from the permanent collection, working closely with the Conservator of Works on Paper.  You will support the various activities associated with the Gallery’s exhibition programme including the preparation of works on paper for display or loan.  In addition there will be opportunities to support the conservation team with the preventative care of the collections including environmental monitoring and IPM.
The successful candidate should have a recognised qualification in paper conservation or equivalent and demonstrable practical skills in conservation of works on paper and mount cutting.  This busy studio requires a well organised approach to all aspects of the work.  Some experience in working with museum or gallery collections would be desirable and familiarity with collection database systems would be an advantage.
Closing Date: 20 July 2016
Interview Date: 3 August 2016
To apply:
<URL:https://jobs.courtauld.ac.uk/078>
The Courtauld Institute of Art promotes equal opportunities.
The Courtauld Institute of Art
Somerset House
Strand
London WC2R 0RN