ECPN Poster Session Lightning Round at AIC's 45th Annual Meeting

Calling all Emerging Conservators!

The Emerging Conservation Professional’s Network (ECPN) is excited to announce that we will be hosting a Poster Session Lightning Round during AIC’s 45th Annual Meeting next year in Chicago. This session will highlight the contributions of ECPs who are accepted to the Annual Meeting Poster Session, providing a fun and informal platform for you to share your work with ECPs and established conservators alike. Participants will give a very short presentation—essentially an “elevator pitch”—that highlights the contents of their poster with an opportunity to field questions from colleagues.
Posters are an excellent way to participate in the Annual Meeting and present research, treatment projects, new tools, and innovative techniques in a concise format; we encourage you to submit an abstract! Once final selections are made by the Poster Session Committee, ECPN will put out a call for participants.
In the meantime, submit your Poster Session abstracts by the September 12 deadline using AIC’s submission portal: http://www.conservation-us.org/annual-meeting/call-for-submissions#.V6ytE036uig

C2CC August Webinars

Connecting to Collections Care offers two webinars at the end of this month. As usual, they are free!
August 24, 2016, 2:00 – 3:30 EDT, All Aboard: Engineering Collections Care Training for Small Museums http://www.connectingtocollections.org/all-aboard-engineering-collections-care-training-for-small-museums/
and
A special joint webinar with the New England Museum Association – part of their Lunch with NEMA program, August 31, 2016, 12:00 – 1:00 EDT, Hibernation – Not Just for Bears: Putting your house museum “to bed” for the season http://www.connectingtocollections.org/hibernation-not-just-for-bears-putting-your-house-museum-to-bed-for-the-season/

"If you conserve everything, there is no room for life"

Sometimes the most thought provoking quotes about conservation are found in articles that are not directly about conservation. The article, “Body of Work”, by Alice Gregory in the August 1, 2016 issue of The New Yorker ends with such a quote. Gregory is profiling the efforts of the conceptual artist Jill Magid to get Federica Zanco, the owner of the archive of the Mexican architect Luis Barragan to open the archive to scholars and others. At the end of the article Magid and Zanco are in the underground shelter in Switzerland that houses the archive, looking at Barragan’s drawings. Zanco complains to Magid that the hectic development of Mexico City means that many of Barragan’s buildings are being torn down. ” ‘I see the silent, rapid destruction of his actual legacy, all while his biography and his colorful houses get more popular.’ As she motioned toward the exit, she added, ‘I understand, though. If you conserve everything, there is no room for life.’” Agree or disagree, it is something to think about.

Would a conservator really describe the work as "toil"?

The Photo of the Week feature of the August 13- 14, 2016 issue of The Wall Street Journal is a picture of three conservators standing on some kind of platform or scaffold and inpainting a ceiling. The caption notes that “restorers toil away on an 18th century fresco at the Sanssouci palace in Potsdam,Germany on Thursday.” The definition of the verb form of “toil” is “to work very hard and/or for a long time, usually doing hard physical work”. Conservators enjoy doing conservation or they leave the field. Would a practicing conservator really describe the work as “toil”?

Registration open for Penn Museum Symposium 6-8 October 2016

ENGAGING CONSERVATION: COLLABORATION ACROSS DISCIPLINES
Penn Museum Symposium 6-8 October 2016Join us in Philadelphia on October 6-8, 2016 at the Penn Museum
The Conservation Department of the University of Pennsylvania Museum of Archaeology and Anthropology (Penn Museum) is celebrating its 50th anniversary in the fall of 2016. To commemorate the establishment of the department, the Penn Museum is hosting a symposium on issues relating to archaeology, anthropology, and conservation. The symposium will explore how conservation of these materials has evolved over the past half century, the ways in which conservators may inform and support the work of archaeologists and anthropologists, and the development of cross-disciplinary engagement.
The schedule includes two and a half days of talks, as well as a reception and keynote address on the first evening. Lunch and reception are included in the registration price. For details on the conference, including a full list of the papers, please visit http://penn.museum/loveconservation/.
Schedule outline:
Thursday 6 October 2016
Full day of talks, 9:00 AM to 4:30 PM
Postcard display, ongoing
Evening reception and keynote lecture, 4:30 PM – 7:00 PM

Friday 7 October 2016

Full day of talks, 9:00 AM to 4:30 PM
Postcard display, ongoing

Saturday 8 October 2016

Half-day of talks, 9:00 AM – 12:30 PM

We look forward to seeing you in October!
The Penn Museum Conservation Department

44th Annual Meeting, Photographic Materials, Tuesday, May 17, Separation Anxiety: Kiss Your Acetate Goodbye! – by Nicole Christie and Cindy Colford.

In a presentation related to the Disaster theme of the conference, speakers Colford and Christie spoke of the recovery of flood damaged photographic collections of the Peterboro Municipal Archives, in Ontario in 2004. The area wide disaster created such demands on affected infrastructure that the response began two weeks after the peak flood, which led to a decision to freeze all the of works, including glass plates and film negatives as other methods of drying had not been possible. The PMA participated in a CCI risk assessment which reported back with recommendations to keep all film stabilized in freezers for continued cold storage, and to identify cellulose acetate negatives as a specific priority for treatment due to their autocatalytic behavior, leading to eventual change and loss of values.
The authors, looking to Pavelka & Naipavel-Heidushke’s paper on successful treatment and separation of gelatin image layer from acetate support, called out Pavelka’s suggestion that insurance companies might provide financial assistance for treatment in their coverage. Following the protocol suggested in the article, the authors proceeded and achieved inconsistent results. They noted the process per negative could take up to ninety minutes, resulting in only four negatives treated over two days, They cited concerns of prolonged exposure of the negative to solvents, yet found it hard to keep solvent from evaporating, which could induce curl and tensions while drying. A new question developed, what was the difference between the article’s case studies vs. theirs? An obvious variable was the fact that these items had been frozen. Whether or not this actually factored into the negatives’ behavior. Consulting further with Greg Hill (currently of the Canadian Conservation Institute) & Gayle McIntyre (Sir Sandford Fleming College), the protocol was revised to include the following steps, which helped increase the reliability of the method across different negatives:

Silver gelatin pellicle being separated from acetate support
Silver gelatin pellicle being separated from acetate support

1. Remove material by cutting away some of the lip/edge of the negative to allow ingress of solvent
2. Prewet the negative using sequential solvents
3. Use visual and tactile clues to determine the moment of separation (need slide 3.1, 3.2.) not a fixed amount of time
4. If the gelatin is still disrupted, reshape while it is still wetted using gentle prodding (with  brushes on silicon release Mylar*) to lay flat before drying completely.  The unsupported pellicle, thin as tissue, can be left to release final residues of solvent in a non-stick drying pack in fume hood to offgas.
(More images of these steps available in the downloadable Kiss Your Acetate Goodbye images of layer separation, pdf file kindly provided by the speakers.)
The images, now supported on Mylar sheets, were digitized, and the storage solution after treatment includes use of polypropylene sleeves in a clamshell binder. In an added benefit, the items are no longer taking up space in cold storage. The authors report that after eight years, the images appear unchanged in these conditions. While having a positive outcome, the speakers note that is still a lengthy process involving time and material costs, requiring trained professionals. This technique may not be a catchall for all collections, but for prioritized ones, it can be effective management tool for severely decaying negatives.
*Additional note: Silicon tip tools may also be useful here. See related content from 2016 BPG Tips Session on Silicon Shapers, as found in art supply stores today among the brush selections for working thick paints, in the BPG wiki.

Job Posting: Associate Book & Paper Conservator – MNHS (Minneapolis, MN)

The Minnesota Historical Society (MNHS) seeks qualified and experienced applicants for an Associate Book & Paper Conservator position, to provide conservation treatment for MNHS book and paper collections and to manage the book and paper conservation laboratory, including a Conservation Assistant. 

Desired qualifications include an advanced degree or Certificate in Art Conservation plus three years of experience.  This is a fulltime position (2,088 annual hours) and the salary is projected to be at least $45,000 annually.

The Minnesota Historical Society is a 167-year old organization, headquartered in the Minneapolis/St. Paul area, and maintains a museum, library, and archives, in addition to close to 30 diverse historic sites throughout the state. The organization is a national leader in historic preservation, and by many metrics (including budget, staffing, and membership) is one of the largest state historical societies in the United States.  Currently MNHS maintains four separate conservation laboratories for the preservation of books and paper, textiles, objects, and archaeology, and employs five trained conservators.  The conservation facilities are large, flexible, well equipped, and modern.

To apply submit MNHS Application for Employment, (available at www.mnhs.org/jobs), cover letter, resume, and if applicable, any supplemental forms.  

The specific job listing can be found at the following link:

http://www.mnhs.org/sites/default/files/job/1311_associate_book_paper_conservator.pdf

Application materials must be received by August 23, 2016. 

Job Posting: Director of Conservation Services – Artex (Washington Metro Area)

Job Title: Director of Conservation Services Department: Conservation Services
Reports to: President & CEO FLSA: Exempt
Location: Landover, DC FT/PT/CONTRACT: Full Time
Date: July 2016 Revised: N/A
SUMMARY:
The essential functions of this position are directing the operations of the conservation laboratory and managing the activities of the staff conservators, interns and contractors in providing conservation care, treatment and advice for clients.
ARTEX Conservation Laboratory, based in the greater Washington, DC metropolitan area, is seeking a full-time Director of Conservation with a specialty in paintings.
The ARTEX Conservation Laboratory is housed in a spacious, modern studio space in the Washington, DC area. ARTEX provides museum standard environmental controls, security system, and fire protection, in addition to excellent storage capabilities, professional art handling, and an art crating workshop on site. The Conservation staff consists of 4 full time painting conservators, 1 part time objects conservator, and a conservation technician/administrator.
If you are interested in this position, please forward a cover letter, resume, available start date, and salary history/requirements to our HR department at jobs_dc@artexfas.com for immediate review/consideration.
ESSENTIAL DUTIES AND RESPONSIBILITIES:
Client Account and Project Management
• Lead and/or coordinate examination, documentation, conservation and restoration procedures on behalf of ARTEX Fine Art Services.
• Conduct and/or coordinate technical research relating to ARTEX conservation projects.
• Oversee the department’s strict adherence to accepted professional standards, inclusive of the AIC Code of Ethics and Guidelines for Practice, in all aspects of examination, documentation, treatment, and client care.
• Establish operational budgets and ensure accurate reporting on all project costs.
• Ensure that accepted health and safety procedures are communicated, monitored, and evaluated.
• Plan and assign work based on the skillset, area of expertise and workload of individual team members.
• Ensure client requirements are met in a responsive and efficient manner while maintaining the highest standards of client service.
• Oversee the design, implementation and analysis of reports and key metrics to set and monitor service standards and identify areas of improvement.
Leadership, Staffing and Team Management
• Establish a staffing structure with clearly defined roles and responsibilities and the necessary headcount complement to fulfill both current and anticipated client work, research projects and other departmental objectives.
• Oversee the recruitment and selection of qualified staff.
• Manage the activities of staff conservators, interns and contractors in providing conservation care, treatment, and advice for museums, art galleries, government agencies, private collectors, corporate collectors, and others with custodial responsibilities for works of art and historical or heritage objects.
• Provide leadership and expertise for all technical aspects relating to conservation work.
• Meet with team members regularly to provide ongoing mentoring based on clearly defined performance expectations in support of job satisfaction, employee retention and increased employee engagement levels.
• Design a comprehensive training and development program focused on employee professional development; supporting individual skill development, work requirements and career aspirations.
Business Development and Marketing
• Build the department’s business development strategy to support growth and optimize opportunities with existing and prospective clients.
• Provide leadership and support for the design, development and implementation of marketing collateral that draws awareness to the Conservation team’s area of expertise and service offerings.
• Ensure all marketing efforts are well coordinated, support clearly defined marketing plan objectives and are an effective expenditure of resources inclusive of participation in national conferences, symposia, and other targeted events.
• Promote ARTEX conservation practices and projects to the greater conservation community to build greater awareness of the department.
• Support the integration of the department’s services and abilities within the larger scope of the company’s service offerings.
PREFERRED QUALIFICATIONS:
• 18+ years post graduate experience including extensive experience in the examination and treatment of paintings, particularly modern and contemporary paintings as well as murals and architectural paintings.
• Knowledge of modern museum practices and care of collections, including environmental control and monitoring, and safe handling.
• Demonstrated experience in the creation and management of conservation service contracts as well as estimation and monitoring of actual costs for the examination/treatment of paintings.
• Experience with the preparation and presentation of grants, contract proposals, reports, lectures, publications, and seminars relating to conservation.
• Prior experience in private practice and management of a conservation practice including safety, environmental and regulatory compliance.
• Demonstrated ability to set clear and measurable team goals and objectives and hold staff accountable to meet/exceed goals.
• Proven track record in generating and growing new business and driving client relationships.
• Solid computer skills skills (including Microsoft Word, Excel, PowerPoint, FileMaker and Adobe Photoshop) and a thorough understanding of how technology can be used as an effective resource.
• Capable of working well under pressure and able to meet deadlines.
EDUCATION/PROFESSIONAL STATUS:
• Master’s degree in Art Conservation, or equivalent combination of conservation training and experience.
• Periodic professional development through attendance of conservation workshops, seminars, or professional conferences.
• Professional Associate status within AIC or higher.
LANGUAGE SKILLS:
Ability to communicate effectively and resolve conflicts both orally and in writing with both internal and external customers. Excellent verbal, telephone and written communication skills.

Registration now open for the 6th International Architectural Paint Research Conference, March 15-17, 2017

The International Architectural Paint Research (APR) Conference will be held from March 15 – 17, 2017 in New York City on the historic campus of Columbia University. APR is a multi-disciplinary field, and this conference promises to bring together many members of this vibrant, creative community that includes historic paint analysts, scholars of historic interiors, art and architecture conservators, material scientists, decorative painters, preservation architects, and heritage managers.
The 2017 APR conference will be the sixth in a series of increasingly influential and groundbreaking conferences that brings together professionals from around the world to share their latest findings related to the study, analysis, conservation, and replication of historic finishes in the built environment. With over 30 speakers from 14 different countries, conference topics are not limited to paints, and include architecturally engaged finishes such as wallpaper, gilding, plasterwork, and wood finishes.
Previous APR conferences have been held in Stockholm, Sweden (2014, hosted by the Swedish National Heritage Board); Lincoln, England (2010, hosted by the University of Lincoln); and New York City (2008, hosted by Columbia University). Each conference has resulted in an illustrated volume of peer-reviewed papers published by Archetype Publications Ltd., one of the world’s leading publishers in the conservation of art and antiquities and technical art history.
Registration is now open at: http://www.apr2017.org/registration/

Job Posting: Associate Conservator – Peabody Museum of Archaeology and Ethnology (Cambridge, MA)

ASSOCIATE CONSERVATOR
Grade 56 (Conservator I)
Peabody Museum of Archaeology and Ethnology, Harvard University, Cambridge, MA, USA
The Associate Conservator conducts conservation examinations and surveys, undertakes and documents preventative and interventive conservation activities, provides support to the Harvard Peabody Museum’s conservation department in exhibition, loan, acquisition, and curatorial initiatives. Reports to the Senior Conservator.
Duties and Responsibilities:

  • Performs a range of conservation examinations and treatments, including stabilizing and cleaning of organic and inorganic materials in accordance with the Code of Ethnic and Guidelines of Practice of the American Institute for Conservation (AIC).
  • Conducts collection surveys and analyzes results in consultation with the Conservator and/or Senior Conservator.
  • Completes written technical examinations including history/fabrication technology and selected material analysis in accordance with departmental standards.
  • Performs photographic documentation and updates technical reports in the Museum’s collections database.
  • Undertakes routine bi-monthly environmental monitoring activities, producing a comprehensive report on the environmental status of the Museum’s facilities and troubleshooting issues with the Conservator and Building Manager.
  • Conducts insect/pest identifications as part of the Museum’s Integrated Pest Management program; generates bi-monthly IPM reports and advises collections staff on related pest management issues.
  • Implements procedures to address preservation problems in consultation with the Senior Conservator and other collections staff.
  • Assists with and/or undertakes analytical sampling projects in accordance with Museum policy.
  • Serves as courier for museum loans as required.
  • Provides exhibition checks and technical advice on preventative conservation measures for objects in storage in collaboration with collections management staff.
  • Advises on appropriate temperature, humidity, and light levels for museum galleries and storage spaces.
  • Advises staff on appropriate storage systems for complex fragile objects and develops prototypes for storage containers and object re-housing.
  • Collaborates with staff from the Harvard Museums of Science and Culture exhibits team on object mount design for Museum exhibitions.
  • Supervises conservation interns on designated projects.
  • Supports the conservation department’s mission and responsibilities and performs other duties as required.
  • Serves as lead conservator on designated conservation projects that may require collaboration with collections, curatorial, and exhibits staff.

Position Requirements:

  • MA/MS in art conservation.
  • Minimum of three years professional conservation experience specializing in objects conservation in a museum setting.
  • Excellent knowledge of conservation principles and practices and demonstrated excellence performing conservation treatments.
  • Knowledge of cultural history, technology, and materials of three-dimensional objects as well as a good understanding of chemical and physical processes of deterioration.
  • Knowledge of analytical techniques used in conservation practice.
  • Strong background in inorganic materials preferred.
  • Ability to work both independently and as part of a team.
  • Good analytical and problem solving skills; ability to establish and achieve priorities.
  • Good communication and interpersonal skills required.
  • Ability to work simultaneously on multiple projects in a highly productive lab.
  • Ability to maintain high standards under tight deadlines and follow through on repetitive tasks.
  • Strong attention to detail.
  • Ability to lift 35-40 lbs.
  • Position may require long periods of standing and bending.
  • The work associated with this position is primarily performed in a conservation lab.
  • Position uses specialized conservation tools, equipment and solvents.
  • Must be aware of environmental hazards posed by substances such as solvents and mold and appropriate, safe methods of working with such substances.

Deadline: September 15, 2016. Position will be open until filled.
For additional information and to apply for this position, see http://hr.harvard.edu/search-jobs